World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2023, English
Hardcover (w. dust jacket), 224 pages, 29 x 29 cm
Published by
George Schwarz and Charis / East Sydney
$190.00 - In stock -
Powerful Paradise the Art of George Schwarz and Charis is an artists book, a collaboration between George Schwarz, his partner Charis, Linda Dement and Craig Judd. It is an introduction to a wonderful life and to beautiful, complex and intriguing art. Ernest Georg Schwarz and Charis Elizabeth McKittrick enjoy a unique partnership beginning 1964. The word collaborators in this case is an inadequate descriptor. In their presence one is witness to but a force of nature, a swirling vortex of creative mutuality. Simultaneously lovers, artists, apiarists, activists, authors, film and wine makers, 'Powerful Paradise' is a celebration and a legacy.
This extremely limited hardcover edition is the first survey of the couple's life in art, the last survivors of bohemian Kings Cross. Creators of the first Australian hardcore sex films to be passed by the censors (and also refused classification), George and Charis were ahead of the curve in every aspect of their practice. This volume features the only writing covering their film output, extensive photographic work and global travels. Simultaneously erotic, taboo, progressive, liberated; lives dedicated to their work and one another and perhaps too provocative/evocative for the Australian art establishment.
1985, Japanese
Softcover, 260 pages, 19 x 13 cm
Published by
Data House / Tokyo
$200.00 - In stock -
Possibly the most fun you can cram into 260-odd pages! A now very collectible volume edited by none other than Japanese master of erotic superrealism, Hajime Sorayama, Pink Department Store is a wild book digest of visual sex — straight out of 1985! A compendium of remarkable erotic imagery packed into this one-stop look-book of kink compiled by Sorayama, all reproduced in full-colour on beautiful warm raw paper stock, designed by Hisao Iguchi. From the Tokyo sex clubs, phone-booths and toilet stalls, Shibari photography to pink film posters, x-rated manga to wildlife fornication, leather daddys to dominatrixes, Pink Department Store is a safari through graphic perversion and joyous visual innuendo. Alongside archival material and international works the book generously features an abundance of works by over 100 contemporary Japanese illustrators and photographers, including Aimei Ozaki, Harumi Yamaguchi, Takashi Nemoto, Yosuke Onishi, Suehiro Maruo, Hajime Sorayama, Mizumaru Anzai, Yokoyama Akira, Keiichi Ota, Akira Ishigaki, Kaoru Ueda, Teruhiko Yumura, Yoshiharu Ebisu, Arata Taga, to name but a few. There is also a directory list to contact them all!
Very Good—NF copy in VG original dust jacket and rarely preserved publisher's obi-strip.
1977, German
Softcover, 128 pages, 33 x 24 cm
Out of print title / used / good
Published by
Belser Verlag / Stuttgart
$68.00 - Out of stock
Softcover edition of this wonderful over-sized publication on the unique collaboration between German artist Paul Wunderlich and photographer Karin Székessy, one of Germany's most important female photographers, who were married to each other. Published in Switzerland in 1977, this volumes collects an abundance of these iconic 'transpositions,' evocative, experimental nude photographs by Szekessy juxtaposed with Wunderlich's versions, or replies, in the form of paintings and prints. Profusely illustrated throughout in colour and b/w, the result is a fascinating dialogue of unconventional nude form. German literary critic Fritz J. Raddatz's illustrated introduction gives contextual and art historical references and background, accompanied by a full listing of works and exhibition history.
Good—VG copy with only light cover/edge wear.
1988, English / Japanese
Softcover, oversized, loose-leaf pages, 42 x 29.7 cm
1st Edition, Out of print title / used / very good
Published by
Comme des Garçons / Tokyo
$440.00 - Out of stock
First 1988 edition, first printing of the inaugural issue of the cult, privately distributed Comme des Garçons publication. The incredible first issue of Comme des Garçons' 'Six' magazine (1988) features the work of Hungarian photographer André Kertész, Comme des Garçons by photographer Peter Lindbergh, photography by Sachiko Kuru, features on artist Jean Cocteau, architect Eileen Gray, artist Michel Sauer, and an interview with fashion designer Yohji Yamamoto, plus additional photography by Timothy Greenfield-Sanders, Arthur Elgort, Tony Mendoza, Sachiko Kuru, Shinji Mori, Serge Lido and Gisele Freund. Beautiful first-edition printing of this over-sized magazine vision of Rei Kawakubo, including die-cut features throughout and de-bossed cover title.
Between 1988 and 1991, Comme des Garçons explored the theme of the sixth sense via eight special biannual oversized, unstapled magazines titled 'Six'. These magazines were launched to coincide with Comme des Garçons fashion collections and were privately printed and distributed by Comme. The magazine visually represented the brand in a way that no other fashion company had before. Rei Kawakubo invited Tsuguya Inoue to art direct and Atsuko Kozasu to edit the issues, whilst contributions came from a diverse array of leading designers and artists. Issues of Comme des Garçons 'Six' have become very sought after collectors items.
Very Good / Near Fine copy.
1975, English
Softcover, 160 pages, 28 x 21.5 cm
Out of print title / used / very good
Published by
YWCA Australia / Melbourne
$290.00 - Out of stock
Very scarce first and only edition of one of the great Australian photo-books of the 1970s. Woman 1975 was published as "a permanent record of the exhibition of photographs entitled Woman, which was the contribution made towards International Women's year, 1975, by the Young Women's Christian Association of Australia." A gorgeous and moving overview of womanhood in Australia in the 1970s through the images of countless Australian photographers of the period, including Carol Jerrems, Rennie Ellis, John Williams, Fiona Hall, Melanie Le Guay, Ingeborg Tyssen, Jacqueline Mitelman, Les Gray, Grace Lock, Reg Morrison, Phillip Quirk, Peter Tyndall, Howard Birnstihl, Juergen Hasenkopf, Richard Crawley and many more.
Very Good copy.
1978, Japanese
Softcover, 204 pages, 21 x 29.6 cm
1st Edition, Out of print title / used / very good
Published by
Hanashi-no-Tokushu / Tokyo
$650.00 - In stock -
Exceptionally rare (signed!) 1978 first edition photobook by Michiko Matsumoto, one of post war Japan's leading photographers. As a young female photographer growing up in a period of turmoil, Matsumoto conveys the wonders of women to the viewer from the perspective of a woman. Women Come Alive is her rarest and greatest example of this. This wonderful book collects "seven years with women...", Matsumoto's front-line photographic records of the women's liberation movement in Japan in the 1970s and her "Sisters Across Borders" (New York, Paris, Los Angeles, London...), as well as portraits of female artists, activists and friends Yoko Ono, Maki Asakawa, Eiko Ishioka, Michiko Gorman, Mamako Yoneyama, Teruko Yoshitake, Tokiko Kato, Harumi Yamaguchi, Chinatsu Nakayama and others. A true time-capsule, this book visits the workshops, bookshops, marches, women's centres, lesbian bars, exhibitions, editorial offices, dances and studios of a pivotal time of great change. An incredible book of feminist protest and celebration. Virtually an impossible book to find, even without a signature from the artist! Highly recommended!!
Very Good copy in very good dust jacket. Signed in black ink and dated 1978.6.7 on title page.
2014, Japanese
Softcover (in card slipcase w. obi), 260 pages, 25.4 x 18.2 cm
Signed.,
1st Edition, Out of print title / used / fine
Published by
Town to House / Japan
$280.00 - In stock -
Signed first edition of "Shinjuku 1968" by acclaimed Japanese photographer and representative of the Provoke movement, Hitomi Watanabe, published in 2014 and now out of print.
"The core of the collection is formed by photographs from the year 1969, the year in which the Shinjuku West Exit square became a passage and a meeting penned by the media as “Folk Guerilla” was obliterated by the riot police, a greater part of the collected photos were taken in 1968. At that time, the first place editors would take me to was a bar called Unicon, near Shinjuku Gyoen. After that, we would go barhopping to places like DUG (which is still going strong even today),Trevi, DIG, Mokuba, Pit In, Bizarre, places where modern jazz was playing. The time of the Red Tents of Juro Kara near Hanazono shrine, of the avant-garde films of ATG, the performance art happenings on the streets, before they became pedestrian zones… It was a time when hippies stoned off their mind would cross your path, and “underground” was the word you’d hear in the streets of Shinjuku. When it was not Shibuya or Shimokitazawa, not Kichijoji but Shinjuku where culture was taking place. Days like these continued, until one night, a huge riot took place in the Shinjuku area. The 10.21 International Anti-War Day. While being jostled with the crowd, the once abstract Vietnam War and its consequences became a tangible reality which I experienced with my own body.
In the Shinjuku of 1968, you can see an entire era reflected." — Excerpt from the afterword
"These may be photographs of the past, but they show the present." — Nobuyoshi Araki
Shinjuku 1968 consists entirely of Watanabe's photographs of the Tokyo neighbourhood Shinjuku at the end of the 1960s, which can be said to be the beginning of her photographic career. It was here that she first encountered the Japanese counter culture and became involved in the student movement and anti-war protests. Her candid photographs of the everyday lives of the protesters, the state violence, and the aftermath of rioting from her insider’s vantage on this tumultuous moment afforded her work an undeniable, enduring power. Here, in "Shinjuku 1968", Watanabe presents her documents of the protests and rallies beside her images of the underground scene, the theatre, clubs, the Shinjuku streets, shopfronts, and the everyday folk that inhabited the neighbourhood at that time, with some of the images republished for the first time since her iconic "Shinjuku Contemporary 1968" and "Kaihoku '68 / Liberated Area '68" photo books of the 1960s.
Very Good copy, almost As New, with original slipcase and publisher's obi-strip (featuring Nobuyoshi Araki testimonial). Signed and dated by Hitomi Watanabe in 2015 to the colophon page in black pen.
1977, Japanese
Softcover (staple-bound), 28 pages, 36.5 x 26 cm
1st Edition, Out of print title / used / very good
Published by
Nisshindo Optical Shop / Nagoya
$140.00 - In stock -
Extremely rare calendar issue from acclaimed Japanese photographer and representative of the Provoke movement, Hitomi Watanabe. Issued privately by a small eyeglasses shop in Nagoya, Nisshindo Optical Shop, this 1977 "LOOK" Calendar presents the rarely seen personal 1970s work of Watanabe. Watanabe began her career photographing in the Tokyo neighbourhood of Shinjuku, home to Japan’s 1960s counter culture. She came to prominence during the Zenkyoto student movement in the late 1960s, occupied the University of Tokyo campus in 1968-69 and participated in the 10.21 International Anti-War Day protests and 1970 Anpo protests against the renewal of the Japan-US Mutual Security Treaty. Her candid photographs of the everyday lives of the protesters, the state violence, and the aftermath of rioting from her insider’s vantage on this tumultuous moment afforded her work an undeniable, enduring power. Her famed "Kaihoku '68 / Liberated Area '68" a testament to this. When the Japan-US Mutual security treaty was renewed in 1970, Watanabe, heartbroken that they had not been able to prevent it, began her long travels through Asia, particularly India and Nepal, from which these beautiful, atmospheric colour photographs are taken. Reproduced in large format across the 12 months of 1977.
Very Good copy with some light wear and light cover tanning. Has been previously hung.
1971, Japanese
Hardcover (w. slip-case) 192 pages, 24 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Shinsensha / Tokyo
$450.00 - In stock -
Gorgeous first (boxed) hardcover edition of Tadao Mitome's "protest-book masterpiece" published in 1971, documenting the Sanrizuka resistance to the building of Tokyo's Narita Airport. Photographs follow the thousands of protestors into battle against riot police and record their construction of fortresses and underground tunnels.
“A superb document about the medieval fighting that took place over a period of some five years around Narita airport. Fuelled by the spirit of protest in the late 60s this constituted the first of many often violent anti-airport protests in the region.”
“Sanrizuka documents the intense civil unrest between residents of Sanrizuka, an agricultural area located on the east side of Narita airport, and government authorities, in the run up to the construction and later expansion of the airport. Under a 1966 plan, the airport would have been completed in 1971, but due to the ongoing resettlement disputes, not all of the land for the airport was available by then. Finally, in 1971, the Japanese government began forcibly expropriating land. 291 protesters were arrested and more than 1,000 police, villagers and student militants were injured in a series of riots.“
Editing and art direction by the legendary activist designer Kiyoshi Awazu (1929–2009) with stunning deep gravure printing. Included in “The Japanese Photobook, 1912–1990” by Kaneko Ryuichi and Manfred Heiting and "The Photobook: A History, Volume III" by Martin Parr and Gerry Badger, p. 57.
Very Good copy with some age/wear/light scratching to box.
2023, English
Softcover, 224 pages, 28 x 21 cm
Published by
Void / Reykjavík—Athens
$90.00 - In stock -
The Amazon Rainforest—often referred to as 'Lungs of our Planet'—has long been idealised as a dense, green expanse and a pristine sanctuary inhabited by isolated tribes. Terra Vermelha, the culmination of 10-years’ work by photographer Tommaso Protti, presents a raw and unfiltered, alternative portrait of the region. Depicting fields ablaze, the dark river as a conduit for cocaine trafficking and urban areas plagued by violence—the images in the book depict a dystopia, dispelling such romanticised notions.
“As I sat in my hotel room in Marabá, a city in the Amazon state of Parà, Jornal Nacional – Brazil’s flagship news program – transmitted images of the country’s newly elected president, Jair Bolsonaro: “The indigenous in their reservations are like animals in a zoo,” he said. It was November 2018. […] It seemed like a threat, an omen of bad times ahead. I felt that the slow-motion social and environmental breakdown I had seen in the previous years in the Amazon was about to get worse.”
“Deforestation, unregulated development, pollution. All of these scenarios are driven by the same forces; poverty, weak institutions, corruption and savage self-interest. More than in other places, in the Amazon region it becomes clear that land is worth more than human life. And on the path towards the destruction of the planet, the first and closest step for mankind is still its own annihilation… The violence consuming the Brazilian Amazon affects us all and sometimes we are even the unknowing perpetrators of it.”
Tommaso Protti (Italy, 1986) lives and works in São Paulo, Brazil. Tommaso Protti has documented the intersecting social and environmental crises plaguing the Amazonian states of Brazil, where the photographer has been based for almost a decade. He started his career as a photographer in 2011 after graduating in Political Science and International Relations. Since then, he has devoted himself on creating his own long-term projects focusing on themes such as crime, the environment, and rural conflict. His work has been featured in global publications and exhibited worldwide.
“This is the Brazilian Amazon today, where indigenous communities are fighting for survival in the face of rampant deforestation. What follows is a dense, disorientating and elliptical reportage that riddles through a conflict-stricken hinterland, unravelling – in the dead of night – stories about savage land-grabs, forest fires and brutal gang murders. […] Needless to say, few publishers could have taken us into the Amazon’s heart of chaos as nightmarishly as Void have.”—Alessandro Merola, 1000 Words
1978, German
Softcover (w. dust jacket), 220 pages, 20 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Schirmer & Mosel / Munich
Ludwig Museum / Cologne
Schirmer Mosel
$90.00 - In stock -
First 1978 edition of this gorgeous German book dedicated entirely to the magnificent photographic work of Wols. Lavishly illustrated throughout in b/w with a comprehensive collection of over 100 pages of his accomplished photography of still life object assemblages, portraits, the streets of Paris, interiors, and more, including an additional 120 pages of heavily illustrated in-depth biographical text on the artist, featuring many of his paintings, drawings, photographs and private photo-documents.
Wols was the pseudonym of Alfred Otto Wolfgang Schulze (27 May 1913, Berlin – 1 September 1951, Paris), a German painter, photographer, engraver, and graphic designer. Though broadly unrecognized in his lifetime, Wols was close to Surrealism, and is considered a pioneer of Lyrical Abstraction, one of the most influential artists of the Tachisme movement, and of Informal art in Europe. He moved to France when he fled the Hitlerian regime, with a recommendation from the artist-teacher Moholy-Nagy. Illegal immigrant, he was considered as a deserter and a stateless person, arrested many times by the French police. In 1936, Wols received, with Léger and Rivière's help, a limited resident permit, working as a photographer — his unusual fashion and interiors photographs were sold as postcards and printed in many international fashion magazines. Immediately after the beginning of the Second World War, Wols was enprisoned with many Germans in different French internment camps, where Wols realized many surrealist drawings and watercolours that he is now well-known for. He spent most of the war trying to emigrate to the United States, an unsuccessful and costly enterprise that may have driven him to alcoholism. After the hype from the war had died down, he had his first exhibition of watercolors in December 1945 at the Galerie René Drouin, Paris, where despite the lack of commercial success he made an impression. His paintings represented a rejection of figuration and abstraction, and a projection into a metaphysical plane. In the years following the war, Schulze concentrated on painting and etching. His health declined severely towards the end of the 1940s; in 1951 he died of food poisoning at the Hotel Montalembert in Paris, after releasing himself from hospital against medical advice. After his death his works were shown at the Kassel documenta (1955), documenta II (1959) and documenta III (1964).
Very Good with some cover wear/rubbing.
2023, English
Softcover, 128 pages, 12.5 x 19.5 cm
Published by
Is-Land / Aubervilliers
$35.00 - In stock -
For thirty years, Heinz Peter Knes has developed a large body of work, focusing on photographic-documentary practice that seeks to engage image with society. Reflecting on the multiple “correspondences”, influences and interactions at the heart of his artistic work, we travel with him through the five chapters of this book, crossing paths with Josef Winkler, Hervé Guibert, Pasolini, Moyra Davey, Julie Ault, Jean-Luc Moulène, Danh Vo, Artaud and many others. Creating a new language, a sort of echo, as sensitive experience, which in a way dematerialize our perceptions, but enable “to gather” them.
2023, Czech / English / German
Softcover, 256 pages, 24 x 33 cm
Published by
Edizioni Periferia / Lucerne
$175.00 - In stock -
Despite his art education, Czech painter and photographer Miroslav Tichý (1926–2011) was considered an outsider due to his unconventional approach to photography that revealed a voyeuristic fascination for the female body. His analogue photography shows traces and errors he deliberately sought out by building his own cameras and telephoto lenses. In the 1970s and ’80s, Tichý regularly took pictures of his television screen. Because he lived close to the Austrian border, he was able to circumvent the censorship of Eastern Bloc media and watch the more permissive films and late night shows from the West. Many of his seemingly surreptitious screenshots appear in this book.
2011, English / French
Hardcover (w. dust jacket), 248 pages, 24 x 30 cm
Published by
Kant / Prague
$160.00 - In stock -
Like the Prague exhibition that provided the opportunity to publish it, this stunning, over-sized hardcover book is the 'explosive' result of the meeting between two personalities with a heretical reputation: the great photographer Miroslav Tichý and the former situationist Gianfranco Sanguinetti. Both are better known internationally than they are in the Czech Republic. Their paths were destined to cross - simply for the originality and radical nature of their approach to life. Tichý's work inspired Sanguinetti to make critical and riveting insights into the art of our age. While his comments may fuel polemical debate, they cannot leave the reader indifferent. The photographs by Tichý that are being presented for the first time in this book and at the City Gallery Prague represent a strict selection that prioritises the eloquence of symbols that pervade Tichý's work and which are, according to Sanguinetti, the key to his art.
Lavishly illustrated in colour throughout with all texts in English and French.
Miroslav Tichy (1926-2011)
After studying at the Academy of Arts in Prague (1945-48), Miroslav Tichy withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late 1950s he quit painting and became a distinctive Diogenes-like figure. From the end of the 1960s he began to take photographs mainly of local women, in part with cameras he made by hand. He later mounted them on hand-made frames, added finishing touches with pencil, and thus moved them from photography in the direction of drawing. The result are works of strikingly unusual formal qualities, which disregard the rules of conventional photography. They constitute a large oeuvre of poetic, dreamlike views of feminine beauty in a small town under the Czechoslovak Communist regime.
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.
2016, English
Hardcover, 232 pages, 23.1 x 17.5 cm
Published by
Walther König / Köln
Moderna Museet / Malmö
$75.00 - In stock -
On Being an Angel takes its title from a caption the artist inscribed on two of her photographs—self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman’s work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work—in black and white and in color—exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman’s influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman’s work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman’s oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist’s father, George Woodman.
Francesca Woodman (1958–81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York to attempt to build a career in photography. Woodman’s working career was intense but brief, cut short by her death in 1981.
2020, English
Hardcover, 368 pages, 17.8 x 24.8 cm
Published by
Siglio Press / Los Angeles
$82.00 - In stock -
In July 1971, Bernadette Mayer embarked on an experiment: For one month she exposed a roll of 35mm film and kept a daily journal. The result was a conceptual work that investigates the nature of memory, its surfaces, textures and material. Memory is both monumental in scope (over 1100 photographs, two hundred pages of text and six hours of audio recording) and a groundbreaking work by a poet who is widely regarded as one of the most innovative writers of her generation. Presaging Mayer’s durational and constraint-based diaristic works of poetry, it also evinces her extraordinary—and unheralded—contribution to conceptual art.
Mayer has called Memory “an emotional science project,” but it is far from confessional. Rather, this boldly experimental record follows the poet’s eye as she traverses early morning into night, as quotidian minutiae metamorphose into the lyrical, as her stream of consciousness becomes incantatory. The space of memory in Mayer’s work is hyper-precise but also evanescent and expansive. In both text and image, Mayer constructs the mercurial, fleeting consciousness of the present moment from which memory is—as she says—“always there, to be entered, like the world of dreams or an ongoing TV show.”
This publication brings together the full sequence of images and text for the first time in book form, making space for a work that has been legendary but mostly invisible. Originally exhibited in 1972 by pioneering gallerist Holly Solomon, it was not shown again in its entirety until 2016. The text was published without the photographs in 1975 and has been long out of print.
ABOUT BERNADETTE MAYER
Bernadette Mayer (b. 1945, Brooklyn, NY) is the author of over thirty books including the acclaimed Midwinter Day (1982), a book-length poem written during a single day in Lenox, Massachusetts, as well as the The Desires of Mothers to Please Others in Letters (1994), and most recently Works and Days (2016) which was a finalist for the National Book Critics Circle Award in Poetry. Associated with the New York School as well as the Language poets, Mayer has also been an influential teacher and editor. In the art world, she is best known for her collaboration with Vito Acconci as editors of the influential mimeographed magazine 0 TO 9.
2023, English
Softcover, 284 pages, 23.5 x 15.7 cm
Published by
Routledge / London
$90.00 - In stock -
This is a timely update of a seminal text which re-interprets key films of the horror genre, including Carrie, The Exorcist, The Brood and Psycho.
In the first edition, Creed draws on Julia Kristeva’s theory of abjection to challenge the popular view that women in horror are almost always victims, and argues that patriarchal ideology constructs women as monstrous in relation to her sexuality and reproductive body to justify her subjugation. Although a projection of male fears and paranoid fantasies, the monstrous-feminine is nonetheless a terrifying figure. Creed’s argument contests Freudian and Lacanian theories of sexual difference to offer a provocative rereading of classical and contemporary horror.
This updated edition includes a new section examining contemporary feminist horror films in relation to nonhuman theory. Creed proposes a new concept of radical abjection to reinterpret the monstrous-feminine as a figure who embraces abjection by reclaiming her body and re-defining her otherness as nonhuman – while questioning patriarchy, anthropocentrism, misogyny and the meaning of the human. Films discussed include Ginger Snaps, Teeth, Atlantics, The Girl with All the Gifts, Border and Titane.
Barbara Creed’s classic remains as relevant as ever and this edition will be of interest to academics and students of feminist theory, nonhuman theory, critical animal studies, race, and queer theory.
Barbara Creed is Redmond Barry Distinguished Professor Emeritus at the University of Melbourne. She is the author of seven books, including Darwin’s Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema (2009); and Stray: Human- Animal Ethics in the Anthropocene (2017). She is the director of the Human Rights and Animal Ethics Research Network (HRAE). She has been on the boards of Writers Week, the Melbourne International Film Festival and the Melbourne Queer Film Festival.
2014, English / Japanese
Softcover (staple-bound), various pagination, 28.5 x 20.5 cm
1st Edition, Out of print title / used / fine
Published by
Comme des Garçons / Tokyo
$70.00 - Out of stock
Lot of six copies of the amazing printed collaboration between Rei Kawakubo's Comme des Garçons and Raw Vision, the world's foremost magazine on Outsider Art, Art Brut, and Contemporary Folk Art, founded by John Maizels in 1989. Issued as mail-outs privately by Comme to announce the arrival of their 2014 Spring—Summer and 2014—2015 Autumn—Winter collection, and not commercially available, these gorgeous, elaborate leaflets designed by CDG showcase the diverse array of artists featured in Raw Vision magazine alongside Comme photographs by Kosuke Okahara commissioned by Rei Kawakubo to document the 2013 Paris Fashion Week, Fall / Winter collection, photographs by Hiromi Nagakura, Daisuke ITO, and Andrew Houston in a series of graphic collages, with many fold-out spreads. Near Fine, preserved copies of six volumes (issued separately), now very scarce. Artists throughout include Pavel Leonov, Daniel Johnston, Maura Holden, Joe Gatta, Malcolm McKesson, William Hawkins, Joe Coleman, Renaldo Kuhler, Freddie Brice, Anne Grgich, Ken Grimes, and many more.
Near Fine all.
1993, Japanese
Softcover (w. dust jacket and obi-strip), unpaginated, 14.5 x 10.5 cm
1st Edition, Out of print title / used / very good
Published by
Kawade Shobo Shinsha / Tokyo
$70.00 - Out of stock
Amazing pocket art book of Sadomasochism, the second in the Graphik Erotik series edited by art director Makoto Ohrui (of SALE2/Fiction Inc./Purple/etc.) and published in Tokyo Japan by Kawade Bunko in 1993. Packed cover-to-cover with colour and b/w reproductions of European and American erotica illustrations and photography depicting all manner of lashings, spankings, and torture contraptions through the ages, including artworks by Carlo, Loïc Dubigeon, Serge Nazarieff, Serajat, Jean-Pierre Muhlstein, Juan Jose Fernandez, Luis Vigil, anonymous works from Bizarre Classix, reproductions of private collection prints, and much more. Perfectly compiled in the way SALE2 did so well, with elegant scrapbook style, dense with imagery, blown-up, full-bleed reproductions from many publications. Also includes two postcards bound-in featuring SM photography.
Makoto Ohrui founded the publishing house Fiction Inc. (later Radical Silence Production), the magazine SALE2, the gallery THE deep in Tokyo, and the magazine THE International. Ohrui was art director for SALE2, Purple, Rockin' On, and designed many books.
Very Good copy.
1991, Japanese
Softcover (w. dust jakcet + obi-strip), 190 pages, 14.5 x 10.5 cm
1st Edition, Out of print title / used / very good
Published by
Futami Shobo / Japan
$70.00 - Out of stock
Amazing pocket art book of Bizarre Bondage Fashion, edited by Makoto Ohrui and Japanese novelist Mari Akasaka (both editors of SALE2/Fiction Inc.) and published in Tokyo Japan by Futami Shobo in 1991. Packed cover-to-cover with colour and b/w reproductions of classic artworks by John Willie, Irving Klaw, ENEG, Carlo, Jim, Eric Stanton, E.K., Ruis, Betty Page, and many more garnered from the underground bounty of European and American Fetish and Bizarre publications. Perfectly compiled in the way SALE2 did so well, with elegant scrapbook style, dense with imagery, blown-up, full-bleed reproductions from many publications. Includes a multi-panel double-sided pull-out by John Willie.
Makoto Ohrui founded the publishing house Fiction Inc. (later Radical Silence Production), the magazine SALE2, the gallery THE deep in Tokyo, and the magazine THE International. Ohrui was art director for SALE2, Purple, Rockin' On, and designed many books.
Mari Akasaka (b. 1964) is a Japanese novelist. In 1999 her novel Vibrator was nominated for the Akutagawa Prize, which was adapted into a 2003 film directed by Ryūichi Hiroki. She was again nominated for the Akutagawa prize in 2000 for her novel, Muse, and won the Noma Literary Prize for New Writers for the same novel.
Very Good copy.
Makoto Ohrui founded the publishing house Fiction Inc. (later Radical Silence Production), the magazine SALE2, the gallery THE deep in Tokyo, and the magazine THE International. Ohrui was art director for SALE2, Purple, Rockin' On, and designed many books
Very Good copy.
1998, Japanese
Hardcover (w. dust jacket), 224 pages, 21.5 x 14.5 cm
Published by
Futami Shobo / Japan
$100.00 - In stock -
Rare first hardcover edition of this book collection of artwork by legendary fetish artist and publisher John Willie, compiled by SALE2/Fiction Inc. editor Makoto Ohrui and Ayumu Funatsu and published in Tokyo Japan by Futami Shobo in 1998. Packed cover-to-cover with colour and b/w reproductions of classic artworks by Willie and his famed Bizarre publications, John Willie's bondage photography, Bizarre fetish fashion illustrations and paintings, alongside his letters and writings translated into Japanese.
John Alexander Scott Coutts (1902—1962), better known by the pseudonym John Willie, was an artist, fetish photographer, editor and the publisher of the first 20 issues of the fetish magazine Bizarre, featuring his characters Sweet Gwendoline and Sir Dystic d'Arcy.
Makoto Ohrui founded the publishing house Fiction Inc. (later Radical Silence Production), the magazine SALE2, the gallery THE deep in Tokyo, and the magazine THE International. Ohrui was art director for SALE2, Purple, Rockin' On, and designed many books.
Very Good copy.
1992, Japanese
Softcover, 192 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - Out of stock
Issue No.42 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.42, the "Transformation" issue features collected writings and images around the themes of body transformation, transsexuality, including Pierre Molinier, Mari Akasaka, Kyoko Okazaki, Toyen, Hans Bellmer and Unica Zürn, Henri Maccheroni, Robert Chouraqui, Greybuck's The Equestrians illustrations, Sophia Lamar, plus loads of other images/catalogues of bondage and fetish related arts, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy with tanning to pages.
1989, Japanese
Softcover, 208 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - In stock -
Issue No.36 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.36, the "Female Foot Fetishism Special Issue" with the wonderful wraparound Pierre Molinier cover is packed with imagery and essays around the theme of "Foot and Fetish Heel" throughout history, literature, film and fetish publishing, etc. profusely illustrated with drawings, photography, bondage illustrations, film stills, catalogue clippings, and artworks, including works by Bill Ward, Pierre Molinier, Nobuyoshi Araki, and so many more. It also features the Fiction, Inc. section that samples a cross-section of content from catalogue publications including the work of John Willie, Bill Ward, Carlo, Eric Stanton, Irving Claw, Betty Page, and periodicals such as Rubber Magazine, Amateur Bondage, Bizarre Comix, Bizarre Classix, Bizarre Fotos, Stiletto, and much more... Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy.