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 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
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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.
1989, Japanese
Softcover (w. dust jacket and original plastic wrap), 80 pages, 22.8 x 16.3 cm
1st Edition, Out of print title / used / very good
Published by
Gakutokan / Japan
$100.00 - Out of stock
First edition of The World of Pierre Molinier, published in 1989 in Japan. An exquisite book of Molinier's fetishistic gender-bending paintings, photomontages, and drawings, fittingly wrapped in "stocking" dust jacket, with texts by André Breton, translated from French to Japanese by Kosaku Ikuta, imagery from "Molinier" (1966) film by Raymond Borde, beautifully designed and printed in Japan where Molinier's artworks had a particular resonance.
Pierre Molinier (1900—1976) was a French painter, photographer and a forerunner of gender performance art and Body Art (Art corporel). Molinier spent much of his artistic life working in isolation in Bordeaux, exiled from local and national art scenes. Born in Agen, nothing had predestined Molinier to a life as an artist. Self-taught, from a working-class background, he followed in his father’s footsteps and started out as a house painter. He got married and had two children. Tired of his infidelities and provocative behaviour, his wife left their marital home an in 1950 and Molinier begun photographing himself seriously, staging his own death and erecting a fake gravestone proudly declaring himself ‘a man without morals’. He was thrown out of the Bordeaux Salon des Indépendants as early as 1951 amidst controversy over his orgiastic painting of the same year, Le Grand Combat. Stirring up an obsessive correspondence with the anarchic poet-founder of Surrealism, André Breton, Molinier was soon integrated into the Surrealist group with a solo exhibition at Breton’s Paris gallery in 1956. Molinier’s anti-moral project appealed to the group’s interest in repressed desires, fetishism, and the transgression of bourgeois morals. In 1959, he exhibited at the Exposition International du Surrealism in Paris. From the mid-1960s Molinier chronicled the exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure. Cut-up, reassembled, and manipulated, Molinier painstakingly created elaborate and sensual photomontages in which he assumed the roles of dominatrix and succuba previously taken by the women of his paintings. Either alone with doll-like mannequins or with female models such as German sadomasochist Hanel Koeck, Molinier, who considered himself fundamentally androgynous, appears as a transvestite, employing his body and that of his acquaintances to create visions of hybrid identity, where stockinged multi-limbed, multi-sexed beings imitate pagan figures, Hindu gods, and Masonic symbols, in a rejection of a Christian tradition which he argued, had repressed androgyny. Designed to shock, Molinier’s artwork represented a very intimate disclosure about his own sexual ambiguity, inviting the viewer to bring to the images his or her own response of excitement or disgust. The degree of his artistic perversity and blasphemous tendencies was deemed too much for the French cultural elite, and the man Breton dubbed the “magician of erotic art” was shunned from the art world. Molinier did not participate in the 1965 International Surrealist Exhibition. For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux 'boudoir – atelier'. He committed suicide in 1976, shooting himself with a pistol, something he had foreshadowed in his artwork, time and again. Essentially a leg fetishist, but also considering himself as a shaman, facetious and provocative, anti-bourgeois and anti-religious, Molinier enjoyed transgressing gender identification : his outstanding photographs greatly influenced the European and North American Body Art in the 1970s and continue to fascinate artists today.
Very Good copy in original plastic jacket.
2010, English
Hardcover, 400 pages, 24 x 31 cm
Published by
Les Presses Du Reel / Paris
Mennour / Paris
$150.00 - In stock -
The Molinier bible! A mammoth, crucial 400 page book on the method and genesis of Pierre Molinier's provocative, gender-bending photos and artwork. Beautifully printed and prodigiously illustrated with over 800 pictures, mostly unpublished, numerous documents, manuscripts and letters, a complete (nearly 100-page) chronology, a critical biography, and a text by Jean-Luc Mercié.Molinier. Essential publication on Molinier, the most comprehensive to date, and a must for any fan.
Rare English edition translated from the French by Edward Penwarden.
Pierre Molinier is an unknown of worldwide renown. Every book and every exhibition on the body, gender confusion or sexual excess seems to feature at least one work by this artist whose “genius” was acclaimed by André Breton in a memorable text published in 1956. But the bulk of his work has remained inaccessible. A number of pictures have never been shown and a corpus of only 160 prints has been published. The ensemble revealed by the artist's archives is much more extensive. It includes numerous proofs made to prepare his photomontages and working prints given to friends, but also notebooks and personal letters. Here, precise links emerge between his paintings, photographs and scandalous life. The myth carefully constructed by the artist begins to crumble before the reality of the work.
An inveterate seducer, thoroughgoing fetishist, unrepentant transvestite and inadvertent bisexual, to the very last Molinier remained haunted by two obsessions: pleasure, meaning immediate access to la petite mort, and “leaving a trace in the infinity of time.” This book charts the aesthetic incarnation of his passions. Its 819 photographs, most of them never published before, reveal the method, shed light on the procedures and give details of the origin and alchemy of his latent or composed images. Finally, an exhaustive chronology offers a new biography of Molinier, based on his letters: for it is in the intimacy of these writings that the shaman's heart beats closest to the truth.
In a career shared between the university (fifteen years) and publishing (twenty) Jean-Luc Mercié has written widely on painting and photography. This monograph is his fourth book about Pierre Molinier, the master from Bordeaux.
Born 1900 in Agen (France), Pierre Molinier, surrealistic painter and photographer, a precursor to body art, died in 1976 after having thought out radical and pornographic artwork.
2024, English
Hardcover (w. dust jacket), 100 pages, 26.42 x 28.96 cm
Published by
Liveright / US
$120.00 - Out of stock
Foreword by Benjamin Moser, With an Introduction by Susan Sontag
A new edition of the cult classic photography book by the legendary Peter Hujar, featuring a foreword by Pulitzer Prize winner Benjamin Moser
The 1976 publication of Peter Hujar’s Portraits in Life and Death, with an introduction by Susan Sontag, “was and remains one of the most somberly beautiful and influential photography collections of its era” (Holland Cotter, senior art critic of The New York Times). When Hujar passed away in 1987, his work was relatively unknown except for a small following. The importance and artistic mastery of Hujar’s photography, its tender gravity and intimacy, became recognised and canonical only after his death. The republication of this collection is composed of the original introduction by Susan Sontag and preceded by a new foreword by Benjamin Moser, with photographs presented in two sequences. A stirring ode to the flourishing downtown scene of the 1970s, this collection remains a deeply moving artefact of post-Stonewall New York City.
"As his posthumous fame only increases, this tightly curated collection of photographs of Hujar’s friends and peers (Paul Thek, Anne Waldman, John Waters and Robert Wilson among them), paired with a haunting series of 1963 photographs of the dead in the Capuchin Catacombs of Palermo, will remind fans of what makes him such a singular and original American artist."—Andrew Durbin, Frieze
"[A] stunning new edition… Sensuous and sensitive, this is a real masterwork."—Olivia Laing, The Observer
2025, English
Hardcover (clothbound), 124 pages, 23 x 23 cm
Published by
Drill Hall Gallery / Canberra
$45.00 - In stock -
This title brings the collection of Canberra couple Susan Taylor and Peter Jones into focus on the advent of its 25th anniversary. Seeded from an initial interest in mid-century modern design and early twentieth century avant-gardes, the collection blossomed into an embrace of non-objective and abstract art. Artists featured include General Idea, Maria Kozic, Peter Maloneyi, Elizabeth Newman, John Nixon, Robert Rooney, Janet Burchill, Jennifer McCamley and many more.It has grown to revel in the intersections between conceptual art, geometric abstraction, seriality, non-objective painting, photography, contemporary jewellery and poetics to develop conjunctions across time, place and materiality.
The publication accompanies the exhibition curated by Peter Jones at the Drill Hall Gallery, Australian National University, 19 April – 15 June 2025.
Eye to Eye delves into several of the collection’s multi-faceted and revelatory cross-sections. In his essay Peter Jones explores how the couple’s interests have been refined and extended by the art they love and the people that surround that art. In an interview with Drill Hall Gallery director Tony Oates, Susan Taylor discusses the correlations between sustainable fashion and conceptual art with a focus on jewellery. National Gallery of Australia’s curator of photography, Shaune Lakin, traces developments in local conceptual photography from the 1960s as they play out across the Taylor Jones collection. Acclaimed writer Quentin Sprague offers illuminating insight into the work of Robert Rooney and John Nixon, two stalwarts in the Taylor Jones collection. The publication touches on a vast array of local and international art historically significant developments, revealing the power of the private collection to expose perspectives that may go unnoticed in larger, public collections.
2025, English
Softcover, 208 pages, 23 x 16.6 cm
Published by
Memo Review / Naarm
$35.00 - In stock -
What happens when political art becomes indistinguishable from marketing? Catherine Liu calls it “the highest form of kitsch” — where liberal good intentions become another elite commodity. Vincent Lê sees Apple’s crushingly smooth aesthetics not as mere flattening, but as capitalism’s natural logic of “creative destruction” at work: art compressed into commodity pixels; culture remade through self-improving competition. Either way, we’ve reached peak kitsch. Slavoj Žižek spots it: Trump’s AI-generated Gaza fantasy isn’t just tasteless satire; it’s political kitsch perfected. Call it hasbara via hyperpop.
Meanwhile, Isobel D’Cruz Barnes shows how artists on Narrm’s subculture music scene recognise that the real stage isn’t sound — it’s Instagram, TikTok, and every surface of aesthetic performance. Emerging now is culture as costume, rebellion reimagined as self-design, “lazy representation politics and identity capitalism” countered by their acceleration. And maybe that is just fine.
But no one slices open this tension between image and impact like artist Maria Kozic, whose visceral pop provocations twist kitsch into something uncomfortable, even violent—like Warhol thrown into a meat-grinder. Here kitsch doesn’t comfort but “pops.”
Khaled Sabsabi’s Venice controversy crystallises the stakes: Creative Australia recoiled from his political ambiguities, preferring art to neatly market their own virtue. Adorno (via Benjamin and Greenberg) knew all along: kitsch is the aestheticisation of politics. Or was it fascism? Or is art best when it risks being misunderstood or ambivalent, or, even better, wrong?
1984 / 1995, Japanese
Softcover (w. dust jacket), 144 pages, 21.3 x 15 cm
1st Edition, Out of print title / as new
Published by
Rippu Shobo / Japan
$120.00 - In stock -
First 1984 edition of this seldom seen photo book by Japanese photographer Kazuo Kenmochi, These Are Drugs: A Photographic Look at the Roots of Modern Disease. Kazuo Kenmochi, an extraordinary figure in Japanese photography, published three ground-breaking photo books that rank as some of the most comprehensive books on drug addiction ever published — Narcotic Photographic Document, Narcotic '61-'72, and Narcotic Damage in Japan (published 1963 through to 1975). These illuminating books of frontline photo-reportage detail the drug culture in Japan in the early 1960s that was spread by U.S. soldiers after the war. A photo artist with direct access as photographer for the Ministry of Health and Welfare and the National Police Agency, Kenmochi captures all the aspects of the culture from drug production, to distribution, to use, addiction, withdrawal, overdose, raids, seizure, arrests, incarceration, all in great detail. Alongside incredible photo documents of addicts in varying states of disarray, the books photographically documents the seizures, identifies the drug types/variations, paraphernalia, the methods of use, the signs of use on the body, and charts their origins in nature and distribution. Kenmochi's comprehensive observations, ingeniously utilising methods of identity abstraction and provocative photographic techniques used in erotic photography (a field he was active in), to confidentially capture drug use through stark and very intimate moments with users. This 1984 volume collects a selection of the images (vivid colour and b/w) from these highly sought after books into one concise softcover volume.
First 1984 edition, 1995 printing.
Fine—As New in F dust jacket, preserved under mylar dust jacket.
1997, English
Hardcover (w. dust jacket), 198 pages, 33 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$70.00 - Out of stock
First 1997 over-sized hardcover edition of "Beauty Parade" by American fetish photographer, erotica historian, photojournalist, and book editor, Eric Kroll (b. 1946, New York). Beauty Parade is an incredible collection of his 1990's erotic photographs, ranking among the absolute classics of fetishistic imagery. Rising from the downtown New York art and fashion scene of the 1970s and 80s, shooting for Elle Magazine, Vogue, The New York Times and Der Spiegel, Kroll published his first book, "Sex Objects" in 1976 with a grant from the New York State Council of the Arts, a book documenting sex workers across America. "Beauty Parade" follows on from his best-seller "Fetish Girls" (1994), full of powerful women and drawing one into a world of bizarre fantasies and sadomasochistic desires while retaining a sense of irony and surreal humour. Many of Kroll's photographs refer to and pay homage to his predecessors Weegee and Bunny Yeager as well as Eric Stanton and John Willie, while being grounded in the conceptual influences of artists such as Man Ray, and Marcel Duchamp. Text in English, German and French. Wonderful introduction by Kroll.
Very Good copy in VG dust jacket, light wear.
1994, Japanese / English
Hardcover (w. corflute envelope slipcase), 196 pages, 32.5 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Sequoia / Tokyo
$220.00 - In stock -
"I dedicate this book to all lives"
Very rare, first volume of the highly collectible cult classic two-volume death photo book series, SCENE, published in 1994 in Japan only. A lavish hardcover production filled with high-quality monochrome reproductions of anonymous, uncredited corpse photography, seemingly sociopolitical photo-journalism of human massacre stripped of text/language as a confronting stream of vivid and graphic images in conceptual photo book form. SCENE presents an unwavering, unapologetic exploration of a world usually hidden from view — the dead and death. Not for the faint of heart. Compiled by Kunio Shimizu and Yoichi Shibata for publisher Hirofumi Nagashima, SCENE is housed in an elaborate black button-and-tie-bound corflute envelope. Select plates have been featured in the pages of Kotaro Kobayshi’s underground publications TOO NEGATIVE and ULTRA NEGATIVE from the same period.
Fine copy with only standard storage wear from button-bind pressure to envelopes/wear to button metal.
2025, English
Softcover, 72 pages, 29.2 x 24.8 cm
Ed. of 500,
Published by
Karma / New York
$75.00 - In stock -
Grosvenor's photographs of color-coated snow investigate the stakes of altering the world around us.
In a Patchogue, New York, parking lot, Robert Grosvenor (born 1937) photographed brightly colored flocking dropped into mounds of snow. Known for his subtle adjustments to readymade objects, Grosvenor makes the resulting images insistently abstract, depicting the aftermath of an action.
Texts by Rob Teeters and Matilde Guidelli-Guidi.
Edition of 500 copies.
Robert Grosvenor (b. 1937, New York, NY) is an American sculptor and photographer known for his surreal captures of vernacular architecture and modernist retrofuturisms. Grosvenor’s monumental sculptures transform a bevy of mid-century technologies, structures, and cultural lores into simple, streamlined forms. These idiosyncratic forms challenge the sculptural conventions of weight, line, movement, and inertia. Grosvenor was included in the historic 1966 Primary Structures survey exhibition at the Jewish Museum, which famously introduced Minimalist art to a broader public. Although his work builds on the aesthetic program of Minimalism, Grosvenor playfully resists the cool austerity emblematic of the genre. Rather he explores the sensuousness of his materials and the nostalgic qualities of their color and design.
2025, English
Softcover, 72 pages. 22.2 x 17.1 cm
Published by
Magic Hour Press / New York
$60.00 - Out of stock
This photobook, one of two from Hervé Guibert published in his lifetime, is filled with characters, settings and mystery. It starts with bodies – their faces either eclipsed or out of frame – before unleashing a bravura sequence of portraits: friends, lovers, family and Guibert himself. As the book approaches its finale, his subjects are obscured and then disappear completely, leaving behind the objects they touched, until even those vanish, leaving only light.
Most of the photographs in The Only Face were taken on Guibert’s European and American travels, but their settings are, with few exceptions, small private interiors. The effect is an inwardness that communicates Guibert’s deep affinity with his subjects.
The Only Face, originally published in Paris in 1984, is the second and final photobook Guibert published in his lifetime (preceded by the photo-novel Suzanne and Louise, also reissued in English by Magic Hour Press). This new edition presents Guibert’s photographs in their original sequence, with his titles and introductory text translated by Christine Pichini and a new cover by the artist Marc Hundley.
French writer and photographer Hervé Guibert (1955–91) was the author of 25 books, beginning with Propaganda Death (1977), a fictional memoir in the tradition of Georges Bataille, Jean Genet and the Marquis de Sade. His best-selling novel To the Friend Who Did Not Save My Life (1990) was inspired by his long friendship with Michel Foucault and the two men’s experiences living with AIDS, which tragically ended Guibert’s life at the age of 36.
2023, Czech / English / German
Softcover, 256 pages, 24 x 33 cm
Published by
Edizioni Periferia / Lucerne
$175.00 - In stock -
Despite his art education, Czech painter and photographer Miroslav Tichý (1926–2011) was considered an outsider due to his unconventional approach to photography that revealed a voyeuristic fascination for the female body. His analogue photography shows traces and errors he deliberately sought out by building his own cameras and telephoto lenses. In the 1970s and ’80s, Tichý regularly took pictures of his television screen. Because he lived close to the Austrian border, he was able to circumvent the censorship of Eastern Bloc media and watch the more permissive films and late night shows from the West. Many of his seemingly surreptitious screenshots appear in this book.
2008, English
Hardcover (w. obi-strip), 220 pages, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Walther König / Köln
$160.00 - Out of stock
First edition of this beautiful hardcover monograph on the work of Miroslav Tichý, published in 2008 by Walther König and quickly out of print. Profusely illustrated throughout with Tichý's works alongside informative background about the artist and his work by contributors Harald Szeemann, Carolyn Christov-Bakargiev, Clint Burnham, Roman Buxbaum.
After studying at the Academy of Arts in Prague, Miroslav Tichý, born in 1926 in the former Czechoslovakia, withdrew to a life of isolation in his hometown of Kyjov. In the late 1950s, he stopped painting and, during his daily walks, began to take photographs of women with cameras he made by hand. He mounted his prints on handmade frames and added finishing touches in pencil, shifting from photography to drawing. Disregarding the rules of photography, for four decades Tichý created a large oeuvre of poetic, dreamlike views of female beauty.
A former neighbor, Roman Buxbaum, discovered Tichý's hidden work in the 1980s and has been documenting and collecting it ever since. In 2004, the esteemed international curator Harald Szeemann mounted the first solo exhibition of the nearly 80-year-old artist. That same year, Tichý was given the Rencontres d'Arles Photographie Discovery Award and the Kunsthaus Zurich organized a large retrospective. Solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art (MMK) Frankfurt followed in 2008. Tichý does not see his exhibitions, for he no longer leaves his house. This beautifully produced, thorough volume collects the work — perfectly.
Very Good copy with light wear. With original illustrated publisher's obi-strip.
1951, English
Hardcover (w. dust jacket), 184 pages, 32 x 24 cm
1st Edition, Out of print title / used / good
Published by
Swen Publications / New York
$25.00 - In stock -
1951 hardcover first edition.
"SINCE STALIN is a history of Communism.
SINCE STALIN is a contemporary history. The dark birth, the bloody adolescence, the sordid maturity of Communism are bracketed in our own lifetime.
SINCE STALIN is a true history. It traces the road of Communism with the original milestones re-stored, not as they have been shifted or shattered by the Kremlin's hacks and apologists. A complete bibliography-index cites the varied sources of the text, and each of the 425 photographs-many of them rare, some of them hitherto suppressed— has been painstakingly authenticated."
Good—VG copy in Average—Good dust jacket with wear to edges.
1978, English
Hardcover (w dust jacket), 286 pages, 22 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Holt Rinehart & Winston / Chicago
$20.00 - In stock -
First 1978 hardcover edition of Russia in Revolution, 1900-1930, Salisbury's narrative and pictorial portrait of the political and artistic upheaval that changed the course of Russian history and culture during the first three decades of the century. Profusely illustrated with photographic documents and graphics.
VG in G—VG dust jacket.
1957 / 1984, Polish / English / French / German
Hardcover (w. dust jacket and slipcase), 319 pages, 25 x 34 cm
Out of print title / used / very good
Published by
PAX / Warsaw
$100.00 - In stock -
Stunning 1984 hardcover, slip-cased re-print of 1957's Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Very Good copy book in heavy black debossed and red ink stamped boards, Good—VG dust jacket with edge scuff wear, particularly to the spine edges, Good—VG slipcase with printed paste-on, light edge tanning/wear.
1957, Polish / English / French / German
Hardcover (clothbound), 319 pages, 25 x 34 cm
1st Edition, Out of print title / used / good
Published by
PAX / Warsaw
$70.00 - In stock -
First 1957 hardcover edition of Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Good copy with foxing, marked and dusty cloth, edge wear, particularly to the spine edges, tanning.
1992, English
Softcover, 396 pages, 25.5 x 25.5 cm
1st Edition, Out of print title / used / very good
Published by
Macmillan / New York
$60.00 - Out of stock
First 1992 edition of The Pictorial History of the Holocaust by Yitzhak Arad, an unbelievably vivid chronicle of the Nazi "Final Solution", with more than 400 photographs. "Although many books chronicling the Holocaust contain pictures ... there has never before been one as expansive as this. These photographs demonstrate in the most powerful way the depths to which mankind can sink".—Booklist.
VG copy with some light wear and spine creasing.
1986, English
Hardcover (w. dust jacket), 184 pages, 25.5 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Weidenfeld & Nicholson / London
$25.00 - In stock -
First 1986 hardcover edition.
"Reg Gadney's chronicle of the Hungarian revolution of 1956 brings to life with accuracy the drama of that extraordinary event, which still today has the power in this book to move me to tears?"—Michael Korda, author of Charmed Lives
CRY HUNGARY! takes us straight back to those thirteen days in October, 1956, when the Hungarian people rose up against the crushing Soviet occupation of their country. It was a spontaneous people's uprising: Hungarians from every class and occupation banded together. Workers and intellectuals, in the capital Budapest, and in the provinces, demonstrated for freedom. Stalin's great statue was torn down and broken up in the streets; members of the hated secret police were hunted out and killed. The Hungarian army refused to act against their compatriots and politicians responded to their people's demands.
At first the Russians retreated, but when they saw that there was nothing to fear from the West but fine words, their tanks rolled back into Budapest. A frantic defence ensued, but the Hungarian people had no weapons to match the steel might of the USSR, and finally they were forced to admit that Russian imperial power would never be relaxed.
This tragic but inspiring story is told by Reg Gadney in a dramatic narrative that draws on radio transcripts and eyewitness accounts and is illustrated by the many starkly moving and memorable photographs taken by the great photo-journalists who were in Budapest that October. Today, as George Mikes in his introduction records, a prosperous and not altogether oppressed Hungary wishes to forget the blood and suffering of an older generation, but for the refugees who fled to Western Europe and to the United States, CRY HUNGARY! will provide a unique record of a tale of glorious victory and bitter defeat.
VG book VG DJ
1983, Japanese
Softcover (w. dust jacket in slipcase), 158 pages, 30.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Canon / Tokyo
$140.00 $100.00 - In stock -
First 1983 Japanese slipcased edition of this remarkable photo collection by American-born Japanese photographer Yasuhiro Ishimoto (1921—2012). A student of Harry Callahan and Aaron Siskind, and graduate of the New Bauhaus in 1952, Ishimoto was an important figure in the cross-pollination of photographic ideas and styles between American and Japanese photography. After graduating he lived in Japan, then returned and stayed in Chicago from 1958—1961, and in 1969, published his acclaimed photo book "Chicago, Chicago", a collection of photographs taken during his two stays during his student days and after graduation. His portrait of a city is a rich study of time and place — his photographs of streetscapes and ordinary people captured the candor, anxiety, paradoxes, and joy of modern urban life through a sensitive and deliberate lens. It is highly regarded as a masterpiece in the history of Japanese photography, and featured in Parr/Badger Photobook History Volume I. In addition to incredible unpublished photographs from the first book collection, "Chicago, Chicago 2", published by Canon in 1983, contains photographs taken when visiting Chicago again in 1982. Ishimoto’s work was exhibited widely in the United States and Japan during his lifetime, and two of his photographs were featured in the monumental 1955 Museum of Modern Art exhibition "The Family of Man".
Very Good copy preserved in original publisher's slipcase, light wear and tanning to spine edge.
1952, German
Hardcover (Vol. I w. dust jacket, clothbound), 272 + 272 pages, 30 x 22 cm
1st Edition, Out of print title / used / good
Published by
Burda Druck und Verlag / Baden
$90.00 - In stock -
Both volumes of The Second World War in Pictures / Der zweite Weltkrieg im Bild, Vol I — From Nürnberg to Stalingrad + Vol II — From Stalingrad to Nürnberg, clothbound and gilded hardcovers, published in 1952 by Burda Druck und Verlag, Baden. 544 pages of over 1200 gravure photographs with commentary documenting everything from the 1938 Nazi Party days to the Nuremberg trials. Many of the photos (German war photos and photos taken by the Allies) were never published before and none were sanitized, so readers would be confronted with every horrifying aspect of World War II. Incredible and harrowing imagery with beautiful printing.
Der Zweite Weltkrieg im Bild Volume I has coverage of the great triumphs and victories of the Third Reich. Nazi dignitaries admiring the might of the Wehrmacht at Reichsparteitag 1938, the September 1938 Munich Agreement, the Nazi invasion of Poland, the establishment of the first Jewish ghettos, the Wehrmacht in Norway, the victorious battle on the west front in 1940, U-Boot battle at Scapa Flow, air victories over England, the Italian entry into WW2, the Axis Agreement, the start of the war in the Balkans and Greece, the DAK in North Africa, the start of Operation Barbarossa, heavy fighting in Ukraine, Pearl Harbor, to the first defeat on the east front.
Der Zweite Weltkrieg im Bild Volume II shows the grim “Total War” in Germany. Defeat on the battlefield in the Soviet Union and Crimea, and destroyed Kriegsmarine ships and submarines at sea, the American entry in the war in North Africa, the D-Day invasion of Normandy and Allied landings in the south of France, the 20 July 1944 plot to kill Hitler, Allied air raids on German cities, the Battle of the Bulge, the Red Army in East Prussia, Silesia and Pomerania, the battle for Berlin, Hitler’s death, Hermann Goering’s capture, Mussolini’s end, German capitulation, the Potsdam Conference, all the way to the Nuernberg Trials.
Average—Good copies, volume I with poor dust jacket (creased and torn), both copies with with tanned page edges, rubbed/dusty cloth and wear to board extremities.
1979, English
Hardcover (w. dust jacket), 274 pages, 23.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Wydawnictwo Literackie / Kraków
$140.00 - In stock -
Rare first 1979 hardcover bi-lingual (Polish/English) edition of "Building the Barricade" a seminal collection of poetry of witness by the Polish poet Anna Świrszczyńska (1909-1984), a confronting document of Świrszczyńska’s experience as a military nurse and member of the Polish Resistance during the sixty-three days of the 1944 Warsaw Uprising — the Polish underground's resistance to liberate Warsaw from Nazi German occupation. In this original translated edition published by Wydawnictwo Literackie, Kraków, the poems are accompanied by the photography of Jerzy Tomaszewski (1924– 2016), who fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partially damaged) come from a collection which had been lost for over thirty years. Their recent discovery in the 1970s was an important historical and artistic event.
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Anna Świrszczyńska, born in Warsaw, Poland, in 1909, is one of the most significant Polish poets and playwrights of the entire postwar period. She attended Warsaw University where she studied medieval and baroque Polish literature. She began publishing poems in the 1930s. During the Nazi occupation of Poland, Świrszczyńska joined the Polish Resistance and was a military nurse during the Warsaw Uprising. Anna Świrszczyńska died in Krakow of cancer in 1984.
Translations by Magnus J. Krynski, Professor of Slavic Literatures at Duke University and author of many essays on contemporary Polish literature, and Robert A. Maguire, Professor of Russian Literature at Columbia University.
Anna Swirszczynska is one of the most significant Polish poets and playwrights of the entire postwar period. Among the works that gained her this position are the volumes of poetry Wind, I Am Female, Happy as a Dog's Tail and the plays Gunfire on Dluga Street and Conversation with My Own Foot. The first of these plays is set in Nazi occupied Warsaw while the second takes up the theme of a potentital nuclear destruction of the world.
Magnus J. Krynski, Professor of Slavic
Literatures at Duke University, is the author of many essays on contemporary Polish literature. Robert A. Maguire is Professor of Russian Literature at Columbia University.
His books include Red Virgin Soil and Gogol from the Twentieth Century. Krynski and Maguire are the translators of a selection of Tadeusz Rózewicz's poetry, The Survivor and Other Poems, published by Princeton University Press. Their translations were most favourably received by critics. At present they are preparing a volume of Wislawa Szymborska's poems in English.
Jerzy Tomaszewski fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partialy damaged) come from a collection which had been lost for over thirty thirty years. Their recent discovery was an important historical and artistic event.
Building the Barricade - Anna Świrszczyńska - translated by Piotr Florczyk - Introduction by Eavan Boland
$20.00 - ISBN 978-1-945680-68-7
Building the Barricade, a volume of poems by the Polish poet Anna Świrszczyńska (1909-1984), is a seminal collection of poetry of witness. Divided into three sections, the poems document Świrszczyńska’s experience as a military nurse during the sixty-three days of the 1944 Warsaw Uprising.
In a statement regarding the publication of Building the Barricade Świrszczyńska wrote: “Life in Warsaw during the Uprising was a nightmare. The city was deprived of water, electricity, gas, and food supplies. For the most part, the sewer system did not function; the hospitals had no medicines or clean water. Day and night German bombers raged over the capital, burying the living beneath the rubble.”
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Very Good copy in G—VG dust jacket with some edge wear esp to spine corners, preserved under archival mylar wrap.
1997, Japanese
Hardcover (w. dust jacket), 228 pages, 22.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Yudachi-sha / Tokyo
$70.00 - In stock -
First 1997 hardcover edition of this important reference monograph/biography of Japanese Ukiyo-e blame artist, Seiu Ito, "the father of modern kinbaku", published by Yudachi-sha, Tokyo. Beautiful Maiden Dance: An ode to the Torture Artist Seiu Ito is an art and photography book that beautifully presents Ito's most famous painting and print collections in full, alongside his original writings, sketches, rare photo documents, and accompanying studies.
Seiu Ito (1891—1960) Seiu Ito, also romanised as Seiyu Itoh, was a Japanese painter, recognised today as "the father of modern kinbaku". Ito's life was the subject of director Noboru Tanaka's 1977 Nikkatsu Roman porno film Beauty's Exotic Dance: Torture!, the final entry in his "Showa Era trilogy". Ito uses his skilful technique to draw realistic torture pictures, and as a master of these paintings, he has many fans and has written masterpieces such as "The Story of Blame." On the other hand, he not only left behind many masterpieces of ghost paintings, but also loved the street customs of Edo and wrote books about Edo customs.
Very Good copy in Good—VG dust jacket and obi, some foxing and rubbing/tanning.
1982, Japanese
Softcover (w. obi), 198 pages, 21.2 x 14.7 cm
1st Edition, Out of print title / used / very good
Published by
JICC Publishing Bureau / Japan
$200.00 - In stock -
Very rare copy of the 1982 Japanese-only LONDON BOOK, researched and photographed by Naoya Nakamura, published in Japan by JICC shuppan. Wrapped in bi-lingual cover adorned with Annabella Lwin of Bow Wow Wow, the London Book is a rare time capsule and guide-book of photographs and interviews (Derek Jarman, Anton Corbijin, Malcolm McLaren, etc.) covering the London post punk scene, divided in various essential categories — film, music, fashion, art, drugs, sex — introducing all the record stores, fashion boutiques, sex shops, night clubs, pubs, markets, cafes, magazines, etc. (Rough Trade, Club for Heroes, World's End, Frisco...) and snapping all the shop assistants, punters, protagonists and London youth, from Oxford Street, Hackney, Notting Hill.... Packed with clippings, archival artwork, advertising, behind the scene photographs (shop interiors, design studios...), maps and directories.
Very Good copy with light tanning/discolouration with rarely preserved publisher's obi (Good with some spine wear and fading)
1987, Japanese
Softcover (w. dust jacket), 320 pages, 18.5 x 13 cm
1st Edition, Out of print title / used / good
Published by
CBS / Tokyo
$500.00 - In stock -
Long before FRUiTS and STREET, Japanese photographer Nobumi Kurimoto paid homage to the self-expression of Japanese girls in this ultimate time-capsule of teen style, published in Tokyo in 1987 and now virtually impossible to find. Girl's Fashion 1970-1988 is a visual reference book like no other. At over 1500 photographs spanning 320 pages, Kurimoto has obsessively documented the personal style of girls in the streets of Tokyo, Kyoto, Osaka, Yokohama, Matsuyama, Hiroshima, etc., chronologically arranged by year and roughly grouped by style, creating an exhaustive wealth of material that quietly charts the nuanced history of youth fashion in Japan from a time before people were so self aware in front of a camera. A brilliant and charming book that only gets better with age. It is also a testament to the timeless relevance of Snoopy!
Good—Very Good copy. Some spotting to block edges and kinking to body, overall very well preserved throughout, inc. spine. G—VG metallic dust jacket with minor age wear/spotting. Now preserved in mylar wrap.