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Ann Weathersby

@annweathersby

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I’m just back from a magical week in Vermont with @printsonpaper_studio, and captivated! It was so much fun to be in community and learn more about the photogravure process. I especially loved experimenting with color through inks, duotones, and chine collé, and on the last day made a few larger 20x24 prints. Of the two videos, the first print is a duotone, and the second is a duotone with chine collé. I love this process at both a small and larger scale. Nathanael and Walker are amazing teachers, and as a bonus, the wonderful Natalie Ivis was at the studio on our last day. Thank you @n._kooperkamp @walkerblackwell.tiff @natylonglegs 🩷🩷🩷 by @annweathersby

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2 months ago

Repost from @harpersmagazine
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From new stories by Diane Williams in our September issue. Tap the link in our bio to read more. ⁠
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Artwork by Ann Weathersby (@annweathersby) for Harper’s Magazine © The artist⁠
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I loved working on this commission for @harpersmagazine, creating artwork for Diane Williams’ wondrous fiction. Her stories are beautiful, sharp, unsettling, and potent, all with an extraordinary economy of means. Thank you @kathumphries for seeing me so clearly and pairing me with such an extraordinary writer! 💞 by @annweathersby

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2 months ago

“Passing the mirror you see yourself burning, here in the glass” by Ann Weathersby, on view in “Eros Rising” curated by Allen Frame, on view through July 2 at CLAMP.
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In CLAMP’s main space, Thomas Lanigan-Schmidt’s opulent crowns and zany candy dishes feature lollipops of Bill Costa beefcake; the two artists’ contrasting aesthetics ripple through the accompanying salon-style group show, “Eros Rising,” curated by Allen Frame, which tracks a century of erotic tension in photographs, drawings, and paintings by forty-one artists.
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© Ann Weathersby; “Passing the mirror you see yourself burning, here in the glass,” 2026; Hand-cut kilnformed glass; 17.25 x 13.25 x 1.5 inches inches.
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@annweathersby @allenframenyc #allenframe #erosrising #glass #groupshow taken in CLAMP by @annweathersby

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5 months ago

Collage by @annweathersby for Diane Williams’s ‘Five Stories’ in the September issue of @harpersmagazine

“In this chapter, at some point, we should seek to understand these people, as if we could say to them—We have been talking about you. Mind if we ask you a few questions?

We do know that his former wife often waits to meet a friend or a stranger, has enthusiasm for entertainment, inclines more often to monotony.

She does enjoy it when the wind comes in through the windows and the screen doors—also the quality of calm—the black, blue, and gold of the night, when it finally arrives.

Her house, once his too, is made of brick and flint and is situated at the beginning of a broad road, which runs along a canal.

Something more about the house—fittingly, it has an exposed location.

What else to reveal?

Here are moments of a domestic lunch scene from their past that likely spotlight a statement from either one of them akin to—Don’t boss me around!

They ate mayonnaise-and-egg sandwiches, according to Diane W., who insists on carrying out this narration.

This could be a story about sexual encounters...”

More about Weathersby’s practice:

“[Weathersby is…] a lens-based artist driven by her love of female writers whose use of language and narrative create a private space for the
reader’s autobiography to meld with the protagonists. Her work coalesces in the realms where gender and sexuality intersect with the personal mythologies we create.

Through a practice that combines photography, ephemera, text, glass, and textiles, her work explores and challenges how these idealized prescriptions for femininity generate personal mythologies which can, if unconsidered, promote simultaneous subservience and self-objectification.”

Swipe for more of Ann’s work.

Link in bio to the fiction.

Links in stories (for those inclined to read more short fiction this Sunday morning) to Williams’s previous fiction in Harper’s.

‘As if you could no longer slip back into your body after a dream,’ 2026

Hand-cut kilnformed glass
@annweathersby

Redacted book cover, WIP
@annweathersby

“Female radicals…Joan of Arc, Bernardine Dohrn, Jennifer Dohrn, Kathy Boudin, Jane Alpert, and Gra by @annweathersby

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a month ago

Cine collé 🤍 @printsonpaper_studio by @annweathersby

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2 months ago

I love you, Dolly! ♥️🕊️

🪽Here you come again, favorite song, age 7🪽

@casamagazinesnyc ✨ by @annweathersby

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2 months ago

To my @svabfaphotovideo Senior Thesis class, congratulations on your graduation! We had a few epic field trips, including the Met to see the Lorna Simpson and Man Ray shows, MoMa to see New Photography and Ruth Asawa, Printed Matter to see the Paris Photo-Aperture PhotoBook Awards nominees, ICP to see the Atget, Haruka Sakaguchi, Hard Copy, and Latitudes shows, and gallery and studio visits! Thank you for your beautiful work ethic and dedication! You make me feel hopeful. 🔥❤️ by @annweathersby

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5 months ago

‘The body rends, the sky bursts’
2026, Hand-cut kilnformed glass

Tomorrow is the last day for ‘Autofictions’ @candicemadey_gallery! This beautiful show holds tender and singular ways of being, becoming. I’m so grateful to have been a part of it. Thank you, Candice and Isabel @isabelwalston! 💗💗

‘Autofictions’ brings together five artists working in photography—Darrel Ellis, Libuše Jarcovjáková, Abby Robinson, Gail Thacker, and Ann Weathersby. The exhibition’s title references the recent wave of exceptional literary fiction by such writers as Annie Ernaux, Karl Ove Knausgård, Edouard Louis, Garth Greenwell, Ben Lerner, Chris Kraus, Ocean Vuong, and many others. Emerging from a long tradition of autobiographical novelists, including Proust, this tendency finds a parallel in photography—from Claude Cahun, a contemporary of Proust, to 1970s photographers such as Friedl Koubelka and Abby Robinson, and in seminal works like Nan Goldin’s ‘The Ballad of Sexual Dependency’ in the 1980s. The persistence of the diaristic and the performative gives the work a self-referential narrative shape.

Ann Weathersby’s wall-based sculptures begin with research and collection. The artist has amassed an extensive archive of vernacular photography and rare vintage books from which she culls to build her compositions. In recent works, images of anonymous women are fossilized within colored glass panels that recall Minimalist sculpture. Removed from any original context, the found images and their anonymous subjects evoke a distant familiarity. The works’ titles are appropriated from texts by Weathersby’s favorite writers, such as Emily Dickinson, Marguerite Duras, Annie Ernaux, Clarice Lispector, and Virginia Woolf. Works in ‘Autofictions’ are titled from Sophie Lewis’s translation of ‘Angst’ by Hélène Cixous.

‘Autofictions’ is on view at 1 Rivington Street through Friday, May 22. Preview the exhibition at the link in bio.

Please swipe for work details! ♾️📖🪞

‘The body rends, the sky bursts’
2026
Hand-cut kilnformed glass
17 7/8 x 13 7/8 inches (framed) by @annweathersby

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5 months ago

‘Autofictions’ brings together five artists working in photography—Darrel Ellis, Libuše Jarcovjáková, Abby Robinson, Gail Thacker, and Ann Weathersby. The exhibition’s title references the recent wave of exceptional literary fiction by such writers as Annie Ernaux, Karl Ove Knausgård, Edouard Louis, Garth Greenwell, Ben Lerner, Chris Kraus, Ocean Vuong, and many others. Emerging from a long tradition of autobiographical novelists, including Proust, this tendency finds a parallel in photography—from Claude Cahun, a contemporary of Proust, to 1970s photographers such as Friedl Koubelka and Abby Robinson, and in seminal works like Nan Goldin’s ‘The Ballad of Sexual Dependency’ in the 1980s. The persistence of the diaristic and the performative gives the work a self-referential narrative shape.

Ann Weathersby’s wall-based sculptures begin with research and collection. The artist has amassed an extensive archive of vernacular photography and rare vintage books from which she culls to build her compositions. In recent works, images of anonymous women are fossilized within colored glass panels that recall Minimalist sculpture. Removed from any original context, the found images and their anonymous subjects evoke a distant familiarity. The works’ titles are appropriated from texts by Weathersby’s favorite writers, such as Emily Dickinson, Marguerite Duras, Annie Ernaux, Clarice Lispector, and Virginia Woolf. Works in ‘Autofictions’ are titled from Sophie Lewis’s translation of ‘Angst’ by Hélène Cixous.

‘Autofictions’ is on view at 1 Rivington Street through Friday, May 22. Preview the exhibition at the link in bio.

#AnnWeathersby
‘As if you could no longer slip back into your body after a dream’, 2026
Hand-cut kilnformed glass
17 7/8 x 13 7/8 inches (framed) by @annweathersby

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5 months ago

If you’re in NYC these next several weeks, please visit @candicemadey_gallery on the LES! I’m very excited to be showing new works in 𝘈𝘶𝘵𝘰𝘧𝘪𝘤𝘵𝘪𝘰𝘯𝘴, with Darrell Ellis, Libuše Jarcovjáková, Abby Robinson, and Gail Thacker. There is a simultaneous show of dreamy paintings by Tessa Greene O’Brien.

Through May 22
1 Rivington Street
Tues-Sat, 11-6, and by appointment
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𝘚𝘶𝘥𝘥𝘦𝘯𝘭𝘺 𝘸𝘩𝘢𝘵 𝘸𝘦 𝘯𝘦𝘷𝘦𝘳 𝘬𝘯𝘦𝘸 𝘪𝘴 𝘬𝘯𝘰𝘸𝘯
Kilnformed glass
17.25 x 13.25 inches (framed)
2026
(𝘈𝘯𝘨𝘴𝘵, Hélène Cixous)
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Please swipe for work details!
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“CANDICE MADEY is pleased to present 𝘈𝘶𝘵𝘰𝘧𝘪𝘤𝘵𝘪𝘰𝘯𝘴, an exhibition of five photographers — Darrell Ellis, Libuše Jarcovjáková, Abby Robinson, Gail Thacker, and Ann Weathersby. These artists’ works blur the boundaries between documentary and fiction while playfully exploring gender dynamics and genres of portraiture and self-portraiture. Each of the artists in 𝘈𝘶𝘵𝘰𝘧𝘪𝘤𝘵𝘪𝘰𝘯𝘴 is highly experimental, creating narrative through unexpected processes, structures, and acute emotional resonance.” by @annweathersby

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6 months ago

I love Annie Ernaux and was thrilled to be included in 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 𝘢 𝘞𝘰𝘮𝘢𝘯: 𝘙𝘦𝘧𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘯 𝘈𝘯𝘯𝘪𝘦 𝘌𝘳𝘯𝘢𝘶𝘹 this past fall at Eastern Connecticut State University. Organized by Julia Wintner, Gallery Director, and Michele Bacholle, Professor in French and Women’s Studies, the exhibition centered themes of Ernaux’s autofiction, specifically “her reflections on the liminal state between girlhood and womanhood,” and connection with the philosophy of Simone de Beauvoir. Exhibited artists included:

Valérie Belin
Mary Frank
Blanch Johnson
Louise Lawler
Colette Lumiere
Dana Nechmad
Melissa Ann Pinney
Elaine Reichek
Lorna Simpson
Grace Wapner
Ann Weathersby

I am grateful to have shown some older works along with several new ones specifically titled for Ernaux’s 𝘈 𝘎𝘪𝘳𝘭’𝘴 𝘚𝘵𝘰𝘳𝘺,

𝘐𝘵 𝘪𝘴 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘵𝘪𝘮𝘦 𝘐 𝘸𝘪𝘭𝘭 𝘩𝘢𝘷𝘦 𝘮𝘺 𝘣𝘰𝘥𝘺

𝘐’𝘮 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘸𝘩𝘰 𝘪𝘴 𝘸𝘳𝘪𝘵𝘪𝘯𝘨

𝘚𝘩𝘦 𝘪𝘴 𝘯𝘰𝘵 𝘸𝘩𝘰 𝘵𝘩𝘦𝘺 𝘴𝘢𝘺 𝘴𝘩𝘦 𝘪𝘴

𝘕𝘰 𝘰𝘯𝘦 𝘣𝘦𝘴𝘪𝘥𝘦𝘴 𝘵𝘩𝘪𝘴 𝘨𝘪𝘳𝘭 𝘴𝘰 𝘵𝘩𝘰𝘳𝘰𝘶𝘨𝘩𝘭𝘺 𝘧𝘪𝘭𝘭𝘴 𝘮𝘺 𝘮𝘦𝘮𝘰𝘳𝘺 by @annweathersby

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8 months ago

Some new color tests. In reality, the dark pink is a bit lighter, and the light pink is a bit heavier. by @annweathersby

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9 months ago