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

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 Foundation, Black 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 the Studio

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

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

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

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.

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.

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.

Touch of Evil

Andrew Russeth situates Jamian Juliano-Villani’s daring paintings within her myriad activities shaking up the art world.

Institutional Buzz

On the occasion of Andrea Fraser ’sexhibition at the Fondazione Antonio Dalle Nogare in Bolzano, Italy, Mike Stinavage speaks with the feminist performance artist about institutions and their discontents.

Black and white portrait of Alexey Brodovitch

Game Changer: Alexey Brodovitch

Gerry Badger reflects on the persistent influence of the graphic designer and photographer Alexey Brodovitch, the subject of an upcoming exhibition at the Barnes Foundation, Philadelphia.

Various artworks by Jeff Perrone hang on a white gallery wall

Outsider Artist

David Frankel considers the life and work of Jeff Perrone, an artist who rejected every standard of success, and reflects on what defines an existence devoted to art.

Interior of Goetheanum, Dornach, Switzerland

Goetheanum: Rudolf Steiner and Contemporary Art

Author and artist Ross Simonini reports on a recent trip to the world center of the anthroposophical movement, the Goetheanum in Switzerland, exploring the influence of the movement’s founder and building’s designer Rudolf Steiner on twentieth-century artists.