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.
$68.00 - In stock -
The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum's suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion - unpatented but regularly reappropriated - traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of "Closed Exhibitions," from Dada to Noise music, from "Everything is Art" to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
Edited by Mathieu Copeland and Balthazar Lovay.
Introduction by: Mathieu Copeland.
Texts by: Zach Blas, Johannes Cladders, Beatriz Colomina, Henry Flynt, Kenneth Goldsmith, Krist Gruijthuijsen, Robert Morris, Bob Nickas, Sören Schmeling, Reiko Tomii, Jon Hendricks, Jean Toche, Andrea Branzi, Ettore Sottsass, Allan Wallach, Guerilla Art Action Group, Robert Morris, Gareth James and many more
Features interviews/conversations with John Armleder, Robert Barry, Ben, Genesis P-Orridge, Andrea Branzi, Piero Gilardi, Mierle Laderman Ukeles and many more
$120.00 - In stock -
Now out of print.
Kantarovsky’s practice encompasses painting, drawing, sculpture and occasionally film. His signature works often have thinly applied, wiped, or scraped layers of paint, and feature narrative scenes populated by isolated, sinewy figures. His paintings frequently include indirect sociopolitical commentary and a critical look at the idea of the suffering artistic genius. The publication, his first monograph will feature a selection of recent works alongside his Studio Voltaire commission, Apricot Juice. A collaboration between Kantarovsky and Lithuanian-born performance artist leva Misevičiūtė, Apricot Juice was devised around two distinct parts – a language and movement based performance by Misevičiūtė and a group of five largescale paintings by Kantarovsky. The point of departure for the collaborative project was Mikhail Bulgakov’s enigmatic masterpiece novel The Master and Margarita, a narrative woven around a visit by the Devil to the aggressively atheist Soviet Union.
Softcover, 136 pages, 26 x 21.3 cm
Published by Koenig Books / London
$49.00 - In stock -
Chaimowicz is increasingly influential for younger generations of artists, his work explores the space between public and private, design and art, and includes painting, sculpture and photography with prototypes for everyday objects, furnishings and wallpapers.
A choreography of objects, images and colours, in his Serpentine Gallery installation the artist draws upon ideas of memory and place. This responds to the architecture, natural surroundings and history of the Serpentine which was converted from a 1930s park café to a gallery in 1970.
This unique hybrid between a catalogue and artist’s book is a personal exhibition journal that takes the form of a French cahier – a ‘book within a book’ which comprises a visual index of technical drawings and photographs relating to recent projects. Wrapped in a dust jacket featuring a new wallpaper design and including a number of installation and archival images.
Designed by Fraser Muggeridge studio and featuring texts by Michael Bracewell, Mason Leaver-Yap, and Stuart Morgan.
Published on the occasion of the exhibition Marc Camille Chaimowicz: An Autumn Lexicon at Serpentine Sackler Gallery, London, 29 September – 20 November 2016.
$70.00 - In stock -
Associated with the Nouveaux Réalistes and Zero, Swiss painter and sculptor Jean Tinguely (1925–91) is best known for his whirring, jangling meta-mechanic sculptures, which take up Dada’s mantle in their use of discarded materials and their wit, humor and irony. But this perception of Tinguely as merely a playful kinetic sculptor neglects the more topical, critical, theoretical and interdisciplinary aspects of Tinguely’s work.
An extensive monograph on this chronically underpublished artist, Jean Tinguely: Retrospective is the first publication to explore the artist’s work from this perspective.
Tinguely’s machines are built to malfunction or self-destruct, expressing a pessimistic view of human existence and death--and yet they are infectiously cheerful. His meta-mechanics suggest a hobbyist’s enthusiasm for technology, but made out of junk, they also suggest the artist’s skepticism regarding technological advance. Tinguely loved art history, and yet he launched savage attacks on the museum with pieces that are now seminal works of institutional critique.
With contributions from Kaira Cabañas, Hans-Christian von Herrmann, Dominik Müller, Johan Pas, Margriet Schavemaker, Barbara Til and Beat Wismer, this volume presents Tinguely as an artist whose work sustained contradictions and courted ambiguity.
A fantastic and visually-rich book!
$67.00 - In stock -
Comprising 58 fabric elements – what the artist has termed ‘instruments for process’ – this multi-part sculpture, began in 1963 in Düsseldorf and was completed in 1969 in New York City, is Walther’s most ambitious work.
This publication retraces Walther’s use of malleable materials and ephemeral ‘actions’ as the basis for his sculptures, his understanding of the role of language, and the presence of drawing as integral to his conception of space. As with Walther’s similar works, First Work Set’s individual fabric elements are activated by visitors in a series of quotidian actions such as folding, dropping, leaning and measuring, that often entail cooperation among a couple or a group.
For decades, museum exhibitions of this work have placed folded archival versions of the fabric elements in vitrines, preventing viewers from receiving the direct, performative encounter originally intended by the artist.
For this exhibition at Dia:Beacon, Dia worked collaboratively with Walther to select a number of the original fabric elements available to be directly handled and performed by visitors. During the exhibition, Dia held an event inviting leading scholars to take advantage of the opportunity to experience the work firsthand in this way, and to present new thinking on his oeuvre.
This book is a unique project grown out of the inclusion of this major work in Dia’s collection in the exhibition Franz Erhard Walther: Work as Action, presented at Dia:Beacon, New York, 2 October 2010 – 15 February 2012.
$42.00 - In stock -
Exploring the continual exhaustion, withdrawal, engagement and renewal of painting, the work of Michael Krebber is a central reference in conversations about the mediumʼs continued relevance.
The large selection of paintings, drawings and sculptures featured in this two-volume publication showcases Krebber’s practice over the last three decades.
Stations in a recursive cycle of starts, fits and restarts, scattered in a variety of motifs and gestures, by turns emphatic, arresting or ironic together they trace the artistʼs approach to painting, its expressive language as well as its critical function.
Volume 1 of 2.
Published on the occasion of the exhibition, Michael Krebber: The Living Wedge at Fundação De Serralves, Porto, Portugal (15 October 2016 – 15 January 2017) and at Kunsthalle Bern, Switzerland (18 February – 30 April 2017).
English, German and Portuguese text.