2025 Annual Exhibition @ The Campus, Hudson, NY - A platform for expansive thought and free-ranging artistic expression

2025 Annual Exhibition

The Campus, Hudson, NY

Through October 26, 2025

The Campus presents its second annual exhibition, on view through October 26, 2025. Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming are scheduled throughout the run of the exhibition.

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights:

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery.

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet.

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology.

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Drawing sessions hosted by Oscar Murillo Studio took place throughout the opening weekend (end of June), and visitors of all ages were invited to draw freely on canvases in a celebration of collective spirit. The canvases will go on to become part of a collaborative artwork for the 36th São Paulo Biennial.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition.

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist’s ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include: Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Leger, Richard Long, Liz Magor, Sylvia Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto. 

The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange.

THE CAMPUS 

341-217 Hudson, NY

www.thecampusupstate.com

2025 Annual Exhibition @ The Campus, Hudson, NY, June 28 - October 26, 2025

Exposition de Katharina Grosse @ Staatsgalerie, Stuttgart – The Sprayed Dear

Katharina Grosse – The Sprayed Dear

Staatsgalerie, Stuttgart

11 avril 2025 – 11 janvier 2026

Portrait de Katharina Grosse

Photographie © Franz Grünewald

La Staatsgalerie de Stuttgart présente l'exposition « Katharina Grosse – The Sprayed Dear » dans le « Kunstgebäude ». Trois oeuvres créées spécialement pour l'occasion seront exposées aux côtés de travaux plastiques inédits de ses débuts dans le bâtiment à coupole orné du cerf doré. Par son titre, l'artiste fait référence à l'emblème de ce lieu d'exposition exceptionnel et joue avec le mot anglais « deer », qui signifie cerf - et le terme « dear », qui a la même consonance en anglais et désigne quelque chose d'aimé.

Katharina Grosse est l'une des artistes les plus importantes de notre époque. Elle vit et travaille à Berlin et en Nouvelle-Zélande. Depuis plus de trois décennies, elle crée des oeuvres monumentales grâce à sa technique de spray. Pour la grande exposition régionale du Bade-Wurtemberg 2025, cette Fribourgeoise d'origine s'est intéressée de près à l'architecture de l'emblématique bâtiment central de la « Schlossplatz » et le transforme en une expérience spatiale haute en couleur. Les surfaces de ses oeuvres d'art se fondent, en apparence ou en réalité, avec les lieux où elles sont présentées. C'est le cas de l'impressionnante salle en forme de coupole de 26 mètres de haut du bâtiment des arts, dans laquelle la sculpture en aluminium « The Sprayed Dear », récemment produite, constitue le point d'orgue de l'exposition. Les visiteurs sont invités à explorer cette oeuvre praticable avec tous leurs sens. Le déplacement à travers cet espace coloré ouvre au public des expériences visuelles toujours nouvelles.

Depuis plus de 30 ans, Katharina Grosse, née en 1961 à Fribourg-en Brisgau, explore les possibilités spatiales et matérielles de la peinture, dépassant ainsi les frontières traditionnelles des genres. Il en résulte des « espaces de possibilités », comme c'est le cas avec les trois oeuvres d'art produites pour l'exposition : « The Sprayed Dear », qui occupe tout l'espace, et une sculpture en polystyrène blanc surdimensionnée intitulée « Ghost », qui témoigne de l'intérêt de l'artiste pour l'interaction entre la forme et la surface, tandis que la sculpture « Untitled » attire le regard sur les qualités tridimensionnelles de ses travaux sur toile.

Jusqu'à présent, peu d'attention a été accordée aux travaux plastiques de Katharina Grosse. C'est pourquoi la Staatsgalerie de Stuttgart, en collaboration avec son studio, présente pour la première fois des expériences de matériaux datant de ses années d'études à l'Académie des Beaux-Arts de Düsseldorf et offre ainsi un aperçu complet de l'oeuvre variée de Katharina Grosse. Ainsi, l'éventail inépuisable de son art peut être vécu de manière impressionnante à Stuttgart.

Conservateur : Hendrik Bündge

Assistante du conservateur : Dr. Linda Marie Kirschey

Un catalogue complet avec des illustrations de toutes les oeuvres exposées sera publié à l'occasion de l'exposition. Afin de documenter les impressionnantes vues d'installation dans le Kunstgebäude, celui-ci paraîtra après l'ouverture de l'exposition en mai 2025 et conclura une triologie de catalogues de l'artiste (Centre Pompidou Metz, Kunstmuseum Bonn, Staatsgalerie Stuttgart). Éditeur : Staatsgalerie Stuttgart, Hendrik Bündge. Avec des contributions de Hendrik Bündge, Robin Detje, Emily LaBarge ainsi qu'un entretien entre Dan Lie et Katharina Grosse.  Sandstein Verlag, environ 350 pages.

STAATSGALERIE STUTTGART

Konrad-Adenauer Strasse 30 - 32, 70173 Stuttgart

staatsgalerie.de

20th century iconic art works at High Museum of Art, Atlanta

Fast Forward: Modern Moments 1913 ›› 2013
High Museum of Art, Atlanta
October 13, 2012 - January 20, 2013

In the exhibition Fast Forward: Modern Moments 1913 ›› 2013, the High Museum of Art, Atlanta, is explorin the development of modern and contemporary art by selecting key years in art history that represent watershed moments in the 20th century.

ROY LICHTENSTEIN (American, 1923-1997), Girl with Ball, 1961

Oil and synthetic polymer paint on canvas, 60¼ x 36¼ inches (153 x 91.9 cm)

The Museum of Modern Art, New York, gift of Philip Johnson, 421.1981

The exhibition presents approximately 100 works of art created during the years 1913, 1929, 1950, 1961, and 1988, as well as the art of today.  The exhibition examines the years prior to the start of World War I and the Great Depression, the lead-up to postwar American prosperity and the years preceding the Cuban Missile Crisis, the fall of the Berlin Wall and how artists responded to and were influenced by events on the world stage.

The exhibition also presents the works of contemporary artists Aaron Curry, Katharina Grosse, and Sarah Sze, whose work extends themes first explored in the 20th century and updates them for the 21st century.

Fast Forward: Modern Moments 1913 ›› 2013 is one of the largest surveys of 20th-century art to ever be exhibited in the southeastern United States. Co-organized by the High Museum of Art and The Museum of Modern Art, New York (MoMA), as part of the two museums’ ongoing collaboration, the exhibition is on view since October 13, 2012, through January 20, 2013.

“These periods of time ushered in new ways of thinking that forever transformed the artistic landscapes,” said Michael E. Shapiro, the High’s Nancy and Holcombe T. Green, Jr., Director. “We’re delighted that this partnership with MoMA will enable our visitors to see how the work of artists from different eras was influenced by major historical events.”

The exhibition includes iconic works from each represented year, including:

· 1913: Umberto Boccioni’s Futurist sculpture Unique Forms of Continuity in Space

· 1929: Salvador Dalí’s Surrealist painting Illumined Pleasures

· 1950: Willem de Kooning’s landmark of Abstract Expressionism, Woman, I

· 1961: Roy Lichtenstein’s Pop art masterpiece Girl With Ball  

· 1988: Jeff Koons’s famed porcelain sculpture Pink Panther

Michael Rooks, the High’s Wieland Family Curator of Modern and Contemporary Art, has chosen Aaron Curry, Katharina Grosse and Sarah Sze to highlight the art of 2013. Sarah Sze, who will represent the United States in the 2013 Venice Biennale, created a site-specific installation for the High. Aaron Curry debuts three new works—monumental, polychromed steel sculptures titled “Boo,” “Thing” and “Deadhead”—which are installed on the Museum’s lawn. Rounding out the selection, a large three-dimensional painting by Katharina Grosse are on display on the skyway level of the Wieland Pavilion. 

“Aaron Curry, Katharina Grosse, and Sarah Sze are artists who push the boundaries of artistic practice,” said Rooks. “Each is known for their conceptually open-ended and physically immersive works that invite viewers to walk through and around them. In the process of physically exploring these works, viewers draw out the present moment, stretching time toward moments yet to come.”

AARON CURRY (born 1972), on view through May 2013

Originally trained as a painter, Aaron Curry turned to sculpture while he was an undergraduate at the School of the Art Institute of Chicago, where he first became interested in the flat planes that characterized the work of David Smith and Isamu Noguchi. Aaron Curry’s interplay between two and three dimensions encourages viewers to walk around his work, creating new lines of sight as planes of color rotate into nothingness. In his own words, his sculptures are “almost like a cubist painting . . . [they] refer to the surface but give you illusion at the same time. It’s an awkward space that I still find rather exciting to play with.” Since earning his M.F.A. from the Art Center College of Design in Pasadena, California, he has exhibited in dozens of group shows throughout the United States and Europe as well as solo shows in Los Angeles, Berlin, London and New York. In 2010, Aaron Curry received a fellowship at the American Academy in Berlin, an experience that culminated in an exhibition at the Schinkel Pavilion in early 2011. His work has been praised by critics Holland Cotter and Roberta Smith, the latter of whom proclaimed Curry’s work to be “physically inventive and sculpturally inclined.”

KATHARINA GROSSE (born 1961), on view through January 20, 2013

The Berlin-based artist Katharina Grosse’s distinctive approach to painting and installation is characterized by the simultaneous expansion and elimination of boundaries for painting, “Abstract Expressionism opened up new ways to look at painting, but it also hindered, to a certain extent, painting’s development. Negating painting’s illusionism narrowed it down to applying paint to a flat surface. I have a totally different approach. I don’t think that a painting is a coherent, closed system that only takes place within its borders.” Her works challenge traditional notions of painting and architectural space and invite viewers to confront their spatial boundaries. Katharina Grosse resists identification with specific media, historical movements or other affiliations, preferring instead to remain as uninhibited as possible. Since 1996 she has exhibited in more than 30 solo shows and several dozen group shows in galleries and museums across the world, including the Museum of Contemporary Art Tokyo, the Tate St. Ives in England, the Museum for New Art in Freiburg, Germany, and Arken Museum of Modern Art, Ishøj, Denmark (Wanafoto has published a post about this exhibition with pictures of Katharina Grosse artworks). In 2011 she installed her monumental installation “One Floor up More Highly” at the Massachusetts Museum of Contemporary Art, which received critical praise, including the article, “Chromatic Theater,” published in Art in America. In addition to her artistic practice, Katharina Grosse is currently a professor of fine arts at the Arts Academy of Dusseldorf.

SARAH SZE (born 1969), on view through January 20, 2013

Educated at Yale University and the School of Visual Arts, New York, Sarah Sze has emerged as one of the foremost installation artists of her generation. Best known for her elaborate and gravity-defying installations—microcosmic spaces of dizzying complexity—her work often seems to be a three-dimensional collage in which the placement of every object holds meaning both outside the work and within it. Her coupling of familiar objects—towels, chairs, ladders, for exmaple—with ones that are less immediately identifiable provokes the viewer to create rich associations between otherwise unrelated items. Over the last fifteen years, she has shown in group exhibitions such as the Venice Biennale, and at the Whitney Museum of American Art. Monographic exhibitions of her work have been organized by the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, San Diego; the Whitney; and the Museum of Fine Arts, Boston, among others. Her permanent installations are on display at the Walker Art Center in Minneapolis, the Massachusetts Institute of Technology, and the University of California, Berkley. Sarah Sze has been the recipient of numerous honors, including the Atelier Calder prize and a MacArthur “Genius” Fellowship, and most recently she has been selected to represent the United States at the 2013 Venice Biennale. Sarah Sze lives and works in New York City. 

Fast Forward: Modern Moments 1913 ›› 2013 continues a multi-year, multi-exhibition collaboration between the High and MoMA, which began in 2009 with “Monet Water Lilies,” the first in a series of six exhibitions, followed by “Modern by Design” in summer 2011 and “Picasso to Warhol: Fourteen Modern Masters,”. The initiative builds on successful past collaborations between the High and MoMA that resulted in four exhibitions presented in Atlanta between 1997 and 2000. This project extends ties between the institutions through professional exchanges, development of educational programs and publications and reciprocal admission benefits. 

This exhibition is organized by Jodi Hauptman, MoMA Curator of Drawings, and Samantha Friedman, MoMA Curatorial Assistant in the Department of Drawings, in collaboration with David Brenneman, the High’s Director of Collections and Exhibitions and Frances B. Bunzl Family Curator of European Art, and Michael Rooks, the High’s Wieland Family Curator of Modern and Contemporary Art. Fast Forward: Modern Moments 1913 ›› 2013 is accompanied by a fully illustrated 

catalogue.

High Museum of Art, Atlanta, Georgia 30309
Museum's website: www.high.org

Katharina Grosse Exhibition at Arken Museum, Denmark

Utopia: Katharina Grosse  
Hello Little Butterfly, I Love You What’s Your Name
ARKEN - Museum of Modern Art, Ishøj
Through 7 November 2010

 

KATHARINA GROSSE, Hello Little Butterfly I Love You What's Your Name 
Installation photo - Courtesy of ARKEN Museum, Ishøj

Copenhagen. 200 m3 of earth, several hundred litres of spray paint and two giant ellipses have changed ARKEN Museum of Modern Art’s 150 m long Art Axis beyond recognition. In KATHARINA GROSSE’ UTOPIA exhibition Hello Little Butterfly, I Love You What’s Your Name the mounds of earth hug the walls, several metres high, the ellipses stand like huge gates wedged between floor and ceiling, and the paint lies like colourful clouds everywhere. Going into the large gallery is like walking into a painting. This is the first time that the room is changed so significantly.

Since the late 1990s, the spray gun has been Katharina Grosse’s preferred tool. With that in her hand, she explodes painting’s boundaries. Vibrant clouds of paint float into the room – onto walls and floors, over sculptures, everyday objects and enormous mounds of earth. Grosse insists on art’s ability to transcend boundaries and expand our experience of the surroundings. Her installation at ARKEN builds a new universe in the room. A giant mural moves from the wall, onto the floor and over a huge mound of earth and the jagged, rocklike sculptures scattered around the room. In the middle of the paint, “missing paintings” open up like empty holes. The vibrant colours create atmospheric effects and illusions of new rooms which open in the room.

KATHARINA GROSSE, Hello Little Butterfly I Love You What's Your Name Installation photo - Courtesy of ARKEN Museum, Ishøj

The play with transformation is anticipated in the title she has chosen for her installation at ARKEN: Hello Little Butterfly, I Love You What’s Your Name – a poetic phrase that juxtaposes the raw concrete of the monumental room, and that points to the kernel of the utopian endeavour – the possibility of change. The Grosse exhibition is the second of ARKEN’s three-year UTOPIA exhibition series. Her work concerns the utopia as a non-place. A better, as yet non-existent place which only exists in our imagination. In Grosse’s installation we literally step into art’s imaginary universe. Her painting is a place where we may explore and dream on. Art and the aesthetic experience become a concrete model for the utopia’s non-place.

KATHARINA GROSSE, Hello Little Butterfly I Love You What's Your Name
Installation photo - Courtesy of ARKEN Museum, Ishøj

Hello Little Butterfly, I Love You What’s Your Name is a constructive contrast. With her large installation, Katharina Grosse claims the established order does not have to be the way it is. Art can function as a basis for seeing everything differently. She wishes, in her own words, to “confront the viewer with other mental processes than the ones one is conditioned to in one’s everyday life.”

Katharina Grosse has created her installation especially for ARKEN’s Art Axis. Armed with spray guns she is executing a large, site-specific painting which binds together the installation’s many elements, anchoring paintings and sculptures in the concrete, physical room. Grosse never produces the same installation twice. Despite their striking, physical presence, her works are fleeting: Each installation is bound to the concrete room it is developed in, and when the exhibition at ARKEN is over, the installation will disappear.

KATHARINA GROSSE, The Other George (2009) for Amagertorv in Copenhagen
Installation photo - Courtesy of ARKEN Museum, Ishøj

In connection with the UTOPIA project, Katharina Grosse has also developed the sculpture The Other George (2009) for Amagertorv in Copenhagen. 

UTOPIA is supported by the Nordea-foundation.

ARKEN - Museum of Modern Art Skovvej 100, 2635 Ishøj, Denmark
www.arken.dk

UTOPIA: KATHARINA GROSSE
Hello Little Butterfly, I Love You What’s Your Name
12 December 2009 - 7 November 2010