Sunday, September 13, 2020, 7:30pm, 8:15pm, and 9pm
Hamburger Bahnhof–Museum für Gegenwart, Berlin
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
Katharina Grosse is available for online reading from May 13 through June 12 as part of Artist Spotlight: Katharina Grosse. The book documents the artist’s 2017 exhibition at Gagosian in New York, as well as important in situ works such as Rockaway! (2016). The publication includes essays by Dan Cameron and Okwui Enwezor, additional texts by Louise Neri, and a conversation with the artist by Isabelle Graw.
Katharina Grosse (New York: Gagosian, 2018)
In 2016, MoMA PS1 invited Katharina Grosse to transform an abandoned building at Fort Tilden in the Rockaways, New York, into an artwork using her technique of spraying brightly colored paint directly onto the structure. In this video, produced by the museum and featuring footage of the work being made, Grosse explains the concepts and process behind the project, and her interest in color and scale.
Still from “Katharina Grosse: Rockaway!”
May 13–19, 2020
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.
Photo: Zan Wimberley
Gregory Crewdson: An Eclipse of Moths
Gregory Crewdson discusses his new work with actor Cate Blanchett.
Gagosian Quarterly Fall 2020
The Fall 2020 issue of Gagosian Quarterly is now available.
Mary Weatherford: Train Yards
Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.
Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.
“Things Fall Apart”: Ed Ruscha’s Swiped Words
Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.
A short story by Emma Cline, published here on the occasion of her new collection of stories entitled Daddy.
Theaster Gates: Black Image Corporation
As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space.
Jacquelynn Baas profiles Isabelle Waldberg, writing on the sculptor’s many friendships and the influence of her singular creations.
Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.
Lockdown: Henri Matisse’s Domestic Interiors
John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.
Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding
The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.
Bebe Miller and Cynthia Oliver
The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.