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
Theory / Essay
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World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
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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
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Socialism / Anarchism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism / Women's Studies
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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.
1963, German
Hardcover (clothbound), 216 pages, 24.5 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Schuler Verlagsgesellschaft / Stuttgart
$25.00 - Out of stock
Published in 1963, lavishly illustrated book of 100 Treasures from museums around the world, spanning art history, antiquity, archaeology, handicrafts, biology, architecture, with text by Dr. Traudl Seifert, edited by J.E. Schuler. Includes the throne of Tutankhamun, Order of the Golden Fleece, Venus von Milo, Nike von Samothrake, Ming dynasty vase, Arabian celestial globe, the Taj Mahal, Meißner porcelain, Louis XIV pistols, Renaissance Venetian cabinet, statue of Uta von Naumburg, Venus von Milo, Altar of Verdun, Nike von Samothrake, The Tabatière rifle, the bust of Nefertiti, The lady and the Unicorn
... the work of Michelangelo, Veit Stoss, Aristide Maillol, Tilman Riemenschneider, Albrecht Dürer, and many more.
Good copy with general wear and rubbing to linen boards.
2022, English
Softcover, 448 pages, 20.5 x 14.5 cm
Published by
Walther König / Köln
$59.00 - Out of stock
In these essays and conversations, Daniel Birnbaum explores what conceptual artist Daniel Buren referred to as the ‘frames of art’. As a director of institutions, Birnbaum has organized events inside and outside some of the most significant art institutions in Europe, including the Venice Biennale, the Städelschule in Frankfurt, Moderna Museet and the Centre Pompidou. Like few other curators he has pushed the boundaries of the studio, the exhibition, and the museum in an attempt to find new ways to ‘frame’ art. This volume contains examples of curatorial approaches to education, exhibition-making and the presentation of collections.
Daniel Birnbaum, born 1963 in Stockholm, is a Swedish art curator and an art critic.
1982, English
Softcover, 34 pages, 17.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
The Alternative Museum / New York
$100.00 - In stock -
Extremely scarce, lovely catalogue published on the occasion of the exhibition "Visual Politics", curated by Geno Rodriguez at the Alternative Museum in New York, 1982.
Featuring the work of Melvin Edwards, David Hammons, Francesc Torres, Sonia Balassanian, Benedict J. Fernandez, Daniel Kazimierski, Despo Magoni, Juan Sanchez, Randy Lee White, amongst others. Illustrated throughout with the artworks featured in the exhibit, plus biographical info for each artist and a foreword essay by Robert H. Browning.
Very Good with light edge tanning with age.
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
1983, English
Softcover (staple-bound), 22 pages, 26.6 x 18.5 cm
1st UK Edition, Out of print title / used / very good
Published by
George Paton Gallery / Melbourne
$180.00 - In stock -
Wonderful, exceptionally rare catalogue published on the occasion of the group exhibition Comic Stripping at George Paton Gallery, Melbourne, May 31—June 24 1983. Features the work of Howard Arkley, Julie Cunningham, Juliet Darling, Juan Davila, Linda Marrinon, Raymond X, Peter Tyndall, Christopher Van Der Craats, → ↑ →. Illustrated throughout with work and texts by the artists and an introduction by Denise McGrath.
Very Good copy with ex-libris 200 Gertrude St. archive stamps to contents and final page of catalogue. Small mark, soft surface tear from old sticker to bottom-left of cover, otherwise a lovely copy with only light wear.
2004, English
Softcover, unpaginated, 19 x 15 cm
Ed. of 600,
Published by
Reverie Press / Daylesford
$55.00 - Out of stock
Book collection of concrete poetry by Australian artists Peter Tyndall, Richard Tipping, Jeff Stewart, Marie Sierra, Alex Selenitsch, Peter O'Mara, Patrick Jones, Aleks Danko, Geoffrey Baxter; edited with an introduction by Patrick Jones. Published in an edition of 600 copies.
Concrete Poetry is both a form and an attitude to poetry that emphasises the visual and material elements of letters and thus words in relation to their meaning. 'Words and Things' is a project Patrick Jones set out to produce to represent concrete poetry and text-based art in Australia. The material considerations of 'Words and Things', both environmental and aesthetic, lead the reader into a work that is more like a sequence of short films than a standard book.
Includes biography of each contributing artist and a related reading list.
As New copy.
1999, English
Softcover (staple-bound), 8 pages, 21 x 29.7 cm
1st Edition, Out of print title / used / fine
Published by
200 Gertrude Street / Melbourne
$15.00 - Out of stock
Scarce catalogue published on the occasion of the exhibition Same As It Ever Was, curated by Clare Firth-Smith at 200 Gertrude Street in 1999. Exploring a techno-logic of cultural, the link between modernism and a late-90's techno sensibility, the exhibition included work by Damiano Bertoli, Andrea Blundell, Nadine Christensen, Clare Firth-Smith, Julian Holcroft, Katherine Huang. Texts by Daniel Palmer and Julian Holcroft, alongside list of works exhibited.
Fine copy.
1991, English
Softcover (staple-bound), 36 pages, 30 x 21cm
1st Edition, Out of print title / used / very good
Published by
Art Gallery of New South Wales / Sydney
$35.00 - Out of stock
Scarce exhibition catalogue published on the occasion of the exhibition, 3 Installations : Noelene Lucas, Ross Mellick, Robert Owen, curated by Anthony Bond at Art Gallery of New South Wales, 1991. Illustrated in colour and b/w throughout with the work of all three Australian artists, alongside texts by playwright Noëlle Janaczewska (for Noelene Lucas), curator Tony Bond (for Ross Mellick), and artist John Barbour (for Robert Owen), biographies, artist texts and drawings.
Very Good copy.
1969, English
Softcover, 120 pages, 21.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Sun Books / Melbourne
$18.00 - Out of stock
First 1969 edition of "A Guide to Modern Australian Painting", published by Sun Books, Melbourne. "The first paperback book on modern Australian art", this small but generous volume, traces the extraordinary developments in Australian art for the "student, connoisseur or 'just plain curious'".
Profusely illustrated in colour and b/w throughout with the work of Ian Fairweather, John Olsen, Brett Whiteley, John Coburn, Robert Grieve, Sydney Ball, Col Jordon, Stanislaus Rapotec, Albert Tucker, John Perceval, Sidney Nolan, Arthur Boyd, Donald Friend, Sir William Dobell, Lloyd Rees, Jon Molvig, James Gleeson, Robert Juniper, Clifton Pugh, Jacqueline Hick, Leonard French, John Brack, Lloyd Rees, Russell Drysdale, Elwyn Lynn, Ken Reinhard, David Boyd, David Aspen, and many more.
Foreword by author R.K. Luck, and followed by details of plates, biographical notes on all featured artists, list of main Australian galleries and bibliography.
Good-Very Good copy.
2002, English
Softcover (staple-bound), 32 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
$15.00 - In stock -
Scarce catalogue published on the occasion of the First Birthday Exhibition of Metro 5 Gallery, May - June, 2002, coinciding with the world exclusive release of the gold sculptures of Sidney Nolan (depicted on the cover and within). Features the work of Sidney Nolan, Arthur Boyd, Dale Hickey, John Brack, John Firth-Smith, Hoawrd Arkley, Robert Jacks, Roger Kemp, Yvonne Audette, Albert Tucker, James Gleeson, John Perceval, Tim Storrier, Brett Whiteley, and many others. Illustrated throughout in colour with press release and room-sheet price-list enclosed.
Very Good copy.
2021, English
Softcover (staple-bound), 42 pages, 30 x 20 cm
Published by
Daniel Buchholz Galerie / Köln
$38.00 - Out of stock
This publication edited by Michael Krebber features 22 photographs by Uwe Gabriel that were made in 1980 for the poster of the exhibition “Aktion Pisskrücke - Geheimdienst am Nächsten” that took place the same year in Hamburg. Accompanying the photographs is an introductory text by Michael Sanchez.
The exhibition, Aktion Pisskrücke, featured the work of Albert Oehlen, Brigitte Rohrbach, Erinna König, Georg Herold. HiIka Nordhausen, Ina Barra Klaus Hubner, Marcus Oehlen, Martin Kippenberger, Michael Deistic, Michael Krebber, Thomas Wachweger, Uwe Gabriel, Werner Rattner.
1983, English
Single-sheet (folded into 8-panels, double-sided), 64 x 29 cm
1st Edition, Out of print title / as new
Published by
Monash University Exhibition Gallery / Victoria
$120.00 - Out of stock
Excellent, rare, over-sized single sheet/poster catalogue published on the occasion of the exhibition and lecture series, 'Masterpieces' out of the Seventies, at the Exhibition Gallery, Monash University Department of Visual Arts, curated and designed by artist Peter Cripps in 1983, featuring the work of Peter Tyndall, Imants Tillers, Peter Cripps, John Nixon, and Sam Schoenbaum. In what could easily be the precursor to Cripps' wonderful "Recession Art & Other Strategies" (1986), 'Masterpieces' out of the Seventies, as Cripps states in his catalogue text, "locates an approach which emerged in this period (but which has yet to be acknowledged) and attempts to show how it informs the new Australian Art of the Eighties. The essence of this new approach was in its reformulation of the idea of what could constitute the 'parts' of a work. "Masterpieces" is thus not only an exhibition composed of parts but also an exhibition about 'parts'. There are 5 artists in the exhibition and they are represented by works produced 7 to 10 years ago as well as by more recent works. The first 21 weeks of the 8-week exhibition are devoted to contemporary works, followed by 1 'historical' work by each artist per week for the remaining 5 weeks."
Illustrated with documentation of some of the works alongside texts by the artists, portraits, drawings, full exhibition catalogue, biographies...
First, only edition of this rare historical piece, As New copy with light tanning and wear.
2015, English
Hardcover (w. dust jacket), 160 pages, 27 x 31 cm
Published by
Marot / Brussels
$90.00 - Out of stock
From the start, the Belgian Surrealists—among them René Magritte, Paul Delvaux, Paul Nougé, E.L.T. Mesens and Marcel Mariën—distinguished themselves from their Parisian counterparts with their dry wit, brilliant conceptualism and knack for combining the fantastical and the everyday (e.g., Magritte's bowler-hatted men, or Marcel Mariën's iconic single-lensed spectacle), and their disinclination to issue Breton-style manifestos.
This revelatory volume celebrates the Surrealist movement in Belgium through a group of more than 250 paintings, drawings, photographs, prints and books by artists such as Rachel Baes, Paul Delvaux, Camille Goemans, Jane Graverol, Tom Gutt, Jacques Lacomblez, René Magritte, Marcel Mariën, Jacques Matton, Edouard (E.L.T.) Mesens, Paul Nougé, Gilbert Senecaut, Louis Scutenaire, Max Servais, Armand Simon, André Stas Raoul Ubac, Louis Van de Spiegele, Rogier Van de Wouwer and Robert Willems.
1969, English
Softcover (textured wraps, staple-bound), 40 pages, 22 x 22 cm
1st Edition, Out of print title / used / very good
Published by
New Jersey State Museum Cultural Center / New Jersey
$290.00 - In stock -
Rare, collectable catalogue published on the occasion of the exhibition "Soft Art", organized by Ralph Pomeroy at New Jersey State Museum Cultural Center, March - April 1969.
With an introductory essay by Pomeroy and works throughout by the artists featured in the exhibition : Richard Artschwager, Thomas Bang, Sue Bitney, John Chamberlain, Bruce Conner, Paul Harris, Eva Hesse, Susan Lewis, Jean Lindner, Robert Morris, Harold Paris, Robert Rohm, Richard Serra, Keith Sonnier, Richard Tuttle, William Wegman. Includes a list of the works exhibited, artist biographies and a list of lenders. A historic, very rarely seen catalogue.
Very Good copy.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
2009, English
Softcover (w. plastic dust jacket and 15 artist postcards), 200 pages, 33 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Contemporary Art Museum St. Louis / Missouri
$300.00 - Out of stock
Our story begins in Ancient Greece with Socrates announcing, “I know that I know nothing.” Clearly, confusion has always been at the heart of wisdom.
Curated by Anthony Huberman at the Contemporary Art Museum St. Louis in 2009, the group exhibition and catalogue For the Blind Man in the Dark Room Looking for the Black Cat That Isn't There explores the speculative nature of knowledge and insists on the importance of curiosity and the things we don't understand. Arranged around the premise that the world—and art—is not a code that needs cracking, the works in the exhibition center on the fruitfulness of not-knowing, un-learning, and productive confusion. David Hullfish Bailey, Marcel Broodthaers, Hans-Peter Feldmann, Fischli & Weiss, Rachel Harrison, Giorgio Morandi, Matt Mullican, Rosalind Nashashibi & Lucy Skaer, Frances Stark, Rosemarie Trockel and others present explanations that playfully don't explain. Dedicated to the inquisitive mind, For The Blind Man celebrates our ability to get lost and the stories we use to find our way in the dark. The book is edited, arranged and designed by London-based writer Will Holder and includes a new essay by curator Anthony Huberman.
Featuring: Anonymous, Dave Hullfish Bailey, Marcel Broodthaers, Sarah Crowner, Mariana Castillo Deball, Eric Duyckaerts, Ayşe Erkmen, Hans-Peter Feldmann, Peter Fischli & David Weiss, Rachel Harrison, Giorgio Morandi, Matt Mullican, Bruno Munari, Nashashibi/Skaer, Falke Pisano, Jimmy Raskin, Frances Stark, Rosemarie Trockel, Patrick van Caeckenbergh, and David William.
Rare first edition of this incredible catalogue, over-sized and complete in plastic jacket and original issue 15 large artist postcards included. Very Good—Fine copy with some light tanning only.
2021, English / German
Hardcover, 392 pages, 28 x 22 cm
Published by
Walther König / Köln
Städtisches Museum Abteiberg / Mönchengladbach
$85.00 - Out of stock
For the first time, the 35 legendary box catalogues of Städtische Museum Mönchengladbach have been published as a book. Museum director Johannes Cladders developed the idea of catalogues in the form of a box with Joseph Beuys in 1967. Understated in their initial appearance, the grey boxes provide an unconventional and pertinent overview of the international vanguard art of the period, including seminal movements such as Conceptual Art, Fluxus, Arte Povera, and Pop Art. Until 1978, Cladders worked closely with exhibiting artists to create such catalogues, which radically re-envisaged the traditional exhibition and museum publication. They embody the participatory approach of their time and instance a vision of a porous democratic work. Viewers are invited to actively participate in this artistic and institutional endeavour and engage both intellectually and physically. Some of the boxes include posters, booklets, documentation and texts, while others comprise multiples.
Artists included are Blinky Palermo, Daniel Buren, Marcel Broodthaers, Hans Hollein, Piero Manzoni, Hanne Darboven, Bernd and Hilla Becher, Stanley Brouwn, Brecht/Filliou, Jasper Johns, Richard Long, Panamarenko, James Lee Byars, Braco Dimitrijević, Jannis Kounellis, Lawrence Weiner, Giulio Paolini, and Gerhard Richter, among many others.
Researched by Susanne Rennert, designed by Petra Hollenbach, with photographs documenting all catalogues by Tobias Hohn & Stanton Taylor, and introductory essays by Susanne Rennert and Susanne Titz. English and German text.
2021, English
Softcover, 21 x 29.7 cm
Published by
Centre d'editions / Melbourne
Guzzler / Rosanna
$30.00 - In stock -
Very limited edition informal magazine/catalogue published on the occasion of ‘Sex is Gay: Part Deux’, a group exhibition presented by Zac Segbedzi at Guzzler, Rosanna, 20 Nov — 5 Dec, 2021. Features the work of Ramsay Alderson, Richard Hawkins, Paul Levack, Mathieu Malouf, Heji Shin, and Alex Vivian. Lavishly colour illustrated on glossy stock with work images, video stills and installation photography from the exhibition, followed by 20 pages of erotic photos shot by Ramsey Alderson and Richard Hawkins of famed pornstar Tom Faulk during Mathieu Malouf's 2016 show ‘Toilet’ at Jenny's in Los Angeles.
Very limited print run.
2021, English
Softcover, 232 pages, 16 x 23 cm
Published by
Camden Art Centre / UK
$98.00 - Out of stock
Humanity’s place in the natural order is under scrutiny as never before, held in a precarious balance between visible and invisible forces: from the microscopic threat of a virus to the monumental power of climate change.
Drawing on indigenous traditions from the Amazon rainforest; alternative perspectives on Western scientific rationalism; and new thinking around plant intelligence, philosophy and cultural theory, The Botanical Mind investigates the significance of the plant kingdom to human life, consciousness and spirituality across cultures and through time. The Botanical Mind: Art, Mysticism and The Cosmic Tree was conceived as a trans-generational group exhibition by Gina Buenfeld and Matt Williams for the Camden Art Centre, bringing together surrealist, modernist, visionary, outsider, indigenous Amazonian, and contemporary works alongside historical and ethnographic artefacts, textiles and manuscripts spanning more than 500 years. Through the symbolism of diverse cultural artefacts and the works of mystics, artists and thinkers around the world, 'The Botanical Mind' reveals how the vegetal kingdom has metaphysical importance to the development of consciousness and spirituality.
This richly illustrated 224-page companion publication includes essays by the curators and contributions from scholars on the key themes of the exhibition – alchemy, art history, plant ontology, Gaian ecology, anthropology and ethnobotany – unifying philosophical, scientific, spiritual and artistic approaches to meditate on the cosmic significance of plants in different worldviews.
Edited by Gina Buenfeld and Martin Clark
Designed by Sara De Bondt studio.
Artists and Writers
Eileen Agar / Anni Albers / Josef Albers / Sarah Angliss / Consuelo "Chelo" González Amézcua / Gemma Anderson with Wakefield Lab and John Dupré / Anna Atkins / Kirk Barley / Jordan Belson / Annie Besant and Charles Leadbeater / Karl Blossfeldt / Carol Bove / Jagadish Chandra Bose / Kerstin Brätsch / Bernd Brabec De Mori / Hildegarde von Bingen / Andrea Büttner / Adam Chodzko / Ithell Colquhoun / Bruce Conner / Brenda Danilowitz / Das Institut / Mirtha Dermisache / Minnie Evans / Cerith Wyn Evans / Charles Filiger / Robert Fludd / Monica Gagliano / Giorgio Griffa / Brion Gysin / Friedrich Wilhelm Heine / Ernst Haeckel / Dr Stephan Harding / Anna Haskel / Tamara Henderson / Channa Horwitz / Textiles from the Huni Kuin (Kaxinawa) people / C.G. Jung / Joachim Koester / Rachid Koraïchi / Hilma af Klint / Emma Kunz / Yves Laloy / Ghislaine Leung / Linder / Simon Ling / Michael Marder / Agnes Martin / André Masson / John McCracken / Terence McKenna / Henri Michaux / Matt Mullican / Wolfgang Paalen / Paul Păun / Stefan A. Pedersen / Santiago Ramón y Cajal / Steve Reinke and James Richards / Edith Rimmington / Adele Röder / Daniel Rios Rodriguez / Rupert Sheldrake / Textiles and ceramics from the Shipibo-Conibo people / Penny Slinger / F. Percy Smith / Janet Sobel / Philip Taaffe / Priscilla Telmon and Vincent Moon / Fred Tomaselli / Delfina Muñoz de Toro / Alexander Tovborg / David Tudor / Lee Ufan / Scottie Wilson / Terry Winters / Adolf Wölfli / Bryan Wynter / Henriette Zéphir / Anna Zemánková / Unica Zürn / artists from the Yawanawá community
2022, English
Softcover, 300 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
What is it like to make art the way the world is today? What is it to write about art? Every review you read in 2022 will attempt to answer these questions, whether it knows it or not. You can see it if you look hard enough. And in thinking about this we perhaps hold a candle to the darkness, or perhaps these questions are the light that allows us to see the darkness around us. Thank you for reading Memo lit by the world’s candlelight.
These are the reviews from 2021, the fourth year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
Featuring contributions by A. D. S. Donaldson, Adelle Mills, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Babs Rapeport, Cameron Hurst, Chelsea Hopper, David Wlazlo, Diego Ramírez, Francis Plagne, Giles Fielke, Hilary Thurlow, Jarrod Zlatic, Léuli Eshrāghi, Luke Smythe, Matt Marasco, Michelle Guo, Miriam La Rosa, Paris Lettau, Philip Brophy, Rex Butler Sofia Skobeleva, Tara Heffernan, Tara Mcdowell, Timmah Ball, Ursula Cornelia De Leeuw, Victoria Perin, and Vincent Le.
2013, English
Softcover, 208 pages, 17.8 x 22.8 cm
Ed. of 800,
Published by
Galerie Buchholz / Köln
$90.00 - Out of stock
Gorgeous book published on the occasion of the exhibition “Neptune Society, San Francisco Columbarium, 4th Fl., Dome Room, South Wall, Tier 4, Niche 2” organised by Danh Vo at Galerie Buchholz, Berlin, 2012. Edited by Julie Ault, Heinz Peter Knes, Danh Vo, Christopher Müller & Daniel Buchholz.
In this exhibition and publication Danh Vo, Julie Ault and Heinz Peter Knes enter into a dialogue with the work of Martin Wong whose estate and collection was at the time (2012) stored and administered by Martin Wong’s mother Florence Wong Fie in the Wong family house in San Francisco.
Martin Wong (1946-1999) was born in Portland Oregon as the only son of Chinese immigrants Benjamin Fie and Florence Wong Fie. An important representative of the art scene in New York's lower East side in the 80s Martin Wong's house, as pictured in this publication, is a unique document of his life's work. In a variety of ways the contents of the house on the one hand reflects the wealth of reference in Martin Wong’s works, and over and above that the unique relationship between Martin Wong and his parents with all the necessarily complicated projections and possible misunderstandings such relationships entail.
This catalogue documents the collection of the artist Martin Wong. In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and multifaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life. Accompanied by a text by Julie Ault who recalls the congruity of Martin owning a Piet Mondrian and storing it "close to splashing water in his sixth-floor walk-up apartment in a run-down building on New York's pre-gentrification Lower East Side...".
1977 / 1984, English
Hardcover (w. dust jacket), 88 pages, 29 x 21 cm
1st UK Edition, Out of print title / used / very good
Published by
Bracken Books / London
$15.00 - Out of stock
Hardcover edition of Fantastic Painters by Simon Watney, first published in 1977, this 1984 edition published by Bracken Books, London. Includes the work of Hieronymus Bosch, Max Ernst, Lyonel Feininger, Luigi Russolo, Paul Delvaux, Arnold Böcklin, Odilon Redon, Gustave Moreau, Salvador Dali, Rene Magritte, Caspar David Friedrich, Henri Rousseau, Paul Klee, Georde Frederic Watts, Giovanni Segantini, Edward Burne-Jones, John Anster Fitzgerald, Pieter Bruegel the Elder, Richard Dadd, Francisco de Goya, Henry Fuseli, Jean Auguste Dominique Ingres, Hubert Robert, William Blake, François de Nomé (Monsù Desiderio), Giuseppe Arcimboldo, Jacopo Pontormo, Matthias Grünewald, Luca Signorelli, David Hockney, and more.
Very Good in VG dust jacket.
1987, English
Softcover (staple-bound), 40 pages, 21 x 15 cm
Ed. of 250 copies,
1st Edition, Out of print title / used / very good
Published by
IMA / Brisbane
$40.00 - Out of stock
Scarce 1987 booklet edited by Australian artist Peter Cripps and published in an edition of only 250 copies by the Institute of Modern Art, Brisbane, where Cripps was director at the time. Handsomely designed by Cripps and typeset by Ian Hodgkiss, this fantastic publication was published in dedication to artist Robert MacPherson, as sales from his survey catalogue had helped to fund its publication. Comprising entirely of nine short interviews by Peter Cripps with eight artists (Robert MacPherson, Peter Tyndall, Vivienne Shark LeWitt, Tim Johnson, Geoff Lowe, Bronwyn Clark-Coolee, Scott Redford, Mark Webb) who had all exhibited at the IMA, and one with curator Robyn McKenzie, whose exhibition "The Gothic: Perversity and Its Pleasure" was held at the institute in 1986. Includes source references.
Very Good copy, only light cover wear.
2017, English / German
Softcover, 431 pages, 20.3 x 27.1 cm
Published by
Walther König / Köln
$65.00 $15.00 - In stock -
This publication documents the first forty years of exhibitions at the Museum Ludwig through an archive of installations and ephemera. It includes impressions from all the directors of the institution as well as the architects of the building. The conceptual starting point is the anniversary exhibition "We Call It Ludwig: The Museum Is Turning 40!" (2016), which is reflected here in a complete overview of all the works on display. For the anniversary exhibition, which was jointly conceived by the director and all the museum’s curators, twenty-five international artists and artist collectives were invited to engage in depth with the institution and to react to the question of what the Museum Ludwig means to them.
Participating artists included Georges Adéagbo, Ai Weiwei, Ei Arakawa & Michel Auder, Minerva Cuevas, Maria Eichhorn, Andrea Fraser, Meschac Gaba, Guerrilla Girls, Hans Haacke, Diango Hernández, Candida Höfer, Bodys Isek Kingelez, Kuehn Malvezzi, Christian Philipp Müller, Marcel Odenbach, Ahmet Ögüt, Claes Oldenburg, Pratchaya Phinthong, Alexandra Pirici & Manuel Pelmuş, Gerhard Richter, Avery Singer, Jürgen Stollhans, Rosemarie Trockel, Villa Design Group, Christopher Williams.
The expansive archive portion of this large book includes important work by countless artists spanning 40 years.
Edited by Yilmaz Dziewior