In his latest body of work Hume focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss. His mother is 86 years old and suffers from dementia. And while the ostensible subjects of many of the new paintings are flowers, their titles ? Mourning, Spent, Blind ? reflect Hume?s thoughts of her. Mum on the Couch (2017), a more direct portrait, depicts the artist?s aging mother in her current condition, a poignant contrast to the vibrant woman of her son?s memories.00This catalogue includes large-format full-color reproductions of more than thirty new works. In addition to Hume?s signature aluminum panels, he recently began painting on large sheets of paper. His preferred paint, a highly reflective household gloss, creates textures and reflections on the paper that become an integral part of the work. As Alexander Nagel writes in the essay, ?Apparitions of shifting light and shade playing over the surface, we are always part of their subject matter.?00Exhibition: Matthew Marks Gallery, New York, USA (04.11.-22.12.2017).

In his latest body of work Hume focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss. His mother is 86 years old and suffers from dementia. And while the ostensible subjects of many of the new paintings are flowers, their titles ? Mourning, Spent, Blind ? reflect Hume?s thoughts of her. Mum on the Couch (2017), a more direct portrait, depicts the artist?s aging mother in her current condition, a poignant contrast to the vibrant woman of her son?s memories.00This catalogue includes large-format full-color reproductions of more than thirty new works. In addition to Hume?s signature aluminum panels, he recently began painting on large sheets of paper. His preferred paint, a highly reflective household gloss, creates textures and reflections on the paper that become an integral part of the work. As Alexander Nagel writes in the essay, ?Apparitions of shifting light and shade playing over the surface, we are always part of their subject matter.?00Exhibition: Matthew Marks Gallery, New York, USA (04.11.-22.12.2017).

Gary Hume (born 1962) first found acclaim in London in the late 1980s, when his bold paintings of hospital doors, rendered at life-size scale in high-gloss hardware store paints on aluminum panels, drew much attention and ushered Hume into the ranks of the Young British Artists. Twenty years later, Yardwork features recent paintings and sculpture completed by Gary Hume in his upstate New York studio. The pictures explore familiar themes in Hume's work, including flowers, birds, doors and female figures. In the new work, however, the doors are now barn doors, as opposed to the hospital doors found in his earlier works; the blackbirds, roses and daisies are all things he sees from his window, not images drawn from books or media. Yardwork includes an essay by Dave Hickey that places Hume's paintings in the context of a group of artists the author names abstractionists of daily life.

NATIONAL BESTSELLER • WINNER OF THE MAN ASIAN LITERARY PRIZE • When sixty-nine-year-old So-nyo is separated from her husband among the crowds of the Seoul subway station, her family begins a desperate search to find her. Yet as long-held secrets and private sorrows begin to reveal themselves, they are forced to wonder: how well did they actually know the woman they called Mom? “A terrific novel that stayed with me long after I’d finished its final, haunting pages.” —Abraham Verghese, bestselling author of The Covenant of Water “A raw tribute to the mysteries of motherhood.” —The New York Times Book Review Told through the piercing voices and urgent perspectives of a daughter, son, husband, and mother, Please Look After Mom is at once an authentic picture of contemporary life in Korea and a universal story of family love. “A suspenseful, haunting, achingly lovely novel about the hidden lives, wishes, struggles and dreams of those we think we know best.” —The Seattle Times

This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.

Published to accompany the exhibition Dinosaur Designs, Object galleries, 13 December 2002-16 March 2003, as part of the Sydney Festival 2003.