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
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2018, English / German
Softcover, 502 pages, 29.6 x 22.2 cm
Published by
Koenig Books / London
$75.00 - Out of stock
Speculations on Anonymous Materials for the first time worldwide brings together approaches in international art that reinterpret the anonymous materials created by rapid and incisive technological change.
Art’s brief is no longer to generate unique, original images, but to seek reflection in a desubjectivized approach to the existing stocks of objects, images and spaces nature after nature presents artistic works using materials that surround us and constitute nature.
Differentiations between synthetic and organic, manmade and natural are rejected. The exhibition demonstrates a nature after nature that, in its complex, global transformations, can only be grasped in fragments.
A nature that disassociates itself from an idealized and ideologized term and must be considered anew. Inhuman offers visions of the human being as a socially trained yet resistant body, transcending biologically or socially determined gender classifications, as a digitally immortal entity, or as a constantly evolving self. They visualize the constructs that define what is human and shift existing perspectives on them.
Published retrospectively after the exhibition, Speculations on Anonymous Material at Fridericianum, Kassel, 29 September 2013 – 26 January 2014.
English and German text.
Artists:
Michele Abeles, Ed Atkins, Alisa Baremboym, Juliette Bonneviot, Björn Braun, Dora Budor, Nina Canell, Alice Channer, Simon Denny, Nicolas Deshayes, Aleksandra Domanović, David Douard, Kerstin Brätsch & Debo Eilers, Jana Euler, Cécile B Evans, GCC, Melanie Gilligan, Sachin Kaeley, Josh Kline, Oliver Laric, Sam Lewitt, Jason Loebs, Tobias Madison, Marlie Mul, Katja Novitskova, Ken Okiishi, Johannes Paul Raether, Jon Rafman, Magali Reus, Pamela Rosenkranz, Nora Schultz, Timur Si-Qin, Avery Singer, Trisha Baga, & Jessie Stead Ryan Trecartin Anicka Yi
Authors:
Stacy Alaimo, Kirsty Bell, Franco “Bifo” Berardi, Antoine Catala, Andrew Durbin, Yuk Hui, David Joselit, Josh Kline, Jean-François Lyotard, Flora Lysen, Tobias Madison, Katja Novitskova, Jussi Parikka, Susanne Pfeffer, Gregor Quack, Pamela Rosenkranz, Susanne M. Winterling
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
Issue # 112 of Texte zur Kunst, “Noise/Silence,” focuses on these two sonic extremes that define the boundaries of the audible, framing all possible sonic expressions therein. Given the emergence of sound as its own field of inquiry within the arts, and the development of newer media forms for sound production, can we still reliably argue that noise and silence are open to artists and musicians today in the ways that they were for Luigi Russolo in his 1913 manifesto, “The Art of Noises;” or, in John Cage’s writings on silence? In our analysis and judgment on the contemporary significance of noise and silence within sound and music, we are also questioning the potential for radical gestures with sound tout court—the all or nothing. What is left for music and sonic interventions today? What kinds of subversive noises can be marshaled against the deafening silence? And where, if anywhere, can silence provide a shelter from the relentless noise from the outside? We assembled a group of media historians and philosophers to give us a theoretical orientation in this shifting sonic landscape, and also asked four artists/musicians to weigh in on the possibility for radical gestures in their own practice. The results offer a much-needed revision of the terms for sound in the arts today.
Issue No. 112 / December 2018 "Noise/Silence"
Table Of Contents
Forward
Preface
Rolf Grossmann - Silence, Sound, Noise / Aesthetic And Media-Technological Observations
Ute Holl - Excavating Silence
Fiona Mcgovern - Curating Sound
Sound Rules / Colin Lang And Cevdet Erek In Conversation
Michaela Melián - Electric Ladyland
Andrea Neumann - Production By Subtraction
Arto Lindsay
Puce Moment
New Development
Political Myth – Prefiguration – Brexit / Angus Nicholls On The Mythic Structures Behind Brexit
Rotation
Metabolismen Der Moderne / André Rottmann Über „Entgrenzter Formalismus. Verfahren Einer Antimodernen Ästhetik“ Von Kerstin Stakemeier
Migration Und Film Denken / Nanna Heidenreich Über Brigitta Kusters „Grenze Filmen“
The Third Persona / Amanda Schmitt On Ben Lerner And Anna Ostoya’s “The Polish Rider”
Klang Körper
Figuring Space / Steven Warwick On Catherine Christer Hennix
Reviews
This Is The Rented Moment / Nicolás Guagnini On Jack Smith At Artists Space, New York
Konzeptueller Fehlschlag / Fabio Cypriano Über Die 33. Biennale In São Paulo
Enjoy Your Sinthome / Sven Lütticken On Dora García At The Reina Sofía, Madrid
Artists Must Begin Helping Themselves / Pedro De Llano On Stephan Dillemuth At A Certain Lack Of Coherence, Porto
Der Traumzauberbaum / Inka Meißner Über Amy Lien & Enzo Camacho Im Kunstverein Freiburg
Burnt By The Sun / Colin Lang On Katarina Sieverding At Manifesta 12, Palermo
Star Alliance / Alida Müschen Über Ei Arakawa Im Kunstverein Für Die Rheinlande Und Westfalen, Düsseldorf
Canon Fodder / Julia Pelta Feldman On Charline Von Heyl At Petzel Gallery, New York
Manspainting / Georg Imdahl Über Balthus In Der Fondation Beyeler, Basel
Case Of Urgency / Christina Catherine Martinez On Gerry Bibby At O-Town House, Los Angeles
Meshes Of The Platform Age / Jakob Schillinger On Loretta Fahrenholz At Mumok, Vienna
Re-Call, Re-Take, Represent / Rattanamol Singh Johal On Vivan Sundaram At The Kiran Nadar Museum Of Art, New Delhi And Haus Der Kunst, Munich
Grasping History / Frauke Zabel Über Karin Schneider Im Kunstverein Nürnberg
Stacked Cards / Ana Vogelfang On Pablo Accinelli At Malba, Buenos Aires
Computerkunst Jenseits Des Computers / Karel Císař Über „1968:Computer.Art“ In Brno
Abstraction Of The Body / Melissa Gordon On Amy Sillman At Camden Arts Centre, London
Feministischer Dekolonialismus Avant La Lettre / Michaela Wünsch Über Theresa Hak Kyung Cha Im Kulturzentrum Der Koreanischen Botschaft, Berlin
Where The Bodies Are Buried / Ana Teixeira Pinto On Roee Rosen At The Centre Pompidou, Paris
Chez Michel / Anke Dyes Über Henrik Olesen Im Schinkel Pavillon, Berlin
Obituary
Helena Almeida (1934–2018) / João Ribas
Klaus Herding (1939−2018) / Tom Holert
Edition
Dominique Gonzalez-Foerster
Jeanette Mundt
Wolfgang Tillmans
1988, English
Softcover (w. dust jacket), 234 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Rizzoli / New York
$35.00 - Out of stock
First Edition of "A Bottle of Notes and Some Voyages", published in 1988 in conjunction with a large exhibition of Claes Oldenburg's singular work, with focus on his incredible collaborative projects with his late wife, sculptor, art historian, and critic, Coosje van Bruggen. Since 1976, Oldenburg and van Bruggen produced three decades of monumental sculpture that van Bruggen would call Large-Scale Projects. This book documents these works and much more. Includes essay and introduction by Germano Celant, texts and personal notes by the artists, along with hundreds of colour and black and white drawings, sketches and photographs. A beautiful book.
Since the early 1980s van Bruggen worked as an independent critic and curator. She contributed articles to Artforum magazine from 1983 to 1988, and served as senior critic in the sculpture department at Yale University School of Art in 1996-97.
Claes Oldenburg is an American Pop artist, best known for his soft sculptures and public art installations, typically featuring large replicas of everyday objects.
Very Good copy.
2011, English
Softcover with dustjacket, 98 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$28.00 - Out of stock
Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Texts by Ina Blom, Oliver Brokel, Caroline Busta, Stefan Deines, Hal Foster, Stefanie Heraeus, Jutta Koether, Magdalena Nieslony, Michael Sanchez
Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This book brings together contributions from the eponymous conference, all of which seek to speculate on the reasons as to why, since the turn of the millennium, we have encountered so many artworks that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi’s theory of semiocapitalism—a power technology that aims squarely at our human resources. The participants of this conference were asked to offer possible explanations for this wide acceptance of anthropomorphism—could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
1970, German
Softcover, 92 pages, 11 x 17 cm
1st edition, Out of print title / used*,
Published by
Galerie Rudolph Zwirner / Köln
$55.00 - Out of stock
"Z" is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller, Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenburg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
1971, French
Hardcover (clothbound w. dustjacket), 88 pages, 25 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Editions Filipacchi / Paris
$100.00 - Out of stock
First edition of this great monographic book on the work of Surrealist visionary Hans Bellmer, published in 1971 by Editions Filipacchi, Paris. Heavily illustrated throughout with wonderful reproductions of Bellmer's incredible drawings, photography, sculptures, paintings, alongside texts in French, biography and bibliography.
German artist Hans Bellmer (13 March 1902 – 23 February 1975), was best known for the life-sized pubescent female dolls he produced in the mid-1930s. "Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925)."
2018, English / German
288 pages, 11 x 18 cm
Published by
Christoph Merian / Basel
$42.00 - Out of stock
Machines, automats, and robots have always exerted a special fascination on artists. Yet computers, digitisation, and the Internet have given this attraction entirely new impulses. Moreover, developments in artificial intelligence and robotics are of critical importance today. The fifth volume of this series provides insights into current research topics and investigates their artistic potential and possible issues. It contains illustrations and a detailed glossary of significant terms, in addition to contributions by Raffaello D’Andrea, Andreas Broeckmann, Roland Fischer, Martina Kammermann, Bruno Spoerri, Philipp Theisohn, Mads Pankow, and Roland Wetzel.
2018, English
Hardcover, 188 pages, 28 x 21.5 cm
Published by
Sequence Press / New York
$89.00 - Out of stock
Edited by Frances Perkins and Katherine Pickard
With texts by Rochelle Goldberg, Frances Perkins, and Leah Pires
Designed by Geoff Kaplan and Rochelle Goldberg
Rochelle Goldberg’s Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch.
Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint—the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg’s story traces the cannibal’s consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities—ingesting and secreting, in rhythm. Through consumption, the cannibal augments itself, but the reader must also cross the swamp, the mirror, and the pools of oil or crystalline water, to reach this enhanced state. A new life of texts and tones greets us on the other side of the mirror.
Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consumed.
2018, English
Softcover, 116 pages, 21 x 27 cm
Published by
Bergen Kunsthall / Norway
Sternberg Press / Berlin
South London Gallery / London
$45.00 - Out of stock
Texts by Quinn Latimer, Laura McLean-Ferris
This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: “Hot Cottons” (2017–18) at Bergen Kunsthall and “As mist, description,” (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.
Producing a sculptural language that is both familiar yet unlocatable Reus draws heavily on the past and present landscape of industry and fabrication, creating forms using a plethora of materials that include: mesh, jesmonite, cotton, steel, rubber, leather. Interested in collaborative processes of making, from virtual design to handmade fabrication, Reus combines sculptural games with material explorations. Everyday materials are transformed with powder blues, pastel greens, and dirty beiges. Reus’s sculptures appear in a state of transition, in progress, mid-function, restored, or destroyed. Autographs of famous athletes, graphics from an iconic Norwegian matchbox, forms reminiscent of fire extinguishers, decorative ironwork, or modular frameworks, all feature in Reus's sculptures transforming defined materials into newly undefinable objects. Working with factories in Holland to develop specific fabrics, using complex molding and weaving techniques, all the while drawing on the language of digital design Reus navigates the contemporary post-industrial moment with playful unease, creating objects with familiar yet fluid identities.
Copublished with Bergen Kunsthall, South London Gallery
Design by A Practice for Everyday Life
2016, English
Softcover (in soft plastic jacket), 80 pages, 23 x 16 cm
Out of print title / as new
Published by
Mousse / Milan
$53.00 - Out of stock
Now out of print.
Texts by Andrew Bonacina and Ruba Katrib
In the spring of 2015, Magali Reus (b. 1981, the Hague, the Netherlands; based in London) opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus’s work. As Andrew Bonacina writes in his essay, “Magali Reus has evolved a practice that requires a constant examination of how we engage with, and understand, the everyday items that accompany us in the world—the ‘supporting-cast’ objects that we rely on but rarely acknowledge. Relieved of their functionality through Reus’s re-transcriptions—rendered as useless as a mug without a bottom or a book sealed in plastic—their newfound role as sculpture forces them to articulate their objecthood in alternative ways, through attitude or gesture. They become vessels waiting to be filled by the viewer’s own physical and emotional relationship to them. Operating somewhere between uniformity and personalization, Reus’s sculptures become spaces in which objects are finding their place, where things are working themselves out.”
2017, English
Hardcover, 256 pages, 235 x 287 cm
Published by
Monacelli Press / New York
$80.00 - Out of stock
SuperDesign charts the Italian Radicals' bold experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together some of the most dynamic and avant-garde thinkers and makers across the country. Through enigmatic, confrontational, and clever furniture and objects--such as the iconic lip-shaped Bocca sofa, or the Cactus coat-rack in green foam--as well as more public innovations including discotheque interiors and subversive performances, the Radicals projected design's new era as equal parts Pop Art, play, Surrealism, and futurism. Told through exclusive interviews, unreleased photographs, original drawings and artwork unearthed from personal archives, and newly commissioned photography of rarely seen works, SuperDesign explores this fervent period of design that played out against the era's social and political turmoil. Featured designers include Archizoom Associati, Lapo Binazzi (UFO), Pietro Derossi (Gruppo Strum), Piero Gilardi, Ugo La Pietra, Gaetano Pesce, Gianni Pettena, Studio65, and Superstudio. The culmination of a decade of collecting and researching original examples of some of the most important and iconic works of the period, SuperDesign offers a unique new introduction to the legacy of the Italian Radicals.
2014, English
Softcover, 30 pages, 15.2 x 20.3 cm
Published by
Sequence Press / New York
$18.00 - Out of stock
Reza Negarestani’s essay is published in conjunction with Jean-Luc Moulène’s exhibition, Torture Concrete, September 7 – October 26, 2014 at Miguel Abreu Gallery, New York. The text emerged out of a number of conversations between the writer and artist around the theme of abstraction both as a multi-faceted project in the general domain of thought and as a specific process of artistic experimentation. Negarestani sharply asserts abstraction’s origins as the dialectic between form (mathematics) and sensible matter (physics) and its otherwise flat interpretation in art history, and presents us with the redemptive possibilities for its enrichment and diversification through the lens of artistic practice.
Negarestani calls into question the “self-reflexive history of art” as having embezzled this singular definition of abstraction, so that one can no longer link it to its constitutive gesture or procedural coherence, and locates Moulène’s work safely at the outer-edges of this “impoverished” history. He asserts that for Moulène, “the task of art is rediscovered not in its ostensible autonomy but in its singular power to rearrange and destabilize the configurational relations between parameters of thought, parameters of imagination and material constraints which parameterize the cognitive edifice.”
Moulène seeks to define new objectives for art and to further revise its task using his own working paradigm of topology and dynamic systems. Within the artist's work—the work of systematization of experimentation and producing tools for thinking—Negarestani finds a reassuring pursuit in practice, that of the unearthing of a buried dialectic, and a worthy response to his problematic: “We’ve all heard of abstraction, but no one has ever seen one.”
Both men work in search of a means of emancipation from a tortured position (as writer, artist, human). For Moulène, making a change to the body, a change from within, works alongside the notion of thought making a difference in the world. But in order for thought to do this, as Negarestani suggests, “first it must make a difference in itself—this is where abstraction finds its true vocation.”
Reza Negarestani is a philosopher. He has contributed extensively to journals and anthologies and lectured at numerous international universities and institutes. His current philosophical project is focused on rationalist universalism beginning with the evolution of the modern system of knowledge and advancing toward contemporary philosophies of rationalism, their procedures as well as their demands for special forms of human conduct.
1972, German
Hardcover, 216 pages, 24.5 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Georg Wenderoth Verlag / Kassel
$60.00 $40.00 - Out of stock
documenta - Dokumente 1955 - 1968 (Four International Exhibitions of Modern Art), was published by Georg Wenderoth Verlag, Kassel in 1972. This clothbound hardcover book of texts (by Dieter Westecker, Carl Eberth, Werner Lengemann, Erich Müller) and photographs of the first four documenta exhibitions, is quite a unique publication. Written at the suggestion of former students and collaborators of Documenta initiator Arnold Bode, it does not replace a documenta chronicle or a scientific study of individual facts. On the contrary, the textual and pictorial material is selected from a technical point of view, processed and presented in a comprehensible form to stimulate detailed investigations into the exhibition-presentations. The bulk of the photographic documentation is of visitor reception and interaction with the installations of artworks, including those of Hans Arp, Constantin Brancusi, Lee Bontecou, Victor Pasmore, Marino Marini, Jean Dubuffet, Konrad Klapheck, George Segal, Robert Indiana, Claes Oldenburg, Walter de Maria, Eduardo Paolozzi, Phillip King, Erich Hauser, Ernest Trova, Michelangelo Pistoletto, Carl Andre, William Tucker, Peter Brüning, David Smith, Edward Keinholz, Dan Flavin, Morris Louis, Sol Lewitt, Robert Morris, Frank Stella, Tom Wesselmann, James RosenquisThomas Lenck, Francis Bacon, Horst Antes, Shinkichi Tajiri, Christo, Jackson Pollock, Karel Appel, Bernard Schultze, Otto Herbert Hajek, Jacques Lipchitz, Lynn Chadwick, Paul Delvaux, Helen Frankenthaler, Wassily Kandinsky, Fernand Leger, Max Bill, Joan Miro, Henry Moore, Pablo Picasso, Robert Rauschenberg, Giogio de Chirico, Victor Vasarley, Zoran Music, Giuseppe Capogrossi, and many others.
Texts in German. First and only edition.
Vert Good copy with original dust jacket.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
2018, English
Softcover (ring-bound), 102 pages, 19 x 35.2 cm
Published by
Hatje Cantz / Berlin
Pretzel / New York
$90.00 - Out of stock
This lavish picture-book surveys Seth Price’s (*1973, Jerusalem) 2009-13 series of Knot Paintings, in which Price unites his signature vacuum-forming technique—an industrial plastic packaging process—with a refined group of painterly techniques that include acrylic and oil, spray-paint, screen-printing, poured resins, and patterned fabrics. Price developed the book’s concept and materials in close collaboration with designer Joseph Logan, yielding an artist's book in which the layout moves from extreme close-up to full views of these rich surfaces, while plastics and metal in the book's binding reflect the materiality of the works.
2010, English
Hardcover (w. dust jacket), 108 pages, 20.2 x 23.8 cm
1st Edition, Out of print title / as new
Published by
Kunsthalle Zürich / Zürich
Kölnischer Kunstverein / Köln
JRP Ringier / Zürich
$180.00 - Out of stock
The out-of-print first monograph dedicated to the artist Seth Price, includes an essay by Michael Newman as well as Price's own critical take on his practice, given in the form of a videotaped conference that structures the presentation of his works.
Through paintings, sculpture, video, and media work, Seth Price (*1973 East Jerusalem, lives and works in New York) underlines the production strategies, dissemination modes, and valuation patterns of art. His appropriationist work, which he rather calls a "redistribution" of (often) pirated materials, disrupts the operations of commodity culture. Among his formats and tactics one should mention the recycling of iconic illustrations, reduplication (from digital to vacuum-formed techniques), the reenactment of projects, and the collaborative actions with Continuous Project (formed in 2003 with Bettina Funcke, Wade Guyton, and Joseph Logan) or other artists.
Published by JRP-Ringier with Kunsthalle Zürich, Zurich and the Kölnischer Kunstverein, Cologne.
1987, German
Hardcover, 236 pages, 21.5 x 27.5 cm
1st Edition, Out of print title / used / very good
Published by
Wolf und Sohn / Münich
$80.00 - Out of stock
"Möbel als Kunstobjekt" ("Furniture as Art Object") was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
First hardcover edition.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky... and so many more.
1969, English
Hardcover (clothbound), 240 pages, 21 x 22 cm
1st US Edition, Out of print title / used / good
Published by
Praeger Publishers Inc. / New York
$140.00 - Out of stock
First hardcover US printing of "Art Povera", the now legendary critical/photographic book by Germano Celant (Italian art historian, critic and curator) documenting the so-called "Art Povera /Arte Povera" movement (meaning "poor art", coined by Celant in 1967) and published by Studio Vista, London in 1969 and Praeger, New York, the same year.
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist.
Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That.
Good ex-library copy with light associated markings, without dust jacket. Otherwise clean, tightly bound Very Good copy throughout (never loaned).
2018, English / German
Softcover, 176 pages, 21.5 x 27 cm
Published by
Mumok / Vienna
Walther König / Köln
$49.00 - Out of stock
Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.
This book has been published to document the collection on the occasion of an exhibition curated by Wilhelm Schürmann at Mumok, Vienna, June 23, 2018 - November 11, 2018.
Edited by Karola Kraus and illustrated throughout in colour, with accompanying texts and full collection catalogue.
Participating artists:
Nairy Baghramian, Silvia Bächli, Monika Baer, John Baldessari/Meg Cranston, Francesco Barocco, Jennifer Bornstein, Nicola Brunnhuber, Ernst Caramelle, Kate Davis, Heinrich Dunst, Marina Faust, Morgan Fisher, Jef Geys, Ralph Gibson, Julian Göthe, Trixi Groiss, Gerhard Gronefeld, Julia Haller, Rachel Harrison, Lone Haugaard Madsen, Georg Herold, Nicolas Jasmin, Raimer Jochims, Mike Kelley, , Martin Kippenberger, Silke Otto Knapp, Alwin Lay, Brandon Lattu, Michael Light, Sonia Leimer, Anita Leisz, Jochen Lempert, Zoe Leonard, Chris Martin, Park McArthur, Paul McCarthy, Meuser, Lisette Model, Oswald Oberhuber, Albert Oehlen, Anna Oppermann, Anna Ostoya, Jens Preusse, Rebecca Quaytman, Susanne Paesler, Laurie Parsons, Stephen Prina, Deborah Remington, Lin May Saeed, Pentti Sammallahti, Stefan Sandner, Arlene Shechet, Sigune Siévi, Michael Simpson, Michael E. Smith, Lewis Stein, Jana Sterbark, Esther Stocker, Walter Swennen, Alice Tippit, Joëlle Tuerlinckx, Nora Turato, Anne-Mie Van Kerckhoven, Miriam Visaczki, Franz West, Tristan Wilczek, Christopher Williams, Heimo Zobernig
2018, English
Hardcover, 432 pages, 25x 31 cm
Published by
Getty Publications / Los Angeles
$126.00 - Out of stock
Texts by Glenn Phillips, Doris Chon, Pietro Rigolo, Philipp Kaiser
Harald Szeemann is associated with some of the most important artistic developments of the postwar era. A passionate advocate of avant-garde movements like conceptualism and post minimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture.
Szeemann once stated that his goal as an exhibition maker was to create a "Museum of Obsessions." This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing the evolution of his curatorial method through the materials he collected and produced while researching and organising his exhibitions, including letters, drawings, personal datebooks, installation plans, artists' books, posters, photographs, and handwritten notes.
This book documents all phases of Szeemann's career, from his early stint as director of the Kunsthalle Bern, where he organized the seminal Live in Your Head: When Attitudes Become Form (1969); to documenta 5 (1972) and the intensely personal exhibition he staged in his own apartment using the belongings of his hairdresser grandfather (1974); to his reinvention as a freelance curator who realised projects on wide-ranging themes until his death in 2005.
The book contains essays exploring Szeemann's curatorial approach as well as interviews with collaborators. Its more than 350 illustrations include previously unpublished installation photographs and exhibition documents as well as many other materials from the curator's archive.
1970, English / German
Softcover, 300 pages, 23 x 15 cm
1st edition, Out of print title / used*,
Published by
Kölnischer Kunstverein / Köln
$85.00 - Out of stock
The great "Happening & Fluxus" book, published on the occasion of the exhibition of the same name at the Kölnischer Kunstverein in 1970, curated by Harald Szeemann.
This exhaustive Fluxus document is illustrated heavily throughout and broken into two important sections : 1. Chronology 1959-1970 (a detailed cataloguing of this incredible period of happenings, actions, concerts, meals, exhibitions and any related events, illustrated with photography along with dates, locations, those involved, and reproductions of the related ephemera), 2. Bibliography 1959-1970 (again heavily illustrated with detailed cataloguing of printed material about Fluxus and related actions, artists, exhibitions, performances, as well as a detailed listing for each featured artist of their publications, writings, art editions, etc). Book includes works by Wolf Vostell, Daniel Spoerri, Nam June Paik, Tetsumi Kudo, Tadeusz Kantor, Dick Higgins, George Brecht, Allan Kaprow, Yoko Ono, Claes Oldenburg, Alison Knowles, Robert Filliou, Stanley Brouwn, Bazon Brock, Joseph Beuys, Eric Anderson, Viennese Actionists, Charlotte Moorman, Günter Brus, Emmett Williams, Ben Vautier, Carolee Schneemann, Otto Muehl, Robert Watts, Al Hansen, Henry Flynt, Philip Corner, Henning Christiansen, Robert Rauschenberg, John Cage, and many more.
First major compilation of this material compiled by Harald Szeemann to accompany a now legendary exhibition.
"There is neither here nor in the exhibition, a fix-ready answer to the question: What is happening, what is Fluxus."
2018, English
Softcover, 240 pages, 210 x 145 mm
Published by
Whitechapel / London
The MIT Press / Massachusetts
$50.00 - Out of stock
Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art.
"Tanya Harrod is our leading scholarly voice on craft. [This] invaluable anthology...is an ideal introduction to the intellectual landscape of craft, and an essential tool for those already invested in the topic." - Glenn Adamson, Senior Scholar at the Yale Center for British Art
Craft is a contested concept in art history and a vital category through which to understand contemporary art. Through ‘craft’, materials, techniques and tools are investigated and their histories explored in order to reflect on the politics of labour and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers, and drawing on poetry, fiction, anthropology and sociology. Reflections on new technologies and materials, lost and found worlds of handwork and the politics of work all throw light on ‘craft’ as process, product and ideology.
Artists surveyed include Anni Albers, El Anatsui, Aaron Angell, Ruth Asawa, Phyllida Barlow, Louise Bourgeois, Annie Cattrell, Edmund de Waal, Harun Farocki, Lucio Fontana, Theaster Gates, Gee’s Bend Quiltmakers, Sabrina Gschwandtner, Sheila Hicks, Ana Lupas, Lu Shengzhong, Enzo Mari, Martin Puryear, Jessi Reaves, Bridget Riley, Ettore Sottsass, Studio Formafantasma, Peter Voulkos.
Writers include Glenn Adamson, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Julia Bryan-Wilson, Joan Key, Ulrich Lehmann, Sarat Maharaj, Karl Marx, Sadie Plant, Rainer Maria Rilke, John Roberts, Jenni Sorkin.
Tanya Harrod is an independent design historian who lives in London and who writes widely on craft, art and design. She is co-editor of The Journal of Modern Craft and is author of The Crafts in Britain in the Twentieth Century (1999), The Last Sane Man: Michael Cardew (2012) which won the 2013 James Tait Black Memorial Prize for biography, and The Real Thing: Essays on Making in the Modern World (2015).
2016, German
Softcover, 297 pages, 17.5 x 24.6 cm
Published by
Walther König / Köln
$49.00 - Out of stock
Controversial during his lifetime, his untimely death set a unique track record. The great museums of the world, such as The Tate Modern, the MoMA and the Nationalgalerie Berlin, for example, organized retrospectives in which Kippenberger was honored primarily as a painter and draftsman. XYZ is dedicated for the first time to the language of the exceptional artist, who did almost everything: art, performances, scandals, celebrations, travel, punk rock, columns, jokes, invitations, posters and books. Martin Kippenberger and XYZ: the book analyzes the role of the medium »language« in the work of Martin Kippenberger from different perspectives. During his lifetime, Kippenberger published a total of 149 artist books and maintained a highly respectful, but also ambivalent relationship to the medium of the book. In addition to classical texts on art and cultural history, the book also offers a range of other text categories - interview records, a literary text, an artist statement and texts by Martin Kippenberger himself.
Texts in German.
2017, English
Softcover (in slip-case), 132 pages, 31 x 23.5 cm
Published by
Galerie Buchholz / Köln
The Renaissance Society / Chicago
$66.00 - Out of stock
This catalogue documents Mathias Poledna’s exhibition at the Renaissance Society in Chicago in 2014/2015. Conceived and designed by the artist, it features new essays by Amy Knight Powell, Bennett Simpson and Andrew Weiner.