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Karen Knorr's Gentlemen, published this September by STANLEY/BARKER in collaboration with Eric Franck Fine Art, takes us inside the hallowed halls of the most venerable private gentlemen’s clubs of 1980s London, and considers the patriarchal values of the English upper classes with beautifully precise photographs and texts constructed out of speeches of parliament and the news at that time. The complete series of 26 images and texts investigate the values that ally these classes to conservative aristocratic values where primogeniture (the right by law of the rstborn son to inherit his parent’s estate, in preference to daughters) is still an issue. Until the early 1970’s a married women still needed her husband’s endorsement for any household purchases. Whilst women now have full property rights, they still remain under-represented in key positions of governance and in nancial and academic worlds. It is still a boys club in which some women are honorary members. With equality on the agenda and calls for more to be done, the timely release of Gentlemen — the follow up to the critically acclaimed Belgravia (Published November 2015) uses humour to explore attitudes amongst the English establishment in the 1980’s. Knorr noted that despite being Prime Minister and head of the Conservative party, Margaret Thatcher as a woman was not then, nor would be now, allowed full membership at the Conservative Gentlemen’s club ‘The Carlton’. Old Etonians, like the former British Prime Minister prime minister David Cameron, have belonged to such Gentlemen’s clubs. It is in these clubs that behind the scenes influence is still used to influence politics and business today.

Karen Knorr's Belgravia, describes through images and accompanying quotes, class and power amongst the international and wealthy during the beginning of Thatcherism in London. Produced between 1979 and 1981 the images are now available for the first time in a beautiful artists monograph. Measuring 35 x 28 cm, printed on heavy stock and housed in a protective transparent jacket, the work describes the 'everyday' of a privileged minority, and whilst historically, portraiture of the upper classes has tended to be flattering, the combination of portraits and quotes from the subjects recorded during their sessions, brings Knorr's work closer to satire.

A 240 page catalogue published to accompany Karen Knorr's survey show at University of Cordoba, Sala Puerta Nueva ( Feb 10- March 30 2012). Karen Knorr was awarded International The Pilar Citoler Prize for Contemporary Photography in February 2011. The Catlogue with in-depth essays by 3 writers includes Karen Knorr's early black and white work and colour work leading up to her most recent series photographed in northern India: India Song.

Skira published the work of photographer Karen Knorr and her poetic journey through the Indian Subcontinent. Karen Knorr began her 'India Song' series in 2008, after a life-changing trip through Rajasthan. These carefully crafted images take inspiration from the Indian tradition of personifying animals in literature and art, depicting scenarios that are at once otherworldly and surreal. Knorr’s work explores Rajput and Mughal cultural heritage and its contemporary relationship to questions of feminine subjectivity and animality. The book includes a preface by Wiliam Dalrymple, an acclaimed British historian, writer, broadcaster and critic, an essay by Christopher Pinney, professor of Anthropology and Visual Culture at University College London, and Rosa Maria Falvo, writer, editor and curator specialising in Asian Contemporary Art and Photography.

This book by Karen Knorr and Olivier Richon documents the London Punk scene between 1976-1977. Directly engaging with the young Punks and encouraging a playful interaction, this work by Richon and Knorr represents their early student collaboration.

India Song consists of 50 digital photographs taken between 2008 and 2013, 32 of which are presented in the book India Song Karen Knorr (2013). The series uses large-format digital photography to consider men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums. Since 2008 I have been exploring power through a focus on the upper caste culture of the Rajput in India and its relationship to the 'other'. This project develops from my work exploring woman’s space, animality and myth represented in the painted murals of Mughal and Rajput architecture in Rajasthan: it extends the exploration to Hindu temples and mausoleums. To create the images in this series, interiors were photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals were inserted into the images of architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities are pictured inhabiting palaces, mausoleums, temples and holy sites, provoking an interrogation of Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants appear to mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century. This work develops and extends the allegorical approach in my previous work Fables, to consider caste and woman's space in Northern Indian architectural space. The project challenges conventional travel and ethnographic photographies, and their depictions of the 'other'. My research into the syncretic nature of Indian heritage aims to highlight the complexity and contradictions in Hindu caste culture, in order to counter reductive Asian stereotypes. The work was awarded the V International Photography Pilar Citoler Prize in 2010 and was shortlisted for the Deutsche Börse Photography Prize in 2011 and 2012.