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:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
Art
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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.
2026, English
Softcover, 408 pages, 23.5 x 15.9 cm
Published by
Zone Books / New York
$60.00 - In stock -
When words are not heard but overheard, when phrases are perceived in bits and pieces, and when speakers, failing to do as they intend, state things that they never meant to say, the saying, in its unsteady relation to understanding, becomes an event. That event has long been studied by a disparate company of interpreters: prophets, priests, and rabbis, poets and philosophers, linguists, psychiatrists and psychoanalysts, novelists and filmmakers. All have suggested that in the contingencies of discourse, there are precious indications to be gleaned, for which special techniques are required. In Far Calls, Daniel Heller-Roazen reconstructs such arts of detection, interweaving ancient, medieval, and modern examples. From the rituals of the ancient Greeks, Jews, and Romans to Freud and Lacan, from Augustine’s catching of a salvific scrap of speech to the inspiration that Breton and Yeats, Proust and Joyce, drew from profane cries and transmissions, Far Calls explores the powers of sonorous coincidence and the varieties of reading that it incites.
“A captivating journey through centuries of Western culture and beyond, with the help of extraordinary erudition.”—Maurizio Bettini
“Far Calls culls a remarkable trove of glints and inklings, omens and names, echoes, auguries, and fleeting indications of a powerfully resonant counter-sublime. Daniel Heller-Roazen is a masterful interpreter of literary interstices, openings in language that take us into an endangered place of wisdom’s alternative beginnings. This is a steeply beautiful book, stunning for its insight, erudition, and range, and—above all—for its powers of vision and audition.”— Peter Cole, author of Draw Me After: Poems
“The brilliance of this book is that it brings to the surface one of those mysterious properties of utterance that we can’t quite locate. It’s the enigmatic communication that emerges from chance, from darkness, from inadvertence, from a child’s babble, from the gods, where more is meant than was said or known. We travel through Mesopotamia, catch our breath as Scipio and Napoleon portentously stumble, and linger with Joyce’s epiphanies and Heidegger’s ‘call of conscience’, all the while observing our human inability to control the way the heavens speak to us and indulging our unstoppable desire to keep overhearing their fragmentary messages in the hope that we will.”— Ardis Butterfield, Marie Borroff Professor of English and Professor of French and Music, Yale University
“Far Calls weaves a fascinating thread of thought from antiquity up to modernity. What a wonderful surprise to discover that Augustine, Alfonso el Sabio, Leibniz, Poe, Breton, Freud, Proust, even Heidegger attributed the power to communicate important ‘truths’ to what ancient divinatory wisdom called kledōn or omen: that is, the hidden meaning of words uttered with a completely different communicative intention. A captivating journey through centuries of Western culture and beyond, with the help of extraordinary erudition put in the service of a lucid and compact construction.”— Maurizio Bettini, Professor Emeritus of Classical Philology, Director of the Center for Anthropology and the Classics, University of Siena
Daniel Heller-Roazen is the Arthur W. Marks 1919 Professor of Comparative Literature at Princeton University. His is the author, most recently, of Absentees: On Variously Missing Persons; No One's Ways: An Essay on Infinite Naming, Dark Tongues: The Art of Rogues and Riddlers, and The Fifth Hammer: Pythagoras and the Disharmony of the World.
2026, English
Softcover, 110 pages + supplement, 26.5 x 17.5 cm
Published by
Ex Film / Melbourne
$25.00 - In stock -
"New book from ExFilm/ExTract! Another in the series of historical stories recontextualised from their original sources, this one is very special.
I first came upon the name John Charles Dixon-Jenkins a few years ago when I was researching news items from 1989. That this project would take me to meet the staff at a school in Kuala Lumpur as it did a few weeks ago is both a mystery and a gift from the universe. Years in the making, this one is finally ready.
I could write multiple posts about who this man was and it would still not adequately cover the truth. In some ways, we will never really know the truth. First, the facts: Dixon-Jenkins served in the Vietnam War and returned vowing to help society, studying child psychology and introducing new teaching methods to schools across the United States. Anxious about the threat of nuclear war, he moved back to his birthplace of Australia where in the 1980s he became known as the Anti-Nuclear Warrior after a series of bomb threats to draw attention to his campaign of nuclear disarmament. He wrote his first philosophy book, The Unified Theory of Existence, from a prison cell; self published and distributed by his friends and allies in Melbourne. He also took 9 people hostage in Bendigo. Cue Pentridge, the Jika Jika riot, Chopper Read, Australia's longest hunger strike, fleeing the country while on bail and conversion to Islam. There's also the CIA and the impending cloud of doom that the Cold War of the 1980s cast over the world. Dixon-Jenkins' experiences in prison partially inspired John Hillcoat's Ghosts of the Civil Dead. He lived a life that is hard to believe and yet he is largely forgotten. This book aims to correct that error and ultimately, tell the story of a man who wanted to leave the world a better place."
First printing includes a bonus A5 supplementary booklet featuring a comic strip and court transcripts.
1974, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Editoriale Domus / Milan
$60.00 - In stock -
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 537 Agosto 1974
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
Features: Architecture by Peter J. Papademetriou, Werkgruppe, Haus-Rucker-Co. and Angelo Mangiarotti; Georges Pencraec’h and Jean-Philippe Lenclos on colour and housing; Misawa Homes Ideas Award; confrontations in Vienna; Lucia and Dario Bartolini on chairs and tables; Robert A. M. Stern and John S. Hagmann on a new street; Ambrogio Salvati and Alberto Tresoldi on space; Studio 65 in Turin; modular furniture and living systems; Eberhard G. Rensch on the ADD system; Paolo Algiardi and Antonio Zanuso on the book supermarket; Alberto Rosselli on service units; Wabico’s washbasin-bidet; Warren Platner’s executive office; international art exhibitions, competitions and design shows; and a preview of September’s features on Bruno Munari’s design school, Art ’74 in Basel, Projekt ’74 in Cologne and S’asseoir ’74 in Grenoble.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
Very Good copy with light wear.
1971, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Editoriale Domus / Milan
$60.00 - In stock -
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 498 Maggio 1971
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
Features: Architecture and industrial design by Agnoldomenico Pica; Mies van der Rohe in Munich, Montreal and Houston; a winter sports resort; houses by Angelo Mangiarotti, the Khanhs, Barney Broadbent and Brian Morris; Ottokar Uhl’s circular prayer space; a lamp by Studio DA; international design exhibitions and competitions; Domus Italian Design at Harrods, London; the Milanese Fair; a Milan home by Bruno Contenotte; global art exhibitions; Vincenzo Agnetti on Copia dal vero numero uno; Pierre Restany’s travel notes from Houston and New York; Joseph Kosuth responding to Restany; and Fabio Mauri on contemporary art and theatre.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
Very Good copy with light wear.
1974, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Editoriale Domus / Milan
$55.00 - In stock -
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 538 Settembre 1974
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
Features: Bruno Munari on design education; furniture and interiors by Vico Magistretti, Joe Colombo, Mario and Marcello Mariotti, and others; architectural projects in California, Paris, Milan and beyond; experimental lighting, modular systems and children’s furniture; sculpture by Haruno Iwashiro and Pierre Restany; Klaus Honnef on Projekt ’74 in Cologne; Gérard Ifert on graphic design; industrial design exhibitions and competitions; plus a preview of the October issue featuring Hamburg, Canada, Tokyo and Miró in Paris.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
Very Good copy with light wear.
2022, English
Softcover, 219 pages, 18 x 13 cm
Published by
Duke University Press / North Carolina
$38.00 - Out of stock
In The Miniaturists Barbara Browning explores her attraction to tininess and the stories of those who share it. Interweaving autobiography with research on unexpected topics and letting her voracious curiosity guide her, Browning offers a series of charming short essays that plumb what it means to ponder the minuscule. She is as entranced by early twentieth-century entomologist William Morton Wheeler, who imagined corresponding with termites, as she is by Frances Glessner Lee, the “mother of forensic science,” who built intricate dollhouses to solve crimes. Whether examining Honey, I Shrunk the Kids, the Schoenhut toy piano dynasty, portrait miniatures, diminutive handwriting, or Jonathan Swift’s and Lewis Carroll’s preoccupation with tiny people, Browning shows how a preoccupation with all things tiny can belie an attempt to grasp vast–even cosmic–realities.
Barbara Browning has a PhD from Yale in Comparative Literature. She teaches in the Department of Performance Studies at the Tisch School of the Arts, NYU. She’s also a poet and a dancer.
2021, English
Softcover, 368 pages, 21 x 14 cm
Published by
Sourcebooks / Illinois
$32.00 - In stock -
A forgotten woman. A revolutionary idea. The true story behind the birth of modern forensic science.
In a time when women were shut out of science and police work was more art than evidence, Frances Glessner Lee created the "Nutshell Studies of Unexplained Death"–detailed dioramas used to train homicide detectives how to observe, think critically, and solve complex cases.
18 Tiny Deaths by Bruce Goldfarb is the gripping, critically acclaimed biography of the woman who became known as the mother of forensic science. Through meticulous research and vivid storytelling, Goldfarb captures how Lee defied gender barriers and reshaped a field long dominated by men.
"Devotees of TV's CSI will have their minds blown."–Publishers Weekly
A former EMT/paramedic and a nursing school dropout, Bruce Goldfarb has written for national and local newspapers, magazines, and web publications. He also wrote and edited several medical texts and reference books. This is his first book of popular nonfiction. He lives in Baltimore, Maryland.
1969, Japanese / French
Softcover, 232 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$110.00 - In stock -
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose is a masterpiece of the Japanese underground. A groundbreaking, powerful, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Issue no. 3 (with cover by Bronzino, 1554) includes full-colour photographic feature by Kishin Shinoyama ("Virgin In Uniform" featuring models/artists Angela Asaoka, Akaji Maro, Yoko Ashikawa) and beautiful Shomei Tomatsu photo feature ("Scoptophilia"), the artwork of the great French cross-dressing painter-photographer Pierre Molinier, texts by Jirō Kawamura, Yumiko Kurahashi, Taruho Inagaki ("Memories of Hemorrhoids or "New Tsurezuregusa"), Akiyuki Nosaka ("Dear Penis, Goodbye"), Minoru Minamihara ("The Mystic Thought of Love in the Case of Jakob Böhme"), Takiji Kobayashi, The Fictitious Garden of Babylon by Tatsuhiko Shibusawa, Tsunekazu Murata ("Witch's Ax : Concerning Heresy in Medieval Europe"), translation of Franz Kafka "Metamorphosis" illustrated by Franco Gentilini, recent research on homosexuality by film critic Jin'ichi Uekusa, Kama Sutra, more Gay (Danshoku) Japanese Theater history, Marquise de Blancvilliers by Koji Nakata, and much more.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
Very Good copy. Light general tanning/wear.
2015, English
Softcover, 74 pages, 23 x 15.2 cm
Published by
Theophania Publishing / Canada
$40.00 - Out of stock
Some praise the idea of Faith. To believe that they are Gods (or anything else) would make them such-proving by all they do, to be full of its non-belief. Better is it to admit incapacity or insignificance, than reinforce it by faith; since the superficial "protects" but does not change the vital. Therefore reject the former for the latter. Their formula is deception and they are deceived, the negation of their purpose. Faith is denial, or the metaphor Idiotcy, hence it always fails. To make their bondage more secure Governments force religion down the throats of their slaves, and it always suceeds; those who escape it are but few, therefore their honour is the greater. When faith perishes, the "Self" shall come into its own. Others less foolish, obscure the memory that God is a conception of themselves, and as much subject to law. Then, this ambition of faith, is it so very desirable? Myself, I have not yet seen a man who is not God already.
1921 / 2018, English
Softcover, 152 pages, 20.4 x 12.7 cm
Published by
One-Eye Publishing / Canada
$40.00 - Out of stock
First published February 1921 by the Morland Press in London, The Focus of Life, The Mutterings of AOS is a comprehensive treatise written by Austin Osman Spare on key occult concepts he introduced in his previous writings. The Formulae of Zos vel Thanatos (part of Spare's later magical and philosophical writings, associated with the material published and explored alongside his system in works like Zos Speaks! Encounters with Austin Osman Spare) was written during Austin Osman Spare's later creative and occult period (mid-20th century, with correspondence and materials from the 1940s–1950s collected and later published).
2026, English
Softcover, 160 pages, 20 x 14.5 cm
Published by
un / Naarm
$30.00 - In stock -
un Magazine 20.1: Stones & Circuits: Art, AI, and the More-Than-Human Commons gathers artists, writers and thinkers imagining technology beyond extraction, surveillance and corporate control — and treats the commons as a working method rather than a metaphor.
Guest edited by V Barratt and Julianne Pierce of the cyberfeminist collective VNS Matrix, this issue of un Magazine asks what art can do with technology beyond critique. Its contributors approach artificial intelligence through anti-racist, decolonial and transfeminist perspectives, holding the mineral and the computational in a single frame — stones and circuits, land and infrastructure, extraction and inference. Essays, interviews, scores and artist pages move between Indigenous epistemologies of dreaming and cognition, the labour and waste of machine systems, and the intimacies that form between humans, organisms and machines. What emerges is a publication in which art is not simply responding to technology but actively reshaping it.
Contributors: V Barratt, Julianne Pierce, Suzanne Kite, Francesca da Rimini, Xanthe Dobbie, Katy IIonka Gero, Angela Ka Ki Lee, Chris Tegho, Bianca Tainsh, OMSK Social Club, Make or Break, Sarah Kantrowitz, Petja Ivanova, Tayer Stead, Amit German, Lexei Sasha Salpeter, Thomas Capogreco, Jemimah Widdicombe, Mara Schwerdtfeger, Dave Court, Jen Mathews
2026, English
Softcover, 362 pages, 22.9 x 15.3 cm
Published by
Sticking Place Books / New York
$58.00 - In stock -
Andrzej Żuławski remains one of cinema's great uncompromising visionaries. Though Possession has achieved cult status, the rest of his extraordinary body of work–from The Third Part of the Night and The Devil to On the Silver Globe, Szamanka, and Cosmos–continues to be too little known. Hysterical Excess and Inhuman Ecstasy is the first book to examine every feature film in Żuławski's career, tracing the obsessions that unite them: ecstatic love, political repression, surrealism, romantic despair, the grotesque, and the emotional extremes that made him one of the most singular filmmakers of the twentieth century.
Drawing on literature, history, philosophy, and close analysis, Samm Deighan reveals the deeper patterns beneath Żuławski's notoriously explosive cinema, illuminating the artistic, cultural, and intellectual currents that shaped his work without sacrificing the visceral power that continues to astonish audiences. Whether you are discovering Żuławski beyond Possession for the first time or returning to his films with fresh eyes, this book is an essential guide to a filmmaker whose cinema remains as exhilarating, unsettling, and transformative today as ever.
1973 / 1986, English
Softcover, 336 pages, 23 x 15.5 cm
Published by
Weiser / Boston
$50.00 - In stock -
A unique collection of Qabalistic texts that includes Gematria, 777, and Sepher Sephiroth.
Gematria provides essential explanations of theoretical and practical Qabalistic number analysis and philosophy. “An Essay in Number,” also included, provides invaluable insights into key numbers as well as techniques and safeguards for practical magical work. Gematria was first published in The Equinox, vol. 1. no. 5.
777 itself contains, in concise tabulated form, an overview of symbolism of the major world religions, as well as the system of correspondence of the Hermetic Order of the Golden Dawn. In short, it is a complete magical and philosophical dictionary—a key to all religion and practical occultism—an amazing work whose value has been recognized through many editions since its first appearance in 1909 and subsequent enlargement in 1955.
The third text in this collection is Sepher Sephiroth, a unique dictionary listing hundreds of Hebrew words arranged by numerical value. It was compiled jointly by Aleister Crowley and Allan Bennett and first appeared in The Equinox, vol. 1, no. 8.
Reprint of the 1986 edition.
1904 / 2016, English
Softcover, 104 pages, 23 x 15 cm
Published by
Mockingbird Press / US
$25.00 - 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.
2021, English
Softcover (staple–bound), 16 pages, 14 x 14 cm
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$10.00 - In stock -
A book of conrete poetry by John Krausbauer.
John Krausbauer is an American composer/musician, artist, writer, refusenik. He has performed his musics and presented his A/V works in a myriad of venues throughout North America, Europe, Japan, and New Zealand. Numerous recordings of his music have been released in the last 25 years by an array of international labels in solo, duo, and group contexts. Recent music collaborators include — Tetuzi Akiyama, Alan Licht, Patrick Shiroishi, R Keenan Lawler, and Kaori Suzuki. His first writings (Art End Times' Art of End Times) were recently published by Witchhammer Press (NZ) + Carbon Records (US).
2023, English
Softcover (staple–bound), 16 pages, 14.5 x 10.2 cm
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$10.00 - In stock -
“Art End Times’ Art of End Times” is a credo to commemorate the sea change in western art that has been taking place over the last many decades. Namely, a transformation of pursuits from the sensuous, psycho-experiential and ecstatic to those of the overtly dry, overthought and intellectually shabby. “AET” is a death knell for western art and the empty promises born of its new&improved paradigm. It’s a diatribe intended, in part, to prick the slumbering, credulous lobcocks who ineluctably plod down the same overworn paths, forever leading to the same tired results. It is a challenge to anyone partaking in the art-game to own up to their deceptive tactics, tactics of weird art-speak nothingness, slick social maneuvering for low-grade power grabs, self-promotional inanity, and the rest of the polite grotesquery affiliated with the void-chamber of modern institutionalized “Art” and its lame duck associates…
1976, Japanese
Softcover (w. dust jacket + obi), 15 x 10.5 cm
1st Edition, Out of print title / used / good
Published by
Kadokawa Shoten / Tokyo
$45.00 - Out of stock
Lovely Japanese pocket book collection of writings by Georges Bataille, published by Kadokawa Shoten in 1976. The book includes four stories/essays: Madame Edwarda, The Dead, Story of the Eye, The Paradox of Eroticism, and Eroticism and the Enchantment of Death. Translated from the original French to Japanese by Kosaku Ikuta and with original jacket artwork and beautiful internal illustrations by Kuniyoshi Kaneko.
Kosaku Ikuta was a pioneering figure in French literature in Japan, known for translating writers such as Georges Bataille, Louis-Ferdinand Céline and André Pieyre de Mandiargues. Ikuta’s translations were praised by Yukio Mishima, while beautifully designed books and writings on dandyism established a distinctive place in unconventional literature.
Good copy in Good DJ/obi. Pulp paper stock is tanned, light wear to extremities of wraps, now preserved.
1993, English
HArdcover (w. dust jacket), 248 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$85.00 - In stock -
First hardcover edition.
Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity.
Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe.
Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology.
Illustrated throughout.
Contents; 1. The Body, the Economy, and the World of Things. 1. L'homme machine. 2. Vathek, or Disintegration. 3. German Romanticism: Money and Happiness, or the Eroticism of the World of Things -- 2. From the "Ego Crystal Forest" To the Crystal Palace -- 3. Economy and Metamorphosis. Excursus: Grandville, or Laputa in the July Monarchy -- 4. On the Physiognomy of the World of the Commodity and the Machine. 1. The Myth of the Living Machine. 2. The Commodity Spectacle circa 1850. 3. The Collector and His Treasure: "An Entirely Furtive Private Relationship" -- 5. Circulation as a Way of Life -- 6. Impressionism. 1. Manet. 2. Degas. 3. Monet. 4. On the Historical Site of the Impressionist Way of Seeing -- 7. Commodities and the Erotic. 1. Paradise in the Department Store. 2. The Eroticism of Machines -- 8. The Decay of the World of Things and Its Restoration in Art -- 9. The Interieur, Or Things in the Everyday Life of the Bourgeoisie. 1. Materials: Artificial Nature and Synthetics. 2. The Production of the "Faculty for Delusion" 3. The Role of Things -- 10. The Production of "Homogeneous and Empty Time" -- 11. Nerves and Electricity. 1. On the Romantic Image of Electricity. 2. Polarity and Sexual Attraction. 3. The Image of Electricity between Hegel's Phenomenology and Kleist: The "Liberation of Predicates from Subjects" and Electrical Epiphany. 4. Andersen: Electricity on the "Romantic-Technological Knife-Edge". 5. Siemens, Edison, and the History of Mentalities of Electric Light, Ornament and Psychic Streams. 6. "Telegram Style of the Soul" and Cosmic Energies. 7. Nerves: Mach, Bahr, and Freud. 8. Strindberg and Electro-Hysteria -- 12. The Constitution of Perception from 1900 to 1914. 1. Mach, Simmel, and Hofmannsthal. 2. Silence. 3. Ornament. 4. The Life of Things: Rilke's Thing-Poems, Animism, and Silent Film. 5. Animated Thought. 6. Abstraction and Empathy. 7. The Lord Chandos Letter -- Epilogue: The Emancipation of Material from the Subject.
VG copy in G–VG dust jacket w. tanning to spine, small closed tear, light wear, preserved under mylar wrap.
2003, English / German
Hardcover (w. CD), 120 pages, 24.5 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Kehrer Verlag / Heidelberg
$60.00 - In stock -
"Works with Sound" presents a complex body of work, comprising thirty years of sculptures, drawings, environments, and performances. Fox, who since the 1960s radically rejected traditional art forms and sought new ways of artistic expression, has been increasingly concerned with investigating the seldom-observed energetic aspects of materials. Hence, sound gained a central significance in his works. The artist is dedicated to finding sounds that make energies palpable and connect the listener and his physical surroundings. Profusely illustrated rich chronology of all works with sound, including extensive biography and accompanying texts by Terry Fox and contributions by Matthias Osterwold and Eva Schmidt. Edited by Bernd Schulz. Bi-lingual English and German texts.
Accompanied by an audio CD with excerpts from six sound performances since 1975.
NF copy with unplayed CD.
Signed dedication to historian and sound theorist Douglas Kahn, from the book's author Matthias Osterwold, a prominent German curator and artistic director who shared a long-standing creative relationship with Terry Fox (1943–2008).
2021, English
Softcover (staple–bound), unpaginated, 20.5 x 14.5 cm
Ed. of 53 hand numbered copies.,
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$28.00 - In stock -
Goat’s Foot Lever is a tract on the craft of witching by Sean Campbell published by No Label/Witchhammer Press, New Zealand.
The grimoire displays systemic explanation into the teachings and practices of Internal Masonry, along with psycho-poetical-libidinal observations of fetishistic occurrences within the bible and other similar cultural esoterica.
In 2010 Sean Campbell completed a master’s degree in Religious Studies/Philosophy at the University of Regina in Canada. His MA thesis was included in a publication titled, Tubal Cain, put out in limited edition by The Matthew Barney Studio. He then penned, “Myrrh’s Clarion Call”, a poetical essay contributed to the playbill for the production of “BA”, a filmed performance by Matthew Barney and Jonathan Bepler; published 2014 by Skira Rizzoli Publications, Inc., New York, as an insert in the monograph for River of Fundament. Campbell is also the creator of acclaimed musical projects Wold and Black Mecha. He resides in Providence, Rhode Island.
Edition of 53 numbered copies with foil embossed card covers.
2024, English
Hardcover (w. dust jacket), 316 pages, 21 x 15 cm
Published by
Infinity Land Press / London
$80.00 - In stock -
Necrophilia has shadowed humanity throughout its existence, from ancient Egypt, to the Moche culture of Peru, the exploits of the renowned Vampire of Montparnasse, the sexual murders of the Weimar Republic, through to serial killers such as Ted Bundy and Jeffrey Dahmer. This new edition of Grave Desire – with artworks by Karolina Urbaniak – delves unflinchingly into the myths, art and practices surrounding this taboo subject. Finding Juliet’s catatonic body and believing she had poisoned herself, it could have crossed Romeo’s mind to act out the unthinkable. Maybe Juliet, seeing Romeo’s corpse, considered a little sexual frottage before she stabbed herself with the phallic dagger. Repulsive yet real, disgusting and disturbing, this is an erotic book of the dead.
“If sex and death are two pivotal obsessions of the human species, Steve Finbow nails both of them simultaneously in his brilliantly incisive cultural and corporeal history of necrophilia. Pathologically and outlandishly good.”—Stephen Barber
“If you only read one book before you die make sure it’s Grave Desire.”—Stewart Home
Illustrated by Karolina Urbaniak
Interview conducted by Martin Bladh
Afterword by Richard Marshall
2009, English
Softcover, 320 pages, 24.2 x 20.3 cm
1st Edition, Out of print title / used / very good
Published by
Penn State University / Pennsylvania
$100.00 - In stock -
“In the Space Age,” wrote Italian artist Lucio Fontana, “spatial art.” Fontana’s desire to create art in space came in response to unprecedented technological advances and contemporary fantasies of space travel. Fifteen years before Andy Warhol said he wanted to be as much a part of his times as rockets and television, Fontana’s large-scale light-and-space installations became a short-lived but ultimately influential art-world phenomenon. The artists discussed in Space-Age Aesthetics looked beyond the limits of the picture, exploring space, mass media, pop culture, nuclear power, and science fiction to connect new art to the dramatic changes taking place through the encroaching Space Age.
Space-Age Aesthetics begins by addressing the imagery of space exploration as a field of mythical representation informed by Cold War politics and acted out in an expansive variety of media, from the picture press to comic books. Through persuasive arguments that reveal the many-layered interconnections between the artists’ aesthetics and theoretical responses to the dawn of an age of revolutionary technologies, this book offers new ways to think about the historical emergence of pop, conceptual, postmodern, and installation art and serves to fill the long-neglected gap in material on the post–World War II European avant-garde.
VG copy with some wear to flexi-boards covers.
2004, English
Softcover, 144 pages, 23.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Guggenheim Museum / New York
Hatje Cantz / Berlin
$25.00 - In stock -
This catalogue combines the publication accompanying the 30th anniversary of Nam June Paik's Global Groove with a re–print of his foundational collection Videa 'n' Videology 1959 – 1973, first published in 1974. Organized by John G. Hanhardt and Caitlin Jones, profusely illustrated with texts in German, English, and Korean.
In 1974, WNET-Channel 13 in New York City broadcast Nam June Paik's Global Groove, a whirlwind, multi-media piece and one of the most influential works of video art. The program took a wide look at culture and transformed the WNET broadcast studio into an experimental venue for dancers, musicians, and performance artists. Weaved into Global Groove were films and videotapes by other artists, interviews and voiceovers, pop music, appropriated commercials, and broadcast breaks.
In celebration of the 30th anniversary of the broadcast, Global Groove 2004 celebrates Paik's work on and for television, documenting and interpreting his key television projects. The included essays survey and interpret the distinctive contribution Paik made to remaking video and television into an artist's medium, and examine Paik's historical importance and relevance to new developments in internet art. In-depth analysis and photo essays reveal the range of Paik's transformation of video, including his experiments in the 1960s with the Paik-Abe video synthesizer; his seminal videotapes for broadcast: Global Groove, Suite 212, Guadalcanal Requiem, Lake Placid 80, Living with the Living Theater; and his global television productions: Good Morning, Mr. Orwell, Bye Bye Kipling, Wrap Around the World. Additionally, a selection of the artist's seminal writings on the future of television is featured.
VG with light wear to extremities.
1987, English
Softcover, 144 pages, 21 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$80.00 - Out of stock
Rare 1987 exhibition catalogue published in conjunction with show held November 22—January 6, 1985. Illustrated throughout with texts by Paul Panhuysen, Ellen Fullman, Godfried-Willem Raes, Anton van Gemert, Bart Lootsma, Arnold Dreyblatt, Leon van Noorden, George Smits, and Hugh Davies. Artists include Max Eastly, Takeisha Kosugi, Walter Marchetti, Ellen Fullman, Godfried-Willem Raes, Horst Rickels, Rik van Lersel, Giancarlo Cardini, Juan Hidalgo, Jon Rose, and others. Includes selected bibliography, discography, and index.
blurb: "From November 1984 until January 1985 a group was held in Het Apollohuis, Eindhoven of works that combined image and sound. Installations, concerts and a symposium were organised around the exhibition, featuring artists who use sound in their work and composers who use visual aspects. In addition to a photographic report of this festival 'ECHO. The images of Sound I', this book contains a general survey of the development of sound arts and cassettes that have been published in the field of sound art. This section is written by Hugh Davies. Photographs, scores, drawings of articles describing the development of their own work are supplied by Julius, Ellen Fullman, HUM, Max Eastley, Takehisa Kosugi, Hugh Davies, Godfried-Willem Reas, STEIM, The Simulated Wood, VANDALIA, Arnold Dreyblatt, Richard Lerman, Leon van Noorden, Paul Panhuysen, Johan Goedhart, Hans-Karsten Raecke, Jon Rose and George Smits.[...]"
Very Good—Near Fine copy