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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All prices in AUD (Australian dollars)
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.
1970, English
Softcover, 592 pages, 23.29 x 15.19 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$35.00 - In stock -
If Paul Ricoeur is correct in seeing the various currents of contemporary philosophy all converging on the problem of a "grand philosophy of language," then the first sixty pages of this absorbing study of Freud may become the rallying point from which future work can begin. This first part of Freud and Philosophy, "Problematic," presents a profound and clear theory of signification, symbol, and interpretation. The second part, "A Reading of Freud," is required reading for anyone seriously interested in psychoanalysis. The third section interpretation of Ricoeur's own theory of symbol―particularly religious symbol―which places this study at the center of contemporary debate over the sense of myth.In this book are revealed Ricoeur the philosopher of language; Ricoeur the critic of Freud; and Ricoeur the theologian of religious symbol. The author is outstanding in all three roles, and the book that emerges is of rare profundity, enormous scope, and complete timeliness.
Paul Ricoeur is professor of philosophy at the University of Paris.
“Paul Ricouer…has done a study that is all too rare these days, in which one intellect comes to grips with another, in which a scholar devotes himself to a thoughtful, searching, and comprehensive study of a genius…The final result is a unique survey of the panorama of Freudian thought by an observer who, although starting from outside, succeeds in penetrating to its core.” –American Journal of Psychiatry
“Primarily an inquiry into the foundations of language and hermeneutics…[Ricoeur uses] the Freudian ‘hermeneutics of suspicion’ as a corrective and counter-balance for phenomenology and create a ‘new phenomenology’…This important work…should have an impact upon serious thinking in philosophy, theology, psychology, and other areas which have been affected by Freud studies.”―International Philosophical Quarterly
“A stimulating tour de force that allows us to envisage both the psychoanalytic body of knowledge and the psychoanalytic movement in a broad perspective within the framework of its links to culture, history and the evolution of Western intellectual thought.” – Psychoanalytic Quarterly
Paul Ricoeur is a professor of philosophy at the University of Chicago and the University of Paris.
Good copy with general light wear to extremities.
1997, English
Hardcover (w. dust jacket), 180 pages, 22 x 14 cm
Out of print title / used / very good
Published by
Yale University Press / New Haven
$35.00 - In stock -
1997 Hardcover Yale edition. Edited with an introduction and notes by Ronald Paulson.
Born three hundred years ago in Smithfield, London, William Hogarth established himself as a central figure in eighteenth-century English culture through his paintings, engravings, and outspoken art criticism. In this new edition of Hogarth's Analysis of Beauty-a unique work combining theory with practical advice on painting-Ronald Paulson includes the complete text of the original work; an introduction that places the Analysis in the tradition of aesthetic treatises and Hogarth's own "moral" works; extensive annotation of the text and accompanying illustrations; and illuminating manuscript passages that Hogarth omitted from the final printed version.
In the development of English aesthetics, the Analysis of Beauty takes a position of high significance. Hogarth's stature in his own time suggests the importance of his attempt to systematize and theorize his own artistic practice. What he proposes is an aesthetics of the middle range, subordinating both the Beautiful and the Sublime to the everyday world of human choice and contingency-essentially the world of Hogarth's own modern moral subjects, his engraved works.
William Hogarth FRSA (1697—1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Familiarity with his work is so widespread that satirical political illustrations in this style are often referred to as "Hogarthian".
Very Good copy in Good—VG dust jacket with some wear to edges.
1991, English
Softcover, 276 pages, 242 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$35.00 - In stock -
Yale French Studies, Number 79, 1991, Edited by Claire Nouvet, featuring the essays of George Bataille, Maurice Blanchot, Jean-Luc Nancy, Cathy Caruth, and many more. Cover artwork by Artaud.
"How does ethics affect literature and literary analysis? In what ways do literature and literary analysis rethink questions that traditionally belong to the field of ethics? What role does the notion of ethics play in the writing process? How can we situate and reassess the return of ethics in contemporary theories? The contributors to this issue among them writers, philosophers, literary critics, and psychoanalysts-evaluate the relationship between ethics and literature. Their diverse approaches range from a discussion of notions of humanity and responsibility to a reading of the Holocaust as it is explored in the film Shoah."
Good copy, general wear.
1985, English
Softcover, 272 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$25.00 - In stock -
Yale French Studies, Number 68, 1985, dedicated entirely to texts on French philosopher, novelist, political activist and existentialist Jean-Paul Sartre (1905—1980), edited by Fredric Jameson.
"Five years after Jean-Paul Sartre's death it is possible to begin the reinterpretation and reevaluation of his work. This means reopening the question of his stature in French intellectual history as, in Fredric Jameson's phrase, 'the Victor Hugo of philosophy'—a role denied him by the generation that followed him. Professor Jameson has assembled eleven stimulating essays and has arranged for the first-time publication of extracts from Sartre's notes for the unwritten fourth volume of The Family Idiot. He has also contributed a provocative and forthright introduction."
Good copy.
2024, English
Hardcover, 180 pages, 24.2 x 17.2 cm
Published by
Yale University Press / New Haven
Whitney Museum of American Art / New York
$65.00 $50.00 - In stock -
An in-depth look at a public art project by David Hammons with an overview of the enigmatic artist’s career
Published to commemorate David Hammons’s (b. 1943) public art project Day’s End, located in New York City, this book documents the sculpture and offers broader context into Hammons’s enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943–1978), paying homage to Matta-Clark’s legendary Day’s End (1975)—an industrial, cathedral-like space of altered architecture—once located near today’s Whitney in Manhattan’s Meatpacking District. Completed in 2021, Hammons’s work, also titled Day’s End, was realized by the Whitney in collaboration with Hudson River Park, and is on permanent view. One of the most important artists working in the United States, Hammons makes art across mediums, often outside traditional venues. In addition to photographic documentation, the book includes essays on the origins of Day’s End, Hammons’s career scope, and a contribution by poet Ben Okri.
2019, English
Hardcover (debossed cloth), 236 pages, 21.7 x 27.3 cm
Published by
The Metropolitan Museum of Art / New York
Yale University Press / New Haven
$99.00 - Out of stock
A fascinating reassessment of the work of one of the most innovative artists of the 20th century, emphasizing his Argentine background and interdisciplinary approach to both art and life
A major figure of postwar European art and a binational resident of Argentina and Italy, Lucio Fontana (1899–1968) blurred numerous boundaries in his life and art, crossing borders both literally and figuratively. This volume takes a fresh look at the renowned artist whose simultaneous innovations in painting, drawing, ceramics, and sculpture, as well as his spatial explorations, pushed the painterly into the sculptural and redefined the relationship between the arts.
Evaluating Fontana’s interest in synthesis and moving beyond his famous slashed canvases, this book reveals Fontana to be one of the first installation artists. Essays by international experts address his work from both an Italian and Argentine perspective, providing numerous insights into Fontana’s expansive practice. Archival images of environments, public commissions, installations, and now-destroyed pieces accompany lavish illustrations covering his production from 1930 to the late 1960s, establishing a new approach to an artist who responded to the political, cultural, and technological thresholds that defined the mid-20th century.
Edited by Iria Candela; With essays by Emily Braun, Enrico Crispolti, Andrea Giunta, Pia Gottschaller, and Anthony White
Iria Candela is Estrellita B. Brodsky Curator of Latin American Art at The Metropolitan Museum of Art.
2016, English
Hardcover, 288 pages, 29.2 x 24 cm
1st Edition, Out of print title / as new
Published by
Yale University Press / New Haven
$150.00 - In stock -
First 2016 hardcover edition of the out-of-print and immediately collectible major monographic study of visionary French furniture designer and architect, Pierre Chareau, highlighting his virtuoso designs and versatile creativity. First edition hardcover of this now highly sought after, stunning and in-depth volume committed to Chareau.
The designer and architect Pierre Chareau (1883–1950) was a pivotal figure in modernism. His extraordinary Art Deco furniture is avidly collected and his visionary glass house, the Maison de Verre, is celebrated, but the breadth of his design genius has been little explored. Chareau linked architecture, fine arts, and style; designed furniture for avant-garde films and chic homes; collected artists such as Picasso and Mondrian; and was a radical innovator in the use of materials. Essays by leading scholars embrace the full scope of his invention, offering detailed analyses of individual projects, the interdisciplinary nature of his work, his Jewish background, his place in the avant-garde of Paris between the wars, and his more recent reception. Extensive illustrations present a rich sampling of Chareau’s furniture, architecture, interiors, fabrics, and wallpapers, as well as his own important art collection.
Esther da Costa Meyer is professor of modern architecture at Princeton University. Bernard Bauchet is an architect and scholar based in Paris. Olivier Cinqualbre is chief curator of architecture at the Centre Pompidou, Paris. Jean-Louis Cohen is Sheldon H. Solow Chair for the History of Architecture at New York University’s Institute of Fine Arts. Robert M. Rubin is an independent scholar and curator. Kenneth E. Silver is professor of modern art at New York University. Brian Brace Taylor is professor of history and theory of architecture at the New York Institute of Technology.
As New copy. Not the later re-print.
2024, English
Softcover, 192 pages, 27 x 22 cm
Published by
Yale University Press / New Haven
$120.00 - In stock -
A unique journey with James Ensor through the history of still life in Belgium in the nineteenth and twentieth centuries
Still life played an important role within the work of Belgian expressionist and symbolist painter James Ensor (1860–1949). The quality and significance of his intriguingly complex still lifes become clear when placed within the broader development of the genre in Belgium between 1830 and 1930.
The book offers an overview of the nineteenth-century Belgian academic tradition of decorative painting, with intriguing work by lesser-known painters such as Jean Robie, Hubert Bellis, Frans Mortelmans, and Henri De Braekeleer, as well as forgotten female artists such as Berthe Art and Alice Ronner. In the early twentieth century, artists such as Louis Thevenet continued to develop the genre of still life in a traditional manner, while innovators such as the late James Ensor, Léon Spilliaert, Marthe Donas, Walter Vaes, and Gustave Van de Woestyne created highly personal interpretations.
This book is published on the first exhibition ever entirely devoted to James Ensor's still lifes at Mu.ZEE (Ostend).
2013, English
Hardcover (w. dust jacket), 376 pages, 16.5 x 22.9 cm
Published by
Yale University Press / New Haven
$120.00 - In stock -
ince the 19th century, dolls have served as toys but also as objects of obsession, love, and lust. That century witnessed the emergence of the term "heterosexual" and of modern concepts of fetishism, perversity, and animism. Their convergence, and the demands of a growing consumer society resulted in a proliferation of waxworks, shop-window dummies, and customized love dolls, which also began to appear in art. Oskar Kokoschka commissioned a life-sized doll of his former lover Alma Mahler; Hans Bellmer crafted poupées; and Marcel Duchamp fabricated a nude figure in his environmental tableau Etant donnés. The Erotic Doll is the first book to explore men's complex relationships with such inanimate forms from historical, theoretical, and phenomenological perspectives. Challenging our commonsense grasp of the relations between persons and things, Marquard Smith examines these erotically charged human figures by interweaving art history, visual culture, gender, and sexuality studies with the medical humanities, offering startling insights into heterosexual masculinity and its discontents.
‘Ladies and gents, welcome to the museum of the erotic doll. Step right up and feast your eyes on modern man’s curious contraptions. If the saucy blow-up doll makes you squeamish, brace yourself for the Dutch Wife (a sailor’s delight!), lubricating robot ladies, surrealist brides stripped bare, state-of-the-art RealDolls, and the iDollators who love them. Marquard Smith is the curator of this collection of men's dolls, rendered in a lavishly illustrated volume.’—Laura Frost, Times Higher Education
'This book is platypus-like, unclassifiable.'—Marina Warner, London Review of Books
“[An] intriguing book . . . Smith teases out the history of these sex objects to provide a thorough genealogy of today’s erotic mannequins.”—Shelly Ronen, Public Books
2024, English
Hardcover (w. dust jacket), 496 pages, 19.05 x 16.51 cm
Published by
Yale University Press / New Haven
$62.00 - Out of stock
The magnum opus of 2004 Nobel laureate Elfriede Jelinek—a spectral journey through the catastrophic history embedded in the landscape of Austria
"The surface of Jelinek's prose cracks and bursts . . . fissured by phantasmagorical description, gallows humor, multilingual puns, and scouring sarcasm. . . . Jelinek's novel is finally . . . a furious accumulation of lost moments and possible outcomes, an enormous, spectral kaleidoscope erected before the unfathomable."—Dustin Illingworth, Washington Post
The Alpenrose is a mountain resort nestled in Austria's scenic landscape among historic churches and castles. It is a vacation idyll that attracts tourists from all over Europe. It is also a mass burial site.
Amid the snow-topped peaks and panoramic vistas, ghosts haunt the forest: Edgar Gstranz, a young skier who died in a car crash; Gudrun Bichler, a philosophy student who committed suicide in her bathtub; and Karin Frenzel, a widow who (perhaps) died in a bus accident. As the three slip in and out of the hotel, engaging unsuspecting tourists and seeking a way to return to life, the soil begins to crack under their feet as the dead of the Holocaust awaken: zombies determined to exact their revenge.
Scrupulously rendered for the first time in English by Gitta Honegger, The Children of the Dead takes readers on a mind-bending ride through time, space, and memory. Concocted from experimental theater, splatter film, Gothic literature, philosophy, religion, and more, Jelinek's phantasmagorical masterwork is a fierce confrontation with our fraught legacies in the name of the innocent dead.
2023, English
Softcover, 416 pages, 21.5 x 16.2 cm
Published by
Yale University Press / New Haven
$79.00 - Out of stock
An expansive collection of texts providing insight into the inner life, creativity, and practice of the innovative American artist Anne Truitt.
Edited by Alexandra Truitt
Foreword by Miguel de Baca
Spanning more than fifty years, this comprehensive volume collects the letters, journal entries, interviews, lectures, reviews, and remembrances of the groundbreaking twentieth-century artist Anne Truitt (1921–2004). Alexandra Truitt, the artist’s daughter and a leading expert on her work, has carefully selected these writings, most of which are previously unpublished, from the artist’s papers at Bryn Mawr College as well as private holdings.
Revelations about the artist’s life abound. Among Truitt’s earliest writings are excerpts from journals written more than a decade before her first artistic breakthrough, in which she establishes themes that would occupy her for decades. In later texts she shares uncommon insights into the practices of other artists and writers, both predecessors and peers. Like Truitt’s published journals, these writings offer a compelling narrative of her development as an artist and efforts to find her voice as a writer. They show that Truitt’s creative impulse to translate the inner workings of her mind into a symbolic language, so important to understanding her sculpture, predates her art.
2024, English
Softcover, 264 pages, 21.59 x 13.96 cm
Published by
Yale University Press / New Haven
$55.00 - Out of stock
Two never-before-published novels by Mina Loy, the celebrated modernist poet, artist, and feminist
Mina Loy (1882-1966) is an essential figure of the European and American modernist avant-garde. A groundbreaking writer of poetry, novels, essays, plays, and uncategorizable prose, she was also a fashion and lighting designer and an accomplished visual artist. As gallery agent for figures such as Giorgio de Chirico, Alberto Giacometti, and Salvador Dali, she was a significant conduit for art that traversed the Atlantic. Loy has been best known for the poetry she published in the little magazines of the late teens and early twenties, most notably the long poem "Songs to Joannes" and the autobiographical verse-epic "Anglo-Mongrels and the Rose."
Featuring two never-before-published manuscripts of Loy's autobiographical prose-The Child and the Parent and Islands in the Air-this remarkable book expands Loy's rich oeuvre. Interlinked texts written over twenty years, from the 1930s to the 1950s, these fascinating works narrate the feminist struggle of the creative spirit as it comes into consciousness and encounters indoctrinating social norms. The works are accompanied by an introduction and afterword by Karla Kelsey that frame Loy as a poet, prose writer, businesswoman, and visual artist and discuss the texts, their stylistic innovations, and their unique interconnectedness.
"At once philosophical and lyrical, these novels are a revelation. Their rediscovery confirms Loy as one of the major feminist writers of her time, and a dazzling, neglected novelist of the modernist period."—Alys Moody, author of The Art of Hunger
"Mina Loy's writings were animated by a desire to articulate the interior of consciousness through the register of the senses. She understood perception to attach to both the known and unknown, the material world seen often as a veil across an infinite mystery. The familiar dualities of mind and matter, time and space, good and evil, find themselves, in Loy's rich lexicon and dazzling sentences, under the most prescient and dissolving scrutiny. At once personally intimate and philosophically astute, Loy's prose has the mesmerizing singularity and wit of her acclaimed poetry. As intoxicating as an essential oil, these unpublished works are a rare and welcome gift to our arid times. 'The blaze exploded in me. I was riddled with splinters of delight.'"-Ann Lauterbach, author of Door
1996, English
Softcover, 274 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$25.00 - Out of stock
First 1996 edition, second print. In this illuminating book, a prominent art historian explores the links between avant-garde art and modern mass culture, showing that the connections between the two have always been strong, and even necessary to both. The author recounts vivid episodes involving Jackson Pollock, Andy Warhol, Christopher Williams, and many others, arriving at fresh and original insights into modern art and its place in late twentieth-century culture.
Thomas E. Crow is an American art historian and art critic who is best known for his influential writing on the role of art in modern society and culture. Since 2007, Crow has served as the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, NYU.
Very Good copy, light wear.
2012, English
Hardcover, 272 pages, 26.5 x 25 cm
1st Edition, Out of print title / as new
Published by
The Metropolitan Museum of Art / New York
Yale University Press / New Haven
$90.00 - In stock -
Dürer and Beyond presents a selection of 100 works from the Metropolitan Museum's outstanding collection of German, Swiss, Austrian, and Bohemian drawings. Featured are numerous drawings by Albrecht Dürer, including his celebrated study sheet with a self-portrait. In addition to drawings by major artists such as Martin Schongauer, Albrecht Altdorfer, Urs Graf, Hans Holbein the Younger, Friedrich Sustris, and Wenceslaus Hollar, the selection also highlights work by lesser known but equally superb draftsmen from the 14th to the end of the 17th century. Richly illustrated and fully documented with artist biographies, comparative illustrations, and enlightening commentary on the variety, quality, and purpose of the featured drawings, this book makes a significant scholarly contribution to a field that has not been widely explored.
Stijn Alsteens is Curator and Freyda Spira is Assistant Curator in the Department of Drawings and Prints, The Metropolitan Museum of Art, New York.
Published by The Metropolitan Museum of Art/Distributed by Yale University Press.
Out-of-print, As New copy.
2010, English
Hardcover (w. dustjacket), 304 pages, 24.8 x 28.4 cm
1st Edition, Out of print title / used / fine
Published by
Yale University Press / New Haven
$220.00 - Out of stock
Now well out-of-print, the incredible Paul Thek monograph, was published by Yale University Press in 2010 to accompany Thek's first retrospective in the United States, at the Whitney Museum in New York.
An American sculptor, painter, and installation artist, Paul Thek (1933—1988) is primarily known for hyper-realistic works of human body parts executed in fleshlike beeswax and for his strongly symbolic, room-size installations constructed from transitory materials. A major figure on the 1960s New York art scene, Thek also spent time in Europe, where he paved the way for artists adopting collaborative strategies. Although he gained a large following and was featured in more than one hundred solo and group exhibitions, the anti-establishment "artist's artist" was practically forgotten at the time of his death. Major exhibitions abroad and critical attention from younger artists have done much to revive his reputation, and Paul Thek: Diver expands on those efforts by bringing the artist's resounding influence on the art world up to date. Published to accompany Thek's first retrospective in the United States, this landmark publication includes nearly 300 chronologically arranged illustrations of sculptures, paintings, prints, and other works featured in the exhibition as well as four special "in-depth" image sections focusing on key installations, projects, and pages from the artist's journals. An extensive selection of documentary photographs, many never before published, illuminate Thek's artistic aesthetic and production process. With a bibliography, exhibition history, and checklist of works in the exhibition, this overdue acknowledgment of Thek's brief, but broad-reaching career will be the authoritative volume on the artist for years to come.
Edited by Lynn Zelevansky and Elisabeth Sussman, Contributions by George Baker, David Breslin, Carol Mancusi-Ungaro, Eleonora Nagy, Susanne Neubauer, Michael Nickel, Scott Rothkopf, Ann Wilson
Very Good—Fine copy in VG dust jacket.
1994, English
Softcover, 196 pages, 22 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$100.00 - In stock -
First edition of this important study of 18th-century Venetian school painter and print-maker Giovanni Battista Tiepolo by Svetlana Alpers, published in 1994 by Yale.
Tiepolo is an example of the specifically pictorial intelligence. This book is both a study of his art and an argument for fuller recognition of the peculiarities of the painters' representational medium. Svetlana Alpers and Michael Baxandall locate distinctive modes of Tiepolo's representation of the world and human action; follow his process of invention from first pen drawings through small oil-sketches to great frescoes; and analyze his best and biggest painting, the "Four Continents", in the Stairway Hall of the Prince-Bishop's Residence at Wurzburg, which is illustrated with photographs specially taken for the book. The topics taken up include: painting's resistance to enacted narrative drama, its engagement with indeterminacies and repetitions, the senses in which painters may "perform" both past art and themselves, the constructive roles of gestural drawing, the exploitation of shifts of scale between design and finished work, the dialogue between the changing natural site lighting and in-picture lighting, contributions made by the beholder's own mobility, the expressive scope of tensions between two and three dimensions, the deep rationale of rococo formal structure, and the sources of the moral force of pictures that lack an explicit moral. The book - both art criticism and a practical polemic - ends with an annotated gazetteer for travellers, listing those Tiepolo paintings that can still be seen in the places and conditions for which he painted them.
1982, English
Hardcover (w. dust jacket), 346 pages, 29 x 22 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$50.00 - In stock -
First 1982 hardcover edition of the first modern study in English of sixteenth-century Venetian painting and a modern critical framework for the general study of art.
Painting in Sixteenth-Century Venice explores the visual tradition of one of the most important centres of the Italian Renaissance through a study of three masters - Titian, Veronese, and Tintoretto. These painters dominated and shaped the traditions of Venetian painting in the High and Late Renaissance. Establishing the conditions of painting in Renaissance Venice, including the social, economic and political situation of arts and artists and the aesthetic values that distinguish Venetian painting from that of Central Italy, David Rosand also explores the formal principles and technical procedures that determined the uniqueness of painting in Venice, above all the development of oil painting on canvas. He also analyses individual images, altarpieces and mural paintings within the several contexts of conventions and institutions - artistic, social, historical - of Renaissance Venice.
Good book with ex-libris markings, otherwise VG book in VG dust jacket (no library markings to DJ, preserved under mylar wrap).
2018, English
Hardcover, 192 pages, 17.8 x 25.4 cm
Published by
Yale University Press / New Haven
$89.00 - Out of stock
This is the first in-depth study of the idiosyncratic ten-year career of Lee Lozano (1930-1999), assuring this important artist a key place in histories of post-war art. The book charts the entirety of Lozano's production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract "Wave Paintings" at the Whitney Museum of American Art in 1970. Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her "dropout" and "boycott of women" lasted until her death, by which time she was all but forgotten. This book tackles head-on the challenges that Lozano poses to art history-and especially to feminist art history-attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. Lee Lozano: Not Working looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the "right way" to live and work.
2006, English
Hardcover, 288 pages, 21 x 26 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
The Drawing Center / New York
$150.00 - In stock -
First hardcover edition of this out-of-print volume on Eva Hesse's drawing practice. Hesse (1936—1970) was a highly experimental artist who continually challenged the conventions of her time. For Hesse, drawing played a unique role, providing the nexus between her works in all media. Eva Hesse Drawing is the first book to explore her drawing process, following her work from drawing to painting and sculpture, and always back to drawing. The book features important, recently rediscovered “working drawings,” providing an intimate look at Hesse’s everyday practice and methodology.
An accomplished draftswoman, Hesse began to develop her wandering, tentative line while studying at Yale University in the late 1950s. Her early 1960s works on paper engaged with visual vocabularies from geometry to biomorphic abstraction. In 1965, Hesse combined her tactile sensibility for materials with her stringlike line to achieve a breakthrough: her astonishing reliefs, which began to bridge the space between two and three dimensions. Balancing the disembodiment of line with its intensified materialization, Hesse went on to develop one of the most innovative oeuvres of the twentieth century, anticipating the hybridization of media and crossing borderlines linking one impossible space to another.
Very Good—Near Fine copy.
1982, English
Softcover, 320 pages, 23.32 x 15.6 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$40.00 - Out of stock
First 1982 edition.
This important theoretical work by Paul de Man sets forth a mode of reading and interpretation based on exemplary texts by Rousseau, Nietzsche, Rilke, and Proust. The readings start from unresolved difficulties in the critical traditions engendered by these authors, and they return to the places in the text where those difficulties are most apparent or most incisively reflected upon. The close reading leads to the elaboration of a more general model of textual understanding, in which de Man shows that the thematic aspects of the texts-their assertions of truth or falsehood as well as their assertions of values-are linked to specific modes of figuration that can be identified and described. The description of synchronic figures of substitution leads, by an inner logic embedded in the structure of all tropes, to extended, narrative figures or allegories. De Man poses the question whether such self-generating systems of figuration can account fully for the intricacies of meaning and of signification they produce.
Throughout the book, issues in contemporary criticism are addressed analytically rather than polemically. Traditional oppositions are put in question by a rhetorical analysis which demonstrates why literary texts are such powerful sources of meaning yet epistemologically so unreliable. Since the structure which underlies this tension belongs to language in general and is not confined to literary texts, the book, starting out as practical and historical criticism or as the demonstration of a theory of literary reading, leads into larger questions pertaining to the philosophy of language.
"Through elaborate and elegant close readings of poems by Rilke, Proust's Remembrance, Nietzsche's philosophical writings and the major works of Rousseau, de Man concludes that all writing concerns itself with its own activity as language, and language, he says, is always unreliable, slippery, impossible .Literary narrative, because it must rely on language, tells the story of its own inability to tell a story....De Man demonstrates, beautifully and convincingly, that language turns back on itself, that rhetoric is untrustworthy."—Julia Epstein, Washington Post Book World
"The study follows out of the thinking of Nietzsche and Genette (among others), yet moves in strikingly new directions....De Man's text, almost certain to be endlessly provocative, is worthy of repeated re-reading."—Ralph Flores, Library Journal
Good copy, general wear, creases.
2004, English
Softcover, 176 pages, 23 x 17.5 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$45.00 - Out of stock
First edition of this recently discovered book manuscript by the celebrated artist Mark Rothko offering a landmark discussion of his views on topics ranging from the Renaissance to contemporary art, criticism, and the role of art and artists in society.
One of the most important artists of the twentieth century, Mark Rothko (1903–1970) created a new and impassioned form of abstract painting over the course of his career. Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a New York City warehouse since the artist’s death more than thirty years ago, this extraordinary manuscript, titled The Artist’s Reality, is now being published for the first time.
Probably written around 1940–41, this revelatory book discusses Rothko’s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of “American art,” and much more. The Artist’s Reality alsoincludes an introduction by Christopher Rothko, the artist’s son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artist’s own work as well as with reproductions of pages from the actual manuscript.
The Artist’s Reality will be a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter.
Out-of-print. First edition. Good copy with small creases to bottom cover corner, few pages. A few removable pencil underlines in text.
2012, English
Hardcover (w. dust jacket), 528 pages, 15.56 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$65.00 - In stock -
First, out-of-print hardcover edition of Guy MacLean Rogers' The Mysteries of Artemis of Ephesos, published by Yale in 2012.
Artemis of Ephesos was one of the most widely worshiped deities of the Graeco-Roman World. Her temple, the Artemision, was one of the seven wonders of the ancient world, and for more than half a millennium people flocked to Ephesos to learn the great secret of the mysteries and sacrifices that were celebrated every year on her birthday.
In this work Guy MacLean Rogers sets out the evidence for the celebration of Artemis's mysteries against the background of the remarkable urban development of the city during the Roman Empire and then proposes an entirely new theory about the great secret that was revealed to initiates into Artemis's mysteries. The revelation of that secret helps to explain not only the success of Artemis's cult and polytheism itself but, more surprisingly, the demise of both and the success of Christianity. Contrary to many anthropological and scientific theories, the history of polytheism, including the celebration of Artemis's mysteries, is best understood as a Darwinian tale of adaptation, competition, and change.
"A magnificent reconstruction of the cult and mysteries of Artemis of Ephesos, capital of the province of Asia Minor and one of the most impressive archaeological sites. Rogers offers many intriguing and provoking hypotheses, based on a profound knowledge of the inscriptions and of the abundant secondary literature, especially those in German, the language of the city’s Austrian excavators."—H.W. Pleket, University of Leiden
"Rogers provides a meticulous and vividly detailed recreation of the history of a single cult, grounded in a mastery of all the relevant evidence and carefully situated in its wider political, social, and cultural context. This book contributes significantly to our appreciation for the complex texture of religious life in the Graeco-Roman world.—James Rives, University of North Carolina at Chapel Hill"—James Rives
"This magisterial study of the complex evolution of one of Greek antiquity’s most intriguing and long-lasting ritual traditions offers new insights into the attractions of ancient polytheism. Historians of religion, and of the Roman empire too, are greatly in Rogers’ debt.—Greg Woolf, University of St. Andrews"—Greg Woolf
Very Good copy, in VG dust jacket with light wear.
1990, English
Softcover, 270 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$45.00 - Out of stock
Yale French Studies, Number 78, 1990, dedicated entirely to texts on the work of French philosopher Georges Bataille (1897—1962), edited by Allan Stoekl.
"During his lifetime Bataille was known mainly as the editor of Critique and as an author of erotic novels. Since his death nearly thirty years ago, however, he has become known as a major theorist in his own right. The articles in this issue of Yale French Studies discuss and rewrite Bataille's philosophy, interrogate his concepts, politics, economics, and esthetics, and attempt to revise the past and the future on the basis of his text."
Good copy.
2022, English
Hardcover, 352 pages, 22 x 28 cm
Published by
Yale University Press / New Haven
Barbican Art Gallery / London
$80.00 - Out of stock
Traces the feminist icon Carolee Schneemann's prolific six-decade output, spanning her remarkably diverse, transgressive, and interdisciplinary expression.
Edited by Lotte Johnson and Chris Bayley.
Contributions by Jo Applin, Karen Di Franco, Jennifer Doyle, Elena Gorfinkel, Alison Green, Emily LaBarge, Thomas (T.) Jean Lax, Eileen Myles, Melissa Ragona, Amy Sillman and Kenneth White
Carolee Schneemann (1939-2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon's diverse, transgressive and interdisciplinary expression through Schneemann's experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann's work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years.
Published by Yale in association with Barbican Art Gallery.