Nick Hornby (b. 1980, London) is one of the leading sculptors of his generation in Britain today, creating works on both intimate and monumental scales, and at the intersection of art history and contemporary technology. Hornby’s practice uses software that allows him to extract, alter and hybridise sculptures from art history into new works made from marble, steel, bronze, resin, wood and composite materials. It could be said that Hornby has opened up a new sculptural language for the twenty-first century. This, his first major monograph, features approximately 175 images, many of which are reproduced here for the first time or have been commissioned for the publication. Alongside documentation of works presented in galleries and outdoor spaces are production images taken in the studio and fabrication workshops. Hornby’s practice is here divided into four categories: Intersections, Extrusions, Hydrographics and Collaborations. A foreword by Luke Syson, Director of the Fitzwilliam Museum, Cambridge, offers insight into Hornby’s internal and external relationship with sculpture, considering the links between two and three dimensions, abstraction and representation, the ‘real’ and the digital. Editor Matt Price’s introduction takes readers on a whistlestop tour of the artist’s oeuvre, from his early family life and studies at Chelsea and The Slade in London, to his latest major exhibitions and commissions. Price covers a range of significant aspects such as the importance of music and sound, which were key elements of Hornby’s early work, to sculptures made in collaboration with others, and recent pieces combining art history with technology in their design and fabrication. An essay by Dr Hannah Higham, Senior Curator of Collections and Research at the Henry Moore Foundation, provides the most substantial piece of critical writing on Hornby’s work to date, drawing out specific touchstones in the history of art and discussing the relationship between the work and time. Higham further explores the ways that the motion and position of the viewer alter the experience of the sculptures, with new angles revealing fresh artistic inspirations from Hans Arp or Elizabeth Frink to ideas from communities Hornby has worked with and other contemporary artists with whom he has collaborated. An interview with Dr Helen Pheby, Associate Director, Programme, at Yorkshire Sculpture Park, probes the artist further about his cultural and theoretical inspirations, methods, materials and ideologies, including his views on collaboration, the public nature of art and its accessibility. Their conversation provides an insight into the thinking of the artist at a crucial stage in his career. The monograph brings together works spanning Hornby’s career for the first time. It follows Hornby’s first institutional solo exhibition at MOSTYN, Wales, and his first permanent outdoor sculptural commission for Harlow Science Park in Essex. The publication is edited by Matt Price, designed by Herman Lelie, printed by EBS, Verona, and published by Anomie, London. Nick Hornby, born in 1980, is a British artist living and working in London. Hornby studied at The Slade School of Art and Chelsea College of Art where he was awarded the UAL Sculpture Prize. In the UK he has exhibited at Tate Britain, Southbank Centre, Leighton House (all London), Cass Sculpture Foundation, Sussex, MOSTYN, Wales, and the Fitzwilliam Museum, Cambridge. International exhibitions have been held at the Museum of Arts and Design, New York and Poznan Biennale, Poland, along with residencies with Outset, Israel, and Eyebeam, New York. In 2014 Hornby was made a Fellow of the Royal Society of Sculptors.

Following the success of The Anomie Review of Contemporary British Painting in 2018, a second volume has been created to showcase more than sixty solo exhibitions that have defined contemporary painting in Britain since the first volume. This new, larger anthology presents the work of sixty artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries around Britain and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists staging some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 2 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Hurvin Anderson at Rat Hole Gallery, Tokyo; Lisa Brice at Stephen Friedman Gallery, London; Gareth Cadwallader at Josh Lilley, London; Denzil Forrester at Nottingham Contemporary; Sophie von Hellermann at Pilar Corrias, London; Matthew Krishanu at Midlands Arts Centre, Birmingham; Joy Labinjo at BALTIC, Gateshead; France-Lise McGurn at Simon Lee, London; Benjamin Senior at BolteLang, Zurich; Anj Smith at MOSTYN, Llandudno; Tim Stoner at Modern Art, London; and Phoebe Unwin at Towner Eastbourne. The anthology, which features cover artwork by Jade Fadojutimi from her spring 2019 solo exhibition at PEER, London, has been compiled and written by London-based editor and writer Matt Price, who in addition to editing more than fifty monographs, catalogues and books including Phaidon's international anthologies of painting and drawing Vitamin P2 and D2, has written for magazines such as Art Monthly, Art Quarterly, ArtReview, Flash Art, Frieze and Modern Painters. Endorsements for the first volume of The Anomie Review of Contemporary British Painting: "This insightful, richly illustrated anthology is a celebration of an artistic medium that is not only surviving but positively thriving. In discussing the work of [...] diverse painters, author Matt Price proves a passionate and engaging artworld guide to British painting today." - Helen Sumpter, Editor, Art Quarterly, ART FUND "It is hard to believe that nobody has thought to publish an anthology of this sort before, so valuable is it to current and future curators, artists and scholars, as well as audiences interested in the medium. A highly enjoyable read." - Charlotte Keenan McDonald, Curator of British Art, Walker Art Gallery / National Museums Liverpool.

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.

Zygotes and Confessions is a publication devoted to the work of London-based artist Nick Hornby, and has been produced to accompany his first solo exhibition in a public gallery. The exhibition, which shares its title with the publication, is presented at MOSTYN, Wales, UK, from November 2020 to April 2021. Hornby is known for his monumental site-specific works that combine digital software with traditional materials such as bronze, steel, granite and marble. In this publication he presents a substantial new body of smaller, more intimate work comprising three discrete yet interrelated series of works inspired by the history of sculptural busts, modernist abstractions and mantelpiece ceramic dogs. United by glossy photographic surfaces created by means of an industrial process in which his marble and resin composite sculptures are dipped into liquid photographs, these new works explore themes of portraiture, the body, identity, sexuality and intimacy in the digital era. A number of the works have been made in collaboration with fashion photographer Louie Banks. Along with a foreword by Helen Boyd, Head of Marketing and Publisher Relations at the Casemate Group, the publication features a text by MOSTYN director Alfredo Cramerotti and an essay by London-based publisher, editor and writer Matt Price. Price writes: "With one eye on the sculpture of the past and the other on that of tomorrow, technology is at the heart of London-based Nick Hornby's practice and is central to the production of his often imposing, mind-bending and futuristic-looking sculptures. Using materials such as bronze and marble, his work points back towards the Renaissance or the nineteenth century, yet his use of resin and digital technology positions him very much in the present, exploring languages both figurative and abstract, often simultaneously." The texts are presented in both English and Welsh. Newly commissioned studio photography of the works by Ben Westoby, along with installation views of the exhibition commissioned by MOSTYN from Mark Blower, illustrate the publication, which has been designed by Joe Gilmore / Qubik. The publication is co-published by MOSTYN, Wales, UK, and Anomie Publishing, London, and distributed internationally by Casemate Art, a division of the Casemate Group. Nick Hornby (b.1980) is a British artist living and working in London. Hornby studied at the Slade School of Art and Chelsea College of Art. His work has been exhibited at Tate Britain, Southbank Centre London, Leighton House London, CASS Sculpture Foundation, Glyndebourne, Fitzwilliam Museum Cambridge, Museum of Arts and Design New York, and Poznan Biennale, Poland. Residencies include Outset (Israel) and Eyebeam (USA), and awards include the UAL Sculpture Prize. His work has been reviewed in the New York Times, frieze, Artforum, The Art Newspaper, The FT, and featured in Architectural Digest and Sculpture Magazine.

Anomie Collections 1 is a publication accompanying the first edition of Anomie Collections – a London-based initiative that supports the work of contemporary British painters by acquiring works on behalf of a group of private collectors. This first edition of the scheme resulted in the purchase of fifty-six paintings and works on paper, documented and presented here along with newly commissioned texts by Anneka French and an introduction by Matt Price, Publisher at Anomie Publishing and curator of the edition. The works span a variety of genres, from landscapes and urban scenes to still lifes, portraits and abstractions. The artists featured in Anomie Collections 1 are: Jasmir Creed, Marguerite Horner, Cathy Lomax, Kathryn Maple, Kate Mary, Daniel Shadbolt, Caroline Thomson and Jim Threapleton.

'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.

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.

What separates campaigns that win from those that don't? At any given moment, there are hundreds of campaigns under way that seek to persuade citizens or decision makers to think, act, or vote in a certain way. Engagement Organizing shows how to combine old-school people power with new digital tools and data to win campaigns today. Over a dozen case studies from NGOs, unions, and electoral campaigns highlight this work in practice. At a time of growing concern about what the future holds, this book is an indispensable guide for seasoned campaigners as well as those just getting started, who want to apply the principles of engagement organizing to their own campaigns.

The practice of Chelsea School of Art and Goldsmiths College graduate Greg Rook (b.1971, London) explores the rich visual history, curious cultural politics and often complex ideologies of those who seek to start a new life or wish to lead alternative lifestyles. From pioneers travelling to new continents to those wanting to stay put and live self-sufficiently, Rook invites us to join him on his own aesthetic and critical journey through a world of colonies, communities, communes and cults. By means of figurative painting that pushes the boundaries between realism and lyricism, Rook captures something profoundly revealing in terms of the hopes, dreams and successes as well as the disappointments, disillusionment and disasters that radical departures from home life and mainstream society can entail. For some, utopias can turn to dystopias, the Romantic imaginary can turn to tragedy, the sublime can turn to misery. For those fleeing oppression, however, it can be completely the opposite - newfound freedom, affluence and happiness. Rook's oeuvre, which incorporates cowboys and communists, agrarians and anarchists, believers and book-burners, depicts how the relationship between people and land is regularly fraught with issues, especially when migration and a clash of mindsets or ways of life is involved. What are brave new worlds for some are threatened old worlds for others... This hardback publication, the first monograph to be devoted to the work of Greg Rook, has been co-published by Vento& Associati and Anomie to coincide with a substantial mid-career survey exhibition of the artist's work being staged by Vento & Associati at the Fabbrica del Vapore in Milan in spring 2019. Featuring approximately fifty illustrations of paintings and works on paper made by Rook since 2006, along with an introduction by London and Milan-based critic and curator Michele Robecchi and a significant newly commissioned essay by Matt Price, a leading voice in the field of contemporary British painting, the publication offers an engaging and pertinent commentary on Rook's long-standing painterly investigation into how people choose to live their lives. Vento& Associati is a Milan-based company operating in global contexts that specializes in strategic cultural communication within fields such as public affairs, corporate and social responsibility, and cultural fundraising. Vento & Associati manages a programme of exhibitions at the Fabbrica del Vapore as part of the Spazi al Talento initiative of the City of Milan.