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:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
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.
2009, English
Softcover, 216 pages, 15.2 x 22.9 cm
Published by
Zone Books / New York
$56.00 - In stock -
The Cradle of Humanity: Prehistoric Art and Culture collects essays and lectures by Georges Bataille spanning 30 years of research in anthropology, comparative religion, aesthetics, and philosophy. These were neither idle nor idyllic years; the discovery of Lascaux in 1940 coincides with the bloodiest war in history—with new machines of death, Auschwitz, and Hiroshima. Bataille's reflections on the possible origins of humanity coincide with the intensified threat of its possible extinction.
For Bataille, prehistory is universal history; it is the history of a human community prior to its fall into separation, into nations and races. The art of prehistory offers the earliest traces of nascent yet fully human consciousness—of consciousness not yet fully separated from natural flora and fauna, or from the energetic forces of the universe. A play of identities, the art of prehistory is the art of a consciousness struggling against itself, of a human spirit struggling against brute animal physicality. Prehistory is the cradle of humanity, the birth of tragedy.
Bataille reaches beyond disciplinary specializations to imagine a moment when thought was universal. Bataille's work provides a model for interdisciplinary inquiry in our own day, a universal imagination and thought for our own potential community. The Cradle of Humanity: Prehistoric Art and Culture speaks to philosophers and historians of thought, to anthropologists interested in the history of their discipline and in new methodologies, to theologians and religious comparatists interested in the origins and nature of man's encounter with the sacred, and to art historians and aestheticians grappling with the place of prehistory in the canons of art.
1991, English
Softcover, 200 pages, 15.2 x 22.9 cm
Published by
Zone Books / New York
$54.00 - Out of stock
Most Anglo-American readers know Bataille as a novelist. The Accursed Share provides an excellent introduction to Bataille the philosopher. Here he uses his unique economic theory as the basis for an incisive inquiry into the very nature of civilization. Unlike conventional economic models based on notions of scarcity, Bataille's theory develops the concept of excess: a civilization, he argues, reveals its order most clearly in the treatment of its surplus energy. The result is a brilliant blend of ethics, aesthetics, and cultural anthropology that challenges both mainstream economics and ethnology.
Georges Bataille (1897-1962) was a French writer, essayist, and philosopher whose works include The Story of the Eye, The Blue of Noon, The Accursed Share, and Theory of Religion.
A serious book of political economy that also claims 'the sexual act is in time what the tiger is in space.'... The Accursed Share is a brilliant product of [Bataille's] loony-tunes coupling of critical genres: pseudo/antisurrealist manifestos, leftist political treatises, erotics, Hegel 'n' Nietzsche studies, mysticism, anthropology, and sun worship. - Erik Davis, The Voice Literary Supplement
1993, English
Softcover, 464 pages, 15.3 x 22.7 cm
Published by
Zone Books / New York
$69.00 - In stock -
The three volumes of The Accursed Share address what Georges Bataille sees as the paradox of utility: namely, if being useful means serving a further end, then the ultimate end of utility can only be uselessness. The first volume of The Accursed Share, the only one published before Bataille's death, treated this paradox in economic terms, showing that "it is not necessity but its contrary, luxury, that presents living matter and mankind with their fundamental problems." This Zone edition includes in a single volume a reconstruction, based on the versions published in Bataille's posthumous collected works, of his intended continuation of The Accursed Share.
In the second and third volumes, The History of Eroticism and Sovereignty, Bataille explores the same paradox of utility, respectively from an anthropological and an ethical perspective. He first analyzes the fears and fascination, the prohibitions and the transgressions attached to the realm of eroticism as so many expressions of the "uselessness" of erotic life. It is just this expenditure of excess energy that demarcates the realm of human autonomy, of independence relative to "useful" ends. The study of eroticism therefore leads naturally to the examination of human sovereignty, in which Bataille defines the sovereign individual as one who consumes and does not labor, creating a life beyond the realm of utility.
Georges Bataille (1897-1962) was a French writer, essayist, and philosopher whose works include The Story of the Eye, The Blue of Noon, The Accursed Share, and Theory of Religion.
1999, English / Swedish
Hardcover (in illustrated slipcase w. dust jacket + 2 CD), 337 pages, 29 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Sveriges Radios Förlag / Stockholm
$190.00 - In stock -
Under the motto: "Manipulate the world - take care of the world", Fahlström set up a variety of meeting-places in which participants were invited to take part in an interdiciplinary game of purposeful discovery. He introduced elements of popular culture into his work early on and made substantial contributions to a critical assessment of the "medialisation" of art. In this, the most extensive book about Öyvind Fahlström to date, Teddy Hultberg charts the artist´s predominant lines of creative development and shows how his cross-genre endeavours were based on a few central ideas: character forms, signs, games and life materials.
The present study focuses on two innovative and extraordinary compositions for radio: "Birds in Sweden" (1963) and "The Holy Torsten Nilsson" (1966). These works can be heard on the two accompanying CD records and are also included here in written form. Some unique and hitherto unpublished visual and textual material, the result of several years of research by Teddy Hultberg, is also included in the book.
Now long out-of-print, this first 1999 edition (in bi-lingual English / Swedish) comes housed in illustrated, die-cut slipcase, with hardcovers and illustrated dust jacket. All Very Good—Fine in condition.
1988, English
Softcover, 19.05 x 24.13 cm
1st Edition, Out of print title / used / very good
Published by
Anthology Film Archives / New York
$180.00 - Out of stock
Published in the 1980s by the Anthology Film Archives in New York, this long out-of-print comprehensive work remains the authoritative source for biographical information about Deren. Volume two of this expansive work focuses on the films of Maya Deren. At almost 700 pages, the book documents Deren’s development as a filmmaker and contains film scripts, articles she wrote on film-making, her earliest publicity, reviews and a facsimile reproduction of An Anagram of Ideas on Art, Form and Film. Also included are correspondence, excerpts from grant applications and production ledgers, many film stills, photographs—many by Deren herself, and interviews with friends and critics. It remains the best book available on Deren's films.
"Essential for anyone interested In experimental film and women artists, THE LEGEND OF MAYA DEREN is also a must for those concerned with other arts, letters, and social Issues of our time. Libraries would do well to add several copies of this book to their collections"—Cecile Starr, American filmmaker, educator, author, and a founder and co-director of the Women's Independent Film Exchange
Very Good copy with light cover wear/age.
2022, English
Hardcover, 350 pages, 23 x 18 cm
Published by
Saint Lucy Books / Baltimore
$65.00 - In stock -
"A brilliant book. Durant tells the story of the radical and multi-dimensional life of Maya Deren in ways that are as engrossing and inspiring as Deren's art. Every artist should read this."—Paul Chan
"Drawing from a treasure trove of archival materials, Mark Alice Durant gives a vivid account of the swath Maya Deren cut through the modernist century. Durant’s gorgeous writing captures how, in Deren’s hands, cinema is a devotion to life itself."—Laura U. Marks
"A vibrant cultural history of one of art's most exciting eras, Mark Alice Durant’s Maya Deren, Choreographed for Camera is a feast of life and art."—Lynne Tillman
"In Mark Alice Durant, the legendary Maya Deren has found her ideal biographer, at the right time, when the world desperately needs her, and his, uncanny insights into the mysteries of the image."—David Levi Strauss
"Maya Deren was not only a legend, but a flesh-and-blood individual, as is made amply apparent in Mark Alice Durant’s illuminating, loving and long-overdue biography."—J. Hoberman
Drama and myth frame the life and death of Maya Deren. Born in Kiev in 1917, at the start of the Russian Revolution, she died forty-four years later in New York City. In her brief life, she established herself as a pioneering experimental filmmaker, prolific writer, accomplished photographer, and crusader for a personal and poetic cinema. With its dreamy circular narrative and enigmatic imagery, her first film, Meshes of the Afternoon (1943), has inspired generations of artists, filmmakers, and poets. Deren worked and collaborated with numerous mid-century cultural luminaries, including Katherine Dunham, Marcel Duchamp, John Cage, Anais Nin, Gregory Bateson, Jonas Mekas, and Joseph Campbell.
Deren received the first Guggenheim Fellowship ever awarded for creative filmmaking, using the funding to travel to Haiti where she became a devotee of Vodou. In 1953, she pubished Divine Horsemen, a ground-breaking ethnographic study of Haitian religious culture. Although Deren completed only six short films in her lifetime, her impact on the history of cinema is immeasurable. She has become the patron saint of 20th century experimental film. The aura that suffuses Deren’s legend emanates from the power of her films, magnified by her bohemian glamour and visionary intelligence.
This is the first full biography of Deren. Based on years of research, interviews with some of Deren’s closest collaborators, and generously illustrated with film stills and photographs, author Mark Alice Durant creates a vivid and accessible narrative exploring the complexities and contradictions in the life and work of this remarkable and charismatic artist.
2004, English
Softcover, 176 pages, 23 x 17.5 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$45.00 - Out of stock
First edition of this recently discovered book manuscript by the celebrated artist Mark Rothko offering a landmark discussion of his views on topics ranging from the Renaissance to contemporary art, criticism, and the role of art and artists in society.
One of the most important artists of the twentieth century, Mark Rothko (1903–1970) created a new and impassioned form of abstract painting over the course of his career. Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a New York City warehouse since the artist’s death more than thirty years ago, this extraordinary manuscript, titled The Artist’s Reality, is now being published for the first time.
Probably written around 1940–41, this revelatory book discusses Rothko’s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of “American art,” and much more. The Artist’s Reality alsoincludes an introduction by Christopher Rothko, the artist’s son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artist’s own work as well as with reproductions of pages from the actual manuscript.
The Artist’s Reality will be a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter.
Out-of-print. First edition. Good copy with small creases to bottom cover corner, few pages. A few removable pencil underlines in text.
1993, English
Softcover, 150 pages, 20 x 13 cm
Ed. of 750,
1st UK Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$140.00 - Out of stock
Very rare first edition of this wonderful collection of interviews with sound artists taking part in the festival ECHO, The Images of Sound II, in 1987, highlighting New Music and Sound Art, compiled by René van Peer. "This [accompanying] book has become an autonomous account of the personal histories of a number of sound artists, and thus it aims at providing an impression of the origins of Sound Art and New Music"—Paul Panhuysen, March 1993. Comprised entirely of in-depth interviews with Joe Jones, Richard Lerman, Jean Weinfeld, Martin Riches, Takehisa Kosugi, Horst Rickels, Johan Goedhart, Terry Fox, Christina Kubisch, Jim Pomeroy, Walter Fahndrich, Yoshi Wada, Paul Panhuysen.
Published in a limited edition of 750 copies. A valuable resource.
René van Peer is a journalist specializing in non-mainstream music.
Very Good copy.
2012, English
Hardcover (w. dust jacket), 528 pages, 15.56 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$65.00 - In stock -
First, out-of-print hardcover edition of Guy MacLean Rogers' The Mysteries of Artemis of Ephesos, published by Yale in 2012.
Artemis of Ephesos was one of the most widely worshiped deities of the Graeco-Roman World. Her temple, the Artemision, was one of the seven wonders of the ancient world, and for more than half a millennium people flocked to Ephesos to learn the great secret of the mysteries and sacrifices that were celebrated every year on her birthday.
In this work Guy MacLean Rogers sets out the evidence for the celebration of Artemis's mysteries against the background of the remarkable urban development of the city during the Roman Empire and then proposes an entirely new theory about the great secret that was revealed to initiates into Artemis's mysteries. The revelation of that secret helps to explain not only the success of Artemis's cult and polytheism itself but, more surprisingly, the demise of both and the success of Christianity. Contrary to many anthropological and scientific theories, the history of polytheism, including the celebration of Artemis's mysteries, is best understood as a Darwinian tale of adaptation, competition, and change.
"A magnificent reconstruction of the cult and mysteries of Artemis of Ephesos, capital of the province of Asia Minor and one of the most impressive archaeological sites. Rogers offers many intriguing and provoking hypotheses, based on a profound knowledge of the inscriptions and of the abundant secondary literature, especially those in German, the language of the city’s Austrian excavators."—H.W. Pleket, University of Leiden
"Rogers provides a meticulous and vividly detailed recreation of the history of a single cult, grounded in a mastery of all the relevant evidence and carefully situated in its wider political, social, and cultural context. This book contributes significantly to our appreciation for the complex texture of religious life in the Graeco-Roman world.—James Rives, University of North Carolina at Chapel Hill"—James Rives
"This magisterial study of the complex evolution of one of Greek antiquity’s most intriguing and long-lasting ritual traditions offers new insights into the attractions of ancient polytheism. Historians of religion, and of the Roman empire too, are greatly in Rogers’ debt.—Greg Woolf, University of St. Andrews"—Greg Woolf
Very Good copy, in VG dust jacket with light wear.
1901 / 2020, English
Hardcover (w. obi-strip), 120 pages, 16.5 x 25.4 cm
Published by
Sacred Bones / US
$59.00 - Out of stock
First released in 1901, Thought-Forms was an in-depth exploration on the visual manifestations of thoughts and the notion that they exist as objects. Conceived by renowned theosophists Annie Besant and C.W. Leadbeater, the book consists of 58 illustrations based on Besant and Leadbeater's clairvoyant observations on how music, emotions, experiences, and colors affect thought forms. Expanding beyond its original readership, the book would have great influence on twentieth-century art and go on to inspire many artists including Wassily Kandinsky, Hilma af Klint, Piet Mondrian, and Paul Klee. This beautiful updated reprint features a new introduction by famed occult author, Mitch Horowitz.
2013, English / German
Hardcover, 112 pages, 23.6 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Moderna Museet / Stockholm
Walther König / Köln
$350.00 - In stock -
The very collectible, immediately out-of-print Legacy of Hilma Af Klint, published by Moderna Museet and Walther König in a single beautifully designed hardcover edition.
The first painter to devote herself entirely to abstract art, Hilma af Klint (1862–1944) created a body of work that has only recently begun to be appreciated for its visionary intensity and innovation. The Legacy of Hilma af Klint reproduces in its entirety a previously unknown 1920 notebook by af Klint. Titled "Blumen, Moose, Flechten" [Flowers, Mosses, Lichen] on the front cover, this notebook lays out the artist's occult geometric extrapolations of nature, in diagrams and handwritten commentary (in German). The second part of this volume gathers responses to af Klint's work (visually and in essays) by nine contemporary artists: Cecilia Edefalk, Karl Holmqvist, Eva Löfdahl, Helen Mirra, Rebecca Quaytman, Amy Sillman, Fredrik Söderberg, Sophie Tottie and Christine Ödlund. The book is published on the occasion of af Klint's inclusion in the 2013 Venice Biennale.
Text by Daniel Birnbaum, Ann-Sofi Noring.
English and German text.
Bump to top corner or cover, not effecting pages, otherwise As New.
2013, English
Hardcover (w. dust jacket), 240 pages, 22.9 x 15.2 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$50.00 - Out of stock
Dark Tongues constitutes a sustained exploration of a perplexing fact that has never received the attention it deserves. Wherever human beings share a language, they also strive to make from it something new: a cryptic idiom, built from the grammar that they know, which will allow them to communicate in secrecy. Such hidden languages come in many shapes. They may be playful or serious, children’s games or adults’ work. They may be as impenetrable as foreign tongues, or slightly different from the idioms from which they spring, or barely perceptible, their existence being the subject of uncertain, even unlikely, suppositions.
It was in the Renaissance that writers across Europe first noted that willfully obscure languages had come into use. A varied cast of characters — lawyers, grammarians, and theologians — denounced these new forms of speech, arguing that they were tools of crime, plotted in tongues that honest people could not understand.
Before the emergence of these modern jargons, however, the artificial twisting of languages served a different purpose. In epochs and regions as diverse as archaic Greece and Rome and medieval Provence and Scandinavia, singers and scribes also invented opaque varieties of speech. They did so not to defraud, but to reveal and record a divine thing: the language of the gods, which poets and priests alone were said to master.
Dark Tongues moves among these various artificial and hermetic tongues. From criminal jargons to sacred idioms, from Saussure’s work on anagrams to Jakobson’s theory of subliminal patterns in poetry, from the arcane arts of the Druids and Biblical copyists to the secret procedure that Tristan Tzara, founder of Dada, believed he had uncovered in Villon’s songs and ballads, Dark Tongues explores the common crafts of rogues and riddlers, which play sound and sense against each other.
Very Good copy in VG dust jacket.
2019, English
Hardcover (w. dust jacket), 262 pages, 22.8 x 15.2 cm
Published by
Zone Books / New York
$50.00 - Out of stock
European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy.
Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself.
“Making a major contribution to conversations about globalism, art, and ecology, Heuer challenges the complacent understanding of ‘the global Renaissance’ and generates new ways of thinking across disciplinary boundaries.”—Rebecca E. Zorach
Very Good in VG dust jacket.
2012, English
Hardcover (w. dust jacket), 240 pages, 22.8 x 15.2 cm
Published by
Zone Books / New York
$50.00 - In stock -
Camouflage is an adaptive logic of escape from photographic representation. In Hide and Seek, Hanna Rose Shell traces the evolution of camouflage as it developed in counterpoint to technological advances in photography, innovations in warfare, and as-yet-unsolved mysteries of natural history. Today camouflage is commonly thought of as a textile pattern of interlocking greens and browns. But in Hide and Seek it reveals itself as much more — a set of institutional structures, mixed-media art practices, and permutations of subjectivity, that emerged over the course of the twentieth century in environments increasingly mediated by photographic and cinematic intervention.
Through a series of fascinating case studies, Shell uncovers three conceptually linked species of photographic camouflage — the static, the serial, and the dynamic — and shows how each not only reflects the type of photographic reconnaissance it was meant to counter, but also contains aspects of the previously developed species. Hide and Seek develops its argument from the material forms camouflage has left behind — photomontages, paper blankets, stuffed rabbits, ghillie suits, and instructional films.
Beginning in the domains of natural history and figurative art in the late nineteenth-century, continuing through the rise of aerial warfare in World War I, and onto the cinematic techniques designed to train snipers and civilians during World War II, this book is both a history and a theory of the drive to hide in plain sight.
"There is much to enjoy in all four chapters and without doubt this book, detailing interrelationships of technological advances in photography and film and developments in camouflage media and camouflage consciousness, will live into the future as readers scrutinise it, evaluate it and take its useful and imaginative store of ideas in additional directions."—Ann Elias * History of Photography
Very Good in VG dust jacket.
2008, English
Hardcover (w. dust jacket), 288 pages, 22.9 x 15.2 cm
Published by
Zone Books / New York
$50.00 - Out of stock
Just as speech can be acquired, so can it be lost. Individuals can forget words, phrases, even entire languages, and over the course of time speaking communities, too, let go of the tongues that were once theirs, as languages grow obsolescent and give way to others. In Echolalias, Daniel Heller-Roazen reflects on the many forms of linguistic forgetfulness.
In twenty-one concise chapters, he moves among classical, medieval, and modern culture, exploring the interrelations of speech, writing, memory, and oblivion. Whether the subject is medieval literature or modern fiction, classical Arabic poetry or the birth of French language, structuralist linguistics or Freud’s writings on aphasia, Heller-Roazen considers with precision and insight the forms, effects, and ultimate consequences of the persistence and disappearance of language.
In speech, he argues, destruction and construction often prove inseparable. Among speaking communities, the vanishing of one language can mark the emergence of another, and among individuals, the experience of the passing of speech can lie at the origin of literary, philosophical, and artistic creation.
From the infant’s prattle to the legacy of Babel, from the holy tongues of Judaism and Islam to the concept of the dead language and the political significance of exiled and endangered languages today, Echolalias traces an elegant, erudite, and original philosophical itinerary, inviting us to reflect in a new way on the nature of the speaking animal who forgets.
Very Good in VG dust jacket.
2007, English
Hardcover (w. dust jacket), 386 pages, 22.9 x 15.2 cm
Published by
Zone Books / New York
$50.00 - In stock -
This book presents the archaeology of a single sense: the sense of being sentient. Aristotle was perhaps the first to define this faculty when, in his treatise On the Soul, he identified a sensory power irreducible to the five senses, by which animals perceive that they are perceiving: the simple “sense,” as he wrote, “that we are seeing and hearing.” After him, thinkers returned, time and again, to define and redefine this curious sensation.
The classical Greek and Roman philosophers as well as the medieval Arabic, Hebrew, and Latin thinkers who followed them all investigated a power they called “the common sense,” which one ancient author likened to “a kind of inner touch, by which we are able to grasp ourselves.” Their many findings were not lost with the waning of the Middle Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and Rousseau, from nineteenth-century psychiatry and neurology to Proust and Walter Benjamin, the writers and thinkers of the modern period have turned knowingly and unknowing to the terms of older traditions in exploring the perception that every sensitive being possesses of its life.
The Inner Touch reconstructs and reconsiders the history of this perception. In twenty-five concise chapters that move freely among ancient, medieval, and modern cultures, Daniel Heller-Roazen investigates a set of exemplary phenomena that have played central roles in philosophical, literary, psychological, and medical accounts of the nature of animal existence. Here sensation and self-sensation, sleeping and waking, aesthetics and anesthetics, perception and apperception, animal nature and human nature, consciousness and unconsciousness, all acquire a new meaning.
The Inner Touch proposes an original, elegant, and far-reaching philosophical inquiry into a problem that has never been more pressing: what it means to feel that one is alive.
Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language Association.
Very Good in VG dust jacket.
1995, Japanese
Softcover, 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$140.00 - Out of stock
Too Negative No. 5 July 1995. Now rare and highly collectible, Too Negative, the "Forbidden Picture Book", was a visceral and visually explosive glossy cult arts magazine that reflected the gory-depraved-beyond salvation-bad taste expressions visible in international subculture at the height of 1990s underground publishing, a time when art was pushing the limits of taste and morality. Edited solely by legendary Japanese publisher and gallery owner Kotaro Kobayashi and published by Tom Publication Inc. between 1994—2000, each thick, glossy volume takes on the aesthetics of a vibrant fashion magazine in the great Japanese "mook" format (the magazine book) packed cover to cover with themes of Eros and Thanatos, such as fetishism, erotica, medical/autopsy photography, death journalism, Japanese bondage, grotesque and neo-surrealist art, crime scene photography, tattooing/irezumi, piercing, and all things of the mondo, macabre, bizarro realm. Frequent collaborators and featured artists were Kiyotaka Tsurisaki, Joel-Peter Witkin, Trevor Brown, Kiyoshi Ikejiri, to name a few. With a Japanese publishing lineage that may be found in earlier bounding-pushing periodicals such as the 1920s erotic grotesque magazine Hentai Shiriou (Pervert Documents), Tasuhiko Shibusawa’s incredible 1960s avant-garde journal Le Sang Et La Rose, or Fiction Inc’s SALE2 journal published from 1980—mid 1990s, Too Negative, and affiliated periodicals such as ORG, Spiral, Schizo, etc. took their subjects to another level of extremism, even by Japanese standards.
Not for the faint hearted.
This issue, Too Negative No. 6 August 1995, features Thailand corpse/death photography by Kiyotaka Tsurisaki, Trevor Brown artwork, Crime Museum photography, Chokudo Shibuya, Kiyoshi Ikejiri, western hardcore porn, asshole photography by Goro Asawa, Kotaro Kobayashi, x-ray porn, western obesity porn / adipophilia, Berlin sex, death art by noise artist Raita Ishikawa, Lisa Palac's Future Sex, piercing fetish, bizarre sex, medical photography, plus much more.
Very Good copy.
1990, English
Hardcover (w. dust jacket), 358 pages, 17.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
October Books / New York
$90.00 - In stock -
First 1990 hardcover edition of this landmark collection of essays, Yve-Alain Bois’ Painting as Model remains to this day one of the most influential contemporary books on painting. Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.
"A genuinely original contribution, in both style and approach, to a 'new history' of art which reconciles critical theory to historical research." - Louis Marin, École des Hautes Études en Sciences Sociales, Paris
Yve-Alain Bois studied at the Ecole des Hautes Etudes under the guidance of Roland Barthes and Hubert Damisch. A founder of the French journal Macula, Bois is currently a professor in the School of Historical Studies at the Institute for Advanced Study, Princeton, NJ.
Very Good copy w. good dust jacket.
2023, English
Softcover, 376 pages, 20.5 x 15 cm
Published by
No Place Press / US
$55.00 - In stock -
Essays and reminiscences by one of the preeminent art historians of our time, spanning more than four decades.
An Oblique Autobiography assembles a new collection of essays and reminiscences by one of the preeminent art historians of our time. Spanning more than four decades of Yve-Alain Bois's work as a scholar, journal editor, and occasional curator, this volume traces a deeply personal itinerary through an important era of art history, in which the discipline—in part occasioned by Bois's own journey from France to the United States—was significantly reformulated by new methodologies.
Detailing Bois's early relationships with figures such as Roland Barthes, Hubert Damisch, Lygia Clark, and Jacques Derrida, as well as his extended engagements with Rosalind Krauss, Ellsworth Kelly, and Martin Barré, these essays track Bois's intellectual commitments against the backdrop of an evolving academic field. With texts that range from academic journal articles to obituaries, written from 1976 to 2021, An Oblique Autobiography reveals the range of Bois's authorial voice and offers a remarkable self-portrait of one of art history's primary protagonists.
2023, English
Hardcover, 275 pages, 24.8 x 17.2 cm
Published by
Power Publications / Sydney
$40.00 - In stock -
UnAustralian Art: Ten Essays on Transnational Art History proposes a radical rethinking of Australian art. Rather than identifying a national sensibility, Rex Butler and ADS Donaldson demonstrate that Australian art and artists have always been engaged in struggles and creative exchanges with the rest of the world. Examining Australian art as much from the outside in as the inside out, Butler and Donaldson’s methods open Australian art history to an encyclopaedic multitude of hitherto excluded stories.
“This long-awaited volume is a true polemic. Its controversial arguments are squarely aimed at the practices of art museums, art historians and curators. The globalising of art in the current era requires such audacious rewriting of cultural exchanges.”—Ann Stephen, Senior Curator, Art, University of Sydney
“This book raises an important matter for artists subjected to a myopic nationalism in the arts. By proposing an ‘unAustralian art’, Butler and Donaldson show what and who is revealed with a hybrid concept of culture.”—Juan Davila
“Though its temporal and geographic scope is limited to twentieth-century Australian art, UnAustralian Art offers a striking and original model of art historiography for the global contemporary. Butler and Donaldson both critique national art history and present a new account of art on the continent now called ‘Australia’. Against ‘isolationist’ histories of national art, this is a story of connections: between artists, curators, galleries, and museums, between cities and countries. There is a political point at stake here. Reclaiming the term ‘unAustralian’ from the conservative former prime minister John Howard, who popularised it as a pejorative in the 1990s, Butler and Donaldson seek to open, not seal, Australia’s highly politicised borders.”—Helen Hughes, Monash University
2023, English
Softcover, 346 pages, 24.8 x 17.2 cm
Published by
Power Publications / Sydney
$40.00 - Out of stock
Contemporary art begins where painting ends, or so goes one of recent art history's most dominant narratives. This book is a post-mortem of the supposed death of painting in the period following World War II. In eleven essays by a global array of leading scholars, Ends of Painting offers a counter-history, showing how the practice and discourse of painting remained integral to art throughout the 1960s and 1970s.
Written by art historians from Australia, Asia, Europe and North America, each chapter captures a renewed critical approach to topics as diverse as conceptualism and anachronism, photography and autobiography, theatre and politics, nationalism and consumerism, race and modernism.
The book reveals a vast constellation in which painting’s ends are also beginnings—from Warhol’s Cow Wallpaper at the Leo Castelli Gallery in New York to Naoyoshi Hikosaka’s act of pouring latex over tatami mats on his bedroom floor in Tokyo; from the first canvas boards by Aboriginal artists at Papunya in Australia’s Western Desert to the Collective Actions Group’s documentation of people holding up arrangements of coloured envelopes in snowfields outside Moscow.
These unlikely correspondences between times and places sustain this book’s return to the medium, revealing how history is brushed by painting, and painting by history.
2001, English
Softcover, 216 pages, 29.7 x 21 cm
Published by
Power Publications / Sydney
Griffith University / Brisbane
$45.00 - Out of stock
Gordon Bennett: Selected Writings is the first publication to survey the writing practice of the late Gordon Bennett (1955–2014), giving vital insight into one of Australia’s most important contemporary artists in his own words. Bringing together nearly forty published and unpublished essays, artist’s statements, letters, and interviews from across Bennett’s nearly thirty-year career, Selected Writings profiles the importance of the written word within his art and broader intellectual practice. Through its focus on Bennett’s written voice, which shifts between scholarly debate, political argument and personal reflections, this publication reveals Bennett considered art and life to be just as entangled as words and images.
Edited by Angela Goddard and Tim Riley Walsh, Selected Writings is co-published by Power Publications, Sydney, and Griffith University Art Museum, Brisbane. The book also provides glimpses into Bennett’s personal archive via the reproduction of previously unseen notebooks, correspondence, sketches, preparatory compositions, and more. Offering new knowledge of his creative process, intellectual and artistic influences and professional relationships, this project amplifies Bennett’s already significant contribution to subjects of race and identity in national and global contexts, as well as reaffirming his centrality to postcolonial discourse in the twenty-first century.
1988, English
Softcover, 156 pages, 21 x 15 cm
$20.00 - Out of stock
The Necessity of Australian Art : An Essay About Interpretation by Ian Burn, Nigel Lendon, Charles Merewether and Ann Stephen critically examines the art historical orthodoxies which have dominated Australian art during the twentieth century.
1996, English
Softcover, 118 pages, 23 x 29.5 cm
Published by
Power Publications / Sydney
Monash University Exhibition Gallery / Victoria
$36.00 - In stock -
Artists Think: The Late Works of Ian Burn explains how it was possible for the artist to return to painting in the late 1980s. Burn, an internationally renowned conceptual artist of the 1960s, had worked for over two decades in alternative cultural practices in Art & Language, New York and later within the Australian trade union movement. His late work, made in a short, intensely productive period before his accidental death in 1993, holds in Burn's words, 'professional spaces and identities hostage to amateur values'. With an introduction and contributing chapter by Ann Stephen, the book contains Burn's essay entitled 'Notes on 'Value Added' Landscapes'. The book also included are a biography and listing of exhibitions of the artist.
Edited by Ann Stephen
Contributors: Ian Burn, Michael Corris, Elizabeth Gertsakis, Helen Grace, Sandy Kirby, Andrew McNamara, Mel Ramsden, Ann Stephen, Paul Wood.
Co-published with Monash University Gallery, Melbourne.