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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, 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.

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Nathaniel Mary Quinn

Photo: Kyle Dorosz

Fairs, Events & Announcements

Nathaniel Mary Quinn. Photo: Ike Edeani

Art Fair

Frieze London Online
Nathaniel Mary Quinn

October 7–16, 2020

Gagosian is pleased to present new works by Nathaniel Mary Quinn for the online edition of Frieze London. A suite of drawings by Quinn will premiere concurrently on the Gagosian website and in the Frieze Viewing RoomIn addition, a selection of paintings and a large-scale work on paper will be on view at Gagosian, Davies Street, London, through November 21. With its wide plate glass window, this storefront exhibition space will act as the artist’s “solo booth” for Frieze London.

Nathaniel Mary Quinn. Photo: Ike Edeani

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Art Fair

Basel Online 2020

In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Photo: Kyle Dorosz

Video

Nathaniel Mary Quinn
Dominique Clayton

Nathaniel Mary Quinn speaks with Dominique Clayton from the Broad, Los Angeles, about his approach to figuration and the central role that empathy and vulnerability play within his studio practice. He discusses how social distancing has reinforced his perspective on the important role of art and explains how the writings of Henry David Thoreau, which he has been reading while practicing social distancing, have inspired him.

Photo: Kyle Dorosz

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Museum Exhibitions

Cindy Sherman, Untitled (#138), 1984, Sheldon Museum of Art, University of Nebraska–Lincoln © Cindy Sherman

On View

Person of Interest

Through December 31, 2020
Sheldon Museum of Art, University of Nebraska–Lincoln
sheldonartmuseum.org

Exploring nuances in portraiture from the late nineteenth century to today—and testing the very definition of the genre—Person of Interest presents depictions of the literal and abstracted body from Sheldon’s rich holdings and selected loans. This exhibition asks open-ended questions about self-fashioning, cultural memory, gender identity, and the performance of identity. In doing so, it prompts conversations about race and representation, institutional power, and lived experiences. Work by Nathaniel Mary Quinn, Jenny Saville, and Cindy Sherman is included.

Cindy Sherman, Untitled (#138), 1984, Sheldon Museum of Art, University of Nebraska–Lincoln © Cindy Sherman

Nathaniel Mary Quinn, Ms. Lykes, 2015 © Nathaniel Mary Quinn

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Duro Olowu
Seeing Chicago

February 29–September 13, 2020
Museum of Contemporary Art, Chicago
mcachicago.org

Nigerian-born British designer Duro Olowu curates a show that reimagines relationships between artists and objects across time, media, and geography. Moving away from traditional exhibition formats, Olowu combines photographs, paintings, sculptures, and films in dense and textural scenes that incorporate his own work. Work by Brice Marden and Nathaniel Mary Quinn is included.

Nathaniel Mary Quinn, Ms. Lykes, 2015 © Nathaniel Mary Quinn

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

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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

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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