Category Archives: Uncategorized

Anomie’s Autumn 2021 brochure now available to view and to download

Anomie_Autumn_2021_brochure_cover_LR

Anomie Publishing’s Autumn 2021 brochure is now available to view online and to download, featuring recent and forthcoming titles along with information about our backlist publications. On the cover this season is ‘Untitled (Seated Man)’, a painting in oil by the late Antiguan artist Frank Walter (1926–2009), whose exhibition at Ingleby Gallery has been staged for the Edinburgh Art Festival 2021. Walter’s work was unknown during his lifetime, but in the decade since his death he has emerged as one of the most distinctive Caribbean voices of the last fifty years.

Also featured is information about The Anomie Review of Contemporary British Painting 2, the new anthology documenting solo exhibitions by sixty contemporary painters born or living in Britain. Artists and venues featured include Hurvin Anderson at Rat Hole Gallery, Tokyo; Frank Bowling at Tate Britain; Lisa Brice at Stephen Friedman Gallery, London; Denzil Forrester at Nottingham Contemporary; Claudette Johnson at Modern Art Oxford; Matthew Krishanu at Midlands Arts Centre, Birmingham; Joy Labinjo at BALTIC, Gateshead; Jenny Saville at Gagosian, New York; Anj Smith at MOSTYN, Llandudno; and Phoebe Unwin at Towner Eastbourne. The complete list of featured artists is included in the brochure.

The next title released this season is Bill Woodrow & Richard Deacon: A Democratic Process – Shared Sculptures and Drawings, which is the first publication to showcase the work they have made together over the past thirty years. The publication has been released to coincide with an exhibition of their shared drawings at IKON gallery, Birmingham, UK, in autumn 2021.

Also released this autumn is Mariele Neudecker – SEDIMENT. This major monograph, published following the first ‘SEDIMENT’ exhibition at Limerick City Gallery of Art and coinciding with a new iteration at Hestercombe, Somerset, in autumn 2021, presents more than 200 works at the interface of art, science and the environment from the 35-year-long career of the German-born, Bristol-based multimedia artist.

Coming soon is the second release under the Anomie Special Projects imprint – a publication entitled Journey of the Mind, co-published by Without Shape Without Form – the first, and currently only – permanent Sikh gallery space in Britain. The publication has been created as an introduction to the history, stories and teachings of Sikhism, illustrated here by means of digital paintings by world-renowned Amritsar-born, Canada-based Sikh artist Kanwar Singh. The publication accompanies a touring exhibition and will be launched in November 2021.

To view and to download a copy of the Anomie Autumn 2021 brochure, please click on the image above.

Now available: The Anomie Review of Contemporary British Painting 2

240pp, softback, 280 x 210 mm, c.200 images

Sixty contemporary painters born or living in Britain discussed through national and international solo exhibitions of their work.

Following the success of ‘The Anomie Review of Contemporary British Painting’ in 2018, a second volume has been created to showcase solo exhibitions that have defined contemporary painting in Britain since the first volume. This new, larger anthology presents the work of sixty artists born or living here through documentation and discussion of solo exhibitions of their work in museums and galleries around the UK and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists presenting some of their first commercial gallery exhibitions, ‘The Anomie Review of Contemporary British Painting 2’ offers an overview of recent activity in the medium of painting in this country.

Artists and venues featured in this new volume include Hurvin Anderson at Rat Hole Gallery, Tokyo; Frank Bowling at Tate Britain; Lisa Brice at Stephen Friedman Gallery, London; Gareth Cadwallader at Josh Lilley, London; Denzil Forrester at Nottingham Contemporary; Sophie von Hellermann at Pilar Corrias, London; Matthew Krishanu at Midlands Arts Centre, Birmingham; Joy Labinjo at BALTIC, Gateshead; France-Lise McGurn at Simon Lee, London; Jenny Saville at Gagosian, New York; Anj Smith at MOSTYN, Llandudno; Tim Stoner at Modern Art, London; Phoebe Unwin at Towner Eastbourne, and many more.

The anthology, which features cover artwork by Jadé Fadojutimi from her spring 2019 exhibition at PEER, London, has been compiled and written by London-based editor and writer Matt Price, who in addition to editing more than fifty catalogues, monographs and books including Phaidon’s international anthologies of painting and drawing ‘Vitamin P2’ and ‘Vitamin D2’, has written for magazines such as Art Monthly, Art Quarterly, ArtReview and Frieze.

Endorsements for the first volume of ‘The Anomie Review of Contemporary British Painting’:

‘It is hard to believe that nobody has thought to publish an anthology of this sort before, so valuable is it to current and future curators, artists and scholars, as well as audiences interested in the medium. A highly enjoyable read.’
– Charlotte Keenan McDonald, Curator of British Art, Walker Art Gallery / National Museums Liverpool

‘This insightful, richly illustrated anthology is a celebration of an artistic medium that is not only surviving but positively thriving. In discussing the work of […] diverse painters, author Matt Price proves a passionate and engaging artworld guide to British painting today.’
– Helen Sumpter, Editor, Art Quarterly, ART FUND

 

ISBN: 978-1-910221-27-3
RRP: £30 / €35 / $40
UK release date: 9 September 2021
US release date: 14 October 2021
Compiled and written by Matt Price
Designed by Joe Gilmore

Published by Anomie Publishing, London

Images:
© Denzil Forrester. Courtesy the artist and Stephen Friedman Gallery, London. Photo: Stephen White & Co.
© Flora Yukhnovich. Courtesy the artist and Victoria Miro, London. Photo: Peter Mallet
© Gareth Cadwallader. Courtesy the artist and Josh Lilley, London. Photo: Benjamin Westoby
© Matthew Krishanu. Courtesy the artist. Photo: Peter Mallet
© Benjamin Senior. Courtesy the artist and BolteLang, Zurich. Photo: Peter Mallet
© Sophie von Hellermann. Courtesy the artist and Pilar Corrias, London. Photo: Damian Griffiths

Coming soon: Mariele Neudecker – SEDIMENT

224pp, softback, 220 x 165 mm, c.190 images

A substantial monograph devoted to one of the leading multimedia artists of her generation.

Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker’s work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere.

This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art – Neudecker’s first comprehensive solo exhibition in Ireland – presents more than 200 works from a 35-year-long career. In addition to a foreword by Úna McCarthy, the gallery’s Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker’s practice. A ‘timeline’ that Neudecker made specially for ‘SEDIMENT’ concludes the publication.

Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker’s archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker’s practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions.

James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and ‘time’, while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker’s work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialization in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker’s photographic series ‘Plastic Vanitas’ (2015).

Dominic Gray, Projects Director at Opera North, offers insight into Neudecker’s work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker’s work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley’s second offering returns to Neudecker’s use of sound – its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates ‘temporal turbulences’ and ‘an entanglement of materiality, space, form and position,’ foregrounding the artist’s desire for viewers to see everything as eternally in flux.

The publication, which is released to coincide with a new iteration of Neudecker’s exhibition ‘SEDIMENT’ at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London.

Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987–90), and an MA in sculpture at Chelsea College of Art and Design, London (1990–1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN’s guest programme, the European Commission’s JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

 

ISBN: 978-1-910221-32-7
RRP: £28 / €33 / $38
UK release date: 7 October 2021
US release date: 11 November 2021
Edited by Greer Crawley
Designed and produced by Herman Lelie and Stefania Bonelli

Published by Anomie Publishing, London

Images courtesy of the artist.
Photography by Jamie Woodley; Bruno Lopes; Benjamin Jones.

Coming soon: Bill Woodrow & Richard Deacon – A Democratic Process

Bill Woodrow & Richard Deacon
A Democratic Process: Shared Sculptures and Drawings

120pp, softback, 230 x 190 mm, c.120 images

Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call ‘shared sculptures’, highlighting the important equality of authorship and responsibility at stake for both these artists.

Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: ‘Only the Lonely’ (1993), ‘monuments’ (1999), ‘Lead Astray’ (2004), ‘On the Rocks’ (2008) and ‘Don’t Start’ (2016). Their recent body of work, ‘We Thought About It A Lot’ (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists’ latest two-person exhibition, ‘We Thought About It A Lot, and other shared drawings’ at Ikon, Birmingham, in autumn 2021.

Bill Woodrow (b.1948) has exhibited internationally, representing Britain at biennales in Sydney (1982), Paris (1982, 1985) and São Paulo (1983). He was shortlisted for the Turner Prize in 1986 and participated in Documenta 8 in 1987. He was elected a Royal Academician in 2002 and had a major retrospective at the Royal Academy of Arts in 2013. Richard Deacon (b.1949) has exhibited internationally throughout his career. He was awarded the Turner Prize in 1987, elected to the Royal Academy in 1998 and to the Akademie der Kunste in Berlin in 2010. A large exhibition of his work was shown at Tate Britain in 2014, the same year as a selected edition of his writings was published. Dr Jon Wood (b.1970) is a writer and curator, specialising in modern and contemporary sculpture. Recent publications and exhibitions include: ‘Sean Scully’ (2020), ‘Contemporary Sculpture: Artists’ Writings and Interviews’ (2020), ‘Tony Cragg at the Boboli Gardens’ (2019) and ‘Sculpture and Film’ (2018). He is a trustee of the Gabo Trust.

 

ISBN: 978-1-910221-31-0
RRP: £24 / €28 / $33
UK release date: 16 September 2021
US release date: 28 October 2021
Edited by Jon Wood
Designed by Joe Gilmore / Qubik

Published by Anomie Publishing, London

Images (C) and courtesy of the artists

Now available: Frank Walter – Music of the Spheres

256pp, hardback, clothbound, 260 x 215 mm, c.150 images

A monograph devoted to the ‘spool’ paintings of one of the most distinctive Caribbean artists of the past century.

This publication has been produced to accompany an exhibition staged by Ingleby Gallery, Edinburgh, for the 2021 Edinburgh Art Festival. The exhibition is the first devoted to Frank Walter’s ‘spools’ – the small circular paintings which, in their consistency of scale and form, provide a lens through which to witness the workings of Walter’s inner eye. Walter’s work was unknown during his lifetime, but in the decade since his death he has emerged as one of the most distinctive and intriguing Caribbean voices of the last fifty years. Painted with a rare directness and immediacy on whatever material came most readily to hand, his works describe a visionary artist – romantically and spiritually inclined in the manner of William Blake or Hilma af Klint – but rooted in the landscape of Antigua, the island of his birth.

His work was the subject of Antigua and Barbuda’s inaugural appearance at the Venice Biennale in 2017, in an exhibition titled ‘Frank Walter: The Last Universal Man 1926–2009’, hailed by The New York Times as ‘the most eye-opening’ of all 85 pavilions and which led Hans-Ulrich Obrist to describe him as the author of ‘an unbelievable body of work, which has not been seen so far. […] He was the Leonardo da Vinci of Antigua’. A major retrospective of several hundred works was displayed at MMK Museum of Modern Art Frankfurt in 2020, accompanied by a 420-page monograph in which the art historian and chronicler of Walter’s life Barbara Paca notes: ‘In their completeness as a group, the spool series brings together all the elements of Walter’s universe, with each painting fitting together in dynamic groupings to provide an investigation into the workings of Walter’s mind…’

This publication, co-published by Ingleby, Edinburgh, and Anomie, London, features contributions by Barbara Paca, Professor Paget Henry, Kenneth M. Milton and Mary-Elisabeth Moore. Edited and produced by Ingleby, the publication has been designed by Joanna Deans / Identity and printed by Graphius, Ghent.

Frank Walter (1926–2009) was born Francis Archibald Wentworth Walter on Horsford Hill, Antigua. He spent much of the 1950s travelling in Scotland, England and West Germany. While in Europe, Walter pursued various creative activities including drawing, painting and creative writing. Walter returned to the Caribbean in 1961, where he began a prolific output of painting, drawing, writing, sculptural work, photography and sound art.

Walter’s work was first exhibited alongside paintings by Alfred Wallis and Forrest Bess in the exhibition ‘Songs of Innocence and Experience’ at Ingleby Gallery in spring 2013. A solo exhibition of his work was presented by The Douglas Hyde Gallery, Trinity College, Dublin, in summer 2013 and later that year, Ingleby Gallery presented a solo display of Walter’s paintings and his hillside home at Art Basel Miami Beach. A major solo exhibition followed at Ingleby Gallery in spring 2015. In 2017, Frank Walter represented Antigua and Barbuda at the Venice Biennale in a show called ‘Frank Walter: The Last Universal Man 1926–2009’. A solo presentation of Walter’s work also took place at Harewood House, Leeds, UK, in the summer of 2017. A major retrospective of the artist’s work was displayed at both MMK Museum of Modern Art Frankfurt in 2020 and at David Zwirner, London, in the spring of 2021.

 

ISBN: 978-1-910221-34-1
RRP: £30 / €35 / $40
UK release date: 9 September 2021
US release date: 14 October 2021
Edited and produced by Ingleby, Edinburgh
Designed by Joanna Deans / Identity

Co-published by Ingleby, Edinburgh, and Anomie Publishing, London

Images courtesy of the artist’s family and Ingleby, Edinburgh.
Photography by Kenneth M. Milton

Anomie’s Spring 2021 brochure now available to view and download

Anomie_Spring_2021_brochure_cover.jpg

Anomie Publishing’s Spring 2021 brochure is now available to view online and to download, featuring recent and forthcoming titles along with information about our backlist publications. On the cover this season is ‘Evacuate’ (2010), a mixed-media installation with game feathers by British artist Kate MccGwire from the forthcoming major monograph spanning twenty years of her practice to date. Also new this season is the first monograph on the work of the winner of the 2018 John Moores Painting Prize, Jacqui Hallum, co-published by Anomie and Kingsgate Project Space, London. Recently released titles include in ‘Jadé Fadojutimi: Jesture’, produced by Pippy Houldsworth Gallery, London, to accompany the second solo exhibition at the gallery by this rapidly emerging British painter, and ‘Nick Hornby – Zygotes and Confessions’, produced to accompany the artist’s first solo exhibition at a public institution, at MOSTYN, Wales, UK, which runs until 18 April 2021.

To view and to download a copy of the Anomie Spring 2021 brochure, please click on the image above.

Now available: Jacqui Hallum – Workings and Showings

128pp, softback, 245 x 170 mm, c.158 images

‘Hallum’s painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways.’––Hettie Judah

This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum’s solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 – 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020.

Hallum is best-known for her mixed-media paintings on textiles – techniques she has developed over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children’s illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap – often in a literal sense of pieces of fabrics layered, pinned, draped and hung together – to form painterly palimpsests that carry a sense of the past with them into the present. Referencing modern visual cultures and movements such as punk, hippy, psychedelia, grunge, acid-house, traveller, folk, indie, goth and new-age, Hallum’s approach to painting embraces alternative visual languages in dialogue with the history of art.

Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing. It is distributed by Casemate Art.

Jacqui Hallum (born 1977, London) graduated with a BA in Fine Art from Coventry School of Art & Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum’s solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018.

 

ISBN: 978-1-910221-23-5
RRP: £25 / €30 / $35
UK release date: 25 March 2021
US release date: 22 April 2021
Edited by Susan Taylor
Designed by work-form

Co-published by Kingsgate Project Space, London, and Anomie Publishing, London

Images courtesy of the artist, Exeter Phoenix, Standpoint, London, and The Walker Art Gallery, Liverpool.
Photography by Jonathan Bassett, Tim Bowditch, Harry Meadley and Dom Moore

Now available: Kate MccGwire

200pp, hardback (clothbound with dust jacket), 310 x 240 mm, c.140 images

Kate MccGwire is an internationally renowned British sculptor whose practice probes the beauty of the uncanny. In creating arresting, sensuous, otherworldly sculptures, she explores ideas relating to Sigmund Freud’s notion of the ‘unheimliche’ or ‘unhomely’, rendering the familiar strange and disturbing, often triggering a visceral response in the viewer.

Growing up on the Norfolk Broads, MccGwire was fascinated by birds and the natural world from an early age, with avian subjects becoming a recurring theme in her artwork. Employing natural materials and in particular, feathers, MccGwire creates freestanding sculptures and site-specific works, her forms evolving intuitively and subconsciously based on subtle patterns or details within her chosen materials.

This major monograph features works spanning her career, from the unsettling fabric and clothing works of the turn of the millennium through to the fantastical site-specific installation and interventions of her solo exhibition in 2020 at Harewood House. In the first essay commissioned for the publication, independent curator and writer Jane Neal explores themes of childhood and family, nature and the body, physics and metaphysics, opening up connections between MccGwire’s works and myths, legends and belief systems across time and cultures. The second essay, by Dr Catriona McAra, an art historian and Curator at Leeds Arts University, explores MccGwire’s oeuvre in relation to the history of soft sculpture, abstraction and surrealism, especially with regard to feminist histories and to notions of counter-modernism. She asserts: ‘The grotesque and the uncanny have sustained a significant hold over MccGwire’s creative imagination, with interlocking thought-forms and otherworldly beings dominating her oeuvre.’

Lavishly illustrated with around 140 images, the publication has been edited by independent curator and writer Mark Sanders and designed and produced by Peter B. Willberg.

Kate MccGwire (b.1964, Norfolk, UK), undertook a BA in Fine Art at University College for the Creative Arts, Farnham, before completing an MA in Sculpture at the Royal College of Art, London. Solo exhibitions include ‘Menagerie’, Harewood House, Leeds (2020); ‘Dichotomy’, The Harley Gallery, Welbeck, UK (2018); ‘Sasse/Sluice’, Aldeburgh Festival, UK (2018); ‘Secrete’, Galerie Huit, Hong Kong (2016); ‘Scissure’, La Galerie Particulière, Paris (2016); and ‘Covert’, Musée de la Chasse et de la Nature, Paris (2014). She has featured in group exhibitions at venues including the Fondazione Berengo, Murano, Italy; Gewerbemuseum Winterthur, Switzerland; Guerlain House, Paris; Centre of Contemporary Art, Torun, Poland; Anton Ulrich Museum, Braunschweig, Germany; the Museum of Arts & Design, New York; and the Contemporary Art Society, London. In 2018 she was the winner of The Royal Academy of Arts’ Jack Goldhill Award for Sculpture.

 

ISBN: 978-1-910221-25-9
RRP: £45 / €52,50 / $60
UK release date: 8 April 2021
US release date: 20 May 2021
Edited by Mark Sanders
Designed and produced by Peter B. Willberg

Published by Anomie Publishing, London

Images © Kate MccGwire 2021. Courtesy of the artist
Photography by J P Bland, Jonty Wilde and Francesco Allegretto

Anomie celebrates its thirtieth title

Anomie Publishing is an international publishing house for the arts based in London, UK, and dedicated to enabling quality arts books – especially small and medium print-run titles – to reach the book trade.

Anomie works in partnership with public, independent and commercial galleries, museums, academic institutions, agencies, arts organisations, charities, collectors, artist studios and private clients to publish and co-publish books.

Anomie was established in summer 2013 by publisher and editor Matt Price, who has worked in arts publishing since the turn of the millennium, collaborating with publishers including Frieze, Hatje Cantz, Koenig Books, Phaidon, Rizzoli, and Thames & Hudson.

At the end of 2015 a second imprint, Anomie Academic, was created as an additional platform for scholarly titles, and in 2019 a third was added, Anomie Special Projects.

Working alongside its international distribution partners, Casemate Art, Anomie’s titles are available in the UK, Europe and the USA, with worldwide distribution for selected publications.

Anomie is proud to announce that this month it is celebrating the release of its thirtieth title, ‘Nick Hornby – Zygotes and Confessions’. It was a real pleasure to work with the artist and with Alfredo Cramerotti, director at MOSTYN, Wales, UK, to produce this publication, created to coincide with the artist’s first solo exhibition at a public institution.

Anomie would like to say a big thank you to all the many amazing artists, galleries, writers, photographers, designers, editors, reprographers, printers, binders, distributors, shippers, sales reps, bookshops and booksellers who work so hard to make our books special and get them out into the world. A special thanks to Joe Gilmore / Qubik, who in addition to designing a good number of Anomie’s titles, has been instrumental in Anomie’s wider visual identity. Anomie is also particularly grateful to its regular sub-editor and proofreader William Lambie.

We’d also like to thank everyone who purchases our titles and supports our activities – independent arts publishing can be a challenging industry and there is little more satisfying than knowing that a reader has enjoyed a publication on our lists.

Anomie’s Winter 2020/21 catalogue now available

Anomie_Winter20_21_brochure_cover_web.jpg

Anomie Publishing’s Winter 2020/21 brochure is now available to view online and to download, featuring recent and forthcoming titles along with information about our backlist publications. On the cover this season is ‘Torso (Lady James)’ (2020), a resin, ink and lacquer sculpture by London-based British artist Nick Hornby from his forthcoming publication ‘Zygotes and Confessions’, co-published with MOSTYN, Wales, UK, on the occasion of the artist’s first solo exhibition at MOSTYN, until April 2021. Also released in January 2021 is the first published book by Jadé Fadojutimi, produced by Pippy Houldsworth Gallery, London to accompany the second solo exhibition at the gallery by this talented British painter. Whether you’re looking for great gift ideas for Christmas, or simply seeking some books to enjoy over the winter lockdown, Anomie has plenty of exciting arts titles to offer.

To view and to download a copy of the Anomie Winter 2020/21 brochure, please click on the image above.