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.
Nathaniel Mary Quinn. Photo: Kyle Dorosz
Nathaniel Mary Quinn, Eric N. Mack, Lorraine O’Grady
Thursday, May 30, 2019, 7–9pm
Brooklyn Museum, New York
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
Gagosian Launches Art Advisory Venture, Announces Andrew Fabricant as Gagosian COO, and Establishes Global Advisory Board of Gagosian Directors
After a landmark year of exhibitions and sales, Gagosian Gallery, Inc., announces three initiatives: the launch of Gagosian Art Advisory, to be led by Laura Paulson; the appointment of Andrew Fabricant to the recently created position of Chief Operating Officer of the gallery; and the establishment of a global Advisory Board to the gallery, comprised of senior directors who oversee strategy and business development, artist relationships and exhibitions, information and technology, and infrastructure.
Marc Newson & Derek Blasberg
Marc Newson tells Derek Blasberg about his newest creations, explaining the backstory of these ornate works.
Gagosian Quarterly Summer 2019
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Andy Warhol: Everything Is Good
Richard Hell writes about the “transcendentally camp” Pop artist, portraitist of daily life.
Frieze Sculpture New York: An Interview with Brett Littman
The inaugural presentation of Frieze Sculpture New York at Rockefeller Center opened on April 25, 2019. Before the opening, Brett Littman, the director of the Isamu Noguchi Foundation and Garden Museum and the curator of this exhibition, told Wyatt Allgeier about his vision for the project and detailed the artworks included.
Roy Lichtenstein: 1961 to 1965
Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.
Arakawa: Diagrams for the Imagination
The exhibition Arakawa: Diagrams for the Imagination receives a closer look by Gagosian director Ealan Wingate. In this video, he discusses the artist’s arrival in New York and examines the importance of maps and language in Arakawa’s work.
Jeff Wall: The World as It Appears
The artist speaks with David Rimanelli about his newest works, the physicality of photography, and the persistence of certain motifs throughout his career.
Time by Dance by Paik
Gillian Jakab considers the role of choreography in Nam June Paik’s 1989 video installation Fin de Siècle II.
Zeng Fanzhi on Cézanne, Morandi, and Sanyu
Zeng Fanzhi speaks about curating the exhibition Cézanne, Morandi, and Sanyu at Gagosian, Hong Kong, and the connections between the three artists’ works. Interview by Jin Jing.
David Bailey: The Sixties
The photographer speaks about his signature portraits of the 1960s, recounting how he came to photograph such luminaries of the era as Mick Jagger, Jean Shrimpton, and Andy Warhol, among many others.
Helen Frankenthaler: Sea Change
Elizabeth Smith, executive director of the Helen Frankenthaler Foundation, and curator John Elderfield discuss a decade of Frankenthaler’s work on the occasion of her first exhibition of paintings in Rome.
Anna Eavis, the curatorial director of English Heritage, traces the history of Kenwood House and details the remarkable collection of paintings that reside there.