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.

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.

For over half a century, Valencia-born, New York-based Manolo Valdés has been a prominent international figure in the arena of contemporary art, known for his work in the mediums of sculpture, painting, drawing and collage. In this striking and imposing publication, designed in close dialogue with the artist by Peter B. Willberg and produced in Italy, Valdés presents a body of thirty-five sculptures created in 2020 and 2021. Along with wood, alabaster, aluminium, steel and resin, the primary medium employed in this body of work is glass, following a significant and intense period of research and experimentation. The resulting works are engaging contemporary portrait busts that make reference to the history of modernist painting and sculpture, taking inspiration from imagery and objects by twentieth-century masters such as Pablo Picasso, Henri Matisse and Constantin Brancusi. Developing his ‘recipes’ for their fabrication – materials, processes, conditions and timings – with both care and flair, Valdés has created sculptural glass busts in a range of amber oranges, ruby reds, emerald greens, sapphire blues, and onyx blacks, all of which almost seem to glow with what Dr Kosme de Barañano, the book’s author, describes as ‘an inner light’. Barañano’s comprehensive and illuminating essay not only investigates aspects of the history of glass making and its use as a material by artists past and present, but also traces the evolution of the language and forms of Valdés’s glass and mixed-media works across a number of key exhibitions and bodies of work over the course of the past two decades. These include his monumental sculptures at the New York Botanical Garden in 2012 and his dramatic solo presentation in the Place Vendôme in Paris in 2016, both of which offered opportunities to see the artist’s large-scale sculptural works in outdoor settings. Discussing the significance of 'Cabezas' (heads) in his oeuvre, Barañano asserts: ‘These glass "Cabezas" are tremendously sombre and simple works from which emanates a profound silence.’This large-format publication, which is illustrated by specially commissioned photography by Tom Powel, documents many of the sculptures from different angles and by means of details, revealing not only the subtleties and qualities of the surfaces of the abstracted, humanlike glass heads, but also the curious and eclectic appendages that regularly appear to burst forth from them like unorthodox fascinators or eccentric jewellery, from nails and steel rods to glass or metal butterflies and wooden geometric forms. With a timelessness that speaks of civilisations long gone and a modernity that simultaneously seems to look to the future, Valdés has created a body of sculpture in glass that transcends time, touching on the metaphysical nature of the human mind and its outward manifestation in the physical world. Manolo Valdés (b.1942, Valencia) is one of the most significant post-war Spanish artists. A key member of the Equipo Crónica until 1981, in 1989 he moved to New York. Major solo exhibitions include the Guggenheim Bilbao, the Reina Sofía, Madrid, the New York Botanical Garden, and the Château Royale de Chambord, France.

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.

Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call 'shared sculptures', highlighting the important equality of authorship and responsibility at stake for both these artists. Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: 'Only the Lonely' (1993), 'monuments' (1999), 'Lead Astray' (2004), 'On the Rocks' (2008) and 'Don't Start' (2016). Their recent body of work, 'We Thought About It A Lot' (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists' latest two-person exhibition, 'We Thought About It A Lot, and other shared drawings' at Ikon, Birmingham, in autumn 2021.

Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker’s work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere. This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art – Neudecker’s first comprehensive solo exhibition in Ireland - presents more than 200 works from a 35-year-long career. In addition to a foreword by Úna McCarthy, the gallery's Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker’s practice. A 'timeline' that Neudecker made specially for 'SEDIMENT' concludes the publication. Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker’s archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker’s practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions. James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and ‘time’, while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker’s work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialisation in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker’s photographic series 'Plastic Vanitas' (2015). Dominic Gray, Projects Director at Opera North, offers insight into Neudecker’s work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker's work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley's second offering returns to Neudecker's use of sound - its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates 'temporal turbulences' and 'an entanglement of materiality, space, form and position,' foregrounding the artist’s desire for viewers to see everything as eternally in flux. The publication, which is released to coincide with a new iteration of Neudecker's exhibition 'SEDIMENT' at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London. Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987–90), and an MA in sculpture at Chelsea College of Art and Design, London (1990-1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN’s guest programme, the European Commission’s JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

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.