Produced on the occasion of Thomas Struth’s exhibition at andriesse eyck galerie, Amsterdam, 8 September–13 October, 2018.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Andreas Slominskyyy at Metro Pictures, New York, April 26 – May 25, 2018, an installation comprising new wall reliefs, constructed from the colourful side paneling of a specific model of German portable plastic toilet. Taking over the factory’s production line, the artist vacuum-formed maternal-themed found sculptures and symbolic natural and utilitarian objects, like rope and wood, into the high-density polyethylene panels. In one work the profile of a veiled young woman emerges from a single red panel surrounded by wood and pinecones in an asymmetrical composition. This group of symbols, with their religious and naturalist overtones, alludes to themes of purity, conception, and fertility. The works not only obscure the line between mass-produced and art objects, but also conflate canonical art historical imagery with fetish motifs.

Initially, inspired by the experimental visual poetry of the mid-sixties, Ketty La Rocca critically investigated questions of communication in the age of mass media. She soon began addressing herself in her work as both an artist and a woman in a desire to find “another” language to express difference and the non-identical. She worked with collage, photography, video, text, drawing, and performance to develop a language of gestures and appropriated imagery of disempowerment. But her work was only granted the short time span of a decade’s production, during which she underwent a rapid artistic development with enormous energy and intelligence.

This book is the first international monograph on Ketty La Rocca’s works and writings. With texts by Emi Fontana, Pier Luigi Tazzi, Angelika Stepken and Ketty La Rocca

Rosemary Mayer (1943–2014) was a prolific artist, writer, and critic, who became known both for her large-scale fabric sculptures—inspired by the lives of historical women—and her involvement in the feminist art movement.

In 1977, she began to create ephemeral outdoor installations using materials such as balloons, snow, paper, and fabric. Mayer called these projects “temporary monuments,”. This publication is the first comprehensive presentation of this body of work and includes Mayer’s documentation of these impermanent artworks.

A talk by Nick Mauss and Kathy Halbreich about Rosemary Mayer’s work is here.

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 1969–1970. A prolific writer and documenter of both her art and her relationships, the public and private, the painter Lee Lozano (1930–1999) 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. Eleven of these private books survive, containing notes on her 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.

Open the Kimono is a chronological record of remarks from cable TV ads, movies, news radio, novels, airplanes, subways, sidewalks and elevators from 2013–2018.

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.