Author Archives: mp1132

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


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


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 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

Louise Giovanelli – In Conversation

Foreword by Paulette Terry Brien, essay and in-conversation by Charlotte Keenan McDonald
78pp + 8pp covers, paperback, 245 x 171.5 mm, c. 35 images

Louise Giovanelli (b.1993, London) is one of Britain’s most promising young painters. This, the artist’s first monograph, documents her first three solo exhibitions, staged in 2016-17 at The International 3, Salford, the Grundy Art Gallery, Blackpool, and Touchstones Rochdale. Featuring a foreword by Paulette Terry Brien, co-founder and co-director of The International 3, Salford, UK, and an essay and an interview by Charlotte Keenan McDonald, Curator of British Art at the Walker Art Gallery, Liverpool, this publication has been beautifully designed by Textbook Studio and published by Anomie in a first edition of 500 copies.

Paintings, both contemporary and spanning the history of art, are Giovanelli’s primary subjects within her own paintings. Picking out sections or details from existing works – some well-known but mostly lesser-known – she reworks and represents them, focussing on aspects that attract her eye and critical attention. These might be unusual or odd formal elements – a neckline or a detail on an item of clothing – or can equally be things that are extraneous to the original, such as how candlelight might fall on it, or how it might appear during restoration work by a conservator. Considering the position of the viewer as much as the painter, Giovanelli explores the history of painting as object, the context of its display and reception, and the very mechanics of painting itself to investigate languages of painting both past and present, resulting in works that are cryptic, other-worldly and strangely enchanting.

Louise Giovanelli graduated in BA (Hons) Fine Art (Painting) from Manchester School of Art in 2015. Her previous group exhibitions include: ‘BEEP’, Wales’ international painting prize; ‘Institution / Outstitution’ at The International 3; ‘Pleasure Islands’ at Art Work Atelier, Salford; ‘The Painted World’ Saatchi Art Showdown Final, Los Angeles; and ‘Ones to Watch’, Galerie Sarow, Pforzheim, Germany. In 2016 Giovanelli had her first solo exhibition, ‘Prima Donna’ at The International 3, Salford, followed by ‘From Here to Here’ at Grundy Art Gallery, Blackpool, ‘Slow to Respond’ at Touchstones Rochdale, and in 2017 a solo exhibition at Warrington Museum and Art Gallery. Giovanelli has been the recipient of a number of prizes including The Leonard James Fine Art Prize, The Manchester Academy of Fine Art Award, and The Ken Billany Painting Prize. In 2015 she was awarded second place in the Saatchi Art Showdown and in 2017 she will undertake a residency at Griffin Gallery, London. Her work is held in private collections in the UK, USA, Canada, China, Germany, Slovakia and Italy.


ISBN: 978-1-910221-13-6
RRP: £18 / €23 / $25
UK release date: 23 March 2017
US release date: 27 April 2017
Designed by Textbook Studio
Edited by Linda Pittwood and Guy Tindale
Published by Anomie

Images: © The artist and The International 3, Salford
Photography by Pantling Studio

Richard Patterson – Matters of Life and Death

Introduction by Paul Moorhouse, essays by Jane Neal and James Cahill
104pp + 4pp covers, hardback in hard slipcase, 292 x 245 mm, c. 49 images

‘Matters of Life and Death’ is a limited-edition publication documenting the remarkable new and recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963).

An engaging introduction by Paul Moorhouse, Senior Curator at the National Portrait Gallery, London, discusses the dynamic and complex relationship between figuration and abstraction in Patterson’s oeuvre. Moorhouse observes: ‘Visual ambiguity defines Patterson’s art, and its most conspicuous feature is the interaction between figurative painting, abstraction and photography that his recent work continues. From the outset he moved between these disparate visual languages, combining them in ways that seemed deliberately oppositional and subversive.’ Patterson’s latest works are as provocative as ever, and as he enters mid-career, have become increasingly accomplished, cryptic, beautiful and, at times, haunting.

In his illuminating essay, art historian James Cahill explores the subjects of portraiture and personae within the artist’s works, asserting that ‘his strategy of distancing his figures – whether through a broken veil (or enclosing frame) of abstract paint, or the gauze-like intercession of a photographic source – throws into relief the idea that selfhood is ultimately a succession of masks.’

Curator and critic Jane Neal deftly navigates ideas of gender and sexuality in Patterson’s practice, taking us into the realms of fetish and the male gaze, proposing that his painting overtly ‘points towards the patriarchal and often misogynistic attitude to women’s bodies still prevalent in magazines, films and social media, even in the twenty-first century. Patterson sets us up to confront the darkness that often underlies the male gaze, even affording it physical form.’

Featuring a selection of works executed between 2013 and 2016, many of which are published here for the first time, the cloth-covered book is presented in a specially printed hard slipcase and has been published in an edition of just 500 copies.

Born in the UK in 1963, Patterson graduated from Goldsmiths College in 1986. He was included in Damien Hirst’s renowned Freeze, Surrey Docks, London (1988); as well as Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New York, USA (1997-00). Other notable exhibitions include The Rowan Collection: Contemporary British & Irish Art, Irish Museum of Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum Houston, Texas, USA (2007) and Attention to Detail, curated by Chuck Close, the FLAG Art Foundation, New York, USA. Patterson has had solo exhibitions at Anthony d’Offay Gallery, London (1997); James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London (2005, 2008 and 2013); the Goss-Michael Foundation, Dallas, USA (2009); and the FLAG Art Foundation, New York (2014). In February 2017 he will present new and recent works at Timothy Taylor 16×34, New York.


ISBN: 978-1-910221-12-9
RRP: £75 / €90 / $100
UK release date: 23 February 2017
US release date: 23 March 2017
Designed by Modern Activity
Edited by Matt Price and Kat Sapera
Published by Anomie

Images: © The artist and Timothy Taylor, London
Renderings courtesy of Modern Activity