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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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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.
1984, Japanese / French / English
Softcover, 80 pages, 31 x 29 cm
1st Edition, Out of print title / used / average
Published by
PPS Telecommunications Company / Tokyo
$90.00 - Out of stock
Beautiful out-of-print over-sized Japanese Sarah Moon exhibition catalogue published in 1984 by Pacific Press Service, at the Photographic Society of Japan for an exhibition at Printemps Ginza in Tokyo. Profusely illustrated throughout in colour with the French photographer's works for fashion, editorial and advertising, as well her personal works, including her iconic work for Comme des Garçons, Cacharel, Vogue, Nova, Harper's Bazaar, Olympus and more. Includes texts by French critic Alain Jouffroy and Robert L. Kirschenbaum, and texts and interviews with the photographer herself, as well as an index of images, biography, and portraits of Moon.
Sarah Moon is a photographer born in 1941 in Vichy, France. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modelling, adopting Sarah Moon as her new name. In 1972, she shot the Pirelli calendar, the first woman to do so. After working for a long time with Cacharel, her reputation grew and she also received commissions from Chanel, Dior, Comme des Garçons and Vogue. In 1985, Moon moved into gallery and film work.
Average copy with some creasing damage to the covers, small tears and tanning/foxing to some pages.
1980, English
Softcover, 60 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Jurka / Amsterdam
$280.00 - In stock -
Very scarce first edition of Robert Mapplethorpe's Black Males, published in 1980 by Galerie Jurka, Amsterdam. Dutch gallery owner Robert Jurka was instrumental in the early reception of Robert Mapplethorpe’s photography in Europe, exhibiting for the first time many of his (now) world-renowned photographs. Following an early Mapplethorpe monograph from 1979, Jurka also published the first Black Males catalogue as part of the homonymous exhibition he organized in 1980 at Galerie Jurka. With an introductory essay by Edmund White, this first 1980 edition remains the most sought after printing of this beautiful and controversial series by Mapplethorpe.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy throughout with light wear. Note coffee marking to covers and previous owner's name penned into first blank page. Interior otherwise clean, tight and overall well preserved.
1983, English
Softcover, 42 pages, 29 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Watari / Tokyo
$120.00 - Out of stock
Very scarce and beautiful Robert Mapplethorpe Japanese catalogue published on the occasion of his solo exhibition "Flowers" at Galerie Watari in Tokyo in 1983. Profusely illustrated throughout with a beautiful selection of Mapplethorpe's flower still-life photographs from 1981-82, followed by his photographs of Dennis Speight, Charles Bowman and Ron Simms, well known from his 1980 "Black Males" series, and "Marty and Veronica" from 1982. Includes English introduction by Sam Wagstaff, Mapplethorpe self-portrait and printed signature, and exhibition history. Seldom seen Mapplethorpe book, filed perfectly alongside the great Galerie Jurka catalogues.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy with some light marking/tanning to covers, otherwise Very Good copy, tightly bound and clean through.
2012, English
Softcover, 96 pages, 17.6 x 11.4 cm
Published by
Semiotext(e) / Los Angeles
$30.00 - Out of stock
We are living under the administration of fear: fear has become an environment, an everyday landscape. There was a time when wars, famines, and epidemics were localized and limited by a certain timeframe. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. Stock-market crises, undifferentiated terrorism, lightning pandemics, "professional" suicides.... Fear has become the world we live in.
The administration of fear also means that states are tempted to create policies for the orchestration and management of fear. Globalization has progressively eaten away at the traditional prerogatives of states (most notably of the welfare state), and states have to convince citizens that they can ensure their physical safety.
In this new and lengthy interview, Paul Virilio shows us how the "propaganda of progress," the illuminism of new technologies, provide unexpected vectors for fear in the way that they manufacture frenzy and stupor. For Virilio, the economic catastrophe of 2007 was not the death knell of capitalism, as some have claimed, but just further evidence that capitalism has accelerated into turbo-capitalism, and is accelerating still. With every natural disaster, health scare, and malicious rumor now comes the inevitable "information bomb"--live feeds take over real space, and technology connects life to the immediacy of terror, the ultimate expression of speed. With the nuclear dissuasion of the Cold War behind us, we are faced with a new form of civil dissuasion: a state of fear that allows for the suspension of controversial social situations.
2020, English
Softcover, 480 pages, 20.3 x 23 cm
Published by
Primary Information / New York
$62.00 - Out of stock
A massive, groundbreaking, international anthology of concrete poetry by women, from Mira Schendel to Susan Howe.
This expansive volume is the first collection of concrete poetry by women in the groundbreaking movement’s early history. It features 50 writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.
Women in Concrete Poetry: 1959-1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres Group. While some works are easily recognised as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive, serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959-1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax.
This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by 50 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).
As New copy with some bumping.
2018, English
Softcover, 160 pages. 15.2 x 22.9 cm
Published by
Badlands Unlimited / New York
$40.00 - In stock -
In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York’s Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art’s exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.
Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world—no less than the country at large—has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship.
Whitewalling takes a critical and intimate look at these three “acts” in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?
With illustrations by Parker Bright and Pastiche Lumumba
“A laser beam of a book, unwavering and on target”
—New York Times
2020, English
Softcover, 376 pages, 15.24 x 22.86 cm
Published by
Duke University Press / North Carolina
$69.00 - In stock -
Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings—introduced in this collection by critic and curator Aruna D'Souza—offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.
Edited by Aruna D'Souza
Lorraine O'Grady is one of the foremost conceptual artists of the last century. Writing in Space, 1973-2019 is an indispensable contribution to our appreciation of the breadth and innovation of her singular practice; it asks us to think beyond rigid boundaries that prevent a nuanced consideration of the mutually transformative power of ‘text’ and ‘image.’ O'Grady's practice creates new worlds, wherein photography, criticism, literature, and history leave the reader with a renewed sense of creative possibility. — Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem
Aruna D'Souza is an art critic, curator, and author, most recently of Whitewalling: Art, Race, and Protest in 3 Acts.
1996, English
Softcover (staple-bound), 20 pages, 15 x 21 cm
1st Edition, Out of print title / used / good
Published by
ACCA / Melbourne
BARBERism / Sydney
$45.00 - Out of stock
Lovely catalogue published to accompany Dwyer’s first solo show in Melbourne 'Hollowware and a Few Solids', Australian Center for Contemporary Art, Melbourne, 4 May–16 Jun 1996. Illustrated throughout with texts by Linda Michael, Rex Butler, and Edward Colless.
Good copy, with some cover wear.
2022, English
Softcover, 96 pages, 152 x 21.6 cm
Published by
Afterall / London
The MIT Press / Massachusetts
$44.00 - Out of stock
An examination of Pierre Huyghe's post-apocalyptic Untitled (Human Mask), which asks whether our human future may be one of remnants and mimicry.
Pierre Huyghe's 2014 film Untitled (Human Mask) combines images of a post-apocalyptic world (actual footage of deserted streets close to the Fukushima Daiichi nuclear disaster of March 2011) with a haunting scene of a monkey working in an empty restaurant wearing a human mask and a wig. She's a girl! The flat, emotionless almost automaton state of the mask and the artificial glossy hair topped even with a child's bow, suggests that she, the monkey, might be a character from Japanese Noh theatre. But there's no music. Instead Huyghe's film evinces the terrifying possibility that our own, human, future might just be one of remnants and mimicry; that the deserted streets of Fukushima and the monkey's recognizable, alienating chimeric performance is all that might survive us. Untitled (Human Mask) presents a pluperfect world with extinction the endgame for a civilization that cared little for the present, dreaming only of a future that inevitably and necessarily could not include it.
2005, English
Softcover, 290 pages, 24 x 16 cm
Published by
Black Widow Press / Boston
$40.00 - Out of stock
'Approximate Man' & Other Writings, is the only English language source for Tzara's majestic and powerful epic poem "The Approximate Man" as well as an anthology of writings by legendary poet Tristan Tzara (1896-1963). It includes a critical introduction, an account of variants, and an essay by translator Mary Ann Caws setting the context for "Approximate Man." Originally published in 1973, this title has continued to be one of the true Tzara English language rarities, commanding a very high price, when a copy could be located at all.
Tristan Tzara (1896-1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement.
2007, English / French
Softcover, 400 pages, 23 x 16 cm
Published by
Black Widow Press / Boston
$59.00 - Out of stock
The most comprehensive anthology of the works of Robert Desnos ever assembled into the English language. Edited with a critical introduction and extensive analysis of works by Mary Ann Caws.
Translators include: Mary Ann Caws, Terry Hale, Bill Zavatsky, Martin Sorrell, Jonathan Eburne, Katherine Connelly, Patricia Terry, and Paul Auster.
Robert Desnos (1900-1945) was one of the primary poets and writers of the Surrealist movement of 1924-1930. He wrote, and collaboratively wrote, many influential and celebrated books. He died as a result of his internment. This title presents a comprehensive anthology of the writings of Desnos.
2017, English / Japanese
Softcover, 255 pages, 29 x 22 cm
Published by
Japan Architect / Tokyo
$109.00 - Out of stock
Since the end of World War II the Japanese have experienced far-reaching social and environmental changes encompassing the post-war recovery period, rapid economic growth, the bubble economy and its collapse, and natural disasters. Commissioned by individual homeowners, Japanese architects have responded in turn by offering potential solutions for social issues, as well as ideas for new ways of living, via the small-scale architecture of the house. This book presents 75 houses designed by over 50 architects, divided into thirteen themes, from “Earthy Concrete” and “Play” to “Redefining the Gap”.
Richly detailed with more than 400 models, plans, and photographs.
Includes the work of : Kisho Kurokawa, Antonin Raymond, Toyo Ito, Kiyoshi Seike, Kenzo Tange, Arata Isozaki, Kiyoshi Ikebe, Kazuo Shinohara, Sou Fujimoto, Ryue Nishizawa, Atelier Bow-wow, Yuusuke Karasawa Architects, Kiyonori Kikutake, Hideyuki Nakayama, Keisuke Oka, Osamu Ishiyama, Takamitzu Azuma, Kazuo Shinohara, Kazunari Sakamoto, Hiromi Fujii, Itsuko Hasegawa, Takashi Kurosawa, FINAL HOME, and so many more.
1976, English
Softcover, 249 pages, 28.2 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
New York University Press / New York
$100.00 - Out of stock
First 1976 edition of the best book on American artist Eva Hesse (1936—1970), and one of the great artist monographs. Long out-of-print, this classic text is both an insightful critical analysis and a tribute to an artist whose genius has become increasingly apparent with the passage of time. Authored by American writer, art critic, activist, and curator Lucy R. Lippard (b. 1937), Eva Hesse was designed by Hesse's friends and colleagues Sol LeWitt and Pat Stier; her sculptures, drawings, and paintings are reproduced throughout the entire book and discussed; and the text includes numerous quotations from her diaries.
Eva Hesse (1936—1970), was a German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. As Lippard points out, Hesse's use of obsessive repetition in her works served to increase and exaggerate the absurdity she saw in her life. In many ways, her works were "psychic models," as Robert Smithson has said, of "a very interior person." In pioneering the use of "soft" materials, her sculptures betrayed her awareness of the manner in which her experience as a woman altered her art and career. Although she died before feminism affected the art world to any great extent, her major works have since become talismans for succeeding generations of women artists.
Very Good copy of the softcover first edition.
2021, English / German
Softcover, 216 pages, 23 x 16.5 cm
$38.00 - In stock -
Cooperation and collaboration are buzzwords in the globalized art world. It’s no wonder, then, that artist collectives seem to be everywhere at the moment: from Documenta to the Turner Prize to the protest movements at museums, one is hard-pressed to find a major art event that isn’t characterized by collaborative practices and the invocation of solidarity. This December issue of Texte zur Kunst investigates the relationship between art and activism, as well as the self-understanding of artists who work in and with collectives. In order to fulfill the ideal of emancipatory forms of working and living, communality should not be misinterpreted as a strategy for establishing equality but should instead be understood as a social question – as a means for the redistribution of wealth, participation, and recognition.
2014, English
Softcover, 216 pages, 15 x 23 cm
Published by
October Books / New York
The MIT Press / Massachusetts
$55.00 - Out of stock
For more than four decades, the elusive but influential Los Angeles-based artist John Knight has developed a practice of site specificity that tests both architectural and ideological boundaries of the museum, gallery, and public sphere. Knight’s works defy notions of stylistic coherence, even, at times, of instant recognizability. Grounded in a sustained method of inhabiting the material, discursive and economic conditions of varied sites, his works systematically challenge notions of object, sign, context, authorship, and value, and they confront audiences not only with mailers, posters, and journals but also with carpenter levels, commemorative plates, deck chairs, bicycle bells, flower arrangements, and credit cards. This volume offers essays and interviews that trace the critical thinking on Knight, discussing the artist’s trajectory from 1969 to 2011.
These texts, by such prominent figures as Benjamin H. D. Buchloh, Isabelle Graw, Anne Rorimer, Alexander Alberro, Dan Graham, Kim Gordon, and Birgit Pelzer, offer close readings of Knight’s pivotal projects in situ while also considering them in terms of such art-historical paradigms as the readymade, the anti-aesthetic, institutional critique, and the relationship between art and design as well as corporate culture at large. The book provides the first collection of these often hard-to-find texts on Knight and will serve as an essential guide for further consideration of his oeuvre.
2015, English
Softcover, 216 pages, 15 x 22.6 cm
Published by
October Books / New York
The MIT Press / Massachusetts
$45.00 - Out of stock
Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a New York Times critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and post minimalist practices even as she engages pressing sociopolitics and economic issues of the present.
These illustrated essays address the full span of Genzken’s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.
Contributors: Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, Lawrence Weiner.
Contents: Isa Genzken: Two Exercises (1974)
Birgit Pelzer: Axiomatics Subject to Withdrawal (1979)
Benjamin H. D. Buchloh: Isa Genzken: The Fragment as Model (1992)
Benjamin H. D. Buchloh: Isa Genzken: Fuck the Bauhaus. Architecture, Design, and Photography in Reverse (2014)
Isa Genzken: Sketches for a Feature Film (1993)
Isabelle Graw: Free to Be Dependent: Concessions in the Work of Isa Genzken (1996)
Diedrich Diederichsen: Subjects at the End of the Flagpole (2000)
Pamela M. Lee: The Skyscraper at Ear Level (2003)
Benjamin H. D. Buchloh: All Things Being Equal (2005)
Wolfgang Tillmans: Isa Genzken: A Conversation with Wolfgang Tillmans (2003)
Diedrich Diederichsen: Diedrich Diederichsen in Conversation with Isa Genzken (2006)
Lisa Lee: “Make Life Beautiful!” The Diabolic in the Work of Isa Genzken (A Tour Through Berlin, Paris, and New York) (2007)
Lawrence Weiner: Isa Genzken Again (2010)
Juliane Rebentisch: The Dialectic of Beauty: On the Work of Isa Genzken (2007)
Yve-Alain Bois: The Bum and the Architect (2007)
Josef Strau: Isa Genzken: Sculpture as Narrative Urbanism (2009)
Hal Foster: Fantastic Destruction (2014)
2006, English
Softcover, 627 pages, 19.68 x 15.24 cm
Published by
Nightboat Books / New York
$65.00 - In stock -
This historic volume collects five critically acclaimed novels by Fanny Howe, originally published between 1985 and 2001: Nod, The Deep North, Famous Questions, Saving History, and Indivisible, previously out-of-print and hard to find classics whose characters wrestle with serious political and metaphysical questions against the backdrop of urban, suburban, and rural America.
"I have not the least doubt that her work is parallel to Paul Auster’s…or any other writer thus whose books are not simply products for the market–albeit the work can reach a very large number of potential readers indeed. In Fanny’s case these will range from contemporary fellow writers questioning ways and means in their art and all who find their enterprise of interest, to those who feel themselves confronted with deeply ingrained questions of religion, person, society, gender, politics, which almost anyone alive at this moment is trying to answer." - Robert Creeley
Fanny Howe grew up in Boston. She raised her three children in New England and traveled between there and California for many years, teaching both poetry and fiction. She has written many books of poetry, including Selected Poems (2000), Gone (2003), On the Ground (2004), The Lyrics (2007) and Come and See (2011). She has also written novels, five of which have been collected in one volume from Nightboat Books called Radical Love. In recent years she has won the Lenore Marshall Poetry Prize, a fellowship from the Guggenheim Foundation, an award for her poetry from the American Academy of Arts and Letters and the Ruth Lilly Lifetime Achievement Award in 2009.
1988, English
Softcover, 100 pages
1st Edition, Out of print title / used / average
Published by
The MIT Press / Massachusetts
$55.00 $20.00 - Out of stock
Long out-of-print classic 1988 textbook from the great Andrea Branzi, published by The MIT Press. Learning from Milan begins where his previous discourses on the sources and traditions of Italian design leave off and draws on the Italian experience to address issues of international significance.
Andrea Branzi is one of Italy's leading design critics and practitioners. Learning from Milan begins where his previous discourses on the sources and traditions of Italian design leave off and draws on the Italian experience to address issues of international significance. Moving from a pointed summary and interpretation of design over the past two decades to a highly charged manifesto and blueprint for designers of the next century, this is Branzi's most provocative and original work to date. Foremost among the challenges now facing designers is the development of expressive talents appropriate to what Branzi calls the "second modernity," a stable diversity that has emerged during the difficult transition front industrialism to post industrialism. Branzi covers the design debates that have taken place outside of Italy in the United States, Japan, and Germany. He takes up the widely observed but little discussed questions of why Argentina has produced such extraordinary design talent in recent decades; why Canada has the potential for becoming a major geographical design center in the next generation; and why the famous design school at Ulm, West Germany, has had such a powerful and, in Branzi's view, negative influence on international design. Branzi examines the key laboratories of Italian design Global Tools, Alchymia, Winphis, Domus, Academy and Zabro identifying the qualities that set Italian design thinking apart from the approach of the rest of Europe. And he looks at the production mechanisms and entrepreneurial cycles that made the rise of manufacturers like, Canina, Zanotta, and Bartell possible.
Andrea Branzi lives and works in Milan where he is Educational Director of Domus Academy and Editorial Director of MOIETY. He is author of The Hot House: Italian New Wave Design and, with Nicoletta, Branzi, of Domestic Animals: The Neoprimitive Style.
Ex-libris copy with laminate stiff protective cover and associated markings/stickers. Otherwise clean interior, never borrowed copy.
2021, English
Softcover, 64 pages, 17 x 22.2 cm
Edition of 300,
Published by
Hassla Books / New York
$58.00 - In stock -
Published in an edition of only 300 copies, 36 Slides 1986–1990 is illustrated throughout and accompanied by text by American curator and critic Bob Nickas.
"The images that comprise this book come from two sheets of slides that I have held onto for almost thirty years now. (Each plastic sleeve holds up to twenty slides, for a total of forty in all. Four of the pockets with these sheets are empty.) Over that time I have projected them in talks I gave here and there, although never a talk devoted solely to the person who took them. That would be Laurie Parsons, an artist who was active between 1986 and 1994, a period of about nine years. In the first three, she focused on found objects, things she would bring back from the urban, natural, industrial environment, or their intersection. The earliest among them were stray pieces of wood, about sixty: splintered, peeling of paint, weathered by the elements, sun-bleached, deeper in the grain. With these, Parsons said she was "interested in the presence they had that I found as powerful as that of a piece of 'art.'" Whatever was brought back to the room where she lived, one side kept clear for an object's consideration, she photographed, always with slide film. She wanted to see the object as an image, her way of determining if it had the potential to be "a piece." [...] — Bob Nickas, 2021
In 1994, after being active with a number of exhibitions in the late 1980s—early 1990s, including exhibits at Lorence-Monk Gallery in New York; Galerie Rolf Ricke in Cologne; Andrea Rosen Gallery in New York; Le Consortium in Dijon, the then-35-year-old American artist Laurie Parsons (born 1959) stopped making art. She became a social worker, helping homeless people and the mentally ill, including adolescent psychiatric patients. After that, no more art. Or at least, no more making new work within explicitly designated art contexts. Parsons didn’t develop an activist art practice or move into what came to be known as socially engaged art; she left, and part of what she left behind is the fact that she left. More recently, though, Parsons’s retreat has garnered new attention and her work has been reappraised alongside that of other women artists such as Andrea Fraser, Lee Lozano, Agnes Martin, Cady Noland, Charlotte Posenenske, Elaine Sturtevant and Rosemary Tonks, who all stopped working permanently or dropped out of the art world for a significant period of time — in part as a form of critical resistance to a patriarchal and market-oriented art world. .
2011, English
Softcover, 144 pages, 24 x 31 cm
Published by
Yale University Press / New Haven
$89.00 - Out of stock
This stunning book offers an important mid-career retrospective of the work of American artist Richard Hawkins (born 1961), whose paintings, collages, and mixed-media pieces are making a crucial contribution to the contemporary art scene. Color plates present approximately 80 of Hawkins's works, representing each stage of his career and including pieces never before published.
Based in Los Angeles, Hawkins addresses numerous contemporary issues in his art, especially those related to gender and identity and their connections to classical antiquity. The authors of the catalogue provide informative essays on aspects of Hawkins's work, the development of his vision, and his unique place in the contemporary art world.
2015, English
Hardcover, 128 pages, 23 x 30 cm
Published by
TF Editores / Madrid
$130.00 - Out of stock
Powerful, lyrical and controversial, Alvin Baltrop's photographs are a groundbreaking exploration of clandestine gay culture in New York in the 1970s and 80s. During that era, the derelict warehouses beneath Manhattan's West Side piers became a lawless, forgotten part of the city that played host to gay cruising, drug smuggling, prostitution and suicides. Baltrop documented this scene, unflinchingly and obsessively capturing everything from fleeting naked figures in mangled architectural environments to scenes of explicit sex and police raids on the piers. His work is little known and underpublished--mainly due to its unflinching subject matter--but while often explicit, his photographs are on a par with those of Nan Goldin, Peter Hujar and Enrique Metenides. While the outside world saw New York as the glamorous playground of Studio 54, Warhol's gang and the disco era, Baltrop photographed the city's gritty flipside; his work is an important part of both gay culture and the history of New York itself. This clothbound volume compiles the Piers series in one definitive monograph, a powerful tribute to a long-forgotten world at the city's dilapidated margins.
Foreword by Glenn O'Brien
Edited by James Reid and Tom Watt
Alvin Baltrop (1948-2004) was born in the Bronx, New York, and spent most of his life living and working in New York City. From 1969 to 1972, he served in the Vietnam War and began photographing his comrades. Upon his return, he enrolled in the School of the Visual Arts in New York, where he studied from 1973 to 1975. After working various jobs--vendor, jewelry designer, printer--he settled on the banks of Manhattan's West Side, where he would produce the bulk of his photographic output.
2015-2018, English
Soft case, 20 cards, 25 x 20.5 cm
Ed. of 300,
Published by
dot COMME / Melbourne
$40.00 - In stock -
A G O R A P H O B I A is Rudi Williams’ response to Octavius La Rosa’s private collection of runway COMME des GARÇONS. This collaboration between Melbourne based artist Rudi Williams and fashion and textiles display specialist Annette Soumilas is a portrait of Octavius La Rosa through the documentation of his collection.
A 20 card publication set contained in a 25cm x 20cm blind embossed folder.
The nineteen photographs document twenty-two COMME des GARÇONS runway garments dated from 2012 – 2018.
The photographs were created using a 5 x 4 large format film camera; each scenario a studied, in camera response to Rei Kawakubo's designs and concepts, the engineering of the garments and the psychological space the garments inhabit for the wearer.
Edition of 300.
2008, English
Softcover, 132 pages, 15 x 21 cm
Ed of 1000,
Published by
Museo Tamayo Arte contemporáneo / Mexico City
Dundee Contemporary Arts / Dundee
Lunds Konsthall / Sweden
$39.00 - Out of stock
Ellipsis features photography, film and video from the 1970s and the early 1980s by Chantal Akerman (b. 1950), Lili Dujourie (b. 1941) and Francesca Woodman (1958–81). This is the first joint exhibition of their work, curated by Lynne Cooke, Chief Curator at Dia Center for the Arts in New York. Gorgeous catalogue published to accompany the exhibition held at Lunds Konsthall, 9 February – 13 April 2008 and Dundee Contemporary Arts, 23 April – 22 June 2008, co-published with Museo Tamayo Arte Contempor´neo, Mexico. Illustrated throughout with works by all artists alongside texts by Jan Avgikos, Lynne Cooke, Ramiro Martinez, Åso Nacking and Judith Winter.
Lynne Cooke writes: Although born ten years apart and in very different circumstances, the three artists featured in this exhibition each profited from the turn to still photography, and other lens-based technologies – film, slide projection and the newer medium of video – that dominated vanguard art practice in the late 1960s. Taking themselves – their bodies and their immediate circumstances – as their point of departure, during the 1970s all three made performative work for the camera. Tellingly, the sites they favored were mostly their own studios or domestic interiors. Beyond this quite evident concurrence of interest in the self as both artist and model, as subject and object of the gaze, there runs a deeper if more elusive thread that links their art from this period. Less a mood than a state of being, or frame of mind, its content could be described in existential terms as the estranged relation of the female subject to her world; in the terminology of current critical discourse, their abiding preoccupations centered on the construction and representation of identity.
The words Hommage à followed by an ellipsis (…) form the title of the first five of the seventeen videos Lili Dujourie produced between 1972 and 1981. Numerous names come to mind to complete this phrase, among them the Italian filmmaker Michelangelo Antonioni. Of particular interest to this exhibition is the proposal of a relation between the artworks of Akerman, Dujourie and Woodman and the films of Antonioni. The fragility and precariousness of his principal characters is evidenced in the ways in which their identities seem to split, double or dissipate so that each becomes unable to find coherence in a shifting amorphous world, and so verges on alienation. Through a signature language centered in an innovative treatment of space and time, Antonioni forged new formal and conceptual means to explore the identities of his subjects, means which resonate tellingly in the works of these three artists.
1990, Japanese
Softcover, 112 pages, 21 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Tama Art University / Japan
$50.00 - Out of stock
Japanese catalogue published to accompany the exhibition "Lucio Fontana - Spatial Conception" at the Tama Art University Museum in 1990. Profusely illustrated with colour documentation of Italian artist Lucio Fontana's work across canvas, ceramic, drawing, and relief, dating throughout the 1930 up until the late 1960s, concentrating on his famous Concetto Spaziale works.
Very Good copy.