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.

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.

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.

Anomie Publishing is an independent international arts publishing house based in London. This special edition of Anomie’s catalogue has been produced to celebrate ten years of making and publishing books with some of the most exciting names in contemporary art (and beyond) of our times.Edited by Anna McNay and with an introduction by Anomie’s publisher, Matt Price, the publication features entries on all of Anomie’s titles from autumn 2013 to autumn 2023, along with Q&As with Anomie-published artists Anna Freeman Bentley, Tom de Freston, Nick Hornby, Matthew Krishanu, Kathryn Maple and Caroline Walker. Matt Price is a London-based arts publisher, editor and writer. He has published over sixty books and catalogues under his Anomie imprints, and edited publications for other publishers including Phaidon, Rizzoli, Thames & Hudson and Hatje Cantz. He has compiled and written two volumes of The Anomie Review of Contemporary British Painting.Anomie Publishing was established in 2013 in Wakefield, UK. Now based in London, Anomie is dedicated to enabling quality arts books – especially small and medium print-run titles – to reach the book trade. Anomie works in partnership with public and commercial galleries, museums, arts organisations, agencies, academic institutions, charities, collectors, established artist studios and private clients to publish or co-publish books. In 2022 Anomie started Anomie Collections – an initiative to encourage and support the private acquisition of works by British painters.

Daniel Crews-Chubb (b.1984) is a London-based painter whose mixed-media works wrestle with the human condition and modes of selfexpression. This monograph, Out of Chaos, ispublished to coincide with his solo exhibition at Timothy Taylor, New York, which brings togethernew paintings and works on paper. Crews-Chubb’s paintings exist somewhere between figuration and abstraction. They drawon a wide variety of references, including ancient cosmologies, historic artefacts and sculpture,pre-Columbian deities, Cubism, Abstract Expressionism and Hellenic myth. He intertwinescanonical sources and classical allusions in his paintings, creating a highly personal, idiosyncratic lexicon of human, celestial and bestial figures.Out of Chaos takes its title from the ancient Greek notion that chaos is a state of undifferentiated matter from which the universe emerged. The paintings that form this series feature urgent, gestural marks and passages of vivid colour, centred around the figure as a motif. The bodies that he depicts are ageless, nongendered and non-racial – conduits for feeling, rather than signifiers of individuals.This publication reproduces Crews-Chubb’s paintings from 2015 to 2024, starting with hisearly works and subsequently organised into seven series. Notable among these are the recentImmortals (2022–) and Out of Chaos, which is the focal point of his solo exhibition. The book also features an introduction by the writer Jennifer Higgie, an essay by art historian Matthew Holman and an interview with writer Amah-Rose Abrams. Daniel Crews-Chubb was born in Northampton in 1984. He completed his BA at Chelsea College of Arts, London, in 2009 and undertook the Turps Studio Programme, London, in 2013. He lives and works in London. His first solo museum exhibition will take place at the Long Museum, Shanghai, in November 2024.

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.

Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.

The painter, Romi Behrens, lived in West Cornwall for nearly sixty years, voraciously painting the subjects around her every day. Her artistic career was as long as it was broad and spanned many genres, including still life, portraiture and landscape painting. This is the first monograph to pay homage to the extent of her career, providing a selected but characteristically-diverse range of visual and written material from the artist’s oeuvre and archives, starting with Romi's earliest paintings of her family, friends and the streets of Penzance and extending to religious themes done later in her life. Rachel Rose Smith gives chronological shape to the span of Romi’s work, analysing the varying relationships throughout between the person and her work, as it reflected the many identities she held, including painter, woman, wife and mother. The author also explores rich connections embedded within her ways of seeing to formative examples from the history of painting, including Rembrandt, Van Gogh, Matisse, Cezanne and Picasso, with whom she arguably worked in dialogue. Romi’s works, however, are very much her own throughout, with those forms of expression and attention learnt from precedents mingling with her own humour, flair and surrounding life. Romi’s Christian faith and the loving focus she gave to her many subjects, whether friends or inanimate objects, are similarly explored, revealing a body of work which is both tender and vibrant, as well as persistent and constantly on the move.

Ray Atkins (b.1937) is one of the least well known major painters of his generation. He studied at Bromley College of Art in Kent before gaining a post graduate place at the Slade despite having failed the National Diploma in Design in 1961. His first teaching post was at Reading University in 1965 where he lived and recorded in paint the huge upheavals that the town was undergoing, leading to a one person exhibition at the Whitechapel Gallery, London in 1974.A teaching post at Falmouth Art School in 1974 led to a thirty four year stay in Cornwall where he painted the extraordinary landscape of the china clay country around St Austell with its collossal pits and mounds of micae.The desolation left over by the demise of the tin mining industry was also a major theme, The more intimate subjects of children, gardens, family life and inevitably the sea were also part of the oevre. The nineties also saw a long series of works on the theme of dance.To celebrate the uncelebrated was his dictum.Peter Davies follows Atkins’ journey from the dark but creative London period to the high spots in the eighties with a retrospective at the Royal West of England Academy and with work selected for the John Moores in Liverpool, a room at a Serpentine summer Show, and representation in shows at the Hayward gallery.The book also follows the tensions and problems arising from Atkins’ insistence on working direct from his subjects and places the artist’s career in the wider context of the twists and turns of events in the art world in the UK, Europe and beyond.In addition, David Stoker gives a personal account of his discovery of Atkins in France, leading to a growing friendship and a deep understanding and respect for the work.

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.

Adam Bruce Thomson (1885-1976) was one of the most quietly impactful artists of his generation. Born in Edinburgh, he was among the earliest intake of students to train at the newly established Edinburgh College of Art. He went on to have a long-running teaching career at the College, supporting and encouraging successive cohorts. In his own practice, Thomson worked across a range of media, producing etchings, drawings, watercolours and oil paintings. A committed member of several artist-led societies, he exhibited widely and was well-respected by his peers. To date, however, his contribution to twentieth-century Scottish art remains largely unexplored.Adam Bruce Thomson: The Quiet Path celebrates the achievements of this talented yet modest figure. It provides an in-depth account of his life and career, charting his creative development and examining his role as a teacher, mentor and friend to other artists. The book is fully illustrated, and draws from previously unseen archival material. It accompanies a major exhibition at Edinburgh’s City Art Centre in 2024.

Harold Harvey, a true ‘son of Cornwall’, has been one of the most under-rated and least written about members of the Newlyn ‘School’ of artists which flourished from 1880 to 1930. The son of a bank manager, he grew up in Penance, and after studying under Norman Garstin and a spell in Paris, he settled to a quiet life in Newlyn with fellow-artist Gertrude, painting The Cornwall he knowS from the inside.In his introductory essay, Professor Kenneth McConkey sets Harvey in the context of the art moments of the time, and shows how his early ‘genre’ paintings of rustic and marine life, so characteristic of the early Newlyn artists, gradually gave way to more sophisticated subject matter – Harvey was noted for his sumptuous interiors – and a flatter and more decorative style of painting. His early work might be compared with that of Stanhope Forbes, while his later paintings show clear affinities with those of fellow painters such as Laura Knight and Dod Procter.Professor McConkey’s essay complements the first significant ‘life’ of Harold Harvey, researched and written by Peter Risdon and Pauline Sheppard, which is in turn illuminated by Peter Risdon’s painstakingly compiled catalogue raisonne of over 600 paintings.Harvey’s painting output was prodigious, and this book includes approximately 100 illustrations of his favoured subjects: the Cornish at work, children at play, and intimate interior scenes and conversation pieces. Many of his contemporaries in Newlyn were visiting ‘observers’, but for Harold Harvey, who rarely went outside the county even though a regular exhibitor at the Royal Academy, painting the Cornish world ‘because it was there’ was his whole life.

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.

Portraits of the Last Golden Age is the latest major monograph on the work of Budapest-based artist Attila Szűcs (b.1967, Miskolc, Hungary), one of the leading painters in Hungary today. Following on from his 2016 monograph, Specters and Experiments, published by Hatje Cantz, Portraits of the Last Golden Age features a substantial in-conversation between Szűcs and Sándor Hornyik, an art historian, curator and senior research fellow at the Hungarian Academy of Sciences, Budapest. ‘Mankind is in an extremely tense situation,’ Szűcs asserts, ‘with the escalation of natural disasters, with artificial intelligence getting out of hand, the world can easily take a dystopian turn.’ During the course of the conversation, the two men discuss topics ranging from portraiture to posthumanism, meditation to metaphysics, intuition to the irrational. In addition to presenting examples of Szűcs’ accomplished and haunting monochrome works on paper employing materials such as acrylic, charcoal and graphite, the publication features over seventy oil paintings made between 2019 and 2023 depicting dark dreamscapes and transcendental scenes of alternate realities. Disembodied hands grab or caress, as if apparitions from another dimension; sleeping figures exhale multi-coloured breath that verges on the supernatural; long golden hair flows down the side of a bed, pooling on the floor like an uncanny waterfall; heads float in dark water as if decapitated; otherworldly fires rage while apocalyptic explosions highlight environmental disasters and humankind’s seemingly unstoppable drive towards auto-destruction. Szűcs’ work is both an exploration into the human psyche and into the universe itself, much of which is as-yet unknown: quantum worlds and multiverses, the complexities of time and space, and the possibilities of an afterlife. Bleak yet beautiful, dark yet dazzling, Szűcs’ practice asks what painting can bring to twenty-first century thinking and image-making.Produced by Erika Deák Gallery, Budapest, and co-published by Anomie Publishing, London, the publication features texts in English and Hungarian (translated by Dániel Sipos), was designed by Géza Ipacs, and printed and bound by EPC Nyomda, Budaörs. Attila Szűcs (b.1967, Miskolc, Hungary) is an artist based in Budapest. Solo shows include Portraits of the Last Golden Age, Erika Deák Gallery, Budapest, 2023; Duplicated Dreamer, FL Gallery/Wizard, Milan, 2022; Transhuman Etudes, Centrul de Interes, Cluj-Napoca, 2020; Preparing for Lightness, Emmanuel Walderdorff Galerie, Düsseldorf, 2017; and Specters and Experiments, Ludwig Museum, Budapest, 2016. Group exhibitions include Becoming. The force of existence, HAB, Art Center Budapest, 2023; Men, The male body in Robert Runtak's collection, The South Bohemian Gallery, Hluboká nad Vltavou, Czech Republic, 2022; You know who, Ömer Koç Collection, Abdülmecid Efendi Mansion, Istanbul, 2022; and Ludwig-30-Costumize/Testreszabás, Ludwig Museum, Budapest, 2019.

The artist Michael Sandle (b. 1936) is well known for his powerful and uncompromising sculptures such as A Twentieth Century Memorial (1971-78), The Drummer (1985) and Iraq: The Sound of Your Silence (2009). Sandle has also been a very prolific draughtsman over the years, making a large number of prints and drawings, both in relation to his sculpture and also apart from it. This new publication looks closely at his works on paper across his whole career. It presents his two-dimensional work from his early years whilst training at Douglas School of Art (1951-54), at the Slade School of Art (1956-59), where he studied painting and printing, and at the Atelier Patris in Paris (1960), right up to the present day. Alongside lithographs and etchings, it shows pages from his sketchbooks and many medium and larger format drawings.The book begins with a new and extensive ‘in conversation’ conducted between Sandle and the art historian and curator Jon Wood that looks in detail at the interconnected lives led by his prints, drawings and sculptures over the last sixty years. Their discussion focusses on the materials and techniques the artist has used, as well as on the subjects, concerns and contexts of this extraordinary body of work.

Smickel Inn is a publication of works by London-based Anglo-Dutch artist Nick Goss, produced by Ingleby, Edinburgh, and co-published with Matthew Brown, Los Angeles, and Anomie Publishing, London. Along with around sixty plates and illustrations, the publication features an essay by writer, journalist and critic Hettie Judah, and an in-conversation between Goss, fellow painter Michael Armitage and writer Thomas Marks. ‘Smickel Inn is a real place in an unreal place,’ writes Judah, ‘a snack bar on an outer extremity of the port of Rotterdam. ’ It’s a venue that is popular with port workers and sailors—a clientele of regular and transitory people often involved in sea freight or oil shipping, though their lives, personalities and stories are largely played out in Goss’s mixed-media paintings through the bar’s interior décor: an old vase with fresh flowers, a stack of glass ashtrays, a well-worn piano with a pile of books on top, an eclectic selection of picture frames with faded scenes and a clock that might only be right twice a day.Filtered through Goss’s imagination, Smickel Inn carries its history with it, much of it decorating the countertop; it’s a venue that charms with its informality—a place that knows itself, and its disparate customers. In real life, the bar has a cinematic view of the port and the North Sea, translated here, through Goss’s creative process of painting and silk-screening, into a scene from an engraving of seventeenth-century Sicily. Fragments from different places and eras infiltrate his images, creating a patina of palimpsests, visual echoes, perhaps, of memories of travellers coming through the port. The body of work takes us around the wider Dutch coastline and beyond—we see passengers on foot disembarking a ferry, have a backseat view of a car ride around the village of Stavenisse, and join a night-time campfire on the beach at Scheveningen, among other more mysterious, if not abstruse, locations and scenarios. Observation from contemporary life mingles with visual culture spanning centuries and continents in Goss’s oeuvre, creating lyrical yet strangely haunting and melancholic paintings, trapped in time somewhere between personal experience and collective memory.Nick Goss is an Anglo-Dutch painter, born in Bristol in 1981. He studied first at the Slade School of Art (2002–06) and then at the Royal Academy Schools, London (2006–09). He has exhibited widely in Europe and America, including solo exhibitions with Josh Lilley, London, Matthew Brown, Los Angeles, Simon Preston, New York, and Contemporary Fine Arts, Berlin. His first institutional survey, Morley’s Mirror, was presented in 2019 at Pallant House, Chichester, UK. Smickel Inn is published to coincide with Goss’s first exhibition at Ingleby, Edinburgh, in the autumn of 2023.