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
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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.
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.
1994, English
Softcover, 144 pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
A.D. (Architectural Design) / London
$25.00 - Out of stock
Published in 1994 and long out-of-print, this volume presents a view of recent developments in Russian art and architecture in the context of the critical debates of postmodernism and national cultures. The return to popular national sources in the 1960s through the 1980s was a means for Soviet artists in a multi-ethnic state to avoid submersion in the official ideology of "Socialist-Realism". The transition from totalitarianism to pluralism is evident in the diversity of work featured by both artists and architects from different regions of the former USSR. The essays presented here are by leading Russian and Western art and literary critics, including Charles Jencks, Alexander Rappaport, Alexei Tolstoy, and Nadezhda Yurasovskaya. They provide a critical, historical and personal context for a survey of the work produced in Russia since the fall of Communism.
Very Good copy, only light wear, small split to spine edge.
2022, English
Hardcover, 256 pages, 21 x 27 cm
Published by
Mousse / Milan
$60.00 - In stock -
Retrospective monograph of the pioneer of Turkish contemporary and conceptual art, Füsun Onur.
Once upon a time..., a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist's recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.
Füsun Onur (born 1938 in Istanbul) began her art practice in the 1960s, producing works that what beyond the traditional confines of painting and sculpture, giving form to her art through instinct and intuition and creating a language beyond time. In the decades since, she has become a leading figure in Turkish contemporary art, both through her inclusion of everyday, ephemeral materials in her works and through her conceptual and minimalist approach. Her practice, which can be understood through the lens of feminist art history, draws on her private life and employs traditional and domestic media, such as weaving and textiles.
Edited by Bige Örer and Nilüfer Şaşmazer.
Texts by Ahu Antmen, Alev Ersan, Anna Boghiguian, Anne Barlow, Aslı Seven, Ayşe Erek, Bige Örer, Carolyn Christov-Bakargiev, Chus Martinez, Defne Ayas, Deniz Gül, Fatih Özgüven, Gregory Volk, Hera Büyüktaşcıyan, HG Masters, Iwona Blazwick, İz Öztat, Kevser Güler, Leyla Gediz, Misal Adnan Yıldız, Murat Alat, Necmi Sönmez, Paolo Colombo, Rabia Çapa, Sally Tallant, Selim Birsel, Seza Paker, Tolga Tüzün.
1994, English / French / German
Hardcover (w. die-cut foiled dust jacket), 248 pages, 34 x 25 cm
1st Edition, Out of print title / used / very good
$190.00 - In stock -
Rare first edition of Czech-American artist Ruth Francken's catalogue raisonné, who's cosmopolitan and nomadic life was a reflection of her work as a painter and visual artist: marginal, disparate and inseparable from the various post-war trends, whether American Abstract Expressionism, Art Informel, Surrealism or Pop Art. Published in 1994, this lavishly illustrated volume, issued in hardcover with fragile die-cut metallic silver dust-jacket, features texts by the artist, her close friend French philosopher Jean-François Lyotard, Peter Ruthenberg, Ursula Sandmann, and Ignatz Bubis, in English, French and German. Documentation of works from all periods of her oeuvre are accompanied by studio and social photography, a full catalogue of works and biography. A valuable and scarce book on a tremendous artist with little reception outside France, where she was primarily active. Francken's exploration of themes of fragmentation, incompleteness, multiplication, and decomposition in communication and image spanned the mediums of painting, sculpture, collage, textile and furniture design, and has been a large influence on artists such as Rosemarie Trockel.
Ruth Francken (1924, Prague—2006, Paris) was a Czech-American sculptor, painter, and furniture designer who was mostly active in Paris. Ruth Francken's life and career would span over six decades, two continents, and more than half a dozen countries. After studying painting from 1939-1940 at the Ruskin School in Oxford, England, she moved to New York, where she studied at the Art Students League of New York. After becoming an American citizen in 1942, she worked as a textile designer until 1949, when she left the United States for Europe. After a two-year period in Venice (1950-1952), she moved to Paris, where she lived until her death in 2006, save for two years in the 1960s and 1970s when she worked out of Berlin and Santa Barbara, California. Ruth Francken was considered an Abstract Expressionist in her early career, until around 1964. After this point she began working with object sculptures, collage, and different textiles and techniques, and her art took on a more surrealist and pop-art aesthetic. She focuses heavily on problems and disconnects in communication, a subject she shared with friend and collaborator French philosopher Jean-François Lyotard.
Very Good copy with Good dust-jacket. Some general wear to foiled covers and common small damages to the fragile die-cut lettering. Preserved in mylar wrap.
1994, English
Softcover (staple-bound), 36 pages, 27 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
The University of Melbourne Museum of Art / Melbourne
$35.00 $25.00 - In stock -
Catalogue published on the occasion of Australian artist Aleks Danko's exhibition at Ian Potter Gallery, 18 May-18 June 1994; volume #1 in "The Artist and the Museum" series curated by Merryn Gates. A timeline of works spanning the bottom half of each page throughout the catalogue traces Danko's history of works across sculpture, installation, video, performance, editions, books, etc. from 1970-1994, accompanied by texts by Charles Green, Jacqueline Thomas, Jackie Dunn, and Merryn Gates occupying the top half of each page. Also includes "Lafart" Manifesto - 18/3/1975 written by Danko and Mike Parr!
Aleks Danko (b. 1950) is an Australian performance artist and sculptor. The son of Ukrainian migrants, he was born in Adelaide, and educated at the South Australian School of Art and the Hawthorn Institute of Education. He started exhibiting in Adelaide in 1970. Aleks Danko’s career spans more than 5 decades and encompasses diverse media, from sculpture and installation to text and language-based works. Drawing actively on Australia’s political and cultural history, his work is infused with satirical humour and a subtle critique of contemporary social values.
Very Good copy.
2015, English
Softcover (w. french flaps), 176 pages, 26 x 21 cm
Published by
Heide Museum of Modern Art / Victoria
Museum of Contemporary Art / Sydney
$35.00 - Out of stock
Major survey catalogue of Australian artist Aleks Danko, published by Hiede Museum of Modern Art and MCA in 2015. First held at Heide, 7 November 2015—21 February 2016, MY FELLOW AUS-TRA-ALIENS presented artworks spanning nearly five decades of the long career of Victorian-based, Adelaide-born artist Aleks Danko, from his earliest exhibitions in the late 1960s through to his recent installations. Profusely illustrated with accompanying texts by curators Lesley Harding and Glenn Barkley.
Aleks Danko (b. 1950) is an Australian performance artist and sculptor. The son of Ukrainian migrants, he was born in Adelaide, and educated at the South Australian School of Art and the Hawthorn Institute of Education. He started exhibiting in Adelaide in 1970. Aleks Danko’s career spans more than 5 decades and encompasses diverse media, from sculpture and installation to text and language-based works. Drawing actively on Australia’s political and cultural history, his work is infused with satirical humour and a subtle critique of contemporary social values.
2004, English
Softcover, 30cm x 21cm. 48 pages
1st Edition, Out of print title / used / very good
Published by
NGV (National Gallery of Victoria) / Victoria
$35.00 $25.00 - In stock -
Exhibition catalogue published on the occasion of the major National Gallery of Victoria travelling exhibition Aleks Danko — Songs of Australia Volume 16: Shhh, Go Back To Sleep (an un-Australian dob-in mix) in 2004. Presenting "The Song Cycle Volumes 1—16" this profusely illustrated catalogue documents many of Danko's major installations in glossy colour, alongside texts, including those by the artist, exhibition history, bibliography.
Aleks Danko (b. 1950) is an Australian performance artist and sculptor. The son of Ukrainian migrants, he was born in Adelaide, and educated at the South Australian School of Art and the Hawthorn Institute of Education. He started exhibiting in Adelaide in 1970. Aleks Danko’s career spans more than 5 decades and encompasses diverse media, from sculpture and installation to text and language-based works. Drawing actively on Australia’s political and cultural history, his work is infused with satirical humour and a subtle critique of contemporary social values.
Very Good copy.
1989, English
Softcover (single, double-sided card), 21 x 29.7 cm
1st UK Edition, Out of print title / used / fine
Published by
200 Gertrude Street / Melbourne
$10.00 - In stock -
Scarce catalogue published on the occasion of the exhibition Sally Smart — Mad Woman In The Attic, December, 1989. Illustrated offset printed double-sided card with artist C.V. on verso.
Sally Smart (b. 1960) is an Australian contemporary artist known for her large-scale assemblage installations that incorporate a range of media, including felt cut-outs, painted canvas, drawings, screen-printing, printed fabric and photography, performance and video. Her art addresses gender and identity politics and questions the relationships between body and culture, including trans-national ideas that shaped cultural history. She has exhibited widely throughout Australia and internationally, and her works are held in major galleries in Australia and around the world.
Fine copy.
1991, English
Softcover (single, double-sided card), 21 x 29.7 cm
1st Edition, Out of print title / used / very good
Published by
200 Gertrude Street / Melbourne
$45.00 - Out of stock
Scarce catalogue published on the occasion of the exhibition Kathy Temin — The Duck-Rabbit Problem May, 1991. Illustrated offset printed double-sided card with artist C.V. on verso.
Kathy Temin (b. 1968) is an Australian artist who uses synthetic fur to create sculptural objects and installations. She is represented in a number of public collections in Australia and New Zealand and is a professor and Head of Fine Art at Monash University in Melbourne.
Very Good copy with some light wear to corners.
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 (staple-bound), 32 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Oxford University Press / New York
$30.00 - Out of stock
First edition of "Australian Abstract Art", an essay by Australian art historian and academic Patrick McCaughey (born 1942 in Dublin, Ireland), published in 1969 by Oxford University Press under their "National Gallery Booklets" series. Includes illustrated examples of Roy de Maistre, Grace Crowley, Ralph Balson, John Olsen, Elwyn Lynn, Norma Redpath, Lawrence Daws, Clement Meadmore, Robert Jacks, Sydney Ball, Dale Hickey, Richard Havyatt.
Fine copy with light tanning.
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.
2022, English
Hardcover (w. dust jacket), 216 pages, 21 x 14 cm
Published by
Yale University Press / New Haven
$46.00 - Out of stock
Foreword by Rachel Kushner
Preface by Alexandra Truitt
"Impressive . . . Truitt lyrically looks back on 80 years of life. . . . [T]hese daily entries . . . offer a version of Truitt free of artifice as she meditates on the sacred and mundane. . . . This sparks with intelligence."—Publishers Weekly
In the spring of 1974, the artist Anne Truitt (1921-2004) committed herself to keeping a journal for a year. She would continue the practice, sometimes intermittently, over the next six years, writing in spiral-bound notebooks and setting no guidelines other than to "let the artist speak." These writings were published as Daybook: The Journal of an Artist (1982). Two other journal volumes followed: Turn (1986) and Prospect (1996). This book, the final volume, comprises journals the artist kept from the winter of 2001 to the spring of 2002, two years before her death.
In Yield, Truitt's unflinching honesty is on display as she contemplates her place in the world and comes to terms with the intellectual, practical, emotional, and spiritual issues that an artist faces when reconciling her art with her life, even as that life approaches its end. Truitt illuminates a life and career in which the demands, responsibilities, and rewards of family, friends, motherhood, and grandmotherhood are ultimately accepted, together with those of a working artist.
2022, English
Softcover, 256 pages, 21.3 x 14 cm
Published by
Simon and Schuster / New York
$33.00 - Out of stock
Renowned American artist Anne Truitt kept this illuminating and inspiring journal over a period of seven years, determined to come to terms with the forces that shaped her art and life. Her range of sensitivity—moral, intellectual, sensual, emotional, and spiritual— is remarkably broad. She recalls her childhood on the eastern shore of Maryland, her career change from psychology to art, and her path to a sculptural practice that would “set color free in three dimensions.” She reflects on the generous advice of other artists, watches her own daughters’ journey into motherhood, meditates on criticism and solitude, and struggles to find the way to express her vision. Resonant and true, encouraging and revelatory, Anne Truitt guides herself—and her readers—through a life in which domestic activities and the needs of children and friends are constantly juxtaposed against the world of color and abstract geometry to which she is drawn in her art.
Beautifully written and a rare window on the workings of a creative mind, Daybook showcases an extraordinary artist whose insights generously and succinctly illuminate the artistic process.
Introduction by Audrey Niffenegger
"A remarkable record of a woman's reconciliation of art, motherhood, memoires of childhood, and present-day demands." — Anne Morrow Lindbergh
"Daybook is a rare gift, illuminating and nourishing, a journal to read and re-read." — May Sarton
"A natural and graceful writer... Truitt's self-examination is unflinching and, at every moment, possessed of the inevitable dignity that attends a genuine commitment to telling the truth about oneself." — Art in America
2019, English
Poster (double-sided, folded) in envelope, 59.5 x 63 cm
Published by
Daniel Buchholz Galerie / Köln
$30.00 - In stock -
Limited edition poster with the transcript of Rainald Goetz’s presentation of the English translation of his novel Insane, published on the occasion of the exhibition opening for the group exhibition Hölle in September 2018 at Galerie Buchholz New York, featuring new or selected works by Lutz Bacher, Caleb Considine, Vincent Fecteau, Rainald Goetz, Sergej Jensen, Jutta Koether, Michael Krebber, Monica Majoli, Albert Oehlen, Henrik Olesen, and Heji Shin.
Rainald Maria Goetz (b. 1954) is a German author, playwright and essayist.
1991, English
Softcover (staple-bound), 12 pages, 24 x 17 cm
1st Edition, Out of print title / used / very good
Published by
The Edmonton Art Gallery / Alberta
$35.00 - Out of stock
Rare catalogue published in 1991 on the occasion of the exhibition, Liz Magor — Living in the Wild, Wild West, at The Edmonton Art Gallery, Alberta, Canada. Featuring a text written for the exhibition by Jennifer Fisher, illustrations of Magor's exhibited works, biographies, and list of works.
Liz Magor (b. 1948) is one of the most important Canadian artists of her generation, and certainly its most influential sculptor of the past 30 years. For more than four decades, Liz Magor’s practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as “a collection of tiny and intense narratives.” From the mental and physical contexts of retail consumerism to the spaces of the museum to the private, interior worlds of addiction and desire, Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor with the intense investigation of materials and mediums. Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor—extraordinary in its tendency to meld multiple references to cultures of display, compulsion, and consumption, making her one intriguing conceptual artists of her generation.
Very Good copy.
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.
2012, English / German
Softcover (silkscreened), 48 pages, 21.3 x 22.5 cm
Ed. of 800,
Published by
Galerie Buchholz / Köln
$33.00 - In stock -
Wonderful publication documenting an exhibition that took place in 2010 in the window of Galerie Buchholz's antiquarian bookstore in Cologne, Germany. Michael Krebber presented here, in collaboration with Sebastian Höckelmann, works by artists Antonius Höckelmann and Jack Smith.
Produced in an edition of 800.
Antonius Höckelmann (1937 – 2000) was a German postwar artist. Höckelmann trained as a wood sculptor from 1951 to 1957 in his native city of Oelde, and studied from 1957 to 1961 at the College of Fine Arts in Berlin with Karl Hartung. In 1977 he participated in the documenta 6, and in 1982 at documenta 7 in Kassel. Many of his works combine sculpture and painting. Wooden sculptures and sculptures made of other materials (bronze, silver foil, straw) were often completely painted.
Jack Smith (1932 – 1989) was an American filmmaker, artist, actor, and pioneer of underground cinema. He is generally acclaimed as a founding father of American performance art, and has been critically recognized as a master photographer, though his photographic works are rare and remain largely unknown. Apart from appearing in his own work, including the legendary Flaming Creatures (1963), Smith played the lead in Andy Warhol's unfinished film Batman Dracula, Ken Jacobs's Blonde Cobra, and appeared in several theater productions by Robert Wilson.
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.
2018, English
Softcover (blind embossed), 324 pages, 30.5 x 22 cm
Published by
Koenig Books / London
80 Washington Square East / New York
$60.00 - Out of stock
This artist book is a chronological record of some remarks from cable TV ads movies news radio novels airplanes subways sidewalks and elevators from 2013–2018.
Published on the occasion of the exhibition The Long March at 80 Washington Square East, New York University, 2018, Organized by Nicola Lees and Robert Snowden.
The American artist Lutz Bacher – who has concealed her identity beneath a masculine pseudonym throughout her career – works conceptually in a range of media. A longtime resident of California who now lives in New York, the artist has based her work since the 1970s on found objects as well as texts and images pulled from the minutiae of popular culture. Soundtracks from Hollywood films, props from television shows, and unedited cell phone videos find their way into her works along with discarded objects from different spheres of consumption.
Through techniques of rearrangement, distortion, and estrangement, Bacher destabilizes the appearance and alters the impact of her materials, creating ruptures and making new constellations possible. Addressing the strong influence of the mass media on everyday social and political life, issues of identity, power structures, and violence are central aspects of her artistic practice.
2016, English
Softcover, 192 pages, 23 x 31 cm
Ed. of 400,
Published by
Secession / Vienna
$180.00 - Out of stock
This out-of-print artist’s book is published on the occasion of the exhibition ‘More Than This’ at the Secession, Vienna, and features the heterogeneous oeuvre of American artist Lutz Bacher. Over her 40-year career, Bacher has produced conceptual works that defy classification in a variety of formats, including videotapes, photographs, and other mixed media. Described as eclectic, rough, open-ended, and disturbing, many works incorporate elements from pop culture, personal artefacts, and found objects, and address questions of identity as expressed through sexuality and the human body. The book is filled with newspaper clippings, personal communications, and many images.
Limited to 400 copies. Absolutely essential!
2022, English
Softcover, 70 pages, 19 x 13 cm
Published by
Self-Published / Sydney
$25.00 - In stock -
Artist's book collecting the abstract print and sculptural works of Australian artist Connor Bugelli (b. 1994) produced between 2020—2022, between Melbourne and Sydney. Profusely illustrated with gallery and studio documentation in stark b/w monochrome, accompanied by a text, "a world behind a curtain / a thought behind a head", by Mahmood Fazal.
In memory of Liam Osborne
1997, English
Hardcover (w. dust jacket), 240 pages, 31 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$150.00 - Out of stock
First hardcover English-language edition of this exceptionally in-depth and comprehensive book by H.R. Giger, published by Taschen in 1997.
“I paint what frightens me,” says H.R. Giger, who compiled and designed this comprehensive retrospective himself, documenting and describing his work from the early 1960s to the late 1990s. Lavishly illustrated with reproductions of his biomechanical visions, accompanied by his own detailed commentaries offering privileged insight into a uniquely imaginative mind. The book cover Giger's life and working methods, followed by page after page of Giger's artworks and various lesser-seen creations from the deepest recesses of the mind and of the Giger personal archives — from his early oil experiments to the Giger Bar in Tokyo to his killer condoms to his nightmare garden train! Includes an extensive illustrated chronology. An uncommon book in the original, long out-of-print foiled hardcover issue with English text (not a later reprint). Highly recommended resource for any Giger fan.
Very Good copy in VG dust jacket.