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.
Jordan Carter, curator and cohead of the curatorial department at Dia Art Foundation, New York, engages with the new artist’s book Cady Noland: Polaroids 1986–2024.
Carlos Valladares tracks the artist’s engagements with Hollywood glamour, thinking through the ways in which the star system and its marketing engine informed his work.
Miriam Bale reports from Cannes on the 2025 edition of the international film festival, highlighting three standout films.
Harry Thorne addresses the practical and conceptual links between the visual art of Peter Doig and the work of various musicians on the occasion of Peter Doig: House of Music at Serpentine, London, an exhibition opening on October 10, 2025.
Anna Weyant’s first solo institutional exhibition, at the Museo Nacional Thyssen-Bornemisza, Madrid, was curated by Guillermo Solana in close collaboration with the artist, and places more than twenty paintings by Weyant in dialogue with a selection of works from the museum’s permanent collection. Sydney Stutterheim considers the artist’s contemporary exploration of suspense, identity, concealment, and temporality.