Andro Wekua, Gems Survey
Text by Massimiliano Gioni
Karma, New York, 2014
400 Pages
8.1 x 5.9 inches (20.6 x 14.9 cm)
SPECIAL EDITION HARDCOVER
SIGNED AND NUMBERED
EDITION OF 50
$250 PURCHASE 
PHOTOS
—Gems Survey is a book of memories: Pinned to the bare field of each page, huddled in the corners like frightened animals, are small images of buildings, scraps of cities and shreds of skies, clippings of stars and far off galaxies. These are the places that Andro Wekua has traveled to, real and imaginary, environments that influence and make-up a large part of his oeuvre.

Andro Wekua, Gems Survey

Text by Massimiliano Gioni

Karma, New York, 2014

400 Pages

8.1 x 5.9 inches (20.6 x 14.9 cm)

SPECIAL EDITION HARDCOVER

SIGNED AND NUMBERED

EDITION OF 50

$250 PURCHASE 

PHOTOS



Gems Survey
 is a book of memories: Pinned to the bare field of each page, huddled in the corners like frightened animals, are small images of buildings, scraps of cities and shreds of skies, clippings of stars and far off galaxies. These are the places that Andro Wekua has traveled to, real and imaginary, environments that influence and make-up a large part of his oeuvre.

Sam Falls, Death Sequence
Karma, New York, 2014
368 Pages
9 x 12 inches (22.85 x 30.5 cm)
Edition of 1,425
$40 PRE-ORDER A SIGNED COPY
Special edition hardcoverSigned and numberedEdition of 75$350 PRE-ORDER

Sam Falls, Death Sequence

Karma, New York, 2014

368 Pages

9 x 12 inches (22.85 x 30.5 cm)

Edition of 1,425

$40 PRE-ORDER A SIGNED COPY

Special edition hardcover
Signed and numbered
Edition of 75
$350 PRE-ORDER

Carroll Dunham, In the Flowers, The Beach
Text by George Pendle


Karma and Galerie Eva Presenhuber, New York and Zürich, 2014
96 Pages
8.5 x 11.5 inches (21.6 x 29.25 cm)
Edition of 750 
$35 pre-order
—In the Flowers—seven paintings of cropped nudes surrounded by flowers—and The Beach—a giant canvas depicting a tree trunk, flowers, and a full-bodied nude—are the latest in a series of works by Dunham to feature nude women. It’s a sequence that can be traced back to 2008, when the female body first started appearing in his sketchpads and on his canvases. Her sudden appearance seemed millennia away from his early abstract work, so how did he find her? How did she spring into existence?

Carroll Dunham, In the Flowers, The Beach

Text by George Pendle

Karma and Galerie Eva Presenhuber, New York and Zürich, 2014

96 Pages

8.5 x 11.5 inches (21.6 x 29.25 cm)

Edition of 750 

$35 pre-order



In the Flowers
seven paintings of cropped nudes surrounded by flowersand The Beacha giant canvas depicting a tree trunk, flowers, and a full-bodied nudeare the latest in a series of works by Dunham to feature nude women. It’s a sequence that can be traced back to 2008, when the female body first started appearing in his sketchpads and on his canvases. Her sudden appearance seemed millennia away from his early abstract work, so how did he find her? How did she spring into existence?

Jonathan Horowitz, 402 DotsKarma, New York, 2014402 pages, black and white8 x 8 inches (20.3 x 20.3 cm)$30 PURCHASE

Jonathan Horowitz, 402 Dots
Karma, New York, 2014
402 pages, black and white
8 x 8 inches (20.3 x 20.3 cm)
$30 PURCHASE

Don DeLillo, The Word for Snow
Photographs by Richard Prince
KARMA and Glenn Horowitz, New York, 2014
62 pages
11 x 8.5 inches (27.94 x 21.59 cm)
edition of 1,000
125 of which are clothbound and 
signed by Don DeLillo and Richard Prince

$25 PURCHASE
$350 special edition pre-order
—Interpreter: He Spits out theology with the little bits of scree between his teeth.Pilgrim: Your enormously influential ideas on the end of time.Scholar: Time is a lie. Interpreter: Time is a lie.Scholar: I do not discuss. 

Don DeLillo, The Word for Snow

Photographs by Richard Prince

KARMA and Glenn Horowitz, New York, 2014

62 pages

11 x 8.5 inches (27.94 x 21.59 cm)

edition of 1,000

125 of which are clothbound and 

signed by Don DeLillo and Richard Prince

$25 PURCHASE

$350 special edition pre-order



Interpreter: He Spits out theology with the little bits of scree between his teeth.

Pilgrim: Your enormously influential ideas on the end of time.

Scholar: Time is a lie. 

Interpreter: Time is a lie.

Scholar: I do not discuss. 

Elizabeth Peyton, Da scheinest du, o lieblichster der Sterne
Karma, New York, 2014
22 pages
10.5 x 8.75 inches (26.67 x 22.23 cm)
Edition of 500
$15 PURCHASE
—The story of Tristan and Isolde is probably the most famous love-story of the Middle Ages and is based on the writings of Gottfried von Strassburg (about 1210). The unknown painter presents us scenes of this romance by the technology of “terra-verde” —painting. The cycle doesn’t show us singular scenes, it is continuously represented and arranges by architectural elements and different landscapes.

Elizabeth Peyton, Da scheinest du, o lieblichster der Sterne

Karma, New York, 2014

22 pages

10.5 x 8.75 inches (26.67 x 22.23 cm)

Edition of 500

$15 PURCHASE



The story of Tristan and Isolde is probably the most famous love-story of the Middle Ages and is based on the writings of Gottfried von Strassburg (about 1210). The unknown painter presents us scenes of this romance by the technology of “terra-verde” —painting. The cycle doesn’t show us singular scenes, it is continuously represented and arranges by architectural elements and different landscapes.

Birdie Lusch, Collages, May–June 1973
Karma, New York, 2014
44 pages
15.25 x 11.75 (38.7 x 30 cm)
Edition of 300

$30 PURCHASE
—This facsimile of a collage album by Birdie Lusch explores the myriad forms of flowers in vases. The works here are wonderfully varied even as they follow the same compositional formula: a pot filled with flowers sitting on a tabletop. Lusch took whatever materials happened to be on hand, re-purposing them into new, surprising concoctions wherein images of shirts, rugs and maps are refashioned into vases while pastry, meat, and carpeting are similarly transformed into flowers. A spirit of playful experimentation characterizes all of these works, whose apparent simplicity belies their visual and conceptual sophistication. A self-taught artist from Columbus, Ohio, Lusch was a factory worker for most of her adult life. She began making art as a teenager, producing many books and albums filled with drawings, collages, and poetry.

Birdie Lusch, Collages, May–June 1973

Karma, New York, 2014

44 pages

15.25 x 11.75 (38.7 x 30 cm)

Edition of 300

$30 PURCHASE



This facsimile of a collage album by Birdie Lusch explores the myriad forms of flowers in vases. The works here are wonderfully varied even as they follow the same compositional formula: a pot filled with flowers sitting on a tabletop. Lusch took whatever materials happened to be on hand, re-purposing them into new, surprising concoctions wherein images of shirts, rugs and maps are refashioned into vases while pastry, meat, and carpeting are similarly transformed into flowers. A spirit of playful experimentation characterizes all of these works, whose apparent simplicity belies their visual and conceptual sophistication. A self-taught artist from Columbus, Ohio, Lusch was a factory worker for most of her adult life. She began making art as a teenager, producing many books and albums filled with drawings, collages, and poetry.

Robert Grosvenor, 32 Pictures
Text by Bob Nickas

Karma, New York, 2014
80 pages
10.75 x 8.5 inches (27.30 x 21.59 cm)
edition of 750

$35 Purchase 
Photos
—Robert Grosvenor’s photography presents itself as a manifest extension of his sculptural work. The 32 images in this book reveal an artist interested in the space between objects, as much as the objects themselves, and how form and texture can be combined in the natural world. "At times, no intervention is necessary for a deadpan humor to effortlessly assert itself, as when Grosvenor takes a picture of concrete steps which have been painted a light sky blue. But they have only been painted on the top, suggesting a carpet that has melted over the steps, a sense of slow motion in neat parallel to a pair of blue garden hoses that might as well be lines traced by the water flowing through them. We can’t help but wonder if the world, more often than not, arranges itself to be seen."

Robert Grosvenor, 32 Pictures

Text by Bob Nickas

Karma, New York, 2014

80 pages

10.75 x 8.5 inches (27.30 x 21.59 cm)

edition of 750

$35 Purchase 

Photos



Robert Grosvenor’s photography presents itself as a manifest extension of his sculptural work. The 32 images in this book reveal an artist interested in the space between objects, as much as the objects themselves, and how form and texture can be combined in the natural world. 


"At times, no intervention is necessary for a deadpan humor to effortlessly assert itself, as when Grosvenor takes a picture of concrete steps which have been painted a light sky blue. But they have only been painted on the top, suggesting a carpet that has melted over the steps, a sense of slow motion in neat parallel to a pair of blue garden hoses that might as well be lines traced by the water flowing through them. We can’t help but wonder if the world, more often than not, arranges itself to be seen."

Michael Williams, Paintings
text by Jack Hanley

Karma, New York, 2014
56 pages
12.5 x 11.75 (31.75 x 29.85 cm) 
edition of 500
$45 Purchase 
photos
—Published on the occasion of William’s 2014 exhibition at Canada Gallery, this book displays the artist’s vibrant, surreal, large-scale inkjet and air brush on canvas works. The term “Paintings” takes on new meaning when viewing the mix of unconventional portraiture."The idea of a mistake is often a refreshing punch of energy in artistic works. There is something psychedelic about puncturing our expectations. In Michael’s case, he is creating a somewhat removed digital picture field—incorporated into that is the assumed information that this was a thought out mechanical process that took time and planning—and then interrupting that staid existence with spray paint of the seemingly most casual type."

Michael Williams, Paintings

text by Jack Hanley

Karma, New York, 2014

56 pages

12.5 x 11.75 (31.75 x 29.85 cm) 

edition of 500

$45 Purchase 

photos



Published on the occasion of William’s 2014 exhibition at Canada Gallery, this book displays the artist’s vibrant, surreal, large-scale inkjet and air brush on canvas works. The term “Paintings” takes on new meaning when viewing the mix of unconventional portraiture.

"The idea of a mistake is often a refreshing punch of energy in artistic works. There is something psychedelic about puncturing our expectations. In Michael’s case, he is creating a somewhat removed digital picture field—incorporated into that is the assumed information that this was a thought out mechanical process that took time and planning—and then interrupting that staid existence with spray paint of the seemingly most casual type."

Michael Williams, Yoga Online
KARMA, New York, 2014
56 Pages
11.5 x 8.25 inches (29.21 x 20.95 cm)
edition of 500
$25 Purchase
PHOTOS
—Michael Williams’ collages begin with found images, cropped to show a person, a face, a body part. The space around the photograph is filled in with a new drawing, creating a bizarre new alternate reality."Hobos Massaging Women
Feet
Butts
Hobos
Food
Text Obscuring Part Of A Face
Subject Confronting The Viewer
Spiritual Crisis”

Michael Williams, Yoga Online

KARMA, New York, 2014

56 Pages

11.5 x 8.25 inches (29.21 x 20.95 cm)

edition of 500

$25 Purchase

PHOTOS



Michael Williams’ collages begin with found images, cropped to show a person, a face, a body part. The space around the photograph is filled in with a new drawing, creating a bizarre new alternate reality.


"Hobos Massaging Women

Feet

Butts

Hobos

Food

Text Obscuring Part Of A Face

Subject Confronting The Viewer

Spiritual Crisis”

Joe Bradley, The SS Potlicker And Friends

KARMA, New York, 2014
52 pages
10.5 x 8.75 inches (26.67 x 22.23 cm)
Edition of 500

$20 PURCHASE
—RATHER THAN FOCUSING ON A SINGULAR STYLE, PAINTER JOE BRADLEY’S WORK RANGES FROM THE ABSTRACT TO GHOSTLY PORTRAITURE TO MINIMALISM.

Joe Bradley, The SS Potlicker And Friends

KARMA, New York, 2014

52 pages

10.5 x 8.75 inches (26.67 x 22.23 cm)

Edition of 500

$20 PURCHASE



RATHER THAN FOCUSING ON A SINGULAR STYLE, PAINTER JOE BRADLEY’S WORK RANGES FROM THE ABSTRACT TO GHOSTLY PORTRAITURE TO MINIMALISM.

Hanna Liden, Mother

KARMA, New York, 2014
20 pages
10.5 x 8.25 inches (26.67 x 20.95 cm)
edition of 300

$15 Purchase
—Thirteen images of Hanna Liden’s mother. Shown in black and white and tinted colors, upside down and next to each other, the ambiguity of the subject incites multiple projections from the reader as well as the realization that the word “mother” is applicable to us all.

Hanna Liden, Mother

KARMA, New York, 2014

20 pages

10.5 x 8.25 inches (26.67 x 20.95 cm)

edition of 300

$15 Purchase



Thirteen images of Hanna Liden’s mother. Shown in black and white and tinted colors, upside down and next to each other, the ambiguity of the subject incites multiple projections from the reader as well as the realization that the word “mother” is applicable to us all.

Ed Ruscha

Karma & Gagosian Gallery, New York, 2014
64 pages
9.25 x 11.5 inches (23.5 x 29.2 cm)
Clothbound hardcover

$30 PURCHASE
PHOTOS
—Ed Ruscha’s newest work is a series of small-scale bleach on linen paintings: cryptic messages stained into muted backgrounds of grey, blue, and maroon linen. The stark outline of a Clorox bleach bottle sits on the cover designed by Ruscha. The book continues to show the artist’s fascination with the written word and the power of its isolation in his art.

Ed Ruscha

Karma & Gagosian Gallery, New York, 2014

64 pages

9.25 x 11.5 inches (23.5 x 29.2 cm)

Clothbound hardcover

$30 PURCHASE

PHOTOS



Ed Ruscha’s newest work is a series of small-scale bleach on linen paintings: cryptic messages stained into muted backgrounds of grey, blue, and maroon linen. The stark outline of a Clorox bleach bottle sits on the cover designed by Ruscha. The book continues to show the artist’s fascination with the written word and the power of its isolation in his art.

Carroll Dunham, Note to Self (Drawings 1979–2014)
Karma & Gladstone Gallery, New York, 2014
304 pages
11 x 8.5 inches (27.9 x 21.6 cm)
Edition of 500
Softcover
$30 PURCHASE
PHOTOS
—Over the last four decades Carroll Dunham has created hundreds of works on paper, functioning as stand alone works and preliminary sketches for his vibrant paintings. Note to Self compiles over 200 of these black and white and color works printed on various colored paper. Works range from Dunham’s early abstract paintings in muted tones to crayon renderings for his latest series In The Flowers.

Carroll Dunham, Note to Self (Drawings 1979–2014)

Karma & Gladstone Gallery, New York, 2014

304 pages

11 x 8.5 inches (27.9 x 21.6 cm)

Edition of 500

Softcover

$30 PURCHASE

PHOTOS



Over the last four decades Carroll Dunham has created hundreds of works on paper, functioning as stand alone works and preliminary sketches for his vibrant paintings. Note to Self compiles over 200 of these black and white and color works printed on various colored paper. Works range from Dunham’s early abstract paintings in muted tones to crayon renderings for his latest series In The Flowers.

Julian Schnabel, Draw A Family
Signed special edition of 35
Each unique
SOLD OUT
—Julian Schnabel’s Draw A Family includes works spanning forty years, from 1973–2013. Comprised of 400 images, the massive volume includes artwork from nearly every stage of the artist’s seminal career.

Julian Schnabel, Draw A Family

Signed special edition of 35

Each unique

SOLD OUT



Julian Schnabel’s Draw A Family includes works spanning forty years, from 1973–2013. Comprised of 400 images, the massive volume includes artwork from nearly every stage of the artist’s seminal career.

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