Anna Weyant, Two Eileens (2022). Oil on canvas. 152.7 x 122.2 x 2.9 cm. © Anna Weyant. Courtesy Gagosian. Photo: Rob McKeever.
Anna Weyant has taken the top spot at nearly every evening auction sale in the past year, and the works always fly.
Now, she has her first exhibition with Gagosian since being taken on by the mega-gallery in May 2022—a move which has inevitably played a big influence in her skyrocketing prices on the secondary market.
With the media circus that has ensued around her gallery representation and quick rise to stardom aside, the exhibition is an opportunity to appreciate the natural skill and power of the tragicomic narratives that have forged her position as one of the best young artists working today.
Revealing eight new paintings and ten new drawings by the Canadian-born artist, Baby, It Ain’t Over Till It’s Over (3 November–23 December 2022) is a compelling display of Weyant’s theatrical portraits.
In Two Eileens (2022), Weyant shows off her painterly skills borrowed from Dutch Old Masters. Depicting two doll-like women—one suppressing laughter, the other, still and composed—in a muted and moody colour palette, Weyant’s paintings consider how femininity is distorted, contradicted and manipulated in popular culture.
Baby, It Ain’t Over Till It’s Over is on view at Gagosian 980 Madison Avenue in New York until 23 December 2022.
Main image: Anna Weyant, Two Eileens (2022). Oil on canvas. 152.7 x 122.2 x 2.9 cm. © Anna Weyant. Courtesy Gagosian. Photo: Rob McKeever.
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