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:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, 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.
"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.
2000, English
Softcover, 176 pages, 20.3 x 13.6 cm
1st Edition, Out of print title / as new
Published by
The MIT Press / Massachusetts
$25.00 - Out of stock
The first book to present Gilles Deleuze's philosophy in language the nonphilosopher can understand.
This book is a map of the work of Gilles Deleuze—the man Michel Foucault would call the "only real philosophical intelligence in France." It is not only for professional philosophers, but for those engaged in what Deleuze called the "nonphilosophical understanding of philosophy" in other domains, such as the arts, architecture, design, urbanism, new technologies, and politics. For Deleuze's philosophy is meant to go off in many directions at once, opening up zones of unforeseen connections between disciplines.
Rajchman isolates the logic at the heart of Deleuze's philosophy and the "image of thought" that it supposes. He then works out its implications for social and cultural thought, as well as for art and design—for how to do critical theory today. In this way he clarifies the aims and assumptions of a philosophy that looks constantly to invent new ways to affirm the "free differences" and the "complex repetitions" in the histories and spaces in which we find ourselves. He looks at the particular realism and empiricism that this affirmation implies and how they might be used to diagnose new forces confronting us today. In the process, he explores the many connections that Deleuze himself constructs in working out his philosophy, with the arts, political movements, even the neurosciences and artificial intelligence.
"Anyone who thinks Deleuze is difficult should read this extraordinary book. With language as clear as it is concise, Rajchman shows how Deleuze—the self-styled most naïve of philosophers—has also been the most revolutionary in his reinvention of the twentieth century's image of thought with respect to logic, ethics, and art. For those new to Deleuze, this is the first book they should read. And for those who already follow the path of philosophy, Rajchman has shown us that it is not the past century that is Deleuzian, but the one we are beginning."—D. N. Rodowick, Chair in Film Studies, King's College, London, and author of Gilles Deleuze's Time Machine
As New copy.
1940, English
Softcover (staple-bound), 16 pages, 22 x 14 cm
Out of print title / used / average
Published by
Free Society Forum / Chicago
$35.00 - In stock -
"Long out of print The Place of The Individual in Society is one of Emma Goldman's latest works. Written after her disillusionment with Soviet Russia Goldman, in this work, emphasizes her primary concern the worth and freedom of the individual. Consistent in her criticism of government, be it American or Soviet, Goldman contends that all government stifles the creativity of the individual."—publisher's blurb
An anarchist classic reprinted by Free Society Forum, Chicago, undated but apparently this edition is from 1940 (a later printing from See Sharp Press gives a date of 1940 for this edition), though likely reproduced for many years with light alterations.
Emma Goldman (1869—1940) was a Lithuanian-born anarchist revolutionary, political activist, and writer. She played a pivotal role in the development of anarchist political philosophy in North America and Europe in the first half of the 20th century.
Average copy with splitting to spine, staple rust, buggery (bug nibbles) and general age/wear to covers.
1975, English
Softcover (staple-bound), unpaginated, 21.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Queen Street Magazine / Toronto
$30.00 - In stock -
Queen Street Magazine Vol. 3 No. 1, Issue 7, 8, 9, a 'Multi-media Journal of the Arts' from Canada that covered the experimental and conceptual arts in Toronto's historic Queen Street West neighborhood, which grew into a vibrant arts district in the 1970s. Edited by Angelo Sgabellone, associate edited by Beth Learn, this issue of particular interest for Learn's Language & Structure in North America on Language Art to accompany the first, large, definitive survey of North American Language Art curated by Richard Kostelanetz in Toronto in 1975. This issue gathers many works by North American Language Artists including Bill Bissett, Jackson Mac Low, Robert Barry, Brion Gysin, Mario Diacono, Agnes Denes, Thomas Ockerse, Steve McCaffery, Claes Oldenburg, Ernest & Marion Robson, Garry Gilbert, Larry Miller, Richard Kostelanetz, Hans Jewinski, Joe Rosenblatt, Gerry Shikatani, and more. Plus Mary Janitch, Read '75: Language & Structure in North America, Chuck Stake Enterprizes and the Junk Mail Art Show, The State of Magazine Distribution In Canada, Reinhard Reitzenstein, Learn/Yeats Second Coming Band, Small Magazine Press Scene, and much more.
Good copy with wear.
1980, English
Hardcover, 424 pages, 17 x 12 cm
1st Edition, Out of print title / used / very good
Published by
Progress Publishers / Moscow
$30.00 - In stock -
"Soviet cinema reflects the richness of contemporary life in all its complexity and variety and develops together with society and life itself. The best works in Soviet cinema tell of the deeds, thoughts, and hopes of those people for whom they are made."
First hardcover edition of Soviet cinematographer Yuri Vorontsov and film scholar Igor Rachuk's now classic study of the history of Soviet cinema, published in this English edition by Progress publications in Moscow in 1980. Tracing the history of Soviet cinema over 400 pages, with a comprehensive filmography and extensive film still imagery.
Very Good copy.
2020, English
Softcover, 880 pages, 31 x 22.8 cm
1st Edition, Out of print title / as new
Published by
Koenig Books / London
$800.00 - In stock -
The incredible Broodthaers book that was never available. Exhibition History 1964 – 1975 and Selected Works 1957 – 1975 is the most comprehensive account of Broodthaers' truely radical history of exhibition-making and catalogue of artworks that was immediately removed from market release the moment it was printed and pre-listed. An incredibly important and detailed reference on the artist like no other, this almost 900 page volume remains catalogued as 'not yet printed' to this day, shelved indefinitely. We have one available that escaped embargo. Still sealed.
In 1963, the writer Marcel Broodthaers decided to embark on a career in the visual arts. Yet he never severed his ties to poetry and language, whose systems of meaning make up an integral aspect of his work. Retaining a certain distance to the art world, he posed fundamental questions about art —its mediums, its conceptions of what constitutes an artwork, its representation in museums. To this day, his oeuvre takes a critical stand on art’s commercialization strategies. Exhibition-making itself was a key element of Broodthaers’ artistic approach. Documenting all of the artist’s solo exhibitions that took place during his lifetime, this major 880-page catalogue is the first ever to highlight that praxis. The extensive chronology and the accompanying detailed pictorial documentation of the most important works of every year together offer a systematic overview of his oeuvre. In addition to scholarly essays and many texts by Marcel Broodthaers himself, this major publication also features an extensive series of photographic views of the major retrospective at the iconic Fridericianum in Kassel, Germany.
As New, still sealed.
2021, English
Hardcover, 400 pages, 23.5 x 28.5 cm
Published by
Hatje Cantz / Berlin
WIELS / Brussels
$110.00 - In stock -
Marcel Broodthaers's work is characterized by a complex exploration of the relationship of text and image. This catalog raisonne, prepared by WIELS and developed in close collaboration with the Marcel Broodthaers Succession, is the first to include all of the Belgian conceptual artist's industrial poems created between 1968 and 1972. Borrowing from the aesthetics of industrially manufactured plastic signs, Broodthaers's multi-layered, often enigmatic pictorial poems testify to his interest in the entanglements of language, punctuation, and symbols. In blurring the boundaries between word and image, painting and object, new levels of meaning are made visible. The index is supplemented by a collection of Broodthaers's drawings, writings and "open letters" as well as scholarly contributions that position the poems as a crucial group of works within the artist's oeuvre.
Text by Manuel Borja-Villel
1993, English
Softcover, 256 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Whitney Museum / New York
Harry N. Abrams / New York
$300.00 - Out of stock
Still, and will probably always be, the best book on Mike Kelley. First edition, now very collectible. This definitive survey was published in 1993 in conjunction with "Mike Kelley", a travelling exhibition held at Whitney Museum of American Art, New York; Los Angeles County Museum of Art, LA; and Moderna Museet, Stockholm, throughout 1994. Mike Kelley, one of the leading Californian artists of the 1990s, was a proponent of abject or pathetic art, an anti-aesthetic, anti-heroic movement, which criticized social and artistic issues through banality and humour. Exploring the work of this great and controversial performance artist and sculptor at the mid-way point in his career, this dense book presents thirteen essays, plus an introduction, discussing Kelley's projects, performances, and the ideas and diverse influences that motivate his work - contemporary art, rock and roll, social commentary and pop culture. Profusely illustrated throughout in colour and black and white, with texts by Elizabeth Sussman, David Marsh, Richard Armstrong, Timothy Martin, Howard Singerman, Colin Gardner, Dennis Cooper & Casey McKinney, John Miller, Ralph Rugoff, Kim Gordon, Howard N. Fox, Diedrich Diederichsen, Jutta Koether, Martin Prinzhorn, Paul Schimmel, John G. Hanhardt. No less! Includes a bibliography and exhibition history. Catalogue designed by Lorraine Wild and ReVerb.
Highly recommended.
Very Good copy, tightly bound, no spine creases. Light cover edge wear.
1993, English
Softcover, 150 pages, 24 x 17 cm
1st UK Edition, Out of print title / used / very good
Published by
Sonsbeek / Arnhem
$550.00 - Out of stock
First 1993 edition of one of the great art books, by one of the great artists. This provocative, copiously illustrated catalogue by renowned American artist Mike Kelley is a meditation on Sigmund Freud's "Uncanny", and its relation to the grotesque in art and everyday life. Published to accompany the exhibition curated by Kelley as part of the "Sonsbeek 93" exhibition in Arnhem, The Netherlands, June 5 - September 26, 1993, Kelley presents (like a photo scrapbook) an arresting mix of modern and contemporary artists alongside bizarre figurative, prosthesis, animatronic, and mannequin-related imagery throughout history. Artists included : Hans Bellmer, Robert Gober, Tetsumi Kudo, Zoe Leonard, Paul McCarthy, Nayland Blake, John Miller, Bruce Nauman, Tony Oursler, Cindy Sherman, Kiki Smith, Duane Hanson, Man Ray, Guillaume Bijl, Dennis Oppenheim, Edgar Degas, Piero Manzoni, Marcel Broodthaers, Goya, Nam June Paik, Andy Warhol, Marcel Duchamp, Dorothea Lange, Thom Puckey, Charles Ray, Edward Kienholz, Martin Kippenberger, Laurie Simmons, Jeff Koons, Yayoi Kusama, Paul Thek, Mike Kelley himself, and many more. Includes Kelley's accompanying essay, "Playing with Dead Things". The exhibition took on mythical status and was re-staged in Liverpool in 2004. The Uncanny has become one of the most desired of Kelley's books.
Very Good copy with only light cover wear.
1983, English
Softcover, 204 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Blackwell / Cambridge
Blackwell / Oxford
$25.00 - In stock -
First 1983 edition.
Georg Lukacs was one of the outstanding Marxist theorists of this century. Yet in recent years his work has been out of favour with the Left, which has denounced it as 'humanistic' or 'historicist' and its author as a 'romantic anti-capitalist'.
These essays, written by pupils and former colleagues of Lukacs, mark a significant reassessment of his work and show that it has in the past been too hastily dismissed.
The essays trace the development of Lukacs' thought from his conversion to Marxism to his renunciation of History and Class Consciousness, from his remarkably fertile 'essay period' to the Ontology. They explore the evolution of his work in relation to that of his colleagues and contemporaries, among them Brecht, Bloch and Husserl. They are written from a privileged standpoint — they reflect at every turn the contributors' intimacy with their subject and their affection and respect for a dominant intellect — but they are always critical in their approach, never reverential. Despite the authors' broad commitment to Lukacs' philosophy, his ambiguities are noted without compromise and his inconsistencies deftly exposed.
From the book Lukacs emerges as a thinker whose work is more dynamic, less monolithic, than has often been supposed. A reappraisal of his oeuvre is overdue: for all those who are students of radical philosophy, social theory and aesthetics, this authoritative survey will constitute a timely contribution to Lukacsian scholarship.
Agnes Heller, formerly senior research fellow at the Institute of Sociology of the Hungarian Academy of Sciences in Budapest, is now Reader in Sociology at La Trobe University in Australia. Her books include The Theory of Needs in Marx (1975), A Theory of Feelings (1978), Renaissance Man (1979), and A Theory of History (1982).
VG copy.
1988, English
Softcover, 260 pages, 23.5 x 15 cm
Out of print title / used / very good
Published by
John Hopkins University Press / Baltimore
$35.00 - In stock -
1988 edition of Soviet Semiotics : An Anthology, edited, translated, and with an introduction by Daniel P. Lucid.
Fortunetelling by cards and games of chess, cybernetic codes and the rules of social etiquette—in semiotics, the science of signs, all of these are structures whose meanings can be revealed when they are inter-preted according to the conventions of specific "sign systems."
In Soviet Semiotics, Daniel P. Lucid assembles twenty-four pieces, previously inaccessible in English, by leading semioticians of the Moscow and Tartu schools. Writing on general concepts, modeling systems, communication studies, text analysis, art and literature, and the typology of culture, the Soviet semioticians bring a new perspective to Western thinking in these fields. "The ultimate implication of Soviet semiotics," Lucid notes, "is that human beings not only communicate with signs but are in large measure controlled by them. Sign systems regulate human behavior, beginning with the instruction given children and continuing through all the programs introduced into the individual by society."
"Lucid's translation of twenty-four es-says from the Moscow-Tartu School suggests the breadth and range of semiotics.. . . [The essays] illustrate the diversity of Soviet semiotics and the heuristic value of the method in making sense of cultural events."—Richard W. Bailey, Journal of Aesthetics and Art Criticism
"Suggest[s] the tremendous implications semiotics and semiotic approaches may have for such diverse disciplines as anthropology, psychology, history, philosophy, sociology, literary analysis, or art criticism."—Gerald Prince
VG copy.
1981, English
Hardcover (w. dust jacket), 194 pages, 21 x 15 cm
1st UK Edition, Out of print title / used / very good
Published by
John Hopkins University Press / Baltimore
$20.00 - Out of stock
First 1981 hardcover edition.
The problem of representation is at the heart of the intellectual ferment experienced in recent years by many different fields of inquiry. The essays in Allegory and Representation confront head on the erosion of the ground rules for representation—the principles upon which a set of stable correspondences are posited between image and object, symbol and reality, sign and referent.
The contributors to this volume reflect an unusual diversity of disciplines, from English, French, American, Slavic, and Italian literature to the history of art. Yet they all confront, through their local and particularized studies, a common problem. Paul de Man and Joel Fineman characterize allegory (and, more generally, representation) as a paradox built upon its own undoing. Robert M. Durling and Michael Fried both discuss the use of the artist's own body within a work of art to achieve a fusion of representation with that which is represented. Hugh Kenner and Leo Bersani each contrast opposing modes of representation—for Kenner, a "poetics of sunlight" and a "poetics of the cave"; for Bersani, an art that drives violently toward narrative closure and an art that remains open and unfinished. Michael Holquist redefines the problem in political terms and explores representation in the writings and career of Mikhail Bakhtin.
Taken together, these essays reveal what may be called the cunning of representation: the resiliency, brilliance, resourcefulness with which artistic prac tice has responded to the artist's perennial craving to reveal truth and reality and to the nagging dread that they lie just barely out of reach.
Allegory and Representation, the fifth collection of papers from the English Institute to be published by Johns Hopkins, con tinues the Institute's tradition of pioneer ing fresh approaches to the study of litera ture. It will be of interest to both students ind scholars working in the field, as well as to anyone concerned with the theory and dynamics of art.
Stephen J. Greenblatt is professor of English at the University of California, Berkeley, His most recent book is Renaissance Self Fashioning From More to Shakespeare
Very Good copy in VG dust jacket.
1994, English
Softcover, 208 pages, 27 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$35.00 - In stock -
First 1994 edition published by University of Minnesota Press.
Focusing on feminist theorists such as Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin’s concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women’s fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film.
Focusing on feminist theorists such as Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin’s concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women’s fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film.
Very Good copy.
1980, English
Softcover, 304 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Cornell University Press / New York
$35.00 - Out of stock
First English edition published in 1980 by Cornell.
"This collection of Kojeve's thoughts about Hegel constitutes one of the few important philosophical books of the twentieth century-a book, knowledge of which is requisite to the full awareness of our situation and to the grasp of the most modern perspective on the eternal questions of philosophy."—Allan Bloom (from the Introduction)
During the years 1933—1939, the Russian-born and German-educated Marxist political philosopher Alexandre Kojève (1902—1968) brilliantly explicated—through a series of lectures—the philosophy of Hegel as it was developed in the Phenomenology of Spirit. This collection of lectures—originally compiled by Raymond Queneau and edited for its English-language translation by Allan Bloom—shows the intensity of Kojeve's study and thought and the depth of his insight into Hegel's Phenomenology. More important—for Kojeve was above all a philosopher and not an ideologue—this profound and venturesome work on Hegel will expose the readers to the excitement of discovering a great mind in all its force and power.
Very Good copy.
1991, English
Hardcover (w. dust jacket), 214 pages, 22 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Harvard University Press / Cambridge
$45.00 - Out of stock
Scarce first 1991 hardcover English edition of "Coming to Writing" and Other Essays by Hélène Cixous, published by Harvard.
"Hélène Cixous is today, in my view, the greatest writer in what I will call my language, the French language if you like. And I am weighing my words as I say that. For a great writer must be a poet-thinker, very much a poet and a very thinking poet."—Jacques Derrida
This collection presents six essays by one of France’s most remarkable contemporary authors. A notoriously playful stylist, here Hélène Cixous explores how the problematics of the sexes—viewed as a paradigm for all difference, which is the organizing principle behind identity and meaning—manifest themselves, write themselves, in texts. These superb translations do full justice to Cixous’s prose, to its songlike flow and allusive brilliance.
Translated by Sarah Cornell, Ann Liddle, and Susan Sellers. Edited and translated by Deborah Jenson.
Very Good copy.
1992, English
Softcover, 300 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Indiana University Press / Indiana
$25.00 - Out of stock
January 1992 issue of Camera Obscura (No. 28), the Journal of Feminism and Film Theory published by Indiana University Press. This issue with the theme of "Imaging Technologies, Inscribing Science", with special issue editors Paula A. Treichler and Lisa Cartwright.
Edited by Elisabeth Lyon, Constance Penley, Lynn Spigel, Sharon Willis, with advisory editors Bertrand Augst, Elizabeth Cowie, Mary Ann Doane, Laura Mulvey, Linda Orr, Susan Suleiman, and managing editor Gary Laderman.
camera obscura
A Journal of Feminism and Film Theory/28
Imaging Technologies, Inscribing Science
Special Issue Editors: Paula A. Treichler and Lisa Cartwright
5 Introduction by Paula A. Treichler and Lisa Cartwright
Beyond Cosmo: AIDS, Identity, and Inscriptions of Gender by Paula A. Treichler; Local and Global: AIDS Activism and Feminist Theory by Katie King; Gallo, Montagnier, and the Debate Over HIV: A Narrative Analysis by Jamie Feldman; WAVE in the Media Environment: Camcorder Activism and the Making of HIV TV by Alexandra Juhasz; WAVE in the Media Environment: Camcorder Activism in AIDS; Education by Juanita Mohammed; The Politics of Breast Cancer by Alisa Solomon; Shooting the Mother: Fetal Photography and the Politics of Disappearance by Carol Stabile; On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body by Anne Balsamo; Spectatorial Embodiments: Anatomies of the Visible and the Female Bodyscape by Giuliana Bruno; Those Who Squat and Those Who Sit: The Iconography of Race in the 1895 Films of Félix-Louis Regnault by Fatimah Tobing Rony; plus reviews and much more.
Very Good copy.
2024, English
Hardcover, 144 pages, 26.1 x 21 cm
Published by
MoMA / New York
$65.00 - Out of stock
The first-in depth publication to critically investigate the impact of Pope.L’s early performances on his career. With contributions by Stuart Comer, C. Carr, Valerie Cassel Oliver, Adrienne Edwards, Darby English, Malik Gaines, Danielle A. Jackson, Adrian Heathfield, EJ Hill, Thomas J. Lax, Andre Lepecki, Yvonne Rainer, Martine Syms, Martha Wilson.
Pope.L (b. 1955) is a consummate thinker and provocateur whose practice across multiple mediums – including painting, drawing, installation, sculpture, theatre and video – utilizes abjection, humour, endurance, language and absurdity to confront and undermine rigid systems of belief. Spanning works made primarily from 1978 to 2001, member: Pope.L, 1978-2001 features a combination of videos, photographs, sculptural elements, ephemera and live actions. This volume, published in conjunction with an exhibition at The Museum of Modern Art, presents a detailed study of thirteen early works that helped define Pope.L’s career. It features essays by curators, artists, filmmakers and art historians, plus an intervieww and artistic interventions by the artist. These components are supplemented by thirteen detailed plate entries that highlight key details of each work. The entries engage performances that are rooted in experimental theatre such as Egg Eating Contest (1990) and Aunt Jenny Chronicles (1991) as well as street interventions such as Thunderbird Immolation a.k.a. Meditation Square Piece (1978), ATM Piece (1996), and The Great White Way: 22 miles, 9 years, 1 street (2001-2009), among others. Together these works highlight the role of that performance has played within a seditious, emphatically interdisciplinary career that has established Pope.L as an influential force in the history of contemporary art.
1977, English
Softcover, 222 pages, 19 x 11.5 cm
1st Edition, Out of print title / used / good
Published by
Seven Seas Books / Berlin
$45.00 - In stock -
Rare first 1977 English edition of this collection of important essays by German novelist and essayist Christa Wolf (1929—2011) first published in German in 1973. Translated here by Joan Becker.
"The Reader and the Writer consists of a number of essays and prose pieces by a leading writer of the German Democratic Republic and a concluding portrait of the author by biogeneticist, Hans Stubbe. "Writing," says Christa Wolf in the title essay, "is only one operation in a more complex process to which we give the splendid name of living." Her concern for literature's function within the context of life is a theme that runs through all her pieces. Whether she is describing the simple heroism of people she has encountered or reminiscences of a darker past or a visit to a biogeneticist at his research center her sense of vitality, honest quest for answers and warmth of personality are always present. Essays on other writers include those on Bertolt Brecht, Vera Inber, Ingeborg Bachmann, Fred Wander and Anna Seghers who come alive first as people and as writers whose works express the profound commitment of their lives. Another is a sketch that recalls a date in 1948 when she read her first Marxist book, Engels on Feuerbach, in which she underlined: "In the place of moribund reality comes a new viable reality. That was the process which was to fill my life..."—publisher's blurb
Christa Wolf (1929—2011) was German novelist and essayist. She is considered one of the most important writers to emerge from the former East Germany. Wolf was a German writer of rare purity and sensitivity who grew up under nazism and became an adult under communism. Her work records the impact of these ideologies on individual lives. She was, as one critic put it, "a writer of scrupulous 'touchstone' honesty", and it is the pursuit and uncovering of truth, under the most beleaguered circumstances, that defines her.
Good—VG copy. Clear laminate peeling with age at cover edges, repaired by some pieces of tape, cover in tact with only light edge wear. Binding and interior VG throughout., a well preserved copy.
1995, English
Softcover, 396 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$70.00 - In stock -
First 1995 edition.
The realistic spirit, a nonmetaphysical approach to philosophical thought concerned with the character of philosophy itself, informs all of the discussions in these essays by philosopher Cora Diamond. Diamond explains Wittgenstein's notoriously elusive later writings, explores the background to his thought in the work of Frege, and discusses ethics in a way that reflects his influence. Diamond's new reading of Wittgenstein challenges currently accepted interpretations and shows what it means to look without mythology at the coherence, commitments, and connections that are distinctive of the mind.
"This is the most important book on Wittgenstein in over a decade, but it is also much more than that. These essays range widely over issues in the philosophy of language, ethics, and literature, and they illuminate everything they touch. They show the full range and power of one of the best philosophical minds I know."—Hillary Putnam, Harvard University
Cora Diamond is the William R. Kenan Jr. Professor of Philosophy at the University of Virginia.
NF—VG copy.
1996, English
Softcover, 410 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$50.00 - Out of stock
First 1996 edition of Bourdieu's long-awaited study of Flaubert and the formation of the modern literary field.
It was in the nineteenth century that the literary universe as we know it today took shape, as a space set apart from the approved academies of the state. No one could any longer dictate with authority what ought to be written, or decree the canons of good taste: recognition and consecration were produced in and through the struggle in which writers, critics and publishers confronted one another.
The aesthetic project of Gustave Flaubert was formed at the very moment when the literary field became autonomous. Through a careful analysis of the genesis and structure of the literary field, Bourdieu is able to show how the work of Flaubert was shaped by the different currents, movements, schools and authors of the time - how, in other words, Flaubert was the product of the very field that he helped to produce.
By uncovering the rules of art, the logic which writers and literary institutions obey and which expressed itself in a sublimated form in their works, Pierre Bourdieu shatters the illusion of the all-powerful creative genius. At the same time, he lays the foundations for a sociological analysis of literary works which would be concerned not only with the material production of the work itself, but also with the production of its value.
Widely praised in France, where the book was compared with Sartre's classic work on Flaubert, "The Rules of Art "will be extensively discussed in the English-speaking world. It will be recognized as one of the most important contributions of the last decade to the study of the social and historical conditions of literary works.
Very Good copy.
1978, English
Hardcover (w. dust jacket), 192 pages, 22 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Vision / London
$35.00 - In stock -
First 1973 hardcover edition of WYNDHAM LEWIS : FICTIONS AND SATIRES by Robert T. Chapman.
Wyndham Lewis played a leading part in the cultural life of England at the beginning of this century. Setting himself up as 'The Enemy', he vociferously opposed Establishment art and received opinion, and for fifty years iconoclastically attacked modish dilettantism and falsity. Novelist, painter, editor, poet, dramatist, critic, philosopher — Lewis was the most versatile of the 'men of 1914', yet his reputation has long been overshadowed by Pound, Eliot and Joyce, and he is only just beginning to be accepted as one of the major figures in twentieth-century literature.
This study concentrates on Lewis as an imaginative writer, and, whilst his philosophy, polemics and paint ing are considered whenever relevant, the major novels are given central importance. The approach is chronological and aims to reveal the development of Lewis's art from the Bergsonian physical comedy of the early stories, through the Vorticist period, the social satires of the Thirties, to the late non-fiction stories and the new mythology of
The Human Age. Formerly a post-graduate assistant in the Department of English at the New University of Ulster, Robert Chapman is at present completing his doctoral thesis on aesthetics in the modern novel and working for the Open University.
VG copy in G dust jacket with closed tears and rubbing wear.
2007, English
Hardcover (clothbound), 220 pages, 23.5 x 16 cm
Special private edition,
1st Edition, Out of print title / as new
Published by
The Edwin Mellen Press / Wales
$140.00 - In stock -
Special private issue edition of this seldom seen hardcover collection of academic essays in antipodean identity through architecture, edited by Michael J. Ostwald & Steven Fleming, awarded the Adele Mellen Prize for Distinguished Contribution to Scholarship. Preface by architect Lindsay Johnston. Texts by Stephen Frith, Philip Goad, Harriet Edquist, Michael Linzey, William Taylor, Ali Mozaffari, Naomi Stead, Mike Austin, Davina Jackson, Michael J. Ostwald and Steven Fleming.
In the years since the completion of Jørn Utzon’s Sydney Opera House countries throughout the South Pacific have displayed a particular fascination with the possibility that architecture may be able to embody regional cultural identity. This book examines a number of major museums, art galleries and cultural centers that have been constructed in Australia, New Zealand and the South Pacific regions. The majority of these buildings, landscapes or structures have been completed in the last few years and all have employed different architectural strategies to shape their designs. This collection of nine critical essays by leading scholars of contemporary architecture provides an important survey and assessment of Antipodean cultural architecture. Emphasizing common traits, the introduction to the text asks how this phenomenon might be understood and why it may be relevant in different regions around the world. Acknowledging the pluralistic nature of Antipodean architecture, the conclusion offers an alternative hermeneutical framework, one that accepts the fragmentary nature of the contemporary cultural landscape.
“There is, in fact, a hint of mild amusement amongst the architects of the Antipodes that the world has discovered that their other [hemisphere] is so interesting. There is a reassurance that maybe the real truth is being ‘dug with the other foot’. Irish poet Seamus Heaney speaks of his writing as “digging with the pen” and the essays that follow are turning over the sods of the cultural soil of Antipodean architecture in a way that may reveal new comprehensions, comprehensions beyond the scale of the domestic.”—Professor Lindsay Johnston, Head of the School of Architecture and Planning, The University of Auckland
“The depth and breadth of the authors’ writings reflects the multi-valence of a region that defies generalization. Through their attention to buildings and their attendant theoretical concerns, each author opens our eyes to another facet of this vast region of the world, revealing more of its rich cultural and intellectual heritage as the volume unfolds.”—Dr. Mark A. Reynolds, Instructor in Geometry, Academy of Art University
“This book, edited by Michael J. Ostwald and Steven Fleming, is a much-needed and engaging collection of essays from a group of pre-eminent Australasian architectural writers and thinkers ... The volume deals with museums, cultural centers, gardens, art galleries and public space and as such it is likely to be of interest to not only architects, urban designers and architectural teachers and students but also to art historians, cultural theorists and those engaged in museum practice.”—Dr. Sarah Treadwell, Deputy Head of School, University of Auckland
Dr. Michael J. Ostwald is Professor of Architectural Analytics at the University of New South Wales (UNSW), Sydney (Australia) where he was previously Associate Dean of Research in the Faculty of Arts, Design and Architecture and in the Faculty of the Built Environment.
As New, light cloth wear.
1986—1987, English
Softcover (staple-bound), 36 pages/40 pages/24 pages, , 21 x 15 cm
Ed. of 250 copies,
1st Edition, Out of print title / used / fine
Published by
IMA / Brisbane
$100.00 - Out of stock
Complete set of three volumes published in a series by the Institute of Modern Art, Brisbane, in 1986—1987. These now scarce, historical publications, initiated and handsomely designed by (then) IMA director Peter Cripps and typeset by Ian Hodgkiss, were produced in an edition of only 250 copies each. The series consists of : Interviews with nine Queensland artists (edited by IMA president Bob Lingard); Peter Cripps interviews nine exhibiting artists at the Institute (edited by IMA director Peter Cripps); Art Criticism in Queensland: Forum Papers (edited by Graham Coulter-Smith).
Interviews with nine Queensland artists (Edited by Bob Lingard) features Michelle Andringa interviewed by Robert Whyte; Eugene Carchesio interviewed by Peter Bellas and Steven Grainger; Marian Drew interviewed by Graham Coulter-Smith; Jeanelle Hurst interviewed by Allan Furlong; Wayne Smith interviewed by Graham Coulter-Smith; John Stafford interviewed by Graham Coulter-Smith; Ross Thompson interviewed by Bob Lingard; Adam Wolter interviewed by Marta Troland; Jay Younger interviewed by Graham Coulter-Smith.
Peter Cripps Interviews... (edited by Peter Cripps) comprises nine short interviews with eight artists (Robert MacPherson, Peter Tyndall, Vivienne Shark LeWitt, Tim Johnson, Geoff Lowe, Bronwyn Clark-Coolee, Scott Redford, Mark Webb) who had all exhibited at the IMA, and one with curator Robyn McKenzie, whose exhibition "The Gothic: Perversity and Its Pleasure" was held at the institute in 1986. Includes source references.
Art Criticism in Queensland: Forum Papers (edited by Graham Coulter-Smith) comprises the papers from the second in a series of three forums held at the IMA in 1985—1986, under the directorship of Cripps. Art Criticism in Queensland consists of : Peter Anderson Introduction: Art Criticism In Queensland; Sarah Follent — The Double Cringe; Keith Bradbury — Art Criticism in Brisbane Newspapers 1930-1940; Graham Coulter-Smith — Contemporary Art Versus Criticism: Criticism and the IMA; Kate Collins — Criticism and Censorship.
Fine—almost As New copies, only light tanning.
2003, English / Dutch
Hardcover, 228 pages, 26 x 20 cm
1st Edition, Out of print title / used / average
Published by
MoMu / Antwerp
Ludion / Brussels
Ludion / Ghent
$150.00 - Out of stock
Seldom seen first limited edition copy of the hardcover catalogue, Patronen / Patterns, published in 2003 on the occasion of the unique exhibition on pattern-making curated by Kaat Debo at MoMu - ModeMuseum Antwerp, 24.04.2003—10.08.2003 — almost immediately out-of-print. Showcasing the work of Haider Ackermann, Azzedine Alaïa, Balenciaga, Véronique Branquinho, Pierre Cardin, Hussein Chalayan, Courrèges, Ann Demeulemeester, Dior Haute Couture, Sevin Doering, Angelo Figus, Jean-Paul Gaultier, Romeo Gigli, Hubert de Givenchy, Christian Lacroix, Martin Margiela, Issey Miyake, Josephus Thimister, Walter Van Beirendonck, Dirk Van Saene, A.F. Vandevorst, Patrick Van Ommeslaeghe, Madeleine Vionnet, Vivienne Westwood, Yohji Yamamoto, and Yves Saint Laurent, along with the photographic work of artist Nicole Tran Ba Vang, this lavishly illustrated and well-researched volume gives rare insight into this fundamental, largely un-documented aspect of contemporary fashion design, illuminating the new avant-garde alongside the history of dress-making, most importantly reproducing the actual pattern designs of many of the featured designers.
"The pattern is traditionally seen as a technical drawing and therefore, in a museum context, only interesting for research or study. With regard to both purchasing and exhibition policies, fashion museums focus mainly on the end product – the garment – and in so doing rarely exhibit the pattern, let alone acquire or purchase it. "Patterns" aims to explore both the technical and the artistic and cultural philosophy aspects of a clothing pattern."
Includes bi-lingual texts in English/Dutch by Kaat Debo, Dirk Lauwaert, Linda Loppa, Frieda Sorber, Christoph De Boeck, Neeltje ten Westenend, Karin De Coster, and more.
Average—Good copy. Cloth covers well-worn with marks, general age/tanning to book extremities, some (erasable) pencil underlining to text by previous owner. No dust jacket (as issued).
1978, English
Softcover, 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$160.00 - Out of stock
"Not by wrath does one kill but by laughter. Come, let us kill the spirit of gravity!"―Friedrich Nietzsche
Rare copy of this remarkable issue of the original Semiotext(e) journal, published and edited by Sylvère Lotringer between 1974—1985, with later book-length issues appearing in the 1990s. This key issue, Nietzche's Return, "... Nietzsche, the thinker without disciples, par excellence", featuring major contributions by Georges Bataille, John Cage, Daniel Charles, Gilles Deleuze, Jacques Derrida, Michel Foucault, François Fourquet, Lee Hildreth, Denis Hollier, Kenneth King, Pierre Klossowski, James Leigh, Sylvère Lotringer, Jean-François Lyotard, Roger McKeon, Daniel Moshenberg, John Rajchman, et al.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Very Good—Near Fine copy with tanning to the spine, raw paper stock edges. Well preserved copy.