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, Phyllis Tuchman observed that “[f]rom the get-go, Mary Weatherford wanted to pack her paintings with meaning. Politics, mathematics, outer space, philosophy, linguistics, opera and ballet, literature, art history, urban life, bridges and thin shell constructions, science, faith, death and resurrection: the world has been her oyster.” This voracious desire to embrace the world in painting finds some of its most beautiful and far-reaching expression in (2020), an important new work that speaks to the entire trajectory of Weatherford’s project to date. Embracing the world in this case means engaging with it as a cosmological phenomenon, and with the human capacity to see, sense, and experience the reaches of outer space, whether through telescopes, poetry, or simply the ever-unfolding layers of the imagination. One-on-One: Mary Weatherford, also represents the intersection of two ongoing thematic concerns: Weatherford’s interest in science—in particular astrophysics—and an art-historical curiosity about the use of the color pink, which has dominated in several key paintings throughout her career. A number of these works are included in the artist’s current survey exhibition , February 1 – July 12, 2020, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, Installation view, Courtesy of Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Photo by Arthur Evans , February 1 – July 12, 2020, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, Installation view, Courtesy of Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Photo by Arthur Evans Pink, traditionally associated with the soft and the permeable, has often become the occasion for a feminist cri de coeur in which Weatherford rewires the ways in which viewers link colors, forms, and content. This is particularly clear in works like and the tragic story of its female protagonist. Epic in scale and reach, the painting challenges what we think we know about the development of abstraction as a standalone discipline, instead prompting us to search out references outside the artwork even as we grapple with it as purely phenomenological experience. Simultaneously, Weatherford is signaling the existence of alternative art-historical narratives. If the evolution of Color Field painting is usually understood to be the result of a steady march toward the non-objective, looking out for notable appearances of pink leads us to artists like Paul Feeley (1910–1966), who allowed a very different emotional valence to suffuse his work. As poet and critic John Yau noted in a review in , “Feeley was intensely interested in a confounded figure-ground relationship; he was able to economically synthesize the formal and the comic; he was attentive to the erotic; his work clearly stands apart from Color Field painting.” An expanded field of this kind, which includes the psychological along with the formal, allows painting to reflect not only the experience of the viewer during the moment she stands before the canvas, but also her impressions, projections, and memories of experiences that are not directly related to abstract art, per se. Weatherford is one of her generation’s great innovators in this regard, as she has continuously pushed abstraction forward on numerous fronts, rooting her advances in material experimentation while asking ever more pointed questions about how painting conveys meaning and how it relates to the world—and not just the visual world—around it. (1992) is another large-scale pink work that departs from the stain-based vocabulary of late Color Field painting through the inclusion of silkscreened images of rose thorns. Weatherford inserts these representational forms in a complex, shifting, crepuscular composition that evokes the time of day to which its title refers. This move juxtaposes tropes from the still life genre, with all of the sharp fixity of subject matter and scope they imply, and diffuse, light-filled areas of color that, despite the horizontality of the canvas, go beyond landscape. Here is something as dream-like and unpredictable as a memory of a sleepless night. (1996), on the other hand, is a compact, thickly painted work that notably includes actual seashells and starfish along with oil and Flashe paints. Surface here is not just a place where pigment goes to rest. It’s a gravitational plane that attracts materials that would ordinarily find their way into sculptures, not paintings: a surface, in other words, that disrupts painting as much as it constitutes it, and that contributes a tangible sense of time, space, and texture. If the qualities of light that emanate from Weatherford’s heralded neon paintings tend to make us think of sky and weather, it is worth noting that there is an equally prominent side of her work that is dedicated to the earthy aspect of things. In fact, the basic duality of heaven and earth has been a generative principle for Weatherford since the beginning. Several explicit takes on this archetypal theme provide telling touchstones; among them is the comically sublime (2001), in which an anthropomorphic Earth, in the form of a horizon at night, seems to be smoking a joint. Otherworldly touches include what appear to be two moons hovering in the sky; more grounded ones can again be found in the non-painted elements that Weatherford affixes to the canvas. A feather is the whimsical “joint” between the Earth’s lips, and a single sequin adds its reflective shimmer to the pinkish expanse above it. Here pink and the subject of the heavens above come together in a single, compact statement. , the work at the heart of this presentation, shares these basic attributes, but takes on both the literal and metaphorical vastness of the cosmos. Given its prominence in the 20th-century collective imaginary, outer space has proven to be an august theme in contemporary art, especially since rendering something that stretches the mind to its limits presents productive formal challenges. Vija Celmins, for instance, has recreated found images of space in a variety of mediums, painstakingly applying paint or pencil marks, say, until she builds up fields of stars and the voids of emptiness that separate them. Weatherford is also a proponent of this material heterogeneity. To make each of the paintings mentioned thus far, she relied upon different sets of paints, materials, and supports. While the neon paintings represent a sustained body of work, each of them involves a series of decisions about how to prepare the gesso ground, apply her paints, and incorporate the neon bulbs as well as the cords and fixtures required to power and hold them. Each step requires a calibrated dance, an oscillation between improvisational speed and methodical planning. Even the sweeping marks that give its characteristic energy are laid down upon a calligraphic architecture of first pink strokes, visible in this studio shot taken early during the painting’s evolution, when the canvas is positioned on the floor. The importance of line in the finished composition is evident. Even when making gestures at this scale and in this medium, painting and drawing function as points on a continuum rather than separate disciplines, as our concurrent online exhibition of Weatherford’s recent paintings on paper also makes clear. Her brushstrokes are heroic on the one hand and intimate, even vulnerable, on the other, leaving behind a record of her movements around and over the canvas. The physicality here goes beyond the expressive dispersal of pigment onto a flat surface. It is also informed by the relative experience of space itself, which is reliant upon movement as well as stillness, action as well as perception. This relativity is at the core of what Weatherford evokes in . A lifelong interest in contemporary astrophysics and its philosophical ramifications provides a variety of cues, visual and otherwise, that inflect the painting process in subtle and surprising ways. According to the radical propositions of string theory, for example, our universe is one of several universes that intersect according to principles that scientists are still attempting to conceptualize. Einstein wondered about whether it was possible to move between disparate moments in space and time through hypothetical portals, known as wormholes, that might serve as shortcuts between past and future. , that opened in February 2020 at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, and will travel to SITE Santa Fe. Other solo exhibitions include shows at the Marian Miner Cook Athenaeum, Claremont Mc Kenna College, Claremont, California (2014); Todd Madigan Gallery, California State University at Bakersfield, California (2012); and LAXART, Los Angeles (2012). Recent group exhibitions include , Museum of Modern Art, New York (2014). Her work features in the permanent collections of many institutions, among them the Los Angeles County Museum of Art; Museum of Contemporary Art San Diego; Museum of Modern Art, New York; Tate Modern, London; Brooklyn Museum, New York; K11 Art Foundation, Hong Kong; and Museum of Contemporary Art, Los Angeles. In 2019, Lund Humphries published an in-depth monograph surveying the artist's oeuvre. To learn more about Mary Weatherford, please view these articles in Portrait by Antony Hoffman Photography of Mary Weatherford works by Fredrik Nilsen Studio, unless otherwise noted Space photography: Hubble’s sharpest view of the Orion Nebula, Courtesy of NASA, ESA, M. Robberto (Space Telescope Science Institute/ESA) and the Hubble Space Telescope Orion Treasury Project Team Every effort has been made to reach the copyright holders and obtain permission to reproduce the above material. Please get in touch with any inquiries or any information relating to unattributed content. part may be reproduced in any form without explicit written permission. Different types of Scaffolding used for various types of construction. The 8 types of scaffoldings are trestle, steel, patented, suspended, cantilever, single, double, kwikstage scaffolding etc. To understand these Scaffoldings completely lets first learn its definition and then the uses of various Type of Scaffoldings, and their uses. In this blog you’ll find the most important scaffolding types with their images and explanation. By understanding the meaning, usage, purpose and results of each type of Scaffolding. You can easily select the various types of Scaffolding required for your construction work. 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