News / Events


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 Space is limited.

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

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

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Photo: Kyle Dorosz


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

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

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

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

Gregory Crewdson, Red Star Express, 2018–19, digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Gregory Crewdson: An Eclipse of Moths

Gregory Crewdson discusses his new work with actor Cate Blanchett.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

Mary Weatherford, Orion’s Belt, 2016, Flashe and neon on linen.

Mary Weatherford: Train Yards

Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.

Louise Bonnet in her Los Angeles studio, 2020

Louise Bonnet

Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

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The cover of Emma Cline’s book "Daddy"

Northeast Regional

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Photo: Moneta Sleet, Jr., 1965. Johnson Publishing Company Archive. Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution.

Theaster Gates: Black Image Corporation

As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space. 

Isabelle Waldberg, with Construction (1943), in her studio, New York, 1943.

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Jacquelynn Baas profiles Isabelle Waldberg, writing on the sculptor’s many friendships and the influence of her singular creations.

Jay DeFeo working on The Rose (then titled Deathrose), photographed by Burt Glinn in 1960.

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Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.

Henri Matisse, The Music Lesson, 1917, oil on canvas, domestic interior scene of people in the livingroom at the piano, reading chair, and window

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John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding

The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.

Bebe Miller and Cynthia Oliver in motion dancing, mid-jump, against a white background

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The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.