Gagosian announces exhibition of new paintings by Katharina Grosse in New York
The First Art Newspaper on the Net    Established in 1996 Friday, November 22, 2024


Gagosian announces exhibition of new paintings by Katharina Grosse in New York
Katharina Grosse, Untitled, 2024. Acrylic on canvas, 112 3/4 x 191 1/2 inches (286.4 x 486.4 cm) © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2024. Photo: Owen Conway. Courtesy Gagosian.



NEW YORK, NY.- Gagosian announces 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.

The exhibition’s title, Pie Sell, Lee Slip, Eel Lips, breaks down the elements of language and reassembles them into idiosyncratic structures, like a revolving thought, repeated but anagrammatically, illogically reversed. Likewise, conventional relationships between figure and ground in these paintings are superseded by layered forms that appear to move with tumultuous fluidity over and under one another. Grosse intertwines and twists strands of color, creating spatial complexities that confuse a sequential reading. Confronting the viewer with immediately impactful compositions, the paintings also invite sustained attention to comprehend their pictorial entanglements.

Grosse’s expansive gestures extend over the paintings’ edges, alluding to spaces beyond the canvas; one senses that there is more than can be seen. This approach resonates with the speed, directness, and boundlessness that is central to Grosse’s practice, engaged as it is with the possibilities of abstraction in art, but also by diverse relationships with the external world, from prelingual thoughts to the visceral impact of music.

Katharina Grosse was born in 1961 in Freiburg im Breisgau, Germany, and lives and works in Berlin and New Zealand. Collections include the Museum of Modern Art, New York; Buffalo AKG Art Museum, NY; Milwaukee Art Museum; Museum of Fine Arts, Boston; High Museum of Art, Atlanta; Pérez Art Museum Miami; Nationalgalerie Berlin; and Centre Pompidou, Paris. Exhibitions and on-site paintings include Chinati Foundation, Marfa, TX (1999); Hammer Museum, Los Angeles (2001); Renaissance Society, Chicago (2007); One Floor Up More Highly, MASS MoCA, North Adams, MA (2010); Third Man Begins Digging Through Her Pockets, Museum of Contemporary Art Cleveland, OH (2012); Wunderblock, Nasher Sculpture Center, Dallas (2013); psychylustro, Mural Arts Philadelphia (2014); Untitled Trumpet, 56th Biennale di Venezia (2015); Rockaway!, MoMA PS1 at Fort Tilden, New York (2016); Mural: Jackson Pollock/Katharina Grosse, Museum of Fine Arts, Boston (2019–20); Is it You?, Baltimore Museum of Art (2020); Chill Seeping from the Walls Gets between Us, Helsinki Art Museum (2021–22); Chill Seeping, Museum of Art, Savannah College of Art and Design, Georgia (2022); Apollo, Apollo, Espace Louis Vuitton, Venice (2022); Splinter, Fondation Louis Vuitton, Paris (2022); Studio Paintings, 1988–2022: Returns, Revisions, Inventions, Mildred Lane Kemper Art Museum, St. Louis (2022–23, traveled to Kunstmuseum Bern, 2023; and Kunstmuseum Bonn, 2024); and Déplacer les étoiles, Centre Pompidou-Metz, France (2024–25). Grosse’s permanent installation Canyon was unveiled at Fondation Louis Vuitton, Paris, in 2022.










Today's News

November 12, 2024

New immersive art installation at Art Blocks Weekend in Marfa Texas November 14-17

Gagosian announces exhibition of new paintings by Katharina Grosse in New York

Christie's to offer The Helmut Nanz Family Collection of Musical Manuscripts

Holabird Western Americana Collections will hold a spectacular 7-day Autumn Gold Auction

Nudes, Antiquity, Anatomy: Hamburger Kunsthalle explores the world through drawing

Kunsthaus Zürich presents first major Marina Abramović retrospective in Switzerland

MCA Chicago presents 'The Living End: Painting and Other Technologies, 1970-2020'

Pace to open an exhibition of late works by Adolph Gottlieb

New photography exhibition on view at the Crocker

Nam June Paik Prize 2024 awarded to Joan Jonas

Original art that nabbed Grammy nod for Elton John's no. 1 album 'Captain Fantastic' leads auction at Heritage

Exhibition at Karma focuses on works from the 90's by Ouattara Watts

Paul Thiebaud Gallery exhibits fourteen paintings from Eileen David's new series

Pangolin London opens a solo exhibition of sculptures and drawings by Susie MacMurray

Towner Eastbourne presents a new public art commission by Verity-Jane Keefe in Shinewater & Langney

The National Museum of Modern and Contemporary Art, Korea exhibits the Korea Artist Prize

Dundee Contemporary Arts announces exhibitions programme 2025-26

Imagination takes flight at Hive Festival at the Art Gallery of New South Wales this summer

Ellen de Bruijne Projects opens 'Lucile Desamory: Still Film'

Peter Blum Gallery opens an exhibition of new works by Nicholas Galanin

How to Start Playing Blackjack Using Bitcoin: A Beginner's Guide

Olight Arkfeld Ultra: The Future of EDC Flashlights

Industries That Benefit Most from Software Development Outsourcing

NCH Essay Competition Tips and Tricks - Writing a Winning Entry 2024

How Proper Tax Filing Can Save Money for Individuals and Small Business Owners?




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful