Author Archives: mp1132

Anomie’s spring/summer 2019 catalogue is now online

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Anomie Publishing’s spring/summer 2019 brochure is now available, featuring recent, new and forthcoming titles along with information about our backlist publications. On the cover this season is a detail from ‘Patio’ (2016), a painting by the much-admired Zambia-born British artist Jonathan Wateridge from his new monograph ‘Enclave / Expatria’. Wateridge is also one of forty artists featured in ‘The Anomie Review of Contemporary British Painting’ – an anthology documenting and celebrating national and international solo exhibitions by artists born or based in Britain which, since its release last autumn, has become an Amazon UK number one bestseller for contemporary art titles. Also released this season is ‘Greg Rook – Honyocker’, co-published by Anomie and Vento & Associati to coincide with a substantial mid-career survey exhibition of Rook’s work at the Fabbrica del Vapore in Milan this spring. Rook’s paintings lead us on an unforgettable journey through a world of colonies, communities, communes and cults.

To download a copy of the Anomie spring/summer 2019 brochure, please click on the image above.

Coming soon: Jonathan Wateridge – Enclave / Expatria

200pp, hardback (clothbound with dust jacket), 290 x 245 mm, c.130 images

Jonathan Wateridge was born in Lusaka, Zambia, in 1972. Today he lives and works in Norfolk, UK. This, the artist’s first trade monograph, presents two significant bodies of work, ‘Enclave’ and ‘Expatria’. In these series, Wateridge returns to his childhood memories of growing up within the privileged white ex-pat communities of Zambia in the 1970s and 1980s, during the early years of the country’s independence from British rule. ‘Having grown up in an apparent world of sunshine and suburban pools, I sought to overlap those aspects of my formative experiences with the wider issues of the West’s post-colonial role,’ Wateridge has stated. His recent paintings, produced with the artist’s characteristic virtuosity and based on elaborate studio stage sets replete with a varied cast of actors, also seek to explore more lyrical figurative languages offered by the medium, adding to the uneasy dynamics that haunt these memorable and accomplished works.

This hardback monograph, designed by Peter B. Willberg, has been edited and authored by London-based independent curator, writer and art consultant Mark Sanders. The publication features an essay by Dr Gilda Williams, a London correspondent for Artforum who also teaches art writing on the MFA Curating programme at Goldsmiths College, University of London. Presenting over 130 paintings and details, this 200-page monograph is essential reading for anybody passionate about contemporary painting, and makes a valuable contribution to discussion of the post-colonial condition in the visual arts.

 

ISBN: 978-1-910221-21-1
RRP: £40 / €50 / $55
UK release date: 27 June 2019
US release date: 8 August 2019
Edited by Mark Sanders
Designed by Peter B. Willberg

Published by Anomie, London and Wiltshire

Greg Rook – Honyocker

The first trade monograph on the paintings of British artist Greg Rook, exploring ideas of escape, the wilderness and alternative lifestyles, from colonies and communities to communes and cults.
64pp, hardback, 255 x 195 mm, c. 50 images

The practice of Chelsea School of Art and Goldsmiths College graduate Greg Rook (b.1971, London) explores the rich visual history, curious cultural politics and often complex ideologies of those who seek to start a new life or wish to lead alternative lifestyles. From pioneers travelling to new continents to those wanting to stay put and live self-sufficiently, Rook invites us to join him on his own aesthetic and critical journey through a world of colonies, communities, communes and cults.

By means of figurative painting that pushes the boundaries between realism and lyricism, Rook captures something profoundly revealing in terms of the hopes, dreams and successes as well as the disappointments, disillusionment and disasters that radical departures from home life and mainstream society can entail. For some, utopias can turn to dystopias, the Romantic imaginary can turn to tragedy, the sublime can turn to misery. For those fleeing oppression, however, it can, on occasion, be completely the opposite – newfound freedom, affluence and happiness. Rook’s oeuvre, which incorporates cowboys and communists, agrarians and anarchists, believers and book-burners, depicts how the relationship between people and land is regularly fraught with issues, especially when migration and a clash of mindsets or ways of life is involved. What are brave new worlds for some are threatened old worlds for others…

This hardback publication, the first to be devoted to the work of Greg Rook, has been co-published by Vento & Associati and Anomie to coincide with a substantial mid-career survey exhibition of the artist’s work being staged by Vento & Associati at the Fabbrica del Vapore in Milan in spring 2019. Featuring approximately 50 illustrations of works made by Rook since 2006, along with an introduction by London and Milan-based critic and curator Michele Robecchi and a significant newly commissioned essay by Matt Price, the publication offers an engaging commentary on Rook’s long-standing painterly investigation into how people choose to live their lives.

Vento & Associati is a Milan-based company operating in global contexts that specializes in strategic cultural communication within fields such as public affairs, corporate and social responsibility, and cultural fundraising. Vento & Associati manages a programme of exhibitions at the Fabbrica del Vapore as part of the Spazi al Talento initiative of the City of Milan.

 

ISBN: 978-1-910221-20-4
RRP: £25 / €30 / $35
UK release date: 23 May 2019
US release date: 27 June 2019
Designed by Joe Gilmore in association with Anomie

Co-published by Anomie, London and Wiltshire, and Vento & Associati, Milan

Anomie’s autumn/winter 2018 brochure now available

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Anomie Publishing’s autumn/winter 2018 brochure is now online, featuring recent, new and forthcoming titles along with information about our backlist publications. On the cover this season is ‘Birthday Party’ (2017), a painting by talented London-based Scottish artist Caroline Walker from her forthcoming monograph ‘Picture Window’, co-published by Anomie and GRIMM, Amsterdam / New York. Walker is also one of forty artists featured in ‘The Anomie Review of Contemporary British Painting’ – an anthology documenting and celebrating national and international solo exhibitions by the invited artists staged in 2017. Also being published this autumn is ‘Emily Andersen – Portraits: Black & White’, a beautifully produced hardback monograph presenting photographs of celebrated bohemians, intellectuals and artists taken over the past 35 years by London-based RCA alumnus Emily Andersen.

To download a copy of the Anomie autumn/winter 2018 brochure, please click on the image above.

Emily Andersen – Portraits: Black & White

A monograph devoted to the black-and-white portraits of celebrated bohemians, intellectuals
and artists by one of Britain’s foremost photographers
120pp, hardback, 230 x 180 mm, c. 70 images

Emily Andersen has been making photographic portraits of the international avant-garde since graduating from the Royal College of Art in the early 1980s. Having started out by finding her way into some pretty cool sounding private parties in London and New York, she began convincing artists and musicians to pose for her – from Nan Goldin to Nico. Over the past thirty-five years, she has built up a remarkable and beautiful portfolio that includes many high-profile writers, poets, film directors, actors and architects, with Peter Blake, Michael Caine, Derek Jarman, Zaha Hadid, Arthur Miller, Helen Mirren, Michael Nyman and Eduardo Paolozzi among those featured in this new publication devoted to her black-and-white portraits.

In addition to celebrities, Andersen has documented many interesting and inspiring figures who are celebrated and respected within their fields. An illuminating essay by critic Jonathan P. Watts not only explores the lives of some of Andersen’s many sitters and the photographs she has taken of them, but also get to grips with ideas such as the nature of portraiture, photojournalism and the limitations of the documentary photograph, framing them within debates of the late 1980s onwards.

Beyond capturing the essence of these figures and the times in which they are living, Andersen has a particular talent for entering into their private lives, often being invited into her sitters’ own homes. By photographing family members and friends, she gets an angle on them that is often deeply personal, sensitive and honest. Creating works that are carefully composed and choreographed and yet regularly informal and relaxed, there is always a sense that Andersen is more interested in encouraging her subjects to speak through her images than in imposing her own impressions upon them.

Andersen has been commissioned for innumerable magazines and newspapers including the New Musical Express (NME), The Face, Elle Deco, Domus, The Times, The Guardian, The Sunday Telegraph and The Economist. Her works have been exhibited internationally in venues including The Photographers’ Gallery, London; The Institute of Contemporary Art, London; The Scottish National Portrait Gallery, Edinburgh; and The Barber Institute of Fine Arts, University of Birmingham. A winner of the John Kobal prize for portraiture, she has a number of works in The National Portrait Gallery, London and in other public collections including The British Library, London, and The Contemporary Art Society, London. Andersen is a senior lecturer in photography at Nottingham Trent University.

This beautifully produced hardback monograph has been released in both a trade edition published by Anomie and as an artist’s limited edition of fifty signed and numbered copies, accompanied by an original print. The cover image is of Chilean-French filmmaker Alejandro Jodorowsky and his son, Axel, London, 1989.

 

ISBN: 978-1-910221-17-4
RRP: £30 / €35 / $40 (trade edition)
UK release date: 18 October 2018
US release date: 29 November 2018
Designed by Melanie Mues / Mues Design

Images:

Michael Caine, Langan’s Brasserie, London, 1990

Molly, Martha and Michael Nyman, London, 1990

Robert Alistair McAlpine, Baron McAlpine of West Green; Jane McAlpine, London, 1989

Martin and Mimi Richman, London, 1992

Louisa and Denys Lasdun, London, 1993

Stephen and Lola Frears, London, 1993

Diamanda Galás, London, 1993

Bill and Sanso, London, 1994

Anna and Eduardo Paolozzi, London, 1995

Cover image: Alejandro and Axel Jodorowsky, London, 1989

Caroline Walker – Picture Window

The most comprehensive monograph to date on one of the leading British painters of
her generation.
312pp, softback, 290 x 232 mm, c. 170 images

Celebrated for her striking, sometimes playful yet often challenging paintings of contemporary women in diverse architectural settings, Caroline Walker explores myriad social, cultural,
economic, racial and political factors in her practice that affect women’s lives today. From the luxurious hotels of Los Angeles to the temporary social housing of female asylum seekers
arriving in Europe, from nail bars to the private pools and nighttime parties of the European elite, Walker deftly broaches both everyday and more provocative subjects ranging from the pay gap to migrant workforces, the beauty industry to domestic roles, gender stereotypes to ageism. By addressing such themes and through her painterly virtuosity, Walker is rapidly
becoming established as one of the leading British painters of her generation.

The publication features an essay and interview with the artist by art historian Marco Livingstone, along with a text by Andrew Nairne, director of Kettle’s Yard, University of Cambridge, addressing the series ‘Home’, depicting the lives of women in temporary accommodation in London. Dr. Rina Arya, a professor of visual culture at the University of Huddersfield, focusses in her text on Walker’s paintings of nail bars, while a text by Paris-based writer Dr. Lauren Elkin introduces Walker’s glimpsed scenes of women at work, whether in hair salons, restaurants or office buildings.

‘Picture Window’ is the most comprehensive publication to date on the work of London-based Scottish artist Caroline Walker (b. 1982, Dunfermline). A graduate of the Glasgow School of Art and the Royal College of Art, London, selected solo exhibitions include Kettle’s Yard, Cambridge; GRIMM, Amsterdam / New York; Anat Ebgi, Los Angeles; ProjectB, Milan; and Space K, Gwacheon.

Developed by GRIMM, Amsterdam / New York, and co-published with Anomie Publishing, UK, ‘Picture Window’ is beautifully illustrated by around 170 images including paintings, studies, drawings and photographs. The publication is being launched to coincide with a presentation of Walker’s works at Frieze London in autumn 2018.

 

ISBN: 978-1-910221-18-1
RRP: £35 / €40 / $45
UK release date: 04 October 2018
US release date: 15 November 2018
Designed by GRIMM (Sebastiaan Brandsen & Tamara van Latum)

Co-published by Anomie, London and Wiltshire, and GRIMM, Amsterdam / New York

The Anomie Review of Contemporary British Painting

The paintings of 40 contemporary artists from Britain discussed through national and
international solo exhibitions of their work
160pp, softback, 280 x 210 mm, c. 160 images

There has been a huge injection of energy within contemporary painting in Britain in the past few years – part of a wider international dynamic that has seen the medium of paint explored with a renewed sense of interest, excitement and enjoyment. It is an energy that can be sensed all the way through the industry,from the art schools and the grass-roots painting community to the leading galleries, major museums and prominent festivals, biennials and art fairs. ‘The Anomie Review of Contemporary British Painting’ considers and celebrates the work of forty artists whose practices have been shaping and defining Britain’s contribution to current painting on the national and international stage.

The anthology documents the work of the invited artists by means of solo exhibitions in public museums and galleries, as well as in commercial, independent, university and artist-led spaces, both in Britain and abroad, during 2017. The publication presents around 160 images, including installation views from many of these exhibitions, giving both context and a sense of scale to the works.

The anthology features the work of forty artists at various stages in their careers, from high-profile, internationally renowned artists to up-and-coming names. Featured artists and exhibitions include: Tom Anholt at Mikael Andersen, Copenhagen; Gillian Carnegie at Cabinet, London; Peter Doig at Michael Werner, London, Kaye Donachie at Le Plateau, Frac Ile-de-France, Paris; Nick Goss at Josh Lilley, London; Lubaina Himid at Badischer Kunstverein, Karlsruhe; Ryan Mosley at Eigen + Art, Leipzig; Chris Ofili at Victoria Miro Venice; George Shaw at Maruani Mercier, Brussels; Raqib Shaw at The Whitworth, Manchester; Clare Woods at DCA, Dundee; Rose Wylie at Serpentine Galleries, London; and Lynette Yiadom-Boakye at the New Museum, New York.

The anthology has been compiled and written by Matt Price, who in addition to editing around fifty monographs, catalogues and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and D2, has written for magazines including Art Monthly, Art Quarterly, ArtReview, Flash Art, Frieze and Modern Painters.

 

ISBN: 978-1-910221-16-7
RRP: £30 / €35 / $40
UK release date: 20 September 2018
US release date: 25 October 2018
Designed by Joe Gilmore / Qubik
Compiled and written by Matt Price
Published by Anomie

Cover image: © Tom Anholt, courtesy of Mikael Andersen, Copenhagen

Anomie’s spring/summer 2018 brochure now available

Anomie_brochure_SS18_front_cover

Anomie Publishing’s spring/summer 2018 brochure is now out, featuring recent, new and forthcoming titles along with information about our backlist publications. One highlight is a new publication of extraordinary paintings of dead and dying flowers by British artist Justin Mortimer, entitled ‘Hoax’ and published to coincide with a solo presentation by the artist at The Armory Show in New York in spring 2018, with Parafin gallery, London. Another highlight this season is a publication of paintings by British artist Anna Freeman Bentley, exploring the subject of private members clubs, primarily in Los Angeles, which has been co-published by Anomie and Pinatubo Press to coincide with an exhibition of the works at The Ahmanson Gallery, Irvine, California. The success of Anomie’s recent edition of British electronic music pioneer Daphne Oram’s 1972 book ‘An Individual Note of Music, Sound and Electronics’, co-published with the Daphne Oram Trust, continues unabated, and as Anomie approaches its fifth birthday later this year, we’re delighted to have reached our twentieth title published to date – a big landmark for us, and a small success story for independent and international arts publishing today. Thanks to everyone for their continued support, enabling us to bring small and medium print run titles to the international book trade.

To download a copy of the Anomie spring/summer 2018 brochure, please click on the image above.

Anna Freeman Bentley: Exclusive – Paintings of Private Members Clubs

Foreword by Roberta Ahmanson; introduction by John Silvis; essay by Jane Neal
64pp, hardback, 315 x 250 mm, c. 40 images

In this publication, British artist Anna Freeman Bentley presents a series of new paintings and works on paper documenting her journey into the exclusive realm of private members clubs. Having started out in her home city of London, her research took her to California, and in particular to some of the most desirable clubs of Los Angeles, where through friends, professional networks and a number of courteous emails, doors were temporarily opened to her. In places where photography is often strictly forbidden, Freeman Bentley was authorized to document some of the many luxurious lounges, well-stocked bars, and high-end restaurants that are second homes to the members who pay considerable fees to use them. Whether celebrities, self-made business people or those born into lavish lifestyles, members clubs are synonymous with wealth and success, where people can relax, socialize, or do deals in a smart and protected environment free from fans, paparazzi, or the general public. It is a world of affluence and glamour tailor-made for the jet-set, a meeting place where artists and art collectors fly in and drink cocktails, where high-net worth individuals and media moguls hang out with the great and the good from Hollywood or the music industry, and where social media stars can switch their phones to flight mode for a while and chat freely with friends. Freeman Bentley uses the photographs she takes of these interior and exterior spaces out of hours as the starting point for unpeopled drawings, collages, and painted sketches, transforming her studies of members clubs into complex paintings that hover between reality and invention.

Freeman Bentley is known for her paintings of architecture and interiors, not only exploring the physical attributes of the built environment, but also raising questions about how and why they are used, and how this is reflected in the ambiance and dynamics of a given space. At a time of heightened awareness of wealth inequality, through her painterly works Freeman Bentley gives us a glimpse inside the spaces of the social milieu of the financially successful, the movers and shakers, the leaders and trend setters, inviting us to respond as viewers in whatever ways we choose. For some, it may be a matter of curiosity or of desire and aspiration; for others the very idea of members clubs might be elitist or snobbish. Yet for others it might be an occasional treat, or simply an everyday occurrence, the norm. With her characteristic combination of matter-of-fact observation, critical reflection, and atmospheric perception, Freeman Bentley presents us with a body of work that is as enigmatic as it is intriguing, asking us not only about issues of individuality and communality, private and public life, exclusivity and inclusivity, but also about how we each fit into such dialectics, and what this says about our inner and outer lives.

‘Exclusive’ has been co-published by Pinatubo Press, Inc., and Anomie Publishing, and released to coincide with an exhibition of the same name at the Ahmanson Gallery, Irvine, California, in spring 2018. This hardback publication showcases images of approximately twenty paintings and as many works on paper, alongside a foreword from collector and patron Roberta Ahmanson, an introduction by the exhibition curator John Silvis, and a specially commissioned essay from critic Jane Neal.

Anna Freeman Bentley (b.1982) is an artist based in London. She studied painting at Chelsea College of Art and Design before graduating with an MA from the Royal College of Art in 2010. She has had solo exhibitions at venues including Wolfson College, Oxford (2017), Husk Project Space, London (2015), Workshop Gallery, Venice (2012), and Galerie Kollaborativ, Berlin (2007). Selected group exhibitions include ‘London Now’ at Space K, Seoul, South Korea (2017), ‘Der Kuhle Glanz’ at 68projects, Berlin (2017), the East London Painting Prize (2015 and 2014), the Prague Biennale 5 (2011), and Bloomberg New Contemporaries (2009). Freeman Bentley has been the recipient of numerous awards and residencies, including Breathing SPACE Residency, London (2015-16), the ERDF New Creative Markets Programme, London (2013-14); Artist in Restaurant at Pied à Terre, London (2012); The Florence Trust Artists Residency, London (2010-11) and The Chelsea Arts Club Trust Award, London (2009).

 

ISBN: 978-1-910221-15-0
RRP: £30 / €35 / $40
US release date: 19 April 2018
UK release date: 10 May 2018
Designed by Reynolds Wulf Inc.
Edited by Ann Hirou
Co-published by Pinatubo Press, Inc., and Anomie

Images: © The artist
Photography by Anna Arca

Justin Mortimer – Hoax

Essay by Freya Cooper Kiddie
88pp, hardback, 255 x 195 mm, c. 45 images

Published to coincide with a solo presentation of the new ‘Hoax Suite’ by British painter Justin Mortimer at The Armory Show in New York in spring 2018 with London-based gallery Parafin, the publication presents the thirty works that comprise this exceptional series of paintings depicting dead and dying flowers, offering an intense and accomplished exposition of still life, or perhaps more aptly, nature morte. From one direction, pure abstraction threatens to rupture into physical space and matter; from the other, figuration almost collapses into the abstraction that engulfs it. With Mortimer’s characteristic combination of darkness and beauty, melancholy and metaphysics, observation and interpretation, the Hoax series is not only a significant body of work within the artist’s oeuvre, but perhaps also one of the most significant series of paintings of flowers in our time.

Alongside new photography of all the paintings, the book features a specially commissioned essay by London-based writer Freya Cooper Kiddie, in which she discusses the genesis and evolution of the suite of paintings, its connections to Mortimer’s wider practice and to art history, and opens up critical lines of enquiry ranging from 20th-century experimental film to existential notions of mortality, from altered states of mind to the concept of still life as portraiture. Cooper Kiddie investigates the techniques and aesthetics of a series that fuses decaying organic matter with corrupted digital technology.

While ‘The Hoax Suite’ of paintings can be read as an exploration of the medium of paint and of the dialogue between figuration and abstraction through a single subject, its themes are manifold, from the contemplation of mortality to faded beauty and lost love – fragrant flowers in full bloom, as if to deceive us, soon decay. Here, in these dank, acrid, darkly psychedelic works, Mortimer shines a flashlight on the spectral beauty of death, and in doing so, reminds us that life is the agonizing yet ecstatic explosion of colour that fleetingly fills the void.

Justin Mortimer graduated from the Slade School of Art in 1992 and lives and works in London. Recent solo exhibitions include Parafin, London (2017 and 2015), Djanogly Gallery, Lakeside Arts, University of Nottingham (2015), Future Perfect, Singapore (2015), Haunch of Venison, London (2012), and Mihai Nicodim Gallery, Los Angeles (2011). Recent group exhibitions include The New Frontiers of Painting, Fondazione Stelline, Milan (2017-18), Disruptive Imagination, Gallery of Fine Arts, Ostrava, Czech Republic (2017), This Side of Paradise, Sotheby’s S/2, London (2014), Are you alright? MOCCA, Toronto (2013), Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary (2012), and the 5th Prague Biennial (2010). His work is in collections including the National Portrait Gallery, London, the Royal Society for the Arts, Bank of America, NatWest Bank and the Flash Art Museum of Contemporary Art in Trevi, Italy.

 

ISBN: 978-1-910221-14-3
RRP: £30 / €35 / $40
UK release date: 15 March 2018
US release date: 12 April 2018
Designed by Modern Activity
Edited by Matt Price
Published by Anomie

Images: © The artist and Parafin, London
Photography by Peter Mallet