World Food Books is a book shop in Melbourne, Australia.
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
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.
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.
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Wurtz appears courtesy of Metro Pictures, New York.
December 15 - January 20, 2014
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...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
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
During shop open hours videos played every hour, on the hour.
1993, English / Italian
Softcover (textured and foiled french-folds), 56 pages, 21 x 27 cm
1st edition, Out of print title / used*,
Published by AETA / Melbourne
$48.00 - Out of stock
"Painting with Veils and False Tails" was published on the occasion of Jenny Watson's exhibition at the Australian Pavilion Biennale Gardens, 45th International Exhibition of Art, Venice Biennale 13 June - 10 October 1993.
This handsome bi-lingual (English/Italian) catalogue includes text by Judy Annear, colour and b&w reproductions of Jenny Watson's paintings, portraits, a catalogue of works, and a biography/bibliography.
"Jenny Watson (b1951) is one of Australia’s most respected artists. As commissioner and curator for the Australian Pavilion at the 45th Venice Biennale, I selected Watson as one who could command an international audience for the quality of her work as a painter and installation artist. She was also the first woman to represent Australia in Venice with a solo exhibition.
Watson showed Painting with tails and false veils – a series of paintings in two groups, one made from red velvet and horse tails and the other from taffeta and netting. Both groups of works were accompanied by smaller text panels. The luxurious material values of rich velvet and luminescent taffeta were offset by sketchy painting and elliptical texts on pink canvas. Watson has pared down her work over the years to deal with her private world and its relationship to the exterior. These webs of relationships are sometimes claustrophobic and restrictive, at other times productive and enhancing.
The mind is a mirror on which the body is endlessly re-described. The effort to communicate whether through words or pictures is as much with herself as it is with the world. There is an inevitable repetition of motifs, for example, the obsessive depiction of the self denotes aspects of the ego which appear through projection onto beloved things whether words or phrases, objects, animals or people."