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:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2023, English / German
Hardcover, 400 pages, 27 x 22 cm
Published by
Walther König / Köln
$90.00 - In stock -
Ursula's life and work offer an unconventional narrative of artistic independence. Her art exemplifies the idea that Surrealism is not a style, but an attitude. Ursula subverted reality and found the uncanny in the everyday, challenging the authorities of society and art by imagining new worlds in which old hierarchies are thrown overboard and new ways of life are conceivable. Ursula shared this utopian imagination with artists such as Leonora Carrington, Leonor Fini, Dorothea Tanning, and Unica Zürn. The aim of this catalogue is to present Ursula's captivating and self-assured work to a new generation of art lovers. It reveals that it is the individuality of Ursula's work that allows it to touch on so many fundamental and topical issues, including female self-determination and the challenging of established gender identities, with a worldview in which everything is interconnected and mutually dependent.
Edited by Stephan Diederich.
Contributions by Stephan Diederich, Yilmaz Dziewior, Helena Kuhlmann, Chus Martinez, Elizabeth A. Povinell.
English and German text.
"Cologne Museum Dives Into German Artist’s Once-Lost Fantastical World: Ursula Schultze-Bluhm, painter of unearthly visions was largely overlooked by the art world…"—New York Times, by Andrew Russeth, 2023.
2024, English / German
Hardcover, 315 pages, 30 x 30.2 cm
Published by
Walther König / Köln
König Galerie / Berlin
$95.00 - In stock -
A pioneering figure of 1980s neo-expressionism and an important inspiration for the Neue Wilde painters, K.H. Hödicke, who die in February 2024, was best known for his variegated depictions of Berlin, where people, landscapes, and architecture take on an almost folkloric quality. This lavish over-sized hardcover catalogue comprises is profusely illustrated with paintings and sculptures produced between the mid-1960s and the mid-1990s, including works in which Hödicke portrays West Berlin during the division of Germany. Foreword by Timon Karl Kaleyta, text by Andrew Hunt, and an Interview by Hans Ulrich Obrist. All text in English and German.
Karl Horst Hödicke (1938–2024) was a contemporary German artist known for his Neo-Expressionist paintings. The artist’s broad brushstrokes and specific colour palette provide his works with a sense of seeing a place through memory – specifically Berlin with its ever-changing cityscape was a central motif in his work. Having moved to Berlin in 1957, Hödicke became one of the spokespeople for a small group of impetuous young lateral thinkers who wanted to revolutionise painting. No sooner had German post-war modernism rejoined the international artistic trend towards the abstract than they revolted against this new doctrine with a revival of figurative painting, which had been declared obsolete. Hödicke was subsequently a pioneer of German Neo-Expressionism and New Figuration with Georg Baselitz, Jörg Immendorf, and A.R. Penck. He was one of the main protagonists and drivers of the New Savages or Junge Wilde movement in 1978, which arose in the German-speaking world in opposition to established minimal and conceptual strategies.
2016, English
Hardcover, 232 pages, 23.1 x 17.5 cm
Published by
Walther König / Köln
Moderna Museet / Malmö
$75.00 - Out of stock
On Being an Angel takes its title from a caption the artist inscribed on two of her photographs—self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman’s work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work—in black and white and in color—exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman’s influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman’s work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman’s oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist’s father, George Woodman.
Francesca Woodman (1958–81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York to attempt to build a career in photography. Woodman’s working career was intense but brief, cut short by her death in 1981.
2008, English
Hardcover (w. obi-strip), 220 pages, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Walther König / Köln
$160.00 - Out of stock
First edition of this beautiful hardcover monograph on the work of Miroslav Tichý, published in 2008 by Walther König and quickly out of print. Profusely illustrated throughout with Tichý's works alongside informative background about the artist and his work by contributors Harald Szeemann, Carolyn Christov-Bakargiev, Clint Burnham, Roman Buxbaum.
After studying at the Academy of Arts in Prague, Miroslav Tichý, born in 1926 in the former Czechoslovakia, withdrew to a life of isolation in his hometown of Kyjov. In the late 1950s, he stopped painting and, during his daily walks, began to take photographs of women with cameras he made by hand. He mounted his prints on handmade frames and added finishing touches in pencil, shifting from photography to drawing. Disregarding the rules of photography, for four decades Tichý created a large oeuvre of poetic, dreamlike views of female beauty.
A former neighbor, Roman Buxbaum, discovered Tichý's hidden work in the 1980s and has been documenting and collecting it ever since. In 2004, the esteemed international curator Harald Szeemann mounted the first solo exhibition of the nearly 80-year-old artist. That same year, Tichý was given the Rencontres d'Arles Photographie Discovery Award and the Kunsthaus Zurich organized a large retrospective. Solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art (MMK) Frankfurt followed in 2008. Tichý does not see his exhibitions, for he no longer leaves his house. This beautifully produced, thorough volume collects the work — perfectly.
Very Good copy with light wear. With original illustrated publisher's obi-strip.
2019, English / German
Softcover, 436 pages, 17 x 23.5 cm
Published by
Walther König / Köln
Ludwig Forum / Aachen
$85.00 - Out of stock
The Invention of the Neue Wilde aims to put a new perspective on the phenomena of the so-called ‘Neue Wilde’ (new Fauves), which was a term used in Germany for neo-expressionism: a movement which saw the re-emergence of expressive painting in the late 1970s and 1980s. Its most famous protagonists include Martin Kippenberger, Werner Büttner, Salome and Walter Dahn.
Instead of focusing on the production of paintings by those involved – and a corresponding catalogue of these paintings – it is much more interested in the emergence of the painting boom out of potent interplay between artists, gallerists, collectors and art historians. Here the focus is especially on personal backgrounds and the context in which painters worked.
The argument shows that the artistic practices of the ‘Neuen Wilden’ had little to do with a generalised ‘return’ to panel painting and thus to a traditional concept of art. Painting was in fact embedded in an extended network of artistic production, which was particularly characterised by a destabilisation in the division between high and popular culture as well as by various media, genres and collaborative forms of praxis.
Hitherto neglected photographic and documentary material as well as artists’ posters, records, newspapers, video works and artists’ books testify to the artists’ experimental bent on one hand, their proximity to self-organised, subcultural phenomenon, such as the punk or new wave scenes of the 1980s on the other. On this basis, the much-described ‘return’ to painting can be exposed as a hugely simplified narrative, while sketching out a complex image of the situation around 1980.
Artists: Hans Peter Adamski, Peter Bömmels, Werner Büttner, Luciano Castelli, Walter Dahn, Jiÿí Georg Dokoupil, Rainer Fetting, G. L. Gabriel-Thieler, Anne Jud, Martin Kippenberger, Helmut Middendorf, Christa Näher, Hilka Nordhausen, Markus Oehlen, Brigitta Rohrbach, Salomé, Bettina Semmer, Bettina Sefkow, Claudia Skoda, Rolf von Bergmann, Bernd Zimmer, and others.
Includes texts by Thomas Bayrle, Andreas Beitin, Werner Büttner, Diedrich Diederichsen, Catherine Dossin, Brigitte Franzen, Ramona Heinlein, Christian Höller, Katrin Köpper
Published on the occasion of the exhibition, The Invention of the Neue Wilde: Painting and Subculture around 1980 at Ludwig Forum für Internationale Kunst, Aachen (12 October 2018 –10 March 2019).
English and German text.
2024, English
Hardcover, 312 pages, 29 x 24.5 cm
Published by
Walther König / Köln
$90.00 - In stock -
Under the name ‘Mülheimer Freiheit’ artist’s Hans Peter Adamski, Peter Bömmels, Walter Dahn, Jiří Georg Dokoupil, Gerard Kever and Gerhard Naschberger exhibited together for the first time in November 1980 at the Paul Maenz Gallery in Cologne and soon thereafter internationally. The way they purposefully questioned the pseudo-individual “creative” artist ego in an unpathetic and humorous way ensures them a special status in the “Hunger nach Bildern” [hunger for images] to this day. Clearly more and different than just “Wilde Malerei” [wild painting] in their approach ‘Mülheimer Freiheit’ was an announcement that was to shape the art scene in Europe for an entire decade.
The book, with many illustrations of works, offers for the first time an overview of the group’s history, made vivid by numerous previously unpublished photographs by Benjamin Katz. Accompanying texts by Margrit Brehm, Wilfried Dickhoff, Axel Heil, Sophie Hirschmüller, Toby Kamps, and Paul Maenz.
Published on occasion of the exhibition ‘Painting Tumult 1979-1988 / Made in Cologne’, 13 Nov 2022–16 Apr 2023, Center of Contemporary Art in Toruń, Poland.
Co-published with the Tumult Foundation.
English edition.
2024, English
Hardcover (cloth bound), 240 pages, 22 x 27.9 cm
Published by
Walther König / Köln
$95.00 - Out of stock
It was not before the 1990s that Louise Bourgeois won global recognition for her artistic achievements, becoming famous for her monumental spider sculptures and room-sized cells. But it was in her early oil paintings that the artist first developed the formal vocabulary and defined the thematic concerns that she would continue to explore.
This catalogue accompanies the first major solo exhibition of Bourgeois’ early paintings in Europe, placing them in dialogue with a selection of later sculptures, installations, drawings and prints.
Edited by Stella Rollig, Sabine Fellner, and Johanna Hofer.
Text by Louise Bourgeois, Bice Curiger, Ulf Küster, and John Yau
2024, English / German
Softcover, 224 pages, 28 x 22 cm
Published by
Walther König / Köln
$85.00 - Out of stock
A richly illustrated catalogue, published on occasion of the exhibition ‘Cosima von Bonin: feelings’, 21 Mar – 9 Jun 2024, Schirn, Frankfurt, in which the artist juxtaposes recent works never shown in Germany before with familiar pieces. Works on view at Schirn include sculptures, installations, performances, and a selection of her characteristic ‘Lappen.’
Cosima von Bonin creates transformations of the everyday, drawing on numerous references from pop culture, film, fashion, music and art. In her installations, exhausted soft toys, soft fences, rockets and textile images or cartoon figures like Daffy Duck or Bambi populate the space.
For this catalogue, Katharina Dohm introduces the exhibition, Diedrich Diederichsen illuminates the toy with its various parameters, Clara Drechsler gets to the bottom of the figure of Daffy Duck and its connections to Cosima von Bonin.
English and German text.
2024, English
Softcover, 776 pages, 24 x 17 cm
Published by
Walther König / Köln
KW Institute for Contemporary Art / Berlin
$65.00 - Out of stock
“A sense of art history is part of the critical basis on which artists construct ‘a future’ of art. But the question is, which sense of art history will be shaping that future? Art history has always been far too important to be left up to art historians.”—Ian Burn, 1982
Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—and, as he once described himself in a moment of self-deprecating alienation, ‘an exConceptual artist’.
Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings that reveals a probing, analytical artist who turned to language to articulate the need for ‘looking at seeing and reading’, who pursued a Marxist politics in the face of neoliberalism and who sought to occupy and transform the margins of landscape painting. Alongside a vast collection of his artworks, the catalogue brings together previously unpublished material and offers a prescient rethinking of art in a decentered world through what Ian Burn called ‘peripheral vision’. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.
Born in Geelong in 1939, Ian Burn was a conceptual artist. Burn studied painting in Melbourne and went on to live and work in London and New York. Burn moved back to Australia in 1977 and passed away in 1993 at the age of 53.
Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—or, as he once described himself in a moment of self-deprecating alienation, ‘an ex-conceptual artist’.
Born in Geelong in 1939, Burn studied painting in Melbourne and went on to live and work in London and New York. Burn moved back to Australia in 1977 and passed away in 1993 at the age of 53.
Burn sought to grapple with how art history intersects and engages with contemporary art and political debate, arguing for a decentred view of the world. His legacy is international and can be seen in retrospective exhibitions as recent as 2022, and his work remains a key touchstone in art history.
Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings alongside a vast collection of his artworks. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.
Design and typesetting by Robert Milne.
Co-published by Walther Koenig and KW Institute for Contemporary Art, Berlin.
2024, English
Softcover, 96 pages, 23.4 x 15.6 cm
Published by
Walther König / Köln
$62.00 - In stock -
Often considered as unique artworks, Man Ray’s original sculptures possibly never existed. They are often only known through the artist’s accounts in writing, conversations, or conspicuously dated photographs. In place of these absent signifiers, however, Man Ray created alternative variations on multiples occasions throughout his career, under morphed titles, materials, and in various quantities. These he called ‘replicas’, ‘editions’, or ‘new originals’, depending on their appearance and production method. This book explores how originality was manifested in Man Ray’s process of artistic reproduction and multiplication. Featuring essays from Peter Fischli, David Campany, Alyce Mahon, Jennifer Mund and Margrethe Troensegaard.
Published alongside an exhibition of the same name at Luxembourg + co, New York, 6 September – 2 December 2023.
2010, English / German / French
Folio of five looseleaf pattern sheets, a letter in facsimile, and catalogue, colour offset printed, 21.5 x 27 cm
1st Edition, Out of print title / as new
Published by
Secession / Vienna
Walther König / Köln
$160.00 - In stock -
Out-of-print and collectible artist’s portfolio by Marc Camille Chaimowicz with five pattern sheets, a letter from Chaimowicz in facsimile, and an illustrated catalogue with essay by Silvia Eiblmayr (German/English and French/English). Produced by the Secession in a limited edition and published in cooperation with Musée La Piscine, Roubaix.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Like New copy.
2022, English
Hardcover, 288 pages, 23.5 x 28 cm
1st Edition, Out of print title / as new
Published by
Walther König / Köln
$105.00 - Out of stock
The first overview in a decade on Kubin’s gothic pageant of dreamworld menace. The quickly out-of-print English edition.
The art of the great Austrian draftsman, illustrator and author Alfred Kubin (1877–1959) appears more current today than ever before: for it was violence, wartime destruction, pandemics, natural disasters, the manipulation of the masses and other abysses of human existence that pervaded his highly narrational works. The oeuvre of this fantastical creator confronts us with pessimistic visions which – to quote Schopenhauer – delineate “the worst of all possible worlds”. Kubin’s nightmarish oeuvre extends Symbolism and the fantastical art of the 19th century and may be considered a precursor to French Surrealism, with its syntheses of actual and imaginary reality, its bleak realms that Kubin often seasoned with humor, irony and exaggeration.
Published for an exhibition at the Leopold Museum in Vienna, Alfred Kubin: Confessions of a Tortured Soul offers an exploration of Kubin’s oneiric worlds in terms of their relation to the unconscious. Through this lens, psychoanalyst and psychiatrist August Ruhs addresses pieces by Kubin selected by curator Hans-Peter Wipplinger. In addition, Kubin’s works are placed into a dialogue with works by artists of the 19th century and of the classical modernism from which Kubin derived inspiration. Artists such as Francisco de Goya, Félicien Rops, James Ensor, Max Klinger, Odilon Redon, Gustav Klimt and Edvard Munch shaped Kubin’s vocabulary of motifs and formal aesthetics, as did authors such as ETA Hoffmann, Edgar Allan Poe, Gérard de Nerval, August Strindberg and Gustav Meyrink his literary sources of inspiration.
2006, German / English
Softcover, 72 pages, 30 x 24 cm
Out of print title / used / good
Published by
Secession / Vienna
Walther König / Köln
Galerie im Taxispalais / Innsbruck
$200.00 - Out of stock
Rare 2006 catalogue published on the occasion of the exhibition Isa Genzken at Galerie im Taxispalais, Innsbruck and Secession, Wien, by Walther Koenig. Profusely illustrated throughout with Genzken's works and installation views, accompanied by texts by Benjamin H.D. Buchloh, Manfred Hermes, Anette Freudenberger, Silvia Eiblmayr, and Barbara Holub in both English and German.
"For more than thirty years, Isa Genzken has been developing a versatile oeuvre, continually extending it by adding new aspects. Her settings, her unusual combinations of materials, and the fragile but monumental character of her constructions reflect the surrounding world and the fragility of human existence. Her work—which includes sculptures and installations as well as photography, collage, and film—explores the space between public claims and private artistic autonomy, thus defining an interface where the personal and the universal meet. The formal and conceptual rigor at the root of Isa Genzken’s approach is tempered by unrestricted freedom, producing works that can be interpreted and experienced on very different levels. A central role is played by the choice and combination of materials with different connotations which the artist finds at home depots, builders’ suppliers, and department stores: whereas in the past Genzken used wood, plaster, epoxy resins, and above all concrete, the material of Modernism, her main materials today are plastic, synthetics, and a wide range of mirrors, as well as everyday items and consumer goods such as chairs—design classics alongside cheap camping chairs—garments, and plastic dolls and animals.
For her exhibition in the Hauptraum at the Secession, Isa Genzken has devised an installation with new sculptures and pieces on the wall: wheelchairs and seats draped in various textiles, ribbons, and sheets, walking frames, anthropomorphic figures, and wall-filling collages made from mirrors, photos, and adhesive tape create a carefully arranged image. Warholesque baby dolls with their outsize glasses look like prematurely aged children or, conversely, like infantilized adults, waiting under tattered parasols on a Hollywood set for shooting to recommence. But less than this bizarre scene, what is disconcerting here is the cool precision with which, for all the piece’s figurativeness, no story is told. Dolls and animals form heterogeneous abstract surfaces, but they are not deployed to narrative ends, and neither are other materials such as the mirrors, plastic sheeting, or the paint dripped or sprayed over many of the sculptures.
The new works relate to Genzken’s recent Empire/Vampire series. But while these works were presented on plinths at eye level, at the Secession, the entire space turns into a kind of plinth and the visitors become part of this scenario that is both beguilingly beautiful and disturbing at the same time. The works turn an imaginary inner space outwards, but rather than being something merely invented, the space always refers to the real—a comparative moment against which all the pieces can be measured. In an interview with Wolfgang Tillmans, Isa Genzken describes the way she thinks a sculpture should look: “It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite. [...] Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”
Good copy, due to bumps/creases to corners and previous owners inscription to title page, otherwise a Very Good copy throughout.
2022, English
Hardcover, 120 pages, 27 x 20 cm
Published by
Walther König / Köln
$80.00 - Out of stock
Previously unseen early works from the Weimar Republic's greatest chronicler and satirist.
This volume is dedicated to the early life and career of the brilliant young artist Georg Ehrenfried Gross (1893-1959), who would later become known as George Grosz. Known for his politically charged paintings and caricatural depictions of Berlin life in the 1920s, the youthful Gross had a long way to go before changing his name and becoming the most popular and sharp-tongued chronicler of the Weimar Republic. Gross made his first oil paintings in 1912 while still a student, and by 1914 was working in a style deeply influenced by Expressionism, Futurism and popular illustration. Presenting over 50 works made between the years 1904 and 1917, all but a few exhibited for the first time ever, the inaugural exhibition of Das kleine Grosz Museum, and this accompanying catalog, trace the artistic and biographical trajectory of this great artist's journey.
2023, English
Hardcover, 120 pages, 27 x 20 cm
Published by
Walther König / Köln
$80.00 - Out of stock
George Grosz created his last major series of paintings and watercolours, the “Stick Men”, beginning in the mid-1940s in reaction to the devastating news about the Holocaust and the other atrocities of the Second World War. The deployment of atomic bombs at the end of the war, and the threat of a Third World War, further deepened his pessimistic vision of mankind’s future. He presented his “Stickmen” as dehumanized, famished beings aimlessly wandering through a contaminated, post-apocalyptic world. The catalogue forcefully contradicting the widespread misconception that Grosz had become “soft” and apolitical during his American years. The contrary is true: his Stick Men series is the culmination of the political and artistic convictions of a lifetime of struggle – an artistic legacy that, given the current state of the world, could not be more timely and relevant.
English and German text.
Published on occasion of the exhibitions: ‘The Grey Man Dances: The ‘Stick Men’ of George Grosz’, May – Oct 2023, Das Kleine Grosz Museum, Berlin; as well as a forthcoming exhibition at The Heckscher Museum of Art, Huntington, NY, 2024.
2022, English / German
Box containing 8 DVDs (10:05 mins total), book (520 pages), brochure (24 pages), 25.5 x 18 cm
Published by
Walther König / Köln
ZKM / Karlsruhe
$200.00 - Out of stock
With his legendary actions, Joseph Beuys revolutionized art. He transformed sculpture into a form of action and expanded the concept of design from sculptural material into society: the Soziale Plastik (social sculpture).
The singular achievements of art in the second half of the 20th century are media art and action art. Action painting signaled the beginning of the performative turn in which Joseph Beuys plays a central role. In addition to his extensive and innovative oeuvre as a draftsman and sculptor, he was in fact the first artist to transform sculpture into a form of action, and with his concept of “social sculpture” he extended the concept of design from material into society. Beuys’s action art turned away from reductionist modernism and towards the whole of our lifeworld. This meant that his demonstrations often had a disruptive, unsettling, and provocative character. For over four years, the ZKM | Karlsruhe, in collaboration with the Joseph Beuys Estate and with financial support from the Kunststiftung NRW, worked on a DVD edition of the audiovisual recordings of Joseph Beuys’s legendary actions.
This edition offers the unique opportunity to view in chronological order film documents that were previously isolated and only accessible with difficulty or not at all. These are now being published by the ZKM as first releases or new editions. The DVD edition is accompanied by a book (520 pages) augmented with archival material (notes, photographs, drawings, scores) from the private collection of Joseph Beuys and with photographs of the actions that were not captured on film. The edition also includes an index of Joseph Beuys’s audiovisual media held at the ZKM.
For both scholars and private users, this compendium provides valuable visual and research material for approaching one of the most influential artists of the 20th century.
Cardboard box with 8 DVDs (running time approx. 10 hrs. 05 min. NTSC- + Pal-Format.) + accompanying publication (brochure with open thread stitching, 520 p., numerous ill.) + index of audiovisual media by Joseph Beuys at the ZKM (brochure with saddle stitching, 24 p.)
English and German.
Co-published by Walther Koenig with ZKM.
2004, English / German
Softcover, 176 pages, 16.5 x 24.2 cm
1st Edition, Out of print title / as new
Published by
Walther König / Köln
$65.00 - Out of stock
In his performances, installations, videos and sculptures, Paul McCarthy has deconstructed, muddied, insulted and made a very deliberate mess of American mythology, from Heidi and Pinocchio to Santa Claus and Rocky. His videos, represented in this now out-of-print monograph through detailed annotation and video stills, are an indispensable documentary element of his performances. Over 50 works are included, plus a biography, bibliography, selected exhibition list, and accompanying essays by Yilmaz Dziewior, Ulrike Groos, Johann Lothar Schröder and Kathrin Sauerländer.
As New.
2016, English
Softcover, 600 pages, 24 x 17 cm
Published by
Walther König / Köln
$85.00 - Out of stock
Seth Siegelaub (1941–2013) is best known for his decisive role in the emergence and establishment of Conceptual Art in the late 1960s.
This extensively researched publication documents the first exhibition about his life and work, which reassess his role as one of the distinctive characters in twentieth-century exhibition-making, while recognizing his atypical, inquisitive, and free-spirited genius.
Siegelaub was also a gallerist, independent curator, publisher, researcher, archivist, collector, and bibliographer. Often credited as the ‘Father of Conceptual Art’, he was (and remains) a seminal influence on curators, artists, and cultural thinkers, internationally and in Amsterdam, where he settled in the 1990s.
With revolutionary projects such as the Xerox Book, he set the blueprint for the presentation and dissemination of conceptual practices. In the process, he redefined the exhibition space, which could now be a book, a poster, an announcement, or reality at large.
Siegelaub’s radical reassessment of the conditions of art resonated deeply with the iconoclastic views of his contemporaries Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Lawrence Weiner, among others, with whom he developed close working relationships.
Texts by Beatrix Ruf, Leontine Coelewij , Sara Martinetti and more.
Published on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at Stedelijk Museum, Amsterdam, 12 December 2015 – 17 April 2016.
2003, English / German
Hardcover (w. dust jacket), 192 pages, 32 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Walther König / Köln
Kunsthalle Zürich / Zürich
Museum Abteiberg / Mönchengladbach
$600.00 - Out of stock
First edition of the mighty collectible catalogue raisonné of Isa Genzken, published by Walther Koenig in 2003 and very quickly out-of-print. Edited by Veit Loers and Beatrix Ruf, this over-sized hardcover volume is richly illustrated with Genzken's wide-ranging, multi-faceted body of work created over a ten year period, including large reproductions of her installations and a comprehensive chronological catalogue raisonné of work from 1992-2003. Includes texts by Diedrich Diederichsen, Vanessa Joan Müller and Josef Strau, and an interview between Genzken and artist Wolfgang Tillmans. An invaluable and rare resource on one of the greatest contemporary European artists. All texts in English and German.
Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a New York Times critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken offers a highly original interpretation of modernist, avant-garde, and post minimalist practices even as she engages pressing sociopolitics and economic issues of the present.
Very Good - Fine copy in VG-Fine dust jacket.
2022, English
Softcover, 198 pages, 16 x 23 cm
Published by
Walther König / Köln
$58.00 - In stock -
This publication assembles a selection of texts produced between the years 2005 and 2020, starting with The Non- Productive Attitude (2005), his prominent reflections on the anti-productive attitude in the Cologne art scene of the time. The experience of having to write the essay overnight within a few hours, and without any time for revision, triggered his interest in exploring forms of unintentional writing, and consequently the replacement of the intentional author by an unconscious writer / producer. This mode of automatic writing has manifested itself until today, and has become the core of Strau’s artistic practice.
2023, English
Softcover, 192 pages, 22.8 x 15.2 cm
Published by
KW Institute for Contemporary Art / Berlin
Walther König / Köln
$54.00 - Out of stock
The first publication on American artist Win McCarthy.
In his work, McCarthy explores the dialectical relationships between subjects like city and citizen, friend and the stranger, and present and past. McCarthy’s work often testifies to the paradoxical emptiness experienced in a metropolis. Taking the city’s map as a metaphysical topography, the confluence of real estate, architecture, and urban planning become vocabulary for the construction of a self. Besides working with photography and text, McCarthy makes associative installations. His works appear to be images from memories, meeting viewers with a torrent of different emotions, ranging from amusement and admiration to aversion and fear. The exhibition ‘Win McCarthy: Innenportrait’ at KW Berlin focuses on a collision between opticality and intellect and is the artist’s first institutional solo exhibition. If subjectivity has been pivotal in McCarthy’s previous work, its main juncture has been at how the self struggles to find reconciliation with the phenomenological and ontological: where the ‘I’ ends, is where the world begins.
Contributions by Pamela McCarthy and Julia Mullié.
Co-published by Walther Koenig and KW Berlin.
Accompanies the exhibition ‘Win McCarthy: Innenportrait’, 25 Feb – 14 May 2023, KW Institue for Contemporary Art, Berlin.
Win McCarthy was born in 1986, USA. He lives and works in Brooklyn, New York, represented by Galerie Neu, Berlin.
2023, English
Hardcover, 112 pages, 22 x 16.5 cm
Published by
Walther König / Köln
$66.00 - In stock -
One of the great experimental composers of our time, Phill Niblock has during his sixty-year career produced minimalist music, structural cinema, dance performance, improvised theatre, systematic art, and ethnographic photography. Since 1985, Niblock has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York, and curator of the foundation’s record label XI. In 2014 the artist received the John Cage Award.
This hardbound catalogue is devoted to Niblock’s wide intermedia art, including his masterpieces the Six Films (1966-69), the Environments (1968-72) and The Movement of People Working (1973-91). A thorough publication that includes Charles Mingus, Billy Strayhorn and Duke Ellington, Elaine Summers, Yoko Ono, Sun Ra, The Open Theatre, Muna Tseng and Arthur Russell. Co-published with Copeland. Published on occasion of the exhibition ‘Nothin’ But Working, Phill Niblock, A Retrospective’, 30 Jan – 12 May 2013, Musée de l’Elysée, Lausanne, in partnership with Circuit (Contemporary Art Centre Lausanne).
2012, English
Softcover, 144 pages, 160 x 240 mm
1st Edition, Out of print title / used / very good
Published by
Walther König / Köln
$120.00 - Out of stock
First edition of the fast out-of-print "FESPA Digital - Fruit Logistica" photo book by Wolfgang Tillmans. In February 2011, German photographer Wolfgang Tillmans (born 1968) decided to pay a visit to Fruit Logistica, the most important convention in the international fruit trade, held annually in Berlin. More than 2,400 fresh produce companies gather at the convention, presenting a dazzling panorama of commerce-and, of course, of texture and color. "I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery," he records. "I reacted with my camera straight away, but left the pictures for a while so I could look at them with a bit of distance, although I was immediately thinking of an artist's book in the format of "Concorde"" (Tillmans' 2008 book portrait of the eponymous aircraft). The resultant 66 color photographs are published here for the first time.
Very Good—Fine copy.
2013, English / German
Hardcover, 112 pages, 23.6 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Moderna Museet / Stockholm
Walther König / Köln
$350.00 - In stock -
The very collectible, immediately out-of-print Legacy of Hilma Af Klint, published by Moderna Museet and Walther König in a single beautifully designed hardcover edition.
The first painter to devote herself entirely to abstract art, Hilma af Klint (1862–1944) created a body of work that has only recently begun to be appreciated for its visionary intensity and innovation. The Legacy of Hilma af Klint reproduces in its entirety a previously unknown 1920 notebook by af Klint. Titled "Blumen, Moose, Flechten" [Flowers, Mosses, Lichen] on the front cover, this notebook lays out the artist's occult geometric extrapolations of nature, in diagrams and handwritten commentary (in German). The second part of this volume gathers responses to af Klint's work (visually and in essays) by nine contemporary artists: Cecilia Edefalk, Karl Holmqvist, Eva Löfdahl, Helen Mirra, Rebecca Quaytman, Amy Sillman, Fredrik Söderberg, Sophie Tottie and Christine Ödlund. The book is published on the occasion of af Klint's inclusion in the 2013 Venice Biennale.
Text by Daniel Birnbaum, Ann-Sofi Noring.
English and German text.
Bump to top corner or cover, not effecting pages, otherwise As New.