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World Food Books Gift Voucher

Published by World Food Books / Melbourne

$20.00 - In stock -

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A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).

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File under: World Food Books / Melbourne World Food Books Gift Voucher

Tomi Ungerer
FORNICON

1969, English
Slipcase portfolio of 64 loose plates, 38.5 x 30 cm
1st Edition, Out of print title / used / good
Published by Rhinoceros Press / New York

$400.00 - In stock -

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Original 1969 deluxe slipcase edition of Tomi Ungerer's controversial classic from 1969, Fornicon, a provocative portfolio of Ungerer's stunning line drawings of mechanophilia — machine sex. The ingenious and diverse pleasure devices seem to symbolize the absurdity of human desire, caricaturing love and lust mechanized by industrial society. One of the most celebrated works of erotic illustration of the 20th Century, and a masterpiece of 1960s counterculture, Fornicon ruffled so many feathers when first published by Ungerer and Richard Kasak that the award-winning French illustrator had to flee New York.

Heavy back slipcase w. gold-foiling contains the complete 64 sheets (62 illustrated plates, 1 double-sided title/colophon page, 1 double-sided text introduction by American poet and literary critic John Hollander).

"Black Power/White Power, with its Kama Sutra suggestion of simultaneous fellatio, has an undeniable sexual undercurrent, but Ungerer also addressed the sexual revolution head-on, assimilating the fluid line and stark patterning of Aubrey Beardsley in wildly phallocratic drawings of baroque pleasure devices and mechanical means of penetration. Published as an expensive folio, The Fornicon, these sprightly images—a literal, if perverse, expression of the desire to make love rather than war—provoked a strong negative reaction, effectively suspending Ungerer’s career as a children’s book artist (his works, he says, were banned from libraries) and precipitating his departure from New York..."—NY Books

Tomi Ungerer (b. 1931) is an award winning French illustrator and a writer in three languages. He has published over 140 books ranging from much loved children's books to controversial adult work; from the fantastic to the autobiographical. He is known for sharp social satire and witty aphorisms. He is renowned for his iconic Advertising campaigns and political posters against the Vietnam War and Racial Injustice which were representative of the burgeoning political consciousness in New York in the 1960’s when he was based at the time. His political engagement has continued to this day in campaigns against Racism and Fascism, for Nuclear disarmament, Ecology and numerous Humanitarian causes.

Good copy with wear to the edges/corners of the slipcase, some discolouration to the gold foil, and several plates have some light foxing and light corner creasing, but majority of contains Very Good. Contents are complete.

File under: Tomi Ungerer John Hollander Rhinoceros Press / New York Eros Illustration / Graphic Art / Bandes Dessinées Weird / Speculative / Science Fiction Out-of-print / Rare Objects / Ephemera / A/V Posters / Prints

Leonor Fini
Les Merveilles de la Nature

1971, French
Hardcover (clothbound in slipcase), un paginated, 34.5 x 27 cm
Ed. of 1000,
1st Edition, Out of print title / used / very good
Published by Jean-Jacques Pauvert / Paris

$100.00 - Out of stock

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Lovely copy of Les Merveilles de la Nature, the 1971 slipcased, clothbound volume of erotic drawings by Argentine artist Leonor Fini (1918-1996), published in a limited edition of 1000 by Jean-Jacques Pauvert, Paris in 1971. Gold gilt–lettered red clothbound hardcover housed in red cloth covered card slipcase, pink laid endpapers, featuring some of Fini's most provocative drawings reproduced in black, red, and sepia on medium matte wove paper with accompanying poems by Cuban poet, author, and playwright Severo Sarduy.

Leonor Fini (1907–1996), an Argentine painter, designer, illustrator, and author, known for her depictions of powerful women, is considered one of the most important women artists of the twentieth century and also one of the most misunderstood.

Fini had no formal artistic training. Born in Buenos Aires, she travelled extensively from a young age, living in Milan and then moving to Paris in 1931-32 where she was considered part of a pre-war generation of Parisian artists, becoming acquainted with Carlo Carrà and Giorgio de Chirico, who inspired much of her work, and also Paul Éluard, Max Ernst, Georges Bataille, Henri Cartier-Bresson, Picasso, Salvador Dalí, and André Pieyre de Mandiargues. She had her first one person show in Paris when she was twenty-five at a gallery directed by Christian Dior. Her work caught on fast and was included in the pivotal and groundbreaking Fantastic Art, Dada and Surrealism exhibition at the MOMA in 1936 while at the same time she had her first New York exhibition at the avant-garde Julien Levy Galley. Surrealist artists in France came to know her as important in the movement. She is mentioned in most comprehensive works about surrealism, although she did not consider herself a surrealist, nor a part of any particular artistic movement. Fini preferred to stake her own claim on modernism with a vision that owes more to the farthest shores of her imagination than to any affiliation with art trends, schools or movements. The originality of her art as well as her intelligence, famous wit and charisma accorded her celebrity status in the Paris art world and beyond beginning in the late thirties. Her panache and glamour, once they found a place in the collective imagination of the time, turned her into a much-publicized fashion and feminist icon. Always controversial, with as many detractors as admirers, she lived and painted consummately on her own terms.

In Paris in 1939 she curated the inaugural exhibition of her friend Leo Castelli’s first gallery (of surrealist furniture) and shortly thereafter, just before the German occupation, she traveled with André and a new lover to Arcachon in the southwest of France to begin waiting out the war. She remained there for almost a year with Salvador and Gala Dali before moving to Monte Carlo where she met the young Italian diplomat, Stanislao Lepri who became one of the great and enduring loves of her life. As the war intensified she moved with Stanislao to Rome where she lived, worked and formed close friendships with Anna Magnani, Luchino Visconti and other leading figures of world of art and letters. After the Liberation of Paris in 1946 she returned there to live and work for the remainder of her life, exhibiting extensively around the world.

The predominant themes in Leonor Fini’s art are sexual tensions, mysteries and games. One of her favored subjects is the interplay between the dominant female and the passive male, and in many of her most powerful works the female takes the form of the sphinx to which she felt a strong identification. She was also a renowned portraitist, and among her subjects were such friends as writers André Pieyre de Mandiargues, Jean Genet, Klaus Mann (son of Thomas), such actresses as Anna Magnani and Suzanne Flon, ballerina Margot Fonteyn, film director Luchino Visconti and artists Meret Oppenheim and Leonora Carrington.

Her genius for stage and screen design is evident in her numerous ground breaking theater decors with their elaborate conception, costumes and phantasmagorical masks. She designed for the Paris Opera, George Balanchine’s ballet Palais de Crystal, and choreographer Roland Petit’s company Ballets de Paris, for Maria Callas at the La Scala theater in Milan, as well as over seventy productions at theaters in Paris between 1946 and 1969. She had a unique talent for film design and created costumes for Fellini's 8 ½ as well as for Renato Castellani's Romeo and Juliet and John Huston’s A Walk with Love and Death.

In the 1970s, she wrote three novels, Rogomelec, Moumour, Contes pour enfants velu and Oneiropompe. Her friends included Jean Cocteau, Giorgio de Chirico, and Alberto Moravia, Fabrizio Clerici and most of the other artists and writers inhabiting or visiting Paris. She illustrated many works by the great authors and poets, including Edgar Allan Poe, Charles Baudelaire and Shakespeare, as well as texts by new writers. She was very generous with her illustrations and donated many drawings to writers to help them get published. She is, perhaps, best known for her graphic illustrations for Histoire d'O.

The provocative and much-publicized life of Leonor Fini was pure theater. Her story is that of a hard-won struggle to forge her life as a woman artist in a man’s world and to invent herself on her own terms. It is the story of a woman possessing exceptional independence, a highly original vision and great personal magnetism who lived passionately through her art and friendships and in the process became a feminist role model.

Very Good copy in Very Good slipcase with only light marking. Slipcase not pictured.

File under: Leonor Fini Severo Sarduy Jean-Jacques Pauvert / Paris Surrealism Drawing Painting Art Illustration / Graphic Art / Bandes Dessinées Eros Out-of-print / Rare

Richard Hawkins
Potentialities

2026, English
Softcover, 208 pages, 31 x 23 cm
Published by Walther König / Köln Kunsthalle Wien / Vienna Kestner Gesellschaft / Hannover

$98.00 - In stock -

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Edited by Eva Birkenstock.
Texts by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen; an interview with the artist by Bruce Hainley; and an introduction by Michelle Cotton and Eva Birkenstock.

Since the early 1990s Richard Hawkins has developed a singular practice based on the dynamics of desire and the intense pleasure of looking. Published on the occasion of a major survey organised by Kunsthalle Wien, Vienna and Kestner Gesellschaft, Hannover, Richard Hawkins: Potentialities documents painting, collage, sculpture and video produced between 2000 and 2025 – including series inspired by Forrest Bess, Tatsumi Hijikata, Antonin Artaud – favorites of Hawkins – but also Pierre Bonnard!

The title Potentialities refers to the capacity for something—anything—to be or become otherwise: the possibilities of being and becoming are limitless. In Hawkins’s work, this idea operates as both concept and method. Across paintings, collages, and videos, images and subjects remain in flux, cut, layered, and recombined into open-ended constellations.

In short, desire and fandom emerge not as fixed themes but as an ongoing, non-teleological field—excessive and in constant formation—in which meaning is continuously produced through relations rather than fixed references. Collage, understood as the bringing together of disparate elements, structures Hawkins’s “promiscuously referential” works. It operates as a mode of “cruising” through imagery from popular culture, literature, and the annals of art history, driven by juxtaposition, chance, and intuitive association.

The book includes writings by Hawkins about his work and research, essays by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen, as well as an interview with the artist by Bruce Hainley.

Richard Hawkins (b. 1961, lives in Los Angeles, USA) has had solo exhibitions at institutions including Kunsthalle Wien (2025/26); LOEWE’s FW24 Men’s Show, Paris (2024); Tate Liverpool (2014); Le Consortium, Dijon (2013); the Art Institute of Chicago and the Hammer Museum, Los Angeles (both 2010); de Appel, Amsterdam (2007); and Kunstverein Heilbronn (2003). He has also participated in numerous international group exhibitions, including Artists Space, New York (2023); Bonner Kunstverein (2019); Kunstinstituut Melly, Rotterdam (2014); and the 2012 Whitney Biennial, New York. His work is held in major international collections, including the Art Institute of Chicago; Astrup Fearnley Museet, Oslo; Hammer Museum, Los Angeles; Hessel Museum of Art, Annandale-on-Hudson, New York; Institute of Contemporary Art, Miami; Kistefos Museum, Norway; LOEWE Foundation, Madrid; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Nevada Museum of Art; Palm Springs Art Museum; Stedelijk Museum, Amsterdam; Walker Art Center; and Whitney Museum of American Art, New York. Hawkins is a Professor of painting at ArtCenter College of Design in Pasadena.

File under: Richard Hawkins Bruce Hainley Eva Birkenstock Rhea Anastas Annie Ochmanek Kristian Vistrup Madsen Michelle Cotton Walther König / Köln Kunsthalle Wien / Vienna Kestner Gesellschaft / Hannover LGBTQ+ Art Painting Collage / Mail Art / Xerox Art Transgressive / Visceral / Abject Eros

Rosemarie Trockel

2026, English
Softcover, 276 pages, 27.9 x 22.2 cm
Published by Walther König / Köln

$145.00 - In stock -

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Edited with text by Susanne Pfeffer. Text by Valeria Gordeev, Quinn Latimer, Christoph Menke, Cord Riechelmann, Ann-Charlotte Gunzel.

From “knitting pictures” to upside down palm trees and mannequin heads in glass boxes, Trockel’s caustic oeuvre defies classification.

Finally here, the enormous MMK catalogue! German multimedia artist Rosemarie Trockel rose to fame in the 1980s with her “knitting pictures” made with industrial weaving machines. In 1999 she was the first woman to exhibit at the German Pavilion at the Venice Biennale. Working in a variety of media, both sardonic and uncanny, her constructions always include her own critical and humorous gaze at social regimes and political structures and at nature – making definitions, restrictions, paternalism, and violence due to gender visible. While scientifically sound and precise, her observations always include her own critical and sometimes humorous gaze as a vital component as she not only captures but highlights ambivalences. This is a comprehensive overview of Trockel's oeuvre, featuring works from all creative phases, including works made especially for a recent exhibition at the Museum für Moderne Kunst in Frankfurt.

Highly recommended!

File under: Rosemarie Trockel Susanne Pfeffer Valeria Gordeev Quinn Latimer Christoph Menke Cord Riechelmann Ann-Charlotte Gunzel Walther König / Köln Sculpture / Installation Art Painting Drawing Collage / Mail Art / Xerox Art Film / Video Photography Conceptual Art

MD72—Door Slamming Festival (2007–2018)
Edited by Alexander Schröder, Dominic Eichler, Marianna von Palombini

2026, English / German
Softcover, 560 pages, 29.7 x 22.5 cm
Published by Walther König / Köln

$100.00 - In stock -

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This anthology tells the story of the influential Berlin exhibition space MD72 between 2007 and 2018, featuring more than 70 exhibitions. Over 190 contemporary artists, designers, curators, and writers are featured in this anthology. MD72 was founded by the gallerist and collector Alexander Schröder; its events reflected the repercussions of contextual art and post-institutional critique, as well as the cultural conditions of post-reunification Berlin shaped by post-feminism, postcolonial thought, and queer strategies. In addition to extensive visual documentation of exhibitions and artworks, the book offers a compendium of eyewitness accounts, essays, exhibition notes, interviews, excerpts, and commentaries from a wide range of authors.

Features: David Adamo, Jana Euler, Mark Leckey, Yves Saint Laurent, Michael Sanchez, Kai Althoff, Matias Faldbakken, Ang Lee, Peter Saville, Mathis Altmann, Barney Farmer, Lee Healey, Gunter Lepkowski, Magnus Schaefer, Tariq Alvi, Keith Farquhar, David Lewis, Mathias Schormann, Art & Language, Paul Feigelfeld, Klara Lidén, Alexander Schröder, Ian Hamilton Finlay, Valentina Liernur, Yasmine Schroeder-Elgarafi, Red Krayola, Marta Fontolan, Beca Lipscombe, Nora Schultz, Charles Asprey, Catherine Francblin, Hilary Lloyd, Elfie Semotan, Atelier E.B, Andrea Fraser, Hannes Loichinger, Gedi Sibony, Lutz Bacher, Luca Frei, Stefan Lux, Katharina Sieverding, Nairy Baghramian, Gelatin, Danny McDonald, Eric Banks, General Idea, Caoimhín Mac Giolla Leith, Amy Sillman, Dirk Bell, Isa Genzken, Eric N. Mack, Avery Singer, Kirsty Bell, Liam Gillick, Lucy McKenzie, Andreas Slominski, Sean Snyder, Bernadette Corporation, Marc Glöde, René Magritte, Gerry Bibby, Julian Göthe, Victor Man, Lucie Stahl, Julien Binet, Goldin+Senneby, André Masson, Frank Stella, BLESS, Fanny Gonella, Gordon Matta-Clark, Mladen Stilinović, Anna Blessmann, Isabelle Graw, Nick Mauss, Josef Strau, Peter Saville, Wade Guyton, Ken Okiishi, Studio Manuel Raeder, Juliette Blightman, Florian Hecker, Birgit Megerle, Juergen Teller, Cosima von Bonin, Manfred Hermes, John Miller, Philippe Thomas, Mark Borthwick, Georg Herold, Pierre Molinier, Simon Thompson, Michael Bracewell, Charline von Heyl, Sarah Morris, Torey Thornton, Janet Burchill, Max Jorge Hinderer Cruz, Ariane Müller, Wolfgang Tillmans, Jennifer McCamley, Ull Hohn, Jill Mulleady, Rirkrit Tiravanija, Tom Burr, Yngve Holen, Jeanette Mundt, Rosemarie Trockel, David Bussel, Karl Holmqvist, Geoff Nees, Donald Urquhart, Caroline Busta, Judith Hopf, Georgie Nettell, Mona Vătămanu, Florin Tudor, Michael Callies, Alex Hubbard, Albert Oehlen, Donna Huddleston, Roberto Ohrt, Francesco Vezzoli, Sergej Jensen, Alex Israel, Ken Okiishi, Danh Vo, Ellen Cantor, Robert Jarosz, Henrik Olesen, Heinz Peter Knes, Merlin Carpenter, Sergej Jensen, Paulina Olowska, Steven Warwick, Marc Camille Chaimowicz, Helen Johnson, Dietrich Orth, Michal Wasaznik, Alan Charlton, Stefan Kalmár, Daniel Pies, Marianna von Palombini, Scott Cameron Weaver, Doryun Chong, Tobias Kaspar, Manfred Pernice, Hannah Weinberger, Claire Fontaine, KAYA, Kerstin Brätsch, Kirsten Pieroth, Thilo Wermke, Anne Collier, Debo Eilers, Falke Pisano, Stephen Willats, Carole Condé, Karl Beveridge, Annette Kelm, Simon Popper, Susanne M. Winterling, John Kelsey, Genesis Breyer P-Orridge, Ashes Withyman, Isabelle Cornaro, Pierre Klossowski, Stephen Prina, David Woodard, Enrico David, John Knight, Mark Prince, Christopher Wool, Jacques de Koning, Valérie Knoll, Josephine Pryde, Cerith Wyn Evans, Gigiotto Del Vecchio, Jutta Koether, Manuel Raeder, Alex Zachary, Mark Dion, Stefan Korte, Reena Spaulings, Heimo Zobernig, Eliza Douglas, Andrzej Kostenko, Jeroen de Rijke, Lukas Duwenhogger, Christian Kracht, Willem de Rooij, Alexander Schröder, Martin Ebner, Kitty Kraus, Martha Rosler, Dominic Eichler, Mierle Laderman Ukeles, Annette Ruenzler, Marianna von Palombini, Florian Zeyfang, Colin de Land, J. St. Bernard, Dominic Eichler.

File under: David Adamo Jana Euler Mark Leckey Kai Althoff Matias Faldbakken Mathis Altmann Barney Farmer Tariq Alvi Klara Lidén Art & Language Red Krayola Nora Schultz Andrea Fraser Gedi Sibony Lutz Bacher Luca Frei Katharina Sieverding Nairy Baghramian Gelatin General Idea Amy Sillman Dirk Bell Isa Genzken Eric N. Mack Avery Singer Liam Gillick Lucy McKenzie Andreas Slominski Sean Snyder Bernadette Corporation René Magritte Gerry Bibby Julian Göthe Victor Man Lucie Stahl Goldin+Senneby André Masson Frank Stella BLESS Gordon Matta-Clark Mladen Stilinović Nick Mauss Josef Strau Wade Guyton Ken Okiishi Juliette Blightman Florian Hecker Birgit Megerle Cosima von Bonin John Miller Philippe Thomas Georg Herold Pierre Molinier Charline von Heyl Sarah Morris Janet Burchill Ariane Müller Wolfgang Tillmans Ull Hohn Jill Mulleady Rirkrit Tiravanija Tom Burr Yngve Holen Jeanette Mundt Rosemarie Trockel Karl Holmqvist Judith Hopf Mona Vătămanu Florin Tudor Alex Hubbard Albert Oehlen Francesco Vezzoli Sergej Jensen Alex Israel Danh Vo Ellen Cantor Henrik Olesen Merlin Carpenter Paulina Olowska Marc Camille Chaimowicz Helen Johnson Alan Charlton Tobias Kaspar Manfred Pernice Hannah Weinberger Claire Fontaine KAYA Kerstin Brätsch Kirsten Pieroth Anne Collier Debo Eilers Falke Pisano Stephen Willats Carole Condé Karl Beveridge Annette Kelm Susanne M. Winterling Genesis Breyer P-Orridge Isabelle Cornaro Stephen Prina Enrico David John Knight Josephine Pryde Cerith Wyn Evans Jutta Koether Mark Dion Reena Spaulings Heimo Zobernig Eliza Douglas Jeroen de Rijke Lukas Duwenhogger Willem de Rooij Martha Rosler Mierle Laderman Ukeles Florian Zeyfang Atelier E.B. Yves Saint Laurent Peter Saville Kitty Kraus Ian Hamilton Finlay Keith Farquhar Beca Lipscombe Hilary Lloyd Danny McDonald Manuel Raeder Janet Burchill and Jennifer McCamley Jennifer McCamley Juergen Teller Heinz Peter Knes Pierre Klossowski Christopher Wool Georgie Nettell Mark Borthwick Simon Thompson Alexander Schröder Dominic Eichler Marianna von Palombini Michael Sanchez Lee Healey Gunter Lepkowski Magnus Schaefer David Lewis Mathias Schormann Paul Feigelfeld Valentina Liernur Yasmine Schroeder-Elgarafi Marta Fontolan Charles Asprey Catherine Francblin Elfie Semotan Hannes Loichinger Stefan Lux Eric Banks Kirsty Bell Marc Glöde Julien Binet Fanny Gonella Anna Blessmann Isabelle Graw Manfred Hermes Michael Bracewell Torey Thornton Max Jorge Hinderer Cruz David Bussel Geoff Nees Donald Urquhart Caroline Busta Michael Callies Donna Huddleston Roberto Ohrt Robert Jarosz Heinz Peter Knes Steven Warwick Dietrich Orth Michal Wasaznik Stefan Kalmár Daniel Pies Scott Cameron Weaver Doryun Chong Thilo Wermke Simon Popper John Kelsey Ashes Withyman Pierre Klossowski David Woodard Mark Prince Jacques de Koning Valérie Knoll Gigiotto Del Vecchio Alex Zachary Stefan Korte Andrzej Kostenko Christian Kracht Annette Ruenzler Colin de Land J. St. Bernard Martin Ebner Caoimhin Mac Giolla Leith Walther König / Köln Group Shows / Collections Painting Art Sculpture / Installation

Josef Strau
Spirits and Objects

2022, English
Softcover, 198 pages, 16 x 23 cm
Published by Walther König / Köln

$62.00 - Out of stock

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This publication assembles a selection of texts produced between the years 2005 and 2020, starting with The Non- Productive Attitude (2005), his prominent reflections on the anti-productive attitude in the Cologne art scene of the time. The experience of having to write the essay overnight within a few hours, and without any time for revision, triggered his interest in exploring forms of unintentional writing, and consequently the replacement of the intentional author by an unconscious writer / producer. This mode of automatic writing has manifested itself until today, and has become the core of Strau’s artistic practice.

File under: Josef Strau Walther König / Köln Art Sculpture / Installation Fiction / Poetry

The Last Canterbury Tales
by Jean Ray

2026, English
Softcover, 168 pages. 20.4 x 14 cm
Published by Wakefield Press / Cambridge

$35.00 - In stock -

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Jean Ray’s 'The Last Canterbury Tales', first published in French in 1944, makes no pretence of finishing Chaucer’s masterpiece but instead works toward a denouement of its own that reveals an unexpected act of storytelling underpinning this collection. After 600 years, Geoffrey Chaucer and his 14th-century pilgrims overcome space and time to return to the Tabard Inn in Southwark, freshly cleansed of their sins. This time it is a new cast of storytellers picking up where the others had left off – a motley crew that includes a Prioress with a taste for executions and a madman who once made the mistake of asking after the Uhu. Also among them is a new listener: Tobias Weep, secretary of the Upper Thames Book Club, who has stumbled onto their impossible gathering, pinned to his chair by the impossible weight of E.T.A. Hoffmann’s talking tomcat on his lap.

Jean Ray (1887–1964) is the best known of the multiple pseudonyms of Raymundus Joannes Maria de Kremer. A pivotal figure in the “Belgian School of the Strange,” he authored some 6,500 texts in his lifetime, along with his own biography, which remains shrouded in legend and fiction.

File under: Jean Ray Wakefield Press / Cambridge Weird / Speculative / Science Fiction Fiction / Poetry

Women in Concrete Poetry: 1959–1979

2026, English
Softcover, 488 pages, 20.3 x 22.9 cm
Published by Primary Information / New York

$82.00 - In stock -

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Women in Concrete Poetry: 1959–1979 is an expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features fifty writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.

Women in Concrete Poetry: 1959–1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.

The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognised as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959–1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax.

Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Susan Howe, Liliane Lijn, Mary Ellen Solt, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.

File under: Lenora de Barros Mirella Bentivoglio Amanda Berenguer Suzanne Bernard Tomaso Binga Blanca Calparsoro Paula Claire Betty Danon Mirtha Dermisache Ilse Garnier Anna Bella Geiger Bohumila Grögerová Ana Hatherly Susan Howe Tamara Jankovic Annalies Klophaus Barbara Kozlowska Liliana Landi Liliane Lijn Françoise Mairey Giulia Niccolai Jennifer Pike Giovanna Sandri Mira Schendel Chima Sunada Mary Ellen Solt Salette Tavares Colleen Thibaudeau Rosmarie Waldrop Ruth Wolf-Rehfeldt Primary Information / New York Concrete Poetry Poetry Art Collage / Mail Art / Xerox Art

Michael Asher
Writings 1973–1983 on Works 1969–1979

2021, English
Softcover, 240 pages, 21.5 x 30.5 cm
Published by Primary Information / New York

$84.00 - In stock -

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Writings 1973–1983 on Works 1969–1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 33 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.

Asher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.

Due to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”

Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.

Managing Editor: James Hoff
Managing Designer: Rick Myers

File under: Michael Asher Michael Asher Benjamin H. D. Buchloh Primary Information / New York Art Theory / Essay Minimal Art Conceptual Art Sculpture / Installation

Cruising Pavilion: Architecture, Dissident Sex and Cruising Cultures
Edited by Pierre-Alexandre Mateos & Charles Teyssou

2026, English
Softcover, 432 pages, 23 x 16 cm
Published by Spector Books / Leipzig

$82.00 - In stock -

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Cruising Pavilion: Architecture, Dissident Sex and Cruising Cultures examines the influence of cruising cultures on architecture and urban life, unfolding a typology of spaces produced by sexual – primarily gay – subcultures. From the appropriation of sites such as parks, public restrooms, and streets to purpose-built spaces like sex clubs, bars, and bathhouses, as well as the new form of virtual dérive generated by geosocial dating apps, cruising has subverted the libidinal cartography and use of the modern metropolis.

The book considers these spatial practices through the lens of artistic avant-gardes that have emerged at the intersection of sex, art, and architecture. It follows the eponymous curatorial project initiated by Pierre-Alexandre Mateos, Rasmus Myrup, Octave Perrault, and Charles Teyssou, which traveled from Paris to Venice and on to New York, Fire Island, and Stockholm.

Features Andreas Angelidakis, Monica Bonvicini, Tom Burr, Shu Lea Cheang, Victoria Colmegna, DYKE_ON, General Idea, Sidsel Meineche Hansen, Henrik Olesen, Puppies Puppies (Jade Kuriki Olivo), Hannah Quinlan + Rosie Hastings, Carlos Reyes, Prem Sahib, Jaanus Samma, S H U Í (Jon Wang + Sean Roland), Steven Warwick, Robert Yang, Trevor Yeung, Diller Scofidio + Renfro, Andrés Jaque (Office for Political Innovation), Studio Karhard, Etienne Descloux, Horace Gifford, Pol Esteve + Marc Navarro, Madelon Vriesendorp, Samuel R. Delany, Hal Fischer, Gayle Rubin, Joan Nestle, David Wojnarowicz, and more...

Pierre-Alexandre Mateos and Charles Teyssou are a Paris-based curatorial duo. Their recent projects include Paris Orbital, a series of events at the Pinault Collection – Bourse de Commerce, and the Conversations series for Paris+ par Art Basel in October 2023.

File under: David Wojnarowicz Andreas Angelidakis Monica Bonvicini Tom Burr Shu Lea Cheang Victoria Colmegna DYKE_ON General Idea Sidsel Meineche Hansen Henrik Olesen Puppies Puppies (Jade Kuriki Olivo) Hannah Quinlan + Rosie Hastings Carlos Reyes Prem Sahib Jaanus Samma S H U Í (Jon Wang + Sean Roland) Steven Warwick Robert Yang Trevor Yeung Diller Scofidio + Renfro Andrés Jaque (Office for Political Innovation) Studio Karhard Etienne Descloux Horace Gifford Pol Esteve + Marc Navarro Madelon Vriesendorp Pierre-Alexandre Mateos Charles Teyssou Samuel R. Delany Hal Fischer Gayle Rubin Joan Nestle David Wojnarowicz Steven Warwick Spector Books / Leipzig Art Theory / Essay Literary Theory / Semiotics / Language Eros Fetishism / BDSM Counterculture LGBTQ+ Film / Video

Paul Virilio
Bunker Archeology

2026, English
Hardcover, 212 pages, 22 x 26 cm
Published by Spector Books / Leipzig

$105.00 - In stock -

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The reputation as an auteur that Paul Virilio (1932–2018) enjoys today derives from the work he did for his Bunker Archeology. When, in the second half of the 1950s, he began photographing abandoned Second World War bunkers along France’s Atlantic coast, he was working with glass as an artistic medium. In 1966, he presented his photographs to the public for the first time in the magazine architecture principe, which he co-edited. At the time, he was particularly interested in the architectural aspects of these wartime installations. He saw the bunkers as 'harbingers of a new architecture', which he sought to capture in the term 'cryptic architecture'. The first exhibition of Virilio’s Bunker Archeology was staged at the Centre Pompidou in 1975, while the museum was still in the process of being established. His seminal book was published in conjunction with this. It laid out all the motifs of his philosophical thinking: military space and communications warfare, camouflage and acceleration, a scrupulous reading of the present coupled with a desire for philosophical speculation. Although it is almost fifty years since the work was first published, Bunker Archeology is still full of connections to the present. To coincide with an exhibition at the Centre Pompidou, a new edition of the book is being published in French, English, and German.

Paul Virilio (1932–2018), French philosopher, urbanist and critic of the media society. His most important works include War and Cinema: The Logistics of Perception (1984) and Polar Inertia (1990).

File under: Paul Virilio Paul Virilio Spector Books / Leipzig Architecture / Interior Photography Philosophy Crime / Violence

Mark Manders
Studio Snapshots

2025, English
Hardcover, 140 pages, 29 x 21 cm
Published by Roma / Amsterdam

$85.00 - In stock -

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‘Studio Snapshots’ comprises a series of black-and-white photographs taken in the studio of Dutch artist Mark Manders, where finished and unfinished works reflect various stages of the creative process. Notably, the selection of images gives a sense of the artist’s approach and method, with various tools, objects, implements, and materials appearing in the photographed spaces alongside his creations in progress.

File under: Mark Manders Roma / Amsterdam Art Sculpture / Installation

Lutz Bacher
Burning the Days: An Exhibition

2026, English
Softcover, 304 pages, 29 x 22 cm
Published by Astrup Fearnley Museet / Oslo WIELS / Brussels Roma / Amsterdam

$98.00 - In stock -

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Edited by Helena Kritis and Solveig Øvstebø

Published by Astrup Fearnley Museet, WIELS, and Roma Publications, the catalogue brings together three newly commissioned essays approaching Bacher's art from distinct yet intersecting perspectives. Kate Nesin takes The Betty Center — Bacher's archive of nearly 300 black binders, later realised as an artwork — as a point of departure to examine her engagement with archives, containers, and readymade forms. Juliane Rebentisch reads Bacher's work as a sustained practice of opacity that stages accumulation, self-exposure, humour, and citation to unsettle fixed identities and disrupt the clichés through which meaning is usually secured. Finally, Emily LaBarge reads Bacher through the logic of the pun, showing how her works hinge on double meanings and perceptual slippages that make uncertainty the condition of viewing. Burning the Days: An Exhibition occupies a distinct place within the lineage of Bacher’s artist books. It is the first major publication on Bacher produced entirely after her death and without her direct involvement or design input.

Design: Julie Peeters.

File under: Lutz Bacher Julie Peeters Kate Nesin Emily LaBarge Juliane Rebentisch Astrup Fearnley Museet / Oslo WIELS / Brussels Roma / Amsterdam Art Conceptual Art Sculpture / Installation Photography

Bill 6 (Demode)
Edited by Julie Peeters

2026, English
Softcover, 200 pages, 28 x 24 cm
Published by Bill / Brussels

$86.00 - In stock -

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‘Bill’ is an annual magazine that prioritises visual reading of its photographic stories without the distraction of text. The 192 offset pages are printed in CMYK, silver, and black and white on a dozen different paper stocks, along with some Japanese bound signatures. Contributors to this sixth instalment include conceptual artist Rosemarie Trockel, Croatian artist Hana Miletić, RareBooksParis, architect and designer Thorben Gröbel, Japanese artist Yuji Agematsu, French artist Claude Closky, California-based artist Sam Contis, Dutch photography studio Blommers/Schumm, photographer Michael Schmidt, Swiss artist Beat Streuli, and photographer Adrianna Glaviano.

File under: Rosemarie Trockel Hana Miletić RareBooksParis Thorben Gröbel Yuji Agematsu Claude Closky Sam Contis Blommers/Schumm Michael Schmidt Beat Streuli Adrianna Glaviano Julie Peeters Bill / Brussels Periodicals Photography Fashion Art

Investigating Sex: Surrealist Discussions
Edited by José Pierre; Afterword by Dawn Ades

2011, English
Softcover, 240 pages, 21.6 x 13.8 cm
Published by Verso / London

$52.00 - In stock -

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“The surrealist’s approach to sexuality was original and important … I feel this book will amaze us all.” —George Melly

Are women’s orgasms more intense than men’s? What did André Breton think of homosexuality? Can love be separated from physical desire?

In 1928 a group of surrealist writers and artists held twelve round table discussions to address these questions. Calling them “researches into sexuality,” their bizarre and humorous conversations are now made available in this new edition in all their surreal and salacious detail. Their research spanned the most critical period for surrealism, a time of bitter political disputes, echoed in the intensity of these meetings and in the range of participants, including André Breton, Paul Eluard, Yves Tanguy, Benjamin Péret and Pierre Naville.

Well before the so-called sexual revolution, their erotic exchanges broke sexual taboos and encouraged surrealists to openly share the libidinal themes they explored in their writing and art. In doing so, JoAnn Wypijewski writes in the new introduction, they are revealed as “lovers and prigs, fantasists and humanists, adventurers in mind if not always in flesh—flawed, foolish, brilliant, clangingly sexual human beings.”

Afterword by Dawn Ades
Introduction by JoAnn Wypijewski
Edited by José Pierre
Translated by Malcolm Imrie

"These discussions are absolutely fascinating."—Kathy Acker, author of Blood and Guts in High School

"... readers are in for a treat: a cascade of opinion, at times insightful, frequently infuriating, often comedic."—Zoe Strimpel, The Observer

José Pierre was a playwright, novelist and art historian. He belonged to the postwar Paris surrealist group that formed around André Breton. He was a member of Actual, an archive for the dissemination of the secret history of surrealism.

File under: Yves Tanguy Antonin Artaud Dawn Ades JoAnn Wypijewski José Pierre Malcolm Imrie André Breton Paul Eluard Yves Tanguy Benjamin Péret Pierre Naville Antonin Artuad Verso / London Surrealism Fetishism / BDSM Eros Art Theory / Essay Psychoanalysis Philosophy Philosophy / Psychoanalysis

Paying Attention: Essays on Art and Culture
by Lynne Tillman

2026, English
Softcover, 344 pages 21 x 14 cm
Published by David Zwirner Books / New York

$69.00 - In stock -

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From award-winning novelist and cultural critic Lynne Tillman, 'Paying Attention' is the first collection of essays devoted to her incisive, provocative, and singular reflections on art and culture.

'Paying Attention' gathers more than fifty of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time. Such is the stuff that relates art to life, and life to art.

Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in 'Frieze', and magazines including 'Aperture' and 'Artforum', these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. As she acknowledges, in a piece on the artist Robert Gober, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.” In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself imbricates the art, voice, and language of criticism.

File under: Lynne Tillman David Zwirner Books / New York Art Theory / Essay

Max Ernst and Alchemy: A Magician in Search of Myth
by M.E. Warlick

2001, English
Softcover, 335 pages, 22. 9 x 15.2 cm
Published by University of Texas Press / Texas

$84.00 - In stock -

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Surrealist artist Marx Ernst defined collage as the “alchemy of the visual image”. Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, the author persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of th elate 19th and early 20th centuries, and the author sets Ernst’s work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work images in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites.This pioneering research adds an essential key to understanding the multilayered complexity of Ernst’s works, as if affirms his standing as one of Germany’s most significant artists of the 20th century.

"M. E. Warlick's book is a unique and highly significant contribution to the literature on modern art and modern culture in general."—Linda D. Henderson, Professor of Art History, University of Texas at Austin

" ... when M. E. Warlick discusses {Ernst's] early art and the Surrealist context, she is authoritative... Her own scrupulously researched chapters on the artist's formative years and pre-Surrealist paintings, together with her abbreviated history of alchemy, its literature and the"occultation of Surrealism" which began in the 1920s, are useful additions to the existingscholarship."—TLS, 21 September 2001

File under: University of Texas Press / Texas Surrealism Theory / Essay Art Painting Sculpture / Installation Collage / Mail Art / Xerox Art Drawing Eros Occult / Esoterica

Marguerite Duras
My Cinema

2023, English
Softcover, 408 pages, 17 x 11 cm
Published by Another Gaze Editions / UK

$44.00 - In stock -

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Working chronologically through her nineteen films, made between 1966 and 1985, this collection of reflections by Marguerite Duras (1914–1996) includes non-standard press releases, notes to her actors, letters to funders, short essays on themes as provocatively capacious as ‘mothers’ and ‘witches’, as well as some of the most significant interviews she gave about her cinematic and writing practices (with filmmakers and critics including Jacques Rivette, Caroline Champetier and Jean Narboni). In Duras's hands, all of these forms turn into a strange, gnomic literature in which the boundary between word and image becomes increasingly blurred and the paradox of creating a cinema that seeks ‘to destroy the cinema’ finds its most potent expression. Yet, Duras is never concerned only with her own work, or even with the broader project of making cinema: her preoccupations are global, and the global crucially informs her perceptions of the way in which she works. With the audiovisual as a starting point, her encyclopaedic associative powers bring readers into contact with subjects as diverse as the French Communist Party, hippies, Jews, revolutionary love, madness and freedom, across four decades of an oeuvre that is always in simultaneous dialogue with the contemporary moment and world history.

File under: Marguerite Duras Jacques Rivette Caroline Champetier Jean Narboni Marguerite Duras Another Gaze Editions / UK Film / Video Theory / Essay Art Sociology / Politics

Wols
Photographien

1988, German
Softcover (staple–bound), 20 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by Goethe-Institut / Münich

$35.00 - In stock -

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1985 German catalogue dedicated entirely to the magnificent photographic work of Wols. Illustrated throughout with his striking still life, portrait, and Paris street images, accompanied by text from Laszlo Glozer.

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/age.

File under: Wols Laszlo Glozer Goethe-Institut / Münich Art Photography Out-of-print / Rare Arte Informale / Haute Pâte / Tachism

Tosquelles: Healing Institutions
Edited by Joana Maso

2026, English
Softcover, 344 pages, 25.4 x 17.78 cm
Published by Semiotext(e) / Los Angeles

$46.00 - In stock -

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A landmark anthology of Francesc Tosquelles's intellectual, clinical, and political writings, many available in English translation for the first time.

Edited by Joana Maso, translated by Robert Hurley and Mara Faye Lethem

Often consigned to legend, the life of Francesc Tosquelles reads as an adventure story of clinical, political, and collective experimentation around healing institutions. Joining the Saint-Alban-sur-Limagnole psychiatric hospital in Nazi-occupied France, Tosquelles invented what would become “institutional psychotherapy” with poets, film critics, photographers, and psychiatrists including Jean Oury, Agnès Masson, Frantz Fanon, Tristan Tzara, and Paul Éluard.

This first anthology of Tosquelles’s writings shines a light on his forgotten history, from his engagement as a psychiatrist during the Spanish Civil War alongside anti-Franquist and anti-Stalinist communists, to his progressive return to Catalonia following his role in the “cultural revolution” of “institutional psychotherapy” in France. Through translations of texts never before available in English, Tosquelles’s powerful voice reminds us how important politicized relations to institutions are in our times of sick institutions, scapegoating of strangers, and globalized war.

File under: Joana Maso Francesc Tosquelles Robert Hurley (Translator) Mara Faye Lethem Semiotext(e) / Los Angeles Psychoanalysis Philosophy / Psychoanalysis Philosophy Socialism / Communism / Capitalism Sociology / Politics Theory / Essay Protest / Revolt

Claude Cahun
Cancelled Confessions

2024, English
Softcover (w. dust jacket), 256 pages, 22 x 17 cm
Published by Thin Man Press / London

$74.00 - In stock -

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Cancelled Confessions reveals Claude Cahun to be a major surrealist writer and pioneering queer theorist almost a century ahead of her time.

"The re-appearance of this glittering and dissenting semi-lost epic is a gift… Cahun’s writing is stylish, playful and prescient, peopled with angel slang, flowering disavowals, God’s lipstick and an infinite layering of masks."—Daisy Lafarge, author.

In 1930, Claude Cahun (born Lucy Schwob) and her partner, artist Marcel Moore (born Suzanne Malherbe) published their surrealist masterpiece, Aveux non Avenus, translated here as Cancelled Confessions and available in English for the first time in twenty years. Susan de Muth’s revised translation of Cancelled Confessions has a new introduction by art historian Amelia Groom which contextualizes it within contemporary queer discourse.

"It’s a surrealist, trans, queer, autofiction, (anti)memoir, and also none of those things. It’s a text, and a life, felt as connection and at the same time completely singular."—McKenzie Wark, author.

'The kaleidoscopic text is pieced together from diverse fragments… there are philosophical and subversive theological musings, aphorisms and fables, letters and dialogues, dreams and hymns, nightmares and jokes,' writes Groom. The book’s nine sections are prefaced by dreamlike photomontages (reproduced in high definition here) which reflect, illuminate and converse with the verbal content. Upon publication, Aveux non Avenus simply baffled all but a few of Cahun’s friends and admirers, leading Cahun to describe herself as, ‘An unwanted Cassandra’. Now, however, is the time of the remarkably prescient Cahun and Moore.

"Cahun was a pioneer of gender-bending role-playing…eerily ahead of her time she has attracted an almost cult-like following."—The late David Bowie

Cahun and Moore’s appeal is wide and universal. They were adventurers in life as in art. Cahun famously terrified Andre Breton in the 1920s when she appeared in a Paris café with her head shaved and painted gold. Having moved to Jersey in 1938, Cahun and Moore waged a mischievous two-person resistance campaign against the occupying Nazi forces from 1940. Finally caught and imprisoned in 1944, they were sentenced to death in 1945, saved at the very last moment by the armistice.

File under: Claude Cahun Claude Cahun Marcel Moore Susan de Muth Amelia Groom Thin Man Press / London Eros Performance / Dance / Theater Australian Photography Surrealism LGBTQ+

Carlton
by Les Gray

1973, English
Softcover, 96 pages, 18 x 24 cm
1st Edition, Out of print title / used / very good
Published by Sun Books / Melbourne

$65.00 - In stock -

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First printing from 1973 of this photo-book dedicated entirely to the streets of the suburb of Carlton, Melbourne, by Australian photographer Les Gray (1920 - 2013). With an introduction by poet Garrie Hutchison (b. 1949) titled "Canning Street, Carlton, August 1973", this handsome little landscape album of snapshots captures the people, terraces, and shopfronts of early 1970s Drummond, Rathdowne, Cardigan, Faraday, Lygon, Gratton, Station, Canning, and Elgin streets. Published by Sun Books.

Good—Very Good copy with light wear/age.

File under: Les Gray Garrie Hutchison Sun Books / Melbourne Australian Art Australian Photography Photography Out-of-print / Rare Fiction / Poetry

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