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.
2016, English
Softcover, (w. dust jacket), 430 pages, 16 x 23 cm
Published by
Sternberg Press / Berlin
$85.00 $20.00 - Out of stock
Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa. It offers historical contexts for discussions that have become increasingly urgent in recent years—the role of culture in a time of conflict and globalization—and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty. Based on collective input from numerous contributors and interlocutors, this volume brings together internationally renowned academics, critics, activists, filmmakers, artists, and other independent cultural practitioners to consider how new infrastructures and institutions can effectively emerge within such fraught and dynamic contexts. What is needed in terms of infrastructure for cultural production today, and how, crucially, can we speculatively propose new infrastructures and institutions in the context of present realities?
Contributions by Leila Al-Shami, Monira Al Qadiri, Hoor Al-Qasimi, Anahi Alviso-Marino, AMBS Architects, Stephanie Bailey, Eray Çaylı, Rachel Dedman, Elizabeth Derderian, Anthony Downey, Karen Exell, Reema Salha Fadda, Wafa Gabsi, Hadia Gana, Adalet R. Garmiany, Baha Jubeh, Suhair Jubeh, Amal Khalaf, Kamel Lazaar, Jens Maier-Rothe, Guy Mannes-Abbott, Doreen Mende, Lea Morin, Jack Persekian, Wided Rihana Khadraoui, Rijin Sahakian, Gregory Sholette, Tom Snow, Lois Stonock, Nile Sunset Annex, Ania Szremski, Christine Tohme, Toleen Touq, Williams Wells, Ala Younis, Yasmine Zidane
Visual Culture in the Middle East Vol. 3
Supported by the Kamel Lazaar Foundation
Design by Zak Group
2014, English
Hardcover, 528 pages (350 color and b/w ills.), 17 x 24.5 cm
1st Edition, Out of print title / as new
Published by
Sternberg Press / Berlin
$89.00 $40.00 - Out of stock
Out-of-print, now collectible.
Sweet Sixties Specters and Spirits of a Parallel Avant-Garde Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts in Europe, the Middle East, western and central Asia, Latin America, and northern Africa. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s.
In the 1960s, the landscapes and cities of protectorates and former colonies from India to the Maghreb, from the Soviet Republics to the new states in the southern hemisphere were replete with the spirit and forms of modernity, forms that transmogrify and then dissolve into the thin air of the vernacular. The star maps that are used to survey these artificial worlds often serve to navigate the boundaries between private and public domains. The world full of eerie displacements, gestures of the uncanny, and the constellation of the real exists in a plethora of doubled forms. Question marks and meanderings are all part of this picture. Instruments of communication emerge and are locked away before they have a chance to become immaterial, disappear, and corrode in postmodernity.
The air of the 1960s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams between Soviet, North and South American, Western European, Non-Aligned, etc., are full of interlocutions, hidden pathways, and narratives of trade routes beyond the seemingly stable hegemonies of the blocs.
The stories and spirits of a parallel avant-garde, whose silhouettes have yet to be found on the walls of the Western canon, are the theme of this publication.
As New with some general shelf wear.
2016, English
Hardcover, 105 pages, 22 x 24 cm
Ed. of 1000,
Published by
Karma / New York
$88.00 $50.00 - Out of stock
'Thirty-Four Reverse Telescopes and Three Buttons' catalogues the artist’s recent body of coloured Plexiglas works, made between 2013 and 2016, introduced obliquely with a poem by Ben Estes. Painter Matt Connors (born 1973) is known for combining a modernist visual vocabulary of grids and tense, minimal compositions with influences from design, poetry and music. Connors’ recent series of works brings this sensibility into the play of media: paintings in acrylic on paper are mounted on coloured matte board, framed behind colored Plexiglass, creating an effect of nested coloured forms in space.
2015, English
Softcover, 96 pages, 13.4 x 20.1 cm
ed. of 300,
Published by
Try Hard Editions / Sydney
$35.00 $10.00 - Out of stock
The Second Law of Thermodynamics, which states that the entropy of an isolated system will tend to increase over time, is used in physics to explain why we experience time as moving forward, why eggs once broken don’t un-break or buildings once demolished don’t spring miraculously back from the rubble and dust. It’s what is known as the arrow of time.
Atlantis by Pedro Ramos is an exercise in dismantling this simply linear notion of time. It takes as its subject the implosion of the Atlantis hotel on the island of Madeira, Ramos’ birthplace. Originally built in 1972 to capitalise on the burgeoning tourism industry, the Atlantis hotel was demolished in 2000 to make way for the expanding airport, ironically bringing in the very tourists the hotel was built to accommodate. The implosion was barely a footnote in history, however in Atlantis Ramos uses it as means to explore how the same event can take on multiple meanings depending on the perspective - the personal or the historical.
The images in Atlantis are taken from original news footage of the implosion found online, they are degraded and blurred, showing their own signs of entropy. By fracturing and re-sequencing the footage Ramos is able to summon the building back from the debris in order to watch it come crashing down again, allowing him to enliven and re-imagine his own faded memories of the event. Technology has allowed us to restructure our memories.
On an historical timescale Atlantis can be read as an allegory for the experience of modernity, a world of perpetual destruction and renewal where the same forces which bring things into being are just us quickly their undoing, as Marx would say a world in which “all that is solid melts into air.”
Text by Adam Jasper (Frieze Magazine, Cabinet Magazine)
Design by Rob Milne (Rainoff)
Edition of 300.
2011, English
Softcover, 24 pages, 27 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Hazland Holland-Hibbert / London
$45.00 $10.00 - Out of stock
Now scarce catalogue published by Hazland Holland-Hibbert, London, on the occasion of the presentation of "Barbara Hepworth: Unique Sculptures / Bridget Riley: Early Paintings" at Art Basek 2011. Illustrated throughout, inc. fold-outs, with works by both artists and biographies.
Very Good copy.
2013, English
Softcover, 96pages, 16.5 x 23 cm
Published by
Book Works / London
$30.00 $10.00 - Out of stock
‘I think: Protect me from people who want to protect me; but more, save me from people who know what upsets others.’ – Lynne Tillman
Issue 6 of The Happy Hypocrite challenges the restraining notions found in art and writing about who and what can and cannot speak. What can and cannot be said or thought. In part a response to Kafka – to that which we don’t know has damaged us – freedom is presented as an important and urgent concept, and a complicated word, in which and beside which hypocrisy also resides. (Hypocrisy can be construed as a freedom). The Happy Hypocrite offers its pages to ingenious fictional, nonfictional, and visual responses to the various meanings of ‘freedom’.
There is a range of new contributions, from Gregg Bordowitz, Paul Chan, Gabriel Coxhead, Lydia Davis, Yasmine El Rashidi, Chloé Cooper Jones, James Jennings, Allison Katz, Robin Coste Lewis, the late Craig Owens, Sarah Resnick, Ranbir Singh Sidhu, Abdellah Taïa, an interview between Lynne Tillman and Thomas Keenan, a cover by Susan Hiller, and archival material from Paranoids Anonymous Newsletter.
Lynne Tillman is a novelist, short story writer and critic based in New York. Her sixth novel, Men and Apparitions, was published by Soft Skull Press 2018; Peninsula Press (UK) 2020; her previous novel, American Genius, A Comedy, was said to be, by The Millions, one of the best books of the new millennium. Other novels include Haunted Houses and No Lease on Life, a National Book Critics Circle finalist in Fiction. Her most recent collection of stories and essays, her fifth, is The Complete Madame Realism and Other Stories (Semiotexte). Her stories and essays appear frequently in magazines and artists’ books/museum catalogues, most recently: on Stephen Shore, On Kawara, Anne Collier, Andy Warhol, Susan Hiller, Laurie Simmons, Steve Locke, Amy Sillman, and Kaitlin Maxwell et al. She lives in New York.
2017, English
Softcover, 256 pages, 14 x 19 cm
Published by
True Belief / Melbourne
$50.00 $20.00 - Out of stock
A publication instigated in response to perceived inadequacies in traditional artist monography conventions. A response to the practice of Melbourne based artist collective Open Spatial Workshop (Terri Bird, Bianca Hester, Scott Mitchell), this publication began as a manipulation of the monograph form.
Adam Cruickshank
Cruickshank is an artist and designer based in Melbourne. His work examines the foundational frameworks that structure understandings of artworks. Currently this revolves around publishing and design's relationship to exhibition making and its conventions of explication and archiving. He teaches at Monash University, has a Masters of Fine Art at Monash and is a current PhD candidate at RMIT University.
2016, English / German
Softcover, 186 pages, 20 x 26 cm
Published by
Kunsthalle Wien / Vienna
Sternberg Press / Berlin
$69.00 $15.00 - Out of stock
Edited by Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz, with contributions by Saâdane Afif, Jacques André, Marie Angeletti, Thomas Bayrle, Barbara Bloom, Herbert Brandl, Andrea Büttner, Hans-Peter Feldmann, Camille Henrot, Michaela Maria Langenstein, Pierre Leguillon, Hanne Lippard, Maurizio Nannucci, G. T. Pellizzi, Max Renkel, Michael Riedel, Hubert Scheibl, Yann Sérandour, John Stezaker, Johannes Wohnseifer; with images by Marie Angeletti
Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art.
Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. The act of collecting is multifarious—it can be an expression of curiosity, a desire to transform things that have been discovered, or a systematic approach to certain objects in the world. This catalogue is a compilation of individual collections that could not be more different.
Copublished with Kunsthalle Wien to document the exhibition “Individual Stories: Collecting as Portrait and Methodology,” Kunsthalle Wien, June 26–October 11, 2015.
2017, English / Simplified Chinese
Hardcover (cloth binding), 204 pages, 16.7 x 23.4 cm
Published by
Sternberg Press / Berlin
Rockbund Art Museum (RAM) / Shanghai
$79.00 $15.00 - In stock -
Edited by Li Qi
Texts by Larys Frogier, Heman Chong, Li Qi, Ken Liu, Xiaoyu Weng, Pauline J. Yao
The catalogue for Heman Chong’s first solo museum exhibition in mainland China, at the Rockbund Art Museum, provides an insightful and critical look into the Singaporean artist’s recent practice. To address the centrality of language, books, and the act of reading in Chong’s oeuvre, this publication features newly commissioned texts from a variety of contributors: an introduction by museum director Larys Frogier, and essays by the exhibition’s curator Li Qi, Hong Kong–based curator and critic Pauline J. Yao, and New York–based curator Weng Xiaoyu. These are rounded out with a piece of semifiction by Ken Liu, Boston-based lawyer, science-fiction writer, and translator, who played a central role in realizing Legal Bookshop (Shanghai), one of the works featured in the exhibition.
Ifs, Ands, or Buts is illustrated with images of the entirety of works included in the show at Rockbund Art Museum reproduced alongside documentation of Chong’s correspondence and collaboration with Liu, as well as a section dedicated to the humorous tabloid stories from Chong’s work Papaya Daily.
Copublished by Sternberg Press with Rockbund Art Museum (RAM), Shanghai, on the occasion of the exhibition “Heman Chong: Ifs, Ands, or Buts,” January 23–May 3, 2016.
Design by Wang Jiayi
1987, English
Softcover, 80 pages, 28 x 22 cm
1st Edition, Out of print title / used / good
Published by
A&D / London
$25.00 - Out of stock
April 1987 of London's esteemed Art & Design magazine (A.D.), a special issue dedicated to "The Post Modern Object". Features include : Peter Fuller — Towards a New Nature for the Gothic; Michael Collins — Post-Modern Design; Hugh Cumming — The Designed Object: An International Survey; Charles Jencks — Symbolic Objects; Volker Fischer — Post-Modernism and Consumer Design; Geoffrey Broadbent — Functionalism versus Post-Modernism; Stuart Durant — Proto Post-Modernism; Hans Hollein — Post-Modern Performance Art; and much more. Profusely illustrated throughout with the work of Hans Hollein, Memphis, Robert Venturi, Ettore Sottsass, Aldo Rossi, Tadao Ando, Michael Graves, George Sowden, Mario Botta, Arata Isozaki, Matteo Thun, Shuji Hisada, Beppe Caturelli, Michele de Lucchi, Stanley Tigerman, SITE, Helmut Jahn, Landes and Rang, Charles Jencks, Richard Meier, Robert Stern, Alessi, Takefumi Aida, Eva Jiricna, Studio 65, Paolo Portoghesi, Oscar Tusquets, Terry Farrell, Tomas Taveira, Om Ungers, Swid Powell Ceramics, Lee Payne, and more...
"This issue of Art & Design takes a critical look at the controversial area of product design, a subject which does not often receive the same serious attention as painting or sculpture, although it probably concerns more people, on a day-to-day basis, than the fine arts. The Post-Modern Object focuses in particular on developments over the past few years by designers who have pulled away from the Modernist preoccupation with functionalism as an aesthetic and created a wide range of objects — from sofas to jewellery, cutlery to kettles — which are highly original and decorative. Included in this Profile are works by celebrated designers such as Ettore Sottsass, Michael Graves, Robert Venturi and Hans Hollein."
Good ex-libris copy with light associated markings, tanning and light wear to covers.
1990, English
Softcover, 100 pages, 8 x 22 cm
1st Edition, Out of print title / used / good
Published by
A&D / London
$25.00 - Out of stock
"New Art International" from 1990, a special "Art & Design Profile" edition from London's A.D. magazine. Articles/essays by Thomas Lawson, Victor Burgin, Germano Celant, Robert Rosenblum, Donald Kuspit, Jenny Holzer, Jeff Koons, and many more. Profusely illustrated throughout with the work of Haim Steinbach, Cady Noland, Zoe Leonard, Jenny Holzer, Allan McCollum, Jannis Kounellis, Cindy Sherman, Mario Merz, Barbara Kruger, Susana Solano, Ashley Bickerton, Larry Johnson, David Salle, Peter Halley, Robert Longo, John Baldessari, Barbara Bloom, Laurie Simmons, Luciano Fabro, Christian Boltanski, Thomas Schütte, Günther Förg, Annette Lemieux, Gilbert & George, Victor Burgin, Jeff Koons, Tim Rollins + KOS, Giuseppe Penone, James Lee Byars, Anselm Kiefer, Yves Klein, Thérèse Oulton, Kryzstof Wodiczko, and many more....
Very Good copy, light tanning to cover and some bumping to bottom back cover edge.
2012, English
Hardcover with dust jacket, 192 pages, 17.4 x 23.2 cm
Published by
Sternberg Press / Berlin
$74.00 $25.00 - In stock -
Martin Beck’s exhibition “Panel 2—‘Nothing better than a touch of ecology and catastrophe to unite the social classes…’” draws on the events of the 1970 International Design Conference in Aspen (IDCA) and the development of the Aspen Movie Map to form a visual environment that reflects the interrelations between art, architecture, design, ecology, and social movements.
The 1970 IDCA marked a turning point in design thinking. The conference’s theme, “Environment by Design,” brought together venerable figures of modern design in the United States, including Eliot Noyes, George Nelson, and Saul Bass; environmental collectives and activist architects from Berkeley such as the Environmental Action Group, Sim Van der Ryn, and Ant Farm; as well as a group of French designers and sociologists, among them Jean Aubert, Lionel Schein, and Jean Baudrillard. The conference quickly escalated into a site of unresolvable conflict about communication formats and the potential role of design for environmental practices in a rapidly changing society.
The ensuing decade heralded the development of an interactive navigation system, which used the same Colorado resort town as its test site. The Aspen Movie Map—initiated by MIT’s Architecture Machine Group (the predecessor to the Media Lab) and partially funded by the US Department of Defense—is an image-based surrogate travel system using footage filmed in Aspen. Meant to prepare users for quick orientation in places they have never been to, the Aspen Movie Map was a seminal prototype for today’s military and consumer navigation systems.
The Aspen Complexdocuments two versions of Beck’s exhibition—at London’s Gasworks and Columbia University’s Arthur Ross Architecture Gallery—and brings together yet unpublished archival material and new research on the 1970 IDCA and the Aspen Movie Map.
With essays by Sabeth Buchmann, Felicity D. Scott, and Alice Twemlow
2017, English
Softcover, 117 pages, 17 x 23cm
Ed. of 600,
Published by
MUMA / Victoria
$20.00 - In stock -
Catalogue published to accompany the exhibition "Future Eaters", curated by Charlotte Day at MUMA (Monash University Museum of Art), 22 July - 23 September, 2017.
The exhibition explored artists' approaches to three-dimensional form and materiality in the age of systems rather than artefacts, software rather than hardware, and associated processes of virtual transmission. The exhibition asked: how is sculpture evolving and responding to our increasingly technologised existence?
Artists: Hany Armanious (AUS); Benjamin Armstrong (AUS); Damiano Bertoli (AUS); Nina Cannell (SWE); Marley Dawson (AUS); Aleksandra Domanović (SVN); Hannah Donnelly (AUS); Alex Dordoy (GBR); Lewis Fidock & Joshua Petherick (AUS); Mira Gojak (AUS); Guan Xiao (CHN), Yngve Holen (NOR); Alex Israel (USA); Magali Reus (NLD); Anna Uddenberg (SWE); Anicka Yi (KOR)
Texts: Charlotte Day, Damiano Bertoli, Tara McDowell, Gail Priest, Hannah Donnelly
2015, English
Softcover, 32 pages, 23 x 16 cm
Published by
Occasional Papers / London
$35.00 - Out of stock
This is the first authorised translation of ‘Daniel Bosser, Philippe Thomas décline son identité’, a book about modernism and modalities of display, first published by Galerie Claire Burrus, Paris, in 1987. The book was part of a performative talk given only twice by the French conceptual artist Philippe Thomas (1951–95). What audience members realised upon leaving the auditorium, and discovering the book, was that the talk they had just witnessed was minutely scripted – down to Thomas’ smallest gestures and pauses – in the book itself. Thomas thus blurred definitions of ‘artist's talk’, ‘performance’, ‘transcript’ and ‘book’, producing instead a complex play on words and speech.
Consistent with Thomas’ practice to distinguish his name from authorship, this book is attributed to Daniel Bosser, the collector who acquired the piece.
Translated by Antony Hudek
Includes a new essay on Thomas' work by Émeline Jaret
2014, English
Softcover, 496 pages, 13 x 19.8 cm
Published by
Sternberg Press / Berlin
$79.00 $25.00 - Out of stock
The eighteenth century was an era of violent contrasts and radical change, intellectual brilliance and war, spies and diplomatic intrigue, elegance and cruelty. One of the century’s most mysterious figures was the Chevalier d’Eon, who lived as both man and woman, French spy and European celebrity. Written from the perspective of this historical figure, the novel by Brian O’Doherty—artist and author of, among others, the critical milestone Inside the White Cube and the Booker Prize-shortlisted The Deposition of Father McGreevy—reveals d’Eon’s radical modernity, certified by his attitudes to gender and his examination of his own nature. He ponders the social determinants of sexual identity and studies the manners and conventions governing discourse between the sexes. At the same time, as diplomat and spy, he is involved in the power politics of nations. The novel holds close to historical facts and reproduces some of d’Eon’s comments as recorded in his voluminous journals. Apparently his life did not become real to him until he had rehearsed it in writing. Design by OK-RM
2014, English
Softcover, 115 pages, 17 x 24 cm
Published by
Sternberg Press / Berlin
$30.00 $10.00 - Out of stock
Texts by Mary Ceruti, Suzanne Cotter, Christiane Maria Schneider
Although deeply grounded in drawing, J. Parker Valentine’s diverse practice spans film, video, photography, collage, and sculpture. By pushing the limits of mark making, the many possibilities of narrative and image are encountered and explored. The drawn line exceeds its supports and materials, extending beyond the two-dimensional edges of material to something more sculptural. In the same way that Valentine uses erasure to create an image, the negative space or ephemeral material within a space, such as shadow and light, becomes part of the work.
This artist book includes a selection of images—a documentation of exhibited works and those in process—that offer a sense of Valentine’s approach to working, which gestures toward abstraction and improvisation. For this book, many images have been adapted, reoriented, and/or manipulated. Also included are three essays that investigate Valentine’s process, considering work that has emerged from her previous projects, residencies, and exhibitions to date. Mary Ceruti’s essay describes Valentine’s lasso sculptures as oscillating between drawing and sculpture, and discusses the suggestive narratives that play out in sculptural space. Suzanne Cotter touches on Valentine’s interrogation of the integrity of the medium of drawing and its limits, as well as the transformative nature of her work, as eluding any static reading. Describing the development of Valentine’s work in situ, Christiane Maria Schneider considers how each of the works presented are affected by the relationships they enter into, continually moving between the material and immaterial.
Valentine was born in Austin, Texas, in 1980. She was artist in residence at Artpace, San Antonio, in 2013. She has had solo shows at Supportico Lopez, Berlin (2010, 2012); Galerie Max Mayer, Düsseldorf (2012); Taka Ishii, Kyoto (2010); Peep-Hole, Milan (2010); and Lisa Cooley, New York (2008, 2010). She lives and works in New York.
This book is published on the occasion of J. Parker Valentine’s exhibition “Topo” at Langen Foundation, Neuss, Germany, February 14–June 29, 2014.
Design by Kloepfer-Ramsey-Kwon
2011, English
Softcover, 96 pages (section sewn), 106 x 170mm
Edition of 500,
Published by
Surpllus / Melbourne
$22.00 $10.00 - Out of stock
Forms for a public address presents an exchange between the Berlin-based Swedish artist Jan Svenungsson and the Melbourne-based Australian artist Tom Nicholson, written over a two-year period spanning 2008–2010. Shifting between a discussion of their own work and that of other artists, as well as art history and contemporary events as they unfold in parallel to the exchange, the book addresses the possibilities of art-making, the relationship between public forms and private processes, and the question of how artists understand their work in the face of the world around them.
Sample copy.
1984 / 1987, English
Hardcover, 48 pages, 23 x 19 cm
Out of print title / used / fine
Published by
Souvenir Press / London
$50.00 - Out of stock
UK hardback edition of this wonderful collection of Tomi Ungerer's provocative frog watercolours from the early 1980's. The amphibious "Joy of Sex", this fabulous collection of frog erotica is one of Ungerer's incredible adult books, sitting alongside such classics as The Party (1966), Fornicon (1969) and Tomi Ungerer's Compromises (1970), Totempole (1976), amongst many others.
Tomi Ungerer (born 28 November 1931) is an award winning French illustrator and a writer in three languages. He has published over 140 books ranging from much loved children's books to controversial adult work and from the fantastic to the autobiographical. He is known for sharp social satire and witty aphorisms. He is renowned for his iconic Advertising campaigns and political posters against the Vietnam War and Racial Injustice which were representative of the burgeoning political consciousness in New York in the 1960’s. His political engagement has continued to this day in campaigns against Racism and Fascism, for Nuclear disarmament, Ecology and numerous Humanitarian causes.
Fine copy of the 1987 print with red cover.
1984, English / German / French
Hardcover, 208 pages, 25 x 25 cm
Out of print title / used / very good
Published by
The Graphis Press / Zürich
$190.00 - Out of stock
The very collectable expanded hardcover edition of "Graphis Diagrams", published in 1984 by the legendary Graphis Press, Zürich. This legendary landmark volume from the Graphis "square books series", edited by Swiss graphic designer Walter Herdeg, who's interest in the scientific side of graphic design and the graphic visualization of abstract data brought about one of the most important design volumes of any library. Profusely illustrated across 208 pages, with 399 b/w and colour examples, colour overlay transparency pages, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French. Includes brilliant examples of cartographic diagrams and decorative maps, graphic tables and diagrams, flows, plans, charts, computer-plotted and three-dimensional diagrams, and so much more. Even includes the data visualization that Peter Saville lifted and used on the iconic cover of Joy Division's 1979 debut album Unknown Pleasures, which has become one of the most identifiable graphics of our times.
"The purpose of this book is to show the designer how abstract facts or functions which cannot be simply depicted like natural objects may be given visual expression by suitable graphic transformation. It also reviews the means of visualizing physical and technical processes which are not perceptible to the eye. The optimum synthesis of aesthetics and information value remains the essential objective in every type of diagrammatic presentation…"
Very Good copy with some light age spotting to first and last pages and edges.
1975, English / German / French
Hardcover (w. dust-jacket), 252 pages, 24 x 30.5 cm
Out of print title / used / very good
Published by
The Graphis Press / Zürich
$65.00 - Out of stock
1985 edition of the legendary Graphis Posters book series. Published by The Graphis Press in Zürich, this profusely illustrated, cloth-bound volume continues one of the world's leading design showcases. Each Graphis Posters Annual volume profiles in colour and black and white the best poster design of that year. Profusely illustrated across 252 pages, with 848 b/w and colour examples, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French. These books are a never-ending source of wonder for anyone interested in the history of illustration, graphic design, typography and commercial photography.
Edited by Swiss graphic design Walter Herdeg, with a dust jacket (present) by the great Tomi Ungerer.
Features the work of : Tomi Ungerer, Tadanori Yokoo, Vali Myers, Franciszek Starowieyski, Roman Cieslewicz, Etienne Delessert, Push Pin Studios, Les Mason, Sam Haskins, Peter Lindbergh, Sarah Moon, Jerzy Czerniawski, Jean Arp, Milton Glaser, Leo Lionni, Eiko Ishioka, Ernst Fuchs, Paul Davis, Jean Michel Folon, Ivan Chermayeff, Seymour Chwast, Shigeo Fukuda, Max Bill, Romuald Socha, Jan Lenica, Gottschalk + Ash, Michael English, Ikko Tanaka, Jiri Slalmoun, Don Ivan Punchatz, Walter Pfeiffer, Rene Mulas, Karel Vaca, Károly Schmal, Richard Linder, Massimo Vignelli, Jürgen Spohn, Kenneth Noland, Larry Rivers, Sonia Delaunay, Pet Halmen, Dusan Zdimal, Frieder Grindler, Willem De Kooning, and hundreds more.
Very Good copy with Good original jacket preserved under plastic wrap. Previous owner's name to first blank page.
1974, English / German / French
Hardcover, 120 pages, 30.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$50.00 - Out of stock
Wonderful hardcover book edition of this Graphis special dedicated entirely to the visual language of science. Expanding into book form from the special issue #165 (1973/74), edited by Walter Herdeg, this volume is profusely illustrated with colour and b/w artworks and graphics from numerous designers and illustrators working in the field, with a cover painting by Hans Erni. Articles are featured: Editor’s Foreword, written by Walter Herdeg; Introduction, by Jerome Snyder; Pre-Twentieth-Century Scientific Art, by Adolf Portmann; Scientific Illustration in the Twentieth Century, by Paul Peck; Scientific Illustration for the General Public, by Edward A. Hamilton; Walter Linsenmaier, by Walter Robert Corti, Winterthur; and Visual Presentations in the Promotion of Pharmaceutical Companies, by Werner Reber.
"Anyone who is familiar with the various domains of the applied graphic arts will know that the present-day scientific illustrator is something of a wallflower compared with his historical predecessors and his more widely acclaimed colleagues from the fields of advertising, editorial art and book illustration. The function of scientific drawing is admittedly an essentially practical one : to inform, to explain and to instruct. But that does not prevent it from measuring up to aesthetic criteria. In fact, this area can show a wealth of artistically outstanding work which is at the same time a valuable contribution to the records of science and which certainly deserves to be brought to the notice of a wider public. The following survey sets out to show that within the confines of scientific illustration there is plenty of latitude for the exercise of the artist's talents. It is my hope that it will stimulate gifted illustrators to try their hands in this field and will encourage young artists to choose scientific illustration as a career. It would also be gratifying if as a result of this publication more opportunities were offered to qualified artists and designers to place their skills at the disposal of science. It is not by any oversight that the most famous of all the artists of science, Leonardo da Vinci, is not represented in our first section. His work is so well known to most of our readers that I found it wiser to save a little space for artists who have had less exposure. If some contemporary scientific illustrators of repute are likewise absent from this survey, this does not imply any lack of appreciation for their work but is due merely to limitations of space which are unavoidable in a publication such as this." — from introduction.
Good ex-libris copy with some wear and chipping to laminate covers and a few associated library markings not affecting the content.
2018, English
Softcover, 139 pages, 14 x 23 cm
Published by
Sternberg Press / Berlin
$54.00 $20.00 - Out of stock
In October 2014, Paul McCarthy’s work entered the public space of Paris. To accompany the Monnaie de Paris’s exhibition of his Chocolate Factory, a workshop producing chocolate trees and Santas, McCarthy installed the massive inflatable sculpture Tree at Place Vendôme. The sculpture’s shape was at once reminiscent of a sex toy, a Christmas tree, and a Hans Arp artwork. It caused a public outcry, the artist was attacked, and the work vandalized and ultimately removed. McCarthy’s intervention, however, became a symbol for artistic freedom.
A program was organized over the course of the Monnaie de Paris exhibition with preeminent collaborators, scholars, artists, curators, and writers, all engaged in the discussion of the possibilities of art after the assault on the artist. The participants confronted themselves with the sculpture while being given an open space to unveil their vision and research. Paul in Paris / Paris in Paul brings together these conversations, which reflect on McCarthy’s work and present a map of the city’s intellectual debates. From the fabrication of chocolate to the symbolism of coins, and from the creative process to the meaning of life, they reveal the vitality of independent thought and consider the impact of the artist’s work today.
Contributions by Michel Amandry, Philippe Artières, Bernard Blistène, Barbara Carnevali, Emanuele Coccia, Dennis Cooper, Sylvie Damiens, Tristan Garcia, Donatien Grau, Paul McCarthy, ORLAN, Chiara Parisi, Anaël Pigeat, Israel Rosenfield, Neville Rowley, Olivier Zahm
2018, English
Hardcover, 560 pages, 24 x 34 cm
Published by
Phaidon / London
$210.00 $100.00 - Out of stock
Awarded the The New York Times Best Art Book of 2018, this is the only book to thoroughly document the world's finest examples of Brutalist architecture. More than 850 buildings - existing and demolished, classic and contemporary - are organized geographically into nine continental regions.
Presented in an oversized format with a specially bound case with three-dimensional finishes, 1000 beautiful duotone photographs throughout bring the graphic strength, emotional power, and compelling architectural presence of Brutalism to life. From 20th century masters to contemporary architects, much-loved masterpieces in the UK and USA sit alongside lesser-known examples in Europe, Asia, Australia, and beyond - 102 countries in all. Twentieth-century masters included in the book: Marcel Breuer, Lina Bo Bardi, Le Corbusier, Carlo Scarpa, Ernoe Goldfinger, Frank Lloyd Wright, Louis Kahn, Oscar Niemeyer, and Paul Rudolph. Contemporary architects featured include Peter Zumthor, Alvaro Siza, Coop Himmelb(l)au, David Chipperfield, Diller and Scofidio, Herzog & de Meuron, Jean Nouvel, SANAA, OMA, Renzo Piano, Tadao Ando, and Zaha Hadid.
From the publisher of This Brutal World.
NEW COPY marked-down due to cover edge bumping.
2020, English
Softcover, 241 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
These are the reviews from 2018, the second year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
As readers engage with this second year of reviews, they might see a group of art writers coming to grips with the particular limitations and opportunities of the weekly review format and even the particularities of its online delivery. Some will track the successive mentions of the same artist or gallery space, seeing what different writers make of them. Others will follow the progress of individual writers, finding and developing their own style and argument.
Contributions by Amelia Winata, Anna Parlane, Audrey Schmidt, Benison Kilby, Chelsea Hopper, David Wlazlo, Eva Birch, Francis Plagne, Giles Fielke, Helen Hughes, Hester Lyon, Jane Eckett, Kate Warren, Nicholas Tammens, Paris Lettau, Philip Brophy, Rex Butler, Shelley Mcspedden, Sophie Knezic, Tiarney Miekus, Tim Alves, Victoria Perin.