PUBLICATIONS

Confluences, curated by Rebecca Scott, this exhibition explores the influences and dialogues between Cross Lane Projects’ co-director Mark Woods and the artists who have crossed his path in his years living in London and Cumbria.

Artists include Mark Woods, Jim Whiting, Stella Whalley, Gavin Turk, Rebecca Scott, Lawson Oyekan, Michael Petry, Julia Maddison, Lee Holden, Cathy de Monchaux, Helen Chadwick, Cedric Christie, Louise Bourgeois, Jim Bond, Sooz Belnavis, Atty Bax and Vanya Balogh.

This publication features an introduction text by Rebecca Scott.

Published on the occasion of the exhibition, Confluences (19 July – 13 September 2025).

Design and layout by Emily Benton Book Design. 

Strange Gaze: Surrealism at Cross Lane Projects, continues the world-wide celebrations marking 100 years of surrealism. Today’s neo-surrealism neither smoothly continues surrealism’s original projects, nor makes a clean break with them. Instead, it adapts the pioneers’ discourse to what each artist finds pertinent at the present juncture. The exhibition, curated by the artist Rebecca Scott, brings together 16 artists with dreamlike and figurative works that reference and react to the current political and ecological context.

This publication features original texts by Glenn Ward, Peter Suchin, and Mike Healey.

Published on the occasion of the exhibition, Strange Gaze: Surrealism at Cross Lane Projects. (5 October to 24 November 2024).

Design and layout by Emily Benton Book Design. 

Landscape of the Gods, brings together the work of nine artists to explore an interconnection with the landscape; the ceremonial, the mythical, the manmade, the dystopian, the inhabited and the emotive.

Artists include Julian Cooper, Mark Fairnington, Alex Giles, Martin Greenland, Lee Maelzer, Bex Massey, Michael Petry, Alun Williams and Rebecca Scott.

This publication features original texts by Matthew Bowman, Michael Petry and Rebecca Scott.

Published on the occasion of the exhibition, Landscape of the Gods, at Cross Lane Projects, Kendal (29 July – 23 September 2023).

Design and layout by Emily Benton Book Design. 

High on Hope was conceived as a memorial exhibition for the artist Gerard Hemsworth (1945 – 2021). It brings together a selection of Hemsworth’s canvases and work by eight other artists whom he taught, on the part-time Master’s programme at Goldsmith’s College in South London, in the late 1980s and early 1990s.

The exhibition, curated by artist Rebecca Scott, focuses on artists whose work she sees as resonating with Hemsworth’s own engagement in a type of ‘post-conceptual figurative or representational painting’.

Artists include Mark Fairnington, Roy Holt, Gerard Hemsworth, Rebecca Scott, Bob & Roberta Smith, Jessica Voorsanger, Mark Wallinger and Suzy Willey.

This publication features an essay by Julien Delegrange and original texts by Daniel Sturgis and Dr Mo Throp.

Published on the occasion of the exhibition, High on Hope, at Cross Lane Projects, Kendal (23 July – 24 September, 2022).

Design and layout by Emily Benton Book Design. 

Compiled and edited by Nicola Wild and Andy Wild, WOMEN (Inspiring quotes and artistic responses) contains the work of 98 female contemporary artists, whom each chose a quote from a famous woman and explained why and how it resonates with them.

Compiled and edited by Andy Wild and Mike Healey, Quotes (Inspirational Quotations | Creative Responses) contains the work of 68 contemporary artists, each of whom were asked to select a quote by someone famous, explain why that quote resonates with them and then select an example of their own work that best exemplifies their text.

Whether in painting, photography, sculpture or video, contemporary artists have drawn on a tradition ripe with metaphorical and moral significance to create works of conceptual vivacity and striking beauty.

Michael Petry has structured the book according to the classic categories of the still-life tradition – Flora, Food, House and Home, Fauna and Death. Each chapter explores how the timeless symbol of the memento mori – a reminder of death, change and the passing of time – has been rediscovered for a new millennium.

The Art of Not Making tackles these questions head on, exploring the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in the creation of some of today’s most innovative and sought-after works of art.

Michael Petry presents the art of over 115 contemporary artists – including Takashi Murakami, Matthew Barney, Tony Cragg, Cornelia Parker, Grayson Perry, Ai Weiwei, Daniel Buren and Carsten Höller – all of whom have one thing in common: they do not always make their own work. Instead, they often either employ others to produce it on their behalf, or appropriate objects made by someone else. Original interviews with the artists and artisans offer insights into this creative collaboration, which often produces works breathtaking in their scope and ambition.

In Art & Outrage, John A. Walker covers the period from the late 1940s to the 1990s to provide the first detailed survey of the most prominent cases of art that has scandalised. The work of some of Britain’s leading, and less well known, painters and sculptors of the postwar period is considered, such as Richard Hamilton, Bryan Organ, Rachel Whiteread, Reg Butler, Damien Hirst, Jamie Wagg, Barry Flanagan and Antony Gormley. Included are works made famous by the media, such as Carl Andre’s Tate Gallery installation of 120 bricks, Rick Gibson’s foetus earrings, Anthony-Noel Kelly’s cast body-parts sculptures and Marcus Harvey’s portrait of Myra Hindley. Walker describes how each incident emerged, considers the arguments for and against, and examines how each was concluded. While broadly sympathetic to radical contemporary art, Walker has some residual sympathy for the layperson’s bafflement and antagonism. This is a scholarly yet accessible study of the interface between art, society and mass media which offers an alternative history of postwar British art and attitudes.