By Daphne Oram (first published in 1972), new introduction by Sarah Angliss
160pp (TBC) + 4pp covers, hardback, 220 x 165 mm, c. 12 b/w images
Daphne Oram (1925–2003) was one of the central figures in the development of British experimental electronic music. Having declined a place at the Royal College of Music to become a music balancer at the BBC, she went on to become the co-founder and first director of the BBC Radiophonic Workshop. In 1972, she authored her only book, ‘An Individual Note of Music, Sound and Electronics’. At a time when the world was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities and possibilities that the new sounds could bring. ‘An Individual Note’ is a playful yet compelling manifesto for the dawn of electronic music and for our individual capacity to use, experience and enjoy it. Read more
Anomie is delighted to announce that the Kickstarter campaign to raise funds to support the production of a new edition of Daphne Oram’s 1972 book, ‘An Individual Note of Music, Sound and Electronics’ has now finished and has been a huge success. Over 500 people from around the world have pledged their support for the campaign, which smashed through the initial target of raising £10,000 to bring in a final amount of £15,637. This means that we can produce the book in a beautiful hardback edition and print more copies.
Daphne Oram was a pioneer and little-known visionary whose work has been a major influence on the development of British experimental electronic music. She was the first director of the Radiophonic Workshop at the BBC, which she co-founded in 1958, and went on to have a remarkable career in making music, teaching, and developing a machine that could generate and control any sound…
By republishing her seminal book ‘An Individual Note of Music, Sound and Electronics’ Anomie Publishing and the Daphne Oram Trust, with support from the Daphne Oram Archive at Goldsmiths University, want to write Daphne Oram back into music history; sharing her vision with new generations of musicians, composers, musicologists and contemporary music lovers.
Watch the promo film and read more
Essay by Martin Herbert, interview with Sina Najafi
288pp + 4pp covers, hardback, 305 x 220 mm, c. 135 colour and b/w images
This is the first major monograph on the British-born, New York-based artist Oliver Clegg. An eclectic, polyphonic and multidisciplinary artist, Clegg’s oeuvre stretches from painting, drawing and printmaking to sculpture, installation, site-specific art, participatory projects and beyond. Indeed, his practice is in many ways a shining example of ‘post-medium’ creativity today, pursuing the essence of art itself beyond any specific medium or artform. The irony is, he’s pretty damn good with each artform too. Read more
Anomie Publishing’s spring/summer 16 brochure is now out, featuring recent, new and forthcoming titles along with information about our backlist publications. Read more
Foreword by Richard Parry, essay by Dr. Luke Skrebowski
64pp + 4pp covers, softback, 305 x 235 mm, c. 30 colour and b/w images
Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the first in a new annual programme by the gallery each autumn that will revolve around the theme of light, and timed to coincide with the famous Blackpool Illuminations – a six-mile-long outdoor display of lights that has drawn many visitors to the town each year since it was first switched on in 1912. The selection of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Read more
Texts by David Cholmondeley, Peter Murray, and Hiram C. Butler
102pp + 4pp covers, Hardback, 260 x 300 mm, c. 60 colour and b/w images
James Turrell is widely acknowledged as one of the most important artists working today. From the mid 1960s onwards his principal concern has been the way we apprehend light and space. In summer/autumn 2015, Houghton Hall, Norfolk, hosted an ambitious and significant exhibition of James Turrell’s light pieces, many collected by the Marquess of Cholmondeley, owner of Houghton, who has long been an admirer of his work. The publication has been produced to document the exhibition, and includes a foreword by David Cholmondeley, a text by Peter Murray, and interview with the artist by Hiram C. Butler. Designed by Peter B. Willberg and printed in Italy, this hardback, cloth-covered publication is essential reading for all admirers of Turrell’s oeuvre. Published by Houghton Hall in association with Anomie. Read more
Texts by Edward Lucie-Smith and Richard Dyer
236pp + 4pp covers, Hardback, 320 x 268 mm, c. 150 colour and b/w images
This is the first major monograph on the work of one of Britain’s most dynamic artists, Wolfe von Lenkiewicz. His striking paintings and drawings mine the hallowed halls of art history and popular culture in search of visual languages, imagery, themes and motifs that he can appropriate, adapt, use and abuse, bringing together different movements, genres, periods and styles in dialogues that are surprising, innovative, challenging and sometimes provocative. Read more
190pp + 4pp covers, Paperback, 220 x 148 mm, c. 60 colour and b/w images
This publication documents an engaging contemporary art project by celebrated Glasgow-based artist Nathan Coley about an extraordinary episode in the history of London’s social housing. At a time when housing and the property market are at the centre of much social, political, economic and cultural debate, Coley’s project is a pertinent and thought-provoking exploration of issues of housing, ownership, history and activism. Read more
Featuring an introduction by art critic, writer and curator Sacha Craddock, and essays by Ben Street and Gabor Gyory, ‘Breathless’ is the first monograph on the emerging British painter Benjamin Senior. His paintings conjure up a world that is delightful, curious and distinctly his own – a world in which bathers lounge around pools and swimmers limber up before diving in; where people work-out and where walkers take us into the countryside, or into the city with their dogs.
But Senior’s paintings are also carefully conceived studies of the human body, of shape, line and form, of tone, light and shadow. They are engaging explorations of composition and colour, pattern and geometry, textures and materials, the natural and the manmade. With his distinctive and stylised iconography and an overriding sense of both silence and the suspension of time, Senior’s oeuvre is preoccupied with repression and expression, freedom and conformity, motion and stasis, engagement and disengagement. Read more
Text by Tamara Tracz
3 volumes, each 72pp + 4pp covers, Hardback in slipcase, 135 x 210 mm, c. 15 colour and b/w images
‘Three Books’, by the London-based writer, filmmaker and artist Tamara Tracz, is a three-hardback-volume slipcased book. It is a story that follows several generations of a family as their lives unfold in various countries during the twentieth century. The family is a Jewish family, and their story profoundly affected by the Holocaust. It is a story of branches of the family destroyed, and of the survival of others.
‘Three Books’ is also autobiographical, as it is Tracz’s own family that is its subject. Tracz lets us in to her immediate family circle today. With a particular focus on her young children, Riva and Constantin, she shares her inner anxieties about being a mother and the fear of losing her children. These are the thoughts of almost any mother, but here are seen through the prism of the family’s experiences of genocide.
But while Tracz is in some respects every woman – and a Jewish woman in particular – she is also, quite inimitably, Tamara Tracz. A unique and inspiring person, she does things in ways that perhaps only she can. For every word in this book has been handwritten and reproduced as she drew it. The text does not flow as regular lines, but in all manner of configurations and patterns, emphasising the mind’s reading of the text, as if being read aloud for us by the author herself. As such, ‘Three Books’ is a form of artist’s book – a story, a journey and an experience that is not easily forgotten. Read more