Watching the River Run, A Photographic Journey Down the Youghiogheny, is the perfect photographic companion to Palmer's classic Youghiogheny, Appalachian River

Evocative new photographs of Connecticut by celebrated photographer William Earle Williams provide insight to the stories of Black American historyTheir Kindred Earth gathers images of Black Connecticut's historic sites by celebrated photographer William Earle Williams. A series of connected essays illuminate how these sites connect to the larger national and international narrative of Black American history. Over the past forty years artist William Earle Williams (born 1950) has made sites of African American history more visible through his exquisite photographs. Mentored in the 1970s by the famed photographer Walker Evans, who had a home in Lyme, Williams attended the Yale School of Art at Evans's suggestion. From that Connecticut inception, Williams embarked on a decades-long journey to identify and photograph places across the country that hold histories of the slave trade, the Underground Railroad, and emancipation. Many remain unmarked and largely overlooked in a society that has long ignored Black history. New archival research has yielded revelations about how we understand Connecticut history. In this book, Williams creates photographs that bring visibility and pay tribute to the unrecognized people who contributed to Connecticut culture and its landscape. The book includes photographs from New London, Old Lyme, Farmington, Middletown, Norwich, New Haven, Hartford, Canterbury, Brooklyn (CT), and Greenwich, including sites of importance to Black figures in the state, such as Venture Smith and David Ruggles. It features essays by Cheryl Finley, Frank Mitchell, Jennifer Stettler Parsons, Carolyn Wakeman, and Deborah Willis.

Next Size Up is a brand new book exploring the world of fashion, sport, design, art and music through the unique and powerful prism of contemporary Sneaker Culture as it enters another phase in its evolution. The world of sneakers has taken centre stage of not only youth culture, but also the mainstream creative industries including luxury fashion and music. Next Size Up talks to the protagonists who made this happen and also explores what happens next. Providing a platform to celebrate and discuss some of the most compelling issues surrounding the creative industries today, it will appeal to those interested in cutting edge design, illustration and contemporary art as well as the ever-expanding world of sneaker enthusiasts. This new book embodies the story, collaborating with designers, photographers, artists and writers including, amongst others, Paul Smith, Sarah Andelman, Antony Burrill, Alexander McQueen, Nike, Vans, Prada, At Last Clothing and many more.Size Isn’t Everything published 20 years ago is reprinted to complete this two volume set – the very first book of it’s kind, it set the template for all others to follow. Back then it was completely uncharted territory, an underground movement of which the mainstream, including the Sneaker brands themselves, knew nothing about. Size Isn’t Everything not only examined its heroes, codes, boundaries and contradictions, but also embodied the culture’s ethos of putting creativity, design and collaboration at its very heart. Working with some of the most innovative names of the time Size Isn’t features such names as The Chapman Brothers, Anthony Burrill, Tomato, Snoop Dogg, Glen E Friedman, Tony Hawk or Spike Jonze. The book was and is still beautiful.

Phyllis Dodd was born in Chester and studied firstly at Liverpool School of Art 1917-21 After winning a Royal Exhibition scholarship spent a further four years at the RCA in the company of her life-long friends Henry Moore, Raymond Coxon and Edna Ginesi. After gaining her diploma and winning the Drawing Prize in her final year she went on to teach part-time at Walthamstow Technical College 1925-30. Dodd exhibited at the RA, NEAC, RP, RSA and at the Walker Art Gallery. Her ninetieth birthday was celebrated with a major retrospective exhibition held at the Hatton Gallery, Newcastle University in November 1989. Married to the artist Douglas Percy Bliss, she held a joint exhibition with him at Derby Art Gallery, 1947. In the year of her death, a retrospective exhibition of her work was held at Newport Art Gallery who also have a fine portrait example in their collection as do Hull University. Douglas Percy Bliss was a Scottish painter and art conservationist. Born in Karachi, India (now in Pakistan), Bliss was raised in Edinburgh and educated at George Watson’s College from 1906 to 1917. Bliss left school in 1917 to join the Highland Light Infantry until the end of WW1. In 1922 he was awarded an M.A. in English Literature by the University of Edinburgh. He had studied Art History in his first year. Bliss then studied painting at the Royal College of Art in London. In his post-graduate year he studied engraving. In 1925 the Oxford University Press published his engravings illustrating Border ballads. Bliss then received a number of commissions, including a commission to write A History of Wood Engraving. This work received such critical acclaim that Bliss’ reputation as an artist was overshadowed by his reputation as a critic and teacher. In the 1930s he taught at the Blackheath School of Art and was the London art critic for The Scotsman. In 1941 Bliss joined the RAF and was stationed in Scotland. After the war he was appointed Director of the Glasgow School of Art. An exhibition of his work was held in the Glasgow School of Art in the summer of 1998.

For more than six decades John Faulkner has been at the heart of British and Irish music-making, as a singer, songwriter, composer, musician, producer and film-maker. Storm in My Heart is John’s highly personal account of his life in music, from his childhood in wartime London, through his years in the English folk explosion and on to life in Ireland as a significant player in the traditional music scene. In a lifetime’s journey John falls under the influence of Ewan McColl and Peggy Seeger, marries tempestuous singer Dolores Keane, and moves to County Galway where he brings his words and music to the world. He has an international number one success with ‘Lion in a Cage’, his campaigning tribute to the imprisoned Nelson Mandela, whom he subsequently meets. In this honest and witty memoir John recalls his work with Frankie Gavin, Alec Finn, John Prine and others, revealing the dark arts of the Irish music business while revelling in the freewheeling delights of a life devoted to performing. Storm in My Heart is a clear-eyed chronicle by one of Ireland’s finest artists.Storm in My Heart includes QR codes to a curated selection of John Faulkner’s best loved music.

Treatises on painting between the 1st and the 12th centuries A.D. may have been many but those preserved are found in two manuscripts from the 10th and 12th centuries: the Mappae Clavicula and Eraclius, On the Arts and Colours of the Romans – both of which probably date from c. 8th century. Of the 12th century itself there is On Divers Arts by Theophilus. All the passages on pigments from these three manuscripts are included in this handbook, and they include the earliest known recipes for vermilion (c. 3rd century A.

A French collection of recipes for painting on parchment, On Making Colours, by a painter, Peter of St. Audemar, possibly of the Benedictine Abbey of St Bertin at St. Omer in northern France. St. Omer was an active centre of painters and scribes from the end of the 12th century and from it probably came The Aviary / De avibus by Hugo de Fouilloy (c. 1140) in the so-called Gloucester copy which is dated 1277. Plates and illustrations have been included in this handbook, bringing together a treatise and a book which may have derived from the same place, an exceptional event in the history of pigments. Notable is the reference to painting in oil on panel, artists of the French school responsible for the London, Westminster Abbey Retable of 1280, also painted in oil on panel.

The 19th century was a century of new pigments. They were derived from recently recognised metals –cadmium, chrome, zinc and others – as well as from the discovery of the chemical colouring substances of plants. From indigo the aniline dyes were manufactured, and from madder came the alizarin red pigments – there were hundreds of these coal tar pigments. The English chemist, George Field, published his Chromatography in 1835, a comprehensive collection which included many of the new pigments and, as the century wore on so new pigments were added to up-dated editions of his book in 1869 and 1885. They were published by the English colour-makers, Winsor & Newton, so become a chronicle of a world of new pigments for painters not only in England but also in France and Germany especially. 19th Century Colour Palettes traces these developments, presenting the pigments in dictionary form in extracts taken from the editions of Field's Chromatography.

A collection of all the historical pigments mentioned in the treatises included in the series Colour Palettes, by century, complemented by recipes from other contemporary sources. The entries define the pigment – colour, its source (animal, plant, mineral) and its name – and describe its method of preparation, with historical remarks tracing the pigment through the centuries. Recipes provide the documentary history of the pigment beginning with the earliest known through to 1837, the date of George Field's, Chromatography, to make up a history of each pigment.

This portrait of Santa Isabel in over 600 pictures shows an island transformed by its colonial history yet maintaining a confident and distinctive identity within Solomon Islands and the Pacific Island region.Santa Isabel is one of the largest islands that make up the island nation of Solomon Islands in the southwest Pacific. Politically it is now one of nine provinces, each with its own variation of a shared history. In a country divided among many Christian denominations, Isabel is distinctive for its early acceptance of the Anglican Church, which united most of the island and its six language groups by the 1920s and then shaped its history up to the present.This book traces Santa Isabel history through a selection of the many hundreds of pictures of the island made first by Europeans and increasingly by its own people. These begin with the drawings and paintings of voyagers from the late 18th century, gradually succeeded by photos from the 1860s onwards showing the arrival of missionaries, traders and warships. From the 1900s there are photos made by the Europeans who established plantations on Isabel and colonial officers asserting British colonial authority. However, the pictorial record is dominated by photos from the Anglican Melanesian Mission. The Second World War, portrayed mainly by military photos, was followed closely by economic and political developments leading up to Solomon Islands independence in 1978 – developments portrayed in both church and government photos. Photos of more recent social, ceremonial and political activities show the unique combination of church, chiefs and local government in Isabel life. A renewed interest in local culture in the 21st century is revealed through photos of festivals and cultural research by both visiting and local researchers as Isabel people explore the possibilities of tourism, resource extraction and environmental conservation.

How can exhibitions stage encounters between art and science that not only make sense for visitors but encourage them to explore the intricate relationship between themselves and the world further? This book presents a collection of texts that explore exhibitions as a medium for new insights into connections between aesthetic and scientific knowledge production and how such insights facilitate new, more holistic understandings of entanglements between self and lifeworld. The texts all take their outset in a series of three exhibitions called Wunderkammer at Esbjerg Art Museum in Denmark from 2018 to 2022. The three main texts cover the conception, presentation, and reception of the exhibitions, respectively elaborating the curatorial process, the aesthetics of the exhibitions and the reception of the exhibitions by individual visitors. Also included is a written dialogue of a more associative nature between members of the research group of art historians who were invited to experience the exhibitions and contemplate and discuss the implications of the series of exhibitions.

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.

Terrence Malick is the most enigmatic film director currently working. Since the early seventies, his work has won top prizes at film festivals worldwide and brought him wide recognition as the cinematic equivalent of a poet. His life is shrouded in mystery, leaving audiences with rumors, few established facts, and virtual silence from the filmmaker himself following his last published interview in 1979. This has done nothing to dim the luminous quality of his films, from Badlands (1973) and Days of Heaven (1978), to later works such as The Thin Red Line (1998), The Tree of Life (2011), and A Hidden Life (2019).The Magic Hours: The Life and Films of Terrence Malick is the first true biography of this visionary filmmaker. Through interviews and in-depth research, John Bleasdale reveals the autobiographical grounding of many of Malick's greatest films as well as the development of an experimental form of filmmaking that constantly expands the language of cinema. It is the essential account for anyone wishing to understand Malick and his work.

Material and visual culture of China’s long 19th century is understandably overshadowed by the traumatic warfare, land shortages, famines and uprisings which impacted the lives of a population of around 400 million people. However, innovation can be seen in material culture (including print, painting, calligraphy, textiles, fashion, jewellery, ceramics, lacquer, glass, arms and armour, rugs, silver, money, and photography) during a century in which China’s art, literature, crafts and technology faced unprecedented exposure to global influences. Despite this however, until recently, the 19th century in China has been often defined – and dismissed – as an era of cultural decline. Building on the critically acclaimed British Museum exhibition China’s hidden century: 1796–1912, this publication seeks to redefine perceptions about 19th-century Qing arts. Essays by some of the world’s leading authorities on Qing culture reveal the social, cultural, religious, creative, economic and political history of makers, users, owners and collectors. Areas of focus include painting and patronage; calligraphy and seal carving; commerce and fashion; and craft technology and technology ensuring that the book will be a manual for the arts of China’s long 19th century.

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.

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.