Menu

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, Richard, 2014 Charcoal, gouache, oil pastel, oil paint, and paint stick on Coventry vellum paper, 38 × 50 inches (96.5 × 127 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Richard, 2014

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

Nathaniel Mary Quinn, Diane, 2014 Charcoal, oil pastel, oil paint, paint stick, and gouache on Lenox paper, 37 × 37 inches (94 × 94 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Diane, 2014

Charcoal, oil pastel, oil paint, paint stick, and gouache on Lenox paper, 37 × 37 inches (94 × 94 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, 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

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.

Read more

Nathaniel Mary Quinn

Photo: Kyle Dorosz

Fairs, Events & Announcements

Nathaniel Mary Quinn, How Come Not Me, 2019 © Nathaniel Mary Quinn

Tour

Nathaniel Mary Quinn
Hollow and Cut

Saturday, September 14, 2019, 1pm
Gagosian, Beverly Hills

Gagosian director Ashley Stewart will lead a tour of the exhibition Nathaniel Mary Quinn: Hollow and Cut at Gagosian, Beverly Hills. The show features new composite portraits by the artist that explore the relationship between perception and memory. The paintings and works on paper probe deeply embedded experiences and emotions that are not often discussed in public by illuminating the subconscious aspects of the human psyche. To attend the free event, RSVP to bhtours@gagosian.com. Space is limited.

Nathaniel Mary Quinn, How Come Not Me, 2019 © Nathaniel Mary Quinn

Nathaniel Mary Quinn, Big Rabbit, Little Rabbit, 2017 © Nathaniel Mary Quinn

In Conversation

Nathaniel Mary Quinn, Eric N. Mack, Lorraine O’Grady

Thursday, May 30, 2019, 7–9pm
Brooklyn Museum, New York
brooklynmuseum.org

In a series of rapid-fire talks with Brooklyn Museum curators, Nathaniel Mary Quinn, Eric N. Mack, and Lorraine O’Grady will discuss their unique artistic practices, historical inspirations, and how their work expands the Western art-historical canon. The discussion is titled “Breaking the Canon.” To attend the event, purchase tickets at www.brooklynmuseum.org.

Nathaniel Mary Quinn, Big Rabbit, Little Rabbit, 2017 © Nathaniel Mary Quinn

Nathaniel Mary Quinn. Photo: Kyle Dorosz

New Representation

Nathaniel Mary Quinn

Gagosian is pleased to announce the representation of Nathaniel Mary Quinn. Collecting imagery that he tears, cuts, and overlaps on the walls of his studio, Quinn uses oil paint, charcoal, gouache, oil stick, and pastels to render facial features and details from sources both personal and found, covering parts of the canvas as he goes. Fragments of images taken from online searches, 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 with an alien other. By adapting the medium of collage and translating it into cohesive two-dimensionality, Quinn suggests that multiplicity is a perennial rather than fleeting state.

Download the full press release (PDF)

Nathaniel Mary Quinn. Photo: Kyle Dorosz

See all News for Nathaniel Mary Quinn

Museum Exhibitions

Chris Burden, How to Shrink L.A., 1999 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Closed

Dirty Protest
Selections from the Hammer Contemporary Collection

January 24–May 19, 2019
Hammer Museum, Los Angeles
hammer.ucla.edu

This exhibition highlights a lively mix of painting, sculpture, and media installations by more than thirty international established and emerging artists, drawn from the Hammer Museum’s collection. Work by Chris Burden and Nathaniel Mary Quinn is included.

Chris Burden, How to Shrink L.A., 1999 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Nathaniel Mary Quinn, You Ought to Be With Me, 2018 © Nathaniel Mary Quinn

Closed

Nathaniel Mary Quinn in
Dreamweavers

February 13–April 13, 2019
UTA Artist Space, Beverly Hills, California
utaartistspace.com

Dreamweavers contemplates the surreal in society against a vigorously shifting twenty-first century. The group exhibition examines the paradox of fact and fantasy through the lens of artists who operate from a deeply imaginative, often provocative, psychological space. Kasseem “Swizz Beatz” Dean has collaborated with UTA Artists Space and curator Nicola Vassell to present the show. Work by Nathaniel Mary Quinn is included.

Nathaniel Mary Quinn, You Ought to Be With Me, 2018 © Nathaniel Mary Quinn