Sarah Medway’s abstract paintings are a delicate, evocative and sincere investigation into the nature of light as it manifests itself through the myriad environments that surround us. She navigates us through the different seasons, sometimes on foreign shores – from the Mediterranean to Scandinavia and beyond – other times closer to her canal-side studio in central London. She leads us through different times of day and night, from dawn to dusk and long into the night. She takes us up to the skies, into sunlight and shade, clouds and fog, rainbows and sunsets. She takes us into fields, along the coastline, and far out to sea. With her distinctive vocabulary of abstract marks and shimmering palettes, her works build into complex webs of patterns and textures that capture something of the experience of perceiving light, colour and shapes as they filter through the atmosphere into our eyes, minds, memories and subconscious.That Medway’s works take us on different journeys, into different environments and out to sea is certainly apt, as the body of work presented in this latest monograph on the artist takes the form of 56 canvases that were commissioned for display on the new P&O Cruises Britannia, the largest and highest-specification cruise ship built by the company to date, making regular voyages into the Med, to the Fjords, to the Canaries, the Caribbean and beyond. This substantial commission is one of the latest in a long line of commissions by P&O of original works of art by living artists. For the publication, specially commissioned texts by eminent art critics Andrew Lambirth and Sue Hubbard offer an illuminating and insightful introduction to Medway’s oeuvre and to this significant new series of paintings. In addition to having participated in group exhibitions at institutions including Tate Britain, the Whitechapel, the Royal Academy, the World Trade Center and Austin Museum of Art, Medway has had solo exhibitions at venues including Flowers East, London, Chelsea Hotel, New York, Kienbaum Gallery, Frankfurt, The Mandalai, Thailand, and Atelier Gallery, Spain. She has works in many public, private and corporate collections in the UK, US, Germany, Italy, Spain, Belgium, Hong Kong and Thailand. Published by Anomie, the monograph has been designed by Peter B. Willberg with James Sutton, and printed in Italy by Castelli Bolis.

Anna Freeman Bentley (b. Freeman, 1982) is a painter based in London. Her practice explores the built environment, architecture, and interiors, inviting emotive, psychological, and semiotic readings of space. With an intense, regularly dark palette and energetic yet often intricate brushwork, her paintings depict all manner of places – derelict factories and warehouses, baroque buildings, shops, cafes, and modern industrial and corporate architecture. With a particular focus on the relationships between the design of architecture, its function and use, how these uses change over time, and how streets, areas, communities, and cities decline, regenerate, and gentrify, Freeman Bentley’s practice documents the changing vocabulary of architecture and captures some of the complex dynamics, atmospheres, politics, and states of mind that these places engender. This, the artist’s first monograph, features over forty paintings spanning her career to date, offering a journey through the built environment that takes the viewer into realms as diverse as psychogeography and heteropias, romanticism and modernism. From the needs and desires of individuals to those of the different communities that make up urban life in cities and towns today, her paintings open up questions about displacement and replacement, decay and rebirth, change and transformation, public and private, social and economic mobility, aspiration and desire, buildings and people. Seeking to go beyond the visible and tangible and to explore ideas of faith and the sacred within space, Freeman Bentley’s work looks through the fabric of our physical environment to ask about what lies behind, into the dialogue between matter and spirit.The publication features newly commissioned texts by London-based curator and writer Michele Robecchi, New York-based art writer and editor Marina Cashdan, and Ben Quash, Professor of Christianity and the Arts at King’s College London. Edited by Matt Price and designed by Joe Gilmore / Qubik, this hardback monograph presents the arresting and engaging work of one of the UK’s most promising emerging painters.Freeman Bentley 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 in Berlin, Venice, and California, residencies in London with the Florence Trust and with Pied a Terre Michelin-starred restaurant, and participated in group exhibitions including the Prague Biennale and the inaugural East London Painting Prize, 2014.

Rachel Kneebone (born 1973, Oxfordshire) is a London-based artist internationally renowned for her porcelain sculptures that intricately fuse human, natural and abstract forms to explore universal themes such as sexual desire, mortality, anguish and despair. Launched in anticipation of ‘399 Days’, Kneebone’s latest presentation at White Cube, London, in summer 2014, this publication features works from Kneebone’s acclaimed solo exhibition at Brooklyn Museum in 2012, which included eight of the artist’s works in dialogue with fifteen bronze sculptures by Auguste Rodin.Featuring a foreword by Catherine Morris and a text by Ali Smith, this beautifully designed and produced hardback publication contains over fifty colour reproductions and has been developed with support from Brooklyn Museum.

This monograph on Iranian-born, Brooklyn-based painter Kamrooz Aram (b.1978) presents the Palimpsest series, which was in part inspired by graffiti on the streets of New York, and its constant painting-over by the authorities, only for it to become covered again in graffiti. The ongoing cycle of painting, covering-up and repainting in the urban environment connects with Aram’s long-standing fascination with modernism and the legacies of Abstract painting. Aram explains: “The word palimpsest derives from the Greek term for a manuscript that has been scraped down so it can be reused. However, this process of erasure is always incomplete and traces of previous layers remain visible beneath the most recent marks. I find the idea of painting as palimpsest compelling because such a painting reveals its own past.” The concept of the palimpsest in relation to Aram’s practice is explored further in the publication in texts by Eva Díaz, Professor of Contemporary Art at Pratt Institute in New York, and art historian and critic Media Farzin.As discussed in an engaging interview between the artist and critic and art historian Murtaza Vali, Aram’s interest in ‘painting as palimpsest’ evolved over years of observing and photographing walls in cities across the world, from Brooklyn and Queens to Beirut and Istanbul. The worn walls of Beirut still bear the scars of the civil war, while in Brooklyn, years of graffiti and its covering-up reveal the history of New York City. This phenomenon takes on a different, but related meaning in a city such as Istanbul, where the graffiti is the result of public demonstrations related directly or otherwise to the Gezi Park protests. Aram states: “The graffiti was obviously political and so the state’s response was rapid. The protesters would write and the state would cover it up immediately.” A photo essay and text by the artist further explore notions of the palimpsest and covering-up.In the Palimpsest series, a floral motif that Aram appropriated from a Persian carpet on sale in a shop in Manhattan becomes a key element in the series, submerging and re-emerging within the many layers of accumulated and erased marks on his canvases. Working serially, the artist begins each painting with this floral form, drawn across the surface of the canvas in a grid, creating an overall pattern. Aram then begins destroying and rebuilding this pattern through a process that involves additive as well as subtractive mark-making: wiping away and scraping down the painted surface over time to reveal previous layers. The relationship between West and East, and more specifically between the United States and the Middle East, has long been a key concern in Aram’s life and work. Central to Aram’s practice to date is the interface between Middle Eastern traditions of pattern-making, decoration and ornamentation, and the 20th century Western tradition of modernist painting, with geometry often intersecting the two worlds. The mixing of these once diametrically opposed paradigms tells a more complex story in Aram’s paintings of interwoven cultures, interconnected politics, and of visual languages that collide, recede and reemerge over time.Kamrooz Aram graduated with an MFA from Columbia University, New York, in 2003. Since then his work has been widely exhibited internationally and featured in publications such as The New York Times, The New Yorker, The Village Voice, Art in America, Artforum.com, ArtAsiaPacific, and Bidoun. Aram was a recipient of the Abraaj Group Art Prize 2014. The publication, illustrated with over fifty plates, photographs and details, has been edited by Yasmin Atassi, designed by Joe Gilmore / Qubik, printed by Die Keure, Bruges, and co-published by Green Art Gallery, Dubai, and Anomie Publishing, Wakefield, UK.

London and Seoul-based Korean artist Meekyoung Shin (b.1967) is internationally renowned for her sculptures that probe the mis- and re-translations that often emerge when objects of distinct cultural and historical specificity are dislocated from their original context. Made from soap, her works replicate artefacts and canonical works of art, from Asian porcelain vases to Greek and Roman sculptures, translating between continents, cultures and centuries in the process. Meekyoung Shin was born in South Korea and completed her BFA and MFA at Seoul National University. In 1995, she moved to London to obtain her MFA at the Slade School of Art, University College London, and has since held solo exhibitions internationally including at Haunch of Venison, London (2010) and the Korean Cultural Centre UK, London (2013). She has participated in numerous group shows including at the Museum of Art and Design, New York, and the 2013 Asian Art Biennial in Taiwan. Her works are found in collections all over the world, including the Museum of Fine Arts in Houston and the National Museum of Modern and Contemporary Art, Korea. Shin was nominated for the Korea Artist Prize 2013. In this new monograph on the artist, Jonathan Watkins sets the scene for Shin’s solo exhibition at the Korean Cultural Centre UK in London in late autumn 2013, a stone’s throw from Nelson’s Column and the ‘Fourth Plinth’ commission of Trafalgar Square. Context is essential to Shin’s practice, and indeed, to her identity. As she asserts: ‘I often identify myself as someone on the border between cultures’. Watkins eloquently introduces Shin’s major bodies of work whilst capturing the cultural complexity, exquisite craftsmanship, conceptual elegance and natural wit embodied within them.An essay by Ben Tufnell explores the cultural and historical references in Shin’s work over the past fifteen years. Taking Shin’s solo exhibition at Haunch of Venison in London in 2011 as his point of departure, he opens up questions of anthropology and museology, of what is exhibited where and when, by and for whom. His incisive analysis of Crouching Aphrodite (2002) – a life-size sculpture of the artist’s own body in the pose of the classical Venus of Vienne from the Louvre – raises issues of Eastern and Western culture, of originality and copying: ‘Being neither fully Asian nor fully Roman it inhabits a cultural limbo space.’ Tufnell explains, ‘Shin’s works are not simply replicas or reproductions but strange twins, uncanny avatars of their precursors.’ Curator and art historian Kyung An’s text offers an illuminating account of Shin’s Written in Soap: A Plinth Project (2012-ongoing), which takes the form of a remarkable public art project in which the artist recreates – out of soap – a large equestrian military statue of Prince William Augustus, the Duke of Cumberland, that once stood in Cavendish Square, London. Having initiated a project that contributes to debates on public monument building, Shin then created subsequent versions of the sculpture for display in Seoul and Taipei. As An asks, ‘what becomes of the monument when it is transplanted to a national museum dedicated to modern and contemporary art five thousand miles away?’Jade Keunhye Lim’s essay unpicks the various strands of Shin’s Translation Series, from the classical Greek sculptures through to Toilet Project (2004-ongoing) – in which portrait busts made of soap are placed in the washrooms of galleries and museums for visitors to use when washing their hands – and Weathering Project (2009-ongoing), in which Shin locates her soap sculptures outdoors for them to be slowly eroded by the elements. Via cultural imperialism and the tastes of the affluent classes of the West, Keunhye Lim questions the value systems of objects and the logic of their accession into museums – questions that underpin Shin’s practice. How is beauty, cultural significance and financial value constructed, and how does this translate across cultures and time? This monograph, beautifully illustrated with over fifty colour and black and white images, was published by Anomie Publishing in collaboration with the Korean Cultural Centre UK, London, on the occasion of ‘Unfixed: A solo exhibition by Meekyoung Shin’, held at the KCC from 12 November 2013 to 18 January 2014, curated by Jonathan Watkins.Published by Anomie Publishing in collaboration with the Korean Cultural Centre UK, London.

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.

In honor of the fortieth anniversary of the Center for the Arts at Wesleyan University, The Alumni Show II looks back at four decades of Wesleyan artists. Building on the first Alumni Show held in November/December 2003 in celebration of the 30th anniversary of the CFA, this exhibition (September 6 - December 8, 2013) features an entirely new selection of seventeen alumni artists. Their work spans a broad range of contemporary practice and media, including painting, sculpture, drawing, installation art, video art, performance, and film. The artists featured in this exhibition are Ian H. Boyden '95, Stephanie Calvert '08, Rutherford Chang '02, Nicolas Collins '76 MA '79, Renée Green '81, Raphael Griswold '06, John N. Hatleberg '79, Gabriela Herman '03, Elsie Kagan '99, Liz Magic Laser '03, Danielle Mysliwiec '98, Ed Osborn '87, Juliana Romano '04, Aki Sasamoto '04, Arturo Vidich '03, Stephanie Washburn '03, and Ben Weiner '03. The full-color catalog includes a foreword by Michael S. Roth and an essay by John B. Ravenal. It was designed by Cathy Waters, and includes an exhibition checklist.

West Rock and East Rock are bold and beautiful features around New Haven, Connecticut. They resemble monumental gateways (or time-tried sentinels) and represent a moment in geologic time when the North American and African continents began to separate and volcanism affected much of Connecticut. The rocks attracted the attention of poets, painters, and naturalists when beliefs rose about the spiritual dimensions of nature in the early 19th century. More than two dozen artists, including Frederick Church, George Durrie, and John Weir, captured their magic and produced an assortment of classic American landscapes. In the same period, the science of geology evolved rapidly, triggered by the controversy between proponents and opponents of biblical explanations for the origin of rocks. Lavishly illustrated, featuring over sixty paintings and prints, this book is a perfect introduction to understanding the relationship of geology and art. It will delight those who appreciate landscape painting, and anyone who has seen the grandeur of East and West Rock.

The Connecticut River Valley was an important center for the teaching and production of embroidered pictures by young women in private academies from the mid-eighteenth to the early nineteenth century. This book identifies the distinctive styles developed by teachers and students at schools throughout the valley, from Connecticut and Massachusetts to Vermont and New Hampshire. Needlework was a means of instilling the values of citizenship, faith, knowledge, and patriotism into girls who would become mothers in the early republic. This book describes and illustrates how these embroideries provide insight into the nature of women's schooling at this time. Over the course of their education, girls undertook progressively more complex and difficult needlework. Before the age of ten, they stitched elementary samplers on linen. As the culmination of their studies, they executed elaborate samplers, memorials, and silk pictures as evidence of the skills and accomplishments befitting a lady. Proudly displayed as enticements to potential suitors, these pieces affirmed a young woman's mastery of the polite arts, which encompassed knowledge of religious and literary themes as well as art and music.This publication has been made possible through the generous support of The Coby Foundation, Ltd., the Connecticut Humanities Council, the Connecticut Commission on Culture and Tourism, Furthermore: a program of the J. M. Kaplan Fund, and several private donors.

Mary’s career has been dedicated to the exploration of abstract form though painting and printmaking. This exhibition catalogue supporting Mary Webb’s exhibition, Journeys in Colour contains images of more than 60 of Mary’s paintings, along with a collection of screen prints, drawings and collages including the series of paintings that were inspired by her time spent abroad in Utah. A pupil of the late Sonia Delaunay, Mary’s works are consistently square in shape and exist as an arrangement of vivid squares and rectangles. The 71-year-old artist admits that “colour is [her] main concern”, which accounts for the vibrancy of her work, but she also explains that she strives to avoid “having a centre, or part of the picture that claims attention more than the rest”.

This is the first book-length account of the pioneering and prolific Kellogg family of lithographers, active in Connecticut for over four decades. Daniel Wright Kellogg opened his print shop on Main Street in Hartford five years before Nathaniel Currier went into a similar business in New York and more than twenty-five years before Currier founded his partnership with James M. Ives, yet Daniel and his brothers Elijah and Edmund Kellogg have long been overshadowed by the Currier & Ives printmaking firm. Editor Nancy Finlay has gathered together eight essays that explore the complexity of the relationships between artists, lithographers, and print, map, and book publishers. Presenting a complete visual overview of the Kelloggs' production between 1830 and 1880, Picturing Victorian America also provides museums, libraries, and private collectors with the information needed to document the Kellogg prints in their own collections. The first comprehensive study of the Kellogg prints, this book demands reconsideration of this Connecticut family's place in the history of American graphic and visual arts.CONTRIBUTORS: Georgia B. Barnhill, Lynne Zacek Bassett, Candice C. Brashears, Nancy Finlay, Elisabeth Hodermarsky, Richard C. Malley, Sally Pierce, Michael Shortell, Kate Steinway.

Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer.Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan

In Puritan New England, with its abiding concern for things not of this world and its distrust of forms and ceremonies, one art flourished: the symbolic art of mortuary monument stonecarvers. This carefully researched, beautifully illustrated work was the first to consider this art in depth as a meaningful aesthetic-spiritual expression. It is reissued for today's readers, with a new preface outlining changes in the field since the book appeared in 1966.

Beginning in the late 1970's Frida Kahlo achieved cult heroine status less for her richly surrealist self-portraits than by the popularization of the events of her tumultuous life. Her images were splashed across billboards magazine ads, and postcards; fashion designers copied the so-called "Frida" look in hairstyles and dress; and "Fridamania" even extended to T-shirts, jewelry, and nail polish. Margaret A. Lindauer argues that this mass market assimilation of Kahlo's identity has consistently detracted from appreciation of her work, leading instead to narrow interpretations based on "an entrenched narrative of suffering." While she agrees that Kahlo's political and feminist activism, her stormy marriage to fellow artist Diego Reviera, and the tragic reality of a progressively debilitated body did represent a biography colored by emotional and physical upheaval, she questions an "author-equals-the-work" critical tradition that assumes a :one-to-one association of life events to the meaning of a painting." In kahlo's case, Lindauer says, such assumptions created a devouring mythology, an iconization that separates us from rather than leads us to the real significance of the oeuvre. Accompanied by 26 illustrations and deep analysis of Kahlo's central themes, this provocative, semiotic study recontextualizes an important figure in art history at the same time it addresses key questions about the language of interpretation, the nature of veneration, and the truths within self-representation.

"We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past," declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art. CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner.