Katharina Sieverding

[3] There she started studying stage design alongside Georg Klusemann and Jörg Immendorff under Teo Otto, but later joined the sculpture class taught by Joseph Beuys in 1967.

These portraits resurface in a series of 16 larger-than-life photographs of Sieverding in Stauffenberg-Block, from 1969, the title of which refers to German officer Claus Schenk von Stauffenberg, who made a failed attempt to assassinate Adolf Hitler in 1944.

[7] In the 56-part series Die Sonne um Mitternacht schauen (To Look at the Sun at Midnight) (1973) shows individual portraits of the artist's face painted in shimmering gold dust.

[8][9] Another work, Motorkamera (1973/1974) consists of 336 individual black and white portraits of Sieverding and her partner Klaus Mettig engaged in a series of intimate postures.

[2] A later large-scale multi-media installation, Untitled (Ultramarine) (1993), is a series of eight self-portraits, each having three parts, united by a vertical band of electric blue pigment.

During 1976–78, the artist traveled to China and America, accumulating visual propaganda to further explore the symbolic communications at play in mass-marketed imagery and text.

[2] Her work has frequently triggered debates on contemporary society, politics, social and cultural issues, one example being her poster installations Deutschland wird Deutscher of 1993, which she did in collaboration with Klaus Biesenbach, and Die Pleite of 2005 in Greater Berlin.

In 1995, she organized the lecture series "Never mind the nineties" together with Klaus Biesenbach, who studied freie Kunst at the HDK (Berlin University of the Arts) with Katharina Sieverding from 1993 to 1998.