JEAN-BAPTISTE BERNADET & BENOIT PLATEUS
IF THERE IS A CHANCE / KODAK FLEXICOLOR FIXER & REPLENISHER
KARMA, NEW YORK, 2011
8 X 10¾ INCHES (20¼ X 27¼ CM)
SPECIAL EDITION OF 30.
SIGNED BY BOTH ARTISTS ON INSIDE COVER.
HEAVY WEIGHT, SILVER MYLAR COVER BY JEAN-BAPTISTE BERNADET.
4 X 6” PRINT BY BENOIT PLATEUS
MORE PHOTOS
$30 PURCHASE
JOE BRADLEY
KARMA, NEW YORK, 2013
EDITION OF 500
32 Pages
10.5 X 7 INCHES (25.4 X 17.78 CM)
$15 PURCHASE
The Investment
A book with GG Allin, Joe Bradley, Dan Colen, Larry David, Gardar Eide Einarsson, Leo Fitzpatrick, Andy Kaufman, Harmony Korine, Nate Lowman, John McEnroe, Otto Muehl, Bruce Nauman, Stevie Nicks, Richard Prince, Bart Simpson, Will Smith, Dash Snow, Brian Wilson, Aaron Young, Frank Zappa
51% Motherfucker
49% Son of a Bitch
Karma, New York, 2007
8.5 x 11 inches (21.5 x 28 CM)
Edition of 500
736 Pages
$100 PURCHASE
Dan Colen, Moments Like These
Karma, New York, 2013
EDITION OF 500
100 PAGES
EACH IS RANDOMLY HAND-COLLATED.
8.5 x 11 inches (21.5 x 28 CM)
$15 PURCHASE
DAN COLEN & HARMONY KORINE, TRAIN YOURSELF TO LOSE
“I SEE POETRY IN EVERYTHING, EVEN YOU”
KARMA, NEW YORK, 2013
EDITION OF 500.
EACH BOOK IS RANDOMLY HAND-COLLATED.
8½ X 11 INCH (21.6 X 27.9 CM)
OUT OF PRINT
Leo Fitzpatrick, Just Born Dead
“How do you tell someone that your in love with someone else
when that someone happens to be yourself”
Karma, New York, 2012
5 x 7¾ inches (12¾ x 17¾ Cm)
$14 PURCHASE
Michael Bullock, Roman Catholic Jacuzzi
“Groundbreaking. The first honest look at sexuality in the Catholic Church.” — Bruce Benderson
“Both hilarious and highly discomforting! It reminded me why to this day I still don’t regret having refused Holy Communion when I was six years old.” — Francesco Vezzoli
“Hair-raising, funny and disturbing. It took me back to my Jesuit high school retreats, the football locker room, how you made first string and my fear of the Passionist Order. A must read for Catholics and those who love one.” — Glenn O’Brien
Karma, New York, 2012
5¼ x 8 inches (13 x 20¼ CM)
$14 PURCHASE
Sam Falls, Life Size
“speed is stunted intuition”
Karma, New York, 2012
322 pages
Edition of 1000
9 x 12 inches (23 x 30 cm)
OUT OF PRINT
Clocks presents the complete collection of Laura Owens’ clock paintings in scaled down reproductions. As the title suggests, many of the canvases are outfitted with moving clock hands; raised lines that move and cast their shadows as they go. Are these in fact clocks - that is functional objects - and not paintings at all? And if they are, where are the numbers? There are numbers to be found, but they are tumbling across another painting’s surface, or used as place holders for eyes on a sketched-out face. Some clocks seem to dissolve into painterly gestures as the paintings make their way through such diverse styles as Pattern & Decoration, Op Art, Abstract Expressionism and Geometric Formalism. As a whole, the clocks suggest an impatience and unwillingness to settle or be still that allegorizes the dynamic, irreverent, and apparently impulsive nature of Owens’ imagery. This publication pictures both the front and the back of each canvas on the front and reverse of each page, respectively; thereby transforming the unique “don’t touch” quality of the canvases into a tactile and leisurely browse. This gratifying experience in book format suits the mix of ambivalence and accommodation that characterizes Owens’ work.
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Laura Owens, Clocks
Karma, New York, 2012
176 Pages, Color
Edition of 1000
11 X 11 inches (27 x 28 CM)
$100 PURCHASE A SIGNED COPY
Tuck Tuck Tuck was the name of artist Richard Aldrich’s solo music project done between the years 1999 and 2001, with records released in 2002 and 2003 on his own Skul record label. The words of Tuck Tuck Tuck compiles exactly that: all use of printed language surrounding Tuck Tuck Tuck. What is ostensibly a lyric book contains press releases, insert texts and record reviews in addition to the lyrics proper. In this way the book mimics the concerns of Aldrich’s painting practice, objects that contain different tones, purposes and functions collected together to create a larger and multi-faceted understanding of a body.
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Richard Aldrich, THE WORDS OF TUCK TUCK TUCK
KARMA, NEW YORK, 2012
42 PAGES
EDITION OF 750
6 x 9 INCHES (15¼ x 23 CM)
$15 PURCHASE
“THEY DECIDED TO GO TO MEXICO TO BE ALARMA! MAGAZINE NEW COVER STARS. SINCE THEY WERE LAZY THEY CHOOSE A LUXURY RESORT INSTEAD OF MEXICO CITY. THE WHOLE IDEA WAS TO ACT SO STUPID THAT THEY WOULD BE KILLED AND CUT UP IN PIECES AS DUMB TOURIST LOOKING FOR DRUGS”
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BJARNE MELGAARD, ALARMA! BOYFRIENDS
KARMA, NEW YORK, 2012
104 PAGES, B+W
8¼ X 6¼ INCHES (20.9 X 15.9 CM)
$25 PURCHASE
“Love Roses” are glass tubes, 3/8 inches in diameter, 4 inches long. Covered on one end with foil, each contains a cloth flower: red, yellow, blue, violet, white or green. They are duplicitous objects. If you ask one kind of person, they’ll tell you these “stems” are romantic offerings, Valentine’s gifts. If you ask another kind of person, they’ll tell you these are pipes for smoking crack cocaine.
In September 2008 at A Palazzo gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a “beaded” curtain made of “Love Roses” (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show.
Dash Snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, Snow had documented their shared process since its inception in 2007, and he continued here. As well-heeled Italian patrons (almost all of them women) arrived for the show’s opening night, Snow began shooting photographs of them passing through Love Roses on their way into the galleries.
The piece created a theatrical plane through which Snow could enter the partnership and break apart the odd boundaries of inclusivity and exclusivity inherent to art making and art consumption. In turn, this staging ground quickly provoked the visitors to make dramatic entrances. Every passage through Love Roses and across Snow’s lens built on the collaborative armature – whether or not the participants were aware of the potential irony of the curtain or of the cumulative performance itself. At certain points, Lowman and Colen enter the frame of the photographs; at others, Snow is visible in his simultaneously primary and tertiary role as auteur.
The three planned to create a book from the images as soon as they saw Snow’s processed film in 2008, however Snow passed away before they initiated the project. This book is made now through a collaboration of the Dash Snow Estate, Dan Colen, Nate Lowman, and Brendan Dugan.
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DASH SNOW, LOVE ROSES
KARMA, NEW YORK, NY, 2011
9½ X 6¼ INCHES (24 X 15¾ CM)
312 PAGES B/W
EDITION OF 1000
$20 PURCHASE
