World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
Thu–Fri 12–6, Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Fiction
Australian Science Fiction / Speculative Fiction
Australian Poetry
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Philosophy
Psychoanalysis
Anthropology
Anarchism
Socialism / Anarchism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism / Women's Studies
Gender Studies / Sexuality
Anthropology
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1988, English
Softcover, 78 pages, 30.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
KLF Publications / UK
$500.00 - In stock -
Extremely rare very first 1988 edition of The Manual (How to Have a Number One the Easy Way), the legendary publication by "The Timelords" ("Time Boy" and "Lord Rock", aliases of Bill Drummond and Jimmy Cauty, better known as The KLF). The Manual is a 'Zenarchistic' step-by-step guide to achieving a No.1 single with no money or musical skills, and a case study of the duo's UK novelty pop No. 1 "Doctorin' the Tardis". The Manual is an unparalleled expose of the reality behind the pop-music business and while names may have changed since its first issue, the mechanics of financing, producing and promoting a hit set out here remain absolutely relevant.
"Firstly, you must be skint and on the dole. Anybody with a proper job or tied up with full time education will not have the time to devote to see it through... Being on the dole gives you a clearer perspective on how much of society is run... having no money sharpens the wits. Forces you never to make the wrong decision. There is no safety net to catch you when you fall." "If you are already a musician stop playing your instrument. Even better, sell the junk."
Very collectible in this first, self-published large format edition (KLF009B). The following editions (also very hard to find) were much smaller in format with differing graphics and contents.
Very Good, clean copy, with only light wear to stiff covers and corners.
2015, English
Softcover, 48 pages, 21 x 14.8 cm
Ed. of 300,
1st Edition, Out of print title / used / fine
Published by
Der Konterfei / Vienna
$40.00 - In stock -
Rare first edition of 300 copies, later reprinted, all editions long out–of–print.
When it comes to pop music, conceptual art, audacious positioning, and fierce artistic independence, there is simply no way around Bill Drummond. The KLF, The Timelords, The Justified Ancients of Mu Mu (J.A.M.S.), The K Foundation, The 2K, K2 Plant Hire Ltd. – these were all projects that aimed to attack established pop practices by means of easily-acquired sampling technology.
Bill ceased being interested in the pop business a long time ago. Nonetheless, music is still at the centre of his current endeavours. The present book is a summary of his recorded lecture at Spoiler, MuseumsQuartier Vienna 2002, which for the past thirteen years has been available only as a single-copy library DVD.
Despite the fact that Bill is loath to look back at the past and always directs his focus to the here and now, or rather because of this, I deemed it necessary to highlight his vast artistic range, development, and process of the last thirty years by means of this contemporary document and to present it to a younger generation. For the concept of time plays a special role in Drummond’s work. Whether as The Timelords, or in songs like ‘What Time is Love?’ or ‘3 A.M. Eternal,’ or via metaphorical numbers like 23, 33⅓, or 45, or his current World Tour 2014-2025 Bill has always thought, planned, acted, and reacted in structural time periods.
Near Fine copy with only shelf rubbing to gloss boards.
1976, English
Softcover, 174 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Ernst Eulenburg Ltd / London
$55.00 - In stock -
Scarce copy of the first 1976 English edition of 'Debussy: Impressionism & Symbolism', a classic musicology book by Polish musicologist Stefan Jarociński, examining the composer's work against the broader aesthetic backdrop of the era, arguing that Debussy's music is much more deeply connected to the Symbolist movement than to visual Impressionism. Published by Ernst Eulenburg Ltd, London.
Translated from the French by Rollo Myers
Preface by Vladimir Jankelevitch
From the first, Debussy's music lent itself to all kinds of convenient critical labels, of which the most fashionable has always been 'impressionist'. In this book the doyen of Polish musicologists examines Debussy's output against the twin backgrounds of his upbringing and of contemporary movements in the other arts besides music. He concludes that the 'impressionist' analogy between music and painting has been too deceptively obvious, and that the movement with which Debussy's art is most deeply impregnated is Symbolism. This he shows by a review of the general aesthetic ferments of the age, by close analysis of Debussy's music, his early works in particular, and by well-directed quotation from Debussy's own many writings on the subject. In the course of his argument he leads the reader down many unexpected bypaths in aesthetics: his book is both an original contribution to musicology and a philosophical meditation on the whole of the art of this unusually fertile and adventurous period.
G–VG copy with some creaing to boards/spine, but overall very nice, lightly aged copy.
1972 / 1975, English
Softcover, 238 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Rider and Company / London
$65.00 - In stock -
Scarce first 1972 edition, second 1975 printing, of 'Eliphas Lévi and the French Occult Revival', a seminal academic study by historian Christopher McIntosh, which explores the profound impact of the 19th-century French magician on modern Western esotericism, published by Rider & Company.
Eliphas Lévi is one of the key figures of Western occultism and the man of whom Aleister Crowley claimed to be the rein-carnation. This is the first full study in English of the life and writings of this colourful man and the occult revival of which he was part. This book not only brings out the sensational aspects of this era, but also analyses its importance in the history of occultism, giving much detailed information on some hitherto little-known magical orders. It also provides, for the first time, an objective and sympathetic assessment of Lévi's magical teaching.
•.. he was a fascinating character. McIntosh brings him to life in this fluent scholarly work.'–Psychic News
"This is a clearly-written and sympathetic account of the life and times of one of the most influential men in the history of occultism. Very few personal details have hitherto been published in English about Eliphas Lévi..."–Prediction
'The lively curiosity... is one which in my case Mr Mcintosh has satisfied and excited further with this serious, unsensational study of the arcane side of our pursuit and exercise of power.'–Country Life
VG copy. Light wear to boards.
1997, English
Softcover, 138 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Praeger Publishers Inc. / New York
$50.00 - Out of stock
First 1997 edition.
"The Last Modernist's strength lies in its melange of critical thought. The seven essays and one interview present compelling judgments about Andropoulos's art, and the cultural, historical, and political processes that it involves.... essential reading."–Cineaste
"Theo Angelopoulos is widely regarded as one of the most distinctive of contemporary filmmakers and a highly idiosyncratic film stylist. His work, from the early 1970s to The Beekeeper, Landscape in the Mist, The Suspended Step of the Stork and the recent Cannes prize-winner, Ulysses' Gaze, demonstrates a unique sensibility, and a preoccupation with form (notably the long take, space and time) and with content, particularly Greek politics and history, and notions of the journey, border-crossing, exile and nostalgia.
This new collection of essays, including contributions from David Bordwell and Fredric Jameson, surveys Angelopoulos' entire cinematic output, and presents an intelligent and articulate discussion of his major films, themes and concerns. The authors argue that Angelopoulos' sustained œuvre has kept alive the tradition of postwar modernism - the cinema of Antonioni, Jancsó and Ozu - in the largely hostile climate of the 1980s and 1990s. In Bordwell's words, "at a moment when European cinema, both popular and elitist, seems to be breathing its last, Angelopoulos' work can endow our world of snack bars, video clips and ethnic wars with an astringent, contemplative beauty"."
Andrew Horton teaches in the English Department at Loyola University, and has written about Angelopoulos since 1975. Among his most recent books are Russian Critics On the Cinema of Glasnost (with Michael Brashinsky) and Writing the Character-Centered Screenplay (both 1994).
VG copy, light wear/age to boards.
1966, English
Softcover, 254 pages, 18.5 x 11 cm
1st Edition, Out of print title / used / very good
Published by
E P Dutton / New York
$25.00 - In stock -
First 1966 softcover edition of The New Art, the seminal anthology edited by Gregory Battcock, featuring contributing essays from prominent mid-century artists, critics, and art historians: Lucy R. Lippard, Marcel Duchamp, Alan Solomon, Ad Reinhardt, Allen Leepa, Clement Greenberg, Dore Ashton, E. C. Goossen, Gregory Battcock, Henry Geldzahler, John Cage, Kenneth King, Lawrence Alloway, Leo Steinberg, Martin Ries, Max Kozloff, Nicolas Calas, Sam Hunter, Samuel Adams Green, Susan Sontag, Thomas B. Hess. Illustrations of works by Henri Matisse, Jasper Johns, Frank Stella, Marcel Duchamp, Robert Morris, Paul Brach, Andy Warhol, Paul Thek.
"Today's critic is beginning to seem almost as essential to the development-indeed, the identification-of art as the artist him-self. The purpose of this volume is to bring together some of the best recent critical essays on the new art in the United States.
Most of these articles date from after 1960, and were originally published in periodicals and museum catalogues. But in keeping with the new role of the critic as interpreter, the pieces included in this anthology do more than simply describe, or even define their subject; their authors are actively and consciously engaged in the preparation of a new aesthetic. This is a unique collection that will be indispensable to all who wish to understand more about the new art in America."
VG copy with board/block tanning and some wear to board extremities.
1965 / 1972, English
Softcover, 278 pages, 20.2 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Beacon Press / Boston
$40.00 - In stock -
First 1965 Beacon Press paperback edition (fifth 1972 print) of influential 20th-century American art critic Clement Greenberg's seminal 1961 book, Art and Culture: Critical Essays. This widely read collection cemented his legacy as a defining voice in American modern art theory establishing the theoretical framework for modernist art, championing the separation of "high art" from mass culture and advocating for Abstract Expressionism and the rise of the New York School, promoting artists like Jackson Pollock and Willem de Kooning as the true successors to the European modernist tradition.
"Clement Greenberg is, internationally, the best-known American art critic popularly considered to be the man who put American vanguard painting and sculpture on the world map. . . . An important book for everyone interested in modern painting and sculpture."—The New York Times
G—VG copy with some light wear to boards, tanning, previous owner's name to title page, erasereable light pencil underling to first few pages of first text.
2014, English
Softcover, 240 pages, 145 x 210 mm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
Whitechapel / London
$65.00 - In stock -
Out of print volume of Documents of Contemporary Art Series tracing the identification of art with sexual expression or repression, from the era of the rights movements to the present.
It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the “informe,” or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm.
Artists surveyed include:
Vito Acconci, Assume Vivid Astro Focus, Lynda Benglis, Louise Bourgeois, Gerard Byrne, George Chakravarthi, Judy Chicago, Vaginal Davis, Wim Delvoye, Elmgreen & Dragset, Valie Export, Félix González-Torres, Guillermo Gómez-Peña, Harmony Hammond, Claudette Johnson, Mary Kelly, Yayoi Kusama, Robert Legorreta, Paul McCarthy, Sarah Maple, Shirin Neshat, Lorraine O’Grady, Yoko Ono, Catherine Opie, Orlan, William Pope.L, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Barbara Smith, Annie Sprinkle, Alina Szapocznikow, Del LaGrace Volcano, Hannah Wilke, David Wojnarowicz
Writers include:
Malek Alloula, Norman O. Brown, Judith Butler, Douglas Crimp, Angela Dimitrakaki, Michel Foucault, Daniel Guérin, Eleanor Heartney, Jonathan D. Katz, Rosalind Krauss, Julia Kristeva, Paweł Leszkowicz, Herbert Marcuse, Kobena Mercer, Laura Mulvey, Lawrence Rinder, Jacqueline Rose, Eve Kosofsky Sedgwick, Susan Sontag, Trinh T. Minh-ha, Stephen Whittle
About the Editor
Amelia Jones is Grierson Chair in Art History and Communication Studies at McGill University. Her books include Irrational Modernism: A Neurasthenic History of New York Dada (MIT Press), Self/Image: Technology, Representation and the Contemporary Subject, and Seeing Differently: A History and Theory of Identification and the Visual Arts.
VG copy.
1987, English
Softcover, 284 pages, 20.2 x 12.2 cm
1st Edition, Out of print title / used / very good
Published by
University of California / Berkeley
$80.00 - In stock -
Rare first 1987 edition of this wonderful book of urban ecology, documenting the ecosystems of (not so) vacant lots, weedy waysides and roadways.
Vacant lots aren't really vacant: a surprising number of plants and animals live in the left-over spaces in our cities. In this fascinating guide, authors Vessel and Wong provide a broad introduction to the unique ecosystems that can survive in the urban environment.—publisher
"An imaginative introduction to the tenacious plants and animals that battle people and pollution to survive. Anyone concerned with the natural environment will be delighted by Vessel and Wong's guided tour of this unexpected territory."–Tim Larimer, San Jose Mercury News
"Placed in the right hands, this book could help fuel another generation of environmentalists. ... In topical chapters and species accounts the authors introduce us to more than 300 denizens of ignored urban places. They do so in clear, straightforward prose, accompanied by good line drawings and photos. Their inclusions and exclusions are selected with care and intelligence."–Gary Mozel, Naturalist Review
"The book contains very good and useful descriptions of plants and animals regularly found in neglected lots throughout California... Part of the value of a little book like this is that it opens your eyes to things you would otherwise miss."–Lee Dembart, Los Angeles Times
Matthew F. Vessel is Professor Emeritus of Natural Science at San Jose State University. Herbert H. Wong was formerly Professor of Environmental Education at Western Washington State University and Lecturer at the University of California, Berkeley.
Very Good copy, tightly bound, light wear to board extremities.
2025, English
Softcover + flexi–disc, 184 pages, 26 x 19.5 cm
Limited Edition,
Published by
First To Knock / Michigan
$72.00 - In stock -
Limited-edition version with flexi-disc recording of Satie’s “Leit-motiv du Panthée” performed, as intended, as an accompaniment to a reading of Joséphin Péladan’s Le Panthée.
In 1892, Erik Satie was at a crossroads. Despite having already composed some of the finest works ever written for piano, the 26-year-old was still penniless and unappreciated. His artistic ethos—a paradoxical mix of reactionary Medievalism and avant-garde absurdism—could find no quarter in fin-de-siècle Paris. And so, with his musical aspirations dashed and nowhere left to turn, Satie would turn to himself.
His subsequent revolt was as shocking as it was incomprehensible to his contemporaries. Satie announced himself to be “the Parcener,” the head of a new religious order. It was, in fact, a church of his own founding—The Metropolitan Church of Art of Jesus the Conductor.
Transforming his dilapidated apartment into an “Abbatial Church,” Satie began issuing scathing letters to prominent cultural figures who had sought to render judgment upon his Art. Targets of the Parcener’s screeds ranged from the cape-clad mystagogue, Joséphin Péladan, to the pompous composer, Camille Saint-Saëns; from the novelist Octave Mirbeau, who had dared to lampoon the Parcener, to the theatre director Aurélien Lugné-Poe, whose unintentionally nude stage production had offended the Parcener’s moral sensibilities. The fiercest feud was reserved for music critic Henry Gauthier-Villars, whom the Parcener battled in the press for years, until the spat culminated in a physical altercation at a concert. Throughout the 1890s, luminaries, such as these, found themselves excommunicated from a church to which they had not even known they once belonged.
Inscrutable as the author himself, Satie’s writings from this brief period strike a tone that lies somewhere between fervent Catholicism, anarchistic satire, and the righteous rage of the true Artist—leaving readers befuddled as to the composer’s true intent. Yet, despite the impenetrability of his writings, the Parcener’s missives took the Parisian art scene by storm and, as Satie’s crusade grew in intensity, so too did his reputation, making this era as historically crucial as it is bewildering. Nevertheless, the Metropolitan Church was ultimately a solitary undertaking. Despite certain documents indicating that the Church expected to have more than a billion members, history would show that its congregation never grew beyond one: Erik Satie himself.
Know Me To Be Your Superior in Everything is the first book dedicated exclusively to the story of Erik Satie’s Metropolitan Church of Art of Jesus the Conductor. Drawing upon a multitude of firsthand sources—including documents held in the Erik Satie archives in Caen—the book includes new English translations of all known Church publications and correspondence by Satie as the Parcener. Facsimilic translations of Satie’s Church publications are reproduced herein as well, capturing, for the first time in English, the design and typography of the original productions.
Know Me To Be Your Superior in Everything was written by Sam Kunkel, a scholar of 19th century Symbolist literature. Previous to this book, Kunkel has also provided translations for Echoes of a Natural World—Tales of the Strange & Estranged (First To Knock, 2020); A Beam of Sunlight in the Deep Forest—Mystical Prose Works by Édouard Schuré (First To Knock, 2021); as well as The Solar Circus by Gustave Kahn (First To Knock, 2022). Kunkel has also written extensively in French, covering topics such as Joséphin Péladan and religion in fin-de-siècle Paris. His critical reedition of Péladan’s notorious novel, Istar, was published by Éditions du Lérot in 2024, and his book, L’Orphisme et le roman post-romantique, a comparative study of the mystical novel, was released by Éditions Otrante in 2023.
Design by Bryan Cipolla
1974, Japanese
Softcover (staple–bound), 90 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Spin / Tokyo
$45.00 - Out of stock
Rare copy of Dabu–dabo No. 25, published in Tokyo in 1974, with original cover art painted by Aquirax Uno (Akira Uno). Dabu-dabo was wild countercultural lifestyle magazine ("A Lifestyle Catalog of Dawn Culture") that featured artwork, photography, manga and articles that proposed "new human life materials for the global village." This issue features an interview with author/model/actress/icon Izumi Suzuki, photography by Hajime Sawatari, jazz musician Sadao Watanabe, illustration galleries by avant–garde artist and author Genpei Akasegawa, Ayumi Ohashi and Teruya Harada, Hiro Tsunoda of the Sadistic Mika Band and psych legends Jacks, nude photography by Kenji Hiruma, poet and folk singer Shigeru Izumiya, a host of informative feature articles on "Commune Practices": developing commune practices, including the use of geodesic domes and inflatable housing, the farming practices of Japanese folk singer Masato Minami, DIY solar thermal devices, and much more. Like Goro meets CoEvolution Quarterly via Oz!
VG with light wear to extremities, rusted staples.
2025, English
Hardcover, 80 pages, 17.8 x 12.1 cm
Published by
Further Reading Library / New York
$55.00 - In stock -
Inventor, designer, artist and musician Thomas Wilfred (1889–1968) devoted his life to the creation of a new art form – “Lumia,” or the art of light. He invented his own version of a colour organ (a term he disliked) and dubbed it the Clavilux, from the Latin meaning “light played by key.” This title presents a stimulating collection of archival material culled from the Wilfred archive at Yale University and other sources, including Wilfred’s never-before-published sketches.
After a successful international tour in the 1920s, Wilfred reinvented these large-scale performances as self-enclosed light shows for domestic entertainment. While they enjoyed a short commercial life, Wilfred’s aesthetically elegant and interactive Clavilux and Lumia home models soon found their way into storied collections. His work was included in the Museum of Modern Art’s 1952 exhibition 15 Americans, where it was seen by many artists who would work with light as their medium in the 1960s and ’70s.
THE FURTHER READING LIBRARY is an ongoing series of books dedicated to forgotten ideas, overlooked accomplishments, and idiosyncratic world views. Each book explores — through a collection of original documents, photographs, and primary source material — a body of work, a specific topic, or an individual. Modeled on the size and range of topics of the King Penguin and Insel-Bücherei series, The Further Reading Library is edited by Christine Burgin and Andrew Lampert.
Christine Burgin is a publisher and former gallerist. Her publications include books by Hilma af Klint, Robert Walser, Emily Dickinson, and Susan Howe and projects with artists Rodney Graham, Matt Mullican, and Allen Ruppersberg.
christineburgin.com
Andrew Lampert is an artist, writer, and curator. His moving-image, photo, and performance works have been widely exhibited at international venues, and he has edited books on Tony Conrad, George Kuchar, and Harry Smith, among others. The former Curator of Collections at Anthology Film Archives, Lampert is co-author with Howie Chen of the advice columns Hard Truths and Hard Choices for Art in America.
2025, English
Hardcover, 88 pages, 17.8 x 12.1 cm
Published by
Further Reading Library / New York
$55.00 - In stock -
Science fiction writer Richard Sharpe Shaver believed that rocks were books imprinted with valuable information about such mythical ancient races as the Lemurians and Atlanteans. This title contains a generous selection of 'Rokfogos' accompanied by hand-typed texts in which Shaver explains – not always patiently – all that can be seen in these stones. Also included are facsimiles of his handmade books and publications, all of which he felt to be of incalculable importance to civilisation.
His controversial stories about an advanced prehistoric civilisation and a race of evil beings living at the center of the earth appeared in 'Amazing Stories' and other landmark sci-fi publications of the ’40s and ’50s.
A decade later, he was living in relative isolation and devoting himself to rock book research, a course of study that he shared with a devoted group of correspondents. Shaver believed that ancient leaders had left behind images embedded into rocks, which he then tried to interpret.
Richard Sharpe Shaver (1907–75) was an artist and author whose work frequently appeared in 1940s science fiction magazines such as Amazing Stories. He was the center of the Shaver Mystery, a controversy regarding his alleged discovery of a prehistoric civilization, which sparked mass interest and a devoted following that continues to this day.
THE FURTHER READING LIBRARY is an ongoing series of books dedicated to forgotten ideas, overlooked accomplishments, and idiosyncratic world views. Each book explores — through a collection of original documents, photographs, and primary source material — a body of work, a specific topic, or an individual. Modeled on the size and range of topics of the King Penguin and Insel-Bücherei series, The Further Reading Library is edited by Christine Burgin and Andrew Lampert.
Christine Burgin is a publisher and former gallerist. Her publications include books by Hilma af Klint, Robert Walser, Emily Dickinson, and Susan Howe and projects with artists Rodney Graham, Matt Mullican, and Allen Ruppersberg.
christineburgin.com
Andrew Lampert is an artist, writer, and curator. His moving-image, photo, and performance works have been widely exhibited at international venues, and he has edited books on Tony Conrad, George Kuchar, and Harry Smith, among others. The former Curator of Collections at Anthology Film Archives, Lampert is co-author with Howie Chen of the advice columns Hard Truths and Hard Choices for Art in America.
2025, English
Hardcover, 88 pages, 17.8 x 12.1 cm
Published by
Further Reading Library / New York
$50.00 - In stock -
Loïe Fuller’s (1862–1928) luminously radical dance performances at the turn of the century were unlike anything that had ever been staged or seen before. While her profound influence on writers and artists such as Mallarmé and Rodin is well documented, less well known is Fuller’s passion for technology and her involvement with the leading scientists of the time. This title spotlights Fuller’s scientific forays in her own words alongside an array of archival documents and photographs of the dancer in action.
In her 'Serpentine Dance', she wore a large, diaphanous gown she manipulated with her arms to form undulating waves, while coloured lights projected onto the fabric gave the illusion of birds, animals or flowers. The centrepiece of the book is her 1907 lecture on the invention of radium, her notes on meeting Marie and Pierre Curie and Thomas Alva Edison, and her literally explosive efforts to create a glow-in-the-dark dance performance.
Featuring an introduction by renowned cinema scholar Tom Gunning, this book presents Fuller’s eccentric passions and pioneering pursuits in a fresh light.
THE FURTHER READING LIBRARY is an ongoing series of books dedicated to forgotten ideas, overlooked accomplishments, and idiosyncratic world views. Each book explores — through a collection of original documents, photographs, and primary source material — a body of work, a specific topic, or an individual. Modeled on the size and range of topics of the King Penguin and Insel-Bücherei series, The Further Reading Library is edited by Christine Burgin and Andrew Lampert.
Christine Burgin is a publisher and former gallerist. Her publications include books by Hilma af Klint, Robert Walser, Emily Dickinson, and Susan Howe and projects with artists Rodney Graham, Matt Mullican, and Allen Ruppersberg.
christineburgin.com
Andrew Lampert is an artist, writer, and curator. His moving-image, photo, and performance works have been widely exhibited at international venues, and he has edited books on Tony Conrad, George Kuchar, and Harry Smith, among others. The former Curator of Collections at Anthology Film Archives, Lampert is co-author with Howie Chen of the advice columns Hard Truths and Hard Choices for Art in America.
2024, English
Softcover, 416 pages, 21.6 x 13.8 cm
Published by
SPBH Editions / UK
$89.00 $65.00 - In stock -
The cult periodical Little Joe, published as a limited-edition zine from 2010 to 2021, challenged the mainstream narrative of film history with a rebellious, queer perspective. Rather than reviewing new releases, it explored forgotten and overlooked films and celebrated a diverse spectrum of cinema – from obscure art films to porn to Hollywood classics – as worthy of critical debate. Stubbornly print-only, Little Joe was notoriously hard to find, privileging word-of-mouth distribution akin to the films it championed. This volume, compiled by editor-in-chief Sam Ashby, brings together the best of its previously elusive texts and proposes a new, alternative cinematic canon drawn from the fringes of taste and style, while paying homage to the original DIY Risograph aesthetic of the journal.
This volume features essays, in-depth conversations, short stories and archival discoveries from a host of queer and allied writers, artists, filmmakers, and academics, including John Waters, Sarah Schulman, Douglas Crimp, William E. Jones, Erika Balsom, Jeremy Atherton Lin, John Greyson, Elizabeth Purchell, Liz Rosenfeld, Peter Strickland, Ira Sachs, Terence Davies, Shu Lea Cheang, Kevin Killian, Wayne Koestenbaum, Abdellah Taïa, Marlene McCarty, John Cameron Mitchell, Rosa von Praunheim, Stuart Comer, Ed Halter, Jenni Olson, A.L. Steiner, A.K. Burns, Desiree Akhavan, and Andrew Haigh.
2007, English
Softcover, 458 pages, 10.7 x 17.5 cm
Published by
Urbanomic / Cornwall
$65.00 - In stock -
Philosophical Research and Development.
Edited by Robin Mackay
Associate Editor: Dustin McWherter
Collapse III contains explorations of the work of Gilles Deleuze by pioneering thinkers in the fields of philosophy, aesthetics, music and architecture. In addition, we publish in this volume two previously untranslated texts by Deleuze himself, along with a fascinating piece of vintage science fiction from one of his more obscure influences. Finally, as an annex to Collapse Volume II, we also include a full transcription of the conference on 'Speculative Realism' held in London in 2007.
The contributors to this volume aim to clarify, from a variety of perspectives, Deleuze's contribution to philosophy: in what does his philosophical originality lie; what does he appropriate from other philosophers and how does he transform it? And how can the apparently disparate threads of his work to be 'integrated' - what is the precise nature of the constellation of the aesthetic, the conceptual and the political proposed by Gilles Deleuze, and what are the overarching problems in which the numerous philosophical concepts 'signed Deleuze' converge?
Contents
ROBIN MACKAY - Editorial Introduction
THOMAS DUZER - In Memoriam: Gilles Deleuze 1925-1995
GILLES DELEUZE - Responses to a Series of Questions
ARNAUD VILLANI - "I Feel I Am A Pure Metaphysician": The Consequences of Deleuze's Remark
QUENTIN MEILLASSOUX - Subtraction and Contraction: Deleuze, Immanence and Matter and Memory
HASWELL & HECKER - Blackest Ever Black
GILLES DELEUZE - Mathesis, Science and Philosophy
INCOGNITUM - Malfatti's Decade
JOHN SELLARS - Chronos and Aion: Deleuze and the Stoic Theory of Time
ÉRIC ALLIEZ & JEAN-CLAUDE BONNE - Matisse-Thought and the Strict Ordering of Fauvism
MEHRDAD IRAVANIAN - Unknown Deleuze
J.-H. ROSNY THE ELDER - Another World
RAY BRASSIER, IAIN HAMILTON GRANT, GRAHAM HARMAN, QUENTIN MEILLASSOUX - Speculative Realism
2007, English
Softcover, 330 pages, 10.7 x 17.5 cm
Published by
Urbanomic / Cornwall
$55.00 - In stock -
Philosophical Research and Development.
Edited by Robin Mackay
Associate Editor: Damian Veal
Comprising subjects from probability theory to theology, from quantum theory to neuroscience, from astrophysics to necrology, and involving them in unforeseen and productive syntheses, Collapse II features a selection of speculative essays by some of the foremost young philosophers at work today, together with new work from artists and cinéastes, and searching interviews with leading scientists.
Against the tide of institutional balkanisation and specialisation, this volume testifies to a defiant reanimation of the most radical philosophical problematics - the status of the scientific object, metaphysics and its "end", the prospects for a revival of speculative realism, the possibility of phenomenology, transcendence and the divine, the nature of causation, the necessity of contingency - both through a fresh reappropriation of the philosophical tradition and through an openness to its outside. The breadth of philosophical thought in this volume is matched by the surprising and revealing thematic connections that emerge between the philosophers and scientists who have contributed.
Contents
ROBIN MACKAY - Editorial Introduction
RAY BRASSIER - The Enigma of Realism
QUENTIN MEILLASSOUX - Potentiality and Virtuality
ROBERTO TROTTA - Dark Matter: Facing the Arche-Fossil (Interview)
GRAHAM HARMAN - On Vicarious Causation
PAUL CHURCHLAND - Demons Get Out! (Interview)
CLÉMENTINE DUZER & LAURA GOZLAN - Nevertheless Empire
REZA NEGARESTANI - Islamic Exotericism: Apocalypse in the Wake of Refractory Impossibility
KRISTEN ALVANSON - Elysian Space in the Middle East
2018, English
Softcover (2 volumes w. die-cut covers in plastic jacket), 144 / 96 pages, 32.8 x 24 cm
1st Edition, Out of print title / as new
Published by
NGV (National Gallery of Victoria) / Victoria
$100.00 - In stock -
The fast out-of-print two-volume publication published to accompany 'The Field Revisited' 50th anniversary exhibition at The Ian Potter Centre, NGV Australia, 27 April - 26 August, 2018. Housed in a transparent plastic jacket, the publication includes a complete facsimile of the rare and highly collectable original 1968 'The Field' exhibition publication and a new publication for 'The Field Revisited', which reflects on the importance of this exhibition over the past fifty years through new essays, colour documentation of the exhibited (and related) works and archival photographs of the 1968 exhibit. Designed by Stuart Geddes, with typography by Vincent Chan.
The National Gallery of Victoria’s inaugural exhibition at its new premises on St Kilda Road in 1968 was The Field, the first comprehensive display of colour field painting and abstract sculpture in Australia. Regarded as a landmark exhibition in Australian art history, The Field was a radical presentation of 74 works by 40 artists who practised hard-edge, geometric, colour and flat abstraction, many of which were influenced by American stylistic tendencies of the time. With its silver foil–covered walls and geometric light fittings, The Field opened to much controversy and helped launch the careers of a generation of Australian artists, including Sydney Ball, Peter Booth, Janet Dawson and Robert Jacks. Eighteen of the exhibiting artists were under the age of thirty, with Robert Hunter the youngest at twenty-one years of age.
The Field Revisited recreated The Field exhibition for its fifty-year anniversary. By reassembling as many of the original 74 paintings and sculptures as possible, this restaging re-examined the exhibition’s impact and significance for Australian art history and allow a new generation to experience it for themselves. Because some works included in The Field are known to have been destroyed, the NGV has commissioned a number of artists, including Normana Wight and Col Jordan, to recreate their original works for The Field Revisited.
Artists : Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.
Out-of-print, As New copy.
2014, English
Softcover, 536 pages, 11.5 x 17.5 cm
Published by
Merve Verlag / Berlin
Urbanomic / Cornwall
$66.00 - In stock -
Accelerationism is the name of a contemporary political heresy: the insistence that the only radical political response to capitalism is not to protest, disrupt, critique, or détourne it, but to accelerate and exacerbate its uprooting, alienating, decoding, abstractive tendencies.
The term was coined to designate a certain nihilistic alignment of theory with the excess and abandon of capitalist culture, and the associated performative aesthetic of texts that seek to become immanent to the very process of alienation. Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.
Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions.
#Accelerate presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.
On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.
At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.
Contents
ANTICIPATIONS
Karl Marx - Fragment on Machines
Samuel Butler - The Book of The Machines
Nikolai Fyodorov - The Common Task
Thorstein Veblen - The Machine Process and the Natural Decay of the Business Enterprise
FERMENT
Shulamith Firestone - On the Two Modes of Cultural History
Jacques Camatte - Decline of the Capitalist Mode of Production or Decline of Humanity?
Gilles Deleuze + Félix Guattari - The Civilized Capitalist Machine
Jean-François Lyotard - Energumen Capitalism
Gilles Lipovetsky - Power of Repetition
JG Ballard - Fictions of All Kinds
CYBERCULTURE
Nick Land - Circuitries
Nick Land + Sadie Plant - Cyberpositive
Iain Hamilton Grant - LA 2019: Demopathy and Xenogenesis
CCRU - Cybernetic Culture
CCRU - Swarmachines
ACCELERATION
Mark Fisher - Terminator vs Avatar
Nick Srnicek and Alex Williams - #Accelerate: Manifesto for an Accelerationist Politics
Antonio Negri - Reflections on the Manifesto
Tiziana Terranova - Red Stack Attack!
Luciana Parisi - Automated Architecture
Patricia Reed - Seven Prescriptions for Accelerationism
Reza Negarestani - The Labour of the Inhuman (Extended Mix)
Benedict Singleton - Maximum Jailbreak (Extended Mix)
Ray Brassier - Prometheanism and its Critics
Nick Land - Teloplexy: Notes on Acceleration
Diann Bauer - 4xAccelerationisms
2026, English
Softcover, 258 pages, 19 x 12 cm
Published by
Index Press / Melbourne
$40.00 - In stock -
Described as “the most important British philosopher” of our time, Nick Land is an enigmatic figure shrouded in controversy, rumour, and myth. Too heretical for the academic establishment, Land has had a meteoric impact on contemporary philosophy, politics, and culture. His striking insights and singular prose have left their mark on leading philosophers such as Mark Fisher and Ray Brassier, inspired artists like Kode9 and Jake and Dinos Chapman, and even shaped the mindset of Silicon Valley kingmakers like Marc Andreessen. His prophetic thought has helped give rise to major philosophical and cultural movements, from speculative realism and cyberfeminism to accelerationism and neoreaction.
Unknown Lands is the essential introduction to Land’s radical and often cryptic philosophy, providing a comprehensive decoding of his labyrinthine writings. The book takes us through his earliest inventive readings of Schopenhauer, Nietzsche, Freud, and Bataille, which he wields to critique the likes of Kant, Heidegger, and Derrida for repressing the brute fact of our mortality. It goes right up to his seminal remixing of Deleuze and Guattari, cybernetics, and cyberpunk in his account of capitalism’s race towards human extinction at the advent of the technological singularity.
Making sense of ideas that have long circulated in cult obscurity, Unknown Lands presents perhaps the most apocalyptically nihilistic and yet powerfully ecstatic vision of the world. It is unlikely to leave readers’ preconceptions—or sanity—fully intact.
“Few people can write about Nick Land in a way that doesn’t betray the principles of Land’s own thought. Vincent Lê is one of them. Unknown Lands refuses the sterility, distance, and moral condescension of academic writing on Land while maintaining a depth of philosophical engagement that is depressingly absent in the thriving industry of online commentaries.”—Amy Ireland, co-author of Cute Accelerationism and The Xenofeminist Manifesto
“A superbly lucid, philosophically grounded study that will be of value to both students and advanced researchers, presenting Nick Land as among the most rigorous and relentlessly corrosive thinkers of the posthuman. When other continental thinkers imagined they were challenging ‘humanism’ with their anthropotechnics and all-too-human cyborgs, Vincent Lê shows that Land was the one who first called it for the radically inhuman trajectory of our technological condition.”—David Roden, author of Posthuman Life, Xenoerotics, and Snuff Memories
“Vincent Lê has pulled off the almost impossible. He has produced an unheretical account of the most ‘heretical’ philosopher since Nietzsche. What he says here—and what you will read—is calm, measured, and assured. It tells us where the Nick Land of today came from. If anyone is going to judge Land and speak either for or against him, they need to read this book first.”—Rex Butler, author of Deleuze and Guattari’s “What is Philosophy?”: A Reader’s Guide, Slavoj Žižek: Live Theory, and Jean Baudrillard: The Defence of the Real
Design by Alexandra Margetic
2026, English
Softcover, 190 pages, 20 x 12 cm
Published by
Index Press / Melbourne
$30.00 - In stock -
For some, Nietzsche is the prophet of hierarchy and heroism, a rallying cry against the modern herd. For others, he is the forefather of AI-driven transcendence, an oracle of posthuman futures. His thought has been twisted, worshipped, and weaponised across generations—from avant-garde artists to political extremists, from revolutionary philosophers to Silicon Valley disruptors.
In this book of essays, leading scholars dive into Nietzsche’s early vision, following the tangled, often contradictory paths of his influence: the poets he scorned, the radicals who claimed him, the scholars who tried (and failed) to pin him down. From Australian modernism to French poststructuralism, from political battlegrounds to the shifting tensions between art and philosophy, this book captures Nietzsche’s restless afterlife—revealing how, more than 150 years after the publication of his first book, The Birth of Tragedy Out of the Spirit of Music, Nietzsche’s thought still provokes, unsettles, and refuses to be tamed.
2025, English
Hardcover, 656 pages, 22.5 x 15 cm
Published by
Zero Books / UK
$70.00 - In stock -
Eugene Thacker's three cult-classic volumes of supernatural horror come together in this new Zer0 Books omnibus, revised with updated material, offering an essential resource for thinking about the unthinkable world.
Zer0 Books presents a new, omnibus edition of a cult classic: all three volumes of Eugene Thacker's Horror of Philosophy trilogy, revised and expanded by the author. Across the three volumes of the series—In the Dust of this Planet (Zero Books, 2011), Starry Speculative Corpse (Zero Books, 2015), and Tentacles Longer than Night (Zero Books, 2015)—Thacker adopts a unique approach, reading works of horror as if they were philosophy, and works of philosophy as if they were horror, leading to far-reaching questions: Could it be that the more we know about the world, the less we understand it? Could it be that, while everything has been explained, nothing has meaning? At the center of Thacker's project is the idea of the 'world without us,' an increasingly unthinkable world of planetary disasters, emerging pandemics, and the looming threat of extinction. To confront this idea is to confront the limit of our ability to understand the world in which we live - not a philosophy of horror, but a horror of philosophy.
1904 / 2016, English
Hardcover (w. dust jacket), 112 pages, 23 x 15.25 cm
Published by
Mockingbird Press / US
$44.00 - In stock -
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
2024, English
Softcover, 24 pages, 23 x 15.5 cm
Published by
Adultbrain / US
$26.00 - In stock -
"Every man and every woman is a star."
The Book of the Law is a seminal text in the philosophy of Thelema, penned by Aleister Crowley under alleged dictation from a spiritual entity in 1904. This mysterious and provocative work challenges conventional ideas of morality, spirituality, and human purpose, advocating for a new path of individual freedom through the law of Thelema: "Do what thou wilt shall be the whole of the Law." With cryptic verses, poetic language, and timeless wisdom, Crowley's magnum opus continues to captivate and inspire those who seek a deeper understanding of existence, freedom, and the self.
This Adultbrain Publishing edition brings Crowley's powerful work to a new generation of seekers, accompanied by an insightful introduction and annotations that help guide readers through the book's intricate symbolism and themes. Whether you're delving into Thelema for the first time or revisiting this powerful manifesto of personal will and spiritual evolution, this edition offers clarity and context to fully appreciate the depth of Crowley's revelation.
Back of the Book:
Unlock the Mysteries of The Book of the Law - A Guide to Personal Freedom and Spiritual Empowerment.
Written under extraordinary circumstances by Aleister Crowley in 1904, The Book of the Law has since become a cornerstone of Thelema, a spiritual philosophy that emphasizes individual freedom, self-discovery, and the pursuit of one's true will. With its often cryptic and poetic passages, this work has challenged and inspired readers for over a century.
In this newly formatted Adultbrain Publishing edition, discover the full text of Crowley's visionary work along with annotations and commentary to aid both new and returning readers in their journey through the profound and often misunderstood principles of Thelema. Whether you seek to explore the limits of human potential or to find spiritual liberation, The Book of the Law offers a path that demands courage, insight, and personal accountability.
Product Details
ISBN: 9781998614349
ISBN-10: 1998614344
Publisher: Adultbrain Publishing
Publication Date: October 18th, 2024
Pages: 26
Language: English