World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program 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
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
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.
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.”
“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".
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.
at Minerva, Sydney (curated 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
“...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.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
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
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 / Norwegian
Softcover, 86 pages (colour ill. throughout), 145 x 200 mm
Published by Bergen Kunsthall / Norway
$30.00 - In stock -
Accompanying publication to Ida Ekblad's solo exhibition "Poem Percussion" at Bergen Kunsthall in Norway in late 2010.
Includes full-colour reproductions of much of Ida's work from over the previous two years, painting and sculpture, plus installation photographs, a selection of six of her poems, and essays by Caoimhin Mac Giolla Léith and Sarah McCrory.
$50.00 - In stock -
Making Silver is a beautiful new book conceived by Richard Tuttle and published by Bergen Kunsthall, published in 2015.
Featuring new texts and comprehensive installation photos from his exhibition Slide (2012), it documents the sculptural works Richard Tuttle made on site in Bergen, as well as including full colour reproductions of 121 drawings.
These 'notebook drawings' cover the artist's entire artistic output of a single year (2010).
The unique concept for the book includes an inserted 'book within a book' pop-out details, and an extensive fold out cover.
Published retrospectively after the exhibition Richard Tuttle: Slides at Bergen Kunsthall, 3 November – 16 December 2012.
$46.00 - In stock -
Edited by Mason Leaver-Yap, James Richards
Contributions by Ed Atkins, Dan Fox, Fatima Hellberg, Chris McCormack, Steve Reinke
Requests and Antisongs is an artist’s book to accompany a sequence of exhibitions by James Richards held at Bergen Kunsthall, Norway; Institute of Contemporary Arts, London; and the Kestner Gesellschaft, Hanover. The book contains a series of visual essays by the artist, documentation of recent exhibitions, as well as essays by Dan Fox, Ed Atkins, Steve Reinke, Chris McCormack, and Fatima Hellberg.
In Richards’s work, images and sounds are merged into highly affective videos that combine footage from a wide range of sources to form elegant compositions. His recent projects separate these elements out again, allowing space for multichannel audio installations that combine sound in a way that is physical and spatial. The video works convene materials according to the silent rhythms and movements of the footage they contain—footage from newscasts, medical documentaries, and French erotica as well as the institutions’ own archives of video documentation—composing a lyrical meditation on the body as a site for the flow of material and sensation.
This book, the most significant publication on Richards’s work to date, is an extension of the shows, transposing the strategies of his exhibition making into the rhythm of printed matter. The artist has developed a new series of collages specially for the book, comprising promiscuous relations and dissonant juxtapositions between photographic documentation of the works in the exhibitions, the artist’s personal photographs, and found images.
Copublished with Bergen Kunsthall; Institute of Contemporary Arts, London; Kestner Gesellschaft, Hannover
Design by HIT, Berlin
$66.00 - In stock -
Edited by Martin Clark, Anne Pontégnie, Steinar Sekkingstad
Texts by Ina Blom, Martin Clark, Anne Pontégnie, Steinar Sekkingstad
Fredrik Værslev’s work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today. He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active cocreators in the making of the work. In several series, he has left his paintings outdoors for long periods of time, allowing the weather and external wear to complete the work. Other works employ apparently clichéd techniques, motifs, or art-historical quotations (i.e., dripping and splattering). More recently, Værslev has been working with a tool used for marking painted lines on roads and sports fields.
Published in conjunction with Fredrik Værselv’s exhibition “All Around Amateur” at the Bergen Kunsthall and Le Consortium, Dijon, this publication, comes in two different versions, with each book comprising 320 one-to-one digital images scanned from eight of Værslev’s new “sunset” paintings. Each canvas produces a total of eighty scanned images, which are reproduced in the book sequentially, left to right, top to bottom. The full-bleed scans in each “volume,” together, reproduce an entire wall of paintings from the exhibition. The paintings, based on photographs of sunsets taken by Værslev on his iPhone from airplane windows, evoke the work of art-historical figures such as J. M. W. Turner, Mark Rothko, and Edvard Munch.
The catalogue also includes newly commissioned texts by Ina Blom, Martin Clark, and Steinar Sekkingstad as well as an interview with artist Anne Pontégnie.
Copublished with Bergen Kunsthall, and Le Consortium, Dijon
Design by Fraser Muggeridge Studio
Softcover, 260 pages, 30 x 23 cm
Published by Bergen Kunsthall / Norway
$67.00 - In stock -
Published on the occasion of the first major institutional show by American artist Will Benedict, held at the Bergen Kunsthall in Norway, 31 October–14 December 2014, this heavy, visually-encompassing volume documents this exhibition along with many exhibits across the last few years. All designed by Will and Theodoros Gennitsakis, edited by Martin Clark and Steiner Sekkingstad.
Corruption Feeds is Will Benedict’s largest and most ambitious exhibition to date. It demonstrates the full breadth of his practice as an artist, curator and, most recently, filmmaker. Dividing the galleries at Bergen Kunsthall into a solo exhibition and a curated group show, his own works are brought into dialogue with an eclectic selection of found visual material, as well as works by a number of artists invited by Benedict, including Wolfgang Breuer, Clegg & Guttmann, Howard Finster, Gaylen Gerber,Tom Humphrey, Inventory, Fredrik Kolstø, David Leonard, Michele Di Menna, Pentti Monkkonen, Puppies Puppies, Lin May Saeed, Lucie Stahl, Anders Svarstad, Sergei Tcherepnin, Paul Theriault and Karl Uchermann.
Across the various different aspects of the exhibition, Benedict addresses themes of global distribution, agriculture, marketing and trade. The group section of the exhibition includes a new video, commissioned by Bergen Kunsthall and made by Benedict in collaboration with the artist and journalist David Leonard. Shot in various locations in France, Norway, India and the USA, it explores the transnational politics of food distribution through reportage, interviews and analysis, with various protagonists featuring a talking dolphin, giant rats and human rain. Other works in this section of the show further develop these ideas, and go on to address the marketing and advertising languages of the last three decades, revealing the symbiotic, or perhaps cannibalistic, relationship between contemporary art and commercial design and advertising—a space which Benedict’s own work frequently inhabits and explores.
Will Benedict (b. 1978) lives and works in Paris.
$45.00 - In stock -
Texts by Ute Meta Bauer, Kathy Noble; Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad
This catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20, 2013); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22, 2013). This new collaborative publication, Dare to Count Phonemes and Graphemes, has evolved within the framework of these geographically separate yet collaboratively conceived exhibitions. While each exhibition was an independent manifestation, they both are intrinsically linked to Yang’s continuous artistic evolution. The developments shown are emblematic of the artist’s recent projects, focusing on the ideas of abstraction and motion. This catalogue presents two newly commissioned texts, as well as an interview between Yang and the respective curators of the exhibitions, which explore the artist’s distinctive and diverse work.
Haegue Yang’s works are internationally appreciated and are well known for an eloquent and seductive language of visual abstraction that she often combines with direct sensory experience. She is an artist who continuously pushes the boundaries of her practice, engaging with new methodologies and ways of making. This approach is evident from her exhibitions at Glasgow Sculpture Studios and Bergen Kunsthall as well as this new publication.
Copublished with Bergen Kunsthall and Glasgow Sculpture Studios
Design by Studio Manuel Raeder
Softcover, 100 pages (colour ill. throughout), 190 x 280 mm
Published by Bergen Kunsthall / Norway
$45.00 - Out of stock
Accompanying publication to the exhibition Gambaroff, Krebber, Quaytman, Rayne at Bergen Kunsthall in Norway at the end of 2010, which brought together the work of Nikolas Gambaroff, Michael Krebber, R.H. Quaytman, Blake Rayne - "four topical artists who, viewed as a group, show clear affinities in their attitudes to the production of art. This is not a traditional thematic exhibition, but rather a presentation of individual artists who invite both parallel and contrary readings in the encounters that arise between the works. The exhibition will concentrate on works on canvas and panel in the traditional sense, while at the same time opening up avenues for understanding the concept of 'painting' as a complex system of signs. Curated by Thomas Duncan, Steinar Sekkingstad and Solveig Øvstebø."
Includes full-page full-colour reproductions of each individual work exhibited at the Kunsthall by each artist (plus more), alongside essays by Thomas Duncan, Steinar Sekkingstad, Solveig Øvstebø, and Adam Kleinman.