Video
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.
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Artist Spotlight
Nathaniel Mary Quinn
January 27–February 2, 2021
In his composite portraits derived from sources both personal and found, Nathaniel Mary Quinn probes the relationship between visual memory and perception. Fragments of images taken from online sources, fashion magazines, and family photographs come together to form hybrid faces and figures that are at once Dadaesque and adamantly realist, evoking the intimacy and intensity of a face-to-face encounter.
Photo: Eddie Lee
Support
Cecily Brown, Giuseppe Penone, and Nathaniel Mary Quinn in
100 Drawings from Now
October 7, 2020–January 17, 2021
Drawing Center, New York
drawingcenter.org
The benefit exhibition 100 Drawings from Now features drawings made by an international group of artists since early 2020, providing a snapshot of artistic production during the period of profound global unrest that has resulted from the ongoing health and economic crises, as well as the surge of activism in response to systemic racism, social injustice, and police brutality in the United States. Together, the donated works spotlight the urgency, intimacy, and universality of drawing during moments of upheaval and isolation. Proceeds from the sales will support the Drawing Center and the artists. Work by Cecily Brown, Giuseppe Penone, and Nathaniel Mary Quinn is included.
Nathaniel Mary Quinn, Treasure Hunt #2, 2020 © Nathaniel Mary Quinn
Tour
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 [email protected]. Space is limited.
Nathaniel Mary Quinn, How Come Not Me, 2019 © Nathaniel Mary Quinn
Now available
Gagosian Quarterly Summer 2024
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
Nan Goldin: Sisters, Saints, Sibyls
Michael Cary explores the history behind, and power within, Nan Goldin’s video triptych Sisters, Saints, Sibyls. The work will be on view at the former Welsh chapel at 83 Charing Cross Road, London, as part of Gagosian Open, from May 30 to June 23, 2024.
Jane Fonda: On Art for a Safe and Healthy California
Art for a Safe and Healthy California is a benefit exhibition and auction jointly presented by Jane Fonda, Gagosian, and Christie’s to support the Campaign for a Safe and Healthy California. Here, Fonda speaks with Gagosian Quarterly’s Gillian Jakab about bridging culture and activism, the stakes and goals of the campaign, and the artworks featured in the exhibition.
Notes to Selves, Trains of Thought
Dieter Roelstraete, curator at the Neubauer Collegium for Culture and Society at the University of Chicago and coeditor of a recent monograph on Rick Lowe, writes on Lowe’s journey from painting to community-based projects and back again in this essay from the publication. At the Museo di Palazzo Grimani, Venice, during the 60th Biennale di Venezia, Lowe will exhibit new paintings that develop his recent motifs to further explore the arch in architecture.
Maurizio Cattelan: Sunday Painter
Curated by Francesco Bonami, Sunday is the first solo presentation of new work by Maurizio Cattelan in New York in over twenty years. Here, Bonami asks us to consider Cattelan as a political artist, detailing the potent and clear observations at the core of these works.
Frank Stella
In celebration of the life and work of Frank Stella, the Quarterly shares the artist’s last interview from our Summer 2024 issue. Stella spoke with art historian Megan Kincaid about friendship, formalism, and physicality.
Lacan, the exhibition
On the heels of finishing a new novel, Scaffolding, that revolves around a Lacanian analyst, Lauren Elkin traveled to Metz, France, to take in Lacan, the exhibition. When art meets psychoanalysis at the Centre Pompidou satellite in that city. Here she reckons with the scale and intellectual rigor of the exhibition, teasing out the connections between the art on view and the philosophy of Jacques Lacan.
Jim Shaw: A–Z
Charlie Fox takes a whirlwind trip through the Jim Shaw universe, traveling along the letters of the alphabet.
Laguna~B
An interview with Marcantonio Brandolini d’Adda, artist, designer, and CEO and art director of the Venice-based glassware company Laguna~B.
Highlights: Salone del Mobile Milano 2024
This year’s Salone del Mobile Milano brought together a range of installations, debuts, and collaborations from across the worlds of design, fashion, and architecture. We present a selection of these projects.
Richard Armstrong
Richard Armstrong, director emeritus of the Solomon R. Guggenheim Museum and Foundation, joins the Quarterly’s Alison McDonald to discuss his election to the board of the Helen Frankenthaler Foundation, as well as the changing priorities and strategies of museums, foundations, and curators. He reflects on his various roles within museums and recounts his first meeting with Frankenthaler.
Willem de Kooning and Italy
In tandem with the 60th Biennale di Venezia, the city’s Gallerie dell’Accademia is featuring the exhibition Willem de Kooning and Italy, an in-depth examination of the artist’s time in Italy and of the influence of that experience on his work. On September 20 of last year, the curators of the exhibition, the American Gary Garrels and the Italian Mario Codognato, engaged in a lengthy conversation about the exhibition for a press conference at the museum. An edited transcript of that conversation is published below for the first time.