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Extended through February 27, 2021

Mary Weatherford

Train Yards

September 22, 2020–February 27, 2021
Grosvenor Hill, London

Installation Views

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Installation video

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view Artwork © Mary Weatherford. Photo: Lucy Dawkins

Installation view

Artwork © Mary Weatherford. Photo: Lucy Dawkins

Works Exhibited

Mary Weatherford, Orion’s Belt, 2016 Flashe and neon on linen, 112 × 99 inches (284.5 × 251.5 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Orion’s Belt, 2016

Flashe and neon on linen, 112 × 99 inches (284.5 × 251.5 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, No. 4000, 2017–18 Flashe and neon on linen, 112 × 99 inches (284.5 × 251.5 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, No. 4000, 2017–18

Flashe and neon on linen, 112 × 99 inches (284.5 × 251.5 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Cosmos, 2020 Flashe on linen, 112 × 99 inches (284.5 × 251.5 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Cosmos, 2020

Flashe on linen, 112 × 99 inches (284.5 × 251.5 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

About

There’s always sound that enters when I’m thinking about a painting. To me they have sound.
—Mary Weatherford

Gagosian is pleased to present Train Yards, an exhibition of paintings by Mary Weatherford. This is her first solo exhibition with the gallery in London.

Weatherford roots abstract painting in subjective experience, evoking urban and rural environments while experimenting with internal painterly dynamics around light, color, and gesture, as well as the relationship between a painted surface and various three-dimensional addenda. Preparing each canvas with a mixture of gesso and marble dust, she conjures a wide range of chromatic and textural effects. In her best-known works, sponged grounds of vinyl-based emulsion on heavy linen panels are surmounted by one or more carefully shaped and placed neon-filled glass tubes.

Weatherford began using neon in 2012, inspired by the illuminated signs that lined the streets of Bakersfield, California, where she was then working as a visiting artist and educator. Casting an intense industrial light onto the modulated fields of color beneath them, the tubes (which sometimes extend beyond the edges of the painting) read as hand-drawn lines, their trailing power cords adding a further graphic and dimensional aspect.

Read more

Mary Weatherford, Orion’s Belt, 2016, Flashe and neon on linen.

Mary Weatherford: Train Yards

Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Mary Weatherford, The Flaying of Marsyas—4500 Triphosphor, 2021–22 (detail), Flashe and neon on linen, 93 × 79 inches (236.2 × 200.7 cm). Photo: Fredrik Nilsen Studio

Mary Weatherford: The Flaying of Marsyas

Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (1570–76). Francine Prose traces the development of these works.

Mary Weatherford

Work in Progress
Mary Weatherford

We visit the artist’s California studio as she prepares for her exhibition I’ve Seen Gray Whales Go By. She speaks with Jennifer Peterson about her new paintings, her studio process, and the artists who have inspired her.

Mary Weatherford: I’ve Seen Gray Whales Go By

Mary Weatherford: I’ve Seen Gray Whales Go By

Taking viewers behind the scenes during the installation of Mary Weatherford’s I’ve Seen Gray Whales Go By at Gagosian, New York, this video features interviews with the artist and John Elderfield.

After Frankenthaler: An Interview with Katy Siegel

After Frankenthaler: An Interview with Katy Siegel

Art historian Katy Siegel discusses her recent exhibition at the Rose Art Museum and publication “The heroine Paint”: After Frankenthaler with Gagosian’s Alison McDonald.