Honor Titus (born 1989) is an American artist who lives and works in Los Angeles. A self-taught painter, Titus is deeply influenced by his creative past as a musician and poet. Titus’s paintings, often suffused with a sense of romance, are embedded with nostalgic references to a simpler time and feature dark, luminous jewel tones. His works often depict faceless figures in minimal urban landscapes, reflecting the isolation that stems from metropolitan anonymity. Titus’s simplified compositions and striking patches of colour are inspired by Les Nabis while his flat, decorative surfaces echo the graphic hyperrealism of artists inspired by American advertising, such as Alex Katz. This, the artist’s first trade monograph, presents new and recent works, including a body of work presented in his 2022–3 solo exhibition at Timothy Taylor, London, Bourgeoisie in Bloom. Here Titus expands on the themes of ritual, class and nostalgia that have characterised previous work, incorporating debutante balls in which young adults are presented to society. Favouring bright panels of colour, Titus evokes traditions of cultural formality, using precise brushwork to delineate details of old-world glamour such as the tilt of a bow tie and the line of a ballgown. A foreword by artist Henry Taylor considers his first encounters with Titus’s work and their continuing friendship. Taylor describes the biographical factors that inform the subjects Titus paints, including music, referencing the first solo show of the artist’s work held at Henry Taylor Gallery in Chinatown, 2020. A text by Durga Chew-Bose brings the themes of nostalgia and memory into the field of discussion. Anecdotes relayed to Chew-Bose bring forward real experiences in relation with his work. The artist’s own words illuminate filmic, musical, photographic and romantic influences on the paintings, while dwelling, lastly, upon his studio space. Klaus Ottmann’s text reflects philosophically and sociologically on Titus’s oeuvre, bringing key art historical reference points into the discussion. Ottmann’s contribution draws connections to key works of literature and criticism that contextualise his work. Published following the exhibition Honor Titus: Bourgeoisie in Bloom at Timothy Taylor, London, 17 November 2022 – 14 January 2023, the publication has been edited by Chloe Waddington, designed by Joe Gilmore, and co-published in 2023 by Timothy Taylor and Anomie Publishing, London. Honor Titus (b. 1989, Brooklyn, NY) is a self-taught American artist who lives and works in Los Angeles, California. Recent solo exhibitions include Honor Titus: Bourgeoisie in Bloom, Timothy Taylor, London, United Kingdom (2022–3); Spotlight: Honor Titus, The FLAG Art Foundation, New York, NY (2022); Honor Titus: For Heaven’s Sake, Timothy Taylor, New York, NY (2021) and Honor Titus: Goodness Gracious, Studio Henry Taylor, Los Angeles, CA (2020). His work has been part of numerous group exhibitions, including IRL (In Real Life), Timothy Taylor, London, United Kingdom (2021); Parallel Worlds, Nassima Landau, Tel Aviv, Israel (2021); and I will wear you in my heart of heart, The FLAG Art Foundation, New York, NY (2021); and (Nothing but) Flowers, Karma, New York, NY (2020), among others. His work is represented in the collections of the Dallas Museum of Art, Dallas, Texas; Nasher Museum of Art, Durham, North Carolina; Rennie Collection, Vancouver, Canada; The Bunker Artspace, Palm Beach, Florida; and the Longlati Foundation, Shanghai, China. Titus has been featured in publications including Art in America, Artnet, Frieze, GQ, Interview Magazine, The New York Times, and Town & Country.

Named a best book of 2017 by NPR, The Guardian, Slate, NYLON and The Globe and Mail (Canada)

From Durga Chew-Bose, “one of our most gifted, insightful essayists and critics” (Nylon), comes "a warmly considered meld of criticism and memoir" (New Yorker), a lyrical and piercingly insightful debut collection of essays about identity and culture.

Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today. On April 11, 1931, Virginia Woolf ended her entry in A Writer’s Diary with the words “too much and not the mood” to describe her frustration with placating her readers, what she described as the “cramming in and the cutting out.” She wondered if she had anything at all that was truly worth saying.

The attitude of that sentiment inspired Durga Chew-Bose to gather own writing in this lyrical collection of poetic essays that examine personhood and artistic growth. Drawing inspiration from a diverse group of incisive and inquiring female authors, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.