Ray Johnson

Installation views

Chris Martin
Text: Chris Martin in conversation with Bob Nickas
Karma and Anton Kern, New York, 2014
120 Pages
11.75 x 12.25 inches (29.8 x 31 cm)
Edition of 1,000
$40 PURCHASE

Chris Martin

Text: Chris Martin in conversation with Bob Nickas

Karma and Anton Kern, New York, 2014

120 Pages

11.75 x 12.25 inches (29.8 x 31 cm)

Edition of 1,000

$40 PURCHASE

Chris Martin
Text: Chris Martin in conversation with Bob Nickas
Karma and Anton Kern, New York, 2014
120 Pages
11.75 x 12.25 inches (29.8 x 31 cm)
Edition of 1,000
$40 PURCHASE
—"When painting is going well, then I have that feeling that I can go anywhere with the work. It’s a wonderful feeling. It’s like discovering what you want to say in the act of saying it. But I came to the city in 1976 and painting was a pretty narrow place—minimalism was king and the unspoken rule seemed to be that an artist was supposed to find his or her image and stick to it. So I suffered a lot trying to fit into that. I was drawn in so many directions as once. Then in the 1980s, when Schnabel, Basquiat, and all the Europeans arrived the whole scene opened up and I started to embrace my own practice. The artists who I admire the most seem to be able to bring whatever is happening in the world and in their own lives directly into their work.”

Chris Martin

Text: Chris Martin in conversation with Bob Nickas

Karma and Anton Kern, New York, 2014

120 Pages

11.75 x 12.25 inches (29.8 x 31 cm)

Edition of 1,000

$40 PURCHASE



"When painting is going well, then I have that feeling that I can go anywhere with the work. It’s a wonderful feeling. It’s like discovering what you want to say in the act of saying it. But I came to the city in 1976 and painting was a pretty narrow place—minimalism was king and the unspoken rule seemed to be that an artist was supposed to find his or her image and stick to it. So I suffered a lot trying to fit into that. I was drawn in so many directions as once. Then in the 1980s, when Schnabel, Basquiat, and all the Europeans arrived the whole scene opened up and I started to embrace my own practice. The artists who I admire the most seem to be able to bring whatever is happening in the world and in their own lives directly into their work.”

Ray Johnson
Opening reception Tuesday, October 7. 6–8pm
October 7 – November 1, 2014
Press release
Installation views

Ray Johnson

Opening reception Tuesday, October 7. 6–8pm

October 7 – November 1, 2014

Press release

Installation views

Ray Johnson
Opening reception Tuesday, October 7. 6–8pm
October 7 – November 1, 2014


Karma is pleased to present an exhibition of previously unseen work by Ray Johnson (1927–1995).


American popular culture and the environment of the “art world,” combined with a sly use of puns, codes, inside jokes and signature wit mixed with piercing perceptiveness, comprise the frame for much of Johnson’s work. Using his own brand of semantic structure, Johnson creates complex and multi-layered portraits—of himself and of other subjects.


A comprehensive publication will be released in conjunction with the exhibition, which includes 296 color illustrations of collages, drawings, interventions and other ephemera.


This exhibition is presented in cooperation with the Ray Johnson Estate, Richard L. Feigen & Co., and Jay Gorney.

Ray JohnsonKarma, New York, 2014296 pages9.5 x 12 inches (24.1 x 31.75 CM)
Hardcover$45 Pre-Order

Ray Johnson
Karma, New York, 2014
296 pages
9.5 x 12 inches (24.1 x 31.75 CM)

Hardcover

$45 Pre-Order

Jean Dubuffet
Jean Dubuffet: Late Paintings, 8 March - 5 May 2001
Michael Werner, New York, 2001
12.5 X 9.5 INCHES (31.75 X 24.1 CM)
$40 PURCHASE

Jean Dubuffet

Jean Dubuffet: Late Paintings, 8 March - 5 May 2001

Michael Werner, New York, 2001

12.5 X 9.5 INCHES (31.75 X 24.1 CM)

$40 PURCHASE

Joseph Beuys
Joseph Beuys: Doppelaggregat and Bergkönig, 19 May - 9 July 1999
Michael Werner, New York, 1999
12.5 X 9.5 INCHES (31.75 X 24.1 CM)
$40 PURCHASE

Joseph Beuys

Joseph Beuys: Doppelaggregat and Bergkönig, 19 May - 9 July 1999

Michael Werner, New York, 1999

12.5 X 9.5 INCHES (31.75 X 24.1 CM)

$40 PURCHASE

Wade Guyton, 1 Month AgoPublished by KarmaProject Room EPrinted Matter NY Art Book FairMoMA PS122-25 Jackson AveLong Island City, NY 11101Thursday September 25: 6–9pmFriday September 26: 12–7pmSaturday September 27: 11am–9pmSunday September 28: 11am–7pm

Wade Guyton, 1 Month Ago
Published by Karma


Project Room E
Printed Matter NY Art Book Fair

MoMA PS1

22-25 Jackson Ave
Long Island City, NY 11101

Thursday September 25: 6–9pm
Friday September 26: 12–7pm
Saturday September 27: 11am–9pm
Sunday September 28: 11am–7pm

Wade Guyton, 1 Month Ago
Karma, New York, 2014
368 pages
8 x 10.75 inches
Edition of 500
$45 PURCHASE 

Wade Guyton, 1 Month Ago

Karma, New York, 2014

368 pages

8 x 10.75 inches

Edition of 500

$45 PURCHASE 

Isa Genzken Gerhard Richter
"Present art, then, is the nervous, dramatic, political confrontation with the culture."
Mario Pieroni, Roma, 1983 
10 x 7 inches (25.4 x 17.8 cm)
$1,300 Purchase

Isa Genzken Gerhard Richter

"Present art, then, is the nervous, dramatic, political confrontation with the culture."

Mario Pieroni, Roma, 1983 

10 x 7 inches (25.4 x 17.8 cm)

$1,300 Purchase

Peter Doig, Go West Young Man
"Truck driver with porn magazine"
Walther König, Koln, 2006
9.5 x 6.75 inches (24.13 x 17.14 cm)
$80 Purchase 

Peter Doig, Go West Young Man

"Truck driver with porn magazine"

Walther König, Koln, 2006

9.5 x 6.75 inches (24.13 x 17.14 cm)

$80 Purchase 

Peter Doig, Homely
Gesellschaft für Aktuelle Kunst, Bremen, 1996
11 x 8.5 inches (27.95 x 21.6 cm)
$180 PURCHASE

Peter Doig, Homely

Gesellschaft für Aktuelle Kunst, Bremen, 1996

11 x 8.5 inches (27.95 x 21.6 cm)

$180 PURCHASE

Urs Fischer

Julian

Installation views

Charles Harlan, Ishtar 
Text by Robert P. Drake
KARMA, New York, 2014
56 pages 
9 x 8.3 inches (22.86 x 21.08 cm)
edition of 500
$15 Purchase
Photos
—"The Gate of Ishtar I have built with blue glazed bricks for Marduk, my Lord … Marduk, sublime Lord … eternal life … grant as a gift."Huge in scale, Minimalist in form, Charles Harlan’s industrial work took over Venus Over Manhattan in the form of a fence without an entrance and a wall protecting nothing. A facsimile of the Pergamon Museum’s original publication, Ishtar chronicles the history of the original gate from its removal from the Middle East, installation in Berlin, to its newest iteration in Harlan’s recent exhibition.  

Charles Harlan, Ishtar 

Text by Robert P. Drake

KARMA, New York, 2014

56 pages 

9 x 8.3 inches (22.86 x 21.08 cm)

edition of 500

$15 Purchase

Photos



"The Gate of Ishtar I have built with blue glazed bricks for Marduk, my Lord … Marduk, sublime Lord … eternal life … grant as a gift."

Huge in scale, Minimalist in form, Charles Harlan’s industrial work took over Venus Over Manhattan in the form of a fence without an entrance and a wall protecting nothing. A facsimile of the Pergamon Museum’s original publication, Ishtar chronicles the history of the original gate from its removal from the Middle East, installation in Berlin, to its newest iteration in Harlan’s recent exhibition.  

Thanks

X