Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing international recognition as an abstract painter. This is the first publication to examine Bowling's art and ideas in relation to sculpture. Lavishly illustrated, it features an extended essay by curator Sam Cornish charting Bowling's interactions with sculpture since the 1960s. The book asks how seeing Bowling's sculpture, and thinking about sculpture more broadly, may extend our understanding of his pictorial language. Considering this relationship also highlights the importance of sculpture to High Modernism, from within which Bowling's mature art emerged. Also included are an in-conversation between Allie Biswas and sculptor Thomas J. Price, and a poem dedicated to Bowling by sculptor and author Barbara Chase-Riboud.

In the decade before his death in 2011, John Hoyland began to reckon with mortality. Confronting his own demise, he painted elegies to departed artist friends and tributes to illustrious artistic forebears. Imagery of the void looms large, but it is a void faced with defiance and vitality, less a rumination on the end than a celebration of life. This publication explores the paintings Hoyland made in this decade, including his final series, the Mysteries. Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding offer a rich and multifaceted account of a complex body of work. Hoyland’s veneration of Vincent van Gogh, his connections to J.M.W. Turner, the use of black as a colour, his deployment of risk and attempts to subvert his own taste, and his development of the cosmic visual language of the Abstract Expressionists are all discussed. Richly illustrated, the book extends our understanding of Hoyland’s late work within the story of modern painting as a whole.

Founded in 1967, Stockwell Depot heralded the emergence of the London artists' studio movement and gained international recognition as a centre for abstraction in Britain. For over 25 years, this disused former brewery in south London functioned as a cooperative studio and exhibition space. Artists associated with the Depot - Roland Brener, Jennifer Durrant, David Evison, Katherine Gili, Peter Hide and Roelof Louw, among many others - held differing and often competing attitudes towards art. The ambitious work made and shown at the Depot tells the story of late modernism in Britain, tracing a period full of formal experimentation and critical debate. Incorporating interviews with 10 artists alongside a major essay by Sam Cornish, this volume is the first to examine the artists' activities within a historical context and to track their development through the Depot's pivotal annual exhibitions. Published to coincide with the exhibition Stockwell Depot, 1967-79 at University of Greenwich Galleries, London, 24 July-12 September 2015.

Constant Within the Change: Gary Wragg: Five Decades of Paintings: A Comprehensive Catalogue surveys the work of abstract painter Gary Wragg. Trained at Camberwell School of Art and the Slade, Wragg announced himself in the mid-seventies with two dramatic exhibitions at London's Acme Gallery. Since then he has exhibited widely and internationally and has work in public collections including the Arts Council Collection, the Fitzwilliam Museum, Cambridge and the Pompidou, Paris. Texts by Hilary Spurling, Terence Maloon, Matthew Collings, Sam Cornish, Stefanie Sachsenmaier and Wragg himself explore various aspects of his art - including his relation to American Abstract Expressionism and friendship with painters Jack Tworkov and Willem de Kooning; and his practice of Tai-Chi, of which he is one of Europe's leading experts. In two volumes Constant Within the Change includes over five hundred full-color images, and comes with access to an online catalogue of Wragg's work.

The British painter Mali Morris's career stretches over forty years. Her experiments with colour, layering, and pictorial space have made her one of the most intriguing abstract artists working in Britain today. She draws inspiration from the art of the past - from the paintings of Manet and Velazquez, and the chromatic intensities of Matisse, Indian miniatures and the Sienese masters - as well as acknowledging influence from such twentieth-century artists as Helen Frankenthaler, Hans Hofmann and Milton Avery. The contemporary vitality of her work comes from its inventiveness, always moving her painting forwards. She says her work falls into 'families' - individual paintings that reach out for one another - and that she uses colour as an 'entity' in itself, a way of constructing luminosity, rather than a description of something outside the work. In extracts from her own writings included here, she compares painting with the work of poetry, with its similar aim of compression, finding form for feeling through language. This book is the first to present the full range of Morris's stunning paintings, alongside an insightful essay by Sam Cornish that evaluates the influence and importance of her work, an illustrated chronology, and a preface by the art historian Mel Gooding.