Works Exhibited
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
Gagosian is pleased to present new paintings and sculpture by Katharina Grosse. A prominent figure on the international art circuit, this is her first gallery exhibition in New York and at Gagosian, following a series of significant public commissions in the United States in recent years.
Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she distances the artistic act from the hand, stylizing gesture as a propulsive mark. The resulting pictures are distinct, but never predetermined. Spatial tensions rise through shifts in chromatic temperature. Challenging boundaries, she reintroduces her body as an active agent within a vision of contemporary existence that is at once physically isolated and densely networked.
Embracing the events and incidents that arise as she paints, Grosse opens up surfaces and spaces to the countless perceptual possibilities of the medium. While she is widely known for her temporary and permanent in situ work, which she paints directly onto architecture, interiors, and landscapes, her approach begins in the studio. With calculated focus, she allows new patterns and procedures in her paintings to emerge from action, further multiplying this potential with stencils cut from cardboard and thick foam rubber—tools with which to develop further cuts, layers, and perspectival depths. Grosse’s gestures unfold all at the same time in unmixed acrylic colors, engulfing the viewer in a toxic sublime.
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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.
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.
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.
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.
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.
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.
