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Constance Lewallen and Karen Moss, State of Mind: New Art from California, Circa 1970, Orange County Museum of Art and Berkeley Art Museum, Berkeley: Berkeley Art Museum, Orange County Museum of Art and University of California Press, 2011.

State of Mind investigates California’s vital contributions to Conceptual art from the late 1960s to the mid-1970s. Constance Lewallen introductory essay describes and interprets the revolutionary work of forty conceptually oriented artists in the exhibition from a thematic point of view. Karen Moss discusses key predecessors of performance art, happenings and events in the 1960s, then focuses on the production and presentation of these new genres in both mainstream institutions and alternative, artist-run spaces. Julia Bryan-Wilson explores how California artists used conceptual and performance art to question gender and labor in performance at a time when sexuality was reconsidered because of feminism and gay liberation. Ann Rorimer writes about the importance of site specificity and place as it pertains to conceptual practices, architecture and installation by artists in California and elsewhere.

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Illumination Book Cover
Karen Moss, Illumination: The Paintings of Georgia O’Keeffe, Agnes Pelton, Agnes Martin and Florence Miller Pierce, London: Merrell and Orange County Museum of Art, 2009.

This is the first publication to explore the careers of four American women painters: modernists Georgia O'Keeffe and Agnes Pelton whose striking images using lush, organic forms in contrast to contemporary artists Agnes Martin and Florence Miller Pierce, who produced simple, sublime minimal works. The book focuses on the women's parallel but distinct evocations of landscape and memory, and provides a unique opportunity to appreciate the fascinating ways in which each created visions inspired by nature and a desire to capture the transcendent beauty and spirituality of life.

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2006 CA BI..BOOK
Elizabeth Armstrong, Rita Gonzalez and Karen Moss, 2006 California Biennial, Los Angeles: Orange County Museum of Art, 2006.

This exhibition publication for the 2006 California Biennial includes an introductory curatorial essay, “No World Order,” by co-curators Elizabeth Armstrong, Rita Gonzalez and Karen Moss, biographies and short entries on each artist along with color plates of their work and a series of colored folio pages of ephemera related to the exhibition.

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Karen Moss, Topographies, Los Angeles: Fellows of Contemporary Art, 2004.

Following the exhibition’s theme of topography and cartography, this publication was designed like a 1950s-era Thomas Guide with a spiral bound leatherette cover. It includes an introductory essay, “A Curator’s Legend” by Karen Moss with contributions from curator/writer Steve Dietz, art historian/writer Jeanne Pryzbliski and topographer, Noah Snyder with artists’ biographies and full color folios of their work.
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Touch: Relational Art from 1990s to Now, San Francisco: San Francisco Art Institute, 2002.

The Touch catalogue was a limited edition, DIY publication that visitors hand-collated from a shelf in the gallery. The book includes a preface by Karen Moss, a curator’s introduction by Nicolas Bourriaud, and biographies and entries on each artist in the exhibition written in collaboration with students from the San Francisco Art Institute.

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Lee Bul Live Forever, Act I, co-published by San Francisco Art Institute and the Fabric Workshop and Museum, Philadelphia, 2000.

Documenting the collaboration between the San Francisco Art Institute and the Fabric Workshop to produce Lee Bul’s three new karaoke pods, the book contains an introduction by Karen Moss and Clara Kim, an interview with Lee Bul by Kim and essays by Roland Kilts and Dana Gioia. Click here to download a pdf of the exhibition catalogue
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The World on its Head: An Exhibition of Contemporary Belgian Art from Flanders, Antwerp: co-published by Art File Foundation and San Francisco Art Institute, 1999.

The exhibition publication for this collaborative exhibition included a preface by Karen Moss, an introduction by Jan Hoet, then director of the SMAK Museum in Ghent and a guest essay by Johan Pas, an Antwerp-based curator with biographies, entries and full color images for each artist.

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Kelly Nipper + Sharon Lockhart: 2 Artists in 3 Takes, published by San Francisco Art Institute, 1999.

The exhibition publication included an curatorial essay by Karen Moss about the formal and conceptual affinities––as well as the differences––between three series of Lockhart and Nipper’s still photographs and their moving image works in video and film. Included an illustrated checklist, biographies and full color plates of works in the exhibition.

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COLLABORATIONS cover
Collaborations: Inside the Armory, Out on the Street, Pasadena: Armory Center for the Arts, 1994.

This exhibition catalogue documented both the work included in the exhibition and street-based projects executed by the five teams of collaborating artists. Sprial bound with a corrugated cardboard cover like an informal sketchbook, the publication was printed in advance and the photo-documentation of the public projects added later into glassine envelopes inside the book.

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Altered Egos: Making Art As An (other), Santa Monica: Santa Monica Museum of Art, 1994.

The Altered Egos exhibition publication includes a curatorial essay by Karen Moss, a fictitious biography for Marcel Duchamp’s Rrose Selavy by art historian Amelia Jones and a short story by writer Amy Gerstler. Designed by artist Susan Silton, the book includes biographies, artists’ pages for each alter ego and fold-out color folios of their work.

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Kim Abeles: Encyclopedia Persona A Fifteen-Year Survey, Los Angeles: Fellows of Contemporary Art and Santa Monica Museum of Art, 1993.

A cross between an artists’ book and a catalogue, this publication emulates a 1960s World Book encyclopedia with colorful graphics, hand drawings, charts and maps. Conceived by Moss, Abeles and collaborator Susan Silton, the award-winning book has a section the twelve series of Abeles work, including one for her biography.

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LACE: Ten Years Documented. Los Angeles: Los Angeles Contemporary Exhibitions, 1989.

This 112-page book was the first published document about the exhibitions, performances, video screenings, programs and services at Los Angeles Contemporary Exhibitions (LACE) during its pivotal first decade. Includes an introductory essay the formation and history of LACE by Karen Moss, with other essays from art administrators and curators Nancy Drew, William Olander and Renny Pritikin.

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