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Katharina Grosse

Katharina Grosse, Untitled, 2000 Acrylic on wall, 14 feet 9 ¼ inches × 39 feet 4 ⅜ inches (4.5 × 14.5 × 12.5 m), Nationalgalerie im Hamburger Bahnhof, Germany, 2001© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Werner Hannappel

Katharina Grosse, Untitled, 2000

Acrylic on wall, 14 feet 9 ¼ inches × 39 feet 4 ⅜ inches (4.5 × 14.5 × 12.5 m), Nationalgalerie im Hamburger Bahnhof, Germany, 2001
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Werner Hannappel

Katharina Grosse, Untitled, 2001 Acrylic on billboard, 14 feet 9 ¼ inches × 39 feet 4 ⅜ inches (4.5 × 12 m), Auckland, New Zealand, 2001© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Katharina Grosse

Katharina Grosse, Untitled, 2001

Acrylic on billboard, 14 feet 9 ¼ inches × 39 feet 4 ⅜ inches (4.5 × 12 m), Auckland, New Zealand, 2001
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Katharina Grosse

Katharina Grosse, Untitled, 2003 Acrylic on wall, 29 feet ⅜ inches × 57 feet 5 inches × 77 feet 1 ¼ inches (8.9 × 17.5 × 23.5 m), Pearson International Airport, Toronto© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Isaac Applebaum

Katharina Grosse, Untitled, 2003

Acrylic on wall, 29 feet ⅜ inches × 57 feet 5 inches × 77 feet 1 ¼ inches (8.9 × 17.5 × 23.5 m), Pearson International Airport, Toronto
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Isaac Applebaum

Katharina Grosse, Double Floor Painting, 2004 Acrylic on wall, bookshelf, and canvases, 22 feet 3 ¾ inches × 124 feet 8 inches × 36 feet 1 ⅛ inches (6.8 × 38 × 11 m), Kunsthallen Brandts Klædefabrik, Odense, Denmark© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Torben Eskerod

Katharina Grosse, Double Floor Painting, 2004

Acrylic on wall, bookshelf, and canvases, 22 feet 3 ¾ inches × 124 feet 8 inches × 36 feet 1 ⅛ inches (6.8 × 38 × 11 m), Kunsthallen Brandts Klædefabrik, Odense, Denmark
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Torben Eskerod

Katharina Grosse, Untitled, 2006 Acrylic on wall and canvas, 19 feet 8 ¼ inches × 75 feet 5 ½ inches × 9 feet 10 ⅛ inches (6 × 23 × 3 m), Museum Bochum, Germany© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Olaf Bergmann

Katharina Grosse, Untitled, 2006

Acrylic on wall and canvas, 19 feet 8 ¼ inches × 75 feet 5 ½ inches × 9 feet 10 ⅛ inches (6 × 23 × 3 m), Museum Bochum, Germany
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Olaf Bergmann

Katharina Grosse, Cincy, 2006 Acrylic on wall, floor, glass, styrofoam, and soil, 15 feet 9 inches × 24 feet 3 ⅜ inches × 38 feet 8 ⅝ inches (4.8 × 7.4 × 11.8 m), Contemporary Arts Center, Cincinnati, Ohio, October 27, 2006–May 06, 2007© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tony Walsh and Katharina Grosse

Katharina Grosse, Cincy, 2006

Acrylic on wall, floor, glass, styrofoam, and soil, 15 feet 9 inches × 24 feet 3 ⅜ inches × 38 feet 8 ⅝ inches (4.8 × 7.4 × 11.8 m), Contemporary Arts Center, Cincinnati, Ohio, October 27, 2006–May 06, 2007
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tony Walsh and Katharina Grosse

Katharina Grosse, Untitled, 2006 Acrylic on wall, floor, glass, Styrofoam, and soil, 15 feet 1 ⅛ inches × 34 feet 5 ⅜ inches × 26 feet 3 inches (4.6 × 10.5 × 8 m), Taipei Fine Arts Museum, November 4, 2006–February 25, 2007© Katharina Grosse und VG Bild-Kunst, Bonn, 2018, photo by Katharina Grosse

Katharina Grosse, Untitled, 2006

Acrylic on wall, floor, glass, Styrofoam, and soil, 15 feet 1 ⅛ inches × 34 feet 5 ⅜ inches × 26 feet 3 inches (4.6 × 10.5 × 8 m), Taipei Fine Arts Museum, November 4, 2006–February 25, 2007
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018, photo by Katharina Grosse

Katharina Grosse, Untitled, 2008 Acrylic on various objects, 24 feet 7 ¼ inches × 39 feet 4 ½ inches × 16 feet 4 ¾ inches (7.5 × 12 × 5 m), New Orleans, November 1, 2008–January 18, 2009© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Studio Grosse

Katharina Grosse, Untitled, 2008

Acrylic on various objects, 24 feet 7 ¼ inches × 39 feet 4 ½ inches × 16 feet 4 ¾ inches (7.5 × 12 × 5 m), New Orleans, November 1, 2008–January 18, 2009
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Studio Grosse

Katharina Grosse, Un altro uomo che ha fatto sgocciolare il sui pennello, 2008 Acrylic on wall and floor, polyester resin, soil, canvas, and various objects, 26 feet 3 inches × 36 feet 1 ⅛ inches × 36 feet 1 ⅛ inches (8 × 11 × 11 m), Galleria Civica di Modena, Italy, September 19, 2008–January 6, 2009© Katharina Grosse and VG Bild-Kunst, Bonn, 2018. Photo: Paolo Terzi

Katharina Grosse, Un altro uomo che ha fatto sgocciolare il sui pennello, 2008

Acrylic on wall and floor, polyester resin, soil, canvas, and various objects, 26 feet 3 inches × 36 feet 1 ⅛ inches × 36 feet 1 ⅛ inches (8 × 11 × 11 m), Galleria Civica di Modena, Italy, September 19, 2008–January 6, 2009
© Katharina Grosse and VG Bild-Kunst, Bonn, 2018. Photo: Paolo Terzi

Installation view, Katharina Grosse: Stuntweed, Neues Museum Nürnberg, Germany, May 1–September 13, 2009 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Wilfried Petzi

Installation view, Katharina Grosse: Stuntweed, Neues Museum Nürnberg, Germany, May 1–September 13, 2009

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Wilfried Petzi

Installation view, Katharina Grosse: Shadowbox, Temporäre Kunsthalle Berlin, April 10–June 14, 2009 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Jens Ziehe

Installation view, Katharina Grosse: Shadowbox, Temporäre Kunsthalle Berlin, April 10–June 14, 2009

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Jens Ziehe

Katharina Grosse, One Floor Up More Highly, 2010 Acrylic on wall, floor, clothing, Styrofoam, and fiberglass reinforced plastic, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, April 4, 2010–January 1, 2012© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Art Evans

Katharina Grosse, One Floor Up More Highly, 2010

Acrylic on wall, floor, clothing, Styrofoam, and fiberglass reinforced plastic, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, April 4, 2010–January 1, 2012
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Art Evans

Katharina Grosse, In Seven Days Time, 2011 Acrylic on fiberglass reinforced plastic, 30 feet 2 ¼ inches × 63 feet 11 ¾ inches × 4 ¾ inches (9.2 × 19.5 × .1 m), Kunstmuseum Bonn, Germany© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Olaf Bergmann and David Ertl

Katharina Grosse, In Seven Days Time, 2011

Acrylic on fiberglass reinforced plastic, 30 feet 2 ¼ inches × 63 feet 11 ¾ inches × 4 ¾ inches (9.2 × 19.5 × .1 m), Kunstmuseum Bonn, Germany
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Olaf Bergmann and David Ertl

Katharina Grosse, Third Man Begins Digging through Her Pockets, 2012 Acrylic on wall, 39 feet 6 ⅞ inches × 36 feet 1 ⅛ inches × 30 feet 11 ¾ inches (12.1 × 11 × 9.4 m), Museum of Contemporary Art Cleveland, Ohio, October 8, 2012–September 1, 2013© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tim Safraneck

Katharina Grosse, Third Man Begins Digging through Her Pockets, 2012

Acrylic on wall, 39 feet 6 ⅞ inches × 36 feet 1 ⅛ inches × 30 feet 11 ¾ inches (12.1 × 11 × 9.4 m), Museum of Contemporary Art Cleveland, Ohio, October 8, 2012–September 1, 2013
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tim Safraneck

Katharina Grosse, Third Man Begins Digging through Her Pockets, 2012 Acrylic on wall, 39 feet 6 ⅞ inches × 36 feet 1 ⅛ inches × 30 feet 11 ¾ inches (12.1 × 11 × 9.4 m), Museum of Contemporary Art Cleveland, Ohio, October 8, 2012–September 1, 2013© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tim Safraneck

Katharina Grosse, Third Man Begins Digging through Her Pockets, 2012

Acrylic on wall, 39 feet 6 ⅞ inches × 36 feet 1 ⅛ inches × 30 feet 11 ¾ inches (12.1 × 11 × 9.4 m), Museum of Contemporary Art Cleveland, Ohio, October 8, 2012–September 1, 2013
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Tim Safraneck

Katharina Grosse, Sie trocknen ihre Knie mit einem Kissen, 2012 Acrylic on wall and canvas, 19 feet 8 ¼ inches × 52 feet 5 ⅞ inches × 27 feet 10 ⅝ inches (6 × 16 × 8.5 cm), Sammlung Hoffmann, Berlin© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Sie trocknen ihre Knie mit einem Kissen, 2012

Acrylic on wall and canvas, 19 feet 8 ¼ inches × 52 feet 5 ⅞ inches × 27 feet 10 ⅝ inches (6 × 16 × 8.5 cm), Sammlung Hoffmann, Berlin
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Just Two of Us, 2013 Acrylic on fiberglass reinforced plastic, dimensions variable, MetroTech Plaza, Brooklyn, New York, October 27, 2013–July 13, 2014© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: James Ewing

Katharina Grosse, Just Two of Us, 2013

Acrylic on fiberglass reinforced plastic, dimensions variable, MetroTech Plaza, Brooklyn, New York, October 27, 2013–July 13, 2014
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: James Ewing

Katharina Grosse, Wunderblock, 2013 Acrylic on canvas, soil, and wall, 14 feet 1 ⅜ inches × 8 feet 6 ⅜ inches × 66 feet 11 ¼ inches (4.3 × 2.6 × 20.4 cm), Nasher Sculpture Center, Dallas, Texas, June 1–September 1, 2013© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Kevin Todora

Katharina Grosse, Wunderblock, 2013

Acrylic on canvas, soil, and wall, 14 feet 1 ⅜ inches × 8 feet 6 ⅜ inches × 66 feet 11 ¼ inches (4.3 × 2.6 × 20.4 cm), Nasher Sculpture Center, Dallas, Texas, June 1–September 1, 2013
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Kevin Todora

Installation view, Katharina Grosse: Two Younger Women Come In and Pull Out a Table, De Pont Museum, Tilburg, The Netherlands, February 16–June 9, 2013 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Peter Cox

Installation view, Katharina Grosse: Two Younger Women Come In and Pull Out a Table, De Pont Museum, Tilburg, The Netherlands, February 16–June 9, 2013

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Peter Cox

Installation view, Katharina Grosse: Two Younger Women Come In and Pull Out a Table, De Pont Museum, Tilburg, The Netherlands, February 16–June 9, 2013 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Peter Cox

Installation view, Katharina Grosse: Two Younger Women Come In and Pull Out a Table, De Pont Museum, Tilburg, The Netherlands, February 16–June 9, 2013

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Peter Cox

Installation view, Katharina Grosse: Inside the Speaker—Leinwandsaal, Kunstpalast Düsseldorf, Germany, September 30, 2014–February 1, 2015 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Installation view, Katharina Grosse: Inside the Speaker—Leinwandsaal, Kunstpalast Düsseldorf, Germany, September 30, 2014–February 1, 2015

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Inside the Speaker—Erdraum, 2014 Acrylic on fabric, soil, and glass fiber reinforced plastic, 14 feet 9 ¼ inches × 136 feet 9 ¾ inches × 61 feet 4 ¼ inches (4.5 × 41.7 × 18.7 cm), Kunstpalast Düsseldorf, Germany, September 30, 2014–February 1, 2015© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Inside the Speaker—Erdraum, 2014

Acrylic on fabric, soil, and glass fiber reinforced plastic, 14 feet 9 ¼ inches × 136 feet 9 ¾ inches × 61 feet 4 ¼ inches (4.5 × 41.7 × 18.7 cm), Kunstpalast Düsseldorf, Germany, September 30, 2014–February 1, 2015
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, psychylustro—The Warehouse, 2014 Acrylic on wall and various objects, 68 feet 10 ⅞ inches × 475 feet 8 ¾ inches (21 × 145 cm), Philadelphia, Pennsylvania© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Steve Weinik

Katharina Grosse, psychylustro—The Warehouse, 2014

Acrylic on wall and various objects, 68 feet 10 ⅞ inches × 475 feet 8 ¾ inches (21 × 145 cm), Philadelphia, Pennsylvania
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Steve Weinik

Katharina Grosse, psychylustro—The Drama Wall, 2014 Acrylic on wall, floor, and various objects, 41 feet ⅛ inches × 328 feet 1 inch × 14 feet 9 ¼ inches (12.5 × 100 × 4.5 m), Philadelphia, Pennsylvania© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Steve Weinik

Katharina Grosse, psychylustro—The Drama Wall, 2014

Acrylic on wall, floor, and various objects, 41 feet ⅛ inches × 328 feet 1 inch × 14 feet 9 ¼ inches (12.5 × 100 × 4.5 m), Philadelphia, Pennsylvania
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Steve Weinik

Katharina Grosse, Wer, ich? Wen, Du? (Who, I? Whom, You?), 2014 Acrylic on foam and floor, 22 feet 8 ⅛ inches × 111 feet 6 ⅝ inches × 180 feet 5 ⅜ inches (6.9 × 34 × 55 m), Kunsthaus Graz, Austria, June 6–October 12, 2014© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nicolas UMJ Lackner

Katharina Grosse, Wer, ich? Wen, Du? (Who, I? Whom, You?), 2014

Acrylic on foam and floor, 22 feet 8 ⅛ inches × 111 feet 6 ⅝ inches × 180 feet 5 ⅜ inches (6.9 × 34 × 55 m), Kunsthaus Graz, Austria, June 6–October 12, 2014
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nicolas UMJ Lackner

Katharina Grosse, yes no why later, 2015 Acrylic on fabric and wood, 18 feet ⅝ inches × 59 feet ¾ inches (5.5 × 18 × 44 m), Garage Pavilion, Garage Museum of Contemporary Art, Moscow, June 1–August 9, 2015© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Egor Sliziak

Katharina Grosse, yes no why later, 2015

Acrylic on fabric and wood, 18 feet ⅝ inches × 59 feet ¾ inches (5.5 × 18 × 44 m), Garage Pavilion, Garage Museum of Contemporary Art, Moscow, June 1–August 9, 2015
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Egor Sliziak

Katharina Grosse, Untitled, 2015 Acrylic on canvas, 94 ½ × 152 ¾ inches (240 × 388 cm)© Katharina Grosse und VG Bild-Kunst Bonn, 2018. Photo: Olaf Bergmann

Katharina Grosse, Untitled, 2015

Acrylic on canvas, 94 ½ × 152 ¾ inches (240 × 388 cm)
© Katharina Grosse und VG Bild-Kunst Bonn, 2018. Photo: Olaf Bergmann

Installation view, Katharina Grosse: Sieben Stunden, Acht Stimmen, Drei Bäume, Museum Wiesbaden, Germany, July 10–October 11, 2015 © Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Installation view, Katharina Grosse: Sieben Stunden, Acht Stimmen, Drei Bäume, Museum Wiesbaden, Germany, July 10–October 11, 2015

© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Untitled Trumpet, 2015 Acrylic on wall, floor, and various objects, 21 feet 7 ¾ inches × 68 feet 10 ¾ inches × 42 feet 7 ⅞ inches (6.6 × 21 × 13 m), Biennale di Venezia, Venice, May 9–November 22, 2015© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Untitled Trumpet, 2015

Acrylic on wall, floor, and various objects, 21 feet 7 ¾ inches × 68 feet 10 ¾ inches × 42 feet 7 ⅞ inches (6.6 × 21 × 13 m), Biennale di Venezia, Venice, May 9–November 22, 2015
© Katharina Grosse und VG Bild-Kunst, Bonn, 2018. Photo: Nic Tenwiggenhorn

Katharina Grosse, Untitled, 2016 Acrylic on canvas, 114 ¼ × 76 inches (290 × 193 cm)© Katharina Grosse und VG Bild-Kunst Bonn, 2018. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2016

Acrylic on canvas, 114 ¼ × 76 inches (290 × 193 cm)
© Katharina Grosse und VG Bild-Kunst Bonn, 2018. Photo: Jens Ziehe

Katharina Grosse, Rockaway!, 2016 Acrylic on wall, floor, and various objects, 19 feet 8 ¼ inches × 49 feet 2 ⅝ inches × 114 feet 10 inches (6 × 15 × 35 cm), Gateway National Recreation Area at Fort Tilden, New York, July 3, 2016–September 15, 2017© Katharina Grosse and VG Bild-Kunst Bonn, 2018

Katharina Grosse, Rockaway!, 2016

Acrylic on wall, floor, and various objects, 19 feet 8 ¼ inches × 49 feet 2 ⅝ inches × 114 feet 10 inches (6 × 15 × 35 cm), Gateway National Recreation Area at Fort Tilden, New York, July 3, 2016–September 15, 2017
© Katharina Grosse and VG Bild-Kunst Bonn, 2018

Katharina Grosse, This Drove My Mother up the Wall, 2017 Acrylic on wall and floor, 22 feet 11 ⅝ inches × 68 feet 10 ¾ inches × 32 feet 9 ¾ inches (7 × 21 × 10 m), South London Gallery, September 28–December 3, 2017© Katharina Grosse and VG Bild-Kunst Bonn, 2018

Katharina Grosse, This Drove My Mother up the Wall, 2017

Acrylic on wall and floor, 22 feet 11 ⅝ inches × 68 feet 10 ¾ inches × 32 feet 9 ¾ inches (7 × 21 × 10 m), South London Gallery, September 28–December 3, 2017
© Katharina Grosse and VG Bild-Kunst Bonn, 2018

Katharina Grosse, Untitled, 2018 Acrylic on canvas, 86 ⅝ × 59 ⅛ inches (220 × 150 cm)© Katharina Grosse and VG Bild-Kunst Bonn, 2018. Photo: Jens Ziehe

Katharina Grosse, Untitled, 2018

Acrylic on canvas, 86 ⅝ × 59 ⅛ inches (220 × 150 cm)
© Katharina Grosse and VG Bild-Kunst Bonn, 2018. Photo: Jens Ziehe

About

A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.
—Katharina Grosse

Widely known for her in situ paintings, in which explosive color is sprayed directly onto architecture, interiors, and landscapes, Katharina Grosse embraces the events and incidents that arise as she works, opening up surfaces and spaces to the countless perceptual possibilities of the medium. Approaching painting as an experience in immersive subjectivity, she uses a spray gun, distancing the artistic act from the hand, and stylizing gesture as a propulsive mark.

Born in Freiberg im Breisgau, Germany, Grosse began painting at an early age, always attuned to the ways that color and light merged with thought itself. In her works on canvas from the 1990s, she juxtaposed colors of various densities and temperatures, repeating vertical, transparent brushstrokes. These led to related works painted directly onto the wall, where she lined hallways and staircases in sublime fields of artificial color. Introducing the spray gun as a painting tool, she began to paint across architectural interiors and exteriors. She produced her first work, a monochrome, using this technique at the Kunsthalle Bern, Switzerland, in 1998, spray painting the upper corner of a gallery in a deep green that spread partially down two adjacent walls and onto the ceiling. In 2000 Grosse became a professor at the Kunsthochschule Berlin-Weissensee; and she taught the Kunstakademie Dusseldorf from 2010–2018.

In the late 1990s and early 2000s, Grosse combined the intersecting streaks of previous works with the cloud-like forms and mists made possible by the spray gun. The in situ paintings expanded in scale as she explored the liquidity and vast reach of the medium. In 2004, at the Contemporary Arts Museum, Houston, she sprayed the gallery interior along with clothing, papers, eggs, and coins scattered across the floor; and in 2005, at the Palais de Tokyo, Paris, she hung two huge canvases on the wall: one already painted, and one blank. She painted the latter on site, as well as the wall on which it hung. She then took down the painted canvas and leaned it against the wall on the floor, leaving a blank white rectangle.

For Grosse, there are no distinctions between painting, sculpture, and architecture. In addition to painting on canvases and over found materials like buildings and trees she also creates large polyurethane, Styrofoam, and cast-metal sculptures that act as abstract armatures for her paintings. Her in situ painting Untitled Trumpet was included in the Biennale di Venezia, in 2015, and Museum Wiesbaden, Germany, presented a major survey of her works on paper that same year. In 2016, adding to a sequence of significant public commissions in the US, she created a work for MoMA PS1’s Rockaway! series at Fort Tilden in the Rockaways, New York, transforming a derelict aquatics center with sprays of red, white, and magenta. The following year, Gagosian presented Grosse’s first solo exhibition in New York, featuring major works from several interconnected suites of paintings, and one cast-metal sculpture. In these canvases, monadic forms migrate from one painting to another, appearing in new layers or fusing into clusters that advance and retreat. The paintings record Grosse’s ongoing reflections on color, density, and velocity, as well as her use of stencils applied directly to the surface throughout the painting process.

In her most recent site-responsive paintings, Grosse has incorporated lengths of painted fabric, draped from the ceiling and spilling onto the floor, thus adding even more dimensionality to her immersive paintings. The Horse Trotted Another Couple of Metres, Then It Stopped (2018) for Carriageworks, Sydney, was comprised of more than 27,000 square feet of suspended fabric, draped, knotted and folded across and through the nineteenth century industrial architecture of the building. In Wunderbild (2018), for the National Gallery in Prague, Grosse produced an imposing enfilade of paintings on loose cloth, draped from the walls on two sides. Painted on the floor of her Berlin studio, Wunderbild creates a bridge between Grosse’s studio canvases and in situ paintings, and its aqueous fields of color are punctuated by white palimpsests of negative space. This development continued in Prototypes of Imagination, Gagosian Britannia Street (2018), in which an entire wall of the gallery was covered by a sheet of painted fabric, asserting new spatial and temporal transformations.

Katharina Grosse

Photo: Mitro Hood, Baltimore Museum of Art

David Reed, #714, 2014–19, acrylic, oil, and alkyd on polyester.

David Reed

David Reed and Katharina Grosse met at Reed’s New York studio in the fall of 2019 to talk about his newest paintings, the temporal aspects of both artists’ practice, and some of their mutual inspirations.

Installation view, "Katharina Grosse: Is It You?," Baltimore Museum of Art, March 1–June 28, 2020.

Katharina Grosse: The Movement Comes from Outside

Katharina Grosse discusses her exhibition Is It You? at the Baltimore Museum of Art with Gagosian’s Jona Lueddeckens. They consider what sets the Baltimore installation apart from its predecessors, and how Grosse sees the relationship of the human body to her immersive environments as opposed to her canvases.

Installation view, Katharina Grosse: Is It You?, Baltimore Museum of Art, March 1, 2020–January 3, 2021.

Katharina Grosse: I see what she did there

On the occasion of the artist’s exhibition at the Baltimore Museum of Art, Terry R. Myers muses on the manipulations of time in Grosse’s work.

Featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Now available
Gagosian Quarterly Summer 2020

The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

The cover of the Spring 2020 edition of the Gagosian Quarterly magazine. A Cindy Sherman photograph of herself dressed as a clown against a rainbow background.

Now available
Gagosian Quarterly Spring 2020

The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.

Katharina Grosse: Mumbling Mud

Katharina Grosse: Mumbling Mud

We take a visual tour through Katharina Grosse’s Mumbling Mud and the installation process behind it as the artist discusses the effects of the work’s merging of built and painted space.

Trouvé and Grosse: Villa Medici

Trouvé and Grosse: Villa Medici

Tatiana Trouvé and Katharina Grosse discuss their exhibition Le numerose irregolarità, at the French Academy in Rome, Villa Medici, with curator Chiara Parisi.

Gagosian Quarterly Spring 2018

Gagosian Quarterly Spring 2018

The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.

Katharina Grosse at Carriageworks

Katharina Grosse at Carriageworks

On the occasion of Katharina Grosse’s latest in situ painting The Horse Trotted Another Couple of Metres, Then It Stopped, at Carriageworks, Sydney, a series of video interviews with the artist was created.

C.T.S.T.

C.T.S.T.

Katharina Grosse reflects on the work of Cy Twombly.

Katharina Grosse

Katharina Grosse

An interview between Katharina Grosse and Louise Neri. The two discuss Grosse’s process and examine the countless perceptual possibilities of her medium.

Fairs, Events & Announcements

Ed Ruscha, Street Cred, 2019 © Ed Ruscha

Auction

LAXART
2020 Benefit Auction

September 15–29, 2020

The nonprofit visual art space LAXART is hosting a benefit auction, featuring works by Katharina Grosse, Jennifer Guidi, and Ed Ruscha. Proceeds will help the organization continue its mission to promote emerging and under-recognized talent and engage with key issues of our time through exhibitions, publications, and public programs. The live auction begins at 5pm edt on September 15 on Artsy. The works will also be available for viewing at LAXART by appointment beginning September 15. To register to bid, visit artsy.net.

Ed Ruscha, Street Cred, 2019 © Ed Ruscha

Installation view, Katharina Grosse: It Wasn’t Us, Hamburger Bahnhof–Museum für Gegenwart, Berlin, June 1, 2020–January 10, 2021. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Jens Ziehe

Performance

Katharina Grosse
Stefan Schneider

Sunday, September 13, 2020, 7:30pm, 8:15pm, and 9pm
Hamburger Bahnhof–Museum für Gegenwart, Berlin
www.smb.museum

As part of Berlin Art Week, Katharina Grosse and musician Stefan Schneider will present three performances together in the exhibition Katharina Grosse: It Wasn’t Us at the Hamburger Bahnhof–Museum für Gegenwart, Berlin. The pair released their first album Tiergarten three years ago after a series of joint spontaneous musical dialogues incorporating analogue synthesizers. To attend the event, purchase tickets at www.berlinartweek.de.

Installation view, Katharina Grosse: It Wasn’t Us, Hamburger Bahnhof–Museum für Gegenwart, Berlin, June 1, 2020–January 10, 2021. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Jens Ziehe

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Art Fair

Basel Online 2020

In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

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Museum Exhibitions

Installation view, Katharina Grosse: Is It You?, Baltimore Museum of Art, March 1–June 28, 2020. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Mitro Hood, courtesy Baltimore Museum of Art

On View

Katharina Grosse
Is It You?

Through January 3, 2021
Baltimore Museum of Art
artbma.org

For this exhibition Katharina Grosse presents five recent paintings and a new site-related environment. The central gallery is transformed with an expansive, immersive fabric installation that is partially suspended from the ceiling, creating a cloth “room” with vibrantly painted undulating walls.

Installation view, Katharina Grosse: Is It You?, Baltimore Museum of Art, March 1–June 28, 2020. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Mitro Hood, courtesy Baltimore Museum of Art

Katharina Grosse, I Think This Is a Pine Tree, 2013, installation view, Hamburger Bahnhof–Museum für Gegenwart, Berlin © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Thomas Bruns

On View

Katharina Grosse
It Wasn’t Us

Through January 10, 2021
Hamburger Bahnhof–Museum für Gegenwart, Berlin
www.smb.museum

Katharina Grosse will use the historical hall of the Hamburger Bahnhof and the outdoor area behind the building as the site for a new work that radically destabilizes and renegotiates the existing order of the space of the museum. Incorporating the floor of the hall and Styrofoam sculptural elements as a pictorial ground, her painting will extend beyond the building’s walls and into public space, inviting us to reconsider our habits of seeing, thinking, and perceiving.

Katharina Grosse, I Think This Is a Pine Tree, 2013, installation view, Hamburger Bahnhof–Museum für Gegenwart, Berlin © Katharina Grosse and VG Bild-Kunst, Bonn 2020. Photo: Thomas Bruns

Katharina Grosse, Ingres Wood Seven, 2017 © Katharina Grosse and VG Bild-Kunst Bonn, 2019 Photo: Jens Ziehe

On View

Katharina Grosse in
Collezione MAXXI. Lo spazio dell’immagine

Opened November 21, 2018
Museo nazionale delle arti del XXI secolo, Rome
www.maxxi.art

The spirit and the identity of the museum are being renewed with a display of more than thirty works by twenty-six artists. Dedicated to the museum’s new acquisitions, this group show aims to create a counterpoint between the abstract and the figurative. Work by Katharina Grosse is included.

Katharina Grosse, Ingres Wood Seven, 2017 © Katharina Grosse and VG Bild-Kunst Bonn, 2019 Photo: Jens Ziehe

Katharina Grosse, Stage 2—The Profit, 2019 © VG Bild-Kunst Bonn, 2020

Closed

Katharina Grosse in
Alexander Kluge: The Power of Music / The Opera: Temple of Seriousness

October 20, 2019–April 19, 2020
Kunsthalle Weishaupt and Museum Ulm, Germany
museumulm.de

At the core of this exhibition was the power of music, which reaches special levels of expression in opera. The emotional power of socially relevant themes was explored through film, science, literature, and art, including work by Katharina Grosse.

Katharina Grosse, Stage 2—The Profit, 2019 © VG Bild-Kunst Bonn, 2020

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Press

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