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 firstname.lastname@example.org. Space is limited.
Nathaniel Mary Quinn, How Come Not Me, 2019 © Nathaniel Mary Quinn
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
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
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
Through September 27, 2020
Museum of Contemporary Art, Chicago
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
Selections from the Hammer Contemporary Collection
January 24–May 19, 2019
Hammer Museum, Los Angeles
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 in
February 13–April 13, 2019
UTA Artist Space, Beverly Hills, California
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