Caroline Walker (b. 1982, Dunfermline) has established herself as one of the UK’s most exciting figurative painters of her generation working internationally today. By means of an elegant and seductive yet forthright use of paint, Walker makes paintings that explore ideas of gender in relation to architecture. With a particular interest in femininity, she addresses people’s physical, psychological, emotional, and social relationships with the buildings in which they spend time – whether at home, at work, at leisure or in more mysterious circumstances. By depicting women undertaking all manner of activities, from everyday chores, sleeping, and sunbathing to more obscure or dramatic scenarios, she takes the viewer inside people’s private worlds and states of mind. Some of the women depicted seem lonely, bored, tired, or depressed, while others appear playful and relaxed, whether alone or in company.Often it is unclear who the women are or what their relationship is with the premises in which they are located, raising notions of identity, class, and roles acted out at different times in people’s lives. As many of the locations depicted are luxury houses and apartments, it is hard to say if a particular person is the owner or a tenant, a guest or a maid, opening up economic, political, social, and cultural questions about the paintings – are we looking at the super rich at leisure, house-sitters, holidaymakers, domestic workers, squatters, or actors on set? While the paintings are often charming and appealing, there is regularly something odd or unexpected underlying them – occasionally verging on the threatening or dangerous. Sometimes dream homes can be anything but…The research and development for Walker’s paintings is an elaborate process. Involving numerous life models and actors, she finds properties around the world in which to stage photo shoots. Carefully chosen costumes, accessories and props are brought along, and Walker directs her cast around the property. Following this, the artist makes a number of drawings and oil sketches before settling on a composition to work up into a final painting back in her studio. It is a process that clearly helps to generate the cinematic and theatrical atmosphere that pervades her work. Alongside film influences ranging from Hitchcock to Lynch and recent Hollywood productions, Walker is inspired by artists including Eric Fischl, the Scottish colorists, and current painting from Central and Eastern Europe, as well as by the constructed photography of Hannah Starkey, Gregory Crewdson, and Jeff Wall. Full of contemporary and historical references and influences, Walker’s practice is an engaging journey into the modern female condition and the ‘female gaze’.In Every Dream Home – the first monograph of Walker’s work – features around fifty key paintings, oil sketches, and ink drawings alongside an introductory text by art historian, critic, and curator Marco Livingstone, an essay by independent critic and curator Jane Neal, and an interview with the artist by editor and curator Matt Price.

Caroline Walker - In Every Dream Home

Arts & Photography

LIVINGSTONE, Marco

Neal, Jane

Price, Matt

History & Criticism

Anomie Publishing

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 civilizations 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 color, 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.

Robert Fry (English and German Edition)

Bliadze, Mamuka

Fry MBBS MPhil MRCPsych. DPM, Dr. Anthony

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, UK.

Kamrooz Aram: Palimpsest: Unstable Paintings for Anxious Interiors

Díaz, Eva

Farzin, Media

Aram, Kamrooz

Vali, Murtaza

"Wot No Bike’ is a limited print run publication of the work of Paul Simonon (b.1955, London). Simonon is a London-based artist and musician who came to prominence with the punk band The Clash in the late 1970s, with whom he played bass guitar. Simonon had started studying at art school, but soon became disillusioned by the style of teaching and left. It was at this time that he bumped into Mick Jones who asked him if he wanted to form a band. As an aspiring painter who had never previously played bass, he first took a lead role in the band’s visual identity, rapidly learning to play the instrument as he went along. Simonon has always been passionate about art, and since the band split in the mid 1980s, painting has become as important as his music career. Simonon’s passion for painting began as a boy – his father was an avid amateur painter and Paul spent a lot of time in his studio, often sleeping there. It was here, surrounded by books and pictures pinned to the walls that he first encountered the works of nineteenth- and twentieth-century masters, from Impressionism to Cubism and beyond. Introduced to an artist friend of his father, Paul began assisting him on projects at an inner city London school, where he learnt the basics of using paint, supplemented by teaching himself at home. Using his days off when on tour with the band to visit museums and galleries, his enthusiasm for, and knowledge of, the history of art has continued to grow ever since. In recent years, his fascination with French fin-de-siècle painting has literally taken him on the trail of Paul Gauguin, to the islands of French Polynesia. In addition to French modernist painting of the late nineteenth century, Simonon’s painting practice has been heavily influenced by twentieth-century realism, particularly the American Ashcan School, which documented New York’s working class life at the turn of the century, and the British ‘Kitchen Sink’ school of painters of the 1950s. The latter formed a part of the wider social realism movement – both in the arts and popular culture – that focused attention on the living conditions of the working classes in post-War Britain, characterized by the ordinary, humble, and banal at its best, and by poverty, misery, angst, violence, and abuse at its worst. The difficult financial and domestic situations of many of the urban poor in Britain at this time served as a backdrop to the emergence of Ted, Biker and Rocker subcultures that first appeared in these years – subcultures that actually spanned economic and class divides. Growing up in London in the 1960s, Simonon’s first experiences of this came in the form of the clash between the Mods and Rockers subcultures, a tension which fueled into the wider dynamics of the ‘angry young man’ attitude and social unrest that came to define youth culture of this period, and which were the genesis of Punk culture in the 1970s. While Simonon is cautious about drawing parallels between his music and his painting, it is clear that British subculture of the 1950s, 1960s, and 1970s has been, and remains, essential to both aspects of his life and work. Simonon has been a Biker since he was old enough to ride one – his first was a white and gold Triumph 3TA, and it was this, along with subsequent bikes, that established him in the 1970s within the remarkable community of Bikers discussed in David Lancaster’s introduction to the publication. The bikes, jackets, boots, helmets, gloves, and other biking paraphernalia that feature in Simonon’s paintings are his own possessions, things that he uses pretty much every day. As such, the paintings are as much in the tradition of self-portraits as still lifes: “It’s like writing a diary, in a way, but in paint”, says Simonon in the course of an engaging conversation with art historian Tim Marlow also featured in the publication. With an independent-minded, outsider spirit, Simonon’s paintings in ‘Wot No Bike’ bring British subcultures of the 1950s to 1970s into dialogue with modernist and realist painting traditions, particularly the social realism that came to the fore as these subcultures were emerging. Bound up in the middle of this is Simonon himself – his personal history, family, childhood, adolescence, adult life, social life, private life, music and, in fact, his inner life. Simonon has often kept his painting practice relatively low key, sometimes exhibiting at galleries and selling works privately. Encouraged by Anomie Publishing to collaborate on a publication about his recent body of painting, Simonon has been personally involved in the book’s development, resulting in a cloth-bound hardback publication in an edition of 1000 copies. Edited by Bruce Cameron and Serena Rees, and designed by Martin Bell / Fruitmachine, the publication features twenty-two new and recent unpublished paintings under the banner of ‘Wot No Bike’.

Paul Simonon - Wot No Bike

Marlow, Tim

Lancaster, David

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, new-build homes, 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 her own faith as a practicing Christian, 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.

Anna Freeman Bentley: Mobility and Grandeur

Cashdan, Marina

Quash, Ben

Robecchi, Michele

'Three Books’ by Tamara Tracz is a very special three-hardback-volume slipcased book. It is, first and foremost, a story that follows several generations of a family as their lives unfold in various cities, countries, and continents during the course of the twentieth century. It is a story with a cast of characters, some strong, some exceptional, some familiar, some curious. It is a story of births and deaths, of lives led and of the forces that shape them.The family in ‘Three Books’ is a Jewish Family, and their story is one of emigration and persecution that was profoundly affected by the Holocaust. It is a story that is shared with the stories of many countless thousands of other families – of taking flight from the Nazi regime, of German forces arriving in towns and villages and searching out the Jewish inhabitants, of summary executions and mass graves. It is a story of branches of the family destroyed, and of the survival of others. It is as distressing, disillusioning, and disheartening a story as one might fear to read of the plight of the Jews last century.But ‘Three Books’ is not written in the usual form of family biography, and is not only the story of this family’s history. It is also a story about stories, about the passing on of information between generations, and between different branches of a family over time. It is a story about the impossibility of ever being able to tell a complete or truly objective family history. It is a story of fragments and recollections, of oral histories and letters sent, of trying to piece things together and to fill in gaps. Perhaps just as importantly, it acknowledges the absence of information, or the chances of ever being able to know certain things that transpired, and how this can shape the directions of subsequent generations. The dark, gaping holes of knowledge were often deliberately left unspoken by those who were once in a position to reveal the details.‘Three Books’ is also partly autobiography, as it is Tracz’s own family that is the subject of the story. Indeed, the reader can glean much about the author’s life as Tracz consciously lets us in to her immediate family circle, to their happy family life today. With a particular focus on her young children, Riva and Constantin, she gently shares her inner fears and anxieties about being a mother, of the thought of losing her children. These are the thoughts of almost any mother, especially any mother who has heard the stories of mothers, daughters, and sisters in her own family’s past who experienced such separations and losses through oppression and genocide. It is, in many ways, a story of women, of female intergenerational relations, experiences, actions, thoughts, and emotions. It is a story about living and loving, of family and the meaning of the things that happen to them, the things that remain and that the things that slip away.But while Tracz is in some respects every woman, every mother, and every daughter – and a Jewish woman in particular – she is also, quite inimitably and indubitably, Tamara Tracz. A unique, remarkable, and inspiring person, a writer, filmmaker, and artist based in London, she does things in ways that perhaps only she can. For every word in this book has been handwritten, and reproduced as she planned, designed, and drew it. The text does not, therefore, flow as regular lines and pages, but in all manner of configurations and arrangements, systems, and patterns, and in such a way as to enhance the meaning of the text – or rather to emphasize the mind’s reading of the text just as the sound effects or ambient sound might for a film, or the drama and nuances of the voice add when reading a story aloud. As such, ‘Three Books’ is a form of artist’s book, a creative work that sits at the interface of non-fiction and radical typesetting experimentation. Designed in collaboration with Herman Lelie, and beautifully produced in Verona, Italy, ‘Three Books’ is a story, a journey and an experience that is not easily forgotten.

Tamara Tracz - Three Books

Tracz, Tamara

"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

Craddock, Sacha

Gyory, Gabor

Featuring an interview with Sina Najafi, an essay by Martin Herbert, and 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 artist, Clegg’s oeuvre stretches from painting, drawing, and printmaking to sculpture, installation, site-specific art, participatory projects, and beyond. Indeed, his practice is in many ways a shining example of ‘post-medium’ creativity today, pursuing the essence of art itself beyond any specific medium or artform. The irony is, he’s pretty damn good 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 journey 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 up 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 humor, sarcasm, and wit coming face to face with the much more serious matters of memory, psychology, truth, belief, meaning, love, life, and death. Nostalgia, childhood, games, play, and sentimentality career headlong into the realms of kitsch, Pop, and the history of the avant-garde, resulting in a delightful yet challenging range of responses from the viewer, whether amusement, camaraderie, joy, bemusement, outrage, disillusionment, or a call to arms. Clegg is an artist with great energy, incredible spirit, and one of the most engaging, curious, cryptic, and entertaining oeuvres currently making waves in the world of art. In many ways an exploration of the id, ego, and superego, Clegg’s practice plays out the struggle between our basic desires, our rational minds, and the underlying mores that keep us in check. Not unlike Freudian notions of the psyche, Clegg’s practice articulates the battle that takes place inside us all on a daily basis, spilling into the outside world in myriad ways. It is a fight, yes, but it is play too.

Oliver Clegg

HERBERT, Martin

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, color, 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&amp;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&amp;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. "

Sarah Medway - Voyage

Lambirth, Andrew

Hubbard, Sue

This is the first major monograph on the work of one of Britain’s most dynamic artists, Wolfe von Lenkiewicz. His striking paintings and drawings mine the hallowed halls of art history and popular culture in search of visual languages, imagery, themes, and motifs that he can appropriate, adapt, use, and abuse, bringing together different movements, genres, periods, and styles in dialogues that are surprising, innovative, and sometimes provocative. Lenkiewicz’s imagination and energy seem to be inexhaustible, concocting endless amazing hybrids such as iconic Renaissance paintings invaded by characters from nineteenth-century Japanese woodblocks, French Revolutionary masterpieces spliced with German Romanticism, or Cubism infiltrated by Victorian children’s illustration. The result is a peculiar and fantastical cast of characters and scenarios, whether Nazi soldiers trampling through the snow towards a crashed UFO in the middle of a village scene by Pieter Bruegel the Elder, Snow White making an uncomfortable guest appearance in an already troubling Balthus interior, or a guillotined head assuming a cameo role in an otherwise serene still life. These painterly chimera are cultural mash-ups. Sometimes irreverent, sometimes witty, other times simply beautiful, odd, and arresting amalgams, they are always poignant, pertinent, and decidedly thought-provoking, inviting the viewer to think across time, cultures, countries, and ideologies about the many languages of art. In the process, Lenkiewicz has established his own distinctive oeuvre, one that perhaps perfectly illustrates the notion of post-modernity within painting – an oeuvre of juxtapositions and non-sequiturs, binary oppositions and the uncanny, ruptures and elisions, the real and the irrational. As well as often encouraging us to look at the history of art with fresh eyes, Lenkiewicz’s practice asks about visual culture today, about how our understanding of the past rests on shifting sands. With an introduction by distinguished art critic Edward Lucie-Smith and a major new essay by writer and editor Richard Dyer, this beautifully designed and produced hardback book presents an impressive selection of works produced by the artist between 2009 and 2015. Born in 1966 and based in London, Lenkiewicz is of German and Polish descent; he studied philosophy at York University, graduating in 1990. He is the son of the late painter Robert Lenkiewicz and great grandson of Baron von Schlossberg, court painter to King Ludwig II of Bavaria, the Swan King.

Wolfe von Lenkiewicz

Dyer, Richard

LUCIE-SMITH, Edward

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