Nathaniel Mary Quinn in conversation with Troy Carter, Hammer Museum, Los Angeles, September 10, 2019; introduction by Ann Philbin; video: courtesy Hammer Museum, Los Angeles; Nathaniel Mary Quinn: Hollow and Cut, Gagosian, Beverly Hills, September 11–October 19, 2019
September 24, 2019
Nathaniel Mary Quinn and Troy Carter
On the eve of 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.
Nathaniel Mary Quinn
A statement from the artist.
Nathaniel Mary Quinn
Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
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.
David Reed and Katharina Grosse met at Reed’s New York studio in the fall of 2019 to talk about his newest paintings, the temporal aspects of both artists’ practice, and some of their mutual inspirations.
Carlos Valladares explores the cinema of Pier Paolo Pasolini, tracking the developments and lasting influence of the auteur’s singular career.
On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.
Nina Simone, Our National Treasure
Text by Salamishah Tillet.
Nature and Inspiration: Henry Moore at Houghton Hall
Sebastiano Barassi reflects on the centrality of nature in the work of Henry Moore—as form, material, inspiration, and site.
Andy Warhol: Everything Is Good
Richard Hell writes about the “transcendentally camp” Pop artist, portraitist of daily life.
Course of Empire
Ed Ruscha sat down with Tom McCarthy and Elizabeth Kornhauser, curator at the Metropolitan Museum of Art, to discuss the nineteenth-century artist Thomas Cole, whose Course of Empire paintings inspired a series of works by Ruscha more than a century later.