Bøger udgivet af Karma

From Irish painter Genieve Figgis (born 1972) comes a book-object that is both exquisite and utilitarian, nostalgic and new. Wrapped in plush suede of deep violet, Something for Lovers compiles 34 of Figgis' paintings into a compact coloring book. The works' dreamlike aspect and romantic yet, at times, banal subject matter--Victorian landscapes, tender portraits and passionate embraces--makes for images begging creative reinterpretation. Published by Karma to coincide with the opening of Figgis' exhibition at New York's Gallery Met, at the Metropolitan Opera, Something for Lovers lets you reimagine Figgis' seductive paintings, inviting you to infuse each artwork with colors befitting your surroundings. All 34 paintings are reproduced in color in the back of the publication.

Constructed almost entirely of paraffin wax, "Julian" is one of Swiss artist Urs Fischer's most ambitious wax-candle sculptures to date. This large-format artist's book is composed entirely of photographs documenting Fischer's 2015 show in Amagansett, New York, where the life-size sculpture--made to resemble fellow artist Julian Schnabel--was exhibited and then set alight.

Andro Wekua's (born 1977) Gems Survey is a book of memories: pinned to the bare field of each page are small images of buildings, scraps of cities and shreds of skies, clippings of stars and far-off galaxies. These are the places that Wekua has traveled to, real and imaginary, environments that influence and constitute a large part of his oeuvre.

Death Sequence documents a year in the life of Los Angeles-based artist Sam Falls through a series of carefully selected photos taken by the artist and his friends, as well as installation shots of Falls' 2013 shows in Los Angeles, Geneva, Paris and Rome. Nearly 50 poems by Jamie Kanzler appear throughout, surrounded by the primary colors and natural silhouettes that are characteristic of Falls' work.

Ruznic's nocturnal reveries wade postpartum anguish in powerfully somber jewel tonesAcross Consulting with Shadows, New Mexico-based painter Maja Ruznic (born 1983) invokes the profundity of shadows with her palette, evidencing the beauty and clarity that can emerge from literal--and psychological--darkness. "Noticing color at night is like receiving an unexpected gift," she explains. Formed in the crucible of sleepless nights after the birth of her daughter, while struggling with postpartum depression, Ruznic's recent work depicts permutations of a family unit: Father; Daughter; Mother & Child; Mother & Father; Father Daughter Mother. Blurred forms bleed into one another on deep jewel tones. So too, personal and ancient history blends with Ruznic's treatment. The real night intermingles with the psychological night of anguish and melts into the mythic underworld. Personal experiences of motherhood are saturated by her own exploration of the Sumerian goddess Inanna, who journeys to a world of shadows.

Party's new series of sumptuous sunsets and treescapes steeped in visionary splendorThis volume compiles nearly 50 recent watercolor paintings by Brussels- and Brooklyn-based Swiss artist Nicolas Party (born 1980). Party's perennial subjects are familiar yet uncanny: the sunsets and tree-laden landscapes in Watercolor are transformed through vibrant jewel-toned palettes and unorthodox compositions. His idiosyncratic approach conjures an immersive and surreal environment that is at once steeped in art historical references (Milton Avery, Ferdinand Hodler, Felix Vallotton) and extraordinarily distinctive.Party reads trees and landscapes as "constant markers, essential ingredients which always need to be used," referring to their storied lineage in visual culture. His watercolors emerge from this historical thicket: as he explains, "I like imagining a forest made of all the trees ever painted."

Alex Katz illustrates Hawthorne's classic gothic tale of Puritan New EnglandWhile enrolled in an illustration course at Cooper Union in 1948, Alex Katz (born 1927) created nine ink drawings to accompany Nathaniel Hawthorne's gothic romance, The House of the Seven Gables. Published a century earlier, in 1851, Hawthorne's classic novel is a solemn study of greed, guilt and atonement under the Puritan moral code of 19th-century New England, inspired by the curse pronounced on Hawthorne's own family by a condemned woman during the Salem Witch Trials of 1692.Nathaniel Hawthorne (1804-64) was one of the most influential American writers of the 19th century, known for his darkly romantic stories and novels such as The Scarlet Letter. He was born in Salem, Massachusetts, and belonged to a prominent circle of New England-based writers and philosophers including Ralph Waldo Emerson, Henry David Thoreau and Louisa May Alcott.Alex Katz (born 1927) is a New York-based artist known for his large-scale Pop-inspired canvases of two-dimensional figures set against monochrome backgrounds. For over seven decades, his work has been the subject of hundreds of solo and group exhibitions worldwide.

In 2002, Kara Walker was selected to represent the United States at the prestigious Säao Paulo Art Biennial. Curator Robert Hobbs wrote extended essays on her work for this exhibition, and also for her show later that year at the Kunstverein Hannover. Because these essays have not been distributed in the US and remain among the most in-depth and essential investigations of her work, Karma is now republishing them in this new clothbound volume. Among the most celebrated artists of the past three decades, with over 93 solo exhibitions to her credit, including a major survey at the Whitney Museum of American Art, Walker is known for her tough, critical, provocative and highly imaginative representations of African Americans and whites reaching back to antebellum times. In his analysis, Hobbs looks at the five main sources of her art: blackface Americana, Harlequin romances, Julia Kristeva's concept of abjection, Stone Mountain's racist tourist attraction and the minstrel tradition.

In American Spirit, New York-based conceptual photographer Roe Ethridge (born 1969) presents an unabashedly gorgeous collection of mountainous vistas and meta-advertising spreads that riff on the name of the eponymous cigarette brand.Wide-open views of Western peaks are interspersed with close-shot portraits, still lifes and consumer imagery, a Manifest Destiny atlas for the post-internet era.

Luminous painterly interpretations of two abiding motifs in art historyA two-person exhibition featuring angel paintings by Reggie Burrows Hodges (born 1965) and moon paintings by Ann Craven (born 1967), Moons and Angels was staged in the former St James Catholic church at 70 Main Street in Thomaston, Maine. Appearing throughout the canon of art history, these enduring celestial subjects have served as protectors and messengers. Craven and Hodges create warm and inviting interpretations of these guiding lights that allow the viewer to, in Hodges's words, "offer up and be offered back." This comprehensive, fully illustrated exhibition catalog features a collection of poems by Susan Howe.

Unseen early works from a pioneering feminist abstractionistNew York-based artist Louise Fishman (1931-2021) was widely known for her gestural markmaking and atmospheric spaces. This volume presents nine previously unseen paintings from the artist's foundational years as a student, featuring her early forays into abstraction.

This portfolio-style monograph by New York-based painter Marina Adams draws from Bernini's sculpture "The Ecstasy of Saint Teresa" and Picasso's study of the Weeping Woman for "Guernica." The juxtaposing of these images--one of ecstasy, the other of agony--inspired Adams' diptych spreads of vibrating forms and vivid color.

The first thorough overview of a long-neglected Abstract ExpressionistWith decadent colors, loose brushstrokes and heavy-handed impasto, the paintings of the Iranian American artist Manoucher Yektai (1921-2019) fuse Eastern and Western traditions, synthesizing a unique blend of abstraction and figuration that owes as much to Franz Kline as it does to Cézanne and the poetry of Rumi.Influenced by his early life in Iran and his visits to Paris, and by the New York School, Yektai is recognized as one of the few Abstract Expressionists who also continued working in the still-life genre. An accomplished poet, he approached the act of painting with the melodic sensibility of his own free-verse poems.This fully illustrated monograph, featuring essays by Robert Slifkin, Fereshteh Daftari, Media Farzin and Biddle Duke, as well as a conversation between Hadi Fallahpisheh and Tahereh Fallahzadeh, charts the artist's output over the course of the late 1950s to the early 2000s, spotlighting his novel consideration of form, color and space.

Pencil drawings from the acclaimed painter of domestic poetryThe first book on the drawings of New York-based painter Matthew Cerletty (born 1980), this volume features his depictions of the household items familiar from his paintings.

On two chroniclers of everyday objectsFeaturing six new paintings by each artist, this book explores the overlaps between their explorations of the everyday--a similar focus on small, simple moments, and unassuming scenes portrayed without commentary: a delicately folded scarf, a hand in a coat pocket, a bowl of Cheez-It crackers.

A 50th-anniversary tribute to one of America's first racially integrated exhibitionsIn August 1971 Peter Bradley mounted the landmark exhibition The De Luxe Show at the legendary DeLUXE theater in Houston's Fifth Ward. The De Luxe Show was a milestone in civil rights history, as one of the first racially integrated shows in the United States. Curated by Bradley with the backing of collector and philanthropist John de Menil, the exhibition featured emerging and established abstract modern painters and sculptors of the time, including Darby Bannard, Peter Bradley, Anthony Caro, Dan Christensen, Ed Clark, Frank Davis, Sam Gilliam, Robert Gordon, Richard Hunt, Virginia Jaramillo, Daniel Johnson, Craig Kauffman, Alvin Loving, Kenneth Noland, Jules Olitski, Larry Poons, Michael Steiner, William T. Williams and James Wolfe. In August 2021, for its 50th anniversary, Karma and Parker Gallery staged a contemporary bicoastal tribute to The De Luxe Show. The tribute honors the long, pioneering legacies of the artists of The De Luxe Show, and continues the dialogue between these innovators in the field of abstraction that began 50 years ago. This fully illustrated catalog includes texts and installation images from the original 1971 catalog, as well as a newly commissioned text by Amber Jamilla Musser and a text by Bridget R. Cooks that expands upon her 2013 essay in Gulf Coast.

Mathew Cerletty creates eerie hyperrealist portraits of everyday objectsThe idealized household objects of New York-based painter Matthew Cerletty (born 1980), scaled up and isolated on single color backgrounds, float in a purified, contaminant-free space. The objects are familiar, even jokingly so, but resist apprehension. Cerletty's subjects always return a scrutinizing gaze, seeking connection with a viewer who might catalyze the work's completion. As Chris Sharp writes, "How to account for the work in Mathew Cerletty's Full Length Mirror? What drives this artist to paint these things? What could possibly impel him to depict a jet ski, a green ottoman, a brown leather belt, a laundry rack or white ceiling molding with such bright, marvelously matter-of-fact and painstaking realism? The funny thing about this is that the natural inclination to solving this mystery is not necessarily to dwell upon a single painting or drawing, but to look at another, and then another, in hopes of shaking out the fils rouges between them. It's as if they, not individually, but as a sequence, are supposed to gradually disclose their enigma, rebus-like, collectively yielding it up like a decoded secret. And yet the more you glance between the works, the more opaque, enigmatic and inscrutable they are liable to become."

Lozano's thoughts, notes and musings for 1970The ninth in Karma's 11-volume edition of Lee Lozano's (1930-99) Private Book project, this volume spans April to September 1970, the summer that preceded Lozano's solo exhibition at the Whitney, where she showed her Wave Paintings. (Following this major show, Lozano ceased to paint altogether and increasingly turned her attention to text-based works.) Among the thoughts, manifestos and personal contacts scribbled in these entries is a callout to Lucy Lippard, who described Lozano as "the major female figure" in conceptual art during the 1960s: "Slogans written on postcards to Lucy Lippard & my parents: Love Your Planet / Plan-It / Lose your ego for peace / Put YOUTH in the black & white house."

The debut monograph on the haunting, tenebrous figuration of the acclaimed Maine painterMaine-based painter Reggie Burrows Hodges (born 1965) explores storytelling and visual metaphor, often drawing inspiration from his childhood in Compton, California. Starting from a black ground, Hodges develops the scene around his figures, who materialize in the recessive space with foggy, ethereal brushwork.Hodges' figures are "forms that are made sharper, and more haunting, not because we see those things in their eyes, but because we see it in their bodies, their postures, the endless desire for humans not to be alone, and to connect," Hilton Als writes. "To that Hodges adds all that wonderful blackness."This fully illustrated catalog features a selection of works made between 2019 and 2020; a newly commissioned essay by Hilton Als; and an interview between the artist and Suzette McAvoy, Executive Director at the Center for Maine Contemporary Art.

A panorama of painterly motifs, combined and reprisedAnn Craven (born 1972) superimposes source photographs, historical works and her own paintings, creating mediated images that feature layer upon layer of referentiality--a collage of her most treasured curios. Peacocks showcase their plumage; birds perch on a branch; a trio of horses pose "just so." Through these acts of creation and recreation, Craven becomes both master and copyist, citing herself in her own art historical lineage.Animals, birds, flowers, moons: Craven's motifs are in themselves an incantation--a wish to repeat, reencounter, relive. In keeping with this process of revisitation, Craven's paintings are repeated in threes throughout this fully illustrated catalog, mimicking the tripartite structure of her Animals Birds Flowers Moons exhibition. The book is divided into three parts, each paired with one of three texts: two newly commissioned essays by Durga Chew-Bose and Keith Mayerson, and a 2021 interview between Craven and Lois Dodd.

Beauty. Elegant monochrome glamour in Katzs new print series

Early paintings and ephemera by Tabboo!, full of 1980s New York punk glamourThis clothbound volume appraises the formative years, from 1982 to 1988, of legendary performer, painter, designer, puppeteer and muse Tabboo!'s career. The book displays historical ephemera--including homemade flyers for performances at iconic clubs--along with the artist's paintings. Additionally, an essay on the "Glamorous Life" by Jarrett Earnest explicates the thematic concerns of the catalog. In a 1995 interview with Linda Simpson about his early work, Tabboo! observed: "the subject matter was drag, glamour, ladies' shoes, lingerie, hairdos, vinyl--same as now." Tabboo!: 1982-88 underscores the joy of creating and living, exuberantly.Tabboo! (Stephen Tashjian, born 1959) moved to New York City's East Village in 1982 and quickly established himself as a fixture in its drag scene. In the style of fellow Boston School artists Nan Goldin, Jack Pierson and Mark Morrisroe, he chronicled the zeitgeist with a raw, diaristic approach. In his work, dizzying visuals of nightlife and its cast of characters accompany affectionate portraits of his friends; seedy glamour and high camp meet in a jubilant fusion of collage, paintings and photography. Not one to be an aloof observer, Tabboo! was often photographed himself--by Goldin, Morrisroe, Pierson, Steven Meisel, Steven Klein, David Armstrong and Philip-Lorca diCorcia. Both creator and muse, chronicler and participant, he emblematizes the open experimentation central to the mythology of glamorous underground culture.

This massive volume comprises over 80 interviews published across a 13-year span of Lauren O?Neill-Butler's career as a writer, educator, editor and cofounder of November magazine. The majority of the interviews first appeared on Artforum.com's interviews column, which O?Neill-Butler edited for 11 years. The book is divided into two sections, ?Q&A? and ?As Told To the first comprising interviews in a traditional format and the second recast by O?Neill-Butler in the interviewee's voice.00Interviewees include: Judy Chicago, Shannon Ebner, Carolee Schneemann, Lucy R. Lippard, Joan Semmel, Liz Deschenes, Eleanor Antin, Andrea Fraser, Anohni, Claudia Rankine, Lorrie Moore, Adrian Piper, fierce pussy, Nan Goldin, Nell Painter, Frances Stark, Sara Greenberger Rafferty, Alex Bag, Agnáes Varda, Lisi Raskin, Mary Mattingly, Carol Bove, Jennifer West, Aki Sasamoto, Mary Ellen Carroll, Rebecca Solnit, Rita McBride and Kim Schoenstadt, Karla Black, Julia Bryan-Wilson, Lynda Benglis, Sturtevant, Rachel Foullon, Ellie Ga, Lisa Tan, Mira Schor, Jo Baer, Ruby Sky Stiler, Suzanne Lacy, Rebecca Warren, Katy Siegel, Marlene McCarty, Rachel Mason, Mary Kelly, Dianna Molzan, Lynne Tillman, Polly Apfelbaum, Jesse Jones, Dorothea Roc.

An opulent, joyful homage to the many ways of painting flowers, from Charles Burchfield to Amy Sillman"Flowers are always working in the service of the passage of time," writes Helen Molesworth in the opening pages of (Nothing but) Flowers. "In all of the paintings in this book where flowers are depicted, innocently standing in their vases, the minor gestures of gathering, arranging and display can be seen as a verb list dedicated to world-building." This clothbound volume gathers paintings of flowers by more than 50 artists from Charles Burchfield to Amy Sillman, Joe Brainard to Lisa Yuskavage, who have explored the perennial appeal of this richest and yet simplest of subjects. (Nothing but) Flowers demonstrates the capacity of the humble botanical motif to capture sorrow, stimulate rehabilitation, and guide us through periods of mourning, celebration and rebirth. Writers Hilton Als, Helen Molesworth and David Rimanelli contribute meditations on the many resonances of flowers in art. Artists include: Gertrude Abercrombie, Marina Adams, Henni Alftan, Ed Baynard, Nell Blaine, Dike Blair, Vern Blosum, Joe Brainard, Cecily Brown, Charles Burchfield, Matt Connors, Andrew Cranston, Ann Craven, Stephanie Crawford, Somaya Critchlow, Verne Dawson, Lois Dodd, Peter Doig, Nicole Eisenman, Ida Ekblad, Minnie Evans, Marley Freeman, Jane Freilicher, Mark Grotjahn, James Harrison, Lubaina Himid, Samuel Hindolo, Reggie Burrows Hodges, Max Jansons, Ernst Yohji Jaeger, Sanya Kantarovsky, Alex Katz, Karen Kilimnik, Zenzaburo Kojima, Matvey Levenstein, Shannon Cartier Lucy, Calvin Marcus, Helen Marden, Jeanette Mundt, Soumya Netrabile, Woody De Othello, Sanou Oumar, Jennifer Packer, Nicolas Party, Hilary Pecis, Richard Pettibone, Elizabeth Peyton, Amy Sillman, Elaine Sturtevant, Tabboo!, Honor Titus, Uman, Susan Jane Walp, Stanley Whitney, Jonas Wood, Matthew Wong, Albert York, Manoucher Yektai and Lisa Yuskavage.

A sumptuous edition of Melville's epic tale of hubris and obsession, gorgeously illustrated by Alex KatzIn 1948, while enrolled in an illustration course at Cooper Union, Alex Katz (born 1927) created 27 pen and ink drawings inspired by Herman Melville's 1851 novel Moby-Dick; or, The Whale. Katz, who had first read the book at 13 years old, was drawn to its experimental and digressive structure. Moby-Dick "doesn't really have a beginning, a middle, and an end," he notes; rather, "it's a big form." The artist's whimsical illustrations capture this quality while expressing the early formation of his now highly recognizable style, celebrated for its elegant formal economy. Katz later returned to maritime motifs with a series of work based on his trips to Maine that began in the mid-1950s. Like Melville's literary attempts to elude representation, Katz's drawings attempt to represent the unknowable. "The great Leviathan is that one creature in the world which must remain unpainted to the last," Melville writes. "True, one portrait may hit the mark much nearer than another, but none can hit it with any very considerable degree of exactness."

An acidic portrait of the grifters and pretenders of the art world, from the celebrated author of The Mars RoomIn Rachel Kushner's latest work of fiction, The Mayor of Leipzig, an unnamed artist recounts her travels from New York City to Cologne--where she contemplates German guilt and art-world grifters, and Leipzig--where she encounters live "adult entertainment" in a business hotel. The narrator gossips about everyone, including the author. "Taking a time out from what happened to me in Cologne and in Leipzig," Kushner writes, "I want to let you in on a secret: I personally know the author of this story you're reading. Because she fancies herself an art world type, a hanger-on. Who would do that voluntarily? I mean, it's not like someone held a gun to my head and said, Be an artist. I chose it, but I still can't imagine having anything to do with the art world if you don't have to. Also, people who don't make stuff, who instead try to catalogue, periodize, and understand art, they never understand the first thing. Art is about taste, a sense of humor, and most writers lack both." Rachel Kushner (born 1968) is the author of The Flamethrowers (2013) and The Mars Room (2018). Her debut novel, Telex from Cuba, was a finalist for the 2008 National Book Award and a New York Times bestseller and Notable Book. A collection of her early work, The Strange Case of Rachel K, was published by New Directions in 2015. Her fiction has appeared in the New Yorker, Harper's and the Paris Review.

The woozy domesticity of Woody De Othello: sculpture as ordinary objects succumbing to gravity In the sculptures of Berkeley-based artist Woody De Othello (born 1991), everyday domestic artifacts--tables, chairs, television remotes, telephone receivers, lamps, air purifiers--are anthropomorphized in glazed ceramic, bronze, wood and glass. Othello's scaled-up representations of these objects often slump over, overcome with gravity, as if exhausted by their own use. Informed by his own Haitian ancestry, Othello takes interest in the supernatural objects of Vodou folklore. Like the Vodou vessels, nkisi figures and other animist artifacts that inspire him, Othello's ceramic characters come alive. "A form of contemporary nkisi, Othello's vessels and misshapen objects seem to react to and hold the energies of the space they inhabit," writes Lauren Dickens, "suggesting the power of pressures endured but not seen." This comprehensive, fully illustrated volume explores Othello's ceramic works from 2016 through 2020, and includes three new essays by Lauren Dickens, Mario Gooden and Ricky Swallow.

Relics of the everyday as tongue-in-cheek allegories for sexuality and decadence New York-based sculptor Kathleen Ryan (born 1984) recasts found and handmade objects as spectacular, larger-than-life hieroglyphs of Americana. This book gathers her titular series of bejeweled, oversized moldy fruit sculptures.

A half-century of social change in America, documented in the writings of Danny Lyon, photographer and author of The Bikeriders and The Destruction of Lower Manhattan"From the beginning, even before he left the University of Chicago and headed south to take up a position as the first staff photographer for the Student Nonviolent Coordinating Committee, Danny Lyon dreamed of being an artist in language as well as in pictures," writes Randy Kennedy in the introduction to American Blood. In 1961, at the age of 19, for example, Lyon penned a brutally satirical article for a student mimeo magazine in which he argued for the deterrent power of prime-time televised executions ("the show would open, no doubt, like a baseball game, with a rendition of the National Anthem"). Lyon is widely celebrated for his groundbreaking work in photography and film. Less recognized is the extensive body of writing that has broadened and reinforced his reach, in both the pages of his own publications and in others as varied as the Los Angeles Times, the New York Review of Books, Aperture, civil rights publications, underground magazines and Lyon's blog. This 400-page volume spans republished and previously unpublished texts from nearly six decades of his career, comprising a vast, meticulously archived history of American social change. Also included are conversations between Lyon and Hugh Edwards, Nan Goldin and Susan Meiselas. As Kennedy writes, Lyon's collected writings, "remarkable as both artistic and moral models, remain far too little known, especially for an author who has seen what he has seen and possesses the rare ability to write about it as he speaks; Lyon is a world-class talker, funny, wise, sanguine and indefatigable." Danny Lyon (born 1942) is one of the most influential documentary photographers of the last five decades. His many books include The Movement (1964), The Bikeriders, The Destruction of Lower Manhattan (1969), Knave of Hearts (1999), Like a Thief's Dream (2007) and Deep Sea Diver (2011).

An intimate clothbound volume compiling the exquisite postcard paintings of Matthew WongThis fully illustrated volume collects Matthew Wong's small-scale postcard paintings made during the last year of his life in 2019. As Winnie Wong writes in her newly commissioned essay for the book, "Art critics have observed that Matthew Wong's landscapes are 'uncannily familiar, ' and they do prompt viewers to search our own memories, but he almost never titled them as places. Instead, he consistently named them as moments in time: midnight, 5:00am, dawn, daybreak, 12:30am, Autumn, Winter, the first snow, the gloaming, the moon rise ... For the postcard is a genre that seems to consciously elude a sense of stable locus, yet marks the times of our lives when we tried to grasp it. Matthew Wong painted at home, on the road, and in the studio. He spoke of the compulsion to finish each of his paintings in a single sitting, and talked of them always as process, rather than subject matter. Standing before paintings he finished years ago, he could recall every stroke and mark as if he had placed them just moments before." Matthew Wong (1984-2019) was a self-taught Canadian artist whose paintings evoke art historical precedents ranging Soutine and Van Gogh to abstract expressionism. His colorful, dappled vignettes of imaginary landscapes and half-remembered interiors have the uncanny ability to, in his words, "activate nostalgia, both personal and collective." Wong held his first American solo exhibition at Karma in March 2018, garnering reviews in the New York Times and the New Yorker, among others. His work is in the collection of the Dallas Museum of Art, Texas.