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
Art
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World Food Books Gift Voucher
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Australian Art
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'Pataphysics / Oulipo
Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
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Protest / Revolt
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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
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.
2023, English
Softcover, 200 pages, 16.6 x 23 cm
Published by
Memo Review / Naarm
$35.00 - In stock -
Issue 1 of Memo’s first glossy annual magazine features an extended artist focus on Archie Moore, the 2024 Venice Biennale Australian Representative, with essays by Rex Butler, Tara Heffernan, Tristen Harwood, and Hilary Thurlow.
Audrey Schmidt unveils a covetous history of tall-poppy takedowns in the Melbourne art world. Philip Brophy rips into Hollywood’s shallow art-world playbook, while Cameron Hurst checks-in with the once-celebrated Spike magazine cultural critic, Dean Kissick, in his post-zenith era. The Manhattan Art Review’s Sean Tatol visits the Dutch artist group, KIRAC, reporting on their legal woes with French literature’s ageing enfant terrible, Michel Houellebecq.
We also have essays and reviews on art from all around Australia and the world. Amelia Winata turns up the heat on Melbourne’s public museums as Callum McGrath uncovers a typically Eurocentric failure at the heart of British art historian Claire Bishop’s recent Artforum essay on research-based art. Helen Hughes writes on Helen Johnson’s The Birth of an Institution (2022) and Chelsea Hopper and Shaune Lakin on Derek Jarman’s Blue (1993). Stars like Isa Genzken, Royal Academy graduates like Anna Higgins, cult-favourites like Jas H. Duke — Memo features all this and more.
Texts by Adam Ford, Aimee Dodds, Amelia Winata, Anastasia Murney, Andrew Harper, Audrey Schmidt, Callum McGrath, Cameron Hurst, Camille Orel, Chelsea Hopper, Darren Jorgensen, Gemma Topliss, Giles Fielke, Helen Hughes, Hilary Thurlow, Lévi McLean, Loren Kronemyer, Maraya Takoniatis, Paris Lettau, Philip Brophy, Rayleen Forester, Rebecca Edwards, Rex Butler, Sam Beard, Sean Tatol, Shaune Lakin, Susie Russell, Tara Heffernan, Tristen Harwood, Verónica Tello, Victoria Perin.
2023, English
Softcover, 78 pages, 20 x 29.9 cm
First edition, edition of 150,
Published by
no more poetry / Naarm
$28.00 - In stock -
no more poetry presents nmp.18
SOMETHING WRITING
the debut anthology by Carmen-Sibha Keiso
Carmen-Sibha Keiso is an Arab-Australian artist, writer and facilitator working in performance, video, and text. Through a socially-collaborative and research based process, Keiso approaches their practice as a subjugated, intersectional mise-en-scéne in order to delineate how we utilise place to further understand the self. This is their debut publication.
cskeiso.com
readtheroom.info
First edition, edition of 150
2023, English
Softcover (chicago screw, exposed spine), 60 pages, 14.8 x 21 cm
First edition, edition of 120, numbered,
Published by
no more poetry / Naarm
$25.00 - In stock -
Enter into Jessica Rose Pearson’s debut poetry collection Yearning At The Opera Bar:
The curtain opens on a girl or girl-like thing, early
20’s, laying on the floor of her studio apartment,
masturbating, listening to Mass B Minor, BWV 232
“Hohe Messe”: No. 4 Chorus: Et
incarnatus est
play it
The next 52 pages descend into the exact document of sex, love and living that you could hope for. The book arrives sharp and stays unrelentingly funny until the very end. What is so special about Pearson’s humour is that it cuts in a way that, while buoyant and playful, reveals something of deep philosophical intrigue. The poetry is determined in its delicate exploration of interpersonal minutiae. Pearson is deeply attuned to both touch and colour and their potential to evoke and seduce the reader. The poetry is concise, considerate and intelligent.
Pearson will define love many times throughout this collection; a pizza hut pamphlet, a green apple, car sex, hourly spoonfuls of yoghurt, stanley tucci. Strangely, what love is doesn’t seem to be what is most important in these poems. What is important is that we get to watch this exploration and in turn witness the many forms desire takes. Indeed we are given a document on love’s mesmerising temporality and strange unpredictable movement. This book is a brilliant survey of attraction’s mysteries.
Jessica Rose Pearson has written a book that reminds us of the unwavering curiosity that unites all artforms across all mediums. We are given 39 scenes. However, we could just as easily say that we have been given 39 paintings or 39 songs or 39 photographs or perhaps 39 poems. There is a broadness and openness to Pearson’s writing that invites us to daydream and extrapolate and animate the writing in whatever way we desire, as if laying free in the hard setting light of the sun across the tiled floor of our respective apartments truly living as the main character of our own little life.
We are invited to play it. And so we read on...
First edition, edition of 120, numbered
2023, English
Softcover, 244 pages, 10.8 x 17.8 cm
Third edition, edition of 160, numbered,
Published by
no more poetry / Naarm
$35.00 - In stock -
no more poetry presents one story a day, the the debut anthology by writer Genevieve Callaghan.
Third edition, edition of 150, numbered.
"…Il était une fois… an Australian woman had an idea on the plane to France. The idea was quite simple - she would write one very short story every day, and post it on Instagram. Posting the stories online would keep her accountable to any potential followers, but handwriting the stories in her often illegible script would keep her from pandering to those followers - keep her storytelling pure. Honest. Her handwriting was like her speaking voice, or her language, or her mind - some people would understand it, some people wouldn’t. C’est la vie. Aside from the artistic and practical benefits the woman thought she might gain from embarking on the project, the deeper benefit (she hoped) would be a personal one."
“the woman” reflects on one story a day.
What we have been given by Genevieve Callaghan in one story a day is an unwavering mastery of time and craft. The book offers a generous mapping of the author’s spontaneity in speculation and narrative. What we receive is therefore not just a collection of stories, questions and ponderings, but an illuminating insight into the operation of ritual and persistence. We are given an inspiring perspective on the craft of craft itself; the honed, daily practice of observation and imagination.
Sure, a day presents us with a near endless expanse of possibilities, but these possibilities are often so tightly wound within the expectations of work, time, care and place that we fail to see or act in accordance to our infinite potential. Which is to say life gets in the way. But what Callaghan reminds us is of the limitlessness of poetry and art; the expansive opportunity and delight of our own minds and how we may use this to remind ourselves of our own and other’s immeasurable potential. Or perhaps how we may use writing or art to operate on our own grief, pain, confusion or indecision. The writing is therefore both grounding and inspiring, in her own words as Callaghan states in story 28 she is ‘humming something holy to remind us where we are’.
We follow the author in her survey of all things: unwavering grief, striking humour, bountiful love, paralysing normality, professional explorations of intimacy, musical perchance, unbridled joy, lengthy pain, spiritual mundanity, quiet indulgence, failing memory, potent magic, elongated heartbreak, blind risk, chaotic bus rides, uncontrollable loss, supreme silence, unexpected fantasy, and nothing… sometimes nothing at all. We follow the author as she explores the whirlwind navigation of life through the eyes of children, construction workers, jasmine vines, pigeons, lovers, diplomats, cities, spiders, monuments, nurses, jacaranda trees, oceans, and even the humble ponderings of a concrete block. Callaghan throws us briefly but surely between time and desire. Her writing is specific and generous, at once both simple and elaborate.
one story a day delicately strings together the disparate and unifying elements of human and non-human existence; the broad mechanics of life itself. Further, through tenderness, wit and striking nuance Callaghan so gently monitors and magnifies the delightful and alluring specificities that colour such existence. As she states in story 381 ‘I eyed the world, daring it to say one fucking thing.’
Callaghan states in story 167 ‘i realise that the same things can happen anywhere’. And so here in this book we are given a few things that happen in a few places to a few people, and what a glorious few it is. no more poetry are incredibly excited to publish what will be our 13th collection and one of the most enriching and unique books to date. We are extremely grateful to Genevieve for trusting our home to let it land in.
2023, English
Softcover (staplebound in sleeve),
Ed. of 150,
Published by
Animal House Books / Melbourne
$30.00 - In stock -
ZED is an artist book by Tim Woodward. The book documents an ongoing series of sculptures made from the steel components of an office desk called the Zed. The Zed was a Freedom Furniture product imported from Taiwan and sold in Australia and New Zealand from 1996 to 2011, a 15 year span aligned with the generation Z birth years.
Woodward’s sculptures re-code the Zed, turning it into a zigzagged orientation point of dense redirection. As George Egerton-Warburton writes in the essay ‘Z’, “...“Z” is a line in indecision, a line that changes course two times”. Through cutting channels and sinking legs into new formations, Woodward’s steel sculptures evoke the onomatopoeic limits of language and the comic book snooze. Desks are restructured and worker profiles ascend like confused drop shadows. Tempered tops are laid off, reflecting from the floor.
ZED is published by Animal House Books and designed by Ned Shannon. Incorporating the Zed desk’s original colourway, the book references the Zed desk as object, instruction, product catalogue and marketplace image. Each uniquely stamped edition includes documentation of Woodward’s exhibition ‘Z’, presented at Darren Knight Gallery, Sydney (2021) and ‘Inheritance’, at Animal House Fine Arts, Melbourne (2023). ZED features essays by George Egerton-Warburton and Rowan McNaught.
Edition of 150 copies.
1998, English
Softcover (staple-bound), 40 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Monash University Exhibition Gallery / Victoria
$14.00 - In stock -
Catalogue published on the occasion of the group exhibition, Private Parts, curated by Natalie King at Monash University Gallery, 22 April—23 May, 1998, featuring the work of Jane Burton, Bonita Ely, Deej Fabyc, Brent Harris, Lyndal Jones, Deborah Ostrow, David Rosetsky, Brett Vallance, Jenny Watson. Illustrated in colour and b/w throughout with text by Natalie King and artist biographies.
Good copy with cover rubbing, general wear.
2023, English
Softcover, 60 pages, 14.8 x 21 cm
Edition of 150,
Published by
no more poetry / Naarm
$25.00 - Out of stock
no more poetry presents nmp.17:
a portrait of me running as fast as the plant is growing
by Kiara Lindsay
Edition of 150
no more poetry alum, Brayden writes of nmp.17:
In a portrait of me running as fast as the plant is growing, the poet runs toward themselves, again and again; each poem a fierce affirmation of the self. This is a slippery kind of poetics; Lindsay does not readily accept an objective sense of reality, and in reading these poems there is the feeling of having one’s own reality pulled out from underneath you, in a way that is both startling and thrilling. These poems explore the release that comes with embracing multitudes. An offensively good collection, from one of Naarm’s most authentic writers.
Kiara Lindsay is an author.
She lives and writes in Naarm (Melbourne)
1990, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 8, 1990 — SEXY GIRLS WITH SEXY GUNS cover, features Peter Jackson, The Cramps, Chinatown Beat, An American Trash Film Tour, Confessions from the Porn Industry, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1990, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 9, 1990 — THE KRAYS cover, features John Wayne Gacy, Alejandro Jodorowsky, John Waters, Ari Roussimoff and Chu Yuen, Chinatown Beat, An American Trash Film Tour, Hong Kong on Tape, Women with Blades, Monsters, Gunmen, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1992, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - In stock -
Fatal Visions No. 12, 1992 — NAKED LUNCH cover, features Cannibal Ottis Toole, Annie Sprinkle, Tsui Hark, Freddy Krueger, Tom Towles, Blood Lust, Chinatown Beat, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1992, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 13, 1992 — BRAINDEAD cover, features Mexploitation, Tsui Hark, BRAINDEAD, Hyapatia Lee (Vicki Lynch), Chinatown Beat, interview with a Necrophile, Danny Partridge, Noise, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1993, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 14, 1993 — BODY MELT cover, features Sam Raimi, Cynthia Rothrock, Mexploitation, Chinatown Beat, BODY MELT, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1993, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
Published by
Fatal Visions / Northcote
$25.00 - In stock -
Fatal Visions No. 15, 1993 — Angela Dorian cover, features Ari Roussimoff and The Green River Killer, Ringo Lam, Dan Simmons, Cult TV, Chinatown Beat, Melbourne Film Fest '93, Melbourne videostore guide, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1994, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 16, 1994 — Wicked City cover, features Lance Henriksen, Ren & Stimpy, cult TV in '93, Chinatown Beat, wrestler/porn actress Tiffany Million, Gerard John Schaefer interviews Betsy Blood, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1994, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 17, 1994 — BAD BOY BUBBY cover, features John Woo, Ringo Lam, EYEBALL in Asia, Melbourne Filmfest Corpse 1994, Chinatown Beat, Ren & Stimpy, The Crow, UFO Dave, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
2023, English
Softcover, 152 pages, 12 x 19 cm
Published by
MA BIBLIOTHÈQUE / Paris
$34.00 - Out of stock
If you listen very carefully in the moments when the wind drops you will hear the soft movements deeper in, far back and away from these theatres of display and bad commerce, slow movements through rooms where that other game is played, where the light is cheap and white and very bright and where every single detail is inscribed for all time in exactly the mode that it was originally conceived.
The Attendants is a collection of fiction, written over a five-year period, from 2017, when the author moved to London, to early 2023. All the stories in this collection were written in response to art exhibitions or works of art. They represent an attempt to develop a coherent response to art: what it does and how it functions (and occasionally ceases to function) in London now. Many of the stories are genre pieces, horror, fantasy, and science fiction, but all have the complex interrelations of the image, the city, the eye, and the body at their centre.
‘Disrobing life as much as against nakedness. No escape from the head, never more certain of moving towards the point of rupture, or is that rapture, binding, increasing lucidity, slap, binding, drill at the deserving, the body is ever present. We visualise what has been lain on the page, written, drawn, coloured and feel the pulse: abound and bound, binding, grounded.’—Paul Buck
‘Bodies between the rigid and the porous and nameless characters move through spaces—room, gallery, ruin—with the sense of being in the aftermath of a disaster, yet waiting for something, where the options are to survive or succumb. The reader is drawn through intensely physical and precise descriptions and atmospheres into strange yet plausible worlds and encounters. These stories by an artist are cinematic, sculptural, painterly, and riveting.’—Michael Newman
Louis Mason is an Australian-Polish artist and writer currently based in London. In 2018 he was a co-director of the public programme Partial Versions, and a founding member of the South London Speculative Fiction Writing Group. He is the director of ge hinnom small group love, a gallery based in South London. His work has been shown internationally, and his fiction and critical writing have been commissioned by ICA London, Art+Australia Magazine, How to Sleep Faster, Obsidian Coast, and Praz Delavallade LA, among others
1979, Japanese
Softcover (staple-bound), 20 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
? / Japan
$35.00 $15.00 - In stock -
Wonderful, scarce Japanese souvenir photo booklet for George Miller's Mad Max, a 1979 Australian dystopian action film produced by Byron Kennedy. Mel Gibson stars as "Mad" Max Rockatansky, a police officer turned vigilante in a near-future Australia in the midst of societal collapse. Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns, and Roger Ward also star. The award-winning, though polarizing upon release, film helped open up the global market to Australian New Wave films and has become an international cult classic, giving rise to three sequels: Mad Max 2 (1981), Beyond Thunderdome (1985), and Fury Road (2015). Heavily illustrated throughout with glossy colour and b/w stills from the film, poster designs, alongside texts in Japanese about the film, cast, and production information.
Very Good copy.
1976, Japanese
Softcover (staple-bound), 20 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Toho / Tokyo
toho
$50.00 $15.00 - In stock -
Wonderful, rare Japanese souvenir photo booklet for the acclaimed 1976 South Australian drama film Storm Boy, directed by Henri Safran and based on the 1964 book of the same name by Colin Thiele, about a lonely boy (Greg Rowe) and his pet pelicans living in a coastal wilderness with his reclusive father, 'Hide Away' Tom (Peter Cummins). In search of friendship, Mike encounters another recluse in the wilderness, Fingerbone Bill (David Gulpilil), an Aboriginal man estranged from his tribal people. Fingerbone names Mike "Storm Boy" and enlists the child's help caring for three orphaned pelican chicks. It was the third feature film made by the South Australian Film Corporation, and is a highlight of the New Wave of Australian Cinema from the 1970s. Heavily illustrated throughout with glossy colour and b/w stills from the film, alongside texts in Japanese about the film, cast, and production information.
Good—Very Good copy. Some pinching to spine otherwise VG.
1964, English
Softcover (staple-bound), 30 pages, 21 x 21 cm
1st Edition, Out of print title / used / good
Published by
NGV (National Gallery of Victoria) / Victoria
$30.00 - Out of stock
Exhibition catalogue published by the National Gallery of Victoria, Melbourne, in 1964, where this exhibition of contemporary Australian Sculpture was assembled for travel to various Australian venues throughout 1964-65. With an opening text by director Gordon Thompson, this catalogue is illustrated throughout with the works of Anita Aarons, Ruth Adams, Ian Bow, George Baldessin, Owen Broughton, John Dowie, Herbert Flugelman, Hermann Hohaus, Vincas Jomantas, Julius Kane, Inge King, Robert Klippel, Clifford Last, George Luke, Max Lyle, Clement Meadmore, Lenton Parr, Bob Parr, Norma Redpath, Leonard Shillam, Stephen Walker, Lawrence Ware, Anthony Woodcock, Teisutis Zikaras.
Good copy with light curling and wear.
1964, English
Softcover (single bi-fold card), 25 x 15.8 cm
1st Edition, Out of print title / used / good
Published by
Argus Gallery / Melbourne
$140.00 - In stock -
Incredibly rare first catalogue of Italian-Australian artist George Baldessin, published on the occasion of his first solo exhibition held at Argus Gallery in 1964, on the fourth floor of the old Argus newspaper building in Elizabeth Street, Melbourne. Bi-fold catalogue lists a brief biography with complete list of 39 exhibited works in sculpture, drawings, etchings/aquatints, and bronzes, featuring Baldessin print cover. The Argus Gallery exhibit "was the rite de passage which marked Baldessin's coming of age in Australian art"—Memory Jockisch Holloway, Baldessin having only just returned to Melbourne in 1963 from studying in Milan under sculptor Marino Marini. An important piece.
George Baldessin (1939–1978) was an Italian-Australian artist, printmaker and sculptor. He studied at RMIT from 1958 to 1961 and later at the Chelsea School of Art in London in 1962. He continued further study at the Brera Academy of Fine Art Milan from 1962 – 63. A charismatic figure in the history of Australian art, especially in Melbourne in the 1970s when Baldessin worked in a studio on Collins St with fellow artists Tate Adams, Les Kossatz, Andrew Sibley, Roger Kemp, Fred Williams and Jan Senbergs. Together with Imants Tillers, Baldessin represented Australia at the XIII São Paulo Art Biennial in 1975. Tillers and Baldessin became close friends between 1975 to 1977 when Baldessin lived in Paris, attending the Lacourière-Frélaut engraving workshop. Baldessin was known for his generosity and encouragement to others' creativity until his accidental death in 1978, at the age of 39. Baldessin's prints and Surrealist influenced distorted figurative sculptural work features in most major private and public collections in Australia, and many overseas. A major joint exhibition featuring Baldessin's works alongside Brett Whiteley's was featured at the National Gallery of Victoria in 2018.
Average—good copy. Foxing, general wear/age.
1963, English
Softcover (staple-bound), 16 pages, 21 x 21 cm
1st Edition, Out of print title / used / good
Published by
Grayflower Publications for Gallery A / Melbourne
$140.00 - Out of stock
Incredibly rare first catalogue of the great Australian sculptor Norma Redpath. Published on the occasion of her first solo exhibition in 1963 at Gallery A in Melbourne. Opening with a text by Gordon Thompson and exhibition history, the catalogue reproduces Redpath's 12 bronzetti (small scale bronzes) which she had made during her time on a scholarship in Milan and presented in Melbourne for the first time. An important and seldom seen catalogue.
Norma Redpath (1928 – 2013) was a prominent Australian artist. Born in Melbourne, she became a member of the Victorian Sculptors' Society (VSS) whilst still a student at RMIT. In 1953 she, along with Inge King, Julius Kane and Clifford Last, founded the 'Group of Four' and in 1961 she joined the artists grouping 'Centre Five' (among others Inge King, Julius Kane, Clifford Last, Lenton Parr, Vincas Jomantas and Teisutis Zikaras), who broke with the VSS and organised private exhibitions. During the fifties, she traveled to Europe and studied in Italy from 1956 to 1958 at the Universita per Stranieri in Perugia and she lived in Rome. Her love for Italy and Italian art would not release her. In 1958 she returned to Australia, but in 1962 she won a scholarship from the Accademia di Belle Arti di Brera in Milan, where she would later settle. In 1963, Redpath was given her first solo exhibition in Australia at Max Hutchinson’s Gallery A in Melbourne. Known as the Little Bauhaus, the gallery, under the management of artist/designer Clement Meadmore, championed non-figurative art and industrial design. The show was composed of 12 bronzetti (small scale bronzes) which she had made during her time in Milan. After the critical and financial success of the Gallery A show she was awarded several major commissions in Australia during the 1960s and 1970s, including the Treasury Fountain in Canberra. In 1970 Norma Redpath was appointed an Officer of the Order of the British Empire for services to contemporary sculpture. Redpath shared her time between Melbourne and Italy, returning permanently to Melbourne in 1985.
Good copy with light wear/age, small amoutn of foxing, little creases.
2023, English
Softcover, unpaginated, 29.5 x 20.5 cm
Published by
Self-Published / Melbourne
$90.00 - In stock -
"The story of an ordinary mouse taken by an ordinary cat. Occupied by a rodent"
Long awaited gloss compendium of texual works by Guy Benfield, I Say Fuck It (Volume 1), published in an open edition in 2023, collates the illustrated psycho-sprawl of "The New Reich IV", "Cory Night", "The Story of Joseph Beuys", "LA Take Down", "Blood Lust 1949", "Bad Anne Frank The Nazi Hunter"...
"Vasectomy The Movie Coming out never"
2023, English
Softcover, unpaginated, 29.5 x 20.5 cm
Published by
Self-Published / Melbourne
$110.00 - In stock -
"Down stairs past the mink coat, tiled floor and cut shin, bleeding out"
The almost immediate second volume gloss compendium of texual exploitation by Guy Benfield, I Say Fuck It (Volume 2, "The House of Dragon"), published in an open edition in 2023, collates the illustrated neuro-scapes and fever dreams of Bishop X** and the Nazi Medical Pleasurists, "The North Zone Outside Chino" Part I and II, "John Wick 5 : Ditched to Die", "Blow Off", "All Pleasure 2", Defe Fnsive", "Draculear's Touch 2", "At Italian Night Clubs Bad Zervice XATAT PALAISE Grand Omega 3, "Repetition of the the the Michael Werner generation", "Network", "Jailed Kremlin", "New Vader", "Newar Redact", "Militarization Ate The Cat", "FUCK WEEK The Movie", "Club Nepenthe", "The Funeral", "Heat Jam"...
"What would they think of my body?
D
on't know
They will think your bodies shit"
1974, English / French / Japanese
Softcover (silkscreened handmade paper w. inserts), 80 pages, 30 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Crafts Council of Australia / Sydney
$50.00 - In stock -
Wonderful 1974 publication — a pictorial anthology of Australian Crafts — published by the Crafts Council of Australia on the occasion of the first World Crafts Exhibition, Toronto, Canada, 1974. Edited by Joy Warren and designed by artist John Reid and Douglas Annand, Crafts of Australia is a lavishly tactile production, issued in unique silkscreened handmade paper covers (with inserted handmade paper map and letter to the reader) pressed by Kayes van Bodegraven, International College of Papermakers, Melbourne, and made from recycled envelopes from The Crafts Council of Australia offices, and containing paperbark from coastal Melaleuca trees, Cleveland Bay, Queensland. The Map paper containing clays from Scorsby, Knox Shire, Victoria. The book itself traces the historical background of indigenous crafts, modern attitudes and national identity in Australian craft, with texts by Marea Gazzard, Dr. H. C. Coombs, Mary White, Felicity Abraham, Ray Norman. Heavily illustrated in colour an b/w with the featured artists: Beryl Anderson, Douglas Annand, Vicky Barth, Frank Bauer, Robert Bell, Les Blakebrough, Janet Brown, Polly Blakney, Richard and Dilys Brecknock, Joan Campbell, Eric Car, Rinske Car, Margaret Dodd, Jutta Feddersen, Heather Dorrough, Susan Forsyth, Marea Gazzard, Elena Gee, Gary Greenwood, Joan Grounds, Ragnar Hansen, Mona Hessing, Harold Hughan, Jolanta Janavicius, Heather Joynes, Patricia Langford, Helge Larsen and Darani Lewers, Colin Levy, Ken Leveson, Janet Mansfield, Paula Martin, Ivan McMeekin, Pru Medlin, Hal Missingham, Mitinari, Milton Moon, Tim Moorhead, Joyce Noble, Ray Norman, Ewa Jarosynska Pachucka, Jan Strang Priest, Cedar Prest, Ron Rowe, Peter Rushforth, Tor Schwanck, Penny Smith, Pru Socha, Albert Steen, Hiroe Swen, Peter Travis, Kayes van Bodegraven, Wal van Heeckeren, Joy Warren, and many more.
Very good complete copy with some wear to the overhanging paper covers. Interior and inserts preserved.