Böcker utgivna av Anomie Publishing

Daniel Crews-Chubb (b.1984) is a London-based painter whose mixed-media works wrestle with the human condition and modes of self-expression. This monograph, Out of Chaos, is published to coincide with his solo exhibition at Timothy Taylor, New York, which brings together new paintings and works on paper. Crews-Chubb's paintings exist somewhere between figuration and abstraction. They draw on a wide variety of references, including ancient cosmologies, historic artefacts, and sculpture, pre-Columbian deities, Cubism, Abstract Expressionism, and Hellenic myth. He intertwines canonical sources and classical allusions in his paintings, creating a highly personal, idiosyncratic lexicon of human, celestial, and bestial figures.Out of Chaos takes its title from the ancient Greek notion that chaos is a state of undifferentiated matter from which the universe emerged. The paintings that form this series feature urgent, gestural marks and passages of vivid color, centred around the figure as a motif. The bodies that he depicts are ageless, non-gendered, and non-racial-- conduits for feeling, rather than signifiers of individuals. This publication reproduces a selection of Crews-Chubb's paintings from 2015 to 2024, starting with his early works and subsequently organised into seven series. Notable among these are the recent Immortals (2022-) and Out of Chaos, which is the focal point of his solo exhibition. The book also features an introduction by the writer Jennifer Higgie, an essay by art historian Matthew Holman, and an interview with writer Amah-Rose Abrams. Higgie considers Crews-Chubb's exploration of the human condition and the role of spirituality in it. In his essay "Death, the World and All Our Woe", Holman expands on the artist's references to myth and religion, describing him as a "creator who annihilates". Holman contextualises Crews-Chubb in an art-historical lineage, considering his work alongside that of Pablo Picasso, Paul Klee, and Willem de Kooning. In an in-depth interview, Crews-Chubb and Abrams delve into the artist's time at art college, the development of his painting technique and the relationship between the past and present in his work. The book is edited by Matt Price and Lada Sorokopud, designed by Import/Export, and published by Anomie Publishing, London, in association with Timothy Taylor and Roberts Projects, Los Angeles. Daniel Crews-Chubb was born in Northampton in 1984. He completed his BA at Chelsea College of Arts, London, in 2009 and undertook the Turps Studio Programme, London, in 2013. He lives and works in London. His first solo museum exhibition will take place at the Long Museum, Shanghai, in November 2024.

Volume 3 of The Anomie Review of Contemporary British Painting surveys solo exhibitions that define recent contemporary painting.

Anomie Publishing is an independent international arts publishing house based in London. This special edition of Anomie's catalogue has been produced to celebrate ten years of making and publishing books with some of the most exciting names in contemporary art (and beyond) of our times.

A monograph dedicated to the work of Japanese artist Minami Kobayashi published to coincide with her solo exhibition The Song of Jujubes, at Frestonian Gallery, London.

A monograph dedicated to the work of British-Nigerian artist Joy Labinjo to coincide with her solo exhibition We Are Briefly Gorgeous at Southwark Park Galleries, London. The publication brings together Labinjo's large-scale figurative paintings made between 2017 and 2024, which capture scenes of joy, leisure and perseverance in everyday life.

The first major monograph on the work of London-based painter Susie Hamilton, featuring an introduction by Charlotte Mullins, an interview by Louisa Buck and an extended essay by Anna McNay. The publication has been edited by Anneka French, designed by Hyperkit, produced by Hurtwood and published by Anomie, London.

Documentation of McKeever's first foray into installation art, seeking to explore the relationships between his photo/painted panels and the physical spaces in which they are presented.British artist Ian McKeever has been working on the international stage for more than five decades. This, his latest publication, documents Against Architecture - an exhibition that had its first incarnation, curated by Robin Klassnik, at Matt's Gallery, London (5 February to 19 March 2017) before being reconceived and presented as Against Architecture, Remodelled at TheGallery, Arts University Bournemouth (3 November 2023 to 18 January 2024), curated by Violet M McClean as part of TheGallery's twenty-fifth anniversary celebrations. McKeever was made an AUB Honorary Fellow in 2002 and launched TheGallery's text + work program in 2004.The exhibition was McKeever's first foray into installation art, seeking to explore the relationships between his photo/painted panels and the physical spaces in which they are presented. For this, along with a team of helpers and student volunteers, he built a structure with 3 x 2-inch stud walling timbers and sheets of plasterboard comprising myriad walls, passageways, openings, ledges, and platforms, challenging the conventional white cube gallery space and bringing the viewer's body into heightened dialogue with both their surroundings and the artworks. The works, a series of the acclaimed artist's abstract paintings combined with ostensibly abstract photographs, pose formal and theoretical questions about perception, visual languages and modes of representation--ideas explored in an essay by Berlin-based English arts writer Mark Prince.The publication features numerous other text contributions: an introduction by Professor Paul Gough, Principal and Vice-Chancellor, AUB; Sue Hubbard, poet, novelist, and art critic; Violet M McClean, Curator at TheGallery, AUB; photography graduate Eliza Naden; interior architecture and design graduate Milly Louise Harvey; Associate Professor Dominic Shepherd, AUB; and Ian McKeever himself. Along with illustrations of the artist's past exhibitions and examples of his works of art, special attention is given to documentation of both iterations of the Against Architecture exhibition, including newly commissioned photographs of Against Architecture, Remodelled at TheGallery by Eliza Naden. The publication, which has been edited by Violet M McClean and Millie Lake, and designed by Warin Wareesangtip, has been produced in an edition of 1000 copies.

Gideon Rubin (b. 1973, Israel) is an artist who lives and works in London. Exploring identity, history, and the inheritance of trauma in his enigmatic paintings, Rubin's subject matter draws on myriad references such as film, popular culture, art history, and literature, creating and investigating mythologies from the recent past. Haunting and subtly theatrical, the paintings often feature faceless yet familiar figures. Underlying each work is Rubin's expressive mark-making, muted palette and understated use of negative space and raw canvas.Look Again is Gideon Rubin's second major trade monograph and showcases his substantial body of work since 2015, including studies of people in nature and scenes of solitude and intimacy. Author and art critic Jennifer Higgie discusses the evolution of his artistic style and his many influences - Balthus, De Kooning, Guston, and Diebenkorn to name a few. Matthew Holman's expansive essay touches on Rubin's cinematic characters, source material, his use of artistic conventions and engagement with sexuality. Holman investigates the meaning of redaction in Rubin's work, both in his faceless portraits and in Black Book - a work in which Rubin used black paint to erase the contents of a 1938 English translation of Mein Kampf. Exhibited at the Freud Museum in London in 2018, Black Book is an exploration of what is left out of history, as much as what is remembered.Painting is essential to Rubin, as both a creative and therapeutic act; "a log keeping him afloat in the middle of the sea," as he puts it. In conversation with fellow artist Varda Caivano, Rubin analyses his motivations, processes, and doubts, and explains his surprising route to painting. Despite coming from a lineage of painters on his father's side, it was largely his mother's academic love of art that galvanized his artistic career, as well as a transformational experience in South America that opened him up to painting. An emotive poem by South Korean author Park Joon sheds further light on Rubin's imagination.

Chart the evolution of Wateridge's style from his earlier realism and complex multi-figure compositions to his more solitary and expressive works by exploring this book's 80 paintings and works on paper made between 2019 and 2022.Uncertain Swimmer is the second monograph on the work of British artist Jonathan Wateridge (b. 1972, Lusaka, Zambia), presenting around eighty paintings and works on paper made between 2019 and 2022. Following on from the bodies of work Enclave and Expatria (2016-18), Uncertain Swimmer develops the artist's interest in modes of representation and the legacies of twentieth-century modernist painting through a visual and social exploration of the motif of the pool, depicting swimmers and sunbathers, often by night. Far from being an escapist environment of aspiration and privilege, Wateridge imbues the pool with a disquieting atmosphere, creating a cumulative feeling of unease and ennui among those present, now seemingly unsure of their world.The publication charts a marked evolution in the artist's style from the realism of his earlier paintings with complex multi-figure compositions to more solitary, gestural, and expressive works. His masterly application of paint takes new forms in the beautiful, curious, and often haunting paintings and works on paper showcased here. Art historian and curator Marco Livingstone's essay considers the change from Wateridge's naturalistic paintings to the flattened, reduced shapes, forms, and lines of the modernism- and abstraction-infused pieces he is making today. Francis Bacon, Edvard Munch, and Paul Cézanne are among numerous art historical influences cited by Livingstone, who ruminates on the identity of the people in Wateridge's portraits and the mercurial spaces they occupy, examining how Wateridge's current critical preoccupations have transitioned from the autobiographical to more formal concerns.In the featured conversation between Wateridge and fellow painter Caroline Walker, the two artists discuss their overlapping experiences studying painting at Glasgow, as well as Wateridge's fourteen-year break from painting until 2005. He eventually returned to the medium when he realized it excited him more than anything else. Wateridge elaborates on his fascinating painting process, staging shoots in studios with hired actors and using elements from the photographs in the paintings, often over a period of years. On his canvases, he will scrape back the paint and reapply it, frequently taking pictures of the paintings in their various stages; he will then print the photographs and draw over them to continue working out what he will do with the final paintings. For Wateridge, a painting works when it stops failing, and he embraces unforeseen conclusions.

Tom de Freston (born 1983) is a British artist and writer, living and working in Oxford. De Freston's multimedia art tackles themes of trauma, humanity, and intimacy across paintings, films, and performance. He builds rich visual narratives, drawing on literature, art history and social issues. He graduated from Cambridge University in 2007 and since 2008 has exhibited his work in over twenty shows to date. A prolific author, Granta published de Freston's debut non-fiction book, Wreck, in 2022 and his second will be released in 2024. Julia and the Shark (Hachette, 2021), created with his wife Kiran Millwood Hargrave, won the Waterstones Children's Gift of the Year and was shortlisted for the Wainwright Prize for Children's Writing on Nature and Conservation. De Freston was chosen to illustrate the twenty-fifth-anniversary edition of David Almond's Skellig, published in 2023.I Saw This was born out of a collaboration between de Freston, filmmaker Mark Jones, and Dr Ali Souleman after de Freston was introduced to the academic in 2017. The paintings and mixed-media works that resulted from the project are an exploration into Souleman's experiences of terrorism, displacement, and war in Syria and ruminate on how art can attempt to represent suffering and terror. In 1996, a bomb explosion in Damascus on New Year's Eve nearly killed Souleman and left him blind. A sensitive and highly-charged topic, Souleman explained to de Freston the importance of engaging with what is happening in Syria. Disembodied mouths, hands, and feet appear frequently in the works. Circles recur as a motif, which bear an uncomfortable resemblance to eyes and eye sockets. In the Mirror paintings which stand upright in black boxes, de Freston embeds ash, screws, thick glue, dirt, and bits of wood into the canvas. They are corporeal and volcanic, visceral and abstract. The sense of molten heat in the paintings was compounded by a fire in de Freston's studio in 2020, which was simultaneously destructive while giving the artist and the collaboration new momentum.The singular artistic process between the three men involves de Freston describing the paintings to Souleman through words and touch. Souleman brings fresh meaning to the works by reading them in new ways, grounding them in his psychological landscape. Mark Jones captures these interactions in striking photographs and film footage. The collaborators' close relationships, with each of their practices feeding into the others', shine through.Habda Rashid, Senior Curator of Modern and Contemporary Art at Kettle's Yard and the Fitzwilliam Museum, introduces I Saw This and considers the challenges and significance of incorporating elements from real life. Journalist Yasmina Floyer's contribution describes her reaction to de Freston's work at his From Darkness exhibition at No 20 Arts, where she found that the sooty-black feet stencils and inky circles depicted resonated with her own experience of child loss. The moving text shows how de Freston's art carries both specific and universal meanings. Editor Matt Price elaborates on the collaborative process and identifies layers of symbolism across the project, structuring his essay with fascinating quotes from Abu al-Ala al-Ma'arri, the eleventh-century blinded Arab philosopher. Crucially, de Freston, Jones, and Souleman's voices are present in the book, with each shedding light on their part in the project. De Freston's art is rooted in empathy and I Saw This is a culmination of this, successfully translating Souleman's world of memory and metaphor.

The first monograph on the artistic practice of Edinburgh-born, London-based artist Alastair Gordon, documenting around 160 paintings and drawings produced since 2012, inspired by the history of trompe l'oeil painting and the quodlibet.

Matthew Krishanu's paintings explore topics including childhood, race, religion, art history, family, grief and love. His subjects - frequently Brown people, especially children - are realised with a shallow pictorial depth, delicate washes of colour, and with a sense of interior life. Through this, Krishanu questions the positions of his painterly subjects and depictions of landscapes in relation to the legacy of European colonialism and the art historical canon. Krishanu's practice is heavily informed by his early childhood spent in Dhaka where his parents moved in order to work for the Church of Bangladesh.This, his first trade monograph, presents a number of series of Krishanu's works: Another Country, Expatriates, Mission, House of God, Religious Workers and In Sickness and In Health. The paintings included have been made in oil and/or acrylic on canvas, linen or board, with the earliest produced in 2007 and most recent completed in 2022.The publication features essays by Mark Rappolt and Dorothy Price, alongside an interview with the artist by Ben Luke. Rappolt, Editor-in-Chief at ArtReview magazine, details the various worlds present within Krishanu's paintings. He draws out key themes within Krishanu's oeuvre such as power, religion, identity and memory, while highlighting its distance from didacticism, and at times, its carefully constructed ambivalence, through examination of key works such as Mission School (2017), Mountain Tent (Two Boys) (2020) and Playground (2020). Price, Professor of Modern and Contemporary Art and Visual Culture at The Courtauld, writes sensitively about solitude, memory and emotion which are palpable within Krishanu's work. In particular, the series In Sickness and In Health, which traces a life path of Uschi Gatward, the artist's late wife, over sixteen years to her untimely death from cancer in late 2021. The series is foregrounded as a significant and intimate body of work that subtly shifts over the time period it depicts. In a new interview with Luke, a critic and editor at The Art Newspaper, Krishanu discusses his practice in relation to ideas of religion, race, global art history, photography, health and personal experiences. Krishanu's work explores, in the artist's own words, 'the puzzle of painting'.The publication has been edited by Georgia Griffiths and Matt Price. It has been designed by Joe Gilmore, printed and bound by EBS, Verona, and produced by Anomie Publishing and Niru Ratnam, London. The publication has been supported by Guy Halamish; Jhaveri Contemporary, Mumbai; Niru Ratnam, London; Taimur Hassan; and Tanya Leighton, Berlin and Los Angeles.Matthew Krishanu (b.1980) was born in Bradford and is based in London. He completed an MA in Fine Art at Central Saint Martins in 2009. Recent solo exhibitions include 'Playground', Niru Ratnam (2022), 'Undercurrents', LGDR, New York (2022), 'Picture Plane', Niru Ratnam, London (2020), 'Arrow and Pulpit', Tanya Leighton, Berlin (2021), 'Corvus', Iniva, London (2019), 'House of Crows', Matt's Gallery, London (2019), 'A Murder of Crows', Ikon Gallery, Birmingham (2019), 'The Sun Never Sets', Midlands Arts Centre, Birmingham, (2019) and 'The Sun Never Sets', Huddersfield Art Gallery, Huddersfield (2018). He has recently been in the group exhibitions 'The Kingfisher's Wing', GRIMM, New York (2022), 'Prophecy', Mead Gallery, Warwick Arts Centre (2022), 'Mixing It Up: Painting Today', Hayward Gallery, London (2021), 'Coventry Biennial', Leamington Spa Art Gallery & Museum, Leamington Spa and Herbert Art Gallery & Museum (2021), 'John Moores Painting Prize', Walker Art Gallery, Liverpool (2021), 'Everyday Heroes', Hayward Gallery/Southbank Centre (2020) and 'A Rich Tapestry', Lahore Biennale (2020).

A large-format publication documenting a body of sculptural works in glass and mixed media created in 2020-21 by internationally acclaimed, New York-based Spanish artist Manolo Valdés (b.1942, Valencia). The book's author, Dr Kosme de Barañano, discusses the abstracted, humanlike busts, contextualising them in the artist's wider practice.

Provides an introduction to the history and teachings of Sikhism, featuring digital paintings by world-renowned Sikh artist, Kanwar Singh.

This book presents the shared sculptures and drawings of Bill Woodrow and Richard Deacon. It showcases the work they have made together over the last thirty years, exhibition by exhibition.

Showcases exhibitions that have defined contemporary painting in Britain since 2018.

The first monograph on Devon-based Jacqui Hallum, an artist known for her mixed-media paintings on textiles.

In this publication to accompany Nick Hornby's first solo exhibition at a public institution, the London-based artist presents a substantial new body of sculptures. Hornby explores themes of portraiture, the body, identity, sexuality and intimacy in the digital era.

Celebrated for her paintings of women in diverse contexts, from luxury Los Angeles hotels to temporary social housing, Caroline Walker navigates subjects including the pay gap, the beauty industry, gender stereotypes and ageism. Here she presents a body of work depicting the daily life of the artist's mother at the family home in Fife, Scotland.

The practice of British painter Greg Rook (b.1971, London) revolves around those who seek to start a new life or wish to lead alternative lifestyles.

Since graduating from the RCA in the early 1980s, Emily Andersen has built a remarkable portfolio of photographs including many artists, musicians, writers, filmmakers, actors and architects, with Derek Jarman, Zaha Hadid, Helen Mirren, Michael Nyman and Eduardo Paolozzi among those featured in this book of black-and-white portraits.

British artist Anna Freeman Bentley presents a series of paintings and works on paper documenting her journey into the exclusive realm of private members clubs around Los Angeles. Alongside a foreword from patron Roberta Ahmanson, the publication features an introduction by curator John Silvis, and an essay by critic Jane Neal.

To The Bramley Family of Frestonia' is a publication documenting a public art project by the Glasgow-based artist Nathan Coley (b.1967).

Matters of Life and Death is a limited-edition publication documenting the recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963). Exploring subjects including abstraction and figuration, portraiture and personae, and fetishism and the male gaze, Patterson's paintings are complex, cryptic and, at times, haunting.

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.