June 3, 2020
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
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 Foundation, Black Lives Matter, and National Bailout Fund
On the eve of ECHOES FROM COPELAND, an exhibition of new paintings at Gagosian, New York, Nathaniel Mary Quinn met with Ashley Stewart Rödder to discuss the genesis of the works he’s been creating, their literary origins, and his evolving approach to the practices—and intersections—of painting and drawing.
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.
Hear the painter describe the creation of a new work in this time-lapse documentation of his process.
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.
Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
Mark Franko considers how Emily Coates resurrects the spirit of George Balanchine’s American beginnings through archival research, spoken dialogue, and movement in her performance Tell Me Where It Comes From.