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Matthew Krishanu - Ben Luke - Bog - Anomie Publishing - Plusbog.dk

Matthew Krishanu - Ben Luke - Bog - Anomie Publishing - Plusbog.dk

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).

DKK 291.00
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Anna Freeman Bentley – make believe - Anna Freeman Bentley - Bog - Anomie Publishing - Plusbog.dk

Anna Freeman Bentley – make believe - Anna Freeman Bentley - Bog - Anomie Publishing - Plusbog.dk

Anna Freeman Bentley’s paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings.This, Freeman Bentley’s third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021–22). Freeman Bentley’s work here is focused on sets from ''The Colour Room'' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899–1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for ''The Colour Room'', meanwhile, provides insight into the artist’s particular interest in the artifice of film props and of the film set as a layered space ‘steeped in meaning, purpose and potential.’ The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley’s experiences on the film’s sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases.The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled ‘make believe’ is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New Contemporaries, 2009. Her work is part of the Hotel Crillon collection, Paris; Saatchi Collection, London; Hogan Lovells Collection, London; the Ahmanson Collection, California, and numerous private collections worldwide.

DKK 241.00
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Minami Kobayashi - Lisa Wainwright - Bog - Anomie Publishing - Plusbog.dk

Minami Kobayashi - Lisa Wainwright - Bog - Anomie Publishing - Plusbog.dk

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 postImpressionist 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).

DKK 291.00
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Sensory Systems - Luke Skrebowski - Bog - Anomie Publishing - Plusbog.dk

Sensory Systems - Luke Skrebowski - Bog - Anomie Publishing - Plusbog.dk

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.

DKK 169.00
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Callum Innes – Tondos - Callum Innes - Bog - Anomie Publishing - Plusbog.dk

Callum Innes – Tondos - Callum Innes - Bog - Anomie Publishing - Plusbog.dk

For over thirty years, celebrated painter Callum Innes (b. 1962, Scotland) has created his lushly painted and subtly nuanced abstractions in a rectilinear format. In 2022, he added a striking new element to his repertoire: the tondo. To do so required mastering an entirely new set of technical and aesthetic challenges, confronting a form with abundant, historical resonances. This striking volume, richly illustrated with carefully selected images of Innes’s Tondos, and installation views of key exhibitions, explores how Innes has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Éric de Chassey traces the artist’s encounters with this form and its progenitors in the history of art, firmly cementing Innes’s breakthrough in the pantheon of significant works rendered in this distinctive formation.Callum Innes was born in Edinburgh in 1962\. He lives and works in Edinburgh, Scotland, and Oslo, Norway. He studied drawing and painting at Gray’s School of Art from 1980–84 and completed a post-graduate degree at Edinburgh College of Art in 1985\. In 1992, Innes had major exhibitions at the ICA London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995, he was shortlisted for the Turner Prize and was awarded the NatWest Prize in 1998 and the Jerwood Prize for Painting in 2002\. His critically acclaimed museum exhibition, From Memory, travelled throughout Europe and Australia from 2006–08\. In 2012, Innes was commissioned by the Edinburgh Arts Festival to transform the Scottish capital’s Regent Bridge with a changing sequence of coloured light, and in 2016, he was the subject of a major retrospective survey exhibition and accompanying monograph, I’ll Close My Eyes, at the De Pont Museum in Tilburg, the Netherlands. In 2018, his first major solo exhibition in France, In Position, took place at Chateau la Coste in Provence, with an accompanying publication. Innes debuted his new series of Tondo paintings at Sean Kelly Gallery, New York, in 2022; this was followed by exhibitions of the Tondo series at Frith Street Gallery, London; Parra & Romero, Ibiza; Galerie Tschudi, Zurich; and Kerlin Gallery, Dublin in 2023\. He will have exhibitions at Sean Kelly, Los Angeles, and Kode – Lysverket Museum, Bergen, Norway, in 2024.

DKK 239.00
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Kathryn Maple – A Year of Drawings - Matt Price - Bog - Anomie Publishing - Plusbog.dk

Kathryn Maple – A Year of Drawings - Matt Price - Bog - Anomie Publishing - Plusbog.dk

Kathryn Maple (b. 1989, Canterbury) is an artist specialising in drawing and painting. Her large-scale paintings feature urban, suburban and rural landscapes which are frequently populated by human figures. Her work is distinctive for its use of intensely layered mark making, lending the work both urgency and intimacy. The places and people depicted, rendered in a range of painting and drawing materials, are frequently afforded a sense of wildness or mystery by dint of their colour palette, collage-like compositions and recurring motifs such as wind-blown trees and winding pathways. This, her first monograph, features 379 images, many of which are reproduced for the first time. These include the presentation of her recent major series of oil pastel on paper works ''A Year of Drawings'', alongside reproductions of her mixed media works on paper, as well as large oils on canvas. An essay by Kathryn Lloyd, writer, artist and Contemporary Art Editor at The Burlington Magazine, offers insight into Maple’s impulse to explore the world around her through her work. Large-scale paintings, replete with dense layers of marks, are constructed by means of personal encounter, memory and imagination. Details of man-made objects, tree bark and human skin, for instance, become composite, crucial in capturing fleeting experiences of place and of people. Lloyd brings out the symbolism of Maple’s work, making art historical comparisons while connecting these to the specific local characteristics of Maple’s familiar South London landscapes and the importance of walking to the artist’s practice.An interview with independent curator and critic Anneka French is focused on ''A Year of Drawings'', a series of 365 drawings made daily since January 2022 outside the artist’s studio. They discuss the process, materials and art historical and literary influences upon Maple’s work, with a focus on how her drawing and painting strands of work impact each other. Their conversation provides an insight into the thinking of the artist at a crucial stage in Maple’s career.Taking its title from the lyrics of The Cure’s A Forest (1980), Editor Matt Price’s essay ''Into the Trees'' offers an introduction to, and an overview of,'' A Year of Drawings'', discussing examples of the works and considering aspects of the series ranging from art historical precedents to themes, recurring motifs and interpretation.The monograph is published to coincide with the exhibitions: Under a Hot Sun, by Kathryn Maple, Walker Art Gallery, Liverpool, 11 February – 30 April 2023 and Kathryn Maple: A Year of Drawings, Lyndsey Ingram Gallery, London, 1–17 March 2023. It has been edited by Matt Price, designed by Anomie Studio, printed by Mixam, Watford, and published by Anomie, London. Kathryn Maple was born in Canterbury in 1989, and lives and works in South London. She graduated in 2011 with a degree in fine art printmaking from the University of Brighton, before undertaking a postgraduate programme at the Royal Drawing School in 2012–13. Maple has featured in exhibitions at venues including Barber & Lopes at the British Art Fair, London, The Royal Academy, London, Beers London, Messums Wiltshire, Flowers Gallery, London, Frestonian Gallery, London, Christies New York, Kristin Hjellegjerde Gallery, London, and Drawing Room, London. Maple was the winner of the Times Watercolour Competition 2014 and 2016, and The John Moores Painting Prize 2020. Her exhibition Under the Hot Sun at the Walker Art Gallery, Liverpool, 2023, was awarded to Maple as part of her prize for winning the latter.

DKK 231.00
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The Anomie Review of Contemporary British Painting 3 - - Bog - Anomie Publishing - Plusbog.dk

The Anomie Review of Contemporary British Painting 3 - - Bog - Anomie Publishing - Plusbog.dk

Following the success of The Anomie Review of Contemporary British Painting in 2018 and The Anomie Review of Contemporary British Painting 2 in 2021, a third volume has been created to showcase solo exhibitions that have defined contemporary painting since the second volume. This new, even larger anthology presents the work of eighty-five artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries nationally and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists presenting some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 3 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Andrew Cranston at Ingleby, Edinburgh; Jadé Fadojutimi at The Hepworth Wakefield; Sahara Longe at Timothy Taylor, London; Kathryn Maple at The Walker Art Gallery, Liverpool; Mohammed Sami at Camden Art Centre, London; Lucy Stein at Spike Island, Bristol; Caroline Walker at the Fitzrovia Chapel and Stephen Friedman Gallery, London; and Jonathan Wateridge at Nino Mier, Brussels.The anthology, which features cover artwork by Louise Giovanelli from her autumn 2021 exhibition at GRIMM, New York, has been selected by London-based publisher and writer Matt Price, who in addition to editing dozens of catalogues, monographs and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and Vitamin D2, authored the first two volumes of The Anomie Review of Contemporary British Painting.The publication, which has been project edited by Birmingham-based editor, curator and writer Anneka French, features text entries by Amah-Rose Abrams, Melissa Baksh, Holly Black, Lauren Dei, Yasmina Floyer, Anneka French, Kathryn Lloyd, Anna McNay, Matthew James Holman and Matt Price.

DKK 340.00
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Lorna Robertson – thoughts, meals, days - Hettie Judah - Bog - Anomie Publishing - Plusbog.dk

Lorna Robertson – thoughts, meals, days - Hettie Judah - Bog - Anomie Publishing - Plusbog.dk

Lorna Robertson’s colourful paintings, often made with a combination of oil paint and collage, have a distinctly nostalgic tone. Shimmering female forms with swinging skirts from the 1950s or bonneted bathers from the 1920s jostle with richly described interiors and crowded tabletops. Hints and glimpses of tangible forms – a fashion model, for example, or a vase – appear and then fragment into patterns and explosions of colour.This new publication coincides with Robertson’s exhibition at Ingleby Gallery and is divided into sections that feature collections of recent large paintings by the artist (2015–2022), small paintings (all 2022) and works on paper (2016–2022), all of which demonstrate Robertson’s characteristic layered interpretations of the female form alongside recurring motifs such as hats, long dresses and flowers. Her drawings (2018–2020) offer fluid forms in ink, pencil and watercolour. An essay by art critic Hettie Judah explores Robertson’s work in terms of pattern, costume and architecture, drawing out key inspirations including tapestry, advertising and magazine design through abstracted forms. The influence of contemporary female painters and those from art history is further considered. In another text, Robertson is in conversation with artist and writer Mikey Cuddihy. This frank interview reveals much about Robertson’s intuitive working processes: from starting points, colour decisions, the rhythms of brushwork and considerations of scale, to the wider relationship between text, music, drawing and painting.The publication is edited by Ingleby Gallery, designed by Joanna Deans, Identity, printed by Albe De Coker, and co-published by Ingleby Edinburgh, and Anomie, London. The publication coincides with Robertson’s first solo exhibition ''thoughts, meals, days'' at Ingleby Gallery, Edinburgh, in 2022. The artist is represented by Ingleby Gallery.Lorna Robertson was born in Ayr on the west coast of Scotland in 1967. She studied at Duncan of Jordanstone College of Art in Dundee and currently lives and works in Glasgow. Recent public solo exhibitions include ''Kodachroma'', Glasgow Project Room (2013); ''This Dark Ceiling'', Intermedia Gallery, C.C.A, Glasgow (2008); ''The Overlooked'', Atelier Am Eck, Dusseldorf, Germany (2006); and ''New Paintings'', 64 Osborne Street, Glasgow (2005). Robertson’s group exhibitions include ''Once Upon a Time'', Flora Fairbairn, The Portman Estate, London (2022); ''Faces in the Water'', Ingleby at Cromwell Place, South Kensington, London (2021); ''Brexit: Mail Art from a Small Island'', Sipgate Shows, Düsseldorf, Germany (2019); ''Lorna Robertson and Robert MacBryde'', Kingsgate Project Space, London (2019); ''Psychopathology of Everyday life'', Glasgow Project Room (2011); and ''Vistas'', Glasgow Project Room (2003). The artist was awarded the John Kinross Traveling Scholarship to Florence in 1990 and the Summer Scholarship, Hospitalfield School of Art, Arbroath, Scotland in 1989.

DKK 271.00
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David Batchelor – Concretos - Eleanor Nairne - Bog - Anomie Publishing - Plusbog.dk

David Batchelor – Concretos - Eleanor Nairne - Bog - Anomie Publishing - Plusbog.dk

Throughout his international career spanning more than thirty years, artist and writer David Batchelor has long been preoccupied with colour. ‘Colour is not just a feature of [my] sculpture or painting,’ he notes, ‘but its central and overriding subject.’ This new publication is devoted to an ongoing series of sculptures titled Concretos. First made in 2011, Concretos combine concrete with a variety of brightly coloured – and often found – materials.The publication features a text by Batchelor charting the origins and development of Concretos. He reveals that the first Concreto was made after encountering coloured glass shards embedded in a concrete wall in the back streets of Palermo. Over time these Concretos, their title a nod to the Latin American art movement to which Batchelor’s work is much indebted, have become more complex adventures in layering, pattern and process. Elements such as acrylic plastic, spray and household gloss paint, steel, fabric and found objects all find themselves set in a concrete base. The most recent works, titled Extra-Concretos (2019–) retain much of the simplicity of the early pieces while working on a much larger scale.In an essay commissioned for the publication, curator Eleanor Nairne considers Concretos in light of their material possibilities. Nairne’s vivid text draws connections between the sculptures and a wide range of art historical and literary references. Some of the playful and sensual characteristics of Batchelor’s artistic vocabulary are considered in relation to floral bouquets, sewing-machines, ice cream and poetry. Architectural historian Adrian Forty’s essay discusses concrete’s physical qualities and relationship with modernity. He notes that the imperfect nature and apparent neutrality of the material is key to its enduring place within architecture, design and in Batchelor’s case, contemporary sculpture. ‘In the Concretos,’ asserts Forty, ‘concrete plays a necessary part in allowing colour to be itself. Present, but at the same time part of the barely noticed, half-invisible infrastructure of the city, concrete’s very neutrality performs an unexpectedly active part in these works.’The publication is edited by David Batchelor and Matt Price, designed by Hyperkit, printed by Park, London, and published by Anomie, London. The publication coincides with the first large-scale survey exhibition of Batchelor’s work taking place at Compton Verney, Warwickshire in 2022. The publication has been supported by Goldsmiths’ College, University of London, and Arts Council England.David Batchelor was born in Dundee in 1955 and lives and works in London. In 2013, a major solo exhibition of Batchelor’s two-dimensional work, ‘Flatlands’, was displayed at Fruitmarket Gallery, Edinburgh and toured to Spike Island, Bristol. Batchelor’s work was included in the landmark group exhibition ‘Adventures of the Black Square: Abstract Art and Society 1915–2015’ at Whitechapel Gallery, London. ‘My Own Private Bauhaus’, a solo exhibition of sculptures and paintings by Batchelor was presented by Ingleby Gallery during the Edinburgh Art Festival, 2019. Between 2017 and 2020 a large-scale work by Batchelor was displayed in the collection of Tate Modern. He is represented by Ingleby Gallery, Edinburgh, and Galeria Leme, São Paulo. Batchelor’s portfolio also includes a number of major temporary and permanent artworks in the public realm including a chromatic clock titled ‘Sixty Minute Spectrum’ installed in the roof of the Hayward Gallery, London. ‘Chromophobia’, Batchelor’s book on colour and the fear of colour in the West, was published by Reaktion Books (2000), and is now available in ten languages. His more recent book, ''The Luminous and the Grey'' (2014), is also published by Reaktion. In 2008 he was commissioned to edit ‘Colour’ an anthology of writings on colour from 1850 to the present published by Whitechapel/MIT Press.

DKK 190.00
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Jonathan Wateridge – Uncertain Swimmer - Marco Livingstone - Bog - Anomie Publishing - Plusbog.dk

Jonathan Wateridge – Uncertain Swimmer - Marco Livingstone - Bog - Anomie Publishing - Plusbog.dk

_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 realised 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.Jonathan Wateridge has recently exhibited with the Hayward Gallery, London; Nino Mier Gallery, Los Angeles, New York and Brussels; TJ Boulting, London; Galerie Haas, Zurich; Pace Gallery and HENI, London. Wateridge''s art is in the collections of institutions worldwide, including Aïshti Foundation, Lebanon; Pinault Foundation, Venice; the Saatchi Collection, London; the Rennie Collection, Vancouver; and Simmons & Simmons, London. He has been featured in publications such as _The Sunday Times, The Independent, Fad Magazine, Artforum_ and _Artnet_. Wateridge is represented by Nino Mier Gallery.

DKK 488.00
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Ian McKeever – Against Architecture - Mark Prince - Bog - Anomie Publishing - Plusbog.dk

Ian McKeever – Against Architecture - Mark Prince - Bog - Anomie Publishing - Plusbog.dk

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 programme 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.Ian McKeever was born 1946, Withernsea, Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/90 and was elected a Royal Academician in 2003\. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts on painting.Recent public solo exhibitions include Ian McKeever / Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden, Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light, Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light, National Gallery of the Faroe Islands, Tórshavn, Faroe Islands (2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und Fotografie, Josef Albers Museum, Bottrop, Germany (2012). McKeever’s work is represented in leading international public collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.

DKK 192.00
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Susie Hamilton - Anna Mcnay - Bog - Anomie Publishing - Plusbog.dk

Susie Hamilton - Anna Mcnay - Bog - Anomie Publishing - Plusbog.dk

Susie Hamilton’s dynamic practice is concerned with a wide range of subjects but often focuses on solitary people in impersonal public spaces or natural wildernesses. From the heroic, isolated exploits of astronauts and Arctic explorers to lone shoppers in supermarkets, all subjects are equal under her gaze. Other works turn attention towards crowds on beaches and in hotel dining rooms, who, as in Hamilton’s paintings of single figures, are invaded by blooms and veils of paint.Comprising over 300 paintings in oil and acrylic and numerous works on paper, Hamilton’s work is here divided into thematic sections that bring insight to her research. As critic and broadcaster Charlotte Mullins observes, ‘Hamilton often uses literature as a springboard for her work. Her paintings draw out the ambiguities of Shakespeare, the fragmentary chaos of TS Eliot, the melancholy of Andrew Marvell.’ From the power of her transmutative, barely human figures presented at the Ferens Art Gallery (2002), to the more recent progression of Hamilton’s solitary forms which move across desert, tundra and forests under attack from natural and unknown forces, her often otherworldly figures remain resilient.As Mullins reflects in her introduction, however, Hamilton’s work is not all ‘pain and suffering.’ Nor is it solely concerned with the human figure. Mullins writes, ‘There is joy too, particularly when she turns her probing eye to the natural world. She captures the quizzical gaze and lightning speed of monkeys, white paint splattering the surface as they race through salt flats. We see the lethal precision of a shark in the depths, the pale camouflage of an owl in a snowstorm, the perfect balance of an ape as it leaps from vine to vine.’The development of Hamilton’s work further unfolds in an enlightening interview with writer and broadcaster Louisa Buck, from the night-time desolation of motorways and petrol stations to an evolving interest in human and animal figures. Buck’s in-conversation also details Hamilton’s series ‘Plumpers’ and ‘Mutilates’, uneasy figures who border categories of abstraction and representation. Writer, editor and international curator Anna McNay, in her eight-part extended essay commissioned for the publication, discusses Hamilton’s literary influences in detail, drawing out the ways that Hamilton’s own biography shapes the work and informs her perspectives on landscapes, people and animals. Designed by Hyperkit and edited by Anneka French, the publication has been produced by Hurtwood and published by Anomie, London. Susie Hamilton (b. London, 1950) studied Fine Art at St Martins School of Art and Byam Shaw School of Art. She read English Literature at London University, gaining a PhD in Shakespeare studies (1989). She lives and works in London and has been represented by Paul Stolper Gallery since 1996. Since 2018 Hamilton has been commissioned by mental health charity Hospital Rooms to create wall-paintings in psychiatric intensive care units and made three works for the central staircase of the new Springfield Hospital, London (2022). Recent solo exhibitions include Unbound, Paul Stolper, London (2022);in atoms, Paul Stolper, London (2016);Here Comes Everybody, St Paul’s Cathedral, London (2015);Black Sun, Studio Hugo Opdal, Flø, Norway (2009);World of Light, Triumph Gallery, Moscow (2008);New Paintings, Galleri Trafo, Oslo (2007);Leisure Paintings, Paul Stolper, London (2006);Dissolve to Dew, St Edmund Hall, Oxford (2005);Immense Dawn, Paul Stolper, London (2003);Paradise Alone, Ferens Art Gallery, Hull (2002);Mutilates, St Giles’ Cripplegate Church, London (2001).Hamilton’s work is represented in collections including Government Art Collection, British Museum, Science Museum, Imperial College Healthcare Art Collection, Richard Heaton Collection, Murderme Collection, Deutsche Bank, St Paul’s Cathedral, The Women’s Art Collection, Brehman Collection, The Methodist Modern Art Collection, The Priseman Seabrook Collection and The Groucho Club.

DKK 439.00
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Sarah Medway – the River Series - Anna Mcnay - Bog - Anomie Publishing - Plusbog.dk

Sarah Medway – the River Series - Anna Mcnay - Bog - Anomie Publishing - Plusbog.dk

This, London-based painter Sarah Medway’s second publication from Anomie Publishing, is devoted to the subject of the River Thames. The publication presents a series of twenty-eight oil paintings created in Medway’s canal-side studio in central London during the Covid-19 lockdowns of 2020-21. The Thames is beautiful, terrifying, powerful, alluring and dangerous. Medway captures the river’s eclectic dynamics, rhythms and energy through the language of abstract painting, the ripples, bubbles, eddies and currents, the reflections and refractions denoted through sinuous lines, ellipses and spots, dots and loops, flecks and swirls. Referencing 20th-century modernist movements such as De Stijl, Tachisme and post-war American Abstract Expressionism, Medway’s own, lyrical, often graphic approach to painting the Thames results in a vivid interplay between pattern and colour. The paintings have overt musical resonances – tempo, rhythm and dynamics as might be encountered in an orchestral score. Like the river, the paintings are at times joyous and playful, at other times brooding and menacing, yet always moving, in flux, traveling onwards towards the sea. An introductory text by critic and writer Sue Hubbard takes readers through the series, exploring how the paintings engage with the qualities and complexities of the river. An in-person conversation between Medway and writer, editor and curator Anna McNay provides insight into the artist’s life and work, discussing the processes by which Medway makes her paintings and the thinking behind them. Designed and produced by Peter B. Willberg, this foil-blocked, cloth-bound hardback publication with a special dustjacket also features an illustrated chronology documenting Medway’s life and career. Sarah Medway (b.1955, Seaton Carew, UK) is a painter based in London. As well as group exhibitions at institutions such as Tate Britain, the Whitechapel, the Royal Academy, the World Trade Center and Austin Museum of Art, Medway’s solo shows include Flowers East, London, Chelsea Hotel, New York, Kienbaum Gallery, Frankfurt, The Mandalai, Thailand, and Atelier Gallery, Spain. She has works in many public, private and corporate collections in the UK, US, Germany, Italy, Spain, Belgium, Hong Kong and Thailand.

DKK 269.00
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Alastair Gordon – Quodlibet - Jorella Andrews - Bog - Anomie Publishing - Plusbog.dk

Alastair Gordon – Quodlibet - Jorella Andrews - Bog - Anomie Publishing - Plusbog.dk

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.

DKK 288.00
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Ian McKeever – Henge Paintings - Paul Moorhouse - Bog - Anomie Publishing - Plusbog.dk

Ian McKeever – Henge Paintings - Paul Moorhouse - Bog - Anomie Publishing - Plusbog.dk

With a career spanning more than five decades, Ian McKeever is one of Britain’s most senior artists working on the international stage. This publication documents the Henge paintings – a series started in 2017 and completed over the course of five years, inspired by prehistoric standing stones in the county of Wiltshire, England, and continuing the artist’s long-standing investigation into the languages and possibilities of abstract painting.Comprising thirty paintings along with numerous works on paper, the genesis of the series was a visit by McKeever to the world-famous neolithic site in the village of Avebury in 2016, where he took black and white photographs of the large stones that form three discrete circles: two smaller ones contained within the largest. Erected some 4500 years ago, Avebury is the largest stone circle in Britain, and forms part of what English Heritage asserts to be ‘a set of neolithic and Bronze Age ceremonial sites that seemingly formed a vast sacred landscape.’Art historian and curator Paul Moorhouse, in his essay commissioned for the publication, describes how McKeever ‘framed each megalith in close-up, their edges visible at the extremity of the resulting images,’ explaining how ‘the experience of moving around Avebury and responding to the huge stones’ monumental presence made an abiding impression that resonated with deep-seated preoccupations.’ McKeever’s resulting body of work is an earnest and considered exploration into how paint can convey universal forces and properties such as mass, gravity and time, and how colour, texture and abstraction can converse with three-dimensional space, form and materiality. The relationship between painting and sculpture in McKeever’s work is discussed by means of an in-conversation between the artist and Dr Jon Wood. ‘My interest in alluding to early megalithic sites in titling the group of paintings Henge paintings,’ says McKeever, ‘was in touching that deeper sense of time, time’s weight, so to speak. How to imbue a painting with its own weight of time, forsake the immediacy of the here and now.’Designed and produced by Tim Harvey, the publication has been printed by Narayana Press in Odder, Denmark. It is published by Anomie, London, with support from Galleri Susanne Ottesen, Copenhagen, and Heather Gaudio Fine Art, New Canaan, Connecticut. The publication accompanies exhibitions of selected works from the Henge paintings at both galleries in 2022.Ian McKeever was born 1946, Withernsea, Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/90 and was elected a Royal Academician in 2003. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts on painting.Recent public solo exhibitions include Ian McKeever / Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden, Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light, Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light, National Gallery of the Faroe Islands, Tórshavn, Faroe Islands (2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und Fotografie, Josef Albers Museum, Bottrop, Germany (2012). McKeever’s work is represented in leading international public collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.

DKK 241.00
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Gideon Rubin – Look Again - Jennifer Higgie - Bog - Anomie Publishing - Plusbog.dk

Gideon Rubin – Look Again - Jennifer Higgie - Bog - Anomie Publishing - Plusbog.dk

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. Dr 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 galvanised 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.Rubin studied at the School of Visual Arts in New York and then at the Slade School of Fine Arts in London. He has had numerous international one-man shows and his works are included in a number of international private and public collections. Recent exhibitions include 13, Galleria Monica De Cardenas, Milan (2023), Dark Noise, The Kupferman House Collection, Israel (2023), Portrait without a Face, Fox Jensen Gallery, Tokyo (2023), a solo show at CASSIUS&Co., London (2023) and Living Memory, a two-person show with Louise Bourgeois in a Grade II listed chapel in London (2023). Rubin’s work has been featured in publications such as _Artribune_, _San Francisco Examiner, Vestoj, Koln Kultur, Galerie Magazine, Südostschweiz Newspaper_ and _Elephant_ among others. The publication has been supported by Galerie Karsten Greve, who represent Rubin’s work in Paris, Cologne and St. Moritz.

DKK 312.00
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Anna Freeman Bentley – Complete Reality - Elisabetta Fabrizi - Bog - Anomie Publishing - Plusbog.dk

Anna Freeman Bentley – Complete Reality - Elisabetta Fabrizi - Bog - Anomie Publishing - Plusbog.dk

Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley’s latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between ‘reality’ and ‘fabrication’, the series continues the artist’s interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist’s most recent solo exhibitions – Video Village at MASSIMODECARLO Pièce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024–25) – showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley’s elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley’s earlier explorations of cinema, particularly Andrei Tarkovsky’s Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pièce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at Kunsthochschule Weissensee in Berlin in 2003. She received her MA from the Royal College of Art, London, in 2010.

DKK 340.00
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Joy Labinjo - Adelaide Bannerman - Bog - Anomie Publishing - Plusbog.dk

Joy Labinjo - Adelaide Bannerman - Bog - Anomie Publishing - Plusbog.dk

Joy Labinjo (b.1994) is a British-Nigerian artist based in London. Bringing together paintings made between 2017 and 2024, this monograph coincides with her institutional solo exhibition We Are Briefly Gorgeous at Southwark Park Galleries, London, which opened in July 2024.Labinjo uses the human figure as a vehicle to explore topics such as storytelling, identity and race, and how they intersect with wider social, cultural and political contexts. Her work is informed by her experiences growing up as both a Londoner and as part of the African diaspora. Her large-scale figurative paintings often depict Black bodies from the past and present – both real and imagined. Working from personal and archival imagery, including family photographs, found images and historical material, she captures scenes of joy, leisure and perseverance in everyday life. As a painter fundamentally concerned with people’s stories, she expands the dialogue around contemporary Black culture. For We Are Briefly Gorgeous, Labinjo produced a new body of work in response to the multicultural area of Southwark in South London. Rendered in her distinctive style of flat layers of colour and graphic patterning, the paintings capture families, friends and individuals in Southwark Park and Bermondsey. Developed from site visits and taken and found photographs, the intimate scenes document the physical, social and lived experiences of local communities. Alongside installation views and reproductions of the exhibited paintings, the book documents Labinjo’s works from 2017 onwards. Organised thematically, it explores the artist’s interests in ‘Family, Friends and Community’, ‘Social Criticism’, ‘Historical Animation’ and ‘Self-portraiture’. The paintings grouped together in the second section mark the beginning of the artist’s more satirical, politically engaged approach, instigated by the COVID-19 pandemic and the murder of George Floyd in 2020. ‘Historical Animation’ compiles Labinjo’s paintings of Black historical figures, such as Sarah Forbes Bonetta, Olaudah Equiano, Francis Barber and Charles Ignatius Sancho. In this series, the artist explores the histories of British portraiture, and the erasure of Black identities through the white gaze. An introduction by Dr Christine Checinska, the inaugural Senior Curator of African and Diaspora Textiles and Fashion at the Victoria & Albert Museum, London, contextualises Labinjo’s figurative practice in relation to a lineage of Black British painters, including Claudette Johnson and Lubaina Himid. An essay by curator and writer Dr Jareh Das expands on this, unpacking the artist’s recent works and analysing her ability to represent stories that connect cultural identities across time and geographies. An interview between Labinjo and Adelaide Bannerman, the Curatorial Director at Tiwani Contemporary, takes an in-depth look at the artist’s methodology, political themes and approach to nude self-portraiture. Edited by Bannerman, Martina Mei and Matt Price, designed by Hyperkit, produced by Hurtwood and published by Tiwani Contemporary and Anomie Publishing, London, the book has been generously supported by the A. G. Leventis Foundation. Joy Labinjo (b.1994) is a painter living and working in London. She completed her BA at Newcastle University in 2017 and her MFA at the Ruskin School of Art, University of Oxford in 2022. She was awarded the Woon Art Prize in 2017, and had her first solo show, Belonging at Morley Gallery, London, in 2018, which was followed shortly by Joy Labinjo: Gatherings at GOLDTAPPED, Newcastle. Her debut commercial solo exhibition, Recollections, was at Tiwani Contemporary in 2018. She is represented by Tiwani Contemporary.

DKK 390.00
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