Your words are amazing! This book is about your heart. The little bit inside of you that makes you, you! A very timely book about the power of words - and how we use them. Told through the eyes of Pip and Cat, this book beautifully demonstrates the importance of what we say - both positive and negative. Thoughtful, warm-hearted and completely non-preachy, this is a book that has already resonated with large numbers of children, whose teachers report a sea of change in the culture of their classroom after reading it. A universal message, for a world that always needs a little more kindness. 'A beautiful book that tells a strong story that spans all generations' - Donna J 'Truly beautiful and effective' - Jo E 'Possibly the most beautiful present I have ever received' - Lisa W

The objective of this book is to present a number of related chapters on the subject of gender issues in the workplace of the aviation industry. More specifically, the chapters address the continuing shortfall in the number of women pilots in both civilian and military aviation. Considerable research has been carried out on gender issues in the workplace and, for example, women represent about 10% of employees in engineering. This example is often used to show that the consequences of gender discrimination are embedded and difficult to overcome in masculine-dominated occupations. However, women represent only 5-6% of the profession of pilot. Clearly there are many factors which mitigate women seeking to become pilots. The chapters within this volume raise both theoretical and practical issues, endeavouring to address the imbalance of women pilots in this occupation. Absent Aviators consolidates a diverse range of issues from a number of authors from Australia, Austria, the United States, Canada, South Africa and the United Kingdom. Each of the chapters is research-based and aims to present a broad picture of gender issues in aviation, gendered workplaces and sociology, underpinned by sound theoretical perspectives and methodologies. One chapter additionally raises issues on the historical exclusion of race from an airline. The book will prove to be a valuable contribution to the debates on women in masculine-oriented occupations and a practical guide for the aviation industry to help overcome the looming shortfall of pilots. It is also hoped it will directly encourage young women to identify and overcome the barriers to becoming a civilian or military pilot.

The objective of this book is to present a number of related chapters on the subject of gender issues in the workplace of the aviation industry. More specifically, the chapters address the continuing shortfall in the number of women pilots in both civilian and military aviation. Considerable research has been carried out on gender issues in the workplace and, for example, women represent about 10% of employees in engineering. This example is often used to show that the consequences of gender discrimination are embedded and difficult to overcome in masculine-dominated occupations. However, women represent only 5-6% of the profession of pilot. Clearly there are many factors which mitigate women seeking to become pilots. The chapters within this volume raise both theoretical and practical issues, endeavouring to address the imbalance of women pilots in this occupation. Absent Aviators consolidates a diverse range of issues from a number of authors from Australia, Austria, the United States, Canada, South Africa and the United Kingdom. Each of the chapters is research-based and aims to present a broad picture of gender issues in aviation, gendered workplaces and sociology, underpinned by sound theoretical perspectives and methodologies. One chapter additionally raises issues on the historical exclusion of race from an airline. The book will prove to be a valuable contribution to the debates on women in masculine-oriented occupations and a practical guide for the aviation industry to help overcome the looming shortfall of pilots. It is also hoped it will directly encourage young women to identify and overcome the barriers to becoming a civilian or military pilot.

Matters of Life and Death is a limited-edition publication documenting the remarkable new and recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963). An engaging introduction by Paul Moorhouse, Senior Curator at the National Portrait Gallery, London, discusses the dynamic and complex relationship between figuration and abstraction in Patterson's oeuvre. Moorhouse observes: 'Visual ambiguity defines Patterson's art, and its most conspicuous feature is the interaction between figurative painting, abstraction and photography that his recent work continues. From the outset he moved between these disparate visual languages, combining them in ways that seemed deliberately oppositional and subversive.' Patterson's latest works are as provocative as ever, and as he enters mid-career, have become increasingly accomplished, cryptic and, at times, haunting. In his illuminating essay, art historian James Cahill explores the subjects of portraiture and personae within the artist's works, asserting that 'his strategy of distancing his figures - whether through a broken veil (or enclosing frame) of abstract paint, or the gauze-like intercession of a photographic source - throws into relief the idea that selfhood is ultimately a succession of masks.' Curator and critic Jane Neal deftly navigates ideas of gender and sexuality in Patterson's practice, taking us into the realms of fetish and the male gaze, proposing that his painting overtly 'points towards the patriarchal and often misogynistic attitude to women's bodies still prevalent in magazines, films and social media, even in the twenty-first century. Patterson sets us up to confront the darkness that often underlies the male gaze, even affording it physical form.' Featuring a selection of works executed between 2013 and 2016, many of which are published here for the first time, the cloth-covered book is presented in a specially printed hard slipcase and has been published in an edition of just 500 copies. Born in the UK in 1963, Patterson graduated from Goldsmiths College in 1986. He was included in Damien Hirst's renowned Freeze, Surrey Docks, London (1988); as well as Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof - Museum fur Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New York, USA (1997-00). Other notable exhibitions include The Rowan Collection: Contemporary British & Irish Art, Irish Museum of Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum Houston, Texas, USA (2007) and Attention to Detail, curated by Chuck Close, the FLAG Art Foundation, New York, USA. Patterson has had solo exhibitions at Anthony d'Offay Gallery, London (1997); James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London (2005, 2008 and 2013); the Goss-Michael Foundation, Dallas, USA (2009); and the FLAG Art Foundation, New York (2014). In February 2017 he will present new and recent works at Timothy Taylor 16x34, New York.

In this publication, British artist Anna Freeman Bentley presents a series of new paintings and works on paper documenting her journey into the exclusive realm of private members clubs. Having started out in her home city of London, her research took her to California, and in particular to some of the most desirable clubs of Los Angeles, where through friends, professional networks and a number of courteous emails, doors were temporarily opened to her. In places where photography is often strictly forbidden, Freeman Bentley was authorized to document some of the many luxurious lounges, well-stocked bars, and high-end restaurants that are second homes to the members who pay considerable fees to use them. Whether celebrities, self-made business people or those born into lavish lifestyles, members clubs are synonymous with wealth and success, where people can relax, socialize or do deals in a smart and protected environment free from fans, paparazzi or the general public. It is a world of affluence and glamour tailor-made for the jet-set, a meeting place where artists and art collectors fly in and drink cocktails, where high-net worth individuals and media moguls hang out with the great and the good from Hollywood or the music industry, and where social media stars can switch their phones to flight mode for a while and chat freely with friends. Freeman Bentley uses the photographs she takes of these interior and exterior spaces out of hours as the starting point for unpeopled drawings, collages and painted sketches, transforming her studies of members clubs into complex paintings that hover between reality and invention. Freeman Bentley is known for her paintings of architecture and interiors, not only exploring the physical attributes of the built environment, but also raising questions about how and why they are used, and how this is reflected in the ambiance and dynamics of a given space. At a time of heightened awareness of wealth inequality, through her painterly works Freeman Bentley gives us a glimpse inside the spaces of the social milieu of the financially successful, the movers and shakers, the leaders and trend setters, inviting us to respond as viewers in whatever ways we choose. For some, it may be a matter of curiosity or of desire and aspiration; for others the very idea of members clubs might be elitist or snobbish. Yet for others it might be an occasional treat, or simply an everyday occurrence, the norm. With her characteristic combination of matter-of-fact observation, critical reflection, and atmospheric perception, Freeman Bentley presents us with a body of work that is as enigmatic as it is intriguing, asking us not only about issues of individuality and communality, private and public life, exclusivity and inclusivity, but also about how we each fit into such dialectics, and what this says about our inner and outer lives. 'Exclusive' has been co-published by Pinatubo Press, Inc., and Anomie Publishing, and released to coincide with an exhibition of the same name at the Ahmanson Gallery, Irvine, California, in spring 2018. This hardback publication showcases images of approximately twenty paintings and as many works on paper, alongside a foreword from collector and patron Roberta Ahmanson, an introduction by the exhibition curator John Silvis, and a specially commissioned essay from critic Jane Neal. Anna Freeman Bentley (b.1982) is an artist based in London. She 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 at venues including Wolfson College, Oxford (2017), Husk Project Space, London (2015), Workshop Gallery, Venice (2012), and Galerie Kollaborativ, Berlin (2007). Selected group exhibitions include 'London Now' at Space K, Seoul, South Korea (2017), 'Der Kuhle Glanz' at 68projects, Berlin (2017), the East London Painting Prize (2015 and 2014), the Prague Biennale 5 (2011), and Bloomberg New Contemporaries (2009). Freeman Bentley has been the recipient of numerous awards and residencies, including Breathing SPACE Residency, London (2015-16), the ERDF New Creative Markets Programme, London (2013-14); Artist in Restaurant at Pied a Terre, London (2012); The Florence Trust Artists Residency, London (2010-11) and The Chelsea Arts Club Trust Award, London (2009).

The paintings and etchings of Robert Fry (b. 1980, London) confront viewers with an engaging exploration of the human form that asks profound questions about people's physical presence in the universe and the psychological, emotional and spiritual engagement we have with the world through our bodies. With a deep sense of civilisations past, from the prehistoric to the ancient Egyptian, Medieval and Renaissance to the Enlightenment and beyond, Fry navigates a complex visual language that bridges the figurative and the abstract in a way that is evocative of body and mind, matter and spirit, life and death. Fry's search for universal truths leads into dark territory, into our subconscious minds and neuroses, our deepest fears, anxieties and insecurities. Both sacred and profane, Fry's work masterfully employs colour, mark, line, shape and form to bring us face to face with our inner and outer selves, with our humanity and, ultimately, with our own mortality. This beautifully produced publication features around sixty selected works by the artist over the course of more than fifteen years, from very early works to 2013. Following an introduction to the artist's work by Mamuka Bliadze is an essay by the artist's father, distinguished Consultant Psychiatrist Anthony Fry, which investigates the themes of masculinity and maleness in his son's paintings, and in particular a series of works that refers to the Fry family, including a portrait of both Anthony and Robert Fry that seeks to unravel the complexities of the father-son relationship. A wider consideration of Fry's practice is pursued in an essay by critic and curator Jane Neal that addresses topics ranging from Saussurean signification to automatic writing, pagan fertility symbols to archetypal human forms, twentieth-century British painting to body builders. London-based Fry has had solo exhibitions in London, Berlin and Los Angeles, and featured in numerous group exhibitions including'Newspeak - British Art Now' at The State Hermitage, St. Petersburg, and 'The Curator's Egg' at Anthony Reynolds Gallery, London. This, the first monograph on the work of Robert Fry, is co-published by Galerie Kornfeld, Berlin, and Anomie Publishing, UK.

Kate MccGwire is an internationally renowned British sculptor whose practice revolves around the uncanny. Employing natural materials and in particular, feathers, MccGwire creates arresting, sensuous, otherworldly sculptures and site-specific works, exploring ideas relating to Sigmund Freud's notion of the 'unhomely' and often rendering the familiar strange and disturbing. This major monograph features works spanning her career, from the unsettling fabric and clothing works of the turn of the millennium through to the fantastical site-specific installation and interventions of her solo exhibition in 2020 at Harewood House. In her essay for the publication, independent curator and writer Jane Neal explores themes of childhood and family, nature and the body, physics and metaphysics, opening up connections between MccGwire's works and myths, legends and belief systems across time and cultures. The second essay, by Dr Catriona McAra, an art historian and Curator at Leeds Arts University, explores MccGwire's oeuvre in relation to the history of soft sculpture, abstraction and surrealism. Lavishly illustrated with around 140 images, the publication has been edited by independent curator and writer Mark Sanders and designed and produced by Peter B. Willberg. It is published by Anomie Publishing, London. Kate MccGwire (b.1964, Norfolk, UK), undertook a BA in Fine Art at University College for the Creative Arts, Farnham, before completing an MA in Sculpture at the Royal College of Art, London. Solo exhibitions include 'Menagerie', Harewood House, Leeds (2020); 'Dichotomy', The Harley Gallery, Welbeck, UK (2018); 'Sasse/Sluice', Aldeburgh Festival, UK (2018); 'Secrete', Galerie Huit, Hong Kong (2016); 'Scissure', La Galerie Particuliere, Paris (2016); and 'Covert', Musee de la Chasse et de la Nature, Paris (2014). She has featured in group exhibitions at venues including the Fondazione Berengo, Murano, Italy; Gewerbemuseum Winterthur, Switzerland; Guerlain House, Paris; Centre of Contemporary Art, Torun, Poland; Anton Ulrich Museum, Braunschweig, Germany; the Museum of Arts & Design, New York; and the Contemporary Art Society, London. In 2018 she was the winner of The Royal Academy of Arts, Jack Goldhill Award for Sculpture.