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:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1989, French
Softcover, 168 pages, 40 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Les Editions Cassini / Paris
$160.00 - In stock -
Issue No. 11 (1989) of the legendary and very collectible Egoïste magazine, “the most beautiful magazine in the world”. Issue No. 11 is one of the rarer to come by, featuring actress Isabelle Adjani on the cover, shot by Richard Avedon, which continues as an incredible photographic feature and interview inside, plus features on the photography of Man Ray and a photographic portfolio by Guy Bourdin, Richard Avedon portraits of Samuel Beckett, Francis Bacon, Jorge Luis Borges, poetry, photographic interview features with Mikhail Grobatchev by Francoise Sagan, dancer Twyla Tharp by Claude Arnaud (shot by Avedon), film director David Lynch by Kristine McKenna (shot by Larry Fink), Karl Lagerfeld, Bettina Rheims, photographic articles on the history of the Villa Igiea, the luxury Sicilian hotel, and La Tombe de Franco by Spanish architect Ricardo Bofill, and many others. One of the great features of the magazine is sumptuous tailor-made advertisements specially designed and produced by Egoïste editor and artistic director Nicole Wisniak with leading fashion houses and perfumers collaborating with photographers and artists outside the usual restrictions and guidelines of fashion magazines. Exquisite spreads by Comme des Garçons, Céline, Hermès, Yves Saint Laurent, Christian Dior, Calvin Klein, Yohji Yamamoto, Christian Lacroix, Luis Vuitton, Lancôme, Karl Lagerfeld, Revlon, with Isabella Rossellini, Audrey Hepburn, and many more.
Often referred to as “The most beautiful magazine in the world”, the cult luxury photography magazine Egoïste was founded in 1977 in Paris by art historian Gérard-Julien Salvy and edited/art directed by Nicole Wisniak. Immediately setting a new standard for photo publishing, Egoïste was printed in a beautiful over-sized, unbound format that benefitted the photography within and the specifically created photographic advertisements of the major fashion houses who sponsored its publication. Each issue was printed in a small run, all now exceptionally collectible, and featured the most outstanding photographers and writers of their time (including the photography of Helmut Newton, Richard Avedon, Guy Bourdin, Paolo Roversi, Ellen von Unwerth), and is forever linked with the personal work of Richard Avedon. The last of the Parisian chic, Egoïste is the subjective dictionary of an era. Each issue is collected with passion by many enthusiasts.
Very Good copy. Light wear to the cover, minor closed tear to top of "spine", all else clean and well preserved, interior pages all VG. Protected in plastic sleeve.
1979, English
Softcover, 159 pages, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$50.00 - Out of stock
Published by Abrams in 1979, Images of Horror and Fantasy by art historian Gert Schiff expanded on a major group exhibition guest curated by Schiff at the Bronx Museum in 1977. The resulting publication is a perceptive critical and psychological analyses of a variety of nineteenth-and twentieth-century art that "unfolds simultaneously on the level of historical and social reality and on the level of dreams. Its purpose is to expose some of the principal anxieties of modern man and their resolution in utopian reveries and escapist fantasies." Profusely illustrated in colour and b/w throughout with the works of Alfred Kubin, James Ensor, George Grosz, Paul Thek, Sibylle Ruppert, Henry Fuseli, Paul Delvaux, Nancy Grossman, Käthe Kollwitz, Max Beckmann, Fernand Khnopff, Rudolph von Ripper, Max Klinger, H. R. Giger, Jonah Kinigstein, Edward Keinholz, Jean Delville, Lucas Samaras, Miriam Beerman, Willem de Kooning, Man Ray, Oskar Kokoschka, Salvador Dali, Paolo Soleri, Jean Auguste Dominique Ingres, Georges Rouault, Otto Dix, Pablo Picasso, Philip Evergood, William Blake, Giorgio de Chirico, Ivan Albright, Yves Tanguy, Paul Klee, Jasper Johns, Germaine Richier, Francisco de Goya, Henri de Toulouse-Lautrec, Henri Matisse, Max Ernst, Francis Bacon, Rene Magritte, Illya Repin, Antoine Wiertz, Odilon Redon, Edward Burra, Larry Rivers, George Segal, Thomas Cole, Léon Frédéric, Matthias Grünewald, Rico Lebrun, Bruce Connor, Edvard Munch, and many more.
Gert Schiff (1926 — 1990, b. Oldenburg, Germany) was an art historian, critic, lecturer and professor at the Institute of Fine Arts of New York University. A specialist in the Romantic movement, particularly the work of Henry Fuseli and William Blake, Mr. Schiff was also very much involved with 20th-century art, organising many major exhibitions around his interests whilst authoring important studies on the arts from his dwellings at the Chelsea Hotel.
Very Good copy.
1984, Japanese
Softcover, 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Night Vision / Japan
$55.00 - Out of stock
First 1984 edition of cult Japanese underground magazine Night Vision, a special edition dedicated to Surrealism. Packed with content, including many important Surrealist texts translated to Japanese, this heavily illustrated book includes features on Hans Bellmer and Unica Zürn, Yves Tanguy, Remedios Varo, Max Ernst, Belgian Surrealism, female Surrealist artists and poets (Remedios Varo, Mimi Parent, Valentine Penrose, Gisèle Prassinos, Dorothea Tanning, Bona de Mandiargues, Isabelle Walberg, Lise Deharme, Leonora Carrington, Dora Maar, Aube Elléouët, Jane Graverol, Nelly Kaplan (Belen), Joyce Mansour, Nora Mitrani, Unica Zürn, Valentine Hugo, Marianne Van Hirtum, Leonora Fini, Marie-Laure de Noailles, Kay Sage, Toyen, Annie Le Brun, Meret Oppenheim), Latin American Surrealism and Frida Kahlo-Diego Rivera, Surrealist literature and activities (Artaud, Picabia, Apollinaire, Bataille, Duchamp, Satie, Breton, etc.) plus much more, text contributions by Georges Bataille, Paul Eluard, Midori Wakakuwa, Kuniharu Akiyama, Takashi Tanyuya, Shigeo Goto, Takahiko Okada, Octavio Paz, André Breton, Kunio Iwaya, Gonzalo Cerorio, Yuichi Konno, Satoshi Takamura, and much more. Illustrated in b/w throughout (with many more artists than mentioned above) in that great Night Vision semi-fanzine/cheap reader quality.
Very Good - Fine copy.
1981, Japanese
Hardcover (in foil-printed cardboard slipcase) 31 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Asahi Shimbun / Japan
$160.00 - Out of stock
Exquisite and scarce Japanese volume on the (mostly) photographic work of Man Ray, published in 1981 by Asahi Shimbun. Issued only in Japan in hardcover form, wrapped in a foil-stamped/printed black cardboard sleeve, this beautifully designed book features 165 stunningly gravure reproduced images honest to the original photographic works of Man Ray, including his abstract work, portraits, photographs of fellow artists, artworks, studios and living spaces (including many collaborations with Marcel Duchamp). Many of these photographs are rarely documented in other Man Ray publications. Text is entirely in Japanese, although there is very little of it as this is primarily a photo book, and one of the most beautiful on the work of Man Ray.
Very Good in Good slipcase with some wear.
1983, French / English
Hardcover (clothbound, w. dust jacket), 192 pages, 30.4 x 21.3 cm
Published by
Philippe Sers Éditeur / Paris
$420.00 - Out of stock
Man Ray "Objets de Mon Affection" is the original and only Catalogue Raisonné of Man Ray's sculptures and objects.
"The Object of my affection
Is to change complexion
From Pink, to rosey red...
"In whatever form it is finally presented: by a drawing, by a painting, by a photograph, or by the object itself in its original dimensions, it is designed to amuse, bewilder, annoy or to inspire reflection, but not to arouse admiration for any technical exellcence usually sought in other works of art." (Hollywood, September, 1944) - Man Ray
Wonderful first printing of this truly magnificent and very collectable Man Ray book. "Objets de Mon Affection" was first published in 1983 by Philippe Sers Éditeur, Paris. The book is page after page of Man Ray's objects, sculptures, assemblages, readymades. Amongst the well-known objects in here are countless reproductions of never before published sculptural works. This book includes a Catalogue Raisonné of Man Rays magnificent, poetic, humorous and provocative objects, alongside hand-written captions, reflections/anecdotes by Man Ray in English and French, and accompanying texts (in French) by Jean-Hubert Martin, Rosalind Krauss, and Brigitte Hermann. Also includes photography of exhibitions held by Man Ray, as well as domestic displays and studios documentation of his many objects. A really fantastic book, all wrapped up in bright pink cloth covers and dust-jacket - recommended to any fan of Man Ray's work.
1973, German
Softcover, 138 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Wallraf-Richartz-Museum / Cologne
$40.00 - Out of stock
Lovely catalogue published by Wallraf-Richartz-Museum, Köln, in 1973 to document the museums extensive collection of international contemporary sculpture. Profusely illustrated in black and white with the works of Jean Arp, Paul Thek, Nancy Graves, John Chamberlain, Larry Bell, Carl Andre, Christo, Eva Hesse, Joachim Bandau, Jacques Lipchitz, Louise Nevelson, Joseph Cornell, Jean Dubuffet, Germaine Richier, Schöffer, Bernard Schultze, Carlos Cruz-Diez, Ursula (Schultze-Bluhm), John Tweed, Franz Erhard Walther, Hanns Gasser, Merdardo Rosso, Joseph Beuys, Günter Haese, Roy Lichtenstein, Richard Serra, Keith Sonnier, Jesús Rafael Soto, Richard Tuttle, Helmut Moos, Bruce Nauman, Ansgar Nierhoff, Jim Dine, Gary Indiana, Karl Zeno Rudolf Schadow, Julio Le Parc, Robert Rauschenberg, Man Ray, G. F. Ris, George Segal, Nicolas Schöffer, Anthony Caro, Eduardo Paolozzi, Jean Tinguely, Arnaldo Pomodoro, Arman, Claes Oldenburg, Marisol Escobar, Niki Saint-Phalle, Daniel Spoerri, Günther Uecker, Heinz Mack, Wolf Vostell, Miguel Ortiz Berrocal, Pol Bury, Erwin Heerich, Horst-Egon Kalinowski, Brigitte Meier-Denninghoff, Johann Gottfried Schadow, Honoré Daumier, Gasser, Adolf von Hildebrand, Max Klinger, Rosso, Aristide Maillol, Tweed, Julio González, Pablo Picasso, Henri Laurens, and many more... Texts in German.
Very Good copy.
2002, Japanese
Softcover, 307 pages, 259 x 180 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Shimbun / Tokyo
$100.00 - Out of stock
First edition of this scarce, visually generous Japanese catalogue that takes a deep look into the photographic work of Man Ray. Published on the occasion the exhbition 'Photographies de Man Ray' that opened at the Bunkamura Museum and then traveled to three other museums in Japan in 2002-03. Densely packed with 559 beautifully reproduced photographs, the well known and the seldom seen, catalogued into major subjects, often thematically sequenced. From his prolific, experimental portraiture, nudes, fashion, still-life, landscapes, and work within the Surrealist and Dada movements, this heavy volume provides an exhaustive study of this great photographer. Man Ray is also noted for his work with photograms, which he called "rayographs," and many other experimental processes he brought into the photographic studio, all featured herein. Includes an illustrated biography, bibliography, catalogue listing and texts in Japanese and French.
Born Emmanuel Radnitzky in 1890 in Philadelphia, Pennsylvania, Man Ray was a renowned representative of avant-garde photography in the 20th century and is considered as the pioneer of Surrealist photography. A major contributor to the Dada and Surrealist movements, although his ties to each were informal, Man Ray produced major works in a variety of media including drawings, objects and films, but considered himself a painter above all. one of the most significant contributors to the Dada and Surrealist movements, and to modern art in general.
Very Good-Fine copy.
2011, Japanese / French
Softcover (w. printed plastic jacket over reflective cover), 296 pages
1st Edition, Out of print title / used / very good
Published by
National Art Centre / Tokyo
$90.00 - Out of stock
First printing of this great exhibition catalogue from the National Art Centre Tokyo via Centre Pompidou Paris, on occasion of the most comprehensive Surrealist exhibition ever staged in Japan, “Le Surrealism: Exposition organisee par Le Pompidou a partir de sa Collection” at The National Art Center, Tokyo in 2011.
Housed in mirrored cover and profusely illustrated in colour with the work of André Breton, Victor Brauner, Rene Magritte, Joan Miro, Andre Masson, Francis Picabia, Claude Cahun, Hans Bellmer, Dorothea Tanning, Max Ernst, Salvador Dali, Toyen, Guilaume Apollinaire, Meret Oppenheim, Luis Buñuel, Jindrich Heisler, Andre Masson, Yves Tanguy, Alberto Giacometti, Man Ray, Marcel Duchamp, Jean Arp, Giorgio de Chirico, Wilhelm Freddie, and many others, alongside comprehensive documentation of major historical Surrealist exhibitions and documents/publications.
Very Good copy.
1968, Japanese / German
Softcover, 80 pages, 21 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Goethe-Instituts / Japan
Staalichen Museums für Moderne Kunst / Tokyo
$70.00 - Out of stock
1st pinting of this publication on Dada, published in Japan in 1968. Features the work of Marcel Duchamp, Hannah Höch, Sophie Taeuber-Arp, George Grosz, Kurt Schwitters, Max Ernst, Josef Albers, Hans Richter, Hans Arp, Man Ray, Francis Picabia, Raoul Hausmann, John Heartfield, Peter Agostini, Jean Tinguely, Karl Gerstner, and more reproduced alongside a collaged history of Dada across the globe (New York, Zürich, Cologne, Italy, Paris, Berlin, Hannover) w. reproductions of texts, illustrations, publications and ephemera.
Very Good copy.
1974, German
Softcover, 169 page, 20 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Städtisches Museum / Leverkusen
$65.00 $45.00 - In stock -
"Medium Fotografie" was published on the occasion of the exhibition of the same name held at Städtisches Museum, Leverkusen, 18 May - 5 August 1973.
Foreword by Rolf Wedewer; Artists featured include Herbert Bayer, Hans Bellmer, Anton Giulio, Marcel Duchamp, Theodor Fraenkel, Hannah Höch, Layos Kalsas, Lazlo Moholy-Nagy, George Mucha, Man Ray, Luigi Veronesi, Stuart Wiese, Christian Boltanski, Marcel Broodthaers, Hamish Fulton, Christoph Kohlhöfer, Ingrid Kohlhöfer, Sigmar Polke, Gerhard Richter, Johannes Theodor Baargeld, Tristan Tzara, El Lissitzky, John Heartfield, Raoul Hausmann, Jörg Immendorff, A.R. Penck, Edward Ruscha, Pablo Picasso,Gilbert & George, Walter de Maria, and many more. Heavily illustrated throughout, texts in German.
2010, English
Softcover, 197 pages, 15 x 23 cm
Published by
Solar Books / US
$44.00 - Out of stock
The Marquis de Sade (1740–1814), best known for his violent, erotic novels, such as 120 Days of Sodom and Justine, was also one of the key inspirational figures identified by André Breton in his Surrealist Manifestos. De Sade’s importance to the Surrealists and their close affiliates is reflected in the sheer volume of art and writing dedicated to, or inspired by, his life, philosophy, and writings. Sade: Sex and Death documents this body of Surrealist work, including many key texts and bizarre and erotic images never before assembled in one volume.
Included in Sade are more than fifty rarely seen transgressive illustrations by some of the most famous names associated with Surrealism, including Dalí, Hans Bellmer, Magritte, André Masson, and Man Ray. The book also features analytical texts by writers of the period such as Bataille, Breton, Bunuel, Eluard, and Klossowski. Also included is the first-ever English translation of “The Divine Marquis” by Guillaume Apollinaire, which was the first modernist appraisal of Sade and remains one of the best concise biographies of its subject, and “Sade and the Roman Noir” by scholar Maurice Heine, in which Heine posits Sade as inventor of the gothic novel. Putting the works in context is an extensive history by editor Candice Black that details the relationship between the Surrealists and Sade.
2010, English
Softcover, 496 pages, 18 x 22 cm
Published by
The MIT Press / Massachusetts
$84.00 - In stock -
The artist Francis Picabia -- notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist -- has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada.
In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade -- Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history -- and naming them -- for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.
George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.
1977, Japanese
Hardcover (w. illustrated slipcase), 205 pages, 31.4 × 24.6 cm
1st Edition, Out of print title / used / very good
Published by
Kodansha Int / Tokyo
$140.00 - Out of stock
"Graphic Design of The World 3 : Contemporary Posters", was published in 1977 and edited by leading Japanese graphic designers Ikko Tanaka and Tadanori Yokoo. This, the 3rd annual volume of the great "Graphic Design of The World" series, was published in Japan by Kodansha in the 1970s. Each oversized hardcover, slipcased volume was edited by leading Japanese designers and presented a visually explosive international survey of design themes. Profusely illustrated in vivid, saturated colour, "Contemporary Posters" is one of the finest books on the subject. Bringing together the best examples of international modern posters from the end of the war to the early 1970s, including concert, theatre, film, anti-war, tourism, advertising, exhibition, and more. Includes the work of Milton Glaser, Joseph Müller-Brockman, Yoshio Hayakawa, Peter Max, Man Ray, Allen Jones, Maciej Urbaniec, Herb Lubalin, Jan Lenica, Seymour Chwast, Alan Aldridge, Roman Cieslewicz, Jean Michel Folon, Tomi Ungerer, Tadanori Yokoo, Shigeo Fukuda, Akira Uno, Massmimo Vignelli, Raymond Savignac, Push Pin Studios, Roland Topor, Ikko Tanaka, Shigeo Okamoto, Armando Testa, Franciszek Starowieyski, Saul Bass, Hans Erni, Karl Gerstner, Max Bill, Richard Avedon, Herbert Bayer, Alexander Calder, Otl Aicher, Paul Davis, Bob Gill, Hiromu Hara, Gan Hosoya, Robert Indiana, Sam Haskins, Kumi Sugai, Paul Rand, Willem Sandberg, Saul Steinberg, Andy Warhol, Ernest Trova, Pablo Picasso, James Rosenquist, Emil Ruder, Donald Brun, Herbert Leupin, Ryuichi Yamashiro, Franco Grignani, Yusaku Kamekura, Richard Lindner, Yoshitaro Isaka, Kiyoshi Awazu, and so many more! An incredible collection!
Very Good, beautifully preserved copy in Very Good slipcase.
2012, English
Softcover, 320 pages, 136 x 203 mm
Published by
The MIT Press / Massachusetts
$42.00 - Out of stock
Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from each in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile--in the artist's own words, a "spirit of expatriation"--infuses Duchamp's entire artistic practice. Duchamp's readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his "portable museum" (the suggestively named La boite-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's works, for example, represented a complex meditation--both critical and joyful--on modern art's tendency toward itinerancy, whereas Duchamp's 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Duchamp's exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience.
T. J. Demos is a Lecturer in the Department of History of Art, University College London and the author of The Exiles of Marcel Duchamp (MIT Press, 2007). His essays have appeared in such journals as Artforum, Grey Room, October, and Texte zur Kunst.
1967, Japanese
Softcover, 6 page card fold-out w. insert, 23.8 x 23.8 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Gallery / Tokyo
$100.00 - In stock -
Incredibly scarce catalogue published on the occasion of the 1967 exhibition "19 Surrealists" held at Tokyo Gallery, Japan. Fold-out catalogue with insert, illustrated with the exhibited works (along with biographies in Japanese) by Enrico Baj, Hans Bellmer, Victor Brauner, Salvador Dali, Paul Delvaux, Max Ernst, Wifredo Lam, Felix Labisse, René Magritte, Man Ray, Andre Masson, Roberto Matta, Joan Miro, Taro Okamoto, Francis Picabia, Kurt Schwitters, Max-Walter Svanberg, Yves Tanguy, Wols.
Very Good with light wear and mild spotting and a couple of pencil notations in Japanese. Preserved in sleeve.
2003, English
Softcover, 288 pages, 18 x 23 cm
1st Edition, Out of print title / as new
Published by
The MIT Press / Massachusetts
$74.00 $60.00 - Out of stock
Surrealism in its late phase often abandoned neutral exhibition spaces in favor of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the "Exposition Internationale du Surrealisme" (1938) and the "Dream of Venus" at the New York World's Fair (1939), dealt with the fetishization of the female body. The third, "First Papers of Surrealism" (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered.
The book considers Marcel Duchamp and Salvador Dali, two artists who are not usually compared, within a common framework. Duchamp specialized in frustrating the spectator, using his ironic wit to call into question the definition of the work of art. Dali was a master at disorienting the senses by establishing and then undermining everyday spatial and object properties. The Surrealist challenge, as voiced by Andre Breton, was to evoke the marvelous. Duchamp and Dali extended that challenge to the physical and commercial realm of the exhibition installation.
About the Author
Lewis Kachur is Associate Professor of Art History at Kean University, New Jersey.
“Lewis Kachur hands us a free time-travel ticket, with himself as marvelous pilot. Transporting us into the thick inventions of late Surrealist exhibitions, he gives us the ravishing gift of being there, present at the birthing and, as well, the seeding of so much installation and site-specific art to come decades later. For artists now who feel tied to Grandfather Marcel without having known him, Kachur's work vividly opens up the real moves of Duchamp's reinvention of what it is to be an artist. Revealing secret interior paths of communication among artists that flow synaptically across generations, this sumptuous work points to a new holistic way to understand art.”
—Mierle Laderman Ukeles, artist
“A splendid analysis of the late Surrealist exhibitions. Anyone interested in Surrealist art would want this book; anyone interested in the consideration of display in twentieth-century art must have this book.”
—Richard Martin (1945-1999), former curator, Metropolitan Museum of Art
“Perceptive, fascinating, and written with pleasure and delight. The reciprocal exchange between art work and its context is presented with a steady, at times inspired, sense of inquiry.”
—Brian O’Doherty, writer
Out-of-print
2017, English
Printed card box containing publications and 2 posters
Published by
Ugly Duckling Presse / New York
$125.00 - Out of stock
Introduction by Sophie Seita. Translations by Elizabeth Zuba.
The Blind Man was a key magazine of the early 20th century, the product of a rich network of proto-Dada, modernist and other avant-garde New York salons and publications that introduced audiences to Dada in the US.
Produced by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché, only two issues of the Blind Man ever appeared, but these included a who’s who of the New York and Paris avant-gardes: Mina Loy, Walter Conrad Arensberg, Francis Picabia, Gabrielle Buffet, Allen Norton, Clara Tice, Alfred Stieglitz, Charles Demuth, Charles Duncan, Erik Satie, Carl Van Vechten and Louise Norton all appeared in its pages.
Allegedly, the fate of the Blind Man was decided in a chess game between Roché and Picabia (who was about to put out his own Dada publication, 391). And the magazine went out with a bang-its final issue has gone down in art history for featuring Stieglitz’s iconic photograph of Duchamp’s "Fountain" and a defense of that work, seen now as perhaps the most important artwork of the 20th century.
The Blind Man: New York Dada, 1917 brings back the magazine in a facsimile reprint, along with reproductions of the Ridgefield Gazook and the poster for the Blind Man’s Ball designed by Beatrice Wood, all packaged together in a handsome boxed set.
1969, English
Softcover (w. dust jacket), 160 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Lund Humphries / London
$190.00 - Out of stock
First edition of the iconic, very collectible, "Pioneers of Modern Typography" - the bible/standard guide to the avant-garde origins of modern graphic design and typography since it's original publication in 1969. In this essential reference, Herbert Spencer shows how new concepts in graphic design in the early decades of the twentieth century had their roots in the artistic movements of the time in painting, poetry, and architecture. Spencer examines the "heroic" period of modern design and typography, the beginning of which he traces to the publication in Le Figaro of the Italian artist Marinetti's Futurist manifesto. He discusses the work of such "pioneers" as El Lissitzky, Alexander Rodchenko, and Laszlo Moholy-Nagy. He examines the artistic background of the new concepts in graphic design, and traces the influences of futurism, Dadaism, de Stijl, suprematism, constructivism, and the Bauhaus. His text is profusely illustrated with examples of the new typography, shown in genres that range from posters and magazine covers to Apollinaire's "figurative poetry." Spencer chose a wide variety of paper stocks for individual signatures, giving each spotlighted designer a unique look. The engravings and spot colour work match the super sharp design if the book, with many of the works printed in 4 colours. The printing of this first Lund Humphries edition far surpasses any of the MIT reprints that followed.
Features the work of : El Lissitzky, Theo van Doesburg, Kurt Schwitters, H. N. Werkman, Piet Zwart, Paul Schuitema, Alexander Rodchenko, Laszlo Moholy-Nagy, Herbert Bayer, Jan Tschichold, Guillame Apollinaire, Max Bill, Alvin Langdon Coburn, Henryk Berlewi, Lewis Carroll, Walter Dexel, Lionel Feininger, Raoul Hausmann, John Heartfield, Hannah Hoch, Vilmos Huszar, Iliazd, Johannes Itten, Oscar Jespers, Lajos Kassak, Senkin Klutisis, Fernand Leger, Wyndham Lewis, Filippo Tommaso Marinetti, Christian Morgenstern, Paul van Ostaijen, Jozef Peeters, Enrico Pramolini, Man Ray, Peter Rohl, Pietro Saga, Christian Schad, Joost Schmidt, Ardengo Soffici, Kate Steinitz, Wladyslaw Strzeminski, Ladislav Sutnar, Mieczyslaw Szczuka, Karel Tiege, Lucio Venna, Teresa Zarnower.
Very Good-Fine copy in Very Good original dust jacket, preserved under plastic sleeve.
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.
1971, English
Hardcover (w. dust jacket), 168 pages, 25.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Studio Vista / London
$45.00 - Out of stock
First hardcover edition of this classic book by David Curtis, published by the great Studio Vista in 1971.
"In this wide-ranging survey, David Curtis traces the development of film experimentation from the pioneer narrative efforts of Edwin S. Porter and the fantasmagoric and special effects of Emile Cohl and Norman Dawn early in the twentieth century to the New American Cinema films of Stan Brakhage, Gregory Markopoulos, Ron Rice, and Andy Warhol in the 1960s and now in the 1970s. Mr Curtis regards the experimental film as a dynamic contribution to modern art, and he describes the excitement and struggle of film-makers discovering and expanding their medium. Among the many forms, styles, and ways of working that he illustrates and analyses are Abel Gance's rapid-cutting technique, Walter Ruttmann's 'city symphonies', Oskar Fischinger's abstract approaches, Len Lye's hand-painted images and kinetic use of colour separations, Curtis Harrington's introspective cinema, Francis Thompson's artistry of distortion, the collage animations of Stan Vanderbeek, Mike Durford, and Victor and Silvio Loffredo, Bruce Conner's adaptation of montage, Scott Bartlett's and Pat O'Neill's use of the optical printer, the computer films of Vanderbeck, Ken Knowlton, Marc Adrian, and Denys Irving, and the structural films of Kurt Kren, George Landow, and Mike Snow. Also examined are the accomplishments of such significant figures as Viking Eggeling, Hans Richter, Man Ray, Fernand Léger, and Dimitri Kirsanov in the 1920s; Jean Cocteau, Watson and Webber, and Mary Ellen Bute in the 1930s, and the key American experimentalists Maya Deren, Kenneth Anger, and the Whitney Brothers among them, and the Canadian Norman McLaren in the 1940s, as well as the shifting cinematic approaches of Luis Buñuel. Represented are film-makers from Japan, England, Russia, Canada, and the United States, in addition to many previously uncharted independent film-makers of Austria, France, Germany, Italy, and other countries of Europe."
1970, English
Softcover, 80 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$45.00 - In stock -
Art International, Vol. XIV/3 March 1970
Published and Edited by James Fitzsimmons
cover: Richard Hamilton
Features: Richard Hamilton, Enzo Mari, Joseph Beuys, Fernand Léger, Miguel Ortiz Berrocal, Urs Lüthi, Rodolfo Aricò, Allan Jones, Alex Colville, Anne Madden, Jasper Johns, Man Ray, Ed Ruscha, Duane Hanson, Sonia Delaunay, Erró, Francois Lalanne, Pier Manzoni, Alfred Manessier, Claes Oldenburg, Doug Wheeler, Peter Zecher, Robert Rauschenberg, Agnes Martin, Vija Clemens, Michael Heizer, Dan Flavin, Ellsworth Kelly, Frank Stella, Ronald Bladen, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
1969, English / French
Softcover, 76 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$55.00 - In stock -
Art International, Vol. XIII/6 Summer 1969
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, Jean-Christophe Ammann, R. C. Kenedy, James Mellow.
Features: Bridget Riley, Barnett Newman, Tess Jaray, Oskar Kokoschka, Roland Topor, Tony Smith, Richard Linder, Jules Olitski, Karel Appel, Hans Bellmer, Horst-Egon Kalinowski, Louise Nevelson, Luciano Fabbro, George Brecht, Man Ray, Fernand Leger, Kenneth Noland, Lyonel Feininger, Herbert Ferber, George Sugarman, Walter de Maria, Edgar Negret, Richard Anuzkiewicz, Nicholas Krushenick, John Healey, Rodolfo Arico, Marco Cordioli, Edival Ramosa, Riccardo Emma, Livio Marzot, Pablo Picasso, Heinz Mack, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
1981, German
Hardcover (w. dust jacket), 286 pages, 22 x 28 cm
Out of print title / used / average
Published by
Benteli Verlag / Bern
$30.00 - Out of stock
Large hardcover exhibition catalogue published in conjunction with show held in Switzerland in 1980. Illustrated in colour and black and white throughout, with many examples of artists from the exhibition. Artists included in the exhibition: Josef Albers, Cuno Amiet, Carl Andre, Jurij Annenkow, Alexander Archipeno, Arman, Gerd Arntz, Hans Arp, Richard Artschwager, Giacomo Balla, Ernst Barlach, Willi Baumeister, Bodo Baumgarten, Walter Bodmer, Lee Bontecou, Carl Buchheister, Erich Buchholz, Alexander Calder, Anthony Caro, Carlo Carrà, John Chamberlain, Eduardo Chillida, Christo, Joseph Cornell, Joseph Csaky, Robert Delaunay, Jim Dine, Theo van Doesburg, César Domela, Jean Dubuffet, Marcel Duchamp, Raymond Duchamp-Villon, Max Ernst, Dan Flavin, Adolf Fleischmann, Lucio Fontana, Otto Freundlich, Naum Gabo, Paul Gaugin, Julio Gonzalez, Jean Gorin, Gotthard Graubner, Oto Gutfreund, Nigel Hall, August Herbin, Adolf von Hildebrand, Robert Irwin, Robert Jacobsen, Marcel Janco, Jasper Johns, Paul Joostens, Donald Judd, Zoltan Kemény, Edward Kienholz, Yves Klein, Käthe Kollwitz, Norbert Kricke, Gary Kuehn, Berto Lardera, Henri Laurens, Fernand Léger, Wilhelm Lehmbruck, Sol LeWitt, Jacques Lipchitz, El Lissitzky, Vilhelm Lundstrøm, René Magritte, Aristide Maillol, Manolo, Man Ray, Piero Manzoni, Henri Matisse, Gordon Matta-Clark, Joan Miró, Laszlo Moholy-Nagy, François Morellet, Henry Moore, Robert Morris, Louise Nevelson, Ben Nicholson, Claes Oldenburg, Eduardo Paolozzi, Victor Pasmore, Laszlo Peri, Antoine Pevsner, Jean Peyrissac, Pablo Picasso, Anne und Patrick Poirier, Iwan Puni, David Rabinowitch, Robert Rauschenberg, James Reineking, Erich Reusch, August Renoir, George Rickey, Auguste Rodin, Ulrich Rückriem, Christian Schad, Oskar Schlemmer, Karl Schmidt-Rottluff, Jan Schoonhoven, Emil Schumacher, Kurt Schwitters, Arthur Segal, George Segal, Richard Serra, Gino Severini, Joel Shapiro, Richard Smith, Jesus Raphael Soto, Giuseppe Spagnulo, Daniel Spoerri, Henryk Stazewski, Frank Stella, Sophie Taeuber-Arp, Antonio Tàpies, Wladimir Tatlin, Jean Tinguely, Joaquin Torres-Garcia, Ilya Tschaschnik, Leon Tutundjan, Günter Uecker, Bernar Venet, Friedrich Vordemberger-Gildewart, Fritz Wotruba.
Written contributions by Felix A. Baumann, Sabine Kricke-Güse, Ernst Gerhard-Güse, Carola Giedion-Welcker, Sigrid Braunfels-Esche, Margit Rowell, Wulf Herzogenrath, Willy Rotzler, Eduard Trier, and Thomas Deecke. Text in German.
Ex library copy with usual stamps and general wear, bumping, wrinkling, in good original dust jacket.
2010, English / Japanese
Hardcover, 368 pages, 22.4 x 28 cm
1st Edition, Out of print title / Used*,
Published by
National Art Center / Tokyo
$90.00 - Out of stock
Fantastic, visually dense, heavy monograph on the life and work of Man Ray. "At first sight, another book surveying the life and work of this versatile and inventive artist would seem superfluous, yet surprisingly, this excellent catalogue contributes a wealth of new information, thus providing a valuable contribution to our understanding of Man Ray. The treasure trove of images and objects collected here is drawn from the large archives of the Man Ray Trust in Long Island, New York, and includes little known early works, documents and objects from his private life, working drawings and sketches for major works as well as innumerable familiar masterpieces. The publication is accompanied by essays and an extensive chronology." Introductory texts are "The Fate of Objects," by Noriko Fuku and "Unconcerned But Not Indifferent" by John P. Jacob.