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.
1968, Italian / English
Softcover, 98 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Editoriale Domus / Milan
$65.00 - Out of stock
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 466 Settembre 1968
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames,
Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
features :
Archizoom; Lucio Fontana; "Tatlin" by Agnoldomenico Pica; "Apartment Building in Ramat Gan Tel Aviv" by architects Alfred Neumann, Zvi Hecker, Eldar Sharon, "The 18th Aspen Design Conference" by Hans Hollein; Olivetti store in Buenos Aires by architect Gae Aulenti; XIV Triennial of Milan "Il Grande Numero" (Arata Isozaki); "Venice Biennale 1968: A Failure in Attempted Suicide" by Pierre Restany; "For a New Biennale" by Tommaso Trini; Book reviews; and much more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
1968, Italian / English
Softcover, 84 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Editoriale Domus / Milan
$65.00 - Out of stock
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
domus No. 462 Maggio 1968
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames,
Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, and more.
features :
Archizoom; The Living Theatre; "The New Headquarters for the Ford Foundation in New York" by architects Kevin Roche, John Dinkeloo and Associates; "National Aquarium in Washington" by architects Kevin Roche, John Dinkeloo and Associates, with Office of Charles Eames; "Pneu: Inflatable Structures and Forms"; "A Mini Space" by Joe Colombo; new lamp edition from Didier Bernardin; Multiples by Franco Angeli, Lucio Fontana, Gino Marotta, Gianni Colombo, David Morris, Fabrizio Cocchia, etc. by Tommaso Trini; "Charles Rennie Mackintosh 1868-1968; "Magistretti in Paris : the Cerruti 1881 styling centre"; Art exhibitions all over the world; Book reviews; Lourdes Castro / Cesar / Jean-Pierre Raynaud by Pierre Restany; "The House of Roger Tallon"; Pino Pascali; Giulio Paolini; and much more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
2019, Japanese / English
Softcover, 68 pages, 26 x 37 cm
Published by
A.D.A Edita / Tokyo
$80.00 - Out of stock
One of the finest architecture series ever published, the world renowned GA (Global Architecture) series, presented by the highly esteemed publishing house that also published the GA Document, GA Houses, and GI (Global Interior) architectural publications.
Each over-sized photographic folio issue of the special GA Residential Masterpieces series highlights a renowned international architect and takes a detailed look into their creations for residence.
Absolutely stunning and vivid large-format architectural photography of the selected building’s interiors, exteriors and architectural details, along with texts (in English and Japanese) and floor-plans/elevation drawings make up the profiles on each featured architectural project. The visual generosity of these handsomely designed and beautifully printed over-sized publications make them a treasure for any architecture or interior design enthusiast or collector.
This edition highlights two houses by Oscar Niemeyer, the Brazilian modernist architect. Known as Casa das Canoas and Casa Cavanelas, both residences are located in Rio de Janeiro and both were built in the early 1950s. Yet, according to the essay by Yoshio Futagawa, the contrast between them is quite intriguing. The former, Niemeyer’s own residence, demonstrates the spatial truth in privacy that the architect explored; the latter startles the viewer with spectacular features orchestrated through Niemeyer’s collaboration with landscape designer Roberto Burle Marx. Futagawa’s exceptional photography completes the tribute to this pair of masterful designs.
Printed in Japan.
English / Japanese
Softcover, 74 pages, 26 x 36 cm
Published by
A.D.A Edita / Tokyo
$80.00 - Out of stock
One of the finest architecture series ever published, the world renowned GA (Global Architecture) series, presented by the highly esteemed publishing house that also published the GA Document, GA Houses, and GI (Global Interior) architectural publications.
Each over-sized photographic folio issue of the special GA Residential Masterpieces series highlights a renowned international architect and takes a detailed look into their creations for residence.
Absolutely stunning and vivid large-format architectural photography of the selected building’s interiors, exteriors and architectural details, along with texts (in English and Japanese) and floor-plans/elevation drawings make up the profiles on each featured architectural project. The visual generosity of these handsomely designed and beautifully printed over-sized publications make them a treasure for any architecture or interior design enthusiast or collector.
In this volume, photographer Yukio Futagawa recounts his pilgrimage to Le Corbusier’s modernist villa in Ahmedabad, India, built between 1951-56. A symbol of the famed architect’s domestic architecture, the private residence integrates traditional features of local design, such as the double-height living room on the ground level, with key aspects like sun, wind and landscaping. The raw concrete form frames the open character of its interior spaces and the overall plan, a five-level cube divided by beams and slabs. In a lovingly photographed and recounted experience, Futagawa makes a tribute to the house like none other.
Printed in Japan.
2003, English
Softcover, 440 pages, 15.6 x 23.5 cm
Published by
Duke University Press / North Carolina
$79.00 - In stock -
The Edge of Surrealism is an essential introduction to the writing of French social theorist Roger Caillois. Caillois was part of the Surrealist avant-garde and in the 1930s founded the College of Sociology with Georges Bataille and Michel Leiris. He spent his life exploring issues raised by this famous group and by Surrealism itself. Though his subjects were diverse, Caillois focused on concerns crucial to modern intellectual life, and his essays offer a unique perspective on many of twentieth-century France's most significant intellectual movements and figures.
Including a masterful introductory essay by Claudine Frank situating his work in the context of his life and intellectual milieu, this anthology is the first comprehensive introduction to Caillois's work to appear in any language. These thirty-two essays with commentaries strike a balance between Caillois's political and theoretical writings and between his better known works, such as the popular essays on the praying mantis, myth, and mimicry, and his lesser-known pieces. Presenting several new pieces and drawing on interviews and unpublished correspondence, this book reveals Caillois's consistent effort to reconcile intellectual rigor and imaginative adventure. Perhaps most importantly, The Edge of Surrealism provides an overdue look at how Caillois's intellectual project intersected with the work of Georges Bataille and others including Breton, Bachelard, Benjamin, Lacan, and Levi-Strauss.
2013, English
Softcover, 160 pages, 15.5 x 23.5 cm
Published by
Sun Vision Press / New York
$35.00 - In stock -
The secret journal which the Marquis de Sade risked severe punishment in order to maintain, even when ill and ageing at Charenton asylum, reveals the shadowy life of an exceptional, complex man whose philosophies and works are legendary. In the "hospitalprison” of Charenton, under a liberal regime of surveillance, Sade's days were slow and grim, full of mundane preoccupations, worries about money, quarrels with the people around him - but were also lit up by the sordid, secret episodes of a final erotic adventure: the last flames of his passion, an affirmation of life even as death approached, darkening the colours of his life and tearing apart his feelings.
Only the first (1807-8) and fourth (1814) of these notebooks have been rediscovered, out of a series of four; they are now presented in English for the very first time, along with the first translation of "Phantoms”, a short but extraordinary anti-religious polemic retrieved from Sade's Charenton working notes of 1803.
THE GHOSTS OF SODOM also includes a selection of Sade's letters from Charenton, as well as the working notes for his terminal novel "The Days At Florbelle” - a huge manuscript seized at Charenton in 1807 and deemed so pornographic that it was burned by the police at the behest of Sade's own son. Also included are Sade's last will and testament, a Sade bibliography, and a full chronology of his life, plus the rare essay "De Sade: A Study In Algolagnia” by Montague Summers.
Donatien Alphonse François, Marquis de Sade (2 June 1740 - 2 December 1814) was a French aristocrat, revolutionary politician, philosopher, and writer famous for his libertine sexuality and lifestyle. He is best known for his erotic works, which combined philosophical discourse with pornography, depicting sexual fantasies with an emphasis on violence, criminality, and blasphemy. He is among the world's most famous authors.
1994, English
Softcover, 1205 pages, 13.6 x 20.8 cm
Published by
Grove Press / New York
$50.00 - In stock -
While Justine, Juliette’s sister, was a virtuous woman who consequently encountered nothing but despair and abuse, Juliette is an amoral nymphomaniac murderer who is successful and happy.
“The Marquis is a missionary. He has written a new religion. Juliette is one of the holy books.” —The New York Times Book Review
Donatien Alphonse François, Marquis de Sade (2 June 1740 - 2 December 1814) was a French aristocrat, revolutionary politician, philosopher, and writer famous for his libertine sexuality and lifestyle. He is best known for his erotic works, which combined philosophical discourse with pornography, depicting sexual fantasies with an emphasis on violence, criminality, and blasphemy. He is among the world's most famous authors.
1971, English
Softcover, 104 pages, 25 x 22 cm
Ed. of 2000,
1st Edition, Out of print title / used / very good
Published by
Solomon R. Guggenheim Foundation / New York
$150.00 - Out of stock
The very collectible, and never technically publicly distributed, John Chamberlain "A Retrospective Exhibition" catalogue from 1971, published in an edition of only 2000 copies. Edited by Diane Waldman and published on the occasion of Chamberlain's first museum retrospective in 1971, this beautiful catalogue is profusely illustrated in black and white and colour throughout with over 100 of Chamberlain's works. American artist John Chamberlain's work transformed the strengths of Abstract Expressionism into a three-dimensional form through the use of industrial materials.
In addition to the scholarly essay by Diane Waldman discussing the artist’s influences in great detail, a selection of excerpts from a conversation between Chamberlain, former editor of Art in America Elizabeth C. Baker, artist Donald Judd, and Waldman is also a crucial feature. Also includes a checklist of all 109 works, as well as a bibliography.
The last end page expressly states: "2000 copies of this catalogue designed by Malcolm Grear, typeset by Craftsman Type, Inc. have been printed by Scroll Press, Inc. in December 1971 for the trustees of The Solomon R. Guggenheim Foundation on the occasion of the exhibition "John Chamberlain: A Retrospective Exhibition."
First and only edition of this scarce book, Very Good-Fine condition.
2019, English
2 softcover volumes in hard slipcase, 288 pages, 19.7 x 26 cm
Published by
Hauser & Wirth / Zurich
$99.00 - In stock -
This two-volume publication highlights two key threads in the work of artist Piero Manzoni, a seminal figure of postwar Italian art and progenitor of Conceptualism. The first volume, ‘Materials,’ covers Manzoni’s years of prolific creation leading up to his untimely death in which he experimented with a wide variety of media in his paintings, including sewn cloth, cotton wool, fiberglass, synthetic and natural fur, straw, cobalt chloride, stones, fluorescent polystyrene, pellets, packaging, and more. The second volume, ‘Lines,’ delves into the eponymous body of work of fundamental importance to his well-known Achromes – paintings without color, which aimed to strip his work of expression. Extensively illustrated, both volumes feature art historical essays alongside a host of archival material, making this one of the most comprehensive sources on the artist to date.
Texts by Rosalia Pasqualino di Marineo, Luca Bochicchio, Chiara Cappelletto, Daniela Ferrari, Flaminio Gualdoni, Laura Hoptman, Gaspare Luigi Marcone, Jack McGrath, and Luisa Mensi.
Book design: Teo Schifferli
2019, English
Paperback (w. corrugated board wrap), 212 pages, 21.1 x 25.9 cm
Published by
Hauser & Wirth / Zurich
$95.00 - In stock -
Before or After, at the Same Time: Rome, Milan, and Fabio Mauri, 1948–1968 is a landmark publication from Hauser & Wirth Publishers exploring post-war Italian art through the cultural lens of remarkable 20th-century thinkers and artists. Discover the fascinating narrative of Fabio Mauri, an artist, writer, producer and intellectual, alongside the history of his family, a publishing dynasty which thrived on close connections to radical Italian art, poetry, cinema, philosophy and literature. Mauri’s story becomes a starting point from which to explore Italian visual culture, its influences and the defining ideas behind it. The title refers to Mauri’s statement: "I can’t stay in step with my time. I am either before or after it, at the same time." (Fabio Mauri, Ideology and Memory).
The social and political aftermath of the Second World War engendered two highly energetic pockets of creativity in the cities of Rome and Milan. Uncover a tale of these two cities, with Mauri—a multi-disciplinary artist who resisted categorisation—acting as the point of introduction to the artistic practices that emerged from each of these distinct cultural, economic and political scenes. The book examines and, in cases, re-examines the artistic milieu surrounding Mauri which included Carla Accardi, Franco Angeli, Enrico Baj, Alberto Burri, Alighiero Boetti, Enrico Castellani, Dadamaino, Piero Dorazio, Tano Festa, Lucio Fontana, Jannis Kounellis, Piero Manzoni, Gastone Novelli, Mimmo Rotella, Mario Schifano, Giulio Turcato and Cy Twombly.
Edited by Ben Eastham, the publication features essays and newly commissioned texts by Giorgio Agamben, Ilaria Bernardi, Barbara Casavecchia, Pierre Testard, Andrea Viliani and Laura Cherubini; an interview between Achille and Sebastiano Mauri discussing the enduring and near unbelievable family history; a historic article by Fabio Mauri "In 1960 the 1950s Were 10 Years Old," bringing his prescient character to life; never before published and translated letters between Silvana Mauri, Fabio’s eldest sister, and Pier Paolo Pasolini, the filmmaker, writer and poet expressing a remarkable intimacy and honesty
1968, Italian
Softcover, 16 pages, 30 x 22 cm
1st Edition, Out of print title / used / good
Published by
Galleria L'Attico / Rome
$350.00 - Out of stock
Extremely rare catalogue of Pino Pascali, published to accompany his solo exhibition at the legendary Galleria L'Attico in Rome, March 1968, only months before his death at the age of thirty-two following a tragic motorcycle accident in Rome. This exhibition at Fabio Sargentini's Galleria L'Attico was the very first exhibition of Pascali's iconic "Bristleworms", sculptures in the shape of large caterpillars made with industrial acrylic brushes supported by an iron structure and positioned to invade the gallery space. Beautifully illustrated throughout with many full-bleed b/w and colour illustrations of Pascali's work (Bristleworms and other works in progress) and the artist himself. Photography by Ugo Mulas. Very little text, in Italian. A stunning and historical publication.
Pino Pascali (1935—1968) was born in Bari, Italy in 1935 and moved to Rome in 1955 to learn scene painting and set design at the Academy of Art. Whilst working as an advertisement illustrator and designer Pascali met fellow Arte Povera artist Jannis Kounellis, which lead to his first solo exhibition in 1965 of his "fake sculptures," a series of shaped-canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes. Soon after, Pascali created his "weapon series," which is perhaps his most famous group of works. Assembled from found materials and painted olive-green, it faithfully recreates every detail of the weapon it mimics. However, as the weapon cannot fire or kill, it becomes an innocent, oversized toy. Opposite to the "weapon series" in appearance, Pascali presented organic forms in a dream-like universe that, like the "fake sculptures," play on the relationship between illusion and reality. During his brief activity as a sculptor during the flourishing years of Pop, Concept, and Environmental Art, Pascali produced 149 works, many of which are true icons of twentieth-century Italian art and helped lay the foundations of the Arte Povera movement. The day of his untimely death at the age of 32, following a tragic motorcycle accident on 11 September 1968, coincided with the moment of his greatest public recognition (his presentation at the Venice Biennale and the posthumous awarding of the Sculpture Grand Prix). His short, enigmatic career has served as an important, almost mythological, contribution to post-war European art.
L'Attico was an Italian contemporary art gallery founded in 1957 by Bruno Sargentini and his son Fabio devoted to Italian and international Art Informel. Throughout the late 1950s and 1960s L'Attico exhibited the likes of Lucio Fontana, Jean Fautrier, Vasco Bendini, Giuseppe Capogrossi, Roberto Matta, and many others, but it was with the success of the late 1960s exhibitions by Pino Pascali and Jannis Kounellis that distinguished L'Attico as a true avant-garde gallery, laying the foundations for what would later become Arte Povera. First located in Piazza di Spagna 20, L'Attico moved in 1969 to a garage in Via Beccarla where Jannis Kounellis created the exhibition with twelve live horses, defined by Sargentini himself as "the most famous exhibition in a private gallery of the twentieth century". Sargentini was instrumental in forging a strong bond between New York and Rome in the late 1960s, and presented American artists such as Terry Riley, Trisha Brown, Simone Forti, La Monte Young, Philip Glass, Steve Reich, Charlemagne Palestine, Joan La Barbera, Vito Acconci, Sol LeWitt and Robert Smithson, alongside European artists such as Jean Tinguely, Joseph Beuys, Mario and Marisa Merz, Gino De Dominicis, and many more. From 1972, L'Attico was based in a large apartment in via del Paradiso, near Campo de 'Fiori in Rome, further exhibiting works by such artists as Marcel Duchamp, Alighiero Boetti, Luigi Ontani, Marisa Merz, Hidetoshi Nagasawa, Nam June Paik, Gilbert and George, Hans Bellmer, Emilio Prini and more. In 2010, MACRO presented an exhibition that traces its cultural and artistic activity from the period between 1966 and 1978.
Very Good copy with some light creasing and tanning from age.
2020, English
Softcover, 344 pages, 19.7 x 25.5 cm
Ed. of 3000,
Published by
Primary Information / New York
$82.00 - Out of stock
Originally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s Work 1961-73 documents the artist’s landmark early works at the intersection of dance, performance, and art. The publication provides multifaceted insight into some of the artist’s most celebrated choreographic works, including Terrain (1962), Trio A (1966), Continuous Project-Altered Daily (1970), War (1970), Street Action (1970), and This is the story of a woman who … (1973), among many others.
Assembled ostensibly as a survey, Work 1961-73 features a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work.
As the artist states in the book’s introduction: I have a longstanding infatuation with language, a not-easily assailed conviction that it, above all else, offers a key to clarity. Not that it can replace experience, but rather holds a mirror to our experience, give us distance when we need it. So here I am, in a sense, trying to ‘replace’ my performances with a book, greedily pushing language to clarify what already was clear in other terms. But, alas, gone. This has seemed one good reason to compile a book ‘out of’ the remains of my performances, letting the language fall where it may. Let it be said simply “She usually makes performances and has also made a book.”
Work 1961-73 is an indispensable publication for anyone interested in the artist and the radical developments in dance and performance in the 1960s.
Yvonne Rainer (b. 1934) is a dancer, choreographer, writer,and filmmaker. She is a co-founding member of the Judson Dance Theater and worked primarily as a dancer and choreographer from the early 1960s through the early 1970s. Her choreographic work is widely recognized for blurring the lines between performers and non-performers, incorporating gestural and pedestrian movements, as well as classical dance steps and theatre. In 1972, Rainer began making films, producing seven experimental features, including Lives of Performers (1972), Privilege (1990), and MURDER and murder (1996). She returned to dance in 2000, producing new works commissioned by the Baryshnikov Dance Foundation, the Performa Biennial, and The Museum of Modern Art. She is the author of several books including Feelings Are Facts: A Life (2006), A Woman Who…: Essays, Interviews, Scripts (1999), and Poems (2012). She is the recipient of a MacArthur Fellowship, two Guggenheim Awards, The Foundation for Contemporary Art’s Merce Cunningham Award, and a USA Grant.
Edition of 3000
2019, English
Softcover, 208 pages, 20.3 x 25.4 cm
Published by
MoMA / New York
$55.00 - Out of stock
The 50th anniversary edition of MoMA's landmark book on conceptual art.
In the summer of 1970, the Museum of Modern Art in New York mounted the now legendary exhibition Information, one of the first surveys of conceptual art. Conceived by MoMA’s celebrated curator Kynaston McShine as an “international report” on contemporary trends, the show and attendant catalog together assembled the work of more than 150 artists from 15 countries to explore the parameters and possibilities of the emerging art practices of the era. Noting the participating artists’ attunement to the “mobility and change that pervades their time,” McShine underscored their interest in “ways of rapidly exchanging ideas, rather than embalming the idea in an ‘object.’” Indeed, much of the work in the exhibition engaged mass-communications systems, such as broadcast television and the postal service, and addressed viewers directly, often encouraging their participation in return.
The catalog, rather than merely document the show, functioned autonomously: it included a list of recommended reading, a chance-based index by critic Lucy Lippard, and individual artist contributions in the form of photographic documentation, textual description, drawings and diagrams—some relating to work in the exhibition and others to artworks as yet unrealized. This facsimile edition of the original Information catalog, which has long been out of print, invites reengagement with MoMA’s landmark exhibition while illuminating the early history of conceptual art.
Kynaston McShine was formerly Chief Curator at Large at The Museum of Modern Art, New York.
Artists include Vito Acconci, Carl Andre, Siah Armajani, Keith Arnatt, Art & Language Press, Art & Project, Richard Artschwager, David Askevold, Terry Atkinson, David Bainbridge, John Baldessari, Michael Baldwin, Barrio, Robert Barry, Frederick Barthelme, Bernhard & Hilla Becher, Joseph Beuys, Mel Bochner, Bill Bollinger, George Brecht, Stig Broegger, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn and Mel Ramsden, James Lee Byars, Jorge Luis Carballa, Christopher Cook, Roger Cutforth, Carlos D'Alessio, Hanne Darboven, Walter de Maria, Jan Dibbets, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Group Frontera, Hamish Fulton, Gilbert & George, Giorno Poetry Systems, Dan Graham, Hans Haacke, Ira Joel Haber, Randy Hardy, Michael Heizer, Hans Hollein, Douglas Huebler, Robert Huot, Peter Hutchinson, Richards Jarden, Stephen Kaltenbach, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol Lewitt, Lucy Lippard, Richard Long, Bruce McLean, Cildo Campos Meirelles, Marta Minujin, Robert Morris, N.E. Thing Co., Bruce Nauman, New York Graphic Workshop, Newspaper, Group Oho, Helio Oiticica, Yoko Ono, Dennis Oppenheim, Panamarenko, Giulio Paolini, Paul Pechter, Giuseppe Penone, Adrian Piper, Michelangelo Pistoletto, Emilio Prini, Alejandro Puente, Markus Raetz, Yvonne Rainer, Klaus Rinke, Edward Ruscha, J.M. Sanejouand, Richard Sladden, Robert Smithson, Keith Sonnier, Ettore Sottsass Jr., Erik Thygesen, John Van Saun, Guilherme Magalhaes Vaz, Bernar Venet, Jeff Wall, Lawrence Weiner, Ian Wilson.
2022, English
Softcover, 160 pages, 22 x 15 cm
Published by
Soberscove Press / Chicago
$55.00 - In stock -
On the life and afterlives of Jay DeFeo's Estocada, a work created in the shadow of The Rose.
In 1965, Jay DeFeo (1929-89) was evicted from her San Francisco apartment, along with the 2,000-pound colossus of a painting for which she would become legendary, The Rose. The morning after it was carried out the front window, DeFeo was forced to destroy the only other artwork she'd started in six years, an enormous painting on paper stapled directly to her hallway wall. The unfinished Estocada—a kind of shadow Rose—was ripped down in unruly pieces and reanimated years later in her studio through photography, photocopy, collage and relief.
Drawing from largely unpublished archival material, Rip Tales traces for the first time Estocada's material history, interweaving it with stories about other Bay Area artists—Zarouhie Abdalian, April Dawn Alison, Ruth Asawa, Lutz Bacher, Bruce Conner, Dewey Crumpler, Trisha Donnelly and Vincent Fecteau—that likewise evoke themes of transformation, intuition and process. Foregrounding a Bay Area ethos that could be defined by its resistance to definition, Rip Tales explores the unpredictable edges of artworks and ideas.
2012, English
Hardcover, 320 pages, 26.7 x 30.5 cm
Published by
Yale University Press / New Haven
Whitney Museum of American Art / New York
$120.00 - Out of stock
Jay DeFeo (1929-1989) was part of a vibrant community of avant-garde artists, poets, and musicians in San Francisco during the 1950s and 1960s. Her circle included Wallace Berman, Joan Brown, Bruce Conner, Wally Hedrick, Edward Kienholz, and Michael McClure. Although best known for her monumental painting The Rose (1958-66), DeFeo worked in a wide range of media and produced an astoundingly diverse and compelling body of work over four decades. DeFeo's unconventional approach to materials and her intensive, physical method make her a unique figure in postwar American art.
In the first comprehensive monograph on DeFeo, Dana Miller looks at the breadth of the artist's work, her cross-disciplinary practice, broad range of interests and influences, as well as pivotal moments in her career. In addition, Miller dispels misconceptions and assumptions about the artist and also offers new insight into her under-recognized works from the 1970s and 1980s. Greil Marcus explores the significance of titles in DeFeo's work; Michael Duncan considers her approach to her career and the marketplace; Corey Keller looks at DeFeo's photographic oeuvre; and Carol Mancusi-Ungaro examines her materials and processes.
The book features new photography, archival images, and a number of previously unpublished works. Also included are a biographical chronology, an extensive bibliography, and an exhibition history.
2020, English
Hardcover (w. dust jacket), 360 pages, 30.2 x 33 cm
Published by
Laurence King / London
$120.00 - Out of stock
An authoritative and comprehensive survey of the life and work of the visionary and influential painter Philip Guston.
Driven and consumed by art, Philip Guston painted and drew compulsively. This book takes the reader from his early social realist murals and easel paintings of the 1930s and 1940s, to the Abstract Expressionist works of the 1950s and early 1960s, and finally to the powerful new language of figurative painting, which he developed in the late 1960s and 1970s. Drawing on more than thirty years of his own research, the critic and curator, Robert Storr, maps Guston's entire career in one definitive volume, providing a substantial, accessible and revealing analysis of his work.
With more than 850 images, the enormous book illustrates Guston's key works and includes many unpublished paintings and drawings. An extensive chronology, illustrated with photographs, letters, articles, publications and other ephemera drawn from the artist's archives and other sources, contextualizes Guston's life and provides in-depth coverage of his life at home, his work in the studio, his relationship with fellow artists and his many exhibitions.
Guston was able to speak about art with unrivalled passion and fluency. In celebration of this, the book features Guston's own thoughts on his drawings and his great heroes of the Italian Renaissance.
2016, English / Spanish
Softcover, 144 pages, 23.5 x 17 cm
Published by
Lulu / Mexico City
Mousse Publishing / Milan
$48.00 - Out of stock
Published on the occasion of Manfred Pernice’s solo exhibition at Lulu, Mexico City, this monographic catalogue focuses on the artist's ongoing Kassetten (cassettes) series, initially begun in 2012. Spanning back to 1996, the book features abundant documentation of the various manifestations of the works, visual references, and other recent sculptures as well as texts by Lulu co-founder Chris Sharp.
2021, English
Softcover, 128 pages, 14 x 20 cm
Published by
Distanz / Berlin
$42.00 - In stock -
"Getting your disco act together."
"Guy Hocquenghem visited New York and stayed with me in my loft on Chambers Street, and one night while I was out, he read what I'd written. When I returned later, he said to me that such straightforward description of gay culture was just the sort of thing that gay activists should be writing." — Douglas Crimp
Douglas Crimp (b. Coeur d'Alene, USA, 1944; d. 2019) was one of the most influential art critics, curators, and AIDS activists of his time. His writings on representation and critique remain uncontested milestones in the debate over AIDS and queer aesthetics. The seminal essay Disss-co (A Fragment) reads as a primer to his pioneering studies of queer subcultures and New York's underground scene. In light of today's renewed repression of subcultural—sexual and ethnic—communities, the text has lost none of its relevance.
The art works of Henrik Olesen (b. 1967) often focus on sexual politics. In this publication he shows excerpts from the project Lack of Information, 2001. Arranged as a grid, the work presents a map of different laws worldwide that are directed against gays, lesbians and transsexuals. Among other topics, the work examines anti-gay and sodomy laws, migration and adoption rights, and statistics on hate crimes. It also contains information on the frequency Disss-co (A Fragment) of same-sex behaviour among animal species.
2012, English
Softcover, 96 pages, 22.5 x 20 cm
1st Edition, Out of print title / as new
Published by
Ludwig Museum / Cologne
Walther König / Köln
$90.00 - Out of stock
Scarce first edition of the now out-of-print artist's book by Henrik Olesen, Mr. Knife and Mrs. Fork, published on the occasion of the Wolfgang-Hahn-Prize awarded to him in 2012. Illustrated throughout in detail (colour and b/w) with an essay by Josef Strau and an introduction by Carla Cugini this book provides a literary, artistic and scientific insight into Olesen's work.
As New copy.
1991, English / Italian
Softcover, 46 pages, 30 x 21 cm
1st Edition, Out of print title / as new
Published by
Firenze Alinea Editrice / Italy
$60.00 - Out of stock
"The Night Scene : The design of the Disco-Club", scarce Italian catalogue published to accompany the unique exhibition, La Scena della Notte : Il Design dei Disco-Club curated by Cesare Pergola at Villa Montalvo, Florence, 21-30 September, 1991. Profusely illustrated throughout in glossy colour with texts in English and Italian, this exhibition publication surveys the interior design of 1980's night clubs. From the land of some of the most inventive and iconoclastic discotheque designs, curator Cesare Pergola here presents nine emblematic clubs from around the world: the Palladium (New York), the Haçienda (Manchester), Otto Zutz (Barcelona), Rock Hudson (Rimini), Le Palace (Paris), Bolidò (New York), Gold (Tokyo), Taxim (Istanbul), Manila (Florence). Each club is presented through interior photography, plans and profiles, including information on the designers themselves, including Arata Isozaki, Ben Kelly, Giovanni Tommaso Garattoni, Massimo Iosa Ghini, Nigel Coates, Cesare Pergola, and more. A must for any night club or post-modern interior design enthusiast.
As New copy.
1985, Japanese / English
Softcover, 56 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Japan Industrial Design Promotion Organization / Tokyo
$35.00 $10.00 - Out of stock
Issue 166 of Japan's leading magazine for Industrial Design, published in 1985. A vital mouth piece of the post-modern design industry in Japan and internationally, this issue of Design News features an article on Robot as Pet, introducing the TOMY Omnibot and co., an interview with design critic and curator Stephen Bayley (Habitat, The Boilerhouse Project at the Victoria and Albert Museum — Issey Miyake, Memphis, etc., Design Museum in London, etc.), article on Slovenian industrial designer Davorin Savnik, store concept for the mighty Tokyu Hands department store, plus loads of industry news, reports, new product reviews, exhibitions, books, etc. Mostly in Japanese with some English.
Very Good copy with tanned spine,
1992, Japanese / English
Softcover, 112 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Japan Industrial Design Promotion Organization / Tokyo
$35.00 $10.00 - Out of stock
Issue 217 of Japan's leading magazine for Industrial Design, published in 1992. A vital mouth piece of the post-modern design industry in Japan and internationally, this issue of Design News features articles on car design, new experiments in Corporate design, IDEO design group, "Design After Pluralism", the design of personal fax machines, plus loads of industry news, reports, new product reviews, exhibitions, books, etc. Mostly in Japanese with some English.
Very Good copy
1992, Japanese / English
Softcover, 112 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Japan Industrial Design Promotion Organization / Tokyo
$35.00 $10.00 - Out of stock
Issue 219 of Japan's leading magazine for Industrial Design, published in 1992. A vital mouth piece of the post-modern design industry in Japan and internationally, this issue of Design News features an in-depth feature article on new Japanese Train design, train station information graphics, Nikon camera design, new experiments in NEC sensory products, plus loads of industry news, reports, new product reviews, exhibitions, books, etc. Mostly in Japanese with some English.
Very Good copy
1989, English
Softcover, 96 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
I.D. (International Design) / New York
$25.00 $15.00 - Out of stock
Scarce copy of I.D. (International Design) Vol 36 No 5 (September / October 1989) featuring articles on Dieter Rams, Apple, Joe Colombo, Eames House, as well as design museums, new student designs from across the US, casketry design, news, resources, much more. Heavily illustrated in colour and b/w throughout.
Good copy.