Installation video
Installation view
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Installation view
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Installation view
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Installation view with Katharina Grosse, Untitled (2024)
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Installation view with Katharina Grosse, Untitled (2024)
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Installation view
Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Katharina Grosse
Untitled, 2024
Acrylic on canvas, 112 ¾ × 191 ½ inches (286.4 × 486.4 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Katharina Grosse
Untitled, 2024
Acrylic on canvas, 80 × 43 inches (203 × 109.1 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
Katharina Grosse
Untitled, 2024
Acrylic on canvas, 93 ½ × 79 ⅛ inches (237.5 × 201 cm)
© Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway
At some point I realized painting can bring everything together in a single moment.
—Katharina Grosse
Gagosian is pleased to announce Pie Sell, Lee Slip, Eel Lips, an exhibition of new paintings by Katharina Grosse at its gallery at Park & 75, New York. This exhibition follows Katharina Grosse: Studio Paintings, 1988–2022: Returns, Revisions, Inventions, a retrospective that originated at the Mildred Lane Kemper Art Museum in Saint Louis and traveled to the Kunstmuseum Bern and Kunstmuseum Bonn through September 2024.
Grosse uses a compressor-driven spray gun to apply industrial paints directly onto landscapes, architecture, objects, and panels. This tool extends her reach and accelerates her gestures, balancing impulsiveness with intent. In her studio outside Berlin, she produces works on canvas in a practice that is consistent with the spontaneous flow of her improvisational, performative process. Painting in the studio also permits her to develop works over a longer period than the institutional and organizational constraints of her in-situ projects generally allow.
In her studio paintings as much as in her environmental works, Grosse uses paint to claim territory at immersive scales, introducing new conceptions of color and space that disorient and reorient the viewer. To make them, she sprays paint onto unstretched canvases in a varied palette of vibrant primary and secondary hues, making use of chromatic and spatial juxtaposition. The propulsive, rhythmic marks traverse the paintings as tapering lines and whiplash curves that spiral back on themselves, capturing the trajectories of the artist’s full-body movements.
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For Art Basel 2025, the fair has commissioned Katharina Grosse to create CHOIR, a large-scale, site-responsive painting for the Messeplatz Project. The curator for the project, Natalia Grabowska, met with Grosse in her studio in Berlin ahead of the work’s creation to talk through the process; Grosse’s approach to the specifics of the Messeplatz’s architecture; and the importance of unscripted encounters.
The exhibition Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions premiered at the Mildred Lane Kemper Art Museum, Saint Louis, in September 2022. It continues its tour with presentations at the Kunstmuseum Bern, through June 2023, and the Kunstmuseum Bonn, opening in April 2024. To mark this momentous survey, the show’s curator, Sabine Eckmann, met with Grosse to discuss the evolution of her practice.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
On the occasion of her exhibition Katharina Grosse: Repetitions without Origin at Gagosian, Beverly Hills, the artist spoke with art historian Graham Bader, associate professor of art history at Rice University, about the throughlines in her practice.
From October 21 to 23, 2021, Gagosian Quarterly presented a special English-language online screening of Claudia Müller’s Katharina Grosse: Think Big!
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 discusses her exhibition Is It You? at the Baltimore Museum of Art with 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.
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.
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
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.
Tatiana Trouvé and Katharina Grosse discuss their exhibition Le numerose irregolarità, at the French Academy in Rome, Villa Medici, with curator Chiara Parisi.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
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.
Katharina Grosse reflects on the work of Cy Twombly.
An interview between Katharina Grosse and Louise Neri. The two discuss Grosse’s process and examine the countless perceptual possibilities of her medium.
