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