Frieze New York Online | Fairs | Fairs & Collecting

Gagosian is pleased to present a selection of new works on paper and recent sculptures by Katharina Grosse for the online edition of Frieze New York. These works will premiere simultaneously on the inaugural Frieze Viewing Room and the Frieze app.

A selection of new works on paper will be exhibited for the first time in this presentation. Spraying over a single sheet of paper in broad arcs and zigzags, Grosse creates rhythmic markings. Rough-edged yet crisp stenciled shapes are partially veiled by light speckles of sprayed pigment, revealing Grosse’s ability to alternate between exuberant force and more detailed control. These intensely textural compositions hint at sculptural form as well as at the colossal movements of nature; grounded in deep greens and teal blues, they conjure swirling, aqueous depths.

Also available are four sculptures from a series made in 2017, cast from cut polystyrene into solid aluminum forms that preserve the innate lightness of the original medium. Vibrant layers of acrylic paint are sprayed across the cast metal supports; the sweeping motions of the spray jet explore, enhance, or counteract the spatial contours of the form with clashes of warm and cool hues. The resulting polychrome sculptures exude an industrial artificiality and dynamism while maintaining a sense of the natural and organic through their resemblance to windswept rock formations or shards of bone.

In partnership with Frieze, a portion of the proceeds from the sale of selected works will be donated to Human Rights Watch.

Download the full press release (PDF)

Photo: Mitro Hood, Baltimore Museum of Art

From the Quarterly

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

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

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.

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.

All I Wanted To Do Was Paint: A Conversation between Katharina Grosse and Sabine Eckmann

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.

Now available
Gagosian Quarterly Summer 2023

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.

In Conversation
Katharina Grosse and Graham Bader

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.

Gagosian Quarterly Films
Katharina Grosse: Think Big!

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

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 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.