Foreword by Roberta Ahmanson; introduction by John Silvis; essay past Jane Neal
64pp, hardback, 315 ten 250 mm, c. forty images

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 individual members clubs. Having started out in her home city of London, her research took her to California, and in particular to some of the well-nigh 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 utilize them. Whether celebrities, cocky-fabricated business concern 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 gratis from fans, paparazzi, or the full general public. Information technology is a world of affluence and glamour tailor-made for the jet-gear up, a meeting place where artists and art collectors wing in and beverage cocktails, where high-net worth individuals and media moguls hang out with the great and the adept from Hollywood or the music manufacture, 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 betwixt reality and invention.

Freeman Bentley is known for her paintings of architecture and interiors, non only exploring the physical attributes of the built environs, but also raising questions about how and why they are used, and how this is reflected in the ambiance and dynamics of a given infinite. At a fourth dimension of heightened awareness of wealth inequality, through her painterly works Freeman Bentley gives united states a glimpse within the spaces of the social milieu of the financially successful, the movers and shakers, the leaders and trend setters, inviting us to answer as viewers in any ways we choose. For some, it may be a matter of curiosity or of desire and aspiration; for others the very thought of members clubs might exist elitist or snobbish. Yet for others it might exist an occasional treat, or simply an everyday occurrence, the norm. With her characteristic combination of matter-of-fact observation, disquisitional reflection, and atmospheric perception, Freeman Bentley presents us with a torso of work that is as enigmatic as it is intriguing, asking the states non merely virtually issues of individuality and communality, private and public life, exclusivity and inclusivity, but also nigh how we each fit into such dialectics, and what this says virtually our inner and outer lives.

'Exclusive' has been co-published past Pinatubo Printing, 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 equally many works on paper, alongside a foreword from collector and patron Roberta Ahmanson, an introduction by the exhibition curator John Silvis, and a specially deputed essay from critic Jane Neal.

Anna Freeman Bentley (b.1982) is an artist based in London. She studied painting at Chelsea Higher of Fine art and Design before graduating with an MA from the Imperial College of Art in 2010. She has had solo exhibitions at venues including Wolfson College, Oxford (2017), Husk Projection Space, London (2015), Workshop Gallery, Venice (2012), and Galerie Kollaborativ, Berlin (2007). Selected grouping exhibitions include 'London Now' at Space K, Seoul, S Korea (2017), 'Der Kuhle Glanz' at 68projects, Berlin (2017), the East London Painting Prize (2015 and 2014), the Prague Biennale five (2011), and Bloomberg New Contemporaries (2009). Freeman Bentley has been the recipient of numerous awards and residencies, including Breathing SPACE Residency, London (2015-sixteen), the ERDF New Creative Markets Programme, London (2013-fourteen); Artist in Restaurant at Pied à Terre, London (2012); The Florence Trust Artists Residency, London (2010-xi) and The Chelsea Arts Club Trust Award, London (2009).

ISBN: 978-ane-910221-15-0
RRP: £30 / €35 / $40
US release engagement: xix April 2018
UK release engagement: ten May 2018
Designed by Reynolds Wulf Inc.
Edited by Ann Hirou
Co-published past Pinatubo Printing, Inc., and Anomie

Images: © The artist
Photography past Anna Arca

Essay by Freya Cooper Kiddie
88pp, hardback, 255 ten 195 mm, c. 45 images

Published to coincide with a solo presentation of the new 'Hoax Suite' by British painter Justin Mortimer at The Armory Show in New York in jump 2018 with London-based gallery Parafin, the publication presents the thirty works that incorporate this exceptional serial of paintings depicting expressionless and dying flowers, offering an intense and accomplished exposition of withal life, or perhaps more aptly, nature morte. From one management, pure brainchild threatens to rupture into concrete space and matter; from the other, figuration almost collapses into the abstraction that engulfs information technology. With Mortimer'southward characteristic combination of darkness and beauty, melancholy and metaphysics, observation and interpretation, the Hoax series is not just a pregnant torso of work inside the artist's oeuvre, simply perchance also one of the nigh meaning series of paintings of flowers in our time.

Alongside new photography of all the paintings, the book features a peculiarly deputed essay by London-based writer Freya Cooper Kiddie, in which she discusses the genesis and evolution of the suite of paintings, its connections to Mortimer'due south wider practice and to art history, and opens up critical lines of research ranging from 20th-century experimental motion-picture show to existential notions of mortality, from contradistinct states of mind to the concept of still life as portraiture. Cooper Kiddie investigates the techniques and aesthetics of a series that fuses decaying organic thing with corrupted digital engineering science.

While 'The Hoax Suite' of paintings can be read as an exploration of the medium of paint and of the dialogue between figuration and abstraction through a single subject, its themes are manifold, from the contemplation of mortality to faded beauty and lost honey – fragrant flowers in full bloom, as if to deceive u.s.a., presently decay. Hither, in these dank, acrid, darkly psychedelic works, Mortimer shines a flashlight on the spectral beauty of decease, and in doing so, reminds u.s.a. that life is the disturbing notwithstanding ecstatic explosion of colour that fleetingly fills the void.

Justin Mortimer graduated from the Slade School of Art in 1992 and lives and works in London. Contempo solo exhibitions include Parafin, London (2017 and 2015), Djanogly Gallery, Lakeside Arts, University of Nottingham (2015), Future Perfect, Singapore (2015), Haunch of Venison, London (2012), and Mihai Nicodim Gallery, Los Angeles (2011). Recent group exhibitions include The New Frontiers of Painting, Fondazione Stelline, Milan (2017-18), Disruptive Imagination, Gallery of Fine Arts, Ostrava, Czech Commonwealth (2017), This Side of Paradise, Sotheby's Due south/2, London (2014), Are you lot alright? MOCCA, Toronto (2013), Nightfall, MODEM Center for Modern and Contemporary Arts, Debrecen, Hungary (2012), and the fifth Prague Biennial (2010). His work is in collections including the National Portrait Gallery, London, the Royal Society for the Arts, Bank of America, NatWest Banking company and the Flash Art Museum of Contemporary Art in Trevi, Italia.

ISBN: 978-1-910221-14-3
RRP: £30 / €35 / $40
United kingdom of great britain and northern ireland release date: 15 March 2018
US release date: 12 April 2018
Designed by Modernistic Activity
Edited by Matt Cost
Published by Anomie

Images: © The artist and Parafin, London
Photography by Peter Mallet

Foreword past Paulette Terry Brien, essay and in-conversation by Charlotte Keenan McDonald
78pp + 8pp covers, paperback, 245 x 171.5 mm, c. 35 images

Louise Giovanelli (b.1993, London) is 1 of United kingdom of great britain and northern ireland's most promising immature painters. This, the artist'due south start monograph, documents her first three solo exhibitions, staged in 2016-17 at The International 3, Salford, the Grundy Art Gallery, Blackpool, and Touchstones Rochdale. Featuring a foreword past Paulette Terry Brien, co-founder and co-director of The International three, Salford, United kingdom of great britain and northern ireland, and an essay and an interview past Charlotte Keenan McDonald, Curator of British Art at the Walker Fine art Gallery, Liverpool, this publication has been beautifully designed by Textbook Studio and published by Anomie in a offset edition of 500 copies.

Paintings, both contemporary and spanning the history of art, are Giovanelli'due south primary subjects inside her own paintings. Picking out sections or details from existing works – some well-known but by and large lesser-known – she reworks and represents them, focussing on aspects that attract her eye and critical attention. These might be unusual or odd formal elements – a neckline or a detail on an item of clothing – or can as be things that are extraneous to the original, such as how candlelight might fall on it, or how it might appear during restoration work by a conservator. Considering the position of the viewer as much as the painter, Giovanelli explores the history of painting every bit object, the context of its display and reception, and the very mechanics of painting itself to investigate languages of painting both past and present, resulting in works that are cryptic, other-worldly and strangely enchanting.

Louise Giovanelli graduated in BA (Hons) Fine Art (Painting) from Manchester School of Art in 2015. Her previous grouping exhibitions include: 'BEEP', Wales' international painting prize; 'Establishment / Outstitution' at The International 3; 'Pleasure Islands' at Art Piece of work Atelier, Salford; 'The Painted World' Saatchi Art Showdown Terminal, Los Angeles; and 'Ones to Watch', Galerie Sarow, Pforzheim, Germany. In 2016 Giovanelli had her first solo exhibition, 'Prima Donna' at The International three, Salford, followed by 'From Here to Hither' at Grundy Fine art Gallery, Blackpool, 'Dull to Respond' at Touchstones Rochdale, and in 2017 a solo exhibition at Warrington Museum and Art Gallery. Giovanelli has been the recipient of a number of prizes including The Leonard James Fine Art Prize, The Manchester Academy of Fine Fine art Laurels, and The Ken Billany Painting Prize. In 2015 she was awarded second place in the Saatchi Art Showdown and in 2017 she will undertake a residency at Griffin Gallery, London. Her work is held in private collections in the UK, USA, Canada, Red china, Germany, Slovakia and Italian republic.

ISBN: 978-one-910221-13-vi
RRP: £18 / €23 / $25
UK release appointment: 23 March 2017
Us release date: 27 Apr 2017
Designed past Textbook Studio
Edited by Linda Pittwood and Guy Tindale
Published by Anomie

Images: © The artist and The International 3, Salford
Photography past Pantling Studio

Introduction by Paul Moorhouse, essays past Jane Neal and James Cahill
104pp + 4pp covers, hardback in hard slipcase, 292 x 245 mm, c. 49 images

'Matters of Life and Death' is a limited-edition publication documenting the remarkable new and contempo 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 human relationship between figuration and abstraction in Patterson's oeuvre. Moorhouse observes: 'Visual ambivalence defines Patterson'south fine art, and its nearly 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 means 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, cute and, at times, haunting.

In his illuminating essay, art historian James Cahill explores the subjects of portraiture and personae within the creative person's works, asserting that 'his strategy of distancing his figures – whether through a cleaved veil (or enclosing frame) of abstract pigment, or the gauze-like intercession of a photographic source – throws into relief the thought 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 usa into the realms of fetish and the male gaze, proposing that his painting overtly 'points towards the patriarchal and often misogynistic mental attitude to women's bodies nonetheless prevalent in magazines, films and social media, even in the twenty-first century. Patterson sets united states of america up to confront the darkness that often underlies the male gaze, fifty-fifty affording it concrete form.'

Featuring a selection of works executed between 2013 and 2016, many of which are published here for the first fourth dimension, the textile-covered book is presented in a specially printed difficult slipcase and has been published in an edition of just 500 copies.

Built-in 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 every bit Awareness: Young British Artists from the Saatchi Collection, Royal University of Arts, London, Great britain; Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New York, United states of america (1997-00). Other notable exhibitions include The Rowan Drove: Contemporary British & Irish Art, Irish gaelic Museum of Modern Art, Dublin, Republic of ireland (2002); Painting Pictures, Kunstmuseum Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum Houston, Texas, USA (2007) and Attending to Particular, 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, United states of america (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 16×34, New York.

ISBN: 978-one-910221-12-9
RRP: £75 / €ninety / $100
Britain release date: 23 February 2017
US release date: 23 March 2017
Designed past Modern Action
Edited by Matt Price and Kat Sapera
Published past Anomie

Images: © The artist and Timothy Taylor, London
Renderings courtesy of Mod Activity

anomie_brochure_front_cover_web

Anomie Publishing's autumn/winter 16–17 brochure is now out, featuring recent, new and forthcoming titles along with information about our backlist publications. Highlights include a brand new edition of British electronic music pioneer Daphne Oram's 1972 volume 'An Individual Notation of Music, Sound and Electronics', co-published with the Daphne Oram Trust, and a stunning clothbound hardback limited edition publication of the contempo paintings of celebrated British artist Richard Patterson. Other contempo titles include a major new monograph on the remarkable New York-based British artist Oliver Clegg, living proof of how to excel in 'post-medium' artistic practice; 'Sensory Systems', a beautifully designed book documenting an exhibition of light-based artworks by Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross at the Grundy Fine art Gallery in Blackpool to coincide with the Illuminations; and 'Incoherent' – the get-go monograph on emerging British painter Benjamin Senior.

Delight click on the image above to download a PDF of the Anomie autumn/winter 16–17 brochure.

By Daphne Oram (first published in 1972), new introduction by Sarah Angliss
176pp + 4pp covers, hardback, 220 x 165 mm, c. 25 b/w images

Daphne Oram (1925–2003) was ane of the central figures in the development of British experimental electronic music. Having declined a place at the Purple Higher of Music to become a music balancer at the BBC, she went on to go the co-founder and first manager of the BBC Radiophonic Workshop. Oram left the BBC in 1959 to pursue commercial work in television receiver, advertising, film and theatre, to make her own music for recording and performance, and to continue her personal enquiry into audio technology – a passion she had had since her babyhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis – the Oramics machine.

Oram's contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust'southward ambitions has been to publish a new edition of Oram'due south one and only volume, 'An Private Note of Music, Audio and Electronics', which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition.

'An Private Note' is both curious and remarkable. When commissioned to write a volume, she was bang-up to avoid it becoming a transmission or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, audio and electronics, and the relationships between them. At a time when the globe was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities, and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities and possibilities that the new sounds could bring. And her thinking was not express to only the hereafter of the orchestra, synthesizer, estimator and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture and idea. 'An Individual Annotation' is a playful even so compelling manifesto for the dawn of electronic music and for our private capacity to use, experience and enjoy information technology.

This new edition of 'An Individual Note' features a specially commissioned introduction from the British composer, performer, roboticist and audio historian Sarah Angliss.

ISBN: 978-1-910221-11-2
RRP: £20 / €30 / $35
UK release date: 23 Nov 2016
US release date: 15 December 2016
Designed by Joe Gilmore / Qubik
Edited by Matt Price
Co-published past The Daphne Oram Trust and Anomie Academic

Annal images: © The Daphne Oram Trust
Courtesy of Goldsmiths Special Collections & Athenaeum, London

3D cover images:
Design by Joe Gilmore / Qubik
Renders by Mark Doherty
Courtesy of Anomie Publishing and The Daphne Oram Trust

Essay past Martin Herbert, interview with Sina Najafi, and an introduction past Matt Price
288pp + 4pp covers, hardback, 305 x 220 mm, c. 135 color and b/w images

Featuring a playful and stimulating interview with Sina Najafi, a thought-inspiring essay by Martin Herbert, and beautifully designed by Dominique Clausen, this is the first major monograph on the British-born, New York-based artist Oliver Clegg. An eclectic, polyphonic and multidisciplinary creative person, Clegg'southward oeuvre stretches from painting, drawing and printmaking to sculpture, installation, site-specific art, participatory projects and beyond. Indeed, his practice is in many means a shining example of 'postal service-medium' creativity today, pursuing the essence of art itself beyond any specific medium or artform. The irony is, he's pretty damn proficient with each artform too.

With his erudite, surprising and striking repertoire, and his diverse materials and methods (from glass, wood and steel to neon, resin and concrete, weaving and casting to engraving and industrial manufacture), Clegg offers the viewer a complex, sometimes playful, other times moving journeying into existential and ontological notions of objecthood and matter, images and signs, language and communication, creation and being. From the studio and gallery walls to the streets of London and New York, from Freud's house to the Joshua Tree National Park, from foosball tables to state asylums, Clegg turns upward to do remarkable things with the fabric of spacetime.

And yes, it's an emotional rollercoaster of a ride – in fact, Clegg's oeuvre spans a significant proportion of the spectrum of human emotion, his unique trans-Atlantic blend of humour, sarcasm and wit coming face to face with the much more serious matters of memory, psychology, truth, belief, significant, love, life and expiry. Nostalgia, childhood, games, play and sentimentality career headlong into the realms of kitsch, Pop and the history of the avantgarde, resulting in a delightful even so challenging range of responses from the viewer, whether entertainment, camaraderie, joy, bemusement, outrage, disillusionment or a telephone call to arms. Clegg is an artist with great free energy, incredible spirit, and i of the most engaging, curious, ambiguous and entertaining oeuvres currently making waves in the world of art.

In many means an exploration of the id, ego and superego, Clegg's practice plays out the struggle betwixt our bones desires, our rational minds, and the underlying mores that keep us in bank check. Not unlike Freudian notions of the psyche, Clegg'south practice articulates the battle that takes identify inside usa all on a daily basis, spilling into the outside earth in myriad means. Information technology is a fight, yes, but it is play too.

ISBN: 978-one-910221-07-five
RRP: £30 / €xl / $45
Uk release date: fifteen September 2016
US release engagement: 29 September 2016
Designed by Dominique Clausen
Edited by Matt Toll
Published past Anomie

Anomie_SS16_brochure-cover

Anomie Publishing'due south leap/summer 16 brochure is now out, featuring contempo, new and forthcoming titles along with information nearly our backlist publications. Highlights include a stunning clothbound hardback publication of the work of James Turrell at Houghton Hall last autumn; Nathan Coley's curious and engaging book relating to the squatter community of Frestonia in Kensington and Chelsea in the 1970s; Wolfe von Lenkiewicz's extraordinary adventures in the history of painting, mixing up periods, styles and genres in ways both entertaining and challenging; Sensory Systems, a beautifully designed book documenting an exhibition of low-cal-based artworks by Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross at the Grundy Art Gallery in Blackpool to coincide with the Illuminations; and a major new monograph on the remarkable New York-based British artist Oliver Clegg, living proof of how to excel in 'post-medium' artistic do.

Please click on the image to a higher place to download a PDF of the Anomie leap/summer 16 brochure.

Foreword by Richard Parry, essay by Dr. Luke Skrebowski
64pp + 4pp covers, softback, 305 x 235 mm, c. 30 color and b/w images

Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the showtime in a new almanac programme by the gallery each fall that will revolve around the theme of lite, and timed to coincide with the famous Blackpool Illuminations – a 6-mile-long outdoor brandish of lights that has fatigued many visitors to the town each year since it was first switched on in 1912.

The exhibition and publication feature works past internationally acclaimed artists interested in the technology and science of light, and how this can exist used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, each artwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, motility and other factors to evoke a variety of spatial and sensory experiences.

The choice of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Among these, Anthony McCall was one of the early pioneers in the field, alongside figures such every bit James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his 'solid low-cal' installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture fabricated of light.

The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed past Joe Gilmore / Qubik. The project has been supported by Blackpool Quango, Littoral Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Fine art.

ISBN: 978-1-910221-10-five
RRP: £18 / €23 / $26
Britain release date: 31 March 2016
Designed by Joe Gilmore / Qubik
Edited past Richard Parry
Co-published by Grundy Art Gallery and Anomie

Texts by David Cholmondeley, Peter Murray, and Hiram C. Butler
102pp + 4pp covers, Hardback, 260 x 300 mm, c. 60 color and b/west images

James Turrell is widely acknowledged as one of the most important artists working today. From the mid 1960s onwards his principal concern has been the way nosotros apprehend light and space. His study of mathematics and perceptual psychology, as well as his Quaker upbringing and background as a airplane pilot, inform his practice. His first exhibition in 1967 of 'projection pieces' used high-intensity light projectors to give the illusion of a solid geometrical object, often seemingly floating in space. From these investigations of light, Turrell went on to begin his series of 'Skyspaces'. These are enclosed viewing chambers that bear upon our perception of the sky.

Since and then he has connected to create works using calorie-free as his medium. Possibly his well-nigh celebrated works are his 'Ganzfeld' chambers, whole spaces immersed in light; as well as his more than recent 'Tall Glass' series, which resemble windows of slowly changing color. Meanwhile, Turrell continues work on a monumental project at Roden Crater, an extinct volcano in Arizona. Here he has created a series of viewing chambers, tunnels and apertures to enhance our sense of the heavens and world in 1 of the most ambitious artistic endeavours of modern times.

In summer/autumn 2015, Houghton Hall, Norfolk, hosted an ambitious and meaning exhibition of James Turrell'southward low-cal pieces, many collected by the Marquess of Cholmondeley, owner of Houghton, who has long been an gentleman of his work.

This publication has been produced to document and to accompany the exhibition – a projection devoted to James Turrell's piece of work has been a long-held ambition of Lord Cholmondeley. He first discovered Turrell's piece of work twenty years ago, and in 2000 invited him to Houghton to install a 'Skyspace' amongst the trees on the west side of the house. Shortly afterwards, a rusty h2o tank was removed from an eighteenth-century folly in the park to make manner for his atmospheric interior space, 'St Elmo's Breath'.

The exhibition was centred around works from the Houghton collection, which also includes projections, a 'Alpine Glass', holograms and prints. The exhibition was complemented past further loans to assist illustrate the broad spectrum of Turrell's work; and a unique, site-specific installation was created specially for Houghton – 'The Illumination'– lighting the whole west façade of the business firm that could be viewed from dusk.

50 ightScape follows iii highly acclaimed exhibitions by Turrell in 2013/14 at the Guggenheim, New York, the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston. The National Museum of Australia, Canberra has also hosted a major retrospective of his work which closed just equally the exhibition at Houghton Hall opened.

The publication includes a foreword by David Cholmondeley, a text by Peter Murray, and interview with the artist past Hiram C. Butler. Designed by Peter B. Willberg and printed in Italy, this hardback, cloth-covered publication is essential reading for all admirers of Turrell's oeuvre.

ISBN: 978-0-9932882-0-3
RRP: £35 / €50 / $55
UK release date: ten December 2015
Designed past Peter B.Willberg
Edited by David Cholmondeley
Published by Houghton Hall in clan with Anomie