106. KATHARINA
GROSSE
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Untitled, 2001
Acrylic on billboard; 5 x 12 m.
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shadowbox, detail, 2009
Four-part installation: acrylic on laminated rigid-foam; each approximately 885,96 x 1203,96 x 9,144 cm
Installation view: Temporäre Kunsthalle Berlin, Germany
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Installation
view of Katharina Grosse's "Just Two of Us" (2013) at MetroTech
Plaza, Brooklyn, NY, 2013
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BIO & STEPS
Born:
In 1961 in Fribourg, Breisgau, Germany
Nowadays:
Lives and works in Germany
Studies:
1982–1990
Painting studies, Kunstakademie Münster and
Kunstakademie Düsseldorf
1992
Received the Villa Romana-Award, Florence
1993
Awarded the Schmidt-Rottluff Stipend
1995
Recieved the Kunstfonds Bonn e.V.
1997–1998
Guest professor at the Staatlichen Akademie der Bildenden
Künste Karlsruhe
1999
Artist in Residence, Chinati Foundation, Marfa, TX
1990–2000
Guest professor at the Hochschule Bremen
Themes and
style:
She uses a compressor-powered spray painter
for her paintings, often combining loud colors in horizontal and vertical
structures. The colors remain transparent, allowing the viewer to see the
layers underneath. Drawing from a range of art historical practices, her work
is inspired by fresco, en plein air painting, Abstract Expressionism, and
graffiti art.
Techniques:
Her work
is developed in paintings and installations, mostly grafitti.
Exhibitions
She has had solo and group exhibitions at institutions such
as the Suburban in Chicago, the Contemporary Art Center in Cincinnati, the
Arken Museum of Modern Art in Copenhagen, the Mori Art Museum in Tokyo, and the
Museu de Arte de São Paulo, among others. Grosse’s work is held in collections
internationally, including the Centre Pompidou in Paris, the Kunstmuseum Bern
in Switzerland, the Sprengel Museum in Hannover, and the Centro Galego de Arte
Contemporánea in Santiago de Compostela. See more at:
Representative
Galleries:
Helga de Alvear
In
her own words:
“There
are no limits to painting; that´s why I am involved in it. I don’t experience
“limits” as limits. There is no resistance when I am painting. The inside and
the outside coexist. What appears in the image field is not subordinate to
existing reality, it constitutes that reality. I don’t interpret reality; I
understand reality as a performative activity that generates itself newly and
differently, again and again.”
For
more Information: