Angus Fairhurst (1966-2008) was an artist whose wit, passion and integrity led him to become a key player in the contemporary British art scene of the last three decades. This monograph, the first of its kind, was planned with the artist before his untimely death. Beautifully illustrated with over 70 examples of his highly original work, it includes an in-depth essay by critic Sacha Craddock, and a foreword by Sir Nicholas Serota, director of Britain’s Tate galleries. The thematic structure of the book is in line with the varied facets of Fairhurst's work. Beginning with his last exhibition at Sadie Coles HQ, 2008, there are also sections on his bronze sculptures, collages, computer-generated paintings and prints.

Angus Fairhurst

Arts & Photography

Craddock, Sacha

History & Criticism

Philip Wilson Publishers

Gillian Ayres: Royal Academy of Arts 6 February-2 March 1997

Ayres, Gillian

Pringle, Alexandra

Art Books Intl Ltd

"Breathless’ is the first monograph on the emerging British painter Benjamin Senior. His paintings conjure up a world that is delightful, curious, and distinctly his own. It is a world in which bathers lounge around pools and swimmers limber up before finally diving in; where we find people doing yoga and various exercise routines both indoors and out; where walkers and joggers take us out into the countryside, or into the city with their dogs. These physical activities – both leisure and sporting – would undoubtedly leave some of their protagonists out of breath, as the title of the monograph suggests, and may well inspire some viewers to shake off any lethargy and get physical too.But despite their clear iconography and endorphin-rousing semiotics, Senior’s paintings are no mere campaign to get, or to keep, art lovers fit and healthy. For they are also carefully conceived and meticulously executed studies of the human body, of shape, line and form, of color, tone, light, and shadow. They are engaging explorations of composition and color, pattern and geometry, textures and materials, the natural and the manmade. This interplay between the natural and synthetic is played out in surprising juxtapositions, such as blue rubber exercise balls in dialogue with various-sized cacti, or between the materials and designs of sports clothing in contrast to the rolling hills of a spring landscape, or to autumnal trees at sunset. There are many other intriguing tropes, devices, and recurring motifs within Senior’s repertoire, from cast iron grilles to unorthodox hats and hairstyles, perhaps leading his stylized vocabulary into the realms of nineteenth-century symbolist painting as much as into the health clubs, spas, leisure centers, and parks of today. Indeed, there is a strange sense of timelessness to Senior’s practice that is matched by a captivating sense of silence, loneliness, and isolation, despite the figures often being present in couples, clusters, or small groups. Behind their toned physiques, stripy towels and goggles, underneath their winter coats, cagoules, and peaked caps, there are, perhaps, some small glimmers of inner lives – of sentient, intellectual, cultured, emotional, sexual beings trapped within. Senior’s oeuvre is, in many ways, preoccupied with repression and expression, freedom and conformity, motion and stasis, balance and inertia, engagement and disengagement. One might even describe his rendering of the human body as a bittersweet analogy for human states of mind, for energy versus futility, effort versus relaxation, health versus decline. Benjamin Senior completed a BA in painting at Wimbledon School of Art before graduating with an MA in painting from the Royal College of Art in 2010. Recent solo exhibitions include at Grey Noise, Dubai, Studio Voltaire, London, Monica de Cardenas, Milan, James Fuentes, New York, and BolteLang, Zurich.Featuring an introduction by art critic, writer, and curator Sacha Craddock, an essay by art historian, museum educator, and writer Ben Street, and a text by curator, writer, and lecturer Gabor Gyory, this 100-page hardback monograph has been designed by Joe Gilmore / Qubik, edited by Matt Price, and published by Anomie.

Benjamin Senior - Breathless

Street, Ben

Gyory, Gabor

Anomie Publishing

A decidedly edgy tenor permeated London's counterculture in the 1970s. Pitched against the backdrop of massive unemployment, racism and IRA bombing campaigns, the city took on a bleak look that informed the aesthetics of Derek Jarman's first Super-8 films, Homer Sykes' photographs of the Grunwick strikes, the confrontational eroticism of Margaret Harrison's drawings and Peter Kennard's photomontages for Workers Press. These artists and others are examined in Goodbye to London, a collage of text and image that revisits the radical politics of that decade and the arts informed by them. It approaches the salient themes of the 1970s through chapters on "Squatters," "Gays," "Workers" and "Art," with archival photographs, and examines the work of the above artists as well as the performances of Stuart Brisley, the photographs of Jo Spence and the films of Marc Karlin. Andrew Wilson contributes an illuminating appraisal of radical art practices in the Seventies.

Goodbye to London: Radical Art and Politics in the Seventies

Cross, Peter

Sykes, Homer

Collections, Catalogs & Exhibitions

Hatje Cantz

Jose Dávila: Not All Those Who Wander Are Lost (Spanish and English Edition)

This Side Up

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Books by Craddock, Sacha