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 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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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.
2010, English / Italian
Softcover, 300 pages, 24 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Die Schachtel / Milan
$100.00 - Out of stock
First, only edition of the first, most comprehensive book dedicated to the work of Alvin Curran, published in 2010 by Milan's Die Schachtel imprint, now long out-of-print.
Although Alvin Curran is almost universally recognized as one of the leading figure of the late 20th Century musical avant-garde, he has never received the recognition he deserves in the form of a proper publication. This is in fact the first book ever to present a complete and coherent picture of this gigantic figure of experimental music. A radical experimentalism and a kind of innate volatility have, in fact, long kept the person and the work of Alvin Curran, one of the historic founders of the group Musica Elettronica Viva (MEV), at the margins of contemporary musical historiography. His vast and all-inclusive experience refuses to fit into the common schemas and cubbyholes, excluding him from the conceptual straitjackets of current Western musicology.
Lavishly produced and conceived, the book is centered around extensive descriptions of the most important works and compositional techniques, providing a historical account of Curran's musical concerns and changing style: in permanent flux between two distinct cultural geographies (Italy and USA), sensitive to an infinity of pressures, encounters, transformations, and provocations, Curran’s artistic voyage is presented here through a comprehensive historical and critical study that avoids buzz-word definitions and gives great respect to his otherness – an otherness clearly and happily a part of the variegated musical universe of our time.
Gathered for the first time in a single monograph, the contributions of several of the foremost Italian and international scholars – enriched by an astounding “travel log” by Alvin Curran himself and by unpublished images from his private archive – confirm the role of this composer-performer-teacher-writer as a major contributor to the evolution of artistic languages in the late twentieth century and beyond.Gathered for the first time in a single monograph, the contributions of several of the foremost Italian and international scholars – enriched by an astounding “travel log” by Alvin Curran himself and by unpublished images from his private archive – confirm the role of this composer-performer-teacher-writer as a major contributor to the evolution of artistic languages in the late twentieth century and beyond.
Edited by Daniela Margoni Tortora.
Italian and English.
2007, English
Softcover, 196 pages, 24 x 17 cm
1st Edition, Out of print title / used / fine
Published by
Die Schachtel / Milan
$45.00 - In stock -
One of the most adventurous composers and performers of the Italian avant garde scene, member of the Gruppo di Improvvisazione Nuova Consonanza, great performer of the music of John Cage, Bertoncini started in the early ‘70s to design spectacular and visually fascinating “sound sculptures”, based on the aeolian sound principle.
Amongst his more spectacular installations: Vele, a massive aeolian harps (more than 7 metres high); Venti (winds), for 20 aeolian sound generators and 40 performers; and Chanson pour Instruments à Vent, an “assemblage” for aeolian harps, aeolian gongs, and one performer.
His self-built harps and gongs are excited by blows of compressed air, or by the composer's own breath, and the resulting sound is amplified through contact microphones. If at superficial level they may sound like electronic music (long drones and swooshes of otherwordly sounds), at a close listening they reveal the intensity of a the pure and "mercurial" sound of air, far removed from any artificial or measurable principle.
Published in 2007 by Die Schachtel coinciding with a CD boxset charting his sound works from 1973 onwards, and now all long out-of-print, this 196-page book edited by Mario Bertoncini and Fabio Carboni, in English and Italian and rich with photos, is a rather profound dissertation not only on the Aeolian harps, their generation and meaning, but also on experimental sound and music in general. Written by the composer in the form of a Platonic dialogue (between an old and bitter master and his young enthusiastic pupil), the book conveys not only a wealth of information on its subject matter, but also renders perfectly the voice full of wit of one of the most personal and uncompromising composers of the present times.
Near Fine—As New copy.
1990, English
Softcover, 128 pages, 19.8 x 13 cm
Out of print title / used / very good
Published by
Fontana / UK
$15.00 - In stock -
1990 Fontana edition.
Roland Barthes was the leading figure of French Structuralism, the theoretical movement of the 1960s which revolutionized the study of literature and culture, as well as history and psychoanalysis. But Barthes was a man who disliked orthodoxies. His shifting positions and theoretical interests make him hard to grasp and assess. This book surveys Barthes' work in clear, accessible prose, highlighting what is most interesting and important in his work today. In particular, the book describes the many projects, which Barthes explored and which helped to change the way we think about a range of cultural phenomena--from literature, fashion, wrestling, and advertising to notions of the self, of history, and of nature.
Good—VG copy.
1989, English
Softcover, 300 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / good
Published by
Columbia University Press / New York
$45.00 - Out of stock
In Black Sun, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart.
In her discussion she analyzes Holbein's controversial 1522 painting "The Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. Black Sun takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated.
Translated by Leon S. Roudiez
Julia Kristeva is a professor of linguistics at the Université de Paris VII. She is the author of many highly respected books (most published in English by Columbia University Press) and a practicing psychoanalyst.
Good copy with some wear and (erasable) pencil marginalia from previous owner.
2024, English / French
Softcover, 296 pages, 13 x 19.6 cm
Published by
Éditions 1989 / Paris
$49.00 - In stock -
The first book devoted to the late African American writer and actress, Dorothy Dean, one of the few prominent African American women of New York City's bohemian heyday, close to Andy Warhol and Robert Mapplethorpe.
Edited by Anaïs Ngbanzo, this second release from Éditions 1989 features Dorothy Dean's unpublished writing and selected correspondence with Edie Sedgwick, Rene Ricard, and Taylor Mead, among other friends and artists. This volume also includes Dean's transcendent script of an unrealized film starring Factory actor, Ondine.
Lyrical, humorous, political, and brutally honest, Who Are You Dorothy Dean? is a tribute to one of the few prominent African American women of New York City's bohemian heyday.
Dorothy Dean (1932-1987) was an African American writer and actress. She entered the 1960s New York underground scene and quickly became one of its key, if overlooked, figures, starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Presumably the first woman ever hired as fact-checker at The New Yorker, Dean held brief editorial and proofreading positions at publications such as Vogue before launching her very own bulletin of film reviews, the All-Lavender Cinema Courier, in 1976.
Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al. Translated from the English (American) by Rachel Valinsky. Graphic design: Rick Myers.
1976, English
Softcover (staple bound), 23 x 17.2 cm
1st Edition, Out of print title / used / good
Published by
Impetus Publications / London
$140.00 - Out of stock
Very rare copy of the inaugural issue of Impetus magazine, 1976. Impetus was an important British magazine of "new music", avant-garde, experimental and improvised musics, edited by Kenneth Ansell. Features Stomu Yamashta, György Ligeti, Carla Bley, Keith Tippett, Can, Darius Milhaud, Manfred Mann Chapter Three, Alexander Scriabin, plus further "new music" news and reviews, illustrated throughout.
Good copy with general age/soft edges/wear.
1977, English
Softcover (staple bound), 30 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Impetus Publications / London
$140.00 - Out of stock
Rare copy of Impetus magazine issue 6, 1977. Impetus was an important British magazine of "new music", avant-garde, experimental and improvised musics, edited by Kenneth Ansell. This special issue is dedicated to Company, the improvisation collective formed in 1976 by Derek Bailey, including interviews with Anthony Braxton, Derek Bailey, Evan Parker, Steve Lacy, Han Bennink, Leo Smith, Steve Beresford, Paul Rutherford, Tristan Honsinger, Lol Coxhill, Maarten van Regteren Altena, Terry Day, Misha Mengelberg and more, plus further "new music" news and reviews, articles, discographies, illustrated throughout.
Very Good copy.
1978, English
Softcover (staple bound), 30 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Impetus Publications / London
$120.00 - Out of stock
Rare copy of Impetus magazine issue 7, 1978. Impetus was an important British magazine of "new music", avant-garde, experimental and improvised musics, edited by Kenneth Ansell. This issue with cover feature on Eberhard Weber with interview and discography, plus Johnny Dyani, Daevid Allen (Gong), Rock In Opposition, John Renbourn Group, Bead Records, Roger Dean & Lysis, Salman Shukur, plus further "new music" news and reviews, illustrated throughout.
Good—Very Good copy.
1979, English
Softcover (staple bound), 30 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Impetus Publications / London
$120.00 - Out of stock
Rare copy of Impetus magazine issue 10, 1979. Impetus was an important British magazine of "new music", avant-garde, experimental and improvised musics, edited by Kenneth Ansell. This special issue is devoted to The Swedish Alternative Music Movement, tracing the networks, politics, teaching projects, philosophies and discographies centred around the artist-led record label and collective Ett Minne För Livet, including articles and interviews with Archimedes Badkar, Marie Selander, Spjärnsvallet, Iskra, Vargavinter, plus further "new music" news and reviews, illustrated throughout.
Good copy.
1977, English
Hardcover (w. dust jacket), 296 pages, 19.5 x 12.5 cm
1st Edition, Out of print title / used / very good
Published by
Allison & Busby / London
$200.00 - In stock -
Very rare first 1977 hardcover edition of this essential masterpiece of jazz history by renowned photographer and music historian, Val Wilmer, published by Allison & Busby in London.
In this classic account of the new black music of the 1960s and 70s, celebrated photographer and jazz historian Val Wilmer tells the story of how a generation of revolutionary musicians established black music as the true vanguard of American culture. Placing the achievements of African-American artists such as Albert Ayler, Ornette Coleman, John Coltrane and Sun Ra in their broader political and social context, Wilmer evokes an era of extraordinary innovation and experimentation that continues to inspire musicians today. As vital now as when it was first published in 1977, As Serious As Your Life is the essential story of one of the most dynamic musical movements of the twentieth century.
Features : Marion Brown, Don Cherry, Andrew Cyrille, Milford Graves, Cecil Taylor, Mcoy Tyner, Rashied Ali, Dewey Redman, Anthony Braxton, Frank Lowe, Sonny Sharrock, Marshall Allen, Archie Shepp, Jimmy Lyons, Elvin Jones, Lester Bowie, Charlie Hayden, Albert Ayler, Ornette Coleman, John Coltrane, Sun Ra, and so many more....
Val Wilmer is an internationally acclaimed photographer, journalist, author and black music historian who has been documenting African-American music since 1959. In that time she has interviewed and photographed almost every significant figure in post-war jazz, blues and R&B, from Louis Armstrong and Thelonious Monk to Sun Ra and Albert Ayler via Muddy Waters and Aretha Franklin. As a photographer, her work features in the permanent collections of the British Library, the V&A Museum and the National Portrait Gallery; as a writer and historian, she has contributed to the Oxford Dictionary Of National Biography and the New Grove Dictionary Of Jazz. She lives in London.
Very Good with Good dust jacket (some edge wear and marking, tanning)
1985, English
Softcover, 400 pages, 22.5cm x 15 cm
1st Edition, Out of print title / used / very good
Published by
The Athlone Press / UK
$80.00 - In stock -
1985 English language edition of Gilles Deleuze and Félix Guattari's mighty Anti-Oedipus, published by The Athlone Press in England. With introduction by Michel Foucault.
When it first appeared in France in 1972, Anti-Oedipus was hailed as a masterpiece by some and "a work of heretical madness" by others. Anti-Oedipus was the opening explosion to the post-1968 reaction to the structuralist movement; it remains a primary text of post-structuralism. In his preface, Michel Foucault calls Anti-Oedipus an Introduction to Non-Fascist Living. He refers not just to political fascism but to the fascism that is within us, that causes us to desire our own domination. In the book, philosopher Gilles Deleuze and clinical psychoanalyst Félix Guattari set forth the following theory: Western society's innate herd instinct has allowed the government, the media, and even the principles of economics to take advantage of each person's unwillingness to be cut off from the group. What's more, those who suffer from mental disorders may not be insane, but could be individuals in the purest sense, because they are by nature isolated from society. More than twenty-five years after its original publication, Anti-Oedipus still stands as a controversial contribution to a much-needed dialogue on the nature of free thinking.
Very Good copy of this scarce early English edition.
1942, German
Softcover (w. dust jacket), 126 pages, 19 x 13 cm
1st Edition, Out of print title / used / good
Published by
Rudolf Geering / Basel
$45.00 - In stock -
Rare 1942 edition of Hermann Beckh's Vom Geheimnis Der Stoffeswelt (Alchymie) — (Alchymy: The Secrets of the World of Substances) — published Rudolf Geering, Basel.
As a practising Christian priest, Hermann Beckh was profoundly aware that the mystery of substance – its transmutation in the cosmos and the human being – was a mystical fact to be approached with the greatest reverence, requiring at once ever-deepening scholarship and meditation. He viewed chemistry as a worthy but materialistic science devoid of spirit, while the fullness of spiritual-physical nature could be approached by what he preferred to call ‘chymistry’ or ‘alchymy’, thereby taking in millennia of spiritual tradition.
In consequence, Beckh’s Alchymy: The Secrets of the World of Substances is not limited to the conventional workings of Western alchemy, nor to what can be found in the Bible from Genesis to Revelation – although he does unveil hidden riches there. Neither should Beckh be considered only as a learned Professor with impeccable academic qualifications and European-wide recognition. Beckh writes about such topics as ‘Isis’, ‘the Golden Fleece’, traditional fairy-stories and Wagner’s Parsifal in a way that enables the reader to catch glimpses of the Mystery of Substance; to share the writer’s authentic experience of the divine substantia – the living reality – of Christ in the world.
Beckh’s Alchymy set an entirely new standard, and went on to become his most popular publication.
Hermann Beckh (1875—1937) was a pioneering German Tibetologist and prominent promoter of anthroposophy.
Good copy with tanning, marking, closed edge tears, water marking to dust jacket. Book well preserved. 3rd printing of this edition.
1961, English
Hardcover (w. dust jakcet), 256 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Frederick Muller Limited / London
$110.00 - In stock -
Rare first 1961 hardcover edition of Secret Societies, Afghan author Arkon Daraul's absolute classic occult study, kept in print ever since its first publication.
"This unique and sensational book is the fruit of many years of investigation. The author, in order to make his material as complete as possible, has travelled through Europe and the Middle East to track down survivals of secret societies and has attended ceremonies held by clandestine organisations in the heart of London. He gives the reader details, never before revealed, of the causes of the rise-and fall of secret confederacies; and of the signs, passwords and secret writings used by such organisations. He describes such diverse entities as the underground groups of the Illuminati, the religious ecstatics of Russia, the dread Assassins of Persia and Arabia and the People of The Peacock of Britain and Iraq, and he reveals the secret initiation rites and rituals of magicians. The book shows that almost every social system has produced its secret societies, and that almost anyone you meet may be a member of one!"
Good—Very Good copy in Good—Very Good dust jacket. DJ has general wear and tear to extremities, foxing, tanning, clip to front inner flap. Book G—VG with foxing to end papers, previous owner's name, light tanning. Preserved in mylar wrap.
1959, English
Hardcover (w. dust jacket, 215 pages, 22 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Rider / UK
$290.00 - In stock -
Very rare first 1959 hardcover edition, first printing of Eliphas Levi's grimoire masterwork, The Key of the Mysteries, translated from the French, with an introduction and notes by Aleister Crowley, published by Rider, UK.
Eliphas Levi (1810-1875), born Alphonse Louis Constant, was a sage, poet and author of over twenty esoteric books. He began writing at 22 years of age and was imprisoned twice for the critical nature of his work. Eliphas Levi was steeped in the Western occult tradition and a master of the Rosicrucian interpretation of the Qabalah, which forms the basis of magic as practiced in the West today. The "Key of the Mysteries" represents the culmination of Levi's thoughts and is written with subtle and delicate irony. It reveals the mysteries of religion and the secrets of the Qabalah, providing a sketch of the prophetic theology of numbers. The mysteries of nature, such as spiritualism and fluidic phantoms, are explored. Magical mysteries, the Theory of the Will with its 22 axioms are divulged. And finally it offers "the great practical secrets." The true greatness of this work, however, lies in its ability to place occult thought firmly in Western religious traditions. For Levi, the study of the occult was the study of a divine science, the mathematics of God.
Éliphas Lévi Zahed (1810—1875), born Alphonse Louis Constant, was a French esotericist, poet, and writer. Initially pursuing an ecclesiastical career in the Catholic Church, he abandoned the priesthood in his mid-twenties and became a ceremonial magician. At the age of 40, he began professing knowledge of the occult.
Good—Very Good copy in Good seldom preserved dust jacket. DJ has general wear and tear to extremities, chipping. Book G—VG with foxing to end papers/block edges, previous owner's name, light tanning. Preserved in mylar wrap.
1993, English
Softcover, 632 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
University of California Press / Berkley
$40.00 - In stock -
First 1994 edition.
Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance.
Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty.
His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, Downcast Eyes will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.
Martin Jay is Sidney Hellman Ehrman Professor Emeritus of History at the University of California, Berkeley. His books include Force Fields (1992), Marxism and Totality (California, 1984), Adorno (1984), and The Dialectical Imagination (1973).
Good copy due to contact laminating, otherwise VG.
1996, English
Softcover, 274 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$25.00 - In stock -
First 1996 edition, second print. In this illuminating book, a prominent art historian explores the links between avant-garde art and modern mass culture, showing that the connections between the two have always been strong, and even necessary to both. The author recounts vivid episodes involving Jackson Pollock, Andy Warhol, Christopher Williams, and many others, arriving at fresh and original insights into modern art and its place in late twentieth-century culture.
Thomas E. Crow is an American art historian and art critic who is best known for his influential writing on the role of art in modern society and culture. Since 2007, Crow has served as the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, NYU.
Very Good copy, light wear.
1992, English
Softcover, 232 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Duke University Press / North Carolina
$25.00 - Out of stock
Miniature books, eighteenth-century novels, Tom Thumb weddings, tall tales, and objects of tourism and nostalgia: this diverse group of cultural forms is the subject of On Longing, a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world. Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.
Good—VG copy, light wear.
1988, English
Hardcover (w. dust jacket), 200 pages, 22.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Weidenfeld and Nicolson / London
$40.00 - In stock -
First 1988 hardcover edition of Bodysnatchers: A History of the Resurrectionists , 1742—1832 by Martin Fido.
From 1740 to 1832, freshly buried corpses were dug up and surreptitiously hawked to surgeons and anatomists in London and Edinburgh to dissect for research and teaching purposes. The resurrection trade brought together Fellows of the Royal Society and slum-dwelling criminals in an unholy alliance. By the beginning of the nineteenth century, the illicit trade had become one of London's most efficiently organized departments of crime, with gang-leader Ben Crouch securing a virtual monopoly of delivery to half the teaching hospitals. In Scotland, several surgeons of great eminence loved the adventure of association with desperadoes and willingly accompanied them on their nocturnal excavations. Not surprisingly, there was great public consternation about the activities of the bodysnatchers, but it was only when Burke and Hare introduced murder as a means of acquiring 'subjects' that the authorities acted to eradicate the ghoulish practice.
Martin Fido's book is an enthralling study of a strange byway of criminal low life. It provides the first full and accurate accounts of murderers Helen Torrence and Jean Waldie, Bishop and Head and El iza Ross. With sketches of the great surgeons who encouraged and sought to control the trade, 'Bodysnatchers' will interest many in the medical profession and social historians as well as devotees of the true crime genre.
Martin Fido is best known for his popular biographies of Oscar Wilde, Shakespeare and Rudyard Kipling. For twenty years he taught English literature in universities as far apart as Oxford, Michigan and the West Indies. His special field was the Victorian social novel. He has always been interested in true crime, and he is the author of the Murder Guide to London and The Crimes, Detection and Death of Jack the Ripper.
When in London, he devotes as much time as possible to his much-loved cabin- cruiser, and takes guided tours over the Jack the Ripper territory and into graveyards where the bodysnatchers worked. At home in Cornwall, his principal recreation is walking over the West Penwith moors.
Very Good in VG dust jacket, light spotting to book block edges.
1982, English
Softcover, 224 pages, 23 x 14 cm
Out of print title / used / very good
Published by
University of Chicago Press / Chicago
$45.00 - Out of stock
Ambroise Paré, born in France around 1510, was chief surgeon to both Charles IX and Henri III. In one of the first attempts to explain birth defects, Paré produced On Monsters and Marvels, an illustrated encyclopedia of curiosities, of monstrous human and animal births, bizarre beasts, and natural phenomena. Janis L. Pallister’s acclaimed English translation offers a glimpse of the natural world as seen by an extraordinary Renaissance natural philosopher.
Scarce 1982 edition. Good—VG copy, light wear and spotting to block edges.
2007, English
Softcover, 335 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Duke University Press / North Carolina
$35.00 - In stock -
First 2007 edition of Jasbir K. Puar’s pathbreaking Terrorist Assemblages, which remains one of the most influential queer theory texts and continues to reverberate across multiple political landscapes, activist projects, and scholarly pursuits. Puar argues that configurations of sexuality, race, gender, nation, class, and ethnicity are realigning in relation to contemporary forces of securitization, counterterrorism, and nationalism. She examines how liberal politics incorporate certain queer subjects into the fold of the nation-state, through developments including the legal recognition inherent in the overturning of anti-sodomy laws and the proliferation of more mainstream representation. These incorporations have shifted many queers from their construction as figures of death (via the AIDS epidemic) to subjects tied to ideas of life and productivity (gay marriage and reproductive kinship). Puar contends that this tenuous inclusion of some queer subjects depends on the production of populations of Orientalized terrorist bodies. Heteronormative ideologies that the U.S. nation-state has long relied on are now accompanied by homonormative ideologies that replicate narrow racial, class, gender, and national ideals. These "homonationalisms" are deployed to distinguish upright "properly hetero," and now "properly homo," U.S. patriots from perversely sexualized and racial- ized terrorist look-alikes-especially Sikhs, Muslims, and Arabs-who are cordoned off for detention and deportation.
"By articulating terrorism, patriotism, and U.S. exceptionalism not only to race but also to homophobia, heteronormativity, and queerness, Terrorist Assemblages offers a trenchant cri- tique of contemporary bio- as well as geopolitics. As an author on a hotly debated topic, Jasbir K. Puar is as gracious about acknowledging other authors' contributions as she is un- yielding in her interrogations of secular-liberalist epistemic conventions. This is a smart, admirably researched, and courageous book."—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility
"I could not stop reading this outraged, meticulous, passionate, and brilliantly visioned book. Jasbir K. Puar's analysis of the neoliberal, imperial, sexual, and racist present reaches into the U.S. academy and multiple transnational publics and is critical of them all, even when she has solidarity with them. It's been a long time since I read something so smart and so thorough in its storytelling."—Lauren Berlant, author of The Queen of America Goes to Washington City: Essays on Sex and Citizenship
"In this powerful book, Jasbir K. Puar offers a stunning critique of 'homonational' politics. She rethinks intersections as assemblages, as networks of affect, intensity, and movement. The very rigor of her critique suggests an unflinching optimism about what is possible for queer politics."—Sara Ahmed, author of Queer Phenomenology: Orientations, Objects, Others
Jasbir K. Puar is Associate Professor of Women's and Gender Studies at Rutgers University.
Near Fine copy.
1992, English
Softcover, 172 pages, 23 x 17 cm
Reprint,
Published by
October Books / New York
The MIT Press / Massachusetts
$59.00 - In stock -
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.
Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
Jonathan Crary is Meyer Schapiro Professor of Modern Art and Theory at Columbia University. A founding editor of Zone Books, he is the author of Techniques of the Observer (MIT Press, 1990) and coeditor of Incorporations (Zone Books, 1992). He has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts fellowships and was a member of the Institute for Advanced Study in Princeton.
"Nimbly interweaving the histories of science, technology, philosophy, popular culture, and the visual arts, Jonathan Crary provides a stunning challenge to conventional wisdom about the epochal transformation of visual culture in the nineteenth century. Techniques of the Observer will be a vital resource for anyone concerned with the complex interaction of technological modernization and aesthetic modernism."—Martin Jay, University of California at Berkeley
1998, English
Softcover, 278 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$30.00 - In stock -
First 1998 edition of Sexology Uncensored. This landmark collection brings together, for the first time, many of the key documents of the modern science of sexuality that emerged in the late nineteenth century. The early pioneers of the new field of sexology examined and classified sexual behaviors, identities, and relations. For years much of the material here has been “censored” in the sense that it is difficult to obtain, subject to restrictive circulation, or available only in medical archives. The extracts (which date from the 1880s to the 1940s) cover a variety of topics including gender and sexual difference; homosexuality; transsexuality and bisexuality; heterosexuality; marriage and sex manuals; reproductive control; eugenics; race; and various sexual proclivities.
Offering readers access to the primary materials on which contemporary sexology is founded, Sexology Uncensored is an invaluable record for all those interested in how we have come to think about sex and sexuality over the last hundred years.
Sexology in Culture and its companion Sexology Uncensored will interest all those concerned with understanding modern sexual discourse in its historical context.
Very Good copy.
1990, English
Hardcover, 258 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$45.00 - In stock -
First 1990 hardcover edition of Epistemology of the Closet by Eve Kosofsky Sedgwick. Since the late 1980s, queer studies and theory have become vital to the intellectual and political life of the United States. This has been due, in no small degree, to the influence of Eve Kosofsky Sedgwick's critically acclaimed Epistemology of the Closet. Working from classic texts of European and American writers-including Melville, James, Nietzsche, Proust, and Wilde-Sedgwick analyzes a turn-of-the-century historical moment in which sexual orientation became as important a demarcation of personhood as gender had been for centuries.
"Brilliant as a work of literary criticism, a cultural study, a political analysis, and as a landmark in the development of lesbian and gay studies."—Women's Review of Books
Eve Kosofsky Sedgwick (May 2, 1950 – April 12, 2009) was a poet, artist, literary critic and teacher. She is perhaps best known as one of the originators of Queer Theory. Her work and her example continue to have a significant effect in shaping the lives and thought of many people.
Very Good copy, lacking dust jacket.
1984, English
Softcover, 128 pages, 25.5 x 17.5 cm
1st Edition, Out of print title / used / good
Published by
Semiotext(e) / Los Angeles
$70.00 - Out of stock
Rare copy of one of the remarkable special book issues of the original Semiotext(e) journal — Semiotext(e) Oasis, published in 1984, edited by Timothy Simone, Peter Caravetta, Frank Mecklenberg, Brigitte Ouvry-Vial and Gregory Whitehead. This issue from 1984, titled Oasis: Fourth World, was secretly produced and handed to Lotringer with an ultimatum: “Take it or leave it.”. Features texts by Joseph Saruva, Leslie Dick, Mustafa Isrui, Franco Beraldi, Theo Kneubuehler, Dambudzo Marechera, Chris Marker, Nuruddin Farrah, Gregory Whitehead, Unica Zürn, Françoise Gründ, Ariel Dorfman, Maurizio Torrealta, Paul Foss, Michel Serres, Wole Soyinka, Serge Galam. Marco J. Jacquemet, Ninotchka Rosca, Henri Pierre Jeudy. Timothy Simone, Lynne Tillman, Cornel West, Arnold Barkus, Peter Wortsman, Damona Wolff, Marylene Delbourg-Delphis, Frank Ungemut, Alphonso Lingis, Bahadur Tejani, Bernhard Mueller and Karel Dudesek, Sun Ra.
"Human bodies consist primarily of water. Body chemistries perform best at 98.6 degrees Fahrenheit. Human skin provides both vessel and thermometer for body water. If exposed to extended periods of heat or exertion, bodies dehydrate; skins dry out. Hard science tells us this is true for all skins, from the First through the Fourth world."
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.
Good copy with some wear and creasing to the covers, tanning and tape repair to top of spine.