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Gagosian Quarterly

June 3, 2020

nathaniel mary quinn

A statement from the artist.

Nathaniel Mary Quinn, Preciate it, Unk!, 2018, oil paint, paint stick, oil pastel, gouache, and acrylic gold leaf on linen mounted on wood panel, 20 × 20 inches (50.8 × 50.8 cm) © Nathaniel Mary Quinn

Nathaniel Mary Quinn, Preciate it, Unk!, 2018, oil paint, paint stick, oil pastel, gouache, and acrylic gold leaf on linen mounted on wood panel, 20 × 20 inches (50.8 × 50.8 cm) © Nathaniel Mary Quinn

Biting the hand that feeds you requires tremendous courage, for it is terribly difficult to abandon your feast of privilege and unassailable opportunities for the pursuit of American equality—more accurately speaking, human equality. Yet, great moral and ethical discord is caused by your silence and willful ignorance, by your fantasies of a world that has never existed for all people. Such is now made undeniably evident in the protests sweeping our country, forcing us to reckon with truth and justice, by law and humanity. Prejudice is an emotional, sustained commitment to ignorance, speaking not to the inferiority of Black and Brown folk but to the ominous inhumanity of hate and racism: a senseless, baseless disease that plagues all people.

In response to the acute situation across America, Gagosian Quarterly encourages our readers to get involved with the following nonprofit organizations, and more, to show support for communities of color in crisis:

American Civil Liberties Union FoundationBlack Lives Matter, and National Bailout Fund

Gisele Castro and Nathaniel Mary Quinn at exalt’s annual gala, New York, 2017

The Bigger Picture
Exalt: Youth Justice Can’t Stop

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.

Nathaniel Mary Quinn in his studio

Nathaniel Mary Quinn: In the Studio

Hear the painter describe the creation of a new work in this time-lapse documentation of his process.

Nathaniel Mary Quinn and Troy Carter

In Conversation
Nathaniel Mary Quinn and Troy Carter

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.

Nathaniel Mary Quinn, Brooklyn, New York, 2019.

Nathaniel Mary Quinn

Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
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.

Still from video Visions of the Self: Jenny Saville on Rembrandt

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.

Left: Jordan Belson, Berkeley, California, c. 1946. Photo: courtesy Estate of Jordan Belson. Right: Harry Smith (front) and Lionel Ziprin, New York City, c. 1952. Photo: Joanne Ziprin, courtesy Lionel Ziprin Archives

Delineators: Jordan Belson and Harry Smith

Raymond Foye tracks the relationship between the two mavericks, investigating their influence on one another and their enduring legacies.

Light blue title page with "Compass" in the center and white line radiating out.

Compass

A short story by Cleyvis Natera, published here on the occasion of the Quarterlys collaboration with pen America.

Gerhard Richter’s Helen (1963) on the cover of Gagosian Quarterly, Spring 2021

Now available
Gagosian Quarterly Spring 2021

The Spring 2021 issue of Gagosian Quarterly is now available, featuring Gerhard Richter’s Helen (1963) on its cover.

Francesca Woodman, Untitled, New York, 1979, chromogenic print

Becoming Together

Alison M. Gingeras and Jamieson Webster consider the paradigm shifts brought on by 2020’s biological, psychological, and social crises. The essay serves as an introduction to “New Interiorities,” a supplement they guest edited for the Winter 2020 issue of the Quarterly.

Oil on linen linen painting by Dennis Kardon, titled Transfixed by the Past, depicting a woman holding a snow globe in front of her face seated at a dining table.

You Should Leave

As part of “New Interiorities,” a supplement guest edited by Alison M. Gingeras and Jamieson Webster for the Winter 2020 issue of the Quarterly, Alissa Bennett writes on liminal spaces and self-contemplation within the work of Patricia Highsmith.

The Kitchen, 512 West 19th Street, New York

The Kitchen: Fifty-Year Anniversary

To celebrate the fiftieth anniversary of the trailblazing New York institution The Kitchen, we present an oral history that includes contributions from Laurie Anderson, Charles Atlas, Wade Guyton, Jacqueline Humphries, Joan Jonas, Ralph Lemon, and Anicka Yi. Statements organized by Christopher Bollen and Tim Griffin.