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
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
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.
1970, German / French
Softcover, 118 pages, 21 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Zürcher Kunstgesellschaft Helmhaus Zürich / Zürich
$200.00 - In stock -
Rare, important exhibition catalogue designed by Walter Diethelm, published on the occasion of the exceptional exhibition Text Buchstabe Bild (Text, Letter, Image), held at the Zürcher Kunstgesellschaft Helmhaus Zürich, July 11—August 23, 1970. Preface by Felix Andreas Baumann. "The point is to present this literature, which is located between writing and images, text and graphics and around the tertium comparationis of typography, to an audience that is probably not too familiar with the techniques and variants of “concrete literature”—from the preface. An incredible and varied anthology of the experimental, poetic, graphic interplay of text and image, profusely illustrated in b/w, accompanied by texts in German and French by Stéphane Mallarmé, F.T. Marinetti, Tristan Tzara, Oyvind Fahlström, El Lissitzky, André Breton, Eugen Gomringer, Augusto de Campos, Decio Pignatari, Haroldo de Campos, Jan Hamilton Finlay, Pierre Garnier, Max Bense, Reinhard Döhl, Carlfriedrich Claus, Seiichi Niikuni, Henri Chopin, Franz Mon, Jiri Kolár, and Bob Cobbing.
Artists included: Stéphane Mallarmé, Arno Holz, Christian Morgenstern, F.T. Marinetti, Carlo Carrà, Lacerba, Ardengo Soffici, Hugo Ball, Georges Braque, Ernst Ludwig Kirchner, Amédée Ozenfant, Guillaume Apollinaire, Marcel Janco, Tristan Tzara, Raoul Hausmann, Fernand Léger, Richard Hülsenbeck, Vincente Huidobro, Francis Picabia, Jean Pougny, Kurt Schwitters, Paul Klee, Bruno Adler, Jean Epstein, Theo Van Doesburg, El Lissitzky, Jozef Peeters, Sonja Delaunay-Terk, Iliazd, Friedrich Kiesler, Man Ray, László Moholy-Nagy, Käthe Steinitz, Kurt Schwitters, Theo van Doesburg, Hans Arp, Friedrich Vordemberge-Gildewart, Henryk Berlewi, Farkas Molnár, Zenit, Hendrik Nicolaas Werkmann, Walter Gropius, John Heartfield, Marcel Duchamp, Le Corbusier, and Georges Hugnet.
Very Good ex-NGV library copy, well preserved with only light wear and "National Gallery of Victoria" light stamp to block edge and lower back-cover. No internal stamping/marking.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$350.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
1972, German / English / French
Vinyl ring-binder (screen printed w. design by E. Ruscha), 650 pages +, 32 x 27 cm
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$500.00 - Out of stock
Scarce copy of the only edition of the most elaborately designed, and lowest circulated Documenta catalogue, conceived by curator Harald Szeemann to accompany the fifth edition of Documenta, a quinquennial contemporary art exhibition held in Kassel, Germany.
Subtitled "100 Days of Inquiry into Reality -- Today's Imagery," curated by the team of Harald Szeemann, Jean-Christophe Ammann and Arnold Bode, Documenta 5 followed a lineage of comprehensive shows documenting conceptually and minimally charged artworks curated by Szeemann including Live in Your Head (Kunsthalle Bern, 1969), and Happenings and Fluxus (Kunstverein, Köln), 1970. The largest, most expensive and most diverse of any exhibition anywhere, Documenta 5 was criticized in 1972 as being “bizarre…vulgar…sadistic” by art critic and essayist Hilton Kramer and “monstrous… overtly deranged” by art historian and art critic Barbara Rose, yet it still resonates today as one of the most important exhibitions in history. Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials, architecture, science fiction, kitsch objects, film, advertising, children's art, etc. in addition to the more anticipated international survey of new painting and sculpture - Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society. This massive tome is housed in the iconic orange vinyl-covered, two-ring binder screen printed with the famous ant design by Edward Ruscha. The binder holds a tabbed index of illustrated artist's pages and associated texts and material, largely in German, but also many in English. All registers are present apart from the usual missing 19-25 which were not directly integrated into the catalogue and had to be ordered by the visitor separately to become their own contribution. This very complete copy also includes the additional 80 page, hole-punched Documenta 5 guide book, with floor plans, complete listing of exhibited artworks, list of exhibitions, bibliography, and many gallery, museum and other related advertisements. More than a catalogue, this publication is a piece of art history in itself.
Includes artists: Vito Acconci, Vincenzo Agnetti, Peter Alexander, John de Andrea, Giovanni Anselmo, Arbeitszeit, Archigram, Chuck Arnoldi, Art & Language, Richard Artschwager, Michael Ashkin, John Baldessari, Robert Barry, Georg Baselitz, Lothar Baumgarten, Robert Bechtle, Gottfried Bechtold, Bernd & Hilla Becher, Joseph Beuys, Karl Oskar Blase, Mel Bochner, Alighiero Boetti, Christian Boltanski, Claudio Bravo, George Brecht, K.P. Brehmer, Marcel Broodthaers, Stanley Brouwn, Günter Brus, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Pier Paolo Calzolari, Luciano Castelli, Christo and Jeanne-Claude, Chuck Close, Tony Conrad, Ron Cooper, Bill Copley, Joseph Cornell, Robert Cottingham, Paul Cotton, Hanne Darboven, Walter De Maria, David Deutsch, Jan Dibbets, Herbert Distel, Gino de Dominicis, Marcel Duchamp, John Dugger, Don Eddy, Franz Eggenschwiler, Ger van Elk, Richard Estes, Luciano Fabro, John C. Fernie, Robert Filliou, Jud Fine, Joel Fisher, Terry Fox, Howard Fried, Hamish Fulton, Franz Gertsch, Gilbert & George, Ralph Goings, Hubert Gojowczyk, Dan Graham, Walter Grasskamp, Nancy Graves, Hans Haacke, Duane Hanson, Guy Harloff, Michael Harvey, Haus-Rucker-Co, Auguste Herbin, Eva Hesse, Rebecca Horn, Jean Olivier Hucleux, Douglas Huebler, Jörg Immendorff, Will Insley, Rolf Iseli, Ken Jacobs, Neil Jenney, Alfred Jensen, Jasper Johns, Joan Jonas, Max G. Kaminski, Howard Kanovitz, Edward Kienholz, Imi Knoebel, Christof Kohlhofer, Jannis Kounellis, Tom Kovachevich, Piotr Kowalski, David Lamelas, Barry Le Va, Jean LeGac, Alfred Leslie, Sol LeWitt, Richard Long, Ingeborg Luscher, Inge Mahn, Robert Mangold, Brice Marden, Agnes Martin, Etienne Martin, Richard McLean, David Medalla, Fernando Melani, Jim Melchert, Mario Merz, Gustav Metzger, Bernd Minnich, Malcolm Morley, Ed Moses, Bruce Nauman, Hermann Nitsch, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Blinky Palermo, Panamarenko, Giulio Paolini, A.R. Penck, Giuseppe Penone, Vettor Pisani, Sigmar Polke, Stephen Posen, Markus Raetz, Arnulf Rainer, Gerhard Richter, Klaus Rinke, Dorothea Rockburne, Peter Roehr, Allen Ruppersberg, Edward Ruscha, Reiner Ruthenbeck, Ulrich Ruckriem, Robert Ryman, John Salt, Salvo, Lucas Samaras, Paul Sarkisian, Jean-Frederic Schnyder, Ben Schonzeit, Werner Schroeter, HA Schult, Rudolf Schwarzkogler, Fritz Schwegler, Richard Serra, Paul Sharits, Allan Shields, Katharina Sieverding, Robert Smithson, Michael Snow, Keith Sonnier, Klaus Staeck, Paul Staiger, Jorge Stever, Robert Strubin, Paul Thek, Wayne Thiebaud, Andre Thomkins, David Tremlett, Richard Tuttle, Ben Vautier, W + B Hein, Franz Erhard Walther, Robert Watts, William Wegman, Lawrence Weiner, John Wesley, H.C. Westermann, William Wiley, Rolf Winnewisser, Tom Wudl, Klaus Wyborny, La Monte Young, Peter Young, Gilberto Zorio.
Catalogue also includes Bob Projansky and Seth Siegelaub's "The Artist's Reserved Rights Transfer and Sale Agreement." This "Agreement form has been drafted by Bob Projansky, a New York lawyer, after my [Siegelaub] extensive discussions and correspondence with over 500 artists, dealers, lawyers, collectors, museum people, critics and other concerned people involved in the day-to-day workings of the international art world. The Agreement has been designed to remedy some generally acknowledged inequities in the art world, particularly artists' lack of control over the use of their work and participation in its economics after they no longer own it. The Agreement for has been written with special awareness of the current ordinary practices and economic realitites of the art world, particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned. It is expected to be the standard form for the transfer and sale of all contemporary art, and has been made as fair, simple and useful as possible. It can be used either as presented here or slightly altered to fit your specific situation. If the following information does not answer all your questions consult your attorney." -- from Agreement's cover. Copies of the contract are individually included in English, Germany, and French editions.
Very Good, complete (as issued) copy. Very minor wear.
2023, English / Dutch
Softcover, 512 pages, 21 × 29.7 cm
Published by
Nai010 Publishers / Rotterdam
$160.00 - In stock -
A comprehensive volume on the influential Dutch gallery that united American and European conceptualism For more than 33 years, the Amsterdam gallery Art & Project (1968-2001) played a pivotal role in the development of contemporary art within the Netherlands and beyond. Founders Adriaan van Ravesteijn (1938-2015) and Geert van Beijeren (1933-2005) presented a pioneering program of work by both national and international artists, including Marinus Boezem, Stanley Brouwn, Jan Dibbets, Charlotte Posenenske, Gilbert & George, Lawrence Weiner and Sol LeWitt, among many others. The cofounders published a total of 156 bulletins to draw attention to their exhibitions, and the bulletins quickly evolved into an experimental medium—from carriers of conceptual artists' ideas to conceptual artworks themselves.
Art & Project: A History examines the gallery's exhibitions, bulletins, social networks and international legacy. Replete with extensive research and previously unpublished visual material, this massive book provides an indispensable overview of the history of conceptual art in the Netherlands.
Text by Jip Hinten, Isabelle Bisseling, Ton Geerts, Regine Ehleither.
Already out-of-print at source.
1974, English
Softcover, 216 pages, 21 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$30.00 - In stock -
Environments and Happenings by painter and poet Adrian Henri, published by Thames & Hudson in 1974, forms one of the first mainstream book surveys to trace the phenomenon of environmental/performative/total living artworks that became prevalent in the 1960s/70s. This historical study is profusely illustrated in colour and b/w with many international works from Fluxus to Zero to Dolle Mina to Nouveau Réalisme to Provo to Gutai to The Situationists and much more. Includes the works of Joseph Beuys, Clarence Schmidt, Ray Johnson, Öyvind Fahlström, Paul Thek, Yves Klein, Allan Kaprow, Hans Haacke, Kurt Schwitters, Marcel Duchamp, Guerllia Art Action Group, Daniel Spoerri, Wolf Vostell, Gustav Metzger, Peter Kuttner, Jackson Pollock, Alison Knowles, Dick Higgins, Robert Morris, Situationist International, Ferdinand Kriwet, Klaus Rinke, Duane Hanson, A-Yo, Meret Oppenheim, Space Structure Workshop, Ferdinand Cheval, Dolle Mina (Mad Mina), Robert Smithson, Jeff Nuttall, Stefan Wewerka, Christo, Dennis Oppenheim, Vladimir Tatlin, Provo, Barry Flanagan, Andy Warhol, Meredith Monk, Atsuko Tanaka, Kazuo Shiraga, Ed Keinholz, Yayoi Kusama, Piero Gilardi, Niki de Saint-Phalle, Jean Tinguely, Claes Oldenburg, Les Levine, James Rosenquist, Red Grooms, Tom Wesselmann, George Segal, Eduardo Paolozzi, and many many more. Includes reproductions of performance scripts, partial chronology, etc.
Very Good copy, previous owner name to front endpaper.
1971, English
Softcover, 90 pages, 27 x 20 cm
1st Edition, Out of print title / used / very good
Published by
NGV (National Gallery of Victoria) / Victoria
$40.00 - Out of stock
Scarce and handsome catalogue published on the occasion of the exhibition Dürer and His Times, held at the National Gallery of Victoria, May 21 — July 11, 1971. Boldly illustrated throughout with works by Dürer and his contemporaries, including Martin Schongauer, Michael Wolgemut, Andrea Mantegna, Lucas Cranach the Elder. Texts by Sonia Dean, head of Prints and Drawings.
‘It can be said without exaggeration that the history of painting would remain unchanged had Dürer never touched a brush and a palette, but that the first five years of his independent work as an engraver and woodcut designer sufficed to revolutionise the graphic arts.’—Erwin Panofsky, 1943
Very Good copy with light tanning, ink mark to cover.
2013, English
Hardcover, 264 pages, 28 x 25 cm
1st Edition, Out of print title / used / fine
Published by
Hirmer / Münich
$55.00 - In stock -
The Staatliche Graphische Sammlung in Munich houses one of the finest and most famous collections of drawings and prints in Germany, with holdings of around 400,000 works ranging from the fifteenth century to modernity. Published to accompany an exhibition at the Morgan Library and Museum in New York, 100 Master Drawings from Munich comprises lush full-color illustrations of over one hundred of the museum’s works of art.
Demonstrating the impressive depth and breadth of works owned by the Staatliche Graphische Sammlung, the works in this volume range from rough preparatory sketches to meticulously executed studies and encompass a variety of media, including silverpoint, chalk, ink, and aquarelle. Among the many extraordinary pieces are Old Dutch and German prints, nineteenth-century German drawings, and works by Dürer and Rembrandt. But equally not to be missed are the many compelling works of contemporary graphic art for which the museum is best known.
Very Good—NF copy.
1983, English
Hardcover (w. dust jacket), 244 pages, 32 x 35.5 cm
1st Edition, Out of print title / used / very good
Published by
Hudson Hills Press / New York
$50.00 - In stock -
First hardcover 1983 edition of Masterpieces of Italian Drawing in the Robert Lehman Collection in The Metropolitan Museum of Art by George Szabo, long out-of-print.
"The Robert Lehman Collection, now a part of the Metropolitan Museum of Art, represents a unique chapter in the history of art collecting and connoisseurship. Its master drawings rank high among all the world's collections, especially — because of their sheer number, great variety, and extraordinary quality — the Italian drawings. Here are magnificent sheets by many of the greatest masters of the Italian Renaissance and beyond: Pollaiuolo, Bellini, Leonardo da Vinci, Perugino, Fra Bartolommeo, Signorelli, Bronzino, Tintoretto, Cambiaso, Veronese, Carracci, Canaletto, Guardi, Piranesi, the Tiepolos, and 38 more. Each of these masterpieces from Italy's incomparable flowering of draughtsmanship is reproduced in this splendid volume in a full-color plate of astonishing fidelity and delicacy, and each is accompanied by a biography of the artist and a full commentary (including provenance and bibliography). The author is Dr. George Szabo, Curator of the Lehman Collection since 1963. In addition to his fascinating texts on the individual drawings, his Introduction provides a short history of the collecting of Italian drawings in New York, a history of the Lehman family and Collection, and an extensive discussion of Italian paintings and decorative arts in the Collection, especially as they relate to the drawings. An additional 82 works of art appear within the Introduction in rich duotone; more than half of these are drawings, and the balance are paintings, majolica, illuminated manuscripts, bronzes, sculptures, furniture, and jewelry. A comprehensive bibliography completes Masterieces of Italian Drawing in the Robert Lehman Collection, The Metropolitan Museum of Art, which will be treasured by all lovers of drawings, of Italian art, and of fine book making."
Very Good copy in Good dust jacket. Tanning/discolouration to jacket edges/spine, small closed tears to top of spine. VG book with only light wear.
1991, English
Softcover, 156 pages, 25 x 21 cm
1st Edition, Out of print title / used / good
Published by
Whitney Museum of American Art / New York
$50.00 - Out of stock
Great catalogue published in 1991 on the occasion of the exhibition Mind over Matter: Concept and Object, at the Whitney Museum of American Art, October 3, 1990 - January 6, 1991. Curated by Richard Armstrong the exhibition showcased the work of Ashley Bickerton, Ronald Jones, Nayland Blake, Liz Larner, Tishan Hsu, and Annette Lemieux. These young artists use objects and materials to create idea-oriented painting and sculpture. Representatives of a third generation of conceptual artists, they have turned from the self-conscious absorption of formalist art, addressing instead social as well as aesthetic issues. This articulate generation, conversant with art historical precedents, explores larger fields of knowledge, in a conscious rejection of Modernism and post-Modernism.
Profusely illustrated in colour and b/w with extensive sections devoted to each artist, including interviews and statements, alongside curator's essay and a full list of exhibited works.
Good copy with some wear to cover and spine. Very Good throughout interior.
1982, German
Softcover, 128 pages, 29 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Maximilian Verlag / Munich
$50.00 - In stock -
Gorgeous German catalogue published for the first edition of Erste Konzentration, a series of three portfolios of 12 prints by 6 artists : Georg Baselitz, Antonius Höckelmann, Jörg Immendorff, Per Kirkeby, Markus Lüpertz, A.R. Penck, published in a limited edition of 50 copies, signed, numbered and dated. Includes wood, linocut, and lithograph prints. This beautifully printed catalogue reproduces 6 of the prints of each artist in colour and b/w on stiff art paper, accompanied by text by curator/author Alexander Dückers and biographies of each artist.
Very Good copy with only light edge wear to cover. From the collection of artist Bernhard Sachs (name to front endpaper).
1986, German
Softcover, 360 pages, 27.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Edition Cantz / Stuttgart
Württenbergischer Kunstverein / Stuttgart
$45.00 - In stock -
First 1986 edition of this huge survey of German artists, Künstler in Deutschland 1900-1945. Individualismus und Tradition, published by Edition Cantz and Württenbergischer Kunstverein. Profusely illustrated with the work of Max Ernst, Kurt Schwitters, László Moholy-Nagy, Walter Dexel, Oskar Schlemmer, Rudolf Belling, Wilhelm Lehmbruck, Ludwig Meidner, Otto Dix, George Grosz, Franz Radziwill, Christian Schad, Josef Scharl, Otto Pankok, Ernst Barlach, Käthe Kollwitz, Lovis Corinth, Max Beckmann, Paula Modersohn-Becker, Hans Hartung, Emil Nolde, Hans Uhlmann, Karl Schmidt-Rottluff, Fritz Winter, Ernst Ludwig Kirchner, Ernst Wilhelm Nay, Otto Mueller, Willi Baumeister, Oskar Kokoschka, Adolf Hölzel, August Macke, Franz Marc, Alexej Jawlensky, Wassily Kandinsky, Paul Klee. Texts in German by Tilman Osterwold, Jens Christian Jensen, Andreas Vowinckel, plus biographies and catalogue.
Good copy with wear to cover edges and spine.
1983, English
Softcover, 176 pages, 27.9 x 22 cm
1st Edition, Out of print title / used / good
Published by
Prestel / Munich
The Saint Louis Art Museum / Saint Louis
$40.00 - In stock -
1983 exhibition catalogue surveying the Neue Wilde neo-expressionism and the re-emergence of expressive painting in late 1970s and 1980s Germany, published in conjunction with show organized by Jack Cowart and held at The Saint Louis Art Museum, June—August, 1983. Profusely illustrated in colour and b/w throughout with the work of the artists included in the exhibition : George Baselitz, Jörg Immendorff, Anselm Kiefer, A.R. Penck, and Markus Lüpertz. Essays by Jack Cowart, Siegfried Gohr, and Donald B. Kuspit. Critical bibliography by Renate Winkler.
This copy stuffed with loose archival clippings on above artists from German magazine Stern, from around the same period (documenta 7, 1982).
Good copy but with spots of heavy wear to the cover and general wear.
1985, German
Softcover, 736 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / good
Published by
Nationalgalerie / Berlin
$40.00 - In stock -
Enormous 700+ page volume about "Art in the Federal Republic of Germany 1945—1985", published on the occasion of an exhibition at the Nationalgalerie, Berlin, September 27, 1985—January 21, 1986. Profusely illustrated in colour with many works by Vostell, Baselitz, Beuys, Polke, Richter, Palermo, Klapheck, Darboven, Schultze, Uecker, Horn, Lüpertz, Haacke, Ruthenbeck, Antes, the Bechers, Rinke, Gerz, Erhard Walther, Penck, Knowles, Higgins, June Paik, Maciunas, Christiansen, Filliou, Brecht, Kriwet, Roth, Ulrichs, and many more, accompanied by texts in German, bibliography and index.
Good copy, some rubbing to the cover boards, light wear, bumping with age/size.
2023, English
Softcover (w. dust jacket), 110 pages, 25 x 17 cm
Published by
ACCA / Melbourne
$25.00 - In stock -
Produced in association with the upcoming ACCA exhibition of the same name, this publication casts a lens upon feminist, queer, and non-binary subjectivities to consider the transgressive pleasures and liberations of horror, as makers, masters and consumers of the genre.
From the other side features curatorial texts by Elyse Goldfinch and Jessica Clark, alongside writings from Barbara Creed, author of The Monstrous Feminine; Canadian film writer Kier-La Janisse, author of the cult classic, House of Psychotic Women, 2012; Lisa Fuller, a Murri woman and author of the novel Ghost Bird, 2021; and a horror-themed screenplay by UK-based author and filmmaker Alison Peirse, editor of the Women Make Horror anthology, 2021.
Artists featured in the exhibition and book include Clare Milledge, Cybele Cox, Heather B Swann, Jemima Lucas, Julia Robinson, Karla Dickens, Kellie Wells, Lonnie Hutchinson, Louise Bourgeois, Maria Kozic, Marianna Simnett, Mia Boe, Minyoung Kim, Naomi Blacklock, Naomi Kantjuriny, SJ Norman, Suzan Pitt, Tracey Moffatt and Zamara Zamara.
The exhibition crosses the artificial parameters of horror in the everyday, as something that exists as part of society but also from outside of it. Culminating in a potent synthesis of dread, camp, humour and catharsis, From the other side challenges the traditional narratives and assumed boundaries of the body, gender, the self and the ‘other’.
2016, English
Hardcover, 336 pages, 27 x 23 cm
1st Edition, Out of print title / used / very good
Published by
The Metropolitan Museum of Art / New York
$340.00 - In stock -
This groundbreaking, award-winning book, long out-of-print, presents a multidisciplinary analysis that illuminates the making, meaning, and reception of the unfinished in art, from the Renaissance to the present day.
Published on the occasion of the exhibition, Unfinished: Thoughts Left Visible, at The Met, New York, March18—September 4, 2016. Edited by Kelly Baum, Andrea Bayer, and Sheena Wagstaff with further essays by Carmen C. Bambach, Thomas Beard, David Bomford, David Blayney Brown, Nicholas Cullinan, Michael Gallagher, Asher Ethan Miller, Nadine M. Orenstein, Diana Widmaier Picasso, Susan Stewart, and Nico Van Hout.
This exhibition addresses a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this scholarly and innovative exhibition examines the term "unfinished" in its broadest possible sense, including works left incomplete by their makers, which often give insight into the process of their creation, but also those that partake of a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cezanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory which can be traced back to the first century has had on modern and contemporary art. The book explores the degrees to which instances of incompleteness were accidental or intentional, experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.
Very Good copy, only light wear/marks to boards.
1997, English / Japanese
Hardcover, 100 pages, 21.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Rockin' On / Tokyo
Hysteric Glamour / Tokyo
$300.00 - Out of stock
First, only edition of Hélène, the hardcover photobook/catalogue published on the occasion of an exhibition curated by Purple magazine co-founder Elein Fleiss at Tokyo gallery THE Deep in 1997. Named after actress and nineties icon Hélène Fillières, this book is the most perfect published time-capsule of what was 90s anti-fashion Paris, and probably the most brilliant fashion photobook of the decade. Published in Japan by Hysteric Glamour and Rockin' On, Hélène is cover-to-cover full-bleed gloss pages of photography by Mark Borthwick, Anette Aurell, Camille Vivier, Christophe Brunnquell, Laetitia Benat, Ronald Stoops, and Anders Edstrom, among others. Only available in Japan when published, and now very rare and sought after. This copy complete with bound-in Hysteric Glamour sticker!
Though she began her career as a curator of art exhibitions, Elein Fleiss founded the seminal Purple Magazine with Olivier Zahm at the age of 24. Purple and Fleiss' other editing/curatorial activities were the primary vehicles for the aesthetics of what became referred to as 1990's anti-fashion. Purple – in its various incantations, Purple Prose, Purple Fashion, Purple Sexe, Purple Journal, etc. – has gone down in publishing history and changed the relationship between art, literature, architecture and fashion, resisting the obvious and the commercial.
Very Good copy with some shelf-scratches to bottom edge, general light wear, light foxing to endpapers.
1989, German
Softcover, fold-out brochure, 58.5 x 19.5 cm
1st Edition, Out of print title / used / good
Published by
Nordico Stadtmuseum / Linz
$8.00 - In stock -
Fold-out catalogue published to accompany the 1989 exhibition, Computer Art from Yugoslavia, Poland and Hungary, held at the Nordico Stadtmuseum, Linz, Austria. Text by Predrag Šidjanin, with illustrations (in colour and b/w) and biographies of featured artists János Vetö, Tamás Waliczky, Jozef Rácz, László Neumann, Franz Curk, Vojko Pogačar, Predrag Šidjanin, Svetislav Nikoličić...
Average—Good copy with storage wear.
1977, English
Softcover (staple-bound), 12 pages, 19 x 22 cm
1st Edition, Out of print title / used / very good
Published by
George Paton Gallery / Parkville
$35.00 - Out of stock
Catalogue published in 1977 on the occasion of the exhibition Videotapes by Women from the Los Angeles Women's Video Centre, October 26—November 3, George Paton Gallery, University of Melbourne, Parkville. Texts on each video work, screening program, with introduction by Kiffy Rubbo and Meredith Rogers, essay by Candace Compton. Works by Martha Roler, Candace Compton, Nancy Angelo, Anne Prutzman, Eileen Griffin, Jennifer Kotter, Holly O'Konski, Suzanne Lacy, Barbara Smith, Leslie Carslon, Claudia Queen, Adele Shaules, Linda Henry, Ilene Segalove Linda Montana, Nancy Heath Angelo, Marge Dean, Sandra Tabori, Susan Roberta Mogul, Sheila Ruth, Jan Zimmerman.
Los Angeles Women's Video Center founded in 1976 by Nancy Angelo, Candace Compton, and Annette Hunt in 1976 and joined by Jerri Allyn in 1977, was committed making video production accessible to women artists. Through its productions about socially concerned video art, documentation of WB programs, the LAWVC was active in informing the public about women's issues and concerns.
Very Good copy, light pinching to spine.
1971, Dutch / English
Softcover (2 volumes), 232 pages + 96 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Sonsbeek / Arnhem
$180.00 - In stock -
Scarce Sonsbeek '71 complete 2 volume catalogue set, published in conjunction with exhibition held at Sonsbeek Park, Arnhem, June 19 - August 15, 1971. Sonsbeek Park had been the site of international sculpture exhibitions periodically from 1949. The concept of sonsbeek '71, which was described in the catalogue as an adventure and a dynamic manifestation, was both revolutionary and controversial. It made a radical departure from the usual format by expanding the conceptual and physical territory "beyond the boundaries" and commissioning site-specific works that appeared throughout all of Holland. Along with sculpture, installation, environmental works, and performances, the exhibition aimed to make visitors aware of the influence of (new) communication technologies, such as the telephone and the telex machine, on the perception of space, distance and time. An on-site film and audio studio produced new video works and an offset printing press where artists' plans could be printed was installed, with new artists' publications being sponsored by the exhibition (such as Ruscha's Dutch Details; the artist's book statement reproduced herein). This catalogue itself becomes a vital element of the conceptual activity, reproducing documentation of the works, statements, drawings, instructions, and many artist page-works created specifically for the publications. Edited by Geert van Beijeren and Coosje Kapteyn, with texts (in English and Dutch) by art historian Willem A. L. Beeren and others.
Participating artists include Vito Acconci, Bas Jan Ader, Carl Andre, Ben d`Armagnac, Richard Artschwager, Bruce Baillie, Douwe Jan Bakker, Joseph Beuys, Ronald Bladen, Boezem, Stanley Brouwn, Daniel Buren, Javacheff Christo, Tony Conrad, Hanne Darboven, Walter de Maria, Ad Dekkers, Jan Dibbets, Ger van Elk, Pieter Engels, Groep Enschede, E. R. G., Hans Eykelboom, Barry Flanagan, Hollis Frampton, Ernie Gehr, Dan Graham, Robert Grosvenor, Michael Heizer, Douglas Huebler, Ken Jacobs, joepat, Donald Judd, On Kawara, W. Knoebel, Hans Koetsier, Axel van der Kraan, Peter Kubelka, George Landlow, Standish Dyer Lawder, Sol LeWitt, Richard Long, Moving Mass, Yutaka Matsuzawa, Mario Merz, Moore, Robert Morris, Bruce Nauman, Robert Nelson, Groep Noord-Brabant, Claes Oldenburg, Dennis Oppenheim, Nam June Paik, Panamarenko, Egbert Philips, Emilio Prini, Klaus Rinke, Peter Roehr, Ulrich Rückriem, Edward Ruscha, Fred Sandback, Jean-Michel Sanejouand, Wim T. Schippers, Richard Serra, Paul Sharits, Eric Siegel, Tony Smith, Robert Smithson, Kenneth Snelson, Michael Snow, Ellen Edinoff, Koert Stuyf, Shinkichi Tajiri, Sajiki and Yokoyama Tenjo, Carel Visser, Andre Volten, Hans de Vries, Lex Wechgelaar, Lawrence Weiner, Joyce Wieland.
Very Good copies each, with light wear/tanning/creasing, otherwise tight and well preserved.
1975, English
Softcover (glassine covers, staple-bound), 30 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Arts Council of Great Britain / London
$55.00 - In stock -
Scarce copy of Order and Experience — a guide to the exhibition of American minimalist prints, published by Arts Council of Great Britain in 1975 in the occasion of a group exhibition featuring the works of Agnes Martin, Sol LeWitt, Robert Ryman, Robert Mangold, Brice Marden, Edda Renouf, Dorothea Rockburne. Authored by Norbert Lynton (1927—2007), professor of the History of Art at the University of Sussex, this handsomely designed oblong catalogue, with printed glassine covers, is illustrated by works by the featured artists, Lynton provides two introductions, a discourse upon "Minimalism" in print-making.
Very Good copy.
1976, English
Softcover (staple-bound), 48 pages, 15 x 10.5 cm
1st Edition, Out of print title / used / very good
Published by
Fruit Market Gallery / Edinburgh
Scottish Arts Council / Edinburgh
$55.00 - Out of stock
Lovely, rare catalogue published on the occasion of Inscape, a survey of Scottish landscape art at the Fruit Market Gallery, Edinburgh curated by critic Paul Overy in 1976. Illustrated throughout with examples of works by the featured artists — Ian Hamilton Finlay, Eileen Lawrence, Will Maclean, Glen Onwin, Fred Stiven and Ainslie Yule, accompanied by texts and biographies. Errata slip pasted to front end paper.
Very Good copy.
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.
1971, English / Italian / French
Softcover, 150 pages, 24.5 x 24.5 cm
1st Edition, Out of print title / used / good
Published by
Cento Di / Florence
$190.00 - Out of stock
Rare exhibition catalogue published on the occasion of the 7th Paris Biennale held at the Parc Floral de Paris, Bois de Vincennes, Paris, France, September 24 — November 1, 1971, curated by Achille Bonito Oliva. An important volume representing the Italian avant-garde of the various sectors of art (including music and architecture) in this critical period in history, including the work of Alighiero Boetti, Pierpaolo Calzolari, Gino De Dominicis, Luciano Fabro, Mimmo Germanà, Giuseppe Penone, Emilio Prini, Gilberto Zorio, Jannis Kounellis, Giulio Paolini, Giorgio Pressburger, Achille Bonito Oliva, Mario Franco, Umberto Silva, Paolo Mussat Sartor, Frederic Rzewski, Marcello Panni, Archizoom, Superstudio, and Ufo. Illustrated throughout with many examples by each artist, alongside artists' biographies, exhibition histories, and bibliographies, and essay by Achille Bonito Oliva. Text in English, Italian, and French.
Achille Bonito Oliva (born 1939) is an Italian art critic and historian of contemporary art. Since 1968 he has taught history of contemporary art at La Sapienza, the university of Rome. He has written extensively on contemporary art and contemporary artists; he originated the term Transavanguardia to describe the new direction taken in the late 1970s by artists such as Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria, and Mimmo Paladino. He has organised or curated numerous contemporary art events and exhibitions; in 1993 he was artistic director of the Biennale di Venezia.
Good copy w. light wear/tanning/spotting.
1989, English
3 Vols. softcovers, 500 + 560 + 584 pages, 23.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$190.00 - Out of stock
Complete set (3 volumes) of ZONE : Fragments for a History of the Human Body, published in 1989 by Zone Books, and all long out-of-print. The forty-eight essays and photographic dossiers in these three volumes examine the history of the human body as a field where life and thought intersect. They show how different cultures at different times have entwined physical capacities and mental mechanisms in order to construct a body adapted to moral ideas or social circumstances — the body of a charismatic citizen or a visionary monk, a mirror image of the world or a reflection of the spirit.
Each volume emphasizes a particular perspective. Part 1 explores the human body’s relationship to the divine, to the bestial, and to the machines that imitate or simulate it. Part 2 covers the junctures between the body’s “outside” and “inside” by studying the manifestations — or production — of the soul and the expression of the emotions and, on another level, by examining the speculations inspired by cenesthesia, pain, and death. Part 3 brings into play the classical opposition between organ and function by showing how organs or bodily substances can be used to justify or challenge the way human societies function and, conversely, how political and social functions tend to make the bodies of the persons filling them the organs of a larger body — the social body or the universe as a whole.
Among the contributors to Fragments for a History of the Human Body are Mark Elvin, Catherine Gallagher, Françoise Héritier-Augé, Julia Kristeva, William R. LaFleur, Thomas W. Laqueur, Jacques Le Goff, Nicole Loraux, Mario Perniola, Hillel Schwartz, Jean Starobinski, Jean-Pierre Vernant, and Caroline Walker Bynum.
“ZONE is unequivocally the most innovative, informative, and intellectually stimulating journal I have ever encountered…It belongs in all but the smallest personal, public, and academic collections.” —Library Journal
Very Good copies all, only light wear, light page tanning. All first editions, second printings.