Category Archives: Uncategorized

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

Anomie’s autumn/winter 2016–17 brochure now available

anomie_brochure_front_cover_web

Anomie Publishing’s autumn/winter 16–17 brochure is now out, featuring recent, new and forthcoming titles along with information about our backlist publications. Highlights include a brand new 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, and a stunning clothbound hardback limited edition publication of the recent paintings of celebrated British artist Richard Patterson. Other recent titles include a major new monograph on the remarkable New York-based British artist Oliver Clegg, living proof of how to excel in ‘post-medium’ artistic practice; ‘Sensory Systems’, a beautifully designed book documenting an exhibition of light-based artworks by Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross at the Grundy Art Gallery in Blackpool to coincide with the Illuminations; and ‘Breathless’ – the first monograph on emerging British painter Benjamin Senior.

Please click on the image above to download a PDF of the Anomie autumn/winter 16–17 brochure.

Daphne Oram – An Individual Note of Music, Sound and Electronics

By Daphne Oram (first published in 1972), new introduction by Sarah Angliss
176pp + 4pp covers, hardback, 220 x 165 mm, c. 25 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. Oram left the BBC in 1959 to pursue commercial work in television, advertising, film and theatre, to make her own music for recording and performance, and to continue her personal research into sound technology – a passion she had had since her childhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis – the Oramics machine.

Oram’s contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust’s ambitions has been to publish a new edition of Oram’s one and only book, ‘An Individual Note of Music, Sound and Electronics’, which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition.

‘An Individual Note’ is both curious and remarkable. When commissioned to write a book, she was keen to avoid it becoming a manual or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, sound and electronics, and the relationships between them. 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. And her thinking was not limited to just the future of the orchestra, synthesizer, computer and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture and thought. ‘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.

This new edition of ‘An Individual Note’ features a specially commissioned introduction from the British composer, performer, roboticist and sound historian Sarah Angliss.

 

ISBN: 978-1-910221-11-2
RRP: £20 / €30 / $35
UK release date: 23 November 2016
US release date: 15 December 2016
Designed by Joe Gilmore / Qubik
Edited by Matt Price
Co-published by The Daphne Oram Trust and Anomie Academic

Archive images: © The Daphne Oram Trust
Courtesy of Goldsmiths Special Collections & Archives, London

3D cover images:
Design by Joe Gilmore / Qubik
Renders by Mark Doherty
Courtesy of Anomie Publishing and The Daphne Oram Trust

Oliver Clegg

Essay by Martin Herbert, interview with Sina Najafi, and an introduction by Matt Price
288pp + 4pp covers, hardback, 305 x 220 mm, c. 135 colour and b/w images

Featuring a playful and stimulating interview with Sina Najafi, a thought-inspiring essay by Martin Herbert, and beautifully designed by Dominique Clausen, 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.

With his erudite, surprising and striking repertoire, and his diverse materials and methods (from glass, wood and steel to neon, resin and concrete, weaving and casting to engraving and industrial manufacture), Clegg offers the viewer a complex, sometimes playful, other times moving journey into existential and ontological notions of objecthood and matter, images and signs, language and communication, creation and being. From the studio and gallery walls to the streets of London and New York, from Freud’s house to the Joshua Tree National Park, from foosball tables to state asylums, Clegg turns up to do remarkable things with the fabric of spacetime.

And yes, it’s an emotional rollercoaster of a ride – in fact, Clegg’s oeuvre spans a significant proportion of the spectrum of human emotion, his unique trans-Atlantic blend of humour, sarcasm and wit coming face to face with the much more serious matters of memory, psychology, truth, belief, meaning, love, life and death. Nostalgia, childhood, games, play and sentimentality career headlong into the realms of kitsch, Pop and the history of the avantgarde, resulting in a delightful yet challenging range of responses from the viewer, whether amusement, camaraderie, joy, bemusement, outrage, disillusionment or a call to arms. Clegg is an artist with great energy, incredible spirit, and one of the most engaging, curious, cryptic and entertaining oeuvres currently making waves in the world of art.

In many ways an exploration of the id, ego and superego, Clegg’s practice plays out the struggle between our basic desires, our rational minds, and the underlying mores that keep us in check. Not unlike Freudian notions of the psyche, Clegg’s practice articulates the battle that takes place inside us all on a daily basis, spilling into the outside world in myriad ways. It is a fight, yes, but it is play too.

 

ISBN: 978-1-910221-07-5
RRP: £30 / €40 / $45
UK release date: 15 September 2016
US release date: 29 September 2016
Designed by Dominique Clausen
Edited by Matt Price
Published by Anomie

Anomie’s spring/summer 16 brochure now out

Anomie_SS16_brochure-cover

Anomie Publishing’s spring/summer 16 brochure is now out, featuring recent, new and forthcoming titles along with information about our backlist publications. Highlights include a stunning clothbound hardback publication of the work of James Turrell at Houghton Hall last autumn; Nathan Coley’s curious and engaging book relating to the squatter community of Frestonia in Kensington and Chelsea in the 1970s; Wolfe von Lenkiewicz’s extraordinary adventures in the history of painting, mixing up periods, styles and genres in ways both entertaining and challenging; Sensory Systems, a beautifully designed book documenting an exhibition of light-based artworks by Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross at the Grundy Art Gallery in Blackpool to coincide with the Illuminations; and a major new monograph on the remarkable New York-based British artist Oliver Clegg, living proof of how to excel in ‘post-medium’ artistic practice.

Please click on the image above to download a PDF of the Anomie spring/summer 16 brochure.

Sensory Systems

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 exhibition and publication feature works by internationally acclaimed artists interested in the technology and science of light, and how this can be used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, each artwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, movement and other factors to evoke a variety of spatial and sensory experiences.

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. Among these, Anthony McCall was one of the early pioneers in the field, alongside figures such as James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his ‘solid light’ installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture made of light.

The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed by Joe Gilmore / Qubik. The project has been supported by Blackpool Council, Coastal Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Art.

ISBN: 978-1-910221-10-5
RRP: £18 / €23 / $26
UK release date: 31 March 2016
Designed by Joe Gilmore / Qubik
Edited by Richard Parry
Co-published by Grundy Art Gallery and Anomie

LightScape: James Turrell at Houghton Hall

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. His study of mathematics and perceptual psychology, as well as his Quaker upbringing and background as a pilot, inform his practice. His first exhibition in 1967 of ‘projection pieces’ used high-intensity light projectors to give the illusion of a solid geometrical object, often seemingly floating in space. From these investigations of light, Turrell went on to begin his series of ‘Skyspaces’. These are enclosed viewing chambers that affect our perception of the sky.

Since then he has continued to create works using light as his medium. Perhaps his most celebrated works are his ‘Ganzfeld’ chambers, whole spaces immersed in light; as well as his more recent ‘Tall Glass’ series, which resemble windows of slowly changing colour. Meanwhile, Turrell continues work on a monumental project at Roden Crater, an extinct volcano in Arizona. Here he has created a series of viewing chambers, tunnels and apertures to heighten our sense of the heavens and earth in one of the most ambitious artistic endeavours of modern times.

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.

This publication has been produced to document and to accompany the exhibition – a project devoted to James Turrell’s work has been a long-held ambition of Lord Cholmondeley. He first discovered Turrell’s work twenty years ago, and in 2000 invited him to Houghton to install a ‘Skyspace’ amongst the trees on the west side of the house. Soon afterwards, a rusty water tank was removed from an eighteenth-century folly in the park to make way for his atmospheric interior space, ‘St Elmo’s Breath’.

The exhibition was centred around works from the Houghton collection, which also includes projections, a ‘Tall Glass’, holograms and prints. The exhibition was complemented by further loans to help illustrate the broad spectrum of Turrell’s work; and a unique, site-specific installation was created especially for Houghton – ‘The Illumination’– lighting the whole west façade of the house that could be viewed from dusk.

LightScape follows three highly acclaimed exhibitions by Turrell in 2013/14 at the Guggenheim, New York, the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston. The National Museum of Australia, Canberra has also hosted a major retrospective of his work which closed just as the exhibition at Houghton Hall opened.

The publication 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.

ISBN: 978-0-9932882-0-3
RRP: £35 / €50 / $55
UK release date: 10 December 2015
Designed by Peter B. Willberg
Edited by David Cholmondeley
Published by Houghton Hall in association with Anomie