Anomie Publishing Books

Description: Scotland-born, London-based artist Caroline Walker is celebrated for her paintings exploring the lives of women, from those living luxury lifestyles to those fleeing oppression. In this publication, which was produced to accompany Walker's first exhibition with Ingleby Gallery, Edinburgh, in autumn 2020, the artist turns her attention closer to home, presenting a series of paintings in which the focus is the artist's own mother, Janet, as she goes about her daily tasks: cooking, cleaning, tidying and tending the garden of the Fife home where the artist spent her childhood. The publication features a newly commissioned essay and an interview with the artist by critic and author Hettie Judah. The essay opens by comparing Walker's works to the Dutch Golden Age, encouraging consideration of everyday domestic scenes. Judah then leads the reader through Walker's latest series of works, exploring the daily routines and household chores that have filled Walker's mother's days for the past forty years, along with the artist's treatment of these activities. Judah deftly locates this latest body of work within Walker's wider practice, opening up discussion of women at work in different industries and notions of invisibility. She asserts: 'While Janet extends Walker's long-held interest in women's work, the series is also a loving undertaking. The artist offers us her mother with great pride, both in particular, and on behalf of other mothers overlooked and working out of sight.' The interview offers further insight into Walker's thoughts in relation to the Janet series, and to the working processes behind it. The publication features around eighty illustrations of the preparatory studies and paintings that comprise this new body of work. It has been designed by Joanna Deans, Identity, with photography by Peter Mallet. The publication was produced by Ingleby, Edinburgh, and printed by Die Keure, Bruges. It was co-published in 2020 by Ingleby and Anomie Publishing, London, in an edition of 1500 copies. Caroline Walker was born in Dunfermline, Scotland, in 1982. She attended Glasgow School of Art from 2000-04, before completing her MA at the Royal College of Art in 2009. Recent and forthcoming exhibitions include Kettle's Yard, Cambridge, the Midlands Arts Centre (MAC), Birmingham, and participation in the ninth edition of the British Art Show. She is represented in a number of public collections including the National Museum of Wales, Cardiff, the UK Government Art Collection, London, Kistefos Museum, Jevnaker, Norway, and Museum Voorlinden & Kunstmuseum den Haag, in the Netherlands. Hettie Judah is chief art critic of the British daily newspaper The i, a regular contributor to The Guardian, The New York Times, Frieze, Art Quarterly, Numéro Art and The Art Newspaper, and a contributing editor to The Plant. Recent publications include a short biography of Frida Kahlo (Laurence King, 2020) and Art London (ACC Art Books, 2019). Anomie Publishing Caroline Walker - Janet - shop the best deal online on thebookbug.co.uk

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ISBN: 9781910221266

Description: Henry Ward (b. 1971) is an artist, educator and writer based in London. This monograph documents a major new body of work created during and following a residency at the Josef & Anni Albers Foundation in Bethany, Connecticut, in 2023, and a subsequent residency in the Morvan, Burgundy, in summer 2024. Ward is interested in line, shape, form and colour relationships. He works primarily as a painter, but also makes drawings and small sculptures. He explores the language of paint by investigating the threshold between abstraction and representation. During the two months he spent at the Albers Foundation, Ward took advantage of the vast studio space and began pinning together cut painted pieces to make assemblages. While there, he produced fifteen paintings on canvas and wood, forty paintings on paper, sixty drawings, twenty 'cut-outs' and a full sketchbook. Exclusively working with acrylic paints, he began experimenting, using masking tape and mixing in different mediums so that he could 'push the paint around'. The publication includes reproductions of many the works Ward made during his stay at the Albers Foundation, organised into 'Paintings', 'Works on Paper' and 'Drawings'. The final section, 'After Bethany', brings together twenty-two acrylic paintings on canvas that the artist created the following year, including during a two-week residency in France. In his foreword, Fritz Horstman, Education Director of the Albers Foundation, sets the scene in Bethany, detailing the studio buildings and the rural winter landscape, as well as Ward's 'exciting path of exploration and growth' during his time there. While in residence, Ward travelled to nearby New York to meet the artist Amy Sillman in her Brooklyn studio. An edited transcript of their conversation is included here, in which they discuss their individual approaches to painting, writing and language. In his essay, the curator and writer Jonathan Watkins charts Ward's thirty-year career as an artist and teacher, drawing out his belief that 'art is, by its very nature, educational'. In her contribution, Jenni Lomax interviewed Ward in his Woolwich studio about the works he created during both residencies, and the lasting impact they have had on his practice. Edited by Matt Price and designed by Joe Gilmore, the book is published by Anomie Publishing, London. Henry Ward (b. 1971) is an artist, educator and writer based in London. Ward has exhibited nationally and internationally for over thirty years. He was shortlisted for the Trinity Buoy Wharf Drawing Prize in 2018, 2019 and 2022 and was included in the Wells Art Contemporary in both 2020 and 2024. Ward has shown in numerous group exhibitions including with Flowers Gallery, London, Messums London and Sid Motion Gallery, London. In 2024 his solo exhibition Medusa & Other Stories, with Kittoe Contemporary, won the Artlogic best exhibition award at the London Art Fair. Anomie Publishing Henry Ward – Bethany - shop the best deal online on thebookbug.co.uk

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ISBN: 9781910221648

Description: Minami Kobayashi (b. 1989) is a Japanese artist based in London. Covering a significant period of development in her practice as a painter, this publication coincides with her second major solo exhibition, The Song of Jujubes, at Frestonian Gallery, London. Kobayashi's paintings depict familiar yet surreal scenes, created from an amalgamation of memories, places and ordinary people. In her dreamlike ambiguous narratives, nature, animals and humans are given equal status; her realms are symbiotic societies with multiple creatures. She captures transitory and fluctuating moments, depicting her protagonists in states of flux, vulnerability and openness. Rendered in a post Impressionist palette, her compositions are a potent mix of playfulness and deeper themes of human and natural life. Bringing together eleven new canvases, The Song of Jujubes takes its title from a song that the artist used to sing as a teenager in her hometown of Nagoya, Japan. It begins with a girl eating one jujube fruit every night, wondering what she will do when they are all gone. Imbued with a sense of nostalgia and loss, the works consider what 'home' means and the strong relationship between people and place. This publication documents Kobayashi's paintings chronologically, from her early works of 2016 to 2024. In a foreword, the Directors of Frestonian Gallery, Matt Incledon and Rollo Campbell introduce the inner world of the artist and the themes of The Song of Jujubes. In an interview with Lisa Wainwright, Kobayashi discusses her time studying at the School of the Art Institute of Chicago, her unique painting technique and the symbolism in her scenes. She also expands upon her artistic influences, including Ukiyoe woodblock prints, the tenets of Buddhism, Tarot and the Nabi painters, such as Félix Vallotton, Édouard Vuillard and Pierre Bonnard. In her essay 'Temperature of a Memory', Laura Allsop analyses Kobayashi's recent paintings in relation to memory and place, particularly the artist's hometown of Nagoya. Edited by Incledon and designed by Joe Gilmore, the book is copublished by Frestonian Gallery and Anomie Publishing, London. Minami Kobayashi (b. 1989, Nagoya, Japan) lives and works in London. She holds an MFA in Painting and Drawing from the School of The Art Institute of Chicago (2018) and a BA in Painting from Tokyo University of the Arts (2016). Kobayashi makes figurative paintings that combine intimacy and mystery through their depictions of ordinary people, animals and places that seem vaguely surreal and ever so slightly offkilter. Recent solo or duo exhibitions include I Spell a Word to Free You (with Adrianne Rubinstein) at Et Al Gallery, San Francisco (2024), Place and Presence (with Patrick Procktor) at Frestonian Gallery (2023) and Somewhere not here at Goldfinch Gallery, Chicago (2022).

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ISBN: 9781910221662

Description: Alastair Gordon (b. 1978, Edinburgh), is an artist based in London. This, the first major monograph of the artist's career, includes over 160 paintings, drawings and documentational photographs, along with notes by Gordon himself. The book introduces this accomplished and engaging new voice in British painting. Gordon's paintings bring the historic languages of genre painting and the quodlibet into a contemporary discourse that pushes the boundaries of realism, figuration and illusionism to focus on everyday moments. His work often elevates seemingly ordinary objects - feathers, matchsticks, postcards - allowing them to speak to wider concerns of beauty, truth, life and death. The documented works, produced between 2012 and 2023, include paintings made in oil or acrylic on MDF, wood, 'found' wood, gesso panel, paper, canvas and occasionally linen. Each is distinctive for its style and for the recurring motifs Gordon selects such as masking tape, paper ephemera and repeated, subtly different studies of the same subject. Gordon's texts describe how objects found mud larking on the banks of the River Thames, shoes from the London City Mission and rags and papers discarded from art students' studios have been depicted in paintings, incorporating the histories and stories of each item (and each person) into his work. The book also features recent works influenced by rural landscapes and parkland. An introduction by Julia Lucero, Associate Director of Nahmad Projects, London, emphasises the importance of nature and of meditation within Gordon's practice. Specifically, Lucero brings out the idea of the 'axis mundi, that metaphysical and mystical connecting point where heaven meets Earth'. She explores the significance of quodlibet, a seventeenth-century trompe-l'oeil painting technique that Gordon favours, rendering brushstrokes invisible and affording everyday objects new significance, even 'profound value'. Humble objects such as a matchstick or paper aeroplane might be elevated to the realms of the divine. An essay by Jorella Andrews, Professor of Visual Cultures at Goldsmiths, University of London, describes the influence of Gordon's time on a research residency in the former studio of Paul Cézanne at Les Lauves on the outskirts of Aix-en-Provence. His experiences there proved pivotal to the direction of his practice, in which both the 'visual misdirection' of quodlibet and the qualities of wood have become central. Andrews brings art historical texts and works of art into relation with Gordon's paintings, making comparisons between subject, form and approach. Andrews' text further details the recent synthesis of two sides of Gordon's work: precise illusionism combined with looser observations made in the natural landscape. Edited by Alastair Gordon Studio, designed by Herman Lelie, printed by EBS Verona and published in 2023 by Anomie Publishing, London, the publication has been generously supported by Howard and Roberta Ahmanson through Fieldstead and Company. Alastair Gordon (b. 1978, Edinburgh) is an artist working with painting, drawing and installation, based in London. Gordon received his BA from Glasgow School of Art and his MA from Wimbledon School of Art, London. His work has been shown in recent solo exhibitions at Ahmanson Gallery in Irvine, California (2017), Aleph Contemporary, London (Quodlibet (2021) and Without Borders (2020)) and in the group exhibition Unpacking Gainsborough (2021) at Cynthia Corbett Gallery, London. Anomie Publishing Alastair Gordon – Quodlibet - shop the best deal online on thebookbug.co.uk

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ISBN: 9781910221488

Description: 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. Anomie Publishing Daphne Oram - an Individual Note of Music, Sound and Electronics - shop the best deal online on thebookbug.co.uk

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ISBN: 9781910221112

Description: Jadé Fadojutimi: Jesture is a publication produced by Pippy Houldsworth Gallery to accompany the second solo exhibition at the gallery of new paintings by London-based artist Jadé Fadojutimi, presented in autumn 2020. The word Jesture in the title of the exhibition and publication evokes a sense of the absurd, responding to the disruption of daily rhythms arising from forced isolation during lockdown. Central to Fadojutimi's practice is a repeated questioning of identity, its fluid nature and how the understanding of notions of pleasure, desire and choice are integral to a sense of self. Addressing the exchange between an individual and their environment, the vivid choices of colour and form derive from the associative qualities of the special items that capture her attention and the memories they invoke. Fadojutimi's studio is filled with objects, drawings and writings that evoke nostalgic pleasure. Powerful memories, experienced whilst listening to film, animation and video game soundtracks, transport Fadojutimi to the first time she encountered them, eliciting a response that is experienced through intense colour. The synthesis of these various influences, through which Fadojutimi understands her sense of self, is transformed into large-scale gestural paintings charged with energy and emotion. Described by Fadojutimi as environments, these complex compositions, neither wholly abstract nor figurative, are built up with layers of oil paint, interrupted by the more linear mark-making made possible by her recent adoption of oil pastels. The introduction of new materials into her painting has enabled Fadojutimi to think more broadly about palette, composition and depth, while translating the spontaneity of her drawing on to the canvas. In her essay for the publication, From Life - Thoughts on the paintings of Jadé Fadojutimi, writer, critic and editor-at-large of frieze magazine Jennifer Higgie writes: In these paintings, the world, in all of its chaotic glory, exists as an intimation. Art is not an explanation: it's a shot of energy, a flash of colour; a shimmer, a reaction, a line thrown out to see who might pick it up. Pictures are made by people and, like people, their tone can switch direction in the blink of an eye. A painting is a very human thing: they're allowed to be messy. Jadé tells me that her aim is for deep emotion, not deep description. This, the artist's first published book, designed by A Practice for Everyday Life and printed by PUSH, London, has been co-published by Pippy Houldsworth Gallery, London, and Anomie Publishing, London. Jadé Fadojutimi (b. 1993) lives and works in London. She earned a BA from The Slade School of Fine Art, London, in 2015 and an MA from the Royal College of Art, London, in 2017. After Pippy Houldsworth Gallery took on representation of the artist and presented her first solo exhibition in 2017-18, she had her first one-person institutional show at PEER UK, London in 2019. Acquisitions by Baltimore Museum of Art, ICA Miami, Tate, and a promised gift to Dallas Museum of Art followed soon after. She had her first solo exhibition in Germany with Galerie Gisela Capitain, Cologne, in 2019 and will have her first solo exhibition in Japan with Taka Ishii Gallery, Tokyo, opening March 2021. Fadojutimi has been selected to participate in Liverpool Biennial 2021. Her first solo US museum exhibition will be presented at ICA Miami, opening in November 2021. She will also have a solo exhibition of new work at The Hepworth Wakefield in 2021.

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ISBN: 9781910221297

Description: 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 rooted in the landscape of Antigua, the island of his birth. The 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 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 the show '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. Anomie Publishing Frank Walter - Music of the Spheres - shop the best deal online on thebookbug.co.uk

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ISBN: 9781910221341