Menu

Nathaniel Mary Quinn

Nathaniel Mary Quinn, Mama, Joe, and James Brown, 2023 Oil paint, oil pastel, soft pastel, and gouache on linen canvas over wood panel, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Mama, Joe, and James Brown, 2023

Oil paint, oil pastel, soft pastel, and gouache on linen canvas over wood panel, 36 × 36 inches (91.4 × 91.4 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, After the War, 2022 Oil paint, oil pastel, and gouache on linen canvas over wood panel, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, After the War, 2022

Oil paint, oil pastel, and gouache on linen canvas over wood panel, 36 × 36 inches (91.4 × 91.4 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, If It Wasn’t for That Hospital Visit, We Would Still Be Friends, 2021 Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen canvas over wood panel, 20 × 20 inches (50.8 × 50.8 cm), Nasjonalmuseet, Oslo© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, If It Wasn’t for That Hospital Visit, We Would Still Be Friends, 2021

Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen canvas over wood panel, 20 × 20 inches (50.8 × 50.8 cm), Nasjonalmuseet, Oslo
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, The Lesson of Cut-Rate Liquor, 2021 Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen over wood panel, in 2 parts, overall: 36 × 72 inches (91.4 × 182.9 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, The Lesson of Cut-Rate Liquor, 2021

Oil paint, paint stick, oil pastel, soft pastel, gouache, and charcoal on linen over wood panel, in 2 parts, overall: 36 × 72 inches (91.4 × 182.9 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, No Wedding, No Cake; No Prom, No Date, 2020 Oil paint, paint stick, oil pastel, and gouache on linen over wood panel, 48 × 48 inches (121.9 × 121.9 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, No Wedding, No Cake; No Prom, No Date, 2020

Oil paint, paint stick, oil pastel, and gouache on linen over wood panel, 48 × 48 inches (121.9 × 121.9 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Dave Forsythe, 2019 Oil paint, paint stick, gouache, charcoal, soft pastel, and oil pastel on linen over wood panel, 47 ⅝ × 47 ⅝ inches (121 × 121 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas© Nathaniel Mary Quinn. Photo: Hugard & Vanoverschelde

Nathaniel Mary Quinn, Dave Forsythe, 2019

Oil paint, paint stick, gouache, charcoal, soft pastel, and oil pastel on linen over wood panel, 47 ⅝ × 47 ⅝ inches (121 × 121 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas
© Nathaniel Mary Quinn. Photo: Hugard & Vanoverschelde

Nathaniel Mary Quinn, Waiting to Hit the Lottery, 2019 Oil paint, paint stick, gouache, and soft pastel on linen, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Waiting to Hit the Lottery, 2019

Oil paint, paint stick, gouache, and soft pastel on linen, 36 × 36 inches (91.4 × 91.4 cm)
© Nathaniel Mary Quinn. Photo: Rob McKeever

Nathaniel Mary Quinn, Duckworth, 2018 Oil paint, paint stick, oil pastel, and gouache on linen, 36 × 36 inches (91.4 × 91.4 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Duckworth, 2018

Oil paint, paint stick, oil pastel, and gouache on linen, 36 × 36 inches (91.4 × 91.4 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

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, Crossover, 2017 Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic gold powder on Coventry vellum paper, 44 × 50 inches (112 × 127 cm), Rennie Collection, Vancouver, Canada© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Crossover, 2017

Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic gold powder on Coventry vellum paper, 44 × 50 inches (112 × 127 cm), Rennie Collection, Vancouver, Canada
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Buck Nasty: Player Haters Ball, 2017 Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Coventry vellum paper, 35 × 34 ½ inches (88.9 × 87.6 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Buck Nasty: Player Haters Ball, 2017

Charcoal, gouache, soft pastel, oil pastel, and acrylic gold powder on Coventry vellum paper, 35 × 34 ½ inches (88.9 × 87.6 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Elephant Feet, 2016 Charcoal, gouache, soft pastel, and oil pastel on Coventry vellum paper, 44 × 44 ⅝ inches (112 × 113 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Elephant Feet, 2016

Charcoal, gouache, soft pastel, and oil pastel on Coventry vellum paper, 44 × 44 ⅝ inches (112 × 113 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Junebug, 2015 Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic silver leaf on Coventry vellum paper, 41 × 44 inches (104.1 × 111.8 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Junebug, 2015

Charcoal, gouache, soft pastel, oil pastel, oil paint, paint stick, and acrylic silver leaf on Coventry vellum paper, 41 × 44 inches (104.1 × 111.8 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Charles Re-Visited, 2015 Charcoal, soft pastel, oil pastel, paint stick, and gouache on Coventry vellum paper, 50 × 38 inches (127 × 96.5 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Charles Re-Visited, 2015

Charcoal, soft pastel, oil pastel, paint stick, and gouache on Coventry vellum paper, 50 × 38 inches (127 × 96.5 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Erica with the Pearl Earring, 2015 Charcoal, gouache, soft pastel, oil pastel, oil paint, and paint stick on Coventry vellum paper, 25 ½ × 25 ½ inches (64.8 × 64.8 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Erica with the Pearl Earring, 2015

Charcoal, gouache, soft pastel, oil pastel, oil paint, and paint stick on Coventry vellum paper, 25 ½ × 25 ½ inches (64.8 × 64.8 cm)
© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Miss Chairs, 2014 Charcoal, gouache, oil pastel, and oil paint on Coventry vellum paper, 50 × 43 ½ inches (127 × 110.5 cm)© Nathaniel Mary Quinn

Nathaniel Mary Quinn, Miss Chairs, 2014

Charcoal, gouache, oil pastel, and oil paint on Coventry vellum paper, 50 × 43 ½ inches (127 × 110.5 cm)
© Nathaniel Mary Quinn

About

Each of us is a cacophony of experience. Not just a seamless self.
—Nathaniel Mary Quinn

In his collage-like 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 neo-Dada and adamantly realist, evoking the intimacy and intensity of a face-to-face encounter.

Quinn’s passion for drawing began at a young age, while he was growing up on the South Side of Chicago. In ninth grade, he received a scholarship to attend Culver Academies boarding school in Indiana—but a month after arriving at the school, Quinn received news from his father that his mother had suddenly passed away. He returned to Chicago for Thanksgiving the following month, only to find that the rest of his family—his father and brothers—had abandoned his childhood home without a trace. This jarring experience further propelled Quinn’s art, and he decided to commit himself to his education, adding his mother’s name, Mary, to his name so that she would appear on all of his degrees. He received a BA in art and psychology from Wabash College, Crawfordsville, Indiana, in 2000, and an MFA from New York University in 2002.

After completing his MFA, Quinn moved to the Bedford-Stuyvesant neighborhood of Brooklyn, where he continued to paint while working as a teacher for at-risk youth. In 2013 he had a breakthrough, developing a new technique that would draw wide attention to his work. The mother of one of his students invited Quinn to show five works in an art salon that she was hosting in her home. On the day of the opening, however, he only had four works finished. Improvising, he began to paint a blurred memory of his past, piecing together fragments of images from his subconscious. When he stepped back, he recognized the mouth of his brother Charles.

Read more

Nathaniel Mary Quinn

Photo: Kyle Dorosz

Fairs, Events & Announcements

Ed Ruscha, UPS DOWNS, 2023 © Ed Ruscha. Photo: Brica Wilcox

Support

Art for a Safe and Healthy California
Presented by Jane Fonda, Gagosian, and Christie’s

Art for a Safe and Healthy California is a benefit exhibition and auction presented by Jane Fonda, Gagosian, and Christie’s to support Campaign for a Safe and Healthy California. Artworks donated by artists including Charles Gaines, Frank Gehry, Alex Israel, Nathaniel Mary Quinn, Catherine Opie, Christina Quarles, Ed Ruscha, Jonas Wood, among others, will be sold to help the coalition of voters campaigning to stop oil companies attempting to repeal Governor Gavin Newsom’s SB1137 on the November ballot. The bill provides safe setbacks from oil wells for homes, parks, schools, and playgrounds, as well as requirements to make already pumping wells safer.

The benefit launches on April 9 with a ticketed fundraiser in Beverly Hills hosted by Jane Fonda, Larry Gagosian, Aileen Getty, and Susan and Mark Buell, with cohosts Edythe Broad, Frank Gehry, Wendy and Eric Schmidt, Chrissy Teigen and John Legend, and Sean Penn. Highlighted artworks will be on view. A selection of works will be auctioned in the Christie’s Post-War and Contemporary Art Day Sale during their marquee sale week in May, while another group of works will be presented for sale in an exhibition in summer 2024 at the Beverly Hills gallery.

Ed Ruscha, UPS DOWNS, 2023 © Ed Ruscha. Photo: Brica Wilcox

Sarah Sze, Turning and Turning, 2024 © Sarah Sze. Photo: Maris Hutchinson

Art Fair

Art Basel Hong Kong 2024

March 27–30, 2024
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is participating in Art Basel Hong Kong 2024 with a selection of works by international contemporary artists. The works on view, which embrace a dizzying variety of subjects and approaches, see the participating artists identify fresh ways to disrupt established histories of abstraction and figuration, and instill sculptural and painterly representations of the natural world with complex cultural significance.

Sarah Sze, Turning and Turning, 2024 © Sarah Sze. Photo: Maris Hutchinson

Nathaniel Mary Quinn. Photo: Ike Edeani

Lecture

New York Studio School Evening Lecture Series
Nathaniel Mary Quinn: Work Ethic and Faith

Tuesday, March 12, 2024, 6:30pm
New York Studio School
nyss.org

Nathaniel Mary Quinn will be a guest speaker at the New York Studio School as part of their Evening Lecture Series, a platform for diverse perspectives and spirited conversations among artists, scholars, students, and the general public. The in-person and online event is free to attend and will include a question-and-answer session.

Register

Nathaniel Mary Quinn. Photo: Ike Edeani

See all News for Nathaniel Mary Quinn

Museum Exhibitions

Nathaniel Mary Quinn, Father Stretch My Hands, 2021 © Nathaniel Mary Quinn. Photo: Rob McKeever

On View

The Time Is Always Now
Artists Reframe the Black Figure

Through May 19, 2024
National Portrait Gallery, London
www.npg.org.uk

The Time Is Always Now showcases the work of contemporary artists from the African diaspora and highlights their use of figures to illuminate the richness and complexity of Black life. The exhibition examines both the presence and the absence of Black figures in Western art history and the social, psychological, and cultural contexts in which they were produced. Work by Titus Kaphar and Nathaniel Mary Quinn is included.

Nathaniel Mary Quinn, Father Stretch My Hands, 2021 © Nathaniel Mary Quinn. Photo: Rob McKeever

Richard Prince, Untitled, 2015, Aïshti Foundation, Beirut © Richard Prince

On View

Effetto Notte
Nuovo Realismo Americano

Through July 14, 2024
Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome
barberinicorsini.org

This exhibition’s title was borrowed from a work by Lorna Simpson, Day for Night (2018), which translates to Effetto Notte in Italian. Curated by Massimiliano Gioni and Flaminia Gennari Santori in collaboration with the Aïshti Foundation, Beirut, the exhibition features more than 150 artworks from the collection of Tony and Elham Salamé that interrogate the meanings and functions of figuration in contemporary art and address questions around the notion of realism and the representation of truth in painting. Work by Derrick Adams, Louise Bonnet, Maurizio Cattelan, Urs Fischer, Theaster Gates, Duane Hanson, Rick Lowe, Richard Prince, Nathaniel Mary Quinn, Sterling Ruby, Anna Weyant, Stanley Whitney, and Christopher Wool is included.

Richard Prince, Untitled, 2015, Aïshti Foundation, Beirut © Richard Prince

Rick Lowe, Fire #4: This Time Athens, 2023, Hirshhorn Museum and Sculpture Garden, Washington, DC © Rick Lowe Studio

On View

Revolutions
Art from the Hirshhorn Collection, 1860–1960

Through April 20, 2025
Hirshhorn Museum and Sculpture Garden, Washington, DC
hirshhorn.si.edu

Revolutions is a major survey of 270 artworks by 126 artists from the Hirshhorn Museum and Sculpture Garden’s permanent collection. Celebrating the museum’s fiftieth anniversary, the exhibition aims to capture the shifting cultural landscapes of a century defined by new currents in science and philosophy and ever-increasing mechanization. Shown alongside these historic works are contributions from nineteen contemporary artists whose practices demonstrate how many revolutionary ideas from a hundred years ago remain critical today. Work by Francis Bacon, Amoako Boafo, Alexander Calder, Willem de Kooning, Helen FrankenthalerRick LoweSally Mann, Man Ray, Henry MoorePablo PicassoNathaniel Mary Quinn, and Cy Twombly is included.

Rick Lowe, Fire #4: This Time Athens, 2023, Hirshhorn Museum and Sculpture Garden, Washington, DC © Rick Lowe Studio

Installation view, El eco de Picasso, Museo Picasso Málaga, Spain, October 2, 2023–March 30, 2024. Artwork, left to right: © Rebecca Warren, © Richard Prince. Photo: Pablo Asenjo, courtesy Museo Picasso Málaga

Closed

El eco de Picasso

October 2, 2023–March 30, 2024
Museo Picasso Málaga, Spain
museopicassomalaga.org

Organized as part of Picasso Celebration 1973–2023, a series of international exhibitions and events commemorating the fiftieth anniversary of Pablo Picasso’s death, The Echo of Picasso focuses on his influence on twentieth-century art. The exhibition places Picasso’s practice in dialogue with work by more than fifty artists, including Francis Bacon, Georg Baselitz, Jean-Michel Basquiat, Willem de Kooning, Thomas Houseago, Ewa Juszkiewicz, Richard Prince, Nathaniel Mary Quinn, Cy Twombly, Tom Wesselmann, and Franz West.

Installation view, El eco de Picasso, Museo Picasso Málaga, Spain, October 2, 2023–March 30, 2024. Artwork, left to right: © Rebecca Warren, © Richard Prince. Photo: Pablo Asenjo, courtesy Museo Picasso Málaga

See all Museum Exhibitions for Nathaniel Mary Quinn

Press

See all Press