Following the success of The Anomie Review of Contemporary British Painting in 2018, a second volume has been created to showcase more than sixty 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 in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries around Britain and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists staging 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 Britain. Artists and venues featured in this new volume include Hurvin Anderson at Rat Hole Gallery, Tokyo; 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; Benjamin Senior at BolteLang, Zurich; Anj Smith at MOSTYN, Llandudno; Tim Stoner at Modern Art, London; and Phoebe Unwin at Towner Eastbourne. The anthology, which features cover artwork by Jadé Fadojutimi from her spring 2019 solo 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 monographs, catalogues and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and D2, has written for magazines such as Art Monthly, Art Quarterly, ArtReview, Flash Art, Frieze and Modern Painters. Endorsements for the first volume of The Anomie Review of Contemporary British Painting: "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 "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 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 DouglasHyde 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.

"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 and refined 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. 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. Jacqui Hallum (b.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. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.

Kate MccGwire is an internationally renowned British sculptor whose practice revolves around the uncanny. Employing natural materials and in particular, feathers, MccGwire creates arresting, sensuous, otherworldly sculptures and site-specific works, exploring ideas relating to Sigmund Freud’s notion of the ‘unhomely’ and often rendering the familiar strange and disturbing.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 her essay 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.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. It is published by Anomie Publishing, London.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, Toruń, 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.

Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021. Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks. Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby’s practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously." The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group. Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

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.

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).

Before Donald Trump was President, he was Donald Trump. The Game: All Things Trump is a journey through the world Donald Trump created for himself starting in the 1980s. His brand, his name, his casinos, his hotels, his products, his everything. Among the 1,000-plus objects (of which 500 are shown here) amassed from auctions, eBay, and word of mouth are some of Trump’s greatest hits including Trump Shuttle, Trump Vodka, Trump University, Trump Steaks and the Ego sign from the Ego Lounge at the Taj Mahal. The scope of the project is as vast as Donald Trump’s reach has been, showing that long before he became president, Donald Trump wrapped himself around America and called it his.

Gareth Nyandoro is noted for his large works on paper, which often spill out of their two-dimensional format and into installations that include paper scraps and objects found in the street markets of Harare, where he lives and works. The artist’s primary source of inspiration is the rapidly changing urban and cultural panorama of Zimbabwe. Inspired by his training as a printmaker, and derived from etching, the artist’s distinctive technique, 'Kucheka-cheka', is named after the infinitive and present tense declinations of the Shona verb 'cheka', which means 'to cut'. This, the artist’s first monograph, documents selected bodies of work created since 2015 and presented in exhibitions at venues including the Palais de Tokyo, Paris, Quetzal Art Centre, Portugal, Tiwani Contemporary, London, Modern Art Oxford, and the Rijksakademie van beeldende kunsten, Amsterdam. The publication features an introduction by curator Adélaïde Blanc, who curated Nyandoro’s 2017 solo exhibition 'Stall(s) of Fame' at the Palais de Tokyo. The publication also includes a newly commissioned essay from Cape Town-based writer, critic, and editor Sean O’Toole, which discusses notions of ‘cutting’ and ‘spilling’ in Nyandoro’s practice against a backdrop of both Zimbabwe’s colonial past and ‘southern urbanism’ – city life in the global South.Gareth Nyandoro was born in 1982 in Bikita, Zimbabwe. He lives and works in Harare, Zimbabwe. Recent solo exhibitions include '…Read All About', Van Doren Waxter, New York (2018); 'Stall(s) of Fame', Palais de Tokyo, Paris (2017); 'Stall(s) of Fame', Tiwani Contemporary, London (2017). Selected group exhibitions include 'Par Amour du Jeu', Magasins Généraux, Paris (2018); 'Drawing Africa on the Map', Quetzal Art Centre, Portugal (2018); 'Five Bhobh – Painting at the End of an Era', Zeitz MOCAA, Cape Town (2018); 'Kaleidoscope', Modern Art Oxford (2016) and 'Paper Cut', Tiwani Contemporary, London (2016). Nyandoro won the FT/Oppenheimer Funds Emerging Voices award in 2016 and was a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam, in 2014-15.The publication, launched alongside a solo presentation of work by the artist at Art Basel Miami Beach in December 2019, is produced by Tiwani Contemporary with generous support from the A. G. Leventis Foundation, allowing for the production of artists’ books and their dissemination to libraries and institutions across the globe. Designed by Joe Gilmore and co-published with Anomie Publishing, the series is distributed internationally by Casemate Art.

The practice of Chelsea School of Art and Goldsmiths College graduate Greg Rook (b.1971, London) explores the rich visual history, curious cultural politics and often complex ideologies of those who seek to start a new life or wish to lead alternative lifestyles. From pioneers travelling to new continents to those wanting to stay put and live self-sufficiently, Rook invites us to join him on his own aesthetic and critical journey through a world of colonies, communities, communes and cults. By means of figurative painting that pushes the boundaries between realism and lyricism, Rook captures something profoundly revealing in terms of the hopes, dreams and successes as well as the disappointments, disillusionment and disasters that radical departures from home life and mainstream society can entail. For some, utopias can turn to dystopias, the Romantic imaginary can turn to tragedy, the sublime can turn to misery. For those fleeing oppression, however, it can be completely the opposite – newfound freedom, affluence and happiness. Rook’s oeuvre, which incorporates cowboys and communists, agrarians and anarchists, believers and book-burners, depicts how the relationship between people and land is regularly fraught with issues, especially when migration and a clash of mindsets or ways of life is involved. What are brave new worlds for some are threatened old worlds for others… This hardback publication, the first monograph to be devoted to the work of Greg Rook, has been co-published by Vento & Associati and Anomie to coincide with a substantial mid-career survey exhibition of the artist’s work being staged by Vento & Associati at the Fabbrica del Vapore in Milan in spring 2019. Featuring approximately fifty illustrations of paintings and works on paper made by Rook since 2006, along with an introduction by London and Milan-based critic and curator Michele Robecchi and a significant newly commissioned essay by Matt Price, a leading voice in the field of contemporary British painting, the publication offers an engaging and pertinent commentary on Rook’s long-standing painterly investigation into how people choose to live their lives.Vento & Associati is a Milan-based company operating in global contexts that specializes in strategic cultural communication within fields such as public affairs, corporate and social responsibility, and cultural fundraising. Vento & Associati manages a programme of exhibitions at the Fabbrica del Vapore as part of the Spazi al Talento initiative of the City of Milan.

Ever since Linda Nochlin asked in 1971, ‘Why have there been no great women artists?’, art history has been probing the female gaze. Through scholarship and exhibitions, readings have been put in place to counter prevailing assumptions that artistic creativity is primarily a masculine affair. Fifty Works by Fifty British Women functions as a corrective to the exclusion of women from the ‘master’ narratives of art. It introduces fifty artworks by known and lesser-known women – outstanding works that speak out. Fifty commentaries by fifty different writers bring out each artwork’s unique story – sometimes from an objective art historical perspective and sometimes from an entirely personal point of view – thereby creating a rich and colourful diorama. This exhibition does not, however, attempt to present a survey or to address all the arguments around the history of women and art. Anthologies are of necessity incomplete, and many remarkable imaginations are not here represented. Women artists have been set apart from male artists not only to their own disadvantage but also to the detriment of British art. While there were some improvements for women to access an artistic career in the twentieth century in terms of patronage, economics and critical attention – all the things that confer professional status – women had the least of everything. By showcasing just a few of the remarkable works produced, this exhibition draws attention to the fact that a vision of British twentieth century art closer to a 50/50 balance would not only provide a truer account, but also a more vivid and meaningful narrative.

First published to accompany major retrospective exhibitions at West Cork Arts Centre and the Irish Museum of Modern Art (IMMA), this full-colour illustrated monograph explores William Crozier’s whole career, taking in the second half of the twentieth century – a key period in the development of British and Irish art. The catalogue is furnished with essays presenting brand new research by renown art historians and curators, Illuminated by unpublished sources and personal memoirs. What emerges is a picture of the continuum that runs through all of Crozier’s work, revealing a fascinating narrative that, far from a story of transformation from darker, earlier imagery into the apparent hedonism of later landscapes, is one of continuity of purpose in Crozier’s mind-set that connects 1950s Britain and Ireland with the concerns of the new millennium. Profoundly affected by post-war existential philosophy, Crozier consciously allied himself and his work with contemporary European art throughout the 1950s and 1960s, towards painters such as Jean Dubuffet, Pierre Soulages, Hans Hartung and Nicolas de Staël. The landscape became the source of visceral paintings: For Crozier, ravaged landscapes symbolised the torment and fear of the post-war condition at the heart of existentialism. Only ten years separate these images of traumatized humanity from the luxuriantly colourful works inspired by the landscape of West Cork. His early skill as a colourist reaches its zenith in paintings that capture the essence and appearance of the West Cork landscape in ways immediately recognisable to the viewer, but they are also concerned to capture a landscape during a period of great physical and social change. Crozier believed that when painting the Irish landscape he must, “Tell the truth. Say it simply.”

First published to accompany the exhibition, John Golding: Pure Colour Sensation at Piano Nobile gallery, this fully colour illustrated catalogue showcases fifteen years of exceptional paintings by John Golding. Although an acclaimed art historian, Golding considered himself, first and foremost, a painter. His work features in prominent institutions such as the Tate, MoMA, the Scottish National Gallery, the British Council, and the Yale Center for British Art. Golding had numerous one-man shows in the UK and abroad, and also participated in many group exhibitions, including international shows with his close friend Bridget Riley. He was appointed a CBE in 1992 and elected a Fellow of the British Academy in 1994.The publication presents a survey of works from the 1970s and 1980s, ranging from large scale canvases to both small and large pastels. Golding's work, although abstract, repeatedly returns to the human body. The monumental canvases and the tactile handling of paint through expressive layering of pigment demand a visceral physical reaction from the viewer. Speaking in an interview for Artists' Lives, Golding recollected that his turn to abstraction was in "recognition of what was happening in America in the 1950s…the most important thing going on in painting [of the day]". In his abstract paintings, both intimate and large in scale, Golding sought unadulterated formal brilliance, letting colour and composition take prominence, "so that there is nothing getting between you and the pure colour sensation."Dr David Anfam's introductory essay explores the roots of Golding's abstract work in the early figurative painting he produced whilst living in Mexico. Analysing the influence of the great Mexican muralists during Golding's formative years, Anfam charts the progression of Golding's vision that culminated in the exceptionally accomplished and joyful body of the work produced in the 1970s and 1980s and reproduced in this publication.

Featuring an interview with Sina Najafi, an essay by Martin Herbert, and designed by Dominique Clausen, this is the first major monograph on the British-born, New Yorkbased 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, languageand 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.

First published to accompany a group exhibition at Piano Nobile, Aspects of Post-War Abstraction 1952-2002, this fully colour illustrated catalogue showcases seminal works of abstract art produced in Britain over the course of five decades. The publication features the work of internationally renowned artists including Terry Frost, William Scott, William Turnbull, Joe Tilson, William Crozier, Jack Smith, John Golding, William Pye, Anthony Caro, John Hoyland, Bridget Riley, and Anish Kapoor. Lavishly illustrated throughout, the catalogue presents exceptional paintings and sculptures, created by artists in dialogue with contemporaries and predecessors in Britain, and diverse international centres of abstraction. Highlighting pivotal artistic moments of transition and transformation in abstraction over the course of a half century, the catalogue presents an innovative vision of the international contribution of post-war British abstract art.

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, eachartwork 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 ofthe 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.