Artist Spotlight
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.
The Artist Spotlight series highlights the work of individual artists for one week each month. Launched in spring 2020 as a weekly platform, the series is now in its second season and is presented as a regular part of the gallery’s programming. Each Artist Spotlight features new online content, and artwork by the artist is made available with pricing information for forty-eight hours only.
Artist Spotlight: Nathaniel Mary Quinn features a new painting by the artist. For more information, please contact the gallery at collecting@gagosian.com.
Photo: Eddie Lee
As 2020 came to a close, Nathaniel Mary Quinn spoke with Gisele Castro, executive director of exalt, a New York City nonprofit dedicated to transforming the lives of court-involved youth by providing a path to success through effective educational engagement. Quinn is a former educator at exalt and now serves as a member of the organization’s board.
Hear the painter describe the creation of a new work in this time-lapse documentation of his process.
A statement from the artist.
On the evening before the opening of his first exhibition with Gagosian, in Beverly Hills, Nathaniel Mary Quinn joined Troy Carter for a conversation at LA’s Hammer Museum. They spoke about deliverance, Quinn’s new work, and what drives him to make art.
Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
