January 19, 2024
In conjunction with her exhibition The Flaying of Marsyas at Museo di Palazzo Grimani, Venice, Mary Weatherford discusses the featured paintings, which are directly inspired by Titian’s late, eponymous masterpiece of circa 1570–76 and reflect her enduring fascination with the painting.
Mary Weatherford: The Flaying of Marsyas, Museo di Palazzo Grimani, Venice, April 20–November 27, 2022
Artwork © Mary Weatherford; video: Maco Film
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).
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 (c. 1570–76). Francine Prose traces the development of these works.
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.
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.
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.
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.
Join exhibition curator Donna De Salvo as she discusses her selection of the artist’s rarely seen sculptures, drawings, films, and archival materials in Walter De Maria: The Singular Experience at Gagosian, Le Bourget. Chief among these is Truck Trilogy (2011–17), De Maria’s final sculpture and the centerpiece of the exhibition.
Join Glenn Brown in his London studio as he discusses his presentation for the Studio section of Frieze Masters 2025, which explores the idea of the artist’s studio as a time machine: a space in which historical memory fuels creativity, manifesting in artworks that look to the future. Brown speaks about the featured works, which range from new paintings, drawings, and a sculpture to historic works on paper from the Brown Collection.
Paul McCartney: Rearview Mirror: Photographs, December 1963–February 1964 at Gagosian, Beverly Hills, brings together self-portraits, unguarded snapshots of The Beatles, and vivid depictions of the pandemonium that greeted them at every turn. Ahead of the exhibition, McCartney and Joshua Chuang, director of photography at Gagosian, met up at Griffin Editions in Brooklyn, New York, to reflect on the prints featured in the show.
In conjunction with the exhibition Adriana Varejão: Don’t Forget, We Come From the Tropics at the Hispanic Society Museum & Library, New York, Laura Dias Leite produced a video directed by Luisa Marques in which the artist discusses the genesis of the show. The exhibition debuts the latest works in Varejão’s Plate series (2011–), which, shown alongside historic ceramic plates from the museum’s collection, pose questions about aesthetic hierarchies.
Join Gagosian for a conversation between Derrick Adams and Ekow Eshun, author, curator, and chair of the commissioning group for the Fourth Plinth in Trafalgar Square, London. The pair discuss Adams’s latest paintings depicting visions of Black Americana—featured in the exhibition Situation Comedy at Gagosian, Davies Street, London—within the context of British contemporary culture.
To coincide with her exhibition Setsuko: Kingdom of Cats, at Gagosian, New York, the artist speaks with architect Peter Marino about her recent sculptures, paintings, and works on paper.