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Nathaniel Mary Quinn

Nathaniel Mary Quinn, Miss Chairs, 2014 Charcoal, gouache, oil pastel, and oil paint on Coventry vellum paper, 50 × 43 ½ inches (127 × 110.5 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Miss Chairs, 2014

Charcoal, gouache, oil pastel, and oil paint on Coventry vellum paper, 50 × 43 ½ inches (127 × 110.5 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Junebug, 2015 Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic silver leaf on Coventry vellum paper, 41 × 44 inches (104.1 × 111.8 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Junebug, 2015

Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic silver leaf on Coventry vellum paper, 41 × 44 inches (104.1 × 111.8 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Charles Re-Visited, 2015 Charcoal, soft pastel, oil pastel, paint stick, and gouache on Coventry vellum paper, 50 × 38 inches (127 × 96.5 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Charles Re-Visited, 2015

Charcoal, soft pastel, oil pastel, paint stick, and gouache on Coventry vellum paper, 50 × 38 inches (127 × 96.5 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Erica with the Pearl Earring, 2015 Charcoal, gouache, soft pastel, oil pastel, oil paint, and paint stick on Coventry vellum paper, 25 ½ × 25 ½ inches (64.8 × 64.8 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Erica with the Pearl Earring, 2015

Charcoal, gouache, soft pastel, oil pastel, oil paint, and paint stick on Coventry vellum paper, 25 ½ × 25 ½ inches (64.8 × 64.8 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Elephant Feet, 2016 Charcoal, gouache, soft pastel, and oil pastel on Coventry vellum paper, 44 × 44 ⅝ inches (112 × 113 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Elephant Feet, 2016

Charcoal, gouache, soft pastel, and oil pastel on Coventry vellum paper, 44 × 44 ⅝ inches (112 × 113 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Ahhhhh, 2017 Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Conventry vellum paper, 17 ¾ × 25 ¼ inches (45.1 × 64.1 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Ahhhhh, 2017

Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Conventry vellum paper, 17 ¾ × 25 ¼ inches (45.1 × 64.1 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Buck Nasty: Player Haters Ball, 2017 Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Coventry vellum paper, 35 × 34 ½ inches (88.9 × 87.6 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Buck Nasty: Player Haters Ball, 2017

Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Coventry vellum paper, 35 × 34 ½ inches (88.9 × 87.6 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Uncle Dope, 2017 Charcoal, gouache, soft pastel, oil pastel, and paint stick on Coventry vellum paper, 24 × 17 ½ inches (60.96 × 44.45 cm)© Nathaniel Mary Quinn. Photo: Michael Tropea

Nathaniel Mary Quinn, Uncle Dope, 2017

Charcoal, gouache, soft pastel, oil pastel, and paint stick on Coventry vellum paper, 24 × 17 ½ inches (60.96 × 44.45 cm)
© Nathaniel Mary Quinn. Photo: Michael Tropea

Nathaniel Mary Quinn, Preciate it, Unk!, 2018 Oil paint, paint stick, oil pastel, gouache, and acrylic gold leaf on linen mounted on wood panel, 20 × 20 inches (50.8 × 50.8 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Preciate it, Unk!, 2018

Oil paint, paint stick, oil pastel, gouache, and acrylic gold leaf on linen mounted on wood panel, 20 × 20 inches (50.8 × 50.8 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Duckworth, 2018 Oil paint, paint stick, oil pastel, and gouache on linen, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Duckworth, 2018

Oil paint, paint stick, oil pastel, and gouache on linen, 36 × 36 inches (91.4 × 91.4 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Waiting to Hit the Lottery, 2019 Oil paint, paint stick, gouache, and soft pastel on linen, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Waiting to Hit the Lottery, 2019

Oil paint, paint stick, gouache, and soft pastel on linen, 36 × 36 inches (91.4 × 91.4 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Dave Forsythe, 2019 Oil paint, paint stick, gouache, charcoal, soft pastel, and oil pastel on linen over wood panel, 47 ⅝ × 47 ⅝ inches (121 × 121 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas© Nathaniel Mary Quinn. Photo: Hugard & Vanoverschelde

Nathaniel Mary Quinn, Dave Forsythe, 2019

Oil paint, paint stick, gouache, charcoal, soft pastel, and oil pastel on linen over wood panel, 47 ⅝ × 47 ⅝ inches (121 × 121 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas
© Nathaniel Mary Quinn. Photo: Hugard & Vanoverschelde

Nathaniel Mary Quinn, No Wedding, No Cake; No Prom, No Date, 2020 Oil paint, paint stick, oil pastel, and gouache on linen over wood panel, 48 × 48 inches (121.9 × 121.9 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, No Wedding, No Cake; No Prom, No Date, 2020

Oil paint, paint stick, oil pastel, and gouache on linen over wood panel, 48 × 48 inches (121.9 × 121.9 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, The Lesson of Cut-Rate Liquor, 2021 Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen over wood panel, in 2 parts, overall: 36 × 72 inches (91.4 × 182.9 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, The Lesson of Cut-Rate Liquor, 2021

Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen over wood panel, in 2 parts, overall: 36 × 72 inches (91.4 × 182.9 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

About

Each of us is a cacophony of experience. Not just a seamless self.
—Nathaniel Mary Quinn

In his collage-like composite portraits derived from sources both personal and found, Nathaniel Mary Quinn probes the relationship between visual memory and perception. Fragments of images taken from online sources, fashion magazines, and family photographs come together to form hybrid faces and figures that are at once neo-Dada and adamantly realist, evoking the intimacy and intensity of a face-to-face encounter.

Quinn’s passion for drawing began at a young age, while he was growing up on the South Side of Chicago. In ninth grade, he received a scholarship to attend Culver Academies boarding school in Indiana—but a month after arriving at the school, Quinn received news from his father that his mother had suddenly passed away. He returned to Chicago for Thanksgiving the following month, only to find that the rest of his family—his father and brothers—had abandoned his childhood home without a trace. This jarring experience further propelled Quinn’s art, and he decided to commit himself to his education, adding his mother’s name, Mary, to his name so that she would appear on all of his degrees. He received a BA in art and psychology from Wabash College, Crawfordsville, Indiana, in 2000, and an MFA from New York University in 2002.

After completing his MFA, Quinn moved to the Bedford-Stuyvesant neighborhood of Brooklyn, where he continued to paint while working as a teacher for at-risk youth. In 2013 he had a breakthrough, developing a new technique that would draw wide attention to his work. The mother of one of his students invited Quinn to show five works in an art salon that she was hosting in her home. On the day of the opening, however, he only had four works finished. Improvising, he began to paint a blurred memory of his past, piecing together fragments of images from his subconscious. When he stepped back, he recognized the mouth of his brother Charles.

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Nathaniel Mary Quinn

Photo: Kyle Dorosz

Fairs, Events & Announcements

Nathaniel Mary Quinn. Photo: Kyle Dorosz

In Conversation

The Un-Private Collection
Nathaniel Mary Quinn and Donna Augustin-Quinn

Saturday, November 20, 2021, 2pm
The Broad, Los Angeles
www.thebroad.org

As part of the Un-Private Collection, an ongoing series of public programs organized by the Broad, Los Angeles, Nathaniel Mary Quinn will be joined by actress, director, writer, and producer Donna Augustin-Quinn. The pair will discuss Quinn’s work in the Broad’s collection, as well as the artist’s practice at large. The talk is being held in conjunction with the exhibition Since Unveiling: Selected Acquisitions of a Decade, on view at the Broad through April 3, 2022. To attend the event, purchase tickets at ticketing.thebroad.org.

Nathaniel Mary Quinn. Photo: Kyle Dorosz

Photo: Eddie Lee

Artist Spotlight

Nathaniel Mary Quinn

January 27–February 2, 2021

In his composite portraits derived from sources both personal and found, Nathaniel Mary Quinn probes the relationship between visual memory and perception. Fragments of images taken from online sources, fashion magazines, and family photographs come together to form hybrid faces and figures that are at once Dadaesque and adamantly realist, evoking the intimacy and intensity of a face-to-face encounter.

Photo: Eddie Lee

Nathaniel Mary Quinn, Breonna Taylor, 2020 © Nathaniel Mary Quinn

Support

Show Me the Signs

November 10–30, 2020

Show Me the Signs is an online benefit auction hosted by Artfizz to support the families of Black women killed by the police. Over 100 artists have created pieces in the form of protest signs for the auction, with 100 percent of the proceeds going to the African American Policy Forum’s #SayHerName Mothers Network. Work by Louise Bonnet, Piero Golia, Meleko Mokgosi, Nathaniel Mary Quinn, and Nancy Rubins is included. To register to bid, visit artfizz.com.

Nathaniel Mary Quinn, Breonna Taylor, 2020 © Nathaniel Mary Quinn

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Museum Exhibitions

Installation view, Nathaniel Mary Quinn, Le Consortium, Dijon, France, February 4–May 22, 2022. Artwork © Nathaniel Mary Quinn. Photo: Rebecca Fanuele, courtesy Consortium Museum

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Nathaniel Mary Quinn

February 4–May 22, 2022
Le Consortium, Dijon, France
www.leconsortium.fr

This first solo exhibition in France of work by Nathaniel Mary Quinn, curated by Le Consortium’s codirector Eric Troncy, brings together fifteen paintings unfolding around The Director (2019), which was gifted to the museum’s collection. Quinn’s striking composite portraits draw on both memory and fragments of found images sourced from magazines, personal photographs, and the Internet.

Installation view, Nathaniel Mary Quinn, Le Consortium, Dijon, France, February 4–May 22, 2022. Artwork © Nathaniel Mary Quinn. Photo: Rebecca Fanuele, courtesy Consortium Museum

Nathaniel Mary Quinn, Uncle Dope, 2017 © Nathaniel Mary Quinn. Photo: Michael Tropea

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Black American Portraits

November 7, 2021–April 17, 2022
Los Angeles County Museum of Art
www.lacma.org

Remembering Two Centuries of Black American Art, guest curated by David Driskell at the Los Angeles County Museum of Art in 1976, and complementing the presentation at lacma of The Obama Portraits by Kehinde Wiley and Amy Sherald, Black American Portraits reframes portraiture to center Black American subjects, sitters, and spaces. Spanning more than two centuries from circa 1800 to the present day, this selection of approximately 140 works draws primarily from lacma’s permanent collection and chronicles the ways in which Black Americans have used portraiture to envision themselves in their own eyes. Countering a visual culture that often demonizes Blackness and fetishizes the spectacle of Black pain, these images center love, abundance, family, community, and exuberance. Work by Titus Kaphar and Nathaniel Mary Quinn is included.

Nathaniel Mary Quinn, Uncle Dope, 2017 © Nathaniel Mary Quinn. Photo: Michael Tropea

Taryn Simon, Press XL, from the series Paperwork and the Will of Capital, 2015, Brooklyn Museum, New York © Taryn Simon

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The Slipstream
Reflection, Resilience, and Resistance in the Art of Our Time

May 14, 2021–April 10, 2022
Brooklyn Museum, New York
www.brooklynmuseum.org

The Slipstream draws examples from Brooklyn Museum’s contemporary art collection to contemplate the profound disruption that occurred in 2020. Borrowing its title from an aeronautical term that refers to the pull of the current that is left in the wake of a large and powerful object, the exhibition examines the placement and displacement of power that runs through American history and continues today. The show features more than sixty works by multiple generations of artists from the 1960s to the present day, including Titus Kaphar, Rick Lowe, Nathaniel Mary Quinn, and Taryn Simon.

Taryn Simon, Press XL, from the series Paperwork and the Will of Capital, 2015, Brooklyn Museum, New York © Taryn Simon

Nathaniel Mary Quinn, Pure Insecurity, 2019 © Nathaniel Mary Quinn

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Since Unveiling
Selected Acquisitions of a Decade

November 20, 2021–April 3, 2022
The Broad, Los Angeles
www.thebroad.org

Since Unveiling highlights artworks that have entered the Broad collection in the last decade, with some acquisitions completed as recently as this year. The fifty-seven works on view by twenty-nine artists represent many facets of contemporary art, from explorations of abstraction and figuration to examinations of place, identity, and narrative. Many works witness, critique, and interpret current events, speaking to politics and power structures. Work by Gregory Crewdson, Andreas Gursky, and Nathaniel Mary Quinn are included.

Nathaniel Mary Quinn, Pure Insecurity, 2019 © Nathaniel Mary Quinn

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