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
info@worldfoodbooks.com
Art
Theory / Essay
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Photography
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Eros
LGBTQ+
Fiction / Poetry
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Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
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Painting
Sculpture / Installation
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Curatorial
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Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
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Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
1997, Japanese
Softocver, 208 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$130.00 - Out of stock
Too Negative No. 10 July 1997. Now rare and highly collectible, Too Negative, the "Forbidden Picture Book", was a visceral and visually explosive glossy cult arts magazine that reflected the gory-depraved-beyond salvation-bad taste expressions visible in international subculture at the height of 1990s underground publishing, a time when art was pushing the limits of taste and morality. Edited solely by legendary Japanese publisher and gallery owner Kotaro Kobayashi and published by Tom Publication Inc. between 1994—2000, each thick, glossy volume takes on the aesthetics of a vibrant fashion magazine in the great Japanese "mook" format (the magazine book) packed cover to cover with themes of Eros and Thanatos, such as fetishism, erotica, medical/autopsy photography, death journalism, Japanese bondage, grotesque and neo-surrealist art, crime scene photography, tattooing/irezumi, piercing, and all things of the mondo, macabre, bizarro realm. Frequent collaborators and featured artists were Kiyotaka Tsurisaki, Joel-Peter Witkin, Trevor Brown, Kiyoshi Ikejiri, to name a few. With a Japanese publishing lineage that may be found in earlier bounding-pushing periodicals such as the 1920s erotic grotesque magazine Hentai Shiriou (Pervert Documents), Tasuhiko Shibusawa’s incredible 1960s avant-garde journal Le Sang Et La Rose, or Fiction Inc’s SALE2 journal published from 1980—mid 1990s, Too Negative, and affiliated periodicals such as ORG, Spiral, Schizo, etc. took their subjects to another level of extremism, even by Japanese standards.
Not for the faint hearted.
This issue, Too Negative No. 10 July 1997, focuses around the special anniversary art galley that runs throughout the issue—" Welcome to the Feast of Immorality"—an almost cover-to-cover feature of artworks and photo documents spurred on by the question to editor Kotaro Kobayashi, "where lies the boundary between the grotesque and art", featuring the art of Andres Serrano, Mike Kelley, Paul McCarthy, Cindy Sherman, Joel-Peter Witkin, Joe Coleman, and so many more, a feature gallery of Japanese gore illustrator Shin Taga, pre-execution photographic portraits in Vietnam, "torture in the Edo period" with reference to Yoshihiko Sasama and featuring the ukiyo-e shunga of Yoshikazu Hayashi, vintage corpse/death photography, medical photography, lots of erotica, grotesque artworks, collage, bady manipulation, plus plus plus.
Very Good copy.
1980, English
Hardcover (w. dust jacket), 252 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
The Viking Press / New York
$150.00 - Out of stock
Gorgeous first 1980 hardcover edition of Eric Rohmer's Six Moral Tales, a Seaver Book published by The Viking Press, New York. The literary antecedent to the French director’s film cycle of the same name. Stripped-down and incisive, these stories anticipate the literary quality of the cinematic works they would ultimately become. Translated from the French by Sabine d’Estree.
"Why be a filmmaker if you can be a novelist?" Eric Rohmer asks in the preface to his "Six Moral Tales." A surprising question from one so internationally reknowed for his contribution to the silver screen — and a question that prompts an alternative query: why write a story when you are going to film it? Yet rohmer does both, and his writing and filmmaking are steps to a single goal.
The multifaceted, deeply personal work of Eric Rohmer (1920—2010) has had an effect on cinema unlike any other. One of the founding critics of the history-making Cahiers du cinéma, Rohmer began translating his written manifestos to film in the 1960s, standing apart from his New Wave contemporaries with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. This near genre unto itself was established with the audacious and wildly influential series Six Moral Tales. A succession of encounters between fragile men and the women who tempt them, Six Moral Tales unleashed on the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating.
Very Good ex-libris copy, therefore Good with VG dust jacket, sticker to spine, associated library markings to title page/inner front cover and stamping to block edges. Well preserved library copy.
2022, English
Softcover, 128 pages, 19 x 15 cm
Published by
Pilot Press / London
$33.00 - Out of stock
Responses to Derek Jarman's Blue is the third publication in a series of anthologies from Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.
In this third iteration, responses were sought to the 1993 film Blue by the multidisciplinary artist Derek Jarman.
Contributors in order of appearance : Roelof Bakker, Jared Davis, Becca Albee, Linda Kemp, Ashleigh, A. Allen, David Nash, Sam Moore, Anton Stuebner, Gonçalo Lamas, Olivia Laing, Nate Lippens, Jason Lipeles, JP Seabright, Andrew Cummings, Sig Olson, Maria Sledmere, Cleo Henry, Jessie McClaughlin, Lars Meijer, Scott Treleaven, Declan Wiffen, Caitlin Merrett King, Harry Agius, António Manso Preto, Adriana Lazarova, Brooke Palmieri, D Mortimer, Mary Manning, Aaron James Murphy
Printed on 100% recycled paper
2023, English
Softcover, 64 pages, 10.8 × 17.8 cm
Published by
David Zwirner Books / New York
$25.00 - Out of stock
Derek Jarman’s Blue weaves a sensory tapestry that serves as both a political call to action and a meditation on illness, dying, and love.
“For Blue there are no boundaries or solutions.” —Derek Jarman
Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman’s death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film and its script, as reproduced in this volume, serve as an impassioned response to the lack of political engagement with the AIDS crisis.
Jarman’s Blue moves through myriad scenes, some banal, others fantastical. Stories of quotidian life––getting coffee, reading the newspaper, and walking down the sidewalk––escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue—a color, a feeling, a funk. Michael Charlesworth’s compelling introduction brings Blue into conversation with Jarman’s visual paintings.
Introduction by Michael Charlesworth
1994, Japanese
Softcover, 108 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
G-Modern / Tokyo
$95.00 - Out of stock
Vol. 5 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1994, this early issue features Derek Bailey, Motoharu Yoshizawa, Captain Beefheart, George A. Romero, Keiji Haino, Smegma, Patti Smith, Jean-Luc Godard, Hawkwind, Pierre Henry, Shinro Ohtake, Shoichi Ozawa, Alvin Lucier, Frank Zappa, history/discography of Akifumi Nakajima's (Aube) G.R.O.S.S. label, articles on extremely obscure psych from around the world, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1995, Japanese
Softcover, 110 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$95.00 - Out of stock
Vol. 8 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Spring 1995, this early issue features Albert Ayler, Kenji Endo, AMM, Nihilist Spasm Band, Can / Holger Czukay, Stever Beresford, LAFMS, Miles Davis, Hawkwind, Butch Morris, The Pop Group, Television, Hiroshi Mikami, Q-65, unknown masterpieces, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, cover wear.
1996, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
G-Modern / Tokyo
$85.00 - Out of stock
Vol. 12 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Summer '96, this early issue features Peter Brotzmann, Keizo Inoue, Captain Beefheart, Eric Dolphy, Einstruzende Neubauten, Gong, Antonio Inoki, Hiroshi Mikami, David Jackman (Organum), Gonn, Lee Konitz, LAFMS, Pain Jerk, Astor Piazzola, Tiny Tim Vajra, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Fine copy.
1995, Japanese
Softcover, 110 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$85.00 - Out of stock
Vol. 7 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1995, this early issue features Tori Kudo (Maher Shalal Hash Baz), AMM, Nihilist Spasm Band, Chie Mukai, Miles Davis, Misha Mengelberg, Faust, John Duncan, Mayo Thompson, George Lewis, Television, Captain Beefheart, Yoshio Hayakawa (Jacks), Hawkwind, Kazuo Hara, Canadian psych/folk, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1997, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
G-Modern / Tokyo
$75.00 - Out of stock
Vol. 17 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter '97-'98, this early issue features Jutok Kaneko, Congregation, Current 93, Arthur Doyle, Klaus Dinger, Kikuchi Kōji, Barre Phillips, Chu Ishikawa, Nelly Pouget, Screamin' Mee-Mees, Solmania, Mike Whilhelm, Sumegma, unknown psychedelia, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Fine copy.
2006, Japanese
Softcover, 102 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$55.00 - Out of stock
Vol. 26 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in 2006, this early issue features Keiji Haino, Derek Bailey, Wataru Okuma, Hiroyuki Usui, Suishou no Fune, Aural Fit, Hiroshi Mikami, Masayuki Takayanagi, Luc Ferrari, musical archeology by Yoshiyuki Konno, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good—Fine copy.
1960, English
Softcover, 114 pages, 18 x 11 cm
1st Edition, Out of print title / used / good
Published by
Ballantine Books / New York
$65.00 - In stock -
Scarce first 1960 edition of The Virgin Spring by Ulla Isaksson, "the complete, uncensored screenplay of Ingmar Bergman's Most Powerful Film(!), with 16 pages of photographs".
In Sweden there is a legend so powerful, so moving, that it has been told and sung for more than seven centuries. A young girl, in her innocence and pride, rides alone through the forest. There she is caught and brutally raped by three herdsmen. This shocking explosion of evil, and the terrible vengeance the girl's father wreaks on the herdsmen, are shown in scenes of savage impact. Yet beneath the harsh realism, another theme is developing, and the story closes on an image of mystic reconciliation that is profoundly moving yet utterly believable—the miracle of the spring.
Ulla Isaksson, one of Sweden's greatest novelists, wrote THE VIRGIN SPRING at the suggestion of Ingmar Bergman, the world-famous director of "The Magician," "Wild Strawberries" and "The Seventh Seal." In her hands, the screenplay becomes a work of genuine literary distinction. In THE VIRGIN SPRING, the collaboration of these two great Swedish artists — Isaksson and Bergman—captures all the cruelty and beauty, the harshness and faith of the old legend, so that its truth may speak to people today just as it spoke to those of the Middle Ages.
Good copy, tightly bound with light wear and tanning.
2023, English
Softcover (w. dust jacket), 196 pages, 20 x 24 cm
Published by
Triangle Books / Brussels
$105.00 - Out of stock
The Barefoot Promise is a study on foot fetishism through set photographs of Western films. From Hollywood Golden Age to French Nouvelle Vague, the motif of the foot reveals the hidden fantasies and gender norms conveyed by European and American filmmakers. Structured as a film itself, the book is the first printed version of the Promise of the Screen, a screening device developed by Pierre Leguillon since 2007 to look at the marginal aspects of cinema. All lobby cards and press photographs reproduced in this publication belong to the collections of the Museum of Mistakes, Brussels. The book comes with an intermission and a bonus by Louise Lawler!
2023, English
Softcover, 40 pages, 21.6 x 28 cm
Published by
Primary Information / New York
$44.00 - In stock -
Primetime Contemporary Art is a publication documenting a radical, two-year intervention by the GALA Committee on the primetime television show Melrose Place. Originally published in a limited run in 1998, this extremely rare artist book is reproduced here for the first time as a facsimile edition.
Mel Chin initiated the loose collective of artists known as the GALA Committee in 1995 in response to an invitation to participate in an upcoming exhibition at the Museum of Contemporary Art, Los Angeles. The artist arranged with the producers of Melrose Place for the collective to create objects for the soap opera, resulting in an extensive series of political works used as plot devices and props across two seasons of the show. The GALA Committee’s intervention provided surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance, and substance abuse, among other issues. Despite some of these topics having been banned by the FCC at the time, the group’s political critiques went unnoticed by censors, subverting corporate and government controls of primetime television with a progressive agenda.
These works were exhibited in Uncommon Sense at the Museum of Contemporary Art, Los Angeles in 1997 and then sold at an auction at Sotheby’s to support several charities. Primetime Contemporary Art, created by Chin and Helen Nagge, was used as the auction catalog for the evening, documented the artwork produced for the exhibition, and articulated the conceptual framework of the GALA Committee.
Mel Chin was born in Houston, Texas, and is known for the broad range of approaches in his art, including works that require multi-disciplinary, collaborative teamwork, and works that enlist science as an aesthetic component to developing complex ideas. He pioneered “green remediation” in his 1990 project, Revival Field; presented his proposal for a New World Trade Center as part of the American representation at the 2002 Venice Biennale of Architecture; won a Pedro Sienna Award for Animation in Chile for his 2017 film, 9-11/9-11; and founded S.O.U.R.C.E. Studio in 2017 to realize sustained engagements with community and environment. In 2018, he presented Unmoored and Wake in Times Square, New York City, creating a visual portal into a future of rising waters, and had a forty-year-survey exhibition at the Queens Museum. He is the recipient of many awards, grants, and honorary degrees, including the MacArthur Fellowship in 2019, and was elected to the American Academy of Arts and Letters in 2021.
Helen Nagge has collaborated with Mel Chin on major public art projects for over two decades. She has worked with commercial galleries and non-profit art spaces in Houston, Texas, and New York City, and developed in-house archival systems for clients and seminal American artists’ estates. She also worked in publishing for several years, notably for Simon & Schuster, Harvey Klinger Literary Agency, and others, and continues to edit texts for Mel Chin Studio.
The GALA Committee (1995-1997) was a collective of artists, faculty, and students from the University of Georgia, Athens; CalArts, Los Angeles; and Grand Arts, Kansas City formed by Mel Chin in response to the 1995 invitation to participate in the group show Uncommon Sense at the Museum of Contemporary Art, Los Angeles. The GALA Committee included: David Adams, Elizabeth Adams, Eric Andersen, Emily Arthur, Katie Bauman, Cameron Bernie, David Blanchard, John Borthwick, Barron Brown, Alan Bush, Heather Champ, Heeyeon Chang, Mel Chin, Lance Clarke, Roymont Clements, Kathleen Hillseth Clinesmith, Karina Combs, Melissa Conroy, John Crowe, John Cupit, Lesley Dill, Heather M. Eastman, Diane Edison, Brian Ellison, Evan Firestone, Mark Flood, Joe Girandola, Terry Glispin, Nuala Glynn, Jason Grier, Garrison Gunter, Elizabeth Huber, Chip Hayes, Frank Irving, Kim Jensen, Bryan Jernigan, Karin Johansson, M. Dana Jones, Cheryl Kaplan, Kendal Kerr, Kat Kinsman, Koichi Kimura, Jeff Knowlton, Leo Knox, Bernie Koersen, H. Lan Thao Lam, Ed Lambert, Elizabeth Langford, Jon Lapointe, Tom Lawson, Kristi Leonard, Donna Marcantonio, Diana McIntosh, Mara Lonner, Wendy Lundin, Steve Maleski, Thomas Mann, Stephen McRedmond, Carol Mendelsohn, Georgia Metz, Tamara Mewis, James Millar, Stever Miller, Tam Miller, Tess Miller, Dallas Moore, Margaret Morgan, Jerry Murphy, Helen K. Nagge, Yana Nirvana, Gail Patterson, Kim Patterson, Constance Penley, Joseph Pizzorusso, Chuck Pratt, Elizabeth S. Puckett, Dan Pugh, Martha Rees, Carl Robertson, Guadalupe Rodriguez, Sandra Rodriguez, Jeff Roe, Kathleen Rogan, Huan Saussy, Sanjit Sethi, Maura Sheehan, Jocelyn Shipley, Eric Shriner, Deborah Siegel, Rachel Slowinski, Frank South, Rachael Splinter, Eric Swangstu, Troy Swangstu, Janice Tanaka, Valerie Tevere, Joseph Tucker, Kathy Vargas, Tony Velasco, Jim Wade, John Watts, David Wilson.
Managing Editor: Rachel Valinsky
Managing Designer: Siiri Tännler
2023, English
Hardcover, 240 pages, 30 x 20 cm
Published by
Edition Patrick Frey / Zürich
$109.00 - In stock -
Matthias Groebel's activities in the late ’80s sound more like the plot of a cyberpunk novel than like a sober account of a serious artist’s professional practice: he spent those years rummaging around in electronic waste dumps in Münster, Germany, in search of windshield wiper and photocopier motors, bicycle chains and other parts to use in constructing a three-axle painting machine capable of painting according to his specifications. Meanwhile, he was also fiddling with parabolic antennas in order to catch signals from far, far away. Over the next decade, Groebel spent countless nights changing the channels, rummaging around this time around for TV stills to paint with the aid of his computer-controlled machine.
The upshot is a series of paintings that anticipated technocultural developments and plumbed the collective psychological depths of satellite television and mass media. This book is the first comprehensive exposition of Groebel's remarkable machine paintings from 1989 to 2001, along with two essays about Groebel’s unusual work.
Text by Sadie Plant.
Matthias Groebel (born 1958 in Aachen) is a German artist based in Cologne. He worked with photography, video and digital image processing, using different devices made or modified by himself. Since 1989 he has been working with a computer-controlled painting machine. From 2010 to 2020, Groebel published and exhibited works under a pseudonym.
2019, English
Softcover, 576 pages, 12.5 x 19 cm
Published by
Primary Information / New York
$54.00 - Out of stock
I want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.”
—Tony Conrad, “Dolomite: Having No Trust in Readers”
Writings is the first collection to widely survey this singular polymath’s prolific activity as a writer. Edited by artists Constance DeJong and Andrew Lampert, the book spans the years 1961 – 2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on The Flicker, Loose Connection, Four Violins, Articulation of Boolean Algebra for Film Opticals, Early Minimalism, Yellow Movies, Slapping Pythagoras, and Music and the Mind of the World, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. He also writes on media activism, network communications, censorship, and the political and cultural implications of corporate and global media. No matter the topic or theme, Conrad always approaches his subjects with erudition, precision, and a healthy twist of humor.
Tony Conrad (1940–2016) was a multidisciplinary artist known for his groundbreaking art, music, films, and videos, although his work doesn’t fit comfortably within any of these disciplines. He eschewed categorization and actively sought to challenge the constraints of media forms, their modes of production, and the relationships of power embedded within them.
Re-print.
1984, German
Softcover, 78 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Edition C / Zürich
$180.00 - Out of stock
With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali.
"The "Necronomicon" is a legendary magical book that is kept in inaccessible places only in a few, incompletely preserved specimens because it could have disastrous consequences if it fell into the wrong hands. It was written down around 730 AD in Yemen by the legendary Abdul Al Azred. It is said to tell of things and events that took place in the gray age, and illustrations of uncanny creatures lurking in the depths of the earth and the seas, one day destroying mankind and striking the world.
Al Azred's "Necronomicon" is a kind of museum of the most wonderful abominations and perversions. The well-known writer HP Lovecraft was the first to report in his "Cthulhu" mythology of this work. Many other science fiction and fantasy writers have quoted this fictional work time and again, but it has only become a visual reality in "HR Giger's Necronomicon"!"
"Giger always opens up new approaches to the origins of our psyche," writes Clive Baker in his foreword. "He is planning for us to go, encouraged by the knowledge that others have gone before this path, and only a few artists are able to give such impulses, and if we follow Giger, we are initially afraid of our mental health. And quickly recognize that the supposed new territory has countless stations that are connected with our familiar life. For, after all, we are no strangers: Giger points the direction into the world in which we must return, where we pledge our pledge, to pay the tithes which we owe. Giger's world is the place of our own taboos, and only our own disregard makes him appear frightening, sullen, "alien" (alien). (...) Giger's work calls us to the common ground of the unconscious, where, though we sometimes alienate ourselves from it, we are never really strangers. In other words, HR Giger's fantastic art is calling us home."
Beginning with a hommage from Salvador Dali, the first in this series of oversized and visually overwhelming volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his "Passegen" series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky's DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries.
This is the first Swiss edition, published by Edition C.
Very Good copy.
1971, German
Softcover, 134 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Walter Zürcher Verlag / Gutendorf
$500.00 - Out of stock
The very rare first 1971 edition of H.R. Giger A Rh+, Giger's first mythical book, and still the most special (in our opinion). Designed by the young artist himself and published independently in a limited edition in 1971 by Swiss esotericist Walter Zürcher, A Rh+ is Giger's very first oeuvre catalogue — filled entirely with black-and-white documentation of the first major work groups of the fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger, spanning his earliest grotesque ink cartoons and introducing his "biomechanical" paintings (while the ghost of Alfred Kubin still looms heavily), along with his early film works including Heim-Killer (1967) and Swiss Made (1968), his early sculptures, furniture pieces, exhibitions, prints, theatre work, the “Poëtenz-Show” work and his collaboration with anarchic collective and political "krautrock" group Floh de Cologne. Accompanied by sketches, clippings and photographs of Giger and accomplices in the studio, posing with works, in the forest, etc. A Rh+ has a very private and occult feel, augmenting the mysterious quality of these wonderful early visions of the macabre. An incredible and scarce document that did not see distribution much further than Giger's own circles. A long out-of-print, collector's item.
Very Good copy.
2023, English
Softcover, 224 Pages, 23.5 x 18 cm
Published by
Semiotext(e) / Los Angeles
$39.00 - Out of stock
Edited by Robert Leonard
Foreword by Chris Kraus
Artist, gallerist, and writer Giovanni Intra's inventive approach to art writing provides a guide to the New Zealand and Los Angeles art scenes of his era.
Everything you read about Los Angeles is true. The city adapts to its own mythology. It's such a ludicrously discussed place that I always feel slightly idiotic in my attempts to produce a serious discourse about it. Raves in the desert, however, are superb. And ecstasy is a great drug. Also, if you hadn't heard, music sounds better when you're high. And the desert surrounding LA is wondrous.—Giovanni Intra, "LA Politics"
Before his early death in 2002, Giovanni Intra enjoyed a rollercoaster ride through the art world. He was an artist and gallerist-cofounding two legendary galleries, the artist-run space Teststrip in Auckland and China Art Objects Galleries in Los Angeles-as well as a writer. Clinic of Phantasms provides a guide to the New Zealand and Los Angeles art scenes of the day, including texts on key artists from New Zealand (John Hurrell, Fiona Pardington, Denise Kum, Ava Seymour, Ann Shelton, Gavin Hipkins, Daniel Malone, and Slave Pianos) and Los Angeles (Charles Ray, Mike Kelley, Paul McCarthy, Dave Muller, Evan Holloway, John McCracken, and Julia Scher).
What makes Intra's work of enduring significance is his inventive approach to art writing, which was informed by his interest in punk, surrealism, and Daniel Paul Schreber, the famous case study in paranoia and hallucination. This volume features writing on Intra from Chris Kraus and Mark von Schlegell, Andrew Berardini, Roberta Smith, Tessa Laird, Will Bradley, Joel Mesler, and Robert Leonard.
"He emerged the radically elegant punk, whip-crack smart and charming as hell . . . The hilarious honesty and sharp intelligence of Giovanni was to me a breeze, a knife, a wonder."—Andrew Berardini, "Everything You Read About Giovanni Intra is True"
Published by Bouncy Castle and Semiotext(e).
1969, English
Softcover, 226 pages
1st Edition, Out of print title / used / good
Published by
A. S. Barnes / USA
$20.00 - Out of stock
First 1969 edition of The Cinema of Fritz Lang by Paul M. Jensen, written in 1969, whilst Lang was still alive, although no longer making films, this gives a detailed insight into the Director's work and an indication of his influence. Illustrated throughout with black and white photographs and a full chronology of works.
Good copy.
Softcover, 112 pages, Engish
1st Edition, Out of print title / used / good
Published by
Lorrimer / London
$25.00 - Out of stock
First 1973 edition of M by Fritz Lang, of the now scarce and collectible Lorrimer Classical Film Scripts series. Illustrated throughout with film stills, with complete film script and credits of M, the classic German thriller, in which Hans Beckert (Peter Lorre), a serial killer who preys on children, becomes the focus of a massive Berlin police manhunt. Beckert's heinous crimes are so repellant and disruptive to city life that he is even targeted by others in the seedy underworld network. With both cops and criminals in pursuit, the murderer soon realizes that people are on his trail, sending him into a tense, panicked attempt to escape justice.
Good copy.
1973, English
Softcover, 132 pages
1st Edition, Out of print title / used / good
Published by
Lorrimer / London
$45.00 - Out of stock
First 1973 edition of Metropolis by Fritz Lang (and Thea von Harbou), of the now scarce and collectible Lorrimer Classical Film Scripts series. Illustrated throughout with film stills, with complete film script and credits of Metropolis, the 1927 German expressionist science-fiction film directed by Fritz Lang and written by Thea von Harbou in collaboration with Lang, adapted from von Harbou's 1925 novel of the same name (which was intentionally written as a treatment). This influential German science-fiction film presents a highly stylized futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When the privileged youth Freder (Gustav Fröhlich) discovers the grim scene under the city, he becomes intent on helping the workers. He befriends the rebellious teacher Maria (Brigitte Helm), but this puts him at odds with his authoritative father, leading to greater conflict.
Good copy.
2022, English
Softcover, 264 pages, 14 x 21.6 cm
Published by
Zero Books / UK
$42.00 - In stock -
This collection of writings by Mark Fisher, author of acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carre, Christopher Nolan, Joy Division, Burial and many others. THIS BRAND NEW EDITION FEATURES A NEW INTRODUCTION BY MATT COLQUHOUN AND NEW AFTERWORD BY SIMON REYNOLDS.
1995, English
Softcover (staplebound), 28 pages, 34 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Morpheus International / US
$60.00 - In stock -
It was a good year, 1995, and with each month a new full-colour depiction of H.R. Giger's universe of the grotesque fantastic. 15 large-format reproductions, including never before published works, his hommage to Gustave Moreau, Biomechanoids and Biomechanical Landscapes, designs for the unreleased films "The Tourist" and "Dune" (by Jodorowsky). Unused copy ready for the wall.
Very Good copy with light wear.
2018, English
Hardcover, 432 pages, 31 x 24.8 cm
Published by
FAB Press / UK
$110.00 - In stock -
Italy's Master of the Macabre Lucio Fulci is celebrated in this lavishly illustrated in-depth study of his extraordinary films. From horror masterpieces like The Beyond and Zombie Flesh-Eaters to erotic thrillers like One On Top of the Other and A Lizard in a Woman's Skin; from his earliest days as director of manic Italian comedies to his notoriety as purveyor of extreme violence in the terrifying slasher epic The New York Ripper, his whole career is explored.
Supernatural themes and weird logic collide with flesh-ripping gore to breathtaking effect. Bleak horrors are transformed into bloody poetry - Fulci's loving camera technique, and the decayed splendor of his art design, make the films more than just a gross endurance test. Lucio Fulci built up a fanatical following, who at last will have another chance to own this epic book - five years in the making - which is the ultimate testament to 'The Godfather of Gore'.
Since its first publication in 1999, Beyond Terror has sold out three print runs, and continues to be one of the most frequently requested FAB Press reprints.
Without doubt, by far and away the largest collection of Fulci posters, stills, press-books and lobby cards ever seen together in print. We have scoured the Earth to find the most stunning, rare and eye-catching Fulci images.
Out of print for ten years, it's back again in 2018, bigger and better than ever!
Featuring a foreword by Fulci's devoted daughter Antonella, and produced with her blessing and full co-operation, this book is quite simply the last word on Fulci. His whole cinematic career is studied in obsessive depth. Huge supplementary appendices make this volume essential for all serious students of the Italian horror movie scene.