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–SAT 12–6
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
Art
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World Food Books Gift Voucher
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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.
1967, English
Softcover, 100 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
North Atlantic Books / Vermont
$40.00 - In stock -
First edition of 20,000 A.D., a collection of poetry from the 1960s—70s by founder of Peace Eye Bookstore, the Fuck You Press, and the Fugs, Ed Sanders, published by North Atlantic Books, Vermont, in 1976. Deeply influenced by the work of Dylan Thomas, Ezra Pound, and Allen Ginsberg, Sanders helped bridge the concerns of Beat poetry and the countercultural movement of the 1960s. Sanders discussed his approach to investigative poetry: “Nonfiction is a kind of map of fragments of information sequenced together, like an elegant baklava with layers of meaning,” he alleged. “You have to think of different arrays of sequencing information … You have to make an apt choice, or an artistic choice, or an aesthetic choice about what you put in—and what you leave out. It’s an art form when to say no. Especially in investigative poetry, it’s a mission.”
Very Good copy, light tanning.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / average
Published by
SST Publications / Lawndale
$400.00 - In stock -
Rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "Exterminating The Eagles" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #120 of 500.
In Exterminating the Eagles, Raymond Pettibon tackles race, violence and inner city crime using his spare, expressive ink drawings. Subjects include a White Power shop owner, a sourpuss grandmother, Nancy Reagan and Hitler. Pettibon notes, “Unauthorized duplication is unAmerican, i.e., unprofitable.”
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy, wear around the edges, especially the spine, still holding together but with some splitting. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$440.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged drawings.
Hand-numbered by Pettibon in red ink #426 of 500.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$400.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #88 of 500.
The plaintive cover image of Pig Cupid is captioned “Why do I dream of undertow when I don’t even know what it is?” This zine, by punk artist Raymond Pettibon, deals with violent love and toxic relationships. Many of the women within have been violated, deserted, shot, bought or sold, but Pettibon’s fluid line drawings capture the inexplicable pull of desire, even against a woman’s better judgement. Cupid, argues Pettibon, is a pig.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 1, Spring 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Good copy with light wear to hardcovers, some wear to board edges, light foxing/toning.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / very good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 4, Winter 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Very Good copy with light foxing/toning.
1984 / 1995, Japanese
Softcover (w. dust jacket), 144 pages, 21.3 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Rippu Shobo / Japan
$140.00 - Out of stock
First 1984 edition of this seldom seen photo book by Japanese photographer Kazuo Kenmochi, These Are Drugs: A Photographic Look at the Roots of Modern Disease. Kazuo Kenmochi, an extraordinary figure in Japanese photography, published three ground-breaking photo books that rank as some of the most comprehensive books on drug addiction ever published — Narcotic Photographic Document, Narcotic '61-'72, and Narcotic Damage in Japan (published 1963 through to 1975). These illuminating books of frontline photo-reportage detail the drug culture in Japan in the early 1960s that was spread by U.S. soldiers after the war. A photo artist with direct access as photographer for the Ministry of Health and Welfare and the National Police Agency, Kenmochi captures all the aspects of the culture from drug production, to distribution, to use, addiction, withdrawal, overdose, raids, seizure, arrests, incarceration, all in great detail. Alongside incredible photo documents of addicts in varying states of disarray, the books photographically documents the seizures, identifies the drug types/variations, paraphernalia, the methods of use, the signs of use on the body, and charts their origins in nature and distribution. Kenmochi's comprehensive observations, ingeniously utilising methods of identity abstraction and provocative photographic techniques used in erotic photography (a field he was active in), to confidentially capture drug use through stark and very intimate moments with users. This 1984 volume collects a selection of the images (vivid colour and b/w) from these highly sought after books into one concise softcover volume.
First 1984 edition, 1995 printing.
Fine—As New in NF dust jacket, preserved under mylar dust jacket, light creasing.
1989, Japanese
Softcover, 208 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - In stock -
Issue No.36 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.36, the "Female Foot Fetishism Special Issue" with the wonderful wraparound Pierre Molinier cover is packed with imagery and essays around the theme of "Foot and Fetish Heel" throughout history, literature, film and fetish publishing, etc. profusely illustrated with drawings, photography, bondage illustrations, film stills, catalogue clippings, and artworks, including works by Bill Ward, Pierre Molinier, Nobuyoshi Araki, and so many more. It also features the Fiction, Inc. section that samples a cross-section of content from catalogue publications including the work of John Willie, Bill Ward, Carlo, Eric Stanton, Irving Claw, Betty Page, and periodicals such as Rubber Magazine, Amateur Bondage, Bizarre Comix, Bizarre Classix, Bizarre Fotos, Stiletto, and much more... Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy.
1985 / 2001, English
Softcover, 148 pages, 11.4 x 17.2 cm
Published by
Autonomedia / New York
$29.00 - Out of stock
"A Blake Angel on Bad Acid" — Robert Anton Wilson
"Fascinating..." — William Burroughs
"Who is Hakim Bey? I love him!" — Timothy Leary
Back in print — the underground cult bestseller and first book by anarchist writer and poet Hakim Bey (Peter Lamborn Wilson) published in 1991 by Autonomedia. Originally published in 1985 and circulated in the underground via small private and pirate editions, these texts were an inspiration for a generation of troublemakers and idealists. Both celebrated in the punk underground (where the original book has become a seminal text) and denounced in some anarchist circles, the book has proved itself as both influential and relevant to multiple generations of dreamers, agitators, and activists.
Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho-black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults — this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture. This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.
This new edition contains the full text of "Chaos: The Broadsheets of Ontological Anarchism", the complete "Communiques of the Association for Ontological Anarchy", and the new long essay "The Temporary Autonomous Zone", and a new preface by the author.
Very Good copy with some light wear.
1970, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tenjō Sajiki / Tokyo
$240.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 3, 1970, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With gorgeous graphic design and (Aleister Crowley) cover by graphic designer Heikichi Harata, this issue's special feature is ‘Eros and Theater’, edited by Shūji Terayama and Masahiko Akuta with contributions by Terayama, photographer Hajime Sawatari, writer Taruho Inagaki, director Takahiko Iimura, anthropologist Masao Yamaguchi, playwright Yasunari Takahashi, director and cinematographer Sakumi Hagiwara, film director Nobuhiro Kawanaka, playwright Rio Kishida, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
1972, Japanese
Softcover, 340 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$120.00 - In stock -
Rare copy of Angura (Underground Theatre) issue 5, 1972, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘City Drama / Human-powered airplane Solomon’, with contributions by Terayama, artsit Jiro Takamatsu, butoh dancer and choreographer Akira Kasai, actress Eiko Kujo, photographer Nobuyoshi Araki, film director Nobuhiro Kawanaka, playwright Yutaka Higashi, film critic Shigechika Sato, musician J. A. Seazer, musician Shigeo Takenaga, musician Norihito Inaba, photographer Hiroshi Yamazaki, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
1973, Japanese
Softcover, 340 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$180.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 6, 1973, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘New Trends in Overseas Theater’, with contributions by Terayama, musician J. A. Seazer, musician Norihito Inaba, photographer Nobuyoshi Araki, actor Hideaki Sasaki, producer and actress Eiko Kujo, artist Nobuo Sasaki, and many others. Includes in-depth features and interviews on the work of theatre directors Jérôme Savary, Robert Wilson, and Mario Ricci and photo-reports the activities of independent theatre companies around the world, including Teatro Abaco (Rome), Atelje 212 (Belgrade), Teatr Laboratorium (Wrocław), La Mamma Theatre (New York), Forum Theater (Berlin), Odin Teatret (Holstebro), Stichting Mickery Workshop (Antwerp), making it a very valuable resource on the subject. There are also photo reports and scripts on the performances of Tenjō Sajiki, including works performed overseas. Incredible rare performance documents. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
1990, English
Softcover, 362 pages, 21.6 x 24 cm
Reprint,
Out of print title / used / good
Published by
Feral House / Los Angeles
$45.00 - In stock -
"Apocalypse Culture is compulsory reading for all those concerned with the crisis of our times. An extraordinary collection unlike anything I have ever encountered. These are the terminal documents of the twentieth century."—J.G. Ballard
Two thousand years have passed since the death of Christ and the world is going mad. Nihilist prophets, born-again pornographers, transcendental schizophrenics and just plain folks are united in their belief in an imminent global catastrophe. What are the forces lurking behind this mass delirium?
APOCALYPSE CULTURE is a startling, absorbing and exhaustive tour through the nether regions of today’s psychotic brainscape.
First published in 1987, APOCALYPSE CULTURE immediately touched a nerve. Alternately excoriated and lauded as “epochal”, “the most important book of the decade,” APOCALYPSE CULTURE had begun to articulate what many inwardly sensed — the-fear inspired irrationalism and faith, the clash of irreconcilable forces, and the ever-looming specter of fin de race. In its present incarnation for Feral House, APOCALYPSE CULTURE has significantly increased in size, taking on new perspectives on our current crisis, with pertinent revisions of many articles from the original edition.—burb from this expanded and revised 1990 edition.
As New.
2025, English
Softcover, 384 pages, 23 x 15.24 cm
Published by
Park Street Press / Vermont
$48.00 - In stock -
An unusual collection of writing by and about mystic artist Harry Smith. Explores in depth the occult and mystical side of Smith—his “heaven and earth magic”—focusing on how his varied artistic efforts were part of a comprehensive magical and alchemical practice. Includes unpublished photos of and letters from Smith, rare interviews, one of his unpublished texts, and essays by scholars and friends.
Harry Smith (1923–1991) was a legendary twentieth-century artist, filmmaker, painter, anthropologist, ethnomusicologist, and archivist. Especially well known for his Anthology of American Folk Music, innovative abstract realms, and extraordinary collection of paper airplanes now housed at the Getty Research Institute, Smith also had a deep esoteric and mystical side, with experimentation in magic, Tarot, Kabbalah, and other occult practices. Like other alchemists, Smith’s life mission was to create a unified work from disparate elements, a synthesis of correspondences between seemingly unrelated topics—from music, string figures, and Seminole patterns to the relationship between sound and film imagery.
Presenting the most diverse collection of writings about Harry Smith, this volume explores the far-ranging esoteric themes that run throughout his art and career. The book includes never-before-seen photos, rare interviews, personal letters, and an unpublished text by Harry Smith, The 96 Apparitions of the 96 Alchemical Formulae (1 to 36), as well as personal reminiscences from Smith’s friends and former students. Smith’s groundbreaking mystical wisdom, "heaven and earth magic," and influence as an artist of the extremes leap from the pages in this book, confirming his contribution to art, music, film, and modern alchemy.
“Alchemist, magician, filmmaker, artist, mystic, anthropologist, collector, rebel, eternal omnivore, and 20th-century Renaissance man, Harry Smith was many things to many people, and this outstanding collection of lovingly written testimonies pays tribute to Harry with wit, respect, love, and laser-like precision. It is absolutely impossible to forget any interaction you had with Harry—and the beautiful tales in this remarkably readable and heartfelt book will have you awestruck, laughing out loud, and hungry for more. Perhaps the best collection of writings about one of the most enigmatic and fascinating figures the world has ever known.” ― John Zorn, American composer
“The Occult Harry Smith explores so many fascinating aspects of Harry Smith that have yet to be explored! Through a panoply of voices gathered in this volume, we get firsthand accounts and informed explorations that delve deep into the magician and trickster Harry Smith. Essential reading for anyone who wants to know more about this enigmatic and influential figure who lived his life on the edge and for his art.” ― Rani Singh, director of the Harry Smith Archives
“Through his alchemical metaphors and deep appreciation for cultural diversity, Smith’s work continues to influence new generations eager to learn more about his gentle blurring of the boundaries between art and magic. The Occult Harry Smith is a highly inspiring anthology and an invaluable glimpse into the timeless cosmic prism that was the mind of this polymath magus.” ― Carl Abrahamsson, author of Meetings with Remarkable Magicians and Occulture
“The world is blessed unknown when a Harry Smith enters it, and we are fortunate that enough individuals notice, to record his presence among them. One can only gain—and gain much—from reading this prismatic collection of fascinating views on the polymathic shaman of the city. Smith: all profit with no risk, other than the effect of enlightenment, a mere byproduct of gazing at his mighty works.”―Tobias Churton, author of Aleister Crowley in England, Aleister Crowley in Paris, and Aleister Crowley...
“This invaluable collection comes at the right time, as interest in Harry Smith’s life expands and his manifold work reaches new and ever-growing audiences. Offered up by the people who knew him best, this volume provides new and nuanced perspectives on Harry Smith: the man, the polymath, the sage."―John Klacsmann, archivist at Anthology Film Archives
“The Occult Harry Smith is a long overdue deep dive into this particular aspect of a wonderful, remarkable, and insufferable genius and polymath. In addition, by bringing together the memories and observations of an impressive, indeed close-to-definitive, collection of acolytes, scholars, and friends (not to mention photographic treasures and unpublished texts), Peter Valente presents an unexpected delight in this wide-ranging compendium—endlessly illuminating (as was Harry)—a posthumous banquet.”―Simon Pettet, poet and author of Hearth, As A Bee, and More Winnowed Fragments
About the Author
Harry Smith (1923-1991) was a filmmaker, painter, anthropologist, alchemist, and artist of the twentieth century.
Peter Valente is a writer, editor, translator, and filmmaker. He was born in Salerno, Italy, in 1970 and grew up in New Jersey. The author of 12 books and the translator of several influential works, including Gérard de Nerval’s The Illuminated, he lives in North Carolina.
1979, Japanese
Softcover, 240 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special three issue collection combines Vol. 4 "Fantasy" + Vol. 6 "Eros" + Vol. 7 "Avant-Garde". Says it all really. Incredible in-depth, encyclopaedic features on Derek Bailey (full biography and discograohy), British avant-garde/free music/jazz/avant-rock/R.I.O./Canterbury (Bailey, Henry Cow, Daevid Allen/Gong, Lol Coxhill, Soft Machine, Company, Slapp Happy, Keith Tippett, National Health, Evan Parker, Art Bears, King Crimson, Hatfield and The North, Kew Rhone, National Health, Robert Wyatt, Spontaneous Music Ensemble, Incus Records, Ogun Records, etc.), R.I.O. expanded (Univers Zero, Art Zoyd, ZNR, The Residents, Albert Marcoeur, Stormy Six, Etron Fou Leloublan, Samla Mammas Manna, etc.), plus features and articles on Robert Fripp, Atoll, Annette Peacock, Italian Prog, Gloria Mundi, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, New Spanish Rock, and much more. Highly recommended to any fan of such things.
Very Good copy.
1991, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$55.00 - In stock -
July 1991 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Kaoru Hanano, Ryoko Narumi, Koji Yokoyama, Hitomi Nishina, Masami Akita (Merzbow), Rudolf Schwarzkogler, Domu Kitahara, Kazuya Ota, Erina, Jiro Ishikawa, Nao Saejima, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1979, English
Softcover (staple-bound),
Published by
Belier Press / New York
$120.00 - In stock -
First 1979 edition of Amateur Bondage Vol. 2, collecting almost 250 photographs of women in bondage from the extensive photography archives of Irving Klaw. "All Genuine, all original"! Wildly creative image making by non-professional photographers, models and fetish enthusiasts, which were originally sold through mail-order c. 1950-1956 by the late Klaw.
Irving Klaw (1910-1966), self-named the "Pin-up King", was a hugely influential American merchant of sexploitation, fetish, and Hollywood glamour pin-up photographs and films. In the history of heterosexual BDSM in the 20th century, Klaw was a curious paradox. He was a non-kinky person who produced and sold arguably more BDSM imagery than anyone before or since. He became a symbol for the cause of sexual freedom, and a martyr to anti-sex initiatives by the Federal government, yet he was non-political, uninterested in activism and never intended to be a martyr for anything. He was a business man who came from humble, working-class beginnings. Klaw worked closely with models like Bettie Page, June King, Joan Rydell, Jackie Miller, et al. for his photography and films. Inspired by John Willie, Klaw also commissioned and distributed illustrated adventure/bondage chapter serials by fetish artists Eric Stanton, Gene Bilbrew, Adolfo Ruiz, and others. Irving Klaw is a central figure in what fetish art historian Richard Pérez Seves has designated as the "Bizarre Underground," the pre-1970 fetish art years.
Very Good copy with some general light wear/foxing. Sample image only. This copy sold through sold through Tokyo's Fiction Inc. shop distributor and has original shop stamp to colophon section.
1991, Japanese
Softcover, unpaginated, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$140.00 - Out of stock
Stunning special ocer-sized edition of the great SALE2 periodical from Tokyo Japan, dedicated to the theme of Bondage Fantasy. With cover design by Tadanori Yokoo and design by Makoto Ohrui and edited by Japanese novelist Mari Akasaka, this 1991 volume is profusely illustrated throughout showcasing the erotic illustration and photography of artists John Willie, Irving Klaw, Eric Stanton, ENEG, Jim, Bill Ward, Jay, Tealdo, Europa, Gilles Berquet, Wolfgang Eicher. Perfectly compiled in the way SALE2 did so well, with elegant scrapbook style, dense with imagery, blown-up, full-bleed reproductions from many publications, and although a primarily visual volume packed cover-to-cover with illustrations, it also features a number of interviews with the artists in Japanese. Highly recommended!
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Mari Akasaka (b. 1964) is a Japanese novelist born in Suginami, Tokyo, and studied Politics in the Law Department at Keio University. In 1999 her novel Vibrator was nominated for the Akutagawa Prize, which was adapted into a 2003 film directed by Ryūichi Hiroki. She was again nominated for the Akutagawa prize in 2000 for her novel, Muse, and won the Noma Literary Prize for New Writers for the same novel.
Very Good copy, well preserved.
1969, English
Softcover (newsprint newspaper), 40 pages, 28 x 38 cm
1st Edition, third print,
1st Edition, Out of print title / used / very good
Published by
Cookbook Fund — Lama Foundation / New Mexico
$380.00 - Out of stock
The seminal, now very rare, Dome Cookbook — the first widely-read dome instruction manual, created by the founder of Zomeworks Corp, Solar Pioneer, a resident of Drop City, and beatnik architect and engineer Steve Baer in New Mexico in 1968, and a legendary piece of counterculture publishing. Baer’s eccentric, over-sized, hand-lettered 1968 work was written with daring, unskilled builders in mind as its audience — the back-to-the-land movement. "You don’t need to know that much, you just need to go ahead and try it out." Filled with diagram's and photographs, particularly in Drop City, a hippie community founded in 1966 in southern Colorado, Dome Cookbook encouraged the resourcefulness and innovation Baer found essential in his own experiments and elaborations on Buckminster Fuller’s geodesic forms and the creation of his own geodesic-inspired "zome". Published by Cookbook Fund — Lama Foundation, in New Mexico in 1969, in this first edition, third print.
Very Good copy with tanning and some light edge wear.
2001, Japanese
Softcover (w. pattern sheet), 122 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Index Communications / Tokyo
$75.00 - Out of stock
Very early Volume 2, August 2001 issue of the cult Harajuku fashion magazine, Gothic & Lolita Bible. Founded by Mariko Suzuki in 2001, Gothic & Lolita Bible was quarterly fashion subculture magazine/book ("mook") devoted entirely to the growing popularity in Japan for lolita fashion in all its myriad variations. The first of its kind, it became the bible for Harajuku's lolita princesses (and a collector's item for cosplay enthusiasts), each glossy issue packed to the brim with colour photographs and heavily illustrated features — fashion shoots of girls in cemeteries and junk yards or at tea-parties and playing with dolls, endless fashion catalogues and shop listings for Japan's lolita and gothic underground clothing and jewellery labels, articles on etiquette and style, Harajuku Gothic & Lolita street photography, goth nightclubs, lolita idols, accessories, DIY sewing patterns, books, films, sticker sheets, customised "punk" teddybears, manga by illustrator Mitsukazu Mihara, lots of lace, leather, corsets, umbrellas, tartan, medical fetish, cute desserts, and anything else the casual or discerning Victorian Maiden or urban Alice could need!
Very Good copy. This copy with inserted garment pattern still enclosed.
2002, Japanese
Softcover (w. sticker insert), 122 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Index Communications / Tokyo
$65.00 - Out of stock
Volume 5, September 2002 issue of the cult Harajuku fashion magazine, Gothic & Lolita Bible. Founded by Mariko Suzuki in 2001, Gothic & Lolita Bible was quarterly fashion subculture magazine/book ("mook") devoted entirely to the growing popularity in Japan for lolita fashion in all its myriad variations. The first of its kind, it became the bible for Harajuku's lolita princesses (and a collector's item for cosplay enthusiasts), each glossy issue packed to the brim with colour photographs and heavily illustrated features — fashion shoots of girls in cemeteries and junk yards or at tea-parties and playing with dolls, endless fashion catalogues and shop listings for Japan's lolita and gothic underground clothing and jewellery labels, articles on etiquette and style, Harajuku Gothic & Lolita street photography, goth nightclubs, lolita idols, accessories, DIY sewing patterns, books, films, sticker sheets, customised "punk" teddybears, manga by illustrator Mitsukazu Mihara, lots of lace, leather, corsets, umbrellas, tartan, medical fetish, cute desserts, and anything else the casual or discerning Victorian Maiden or urban Alice could need!
Very Good copy. This copy with a GOTHIC & LOLITA Bible dress-ups sticker sheet insert.
2004, Japanese
Softcover, 122 pages, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
Index Communications / Tokyo
$60.00 - Out of stock
Volume 12, April 2004 issue of the cult Harajuku fashion magazine, Gothic & Lolita Bible. Founded by Mariko Suzuki in 2001, Gothic & Lolita Bible was quarterly fashion subculture magazine/book ("mook") devoted entirely to the growing popularity in Japan for lolita fashion in all its myriad variations. The first of its kind, it became the bible for Harajuku's lolita princesses (and a collector's item for cosplay enthusiasts), each glossy issue packed to the brim with colour photographs and heavily illustrated features — fashion shoots of girls in cemeteries and junk yards or at tea-parties and playing with dolls, endless fashion catalogues and shop listings for Japan's lolita and gothic underground clothing and jewellery labels, articles on etiquette and style, Harajuku Gothic & Lolita street photography, goth nightclubs, lolita idols, accessories, DIY sewing patterns, books, films, sticker sheets, customised "punk" teddybears, manga by illustrator Mitsukazu Mihara, lots of lace, leather, corsets, umbrellas, tartan, medical fetish, cute desserts, and anything else the casual or discerning Victorian Maiden or urban Alice could need!
Very Good copy.
2009, Japanese
Softcover (w. sticker insert and pattern sheet), 130 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Index Communications / Tokyo
$65.00 - Out of stock
Volume 32, March 2009 issue of the cult Harajuku fashion magazine, Gothic & Lolita Bible. Founded by Mariko Suzuki in 2001, Gothic & Lolita Bible was quarterly fashion subculture magazine/book ("mook") devoted entirely to the growing popularity in Japan for lolita fashion in all its myriad variations. The first of its kind, it became the bible for Harajuku's lolita princesses (and a collector's item for cosplay enthusiasts), each glossy issue packed to the brim with colour photographs and heavily illustrated features — fashion shoots of girls in cemeteries and junk yards or at tea-parties and playing with dolls, endless fashion catalogues and shop listings for Japan's lolita and gothic underground clothing and jewellery labels, articles on etiquette and style, Harajuku Gothic & Lolita street photography, goth nightclubs, lolita idols, accessories, DIY sewing patterns, books, films, sticker sheets, customised "punk" teddybears, manga by illustrator Mitsukazu Mihara, lots of lace, leather, corsets, umbrellas, tartan, medical fetish, cute desserts, and anything else the casual or discerning Victorian Maiden or urban Alice could need!
Very Good copy. This copy with cheeky teddybear sticker sheet AND teddy bear garment pattern sheet still enclosed.
1976, English
Softcover (staple-bound), 40 pages, 27.4 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Tao Productions / Hollywood
$45.00 - Out of stock
Scarce copy of this 1976 volume of The Best of Bondage, published by Hollywood's Tao Productions. With editorial by prolific erotica author A. de Granamour, packed cover to cover with b/w female bondage photography, with features Wayward Wife Learns the Ropes. Mary Minds the Apartment. Wilma's Weekly Wash (laundry room bondages). Netting a Cute Karate-Hep Curator. Toni's Tuesday Torment.
Very Good copy, light wear.