World Food Books is a book shop in Melbourne, Australia.
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
THURS 11-5 PM
FRI 11-7 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.
Softcover, 200 pages, 24 x 25 cm
1st edition, Out of print title / used*,
Published by Bijutsu Shuppan Design Center / Japan
$45.00 - Out of stock
1st edition of this Japanese publication on Contemporary Polish Posters, published by the Bijutsu Shuppan Design Center in 1975.
Beginning in the 1950s and through the 1980s, the Polish School of Posters combined the aesthetics of painting with the succinctness and simple metaphor of the poster. It developed characteristics such as painterly gesture, linear quality, and vibrant colours, as well as a sense of individual personality, humour, and fantasy. It was in this way that the Polish poster was able to make the distinction between designer and artist less apparent. Posters of the Polish Poster School significantly influenced the international development of graphic design in poster art. Their major contribution is in their use of the power of suggestion through allusion. Using strong and vivid colours from folk art, they combine printed slogans, often hand-lettered, with popular symbols, to create a concise inventive metaphor. As a hybrid of words and images, these posters created a certain aesthetic tension that projected the art form in this period on European design. In addition to aesthetic aspects, these posters were able to reveal the artist's emotional involvement with the subject. They did not solely exist as an objective presentation, rather they were also the artist's interpretation and commentary on the subject and on society.
To this day, "Plakat Polski" remain as influential as ever on the world of graphic design, typography, illustration and even painting, and are widely collected and exhibited around the world.
Significant artists include Roman Cieślewicz, Wojciech Fangor, Mieczyslaw Gorowski, Tadeusz Jodlowski, Jan Lenica, Jan Mlodozeniec, Józef Mroszczak, Julian Pałka, Franciszek Starowieyski, Waldemar Świerzy, Henryk Tomaszewski, Maciej Urbaniec, Mieczyslaw Wasilewski, Bronisław Zerlek, Maks Bereski-Plakiat.
Illustrated throughout in colour and black and white with a vast array of the finest examples of Polish graphic art.