previews

  • Katharina Grosse, George, 2009, (on view during Embrace!, Nov. 14. 2009- Apr. 4, 2010), acrylic paint on wall.

    Katharina Grosse, George, 2009, (on view during Embrace!, Nov. 14. 2009- Apr. 4, 2010), acrylic paint on wall.

    Katharina Grosse

    Massachusetts Museum of Contemporary Art (MASS MoCA)
    87 Marshall Street
    December 22, 2010–September 30, 2011

    Curated by Susan Cross

    Though bombastic, Katharina Grosse’s outing last year at Temporäre Kunsthalle Berlin polarized opinion with its relative reticence, as Grosse seemed to retreat from her signature style of Day-Glo despoilment—loops and nebulae of dense, electric color sprayed directly onto museum walls, her own bedroom in Düsseldorf, and the lawn and facade of a New Orleans bungalow. Though bombastic, Katharina Grosse’s outing last year at Temporäre Kunsthalle Berlin polarized opinion with its relative reticence, as Grosse seemed to retreat from her signature style of Day-Glo despoilment—loops and nebulae of dense, electric color sprayed directly onto museum walls, her own bedroom in Düsseldorf , and the lawn and facade of a New Orleans bungalow. In Berlin, she confined the painting to enormous ovoid panels, arrayed in an orderly fashion around the space—yet on the panels’ convex faces (sprayed off-site), paint ran and pooled subtly counter to the physics of the room, while the slabs’ leaned massiveness bore vertiginous potential. This may bloom in the artist’s largest US show to date, where new giant curved planes appear alongside landfill-size mounds of painted dirt and expansive floor-and-wall sprays. The effect will likely be potent, front-loaded, and disruptive.