In the mid19th century, intrepid explorers began to shine a light on the darkness of the deep. The mystique of what lay beneath the surface of the vast oceans inspired awe in aquarium enthusiasts, Decadent artists, and authors, including Jules Verne and Hans Christian Andersen. Ever since, books, films and visual arts have invited us to contemplate the sea as both the wellspring of all life and a resolutely alien world. Wonders – A Literary History of the Deep Sea recalls the era of undersea telegraph cables and the heyday of the aquarium. It presents mermaids, octopuses and jellyfish and explores some of the many works of art that conceptualise undersea marvels or dream of vanishing ecstatically into the depths, into this other element. It is the story of how we imagine life was formed underwater and on our planet. It is about the historical basis for our modern perception of the sea and a call to action before the fantastic creatures with whom we have only just begun

Terrence Malick is the most enigmatic film director currently working. Since the early seventies, his work has won top prizes at film festivals worldwide and brought him wide recognition as the cinematic equivalent of a poet. His life is shrouded in mystery, leaving audiences with rumors, few established facts, and virtual silence from the filmmaker himself following his last published interview in 1979. This has done nothing to dim the luminous quality of his films, from Badlands (1973) and Days of Heaven (1978), to later works such as The Thin Red Line (1998), The Tree of Life (2011), and A Hidden Life (2019). The Magic Hours: The Life and Films of Terrence Malick is the first true biography of this visionary filmmaker. Through interviews and in-depth research, John Bleasdale reveals the autobiographical grounding of many of Malick's greatest films as well as the development of an experimental form of filmmaking that constantly expands the language of cinema. It is the essential account for anyone wishing to understand Malick and his work.

A multivoiced dance history book, authored by twelve diverse choreographersIn an effort to deepen our understanding of what dance is and how it has functioned throughout human history, this prismatic book project is dedicated to an artist-centric perception of dance history. Diverse dance artists from the American dance field contribute personal views of how dance has unfolded over time, answering the question: "Who is in your imaginary dance family tree, FROM the beginning of time to YOU/now?"Twelve illustrated booklets, each written by a working choreographer, address the subject of dance history from nonacademic, subjective, poetic perspectives. The books model a way of enlarging and complicating how we view dance history by giving the authorial microphone to artists, to learn how their embodied perceptions relate to or diverge from the dominant dance canon.With contributions by mayfield brooks, Thomas F. DeFrantz, Maura Nguyen Donohue, Keith Hennessy, Bebe Miller, Okwui Okpokwasili, Eiko Otake, Annie-B Parson, Javier Stell-Fresquez, Ogemdi Ude, Mariana Valencia, and Andros Zins-Browne.Published by Big Dance Theater, Dancing Foxes Press, and Wesleyan University Press with support of the Howard Gilman Foundation and Virginia and Timothy Millhiser.

Examines John Coltrane's "late period" and Miles Davis's "Lost Quintet" through the prisms of digital architecture and experimental photographyLiving Space: John Coltrane, Miles Davis and Free Jazz, from Analog to Digital fuses biography and style history in order to illuminate the music of two jazz icons, while drawing on the discourses of photography and digital architecture to fashion musical insights that may not be available through the traditional language of jazz analysis. The book follows the controversial trajectories of two jazz legends, emerging from the 1959 album Kind of Blue. Coltrane's odyssey through what became known as "free jazz" brought stylistic (r)evolution and chaos in equal measure. Davis's spearheading of "jazz-rock fusion" opened a door through which jazz's ongoing dialogue with the popular tradition could be regenerated, engaging both high and low ideas of creativity, community, and commerce. Includes 42 illustrations.

A study of transoceanic musical appropriation and Swahili ethnic subjectivity on the Kenyan coastSounds of Other Shores takes an ethnographic ear to the history of transoceanic stylistic appropriation in the Swahili taarab music of the Kenyan coast. Swahili taarab, a form of sung poetry that emerged as East Africa's first mass-mediated popular music in the 1930s, is a famously cosmopolitan form, rich in audible influences from across the Indian Ocean. But the variants of the genre that emerged in the Kenyan coastal city of Mombasa during the twentieth century feature particularly dramatic, even flamboyant, appropriations of Indian and Arab sonic gestures and styles. Combining oral history, interpretive ethnography, and musical analysis, Sounds of Other Shores explores how Swahili-speaking Muslims in twentieth-century Mombasa derived pleasure and meaning from acts of transoceanic musical appropriation, arguing that these acts served as ways of reflecting on and mediating the complexities and contradictions associated with being "Swahili" in colonial and postcolonial Kenya. The result is a musical anthropology of Kenyan Swahili subjectivity that reframes longstanding questions about Swahili identity while contributing to broader discussions about identity and citizenship in Africa and the Indian Ocean world.

Following the success of The Anomie Review of Contemporary British Painting in 2018 and The Anomie Review of Contemporary British Painting 2 in 2021, a third volume has been created to showcase solo exhibitions that have defined contemporary painting since the second volume. This new, even larger anthology presents the work of eighty-five artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries nationally and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists presenting some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 3 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Andrew Cranston at Ingleby, Edinburgh; Jadé Fadojutimi at The Hepworth Wakefield; Sahara Longe at Timothy Taylor, London; Kathryn Maple at The Walker Art Gallery, Liverpool; Mohammed Sami at Camden Art Centre, London; Lucy Stein at Spike Island, Bristol; Caroline Walker at the Fitzrovia Chapel and Stephen Friedman Gallery, London; and Jonathan Wateridge at Nino Mier, Brussels.The anthology, which features cover artwork by Louise Giovanelli from her autumn 2021 exhibition at GRIMM, New York, has been selected by London-based publisher and writer Matt Price, who in addition to editing dozens of catalogues, monographs and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and Vitamin D2, authored the first two volumes of The Anomie Review of Contemporary British Painting.The publication, which has been project edited by Birmingham-based editor, curator and writer Anneka French, features text entries by Amah-Rose Abrams, Melissa Baksh, Holly Black, Lauren Dei, Yasmina Floyer, Anneka French, Kathryn Lloyd, Anna McNay, Matthew James Holman and Matt Price.

Susie Hamilton’s dynamic practice is concerned with a wide range of subjects but often focuses on solitary people in impersonal public spaces or natural wildernesses. From the heroic, isolated exploits of astronauts and Arctic explorers to lone shoppers in supermarkets, all subjects are equal under her gaze. Other works turn attention towards crowds on beaches and in hotel dining rooms, who, as in Hamilton’s paintings of single figures, are invaded by blooms and veils of paint. Comprising over 300 paintings in oil and acrylic and numerous works on paper, Hamilton’s work is here divided into thematic sections that bring insight to her research. As critic and broadcaster Charlotte Mullins observes, ‘Hamilton often uses literature as a springboard for her work. Her paintings draw out the ambiguities of Shakespeare, the fragmentary chaos of TS Eliot, the melancholy of Andrew Marvell.’ From the power of her transmutative, barely human figures presented at the Ferens Art Gallery (2002), to the more recent progression of Hamilton’s solitary forms which move across desert, tundra and forests under attack from natural and unknown forces, her often otherworldly figures remain resilient.As Mullins reflects in her introduction, however, Hamilton’s work is not all ‘pain and suffering.’ Nor is it solely concerned with the human figure. Mullins writes, ‘There is joy too, particularly when she turns her probing eye to the natural world. She captures the quizzical gaze and lightning speed of monkeys, white paint splattering the surface as they race through salt flats. We see the lethal precision of a shark in the depths, the pale camouflage of an owl in a snowstorm, the perfect balance of an ape as it leaps from vine to vine.’The development of Hamilton’s work further unfolds in an enlightening interview with writer and broadcaster Louisa Buck, from the night-time desolation of motorways and petrol stations to an evolving interest in human and animal figures. Buck’s in-conversation also details Hamilton’s series ‘Plumpers’ and ‘Mutilates’, uneasy figures who border categories of abstraction and representation.Writer, editor and international curator Anna McNay, in her eight-part extended essay commissioned for the publication, discusses Hamilton’s literary influences in detail, drawing out the ways that Hamilton’s own biography shapes the work and informs her perspectives on landscapes, people and animals.Designed by Hyperkit and edited by Anneka French, the publication has been produced by Hurtwood and published by Anomie, London.Susie Hamilton (b. London, 1950) studied Fine Art at St Martins School of Art and Byam Shaw School of Art. She read English Literature at London University, gaining a PhD in Shakespeare studies (1989). She lives and works in London and has been represented by Paul Stolper Gallery since 1996. Since 2018 Hamilton has been commissioned by mental health charity Hospital Rooms to create wall-paintings in psychiatric intensive care units and made three works for the central staircase of the new Springfield Hospital, London (2022).Recent solo exhibitions include Unbound, Paul Stolper, London (2022);in atoms, Paul Stolper, London (2016);Here Comes Everybody, St Paul’s Cathedral, London (2015);Black Sun, Studio Hugo Opdal, Flø, Norway (2009);World of Light, Triumph Gallery, Moscow (2008);New Paintings, Galleri Trafo, Oslo (2007);Leisure Paintings, Paul Stolper, London (2006);Dissolve to Dew, St Edmund Hall, Oxford (2005);Immense Dawn, Paul Stolper, London (2003);Paradise Alone, Ferens Art Gallery, Hull (2002);Mutilates, St Giles’ Cripplegate Church, London (2001).Hamilton’s work is represented in collections including Government Art Collection, British Museum, Science Museum, Imperial College Healthcare Art Collection, Richard Heaton Collection, Murderme Collection, Deutsche Bank, St Paul’s Cathedral, The Women’s Art Collection, Brehman Collection, The Methodist Modern Art Collection, The Priseman Seabrook Collection and The Groucho Club.

This is the first book to present the stories and portraits of ordinary Tibetan women and men in exile, in their own words. It includes gorgeous photographs of the lands they embraced in Ladakh, where they fled after the Chinese annexed Tibet in 1959.To meet the people and make these photographs, the Johnsons traveled throughout Ladakh, visiting many villages, and interviewing dozens of people. Most of them had to leave everything behind when they fled: family, friends, and their most precious possessions: their animals, with whom they had a unique and symbiotic relationship.Yet, as Dr. Johnson reveals in his photographs and stories, these refugees are resilient, wise, and hopeful. They have made their tragedy a source of strength, along with their unwavering devotion to their spiritual leader, the Dalai Lama, and to their Buddhist practice, which continues to sustain them.In a world full of exiles, more than 150,000 of which are Tibetan, this book is not only of historical significance, it is timely. It puts a human face on the increasingly complex problem of people being forcibly displaced from their homelands. These remarkable individuals show us the meaning of never giving up, and that everyone deserves compassion, for without it, the future of humanity stands in peril.

Site-specific expressive ecologies sustain Korean folk culture in a globalizing world/>/>The madang is a key space and concept for Korean drummers and dancers. Literally a village circle, the madang is also a metaphor for an expressive occasion or cultural space of embodied participation. Korean performers step in the madang as a means of bringing their bodies into purposeful contact with the particular time and place of performance. Kwon contends that the participatory way of being that is cultivated in the madang counteracts the fossilization of tradition by bringing folk practices more fully into the embodied present, even if in an idealized fashion. The madang draws attention to the body; it increases one's awareness of space and place; and it creates open-ended performances that are conducive to a more dynamic range of social interactions. The book starts with a study of a Korean p'ungmul group that maintains a vibrant, expressive ecology in rapidly globalizing Korea. Kwon documents how historical trends, transmission practices, communal labor, and performative ritual all support this expressive ecology. The book then examines how these practices inspire meaningful, site-focused expressions of folk culture in regional, national, and transnational spaces.

Daniel Crews-Chubb (b.1984) is a London-based painter whose mixed-media works wrestle with the human condition and modes of selfexpression. This monograph, Out of Chaos, ispublished to coincide with his solo exhibition at Timothy Taylor, New York, which brings togethernew paintings and works on paper. Crews-Chubb’s paintings exist somewhere between figuration and abstraction. They drawon a wide variety of references, including ancient cosmologies, historic artefacts and sculpture,pre-Columbian deities, Cubism, Abstract Expressionism and Hellenic myth. He intertwinescanonical sources and classical allusions in his paintings, creating a highly personal, idiosyncratic lexicon of human, celestial and bestial figures.Out of Chaos takes its title from the ancient Greek notion that chaos is a state of undifferentiated matter from which the universe emerged. The paintings that form this series feature urgent, gestural marks and passages of vivid colour, centred around the figure as a motif. The bodies that he depicts are ageless, nongendered and non-racial – conduits for feeling, rather than signifiers of individuals.This publication reproduces Crews-Chubb’s paintings from 2015 to 2024, starting with hisearly works and subsequently organised into seven series. Notable among these are the recentImmortals (2022–) and Out of Chaos, which is the focal point of his solo exhibition. The book also features an introduction by the writer Jennifer Higgie, an essay by art historian Matthew Holman and an interview with writer Amah-Rose Abrams. Daniel Crews-Chubb was born in Northampton in 1984. He completed his BA at Chelsea College of Arts, London, in 2009 and undertook the Turps Studio Programme, London, in 2013. He lives and works in London. His first solo museum exhibition will take place at the Long Museum, Shanghai, in November 2024.

Joy Labinjo (b.1994) is a British-Nigerian artist based in London. Bringing together paintings made between 2017 and 2024, this monograph coincides with her institutional solo exhibition We Are Briefly Gorgeous at Southwark Park Galleries, London, which opened in July 2024. Labinjo uses the human figure as a vehicle to explore topics such as storytelling, identity and race, and how they intersect with wider social, cultural and political contexts. Her work is informed by her experiences growing up as both a Londoner and as part of the African diaspora. Her large-scale figurative paintings often depict Black bodies from the past and present – both real and imagined. Working from personal and archival imagery, including family photographs, found images and historical material, she captures scenes of joy, leisure and perseverance in everyday life. As a painter fundamentally concerned with people’s stories, she expands the dialogue around contemporary Black culture.For We Are Briefly Gorgeous, Labinjo produced a new body of work in response to the multicultural area of Southwark in South London. Rendered in her distinctive style of flat layers of colour and graphic patterning, the paintings capture families, friends and individuals in Southwark Park and Bermondsey. Developed from site visits and taken and found photographs, the intimate scenes document the physical, social and lived experiences of local communities.Alongside installation views and reproductions of the exhibited paintings, the book documents Labinjo’s works from 2017 onwards. Organised thematically, it explores the artist’s interests in ‘Family, Friends and Community’, ‘Social Criticism’, ‘Historical Animation’ and ‘Self-portraiture’. The paintings grouped together in the second section mark the beginning of the artist’s more satirical, politically engaged approach, instigated by the COVID-19 pandemic and the murder of George Floyd in 2020. ‘Historical Animation’ compiles Labinjo’s paintings of Black historical figures, such as Sarah Forbes Bonetta, Olaudah Equiano, Francis Barber and Charles Ignatius Sancho. In this series, the artist explores the histories of British portraiture, and the erasure of Black identities through the white gaze.An introduction by Dr Christine Checinska, the inaugural Senior Curator of African and Diaspora Textiles and Fashion at the Victoria & Albert Museum, London, contextualises Labinjo’s figurative practice in relation to a lineage of Black British painters, including Claudette Johnson and Lubaina Himid. An essay by curator and writer Dr Jareh Das expands on this, unpacking the artist’s recent works and analysing her ability to represent stories that connect cultural identities across time and geographies. An interview between Labinjo and Adelaide Bannerman, the Curatorial Director at Tiwani Contemporary, takes an in-depth look at the artist’s methodology, political themes and approach to nude self-portraiture.Edited by Bannerman, Martina Mei and Matt Price, designed by Hyperkit, produced by Hurtwood and published by Tiwani Contemporary and Anomie Publishing, London, the book has been generously supported by the A. G. Leventis Foundation.

Belleroche was an integral part of the Parisian art scene during the Belle Époque - he was a close friend of the artist John Singer Sargent with whom he shared studios in Paris and London; he was admired and collected by luminaires such as Degas and Renoir - anbdchampioned by the art critic Roger Marx. With Toulouse-Lautrec he shared the celebrated model Lily Grenier. And it is even said that Oscar Wilde's Picture of Dorian Gray was inspired by Belleroche. Belleroche was considered by his contemporaries to be an innovator. In the art of lithography he developed techniques that built on the experiments of Degas and other Impressionist, (with whom he shared a fascination for monotypes). Despite all these fascinating facets of his life and art, his story remains largely unknown.

Minami Kobayashi (b.1989) is a Japanese artist based in London. Covering a significant period of development in her practice as a painter, this publication coincides with her second major solo exhibition, The Song of Jujubes, at Frestonian Gallery, London. Kobayashi’s paintings depict familiar yet surreal scenes, created from an amalgamation of memories, places and ordinary people. In her dreamlike ambiguous narratives, nature, animals and humans are given equal status; her realms are symbiotic societies with multiple creatures. She captures transitory and fluctuating moments, depicting her protagonists in states of flux, vulnerability and openness. Rendered in a postImpressionist palette, her compositions are a potent mix of playfulness and deeper themes of human and natural life.Bringing together eleven new canvases, The Song of Jujubes takes its title from a song that the artist used to sing as a teenager in her hometown of Nagoya, Japan. It begins with a girl eating one jujube fruit every night, wondering what she will do when they are all gone. Imbued with a sense of nostalgia and loss, the works consider what ‘home’ means and the strong relationship between people and place.This publication documents Kobayashi’s paintings chronologically, from her early works of 2016 to 2024. In a foreword, the Directors of Frestonian Gallery, Matt Incledon and Rollo Campbell introduce the inner world of the artist and the themes of The Song of Jujubes. In an interview with Lisa Wainwright, Kobayashi discusses her time studying at the School of the Art Institute of Chicago, her unique painting technique and the symbolism in her scenes. She also expands upon her artistic influences, including Ukiyoe woodblock prints, the tenets of Buddhism, Tarot and the Nabi painters, such as Félix Vallotton, Édouard Vuillard and Pierre Bonnard. In her essay ‘Temperature of a Memory’, Laura Allsop analyses Kobayashi’s recent paintings in relation to memory and place, particularly the artist’s hometown of Nagoya.Edited by Incledon and designed by Joe Gilmore, the book is copublished by Frestonian Gallery and Anomie Publishing, London.

**A new understanding of the birth of jazz through a fine-grained social history of early African American musicians **Brassroots Democracy recasts the birth of jazz, unearthing vibrant narratives of New Orleans musicians to reveal how early jazz was inextricably tied to the mass mobilization of freedpeople during Reconstruction and the decades that followed. Benjamin Barson presents a "music history from below," following the musicians as they built communes, performed at Civil Rights rallies, and participated in general strikes. Perhaps most importantly, Barson locates the first emancipatory revolution in the Americas—Haiti—as a nexus for cultural and political change in nineteenth-century Louisiana. In dialogue with the work of recent historians who have inverted traditional histories of Latin American and Caribbean independence by centering the influence of Haitian activists abroad, this work traces the impact of Haitian culture in New Orleans and its legacy in movements for liberation. Brassroots Democracy demonstrates how Black musicians infused participatory music practice with innovative forms of grassroots democracy. Late nineteenth-century Black brass bands and activists rehearsed these participatory models through collective performance that embodied the democratic ethos of Black Reconstruction. Termed 'Brassroots Democracy,' this fusion of political and musical spheres revolutionized both. Brassroots Democracy illuminates the Black Atlantic struggles that informed music-as-world-making from the Haitian Revolution through Reconstruction to the jazz revolution. The work theorizes the roots of the New Orleans brass band tradition in the social relations grown in maroon ecologies across the Americas. Their fruits contributed to the socio-sonic commons of the music we call jazz today.

"Affrilachia," a term first coined in 1991 by Kentucky poet Frank X Walker, refers to the cultural contributions of African Americans who live in Appalachia, a largely mountainous region stretching over thirteen states from Mississippi to New York. Although Black Americans have greatly influenced the popular culture landscape in this region, their stories, trials, and triumphs are often undocumented because Appalachia is perceived as wholly white.In this stunning visual history, photographer and curator Chris Aluka Berry gives voice to the broad spectrum of African Americans who have lived in the Appalachian region over the centuries. Berry, who spent six years in western North Carolina, northeast Georgia, and eastern Tennessee, immersed himself in the communities and lives of Black Appalachians to present the diversity and commonalities of the proud people in the region. His intimate and revealing photographs capture Arican Americans in various settings—churches, homes, revival services, family gatherings, and homegoing celebrations.Completing this comprehensive collection are powerful narratives from the people who inhabit these places, and contributions from Appalachian writers Kelly Navies and Maia Surdam, whose poignant and powerful poems and essays offer historical perspective and broaden the book's archival importance.The first book of its kind, Affrilachia: Testimonies is an inspired historical artifact that honors, represents, and celebrates the proud people of color whose history and existence has greatly contributed to the broad tapestry of Appalachia.

An Eastern Caribbean music festival as a window on social change/>/>Every year, on a weekend before Christmas, the small Caribbean island of Carriacou, Grenada, holds its annual Parang Festival, featuring concerts, performances of local quadrille dance, Hosannah band (a cappella singing) competitions, and the climactic string band competition. Born in the years leading up to Grenada's 1979 Socialist Revolution, the Parang Festival today offers a vehicle for Carriacouans to articulate and assert a progressive understanding of local cultural identity as well as a regional, pan-Caribbean belonging. Rebecca S. Miller examines the varying impact that factors such as cultural ambivalence, globalization, and technology have had on the performance of Carriacou's folk and traditional music and dance forms. Using archival sources and current ethnography, she illuminates the enduring significance of the Parang Festival to illustrate the social and political history of Carriacou as well as this culture's contemporary process of modernization. The book includes a web link allowing the reader to listen to a variety of musical examples.