Bøger udgivet af Karma

A handsome and hefty clothbound compendium of Lozano's explorations of gender through drawingThis 640-page volume comprises drawings from a critical six-year period in the development of American painter and conceptual artist Lee Lozano's (1930-99) practice. Her daring, facetious sketches investigate issues of gender and the body through the erogenous anthropomorphization of tools. Lee Lozano: Drawings 1958-64 includes two newly commissioned essays by Helen Molesworth and Tamar Garb. "What I love about Lozano--besides the crazy, ham-fisted quality of her drawn line, pictures made with pencils that appear to have been held with a fist--is how her demonstration of the word 'connection' is not bound to any of the anodyne ways we currently use it," writes Molesworth. "There's nothing about 'listening' or 'building community' or 'empathy' in any of these drawings. For Lozano, connection is fraught and hairy. Connection is dangerous."

Collecting Mark Flood's irreverent reinventions of the protest signHouston-based artist Mark Flood's (born 1957) 1992 protest signs were first deployed outside the Republican National Convention of that year. With cardboard, foam core upcycled from the Menil Collection and vintage stencils gifted by a relative of Jackson Pollock, Flood's signs display ironic slogans beside silkscreened images of Reagan, Bush and Schwarzenegger.

Between art, engineering and architecture: recent works by Robert GrosvenorThis monograph on Robert Grosvenor (born 1937)--known for his large-scale architectural sculptures--accompanies his third solo exhibition at Karma and concurrent exhibition at Galerie Max Hetzler, presenting recent works of sculpture alongside an essay by renowned curator and critic Bob Nickas.

Alex Da Corte's foam wall pieces celebrate the zest and color of cartoon aesthetics Published for Alex Da Corte's (born 1981) 2019 solo exhibition with Karma Gallery, this volume features the eponymous short story by Eugenia Collier, as well as two newly commissioned texts by writer Tausif Noor and animator and historian John Canemaker.

The latest colorful, intimately gestural abstractions from Marley Freeman This volume commemorates New York-based painter Marley Freeman's (born 1981) 2019 solo exhibition of her abstractions at Karma with an essay by Lauren O'Neill-Butler, who writes that Freeman's "works offer an alternative, an option to opt-out of signifying monolithically."

Drawings of ash trays and cups from a modern chronicler of the everydayThis book from New York-based artist Dike Blair (b. 1952) showcases his drawings from the past two years. Exploring the same imagery as his oil paintings and gouaches--ash trays, cups, mugs--allowed Blair to make his drawings "more effortless and free.

Permutation and portraiture: serial paintings of moons, stripes and the birds of Maine by Ann CravenBirds We Know is the catalog for an exhibition of paintings by New York-based artist Ann Craven (born 1967). This large survey at the Center for Maine Contemporary Art is the artist's first exhibition in Maine, where she has been living part-time and painting since the early 1990s. It was at her farm house in Lincolnville, Maine, inspired by the colors of the natural environment, that Craven completed her very first moon painting in 1995; she says her time in Lincolnville "gave me my subject matter." The new exhibition and catalog include the imagery that Craven is renowned for including her lushly colored, mesmerizing moon and stripe paintings, but here the birds dominate as the primary subject, including work made between 1997 and 2019. The book includes an essay by Christopher B. Crosman, formerly of the Crystal Bridges Museum of American Art and the Farnsworth Art Museum.

A handsome suite of expressionistic, semi-abstract works on paperThe latest book from New York-based painter Walter Price (born 1989) brings together 34 recent works on paper that employ the same iconic imagery, intimate scale and dreamlike compositions of both abstraction and figuration that are found in his paintings.

From art book to artist's book: painterly interventions in an El Greco monograph by Marley FreemanHere, New York-based painter Marley Freeman (born 1981) transforms the spreads of a reference book on El Greco into abstract paintings that cover text and image alike, and leaving half the book with only small traces of interventions.

The latest in Karma's acclaimed series of overviews, this 424-page clothbound volume is the first comprehensive survey of New York-based minimalist painter Paul Mogensen (born 1941). Born in Los Angeles, Mogensen arrived in New York in 1966 already associated with such peers as David Novros and (through Novros) Brice Marden. His first solo exhibition at the Bykert Gallery came the following year. Since that time, Mogensen has created often colorful works that follow rule-based progressions (such as the "n + 1" method) to generate sharply executed geometric abstractions. In a text for this volume, the artist Lynda Benglis usefully summarizes the special character of Mogensen's art: "Paul is a colorist who is measured in his method. It may be said that he is a decorative painter as well a painter of a philosophical disposition. He is stringent in his approach, as stringent as a mechanic might be with a Ferrari. There are no accidents."

This book collects images that New York-based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the analog age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier's work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography's contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).

This is the fourth volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book project. It is primarily a calendar of Lozano's personal, artistic and chemical interactions in 1969-70. A prolific writer and documenter of both her art and her relationships, the public and private, the painter Lee Lozano (1930-99) kept a series of personal journals from 1968 to 1970 while living in New York's SoHo neighborhood. In 1972 she rigorously edited these books, thus completing the project.

Artist Alex Da Corte (born 1980) worked with writer and artist Sam McKinness to compile this book of 24 stories and fictional essays on the themes of the Telephone, Paranoia, Romance in the Night, Suburbia, the Moon, Superstitions, Ghosts and Monsters. The writers for the book include Jia Tolentino, Francesca Gavin, Collier Schorr, George Pendle and David Rimanelli.

This is the fifth volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book project. Eleven of these private books survive, containing notes on Lozano's work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humorous asides from daily life.

The latest volume of writing by influential New York-based critic and curator Bob Nickas collects his 2012-14 column for Vice magazine's Komp-laint Dept. This column unleashed the full omnivorous range of the author's interests. There are essays on musicians such as Neil Young, Sun Ra, Royal Trux and Lydia Lunch, which look at their biographies and the history of Nickas' personal relationship with their music; there are lengthy and often very funny "complaints" about, among other things, two different presidents, Jeff Koons, New York architecture, the meeting of fashion and punk, religion in general, nostalgia and the problem with contemporary graffiti. Additionally, there are meditations on filmmakers such as David Cronenberg and Nicolas Refin. The book is rounded out by perhaps the definitive (two-part) examination of how and why Richard Prince uses appropriation.Bob Nickas has worked as a critic and curator in New York since 1984. He is the author of Theft Is Vision (2007) and The Dept. of Corrections (2016).

16 Pictures is the latest in a series of photobooks by American artist Robert Grosvenor (born 1937). Included here are color photographs of vehicles, scale models and ordinary objects. Sometimes blurry, sometimes overexposed, and very often brightly colorful, the photographs depict scenes that may be staged or chanced upon.

Boats Crosses Trees Figures 1977-78 is a survey of Peter Halley's (born 1953) early works on paper made during his years as a graduate student at the University of New Orleans.Already pointing clearly to the pictorial concerns that he would focus on throughout his career these works initiate Halley's interest in the interaction of opposites, primarily abstraction and figuration but also interior and exterior, foreground and background, light and dark, appearance and disappearance.Inspired by the color and sound of New Orleans, Halley translates the physical world into bright, geometric compositions constructed of gridded squares of color, where, through the combination of formal severity and openness as equal partners, seemingly simple compositions turn into complex amalgams of various possible views of an image and its space.

In the early 1990s, Mark Grotjahn (born 1968) was living in San Francisco, and weary of the figurative painting he and his colleagues were doing. He found inspiration at Lloyds, a bar across the street from his studio, in their handmade signs advertising hot dogs and drink specials. Grotjahn started painting copies of the bar's signs. Sensing that the difference between his copies and the originals was the audience, Grotjahn "figured in order to get my sign to be as good as their signs, I needed to get my sign in their store." Thus began Grotjahn's series of Sign Exchanges, where Grotjahn would paint copies of the signs of liquor stores, hole-in-the-wall restaurants and bodegas, and exchange his signs for the readymades on display. Mark Grotjahn: Sign Exchange explores this early series of works, displaying the signs the painter received in exchange for his paintings.

Thirty-Four Reverse Telescopes and Three Buttons catalogs the artist's recent body of colored Plexiglas works, made between 2013 and 2016, introduced obliquely with a poem by Ben Estes. Painter Matt Connors (born 1973) is known for combining a modernist visual vocabulary of grids and tense, minimal compositions with influences from design, poetry and music. Connors' recent series of works brings this sensibility into the play of media: paintings in acrylic on paper are mounted on colored matte board, framed behind colored Plexiglass, creating an effect of nested colored forms in space. Both objects and paintings, the deeply hued, mixed-media pieces have been reproduced in Thirty-Four Reverse Telescopes and Three Buttons in black and white as well as color, highlighting the works' complex tonality in addition to their dynamic coloration.

First published in 1993, Sister is a story of love and violence bearing justice. In author and critic Jim Lewis' first novel, an orphaned, 17-year-old Wilson leaves his Nebraska home and heads south to Mississippi. There, he finds work as a gardener on the estate of the Miller clan--a nuclear family with two lovely daughters, Marian and Olivia, living in compliant happiness. Wilson's surreptitious presence soon casts a quiet path of destruction through the Miller home with very tangible results for the sisters. Twenty years after its original publication, Lewis' lyrical, atmospheric novel remains exacting in its appraisal of young love linked to loss and unnerving in its examination of the isolated American family.

Published to coincide with her solo exhibition at the Aspen Art Museum, this catalogue surveys over five years of Los Angeles-based artist Liz Larner's (born 1960) wall-based ceramic works. Larner's process explores the natural compression and fragmentation of the body and of ceramic forms themselves. Fired and coated with pigment and resin, each ceramic work fits into one of six categories: inflexion, caesura, subduction, mantle, passage and calefaction. Resembling magnificently colored ancient tablets or sculptural specimens of the mineral world, the pieces have fissures and cracks that evoke geological processes. With a photo-essay by Catherine Opie, an essay by curator and writer Jenelle Porter, and an interview between Larner and Aspen Art Museum Director Heidi Zuckerman, this is an accessible entry into the work of an eminent female artist whose practice continues to radically enliven contemporary sculpture.

An examination of the cyclical nature of time: documenting Dan Colen's show at the Walter De Maria building in the East VillageThe Long Count documents Dan Colen's show at the Walter De Maria building in New York's East Village, a block away from where Colen and Ryan McGinley shared an apartment over a decade ago. An examination of the cyclical nature of time, the publication includes photographic and narrative references to the events that have shaped Colen's career.

Using El Lissitzky's artwork as a starting point, New York-based painter Sebastian Black (born 1985) abstracts space and graphic shapes in this slim artist's book.

Published in conjunction with an exhibition at OV Project in Brussels, this catalog brings together paintings by two influential modern American painters--Paul Mogensen and Steven Parrino--revealing how, for both artists, structure, material, production, and function of the artwork relate to space and spectator.spectator.

This book collects a series of new portraits by the critically acclaimed New York-based painter Bernhardt that depict D'Angelo, whom she met while traveling in Peru. The two began sending photos back and forth through WhatsApp of their daily lives.

This is the seventh volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book (1930-99) project. "Don't be RIVAL RABBITS," she writes here. "Give your ideas away. Help the world survive. SHARE AN IDEA JOINT."

This is the sixth volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book (1930-99) project. One excerpt reads: "For my opening at the Whitney I would like to do a very special FANCY: want to give an invitation personally to the downtown people I know from being/living in this neighborhood for so long. In fact these are the only people I want at my opening. Just NEIGHBORHOOD people: from drugstores, food & laundry stores, stationary stores, etc. GET IT?"

Before her self-imposed exile from the art world, Lozano was a highly regarded painter who defined a generation of American artists infusing conceptualism with a new intensity. A prolific writer and documenter of both her art and her relationships, she kept a series of personal journals. This series of 11 pocket-sized books is printed as facsimiles.

Kokuyo Business Paper is the latest of Michael Williams' (born 1978) artist's books published by Karma. This newest book focuses on drawings on top of photocopies and employs the gatefold as a primary characteristic of the book. Each fold has the potential to hide and reveal another image, forcing the viewer to look and open each fold.

A sketchbook facsimile, DRM 1980 documents the rigorous thought process of Brooklyn-born minimalist painter Ted Stamm (1944-84) as he explores color within a series of 36 studies for a single composition.The warmth of these intimate works stands in contrast to the stately severity of his shaped canvasses, though lacking none of their masterly precision.