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

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catalogue is furnished with essays presenting brand new research by renown art historians and curators, Illuminated by unpublished sources and personal memoirs.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

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

Featuring an interview with Sina Najafi, an essay by Martin Herbert, and designed by Dominique Clausen, this is the first major monograph on the British-born, New Yorkbased artist Oliver Clegg. An eclectic, polyphonic and multidisciplinary artist, Clegg’s oeuvre stretches from painting, drawing and printmaking to sculpture, installation, site-specific art, participatory projects and beyond. Indeed, his practice is in many ways a shining example of ‘post-medium’ creativity today, pursuing the essence of art itself beyond any specific medium or artform. The irony is, he’s pretty damn good with each artform too. With his erudite, surprising and striking repertoire, and his diverse materials and methods (from glass, wood and steel to neon, resin and concrete, weaving and casting to engraving and industrial manufacture), Clegg offers the viewer a complex, sometimes playful, other times moving journey into existential and ontological notions of objecthood and matter, images and signs, languageand communication, creation and being. From the studio and gallery walls to the streets of London and New York,from Freud’s house to the Joshua Tree National Park, from foosball tables to state asylums, Clegg turns up to do remarkable things with the fabric of spacetime. And yes, it’s an emotional rollercoaster of a ride – in fact, Clegg’s oeuvre spans a significant proportion of the spectrum of human emotion, his unique trans-Atlantic blend of humour, sarcasm and wit coming face to face with the much more serious matters of memory, psychology, truth, belief, meaning, love, life and death. Nostalgia, childhood, games, play and sentimentality career headlong into the realms of kitsch, Pop and the history of the avantgarde, resulting in a delightful yet challenging range of responses from the viewer, whether amusement, camaraderie, joy, bemusement, outrage, disillusionment or a call to arms. Clegg is an artist with great energy, incredible spirit, and one of the most engaging, curious, cryptic and entertaining oeuvres currently making waves in the world of art. In many ways an exploration of the id, ego and superego, Clegg’s practice plays out the struggle between our basic desires, our rational minds, and the underlying mores that keep us in check. Not unlike Freudian notions of the psyche, Clegg’s practice articulates the battle that takes place inside us all on a daily basis, spilling into the outside world in myriad ways. It is a fight, yes, but it is play too.

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

Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the first in a new annual programme by the gallery each autumn that will revolve around the theme of light, and timed to coincide with the famous Blackpool Illuminations – a six-mile-long outdoor display of lights that has drawn many visitors to the town each year since it was first switched on in 1912. The exhibition and publication feature works by internationally acclaimed artists interested in the technology and science of light, and how this can be used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, eachartwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, movement and other factors to evoke a variety of spatial and sensory experiences. The selection of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Among these, Anthony McCall was one ofthe early pioneers in the field, alongside figures such as James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his ‘solid light’ installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture made of light. The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed by Joe Gilmore / Qubik. The project has been supported by Blackpool Council, Coastal Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Art.

First published to accompany Piano Nobile's exhibiton at Piano Nobile Kings Place, Thomas Newbolt: Drama Paintings - A Modern Baroque, this fully colour illustrated book presents a substantial publication on contemporary artist Thomas Newbolt. Newbolt's dedication to the figure in art, and the vitality of his work have gained him international recognition.An artist of talent and intellectual integrity, he was Harkness Fellow at the University of Virginia and the University of Wisconsin, and a Fellow-Commoner at Trinity College, Cambridge, as well as a respected teacher at Camberwell, Anglia Ruskin and The Royal Drawing School, London. Recent exhibitions include Ely Cathedral, the Estorick Collection, and a group show, Vital Signs, at Clifford Chance in 2015. His work is held in major international public collections.With essays by Mark Hudson, arts critic at the Telegraph, Professor Maurice Biriotti, and Martin Gayford, critic at the Spectator, this catalogue provides fresh insight into the work of this most enigmati and powerful of artists. Lavishly illustrated and beautifully designed as a work of art in its own right, Thomas Newbolt: Paintings is a reflection on Newbolt's career thus far, and a testament to the significance of his work. The publication includes three essays, a catalogue of works selected by Thomas Newbolt, a chronologyof the artist's career and an index.

James Turrell is widely acknowledged as one of the most important artists working today. From the mid 1960s onwards his principal concern has been the way we apprehend light and space. His study of mathematics and perceptual psychology, as well as his Quaker upbringing and background as a pilot, inform his practice. His first exhibition in 1967 of ‘projection pieces’ used high-intensity light projectors to give the illusion of a solid geometrical object, often seemingly floating in space. From these investigations of light, Turrell went on to begin his series of ‘Skyspaces’. These are enclosed viewing chambers that affect our perception of the sky. Since then he has continued to create works using light as his medium. Perhaps his most celebrated works are his ‘Ganzfeld’ chambers, whole spaces immersed in light; as well as his more recent ‘Tall Glass’ series, which resemble windows of slowly changing colour. Meanwhile, Turrell continues work on a monumental project at Roden Crater, an extinct volcano in Arizona. Here he has created a series of viewing chambers, tunnels and apertures to heighten our sense of the heavens and earth in one of the most ambitious artistic endeavours of modern times. In summer/autumn 2015, Houghton Hall, Norfolk, hosted an ambitious and significant exhibition of James Turrell's light pieces, many collected by the Marquess of Cholmondeley, owner of Houghton, who has long been an admirer of his work. This publication has been produced to document and to accompany the exhibition – a project devoted to James Turrell’s work has been a long-held ambition of Lord Cholmondeley. He first discovered Turrell’s work twenty years ago, and in 2000 invited him to Houghton to install a ‘Skyspace’ amongst the trees on the west side of the house. Soon afterwards, a rusty water tank was removed from an eighteenth-century folly in the park to make way for his atmospheric interior space, ‘St Elmo’s Breath’. The exhibition was centred around works from the Houghton collection, which also includes projections, a ‘Tall Glass’, holograms and prints. The exhibition was complemented by further loans to help illustrate the broad spectrum of Turrell’s work; and a unique, site-specific installation was created especially for Houghton – ‘The Illumination’– lighting the whole west façade of the house that could be viewed from dusk. LightScape follows three highly acclaimed exhibitions by Turrell in 2013/14 at the Guggenheim, New York, the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston. The National Museum of Australia, Canberra has also hosted a major retrospective of his work which closed just as the exhibition at Houghton Hall opened. The publication includes a foreword by David Cholmondeley, a text by Peter Murray, and an interview with the artist by Hiram C. Butler. Designed by Peter B. Willberg and printed in Italy, this hardback, cloth-covered publication is essential reading for all admirers of Turrell’s oeuvre.

First published to accompany the exhibition at Piano Nobile, John Armstrong: Paintings 1938-1958; An Enchanted Distance is a fully illustrated catalogue re-establishing John Armstrong A.R.A. as a pre-eminent Surrealist. Propelled to the forefront of British Modernism as a member of Unit One, Armstrong later rejected the confinement of artistic groups yet was at the heart of inter-war and post-war British art. Consistently producing prophetic, dreamlike paintings of emotional and political insight, Armstrong’s works speak of the universal through his own individual language. The most significant exhibition of Armstrong's works in over thirty years, the catalogue focuses on two decades of immense productivity, creativity and innovation.

Nathan Coley is a publication documenting a public art project in London byGlasgow-based contemporary artist Nathan Coley (b.1967). At a time when housing and the property market are at the centre of much social, political and economic debate, Coley's project is a pertinent and thought-provoking exploration of issues of housing,ownership, history and activism. In the mid-late 1960s, the Greater London Council moved local authority tenants out of their run-down terraced houses in the Freston Road area of the Royal Borough of Kensington and Chelsea and into newly built blocks of flats nearby. The council was planning to knock down the terraced houses and to regenerate the area, but the plans were beset by delays so the houses lay derelict for almost a decade. During the 1970s agroup of squatters began moving into the old houses – there were around 150 people living in 35 houses at one point towards the end of the decade.In late summer 2015, on the site where Frestonia once stood, the first phase of apartments designed byHaworth Tompkins Architects and built by the charitableorganisation The Peabody Trust was completed. With one third of the properties for sale, one third for rent, and one third under the management of the Housing Association, the complex, called The Silchester (More West) development, consists of 112 apartments. Nathan Coley was commissioned to make new artwork for the site. Based on the form of an apple tree – inspired by the history of the Bramley apple that gave its name to the Frestonia residents – Coley has not only made a striking steel and gold leaf rooftop sculpture, but also 112 small versions of the same sculpture that have been given to each of the residents as a house warming present. In doing so, Coley not only connects the new housing complex and its residents with its local history, but to wider discourses of modernism and sculpture, art and society, capitalism and alternative modes of living. The publication, which forms part of the artist's commissioned project, presents a variety of texts, images and documentation relating to the new housing development, to the history of the Bramley apple and to Frestonia – including a selection of archive photographs of Frestonia taken by former resident Tony Sleep.

‘Breathless’ is the first monograph on the emerging British painter Benjamin Senior. His paintings conjure up a world that is delightful, curious, quirky, and distinctly his own. It is a world in which bathers lounge around pools and swimmers limber up before finally diving in; where we find people doing yoga and various exercise routines both indoors and out; where walkers and joggers take us out into the countryside, or into the city with their dogs. These physical activities – both leisure and sporting – would undoubtedly leave some of their protagonists out of breath, as the title of the monograph suggests, and may well inspire some viewers to shake off any lethargy and get physical too.But despite their clear iconography and endorphin-rousing semiotics, Senior’s paintings are no mere campaign to get, or to keep, art lovers fit and healthy. For they are also carefully conceived and meticulously executed studies of the human body, of shape, line and form, of colour, tone, light and shadow. They are engaging explorations of composition and colour, pattern and geometry, textures and materials, the natural and the manmade. This interplay between the natural and synthetic is played out in surprising juxtapositions, such as blue rubber exercise balls in dialogue with various-sized cacti, or between the materials and designs of sports clothing in contrast to the rolling hills of a spring landscape, or to autumnal trees at sunset. There are many other intriguing tropes, devices and recurring motifs within Senior’s repertoire, from cast iron grilles to unorthodox hats and hairstyles, perhaps leading his stylised vocabulary into the realms of nineteenth-century symbolist painting as much as into the health clubs, spas, leisure centres and parks of today. Indeed, there is a strange sense of timelessness to Senior’s practice that is matched by a captivating sense of silence, loneliness and isolation, despite the figures often being present in couples, clusters or small groups. Behind their toned physiques, stripy towels and goggles, underneath their winter coats, cagoules and peaked caps, there are, perhaps, some small glimmers of inner lives – of sentient, intellectual, cultured, emotional, sexual beings trapped within. Senior’s oeuvre is, in many ways, preoccupied with repression and expression, freedom and conformity, motion and stasis, balance and inertia, engagement and disengagement. One might even describe it as a bittersweet analogy of the human body for human states of mind, for energy versus futility, effort versus relaxation, health versus decline. Benjamin Senior completed a BA in painting at Wimbledon School of Art before graduating with an MA in painting from the Royal College of Art in 2010. Recent solo exhibitions include at Grey Noise, Dubai, Studio Voltaire, London, Galleria Monica de Cardenas, Milan, James Fuentes, New York, and BolteLang, Zurich.Featuring an introduction by art critic, writer and curator Sacha Craddock, an essay by art historian, museum educator and writer Ben Street, and a text by curator, writer and lecturer Gabor Gyory, this 100-page hardback monograph has been designed by Joe Gilmore / Qubik, edited by Matt Price and published by Anomie.

Jonathan Richardson (1667–1745) was one of 18th-century England’s most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period’s greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all’antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication – which accompanies the first ever exhibition devoted to Richardson’s self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld – tells the story of these remarkable works

‘Three Books’ by Tamara Tracz is a very special three-hardback-volume slipcased book. It is, first and foremost, a story that follows several generations of a family as their lives unfold in various cities, countries and continents during the course of the twentieth century. It is a story with a cast of characters, some strong, some exceptional, some familiar, some curious. It is a story of births and deaths, of lives led and of the forces that shape them.The family in ‘Three Books’ is a Jewish Family, and their story is one of emigration and persecution that was, almost inescapably, profoundly affected by the Holocaust. It is a story that is shared with the stories of many countless thousands of other families – of taking flight from the Nazi regime, of German forces arriving in towns and villages and searching out the Jewish inhabitants, of summary executions and mass graves. It is a story of branches of the family destroyed, and of the survival of others. It is as distressing, disillusioning and disheartening a story as one might fear to read of the plight of the Jews last century.But ‘Three Books’ is not written in the usual form of family biography, and is not only the story of this family’s history. It is also a story about stories, about the passing on of information between generations, and between different branches of a family over time. It is a story about the impossibility of ever being able to tell a complete or truly objective family history. It is a story of fragments and recollections, of oral histories and letters sent, of trying to piece things together and to fill in gaps. Perhaps just as importantly, it acknowledges the absence of information, or the chances of ever being able to know certain things that transpired, and how this can shape the directions of subsequent generations. The dark, gaping holes of knowledge were often deliberately left unspoken by those who were once in a position to reveal the details.‘Three Books’ is also partly autobiography, as it is Tracz’s own family that is the subject of the story. Indeed, the reader can glean much about the author’s life as Tracz consciously lets us in to her immediate family circle, to their happy family life today. With a particular focus on her young children, Riva and Constantin, Tracz gently shares her inner fears and anxieties about being a mother, of the thought of losing her children. These are the thoughts of almost any mother, especially any mother who has heard the stories of mothers, daughters and sisters in her own family’s past who experienced such separations and losses through oppression and genocide. It is, in many ways, a story of women, of female intergenerational relations, experiences, actions, thoughts and emotions. It is a story about living and loving, of family and the meaning of the things that happen to them, the things that remain and that the things that slip away.But while Tracz is in some respects every woman, every mother and every daughter – and a Jewish woman in particular – she is also, quite inimitably and indubitably, Tamara Tracz. A unique, remarkable and inspiring person, a writer, filmmaker and artist based in London, she does things in ways that perhaps only she can. For every word in this book has been handwritten, and reproduced as she planned, designed and drew it. The text does not, therefore, flow as regular lines and pages, but in all manner of configurations and arrangements, systems and patterns, and in such a way as to enhance the meaning of the text – or rather to emphasise the mind’s reading of the text just as the sound effects or ambient sound might for a film, or the drama and nuances of the voice add when reading a story aloud. As such, ‘Three Books’ is a form of artist’s book, a creative work that sits at the interface of non-fiction and radical typesetting experimentation. Designed in collaboration with Herman Lelie, and beautifully produced in Verona, Italy, ‘Three Books’ is a story, a journey and an experience that is not easily forgotten.

Sarah Medway’s abstract paintings are a delicate, evocative and sincere investigation into the nature of light as it manifests itself through the myriad environments that surround us. She navigates us through the different seasons, sometimes on foreign shores – from the Mediterranean to Scandinavia and beyond – other times closer to her canal-side studio in central London. She leads us through different times of day and night, from dawn to dusk and long into the night. She takes us up to the skies, into sunlight and shade, clouds and fog, rainbows and sunsets. She takes us into fields, along the coastline, and far out to sea. With her distinctive vocabulary of abstract marks and shimmering palettes, her works build into complex webs of patterns and textures that capture something of the experience of perceiving light, colour and shapes as they filter through the atmosphere into our eyes, minds, memories and subconscious.That Medway’s works take us on different journeys, into different environments and out to sea is certainly apt, as the body of work presented in this latest monograph on the artist takes the form of 56 canvases that were commissioned for display on the new P&O Cruises Britannia, the largest and highest-specification cruise ship built by the company to date, making regular voyages into the Med, to the Fjords, to the Canaries, the Caribbean and beyond. This substantial commission is one of the latest in a long line of commissions by P&O of original works of art by living artists. For the publication, specially commissioned texts by eminent art critics Andrew Lambirth and Sue Hubbard offer an illuminating and insightful introduction to Medway’s oeuvre and to this significant new series of paintings. In addition to having participated in group exhibitions at institutions including Tate Britain, the Whitechapel, the Royal Academy, the World Trade Center and Austin Museum of Art, Medway has had solo exhibitions at venues including 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. Published by Anomie, the monograph has been designed by Peter B. Willberg with James Sutton, and printed in Italy by Castelli Bolis.

Anna Freeman Bentley (b. Freeman, 1982) is a painter based in London. Her practice explores the built environment, architecture, and interiors, inviting emotive, psychological, and semiotic readings of space. With an intense, regularly dark palette and energetic yet often intricate brushwork, her paintings depict all manner of places – derelict factories and warehouses, baroque buildings, shops, cafes, and modern industrial and corporate architecture. With a particular focus on the relationships between the design of architecture, its function and use, how these uses change over time, and how streets, areas, communities, and cities decline, regenerate, and gentrify, Freeman Bentley’s practice documents the changing vocabulary of architecture and captures some of the complex dynamics, atmospheres, politics, and states of mind that these places engender. This, the artist’s first monograph, features over forty paintings spanning her career to date, offering a journey through the built environment that takes the viewer into realms as diverse as psychogeography and heteropias, romanticism and modernism. From the needs and desires of individuals to those of the different communities that make up urban life in cities and towns today, her paintings open up questions about displacement and replacement, decay and rebirth, change and transformation, public and private, social and economic mobility, aspiration and desire, buildings and people. Seeking to go beyond the visible and tangible and to explore ideas of faith and the sacred within space, Freeman Bentley’s work looks through the fabric of our physical environment to ask about what lies behind, into the dialogue between matter and spirit.The publication features newly commissioned texts by London-based curator and writer Michele Robecchi, New York-based art writer and editor Marina Cashdan, and Ben Quash, Professor of Christianity and the Arts at King’s College London. Edited by Matt Price and designed by Joe Gilmore / Qubik, this hardback monograph presents the arresting and engaging work of one of the UK’s most promising emerging painters.Freeman Bentley studied painting at Chelsea College of Art and Design before graduating with an MA from the Royal College of Art in 2010. She has had solo exhibitions in Berlin, Venice, and California, residencies in London with the Florence Trust and with Pied a Terre Michelin-starred restaurant, and participated in group exhibitions including the Prague Biennale and the inaugural East London Painting Prize, 2014.

Rachel Kneebone (born 1973, Oxfordshire) is a London-based artist internationally renowned for her porcelain sculptures that intricately fuse human, natural and abstract forms to explore universal themes such as sexual desire, mortality, anguish and despair. Launched in anticipation of ‘399 Days’, Kneebone’s latest presentation at White Cube, London, in summer 2014, this publication features works from Kneebone’s acclaimed solo exhibition at Brooklyn Museum in 2012, which included eight of the artist’s works in dialogue with fifteen bronze sculptures by Auguste Rodin.Featuring a foreword by Catherine Morris and a text by Ali Smith, this beautifully designed and produced hardback publication contains over fifty colour reproductions and has been developed with support from Brooklyn Museum.