Bøger udgivet af Anomie Publishing

A publication documenting Scottish artist Callum Innes's Tondos - round paintings that continue a long tradition in art history and extend the acclaimed artist's explorations into abstraction, colour, line, shape and form. This richly illustrated publication features an introduction by Jeffrey Grove and an essay by art historian Éric de Chassey.

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.

Presents the work of London-based Anglo-Dutch artist Nick Goss of his lyrical paintings inspired by the artist's travels along the Dutch coastline.Smickel Inn is a publication of works by London-based Anglo-Dutch artist Nick Goss, produced by Ingleby, Edinburgh, and co-published with Matthew Brown, Los Angeles, and Anomie Publishing, London. Along with around sixty plates and illustrations, the publication features an essay by writer, journalist, and critic Hettie Judah, and an in-conversation between Goss, fellow painter Michael Armitage, and writer Thomas Marks."Smickel Inn is a real place in an unreal place," writes Judah, "a snack bar on an outer extremity of the port of Rotterdam." It's a venue that is popular with port workers and sailors--a clientele of regular and transitory people often involved in sea freight or oil shipping, though their lives, personalities, and stories are largely played out in Goss's mixed-media paintings through the bar's interior décor: an old vase with fresh flowers, a stack of glass ashtrays, a well-worn piano with a pile of books on top, an eclectic selection of picture frames with faded scenes, and a clock that might only be right twice a day. Filtered through Goss's imagination, Smickel Inn carries its history with it, much of it decorating the countertop; it's a venue that charms with its informality--a place that knows itself, and its disparate customers. In real life, the bar has a cinematic view of the port and the North Sea, translated here, through Goss's creative process of painting and silk-screening, into a scene from an engraving of seventeenth-century Sicily. Fragments from different places and eras infiltrate his images, creating a patina of palimpsests, visual echoes, perhaps, of memories of travelers coming through the port.The body of work takes us around the wider Dutch coastline and beyond - we see passengers on foot disembarking a ferry, have a backseat view of a car ride around the village of Stavenisse, and join a night-time campfire on the beach at Scheveningen, among other more mysterious, if not abstruse, locations and scenarios. Observation from contemporary life mingles with visual culture spanning centuries and continents in Goss's oeuvre, creating lyrical yet strangely haunting and melancholic paintings, trapped in time somewhere between personal experience and collective memory.

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.

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.

The work of artist Jade Fadojutimi, to accompany Fadojutimi's second solo exhibition with the Pippy Houldsworth gallery.

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).