Artist

Nathaniel Mary Quinn

American, b. 1977

Painting · Collage

Nathaniel Mary Quinn has become one of the most closely watched figurative painters of his generation, known for fractured, collage-like portraits that reassemble faces from memory and found imagery. His rise has been unusually fast for a painter still relatively early in a market career: dual representation by Gagosian and Almine Rech, a growing list of major museum collections, and a biography, rooted in Chicago public housing and a self-directed path through art school, that has become central to how critics and curators frame the work.

Nationality
American
Media
Painting, Collage
Movement
Contemporary, Figurative art
Education
Wabash College, BA (art and psychology) 2000; New York University, MFA 2002; honorary doctorate, Wabash College, 2023
Signature motifs
Fractured composite portraiture, Collage-based facial reconstruction
Representation
Gagosian, Almine Rech
  • GBP 212,500 (approx. USD 260,000)Auction highOver Yonder (2015), Phillips London, 2018; exact sale date unconfirmed
  • Gagosian; Almine RechRepresented by
  • 12+ major institutionsMuseum collectionsWhitney, LACMA, SFMOMA, Art Institute of Chicago, among others
  • Wabash College, 2023Honorary doctorate

Nathaniel Mary Quinn was born in 1977 in Chicago, Illinois, and grew up in the Robert Taylor Homes, a Chicago public housing project. He attended Culver Academies in Indiana on scholarship from the ninth grade through the remainder of high school. He went on to Wabash College in Crawfordsville, Indiana, earning a bachelor's degree in art and psychology in 2000 (some gallery materials describe the degree as a BFA), followed by an MFA from New York University in 2002. Wabash College awarded him an honorary doctorate in 2023.

Quinn builds his paintings and works on paper from fragments, combining charcoal, pastel, gouache, and paint to construct composite, disjointed faces. Early solo exhibitions included Pace Gallery in London (2014) and shows with M+B in Los Angeles, Half Gallery in New York, and Rhona Hoffman Gallery in Chicago through the mid-2010s. Gagosian announced its representation of Quinn in 2019, and he continues to also be represented by Almine Rech. He lives and works in Brooklyn, New York, in the Crown Heights neighborhood.

Critics and curators consistently place Quinn's fractured portraiture in dialogue with Cubism, Surrealism, and Francis Bacon, while treating the biographical material behind the work, his childhood in the Robert Taylor Homes and his path through Culver Academies, Wabash College, and New York University, as inseparable from its meaning. Artsy has profiled him as a market and critical "breakout," and his inclusion in group exhibitions such as The Time is Always Now: Artists Reframe the Black Figure at the National Portrait Gallery in London (2024) situates him within a broader critical conversation about contemporary Black figuration. No verbatim critical quotation with a named author and outlet could be confirmed for this profile.

Quinn's documented auction record is Over Yonder (2015), which sold for GBP 212,500 (about USD 260,000, including fees, against a hammer of GBP 170,000) at a Phillips London evening sale in 2018; the exact calendar date of that sale has not been independently confirmed. A separate work, Hero, sold for USD 201,600 at Christie's New York in March 2023, again without a confirmed exact day. Public auction volume for Quinn remains modest relative to the scale of his primary market with Gagosian and Almine Rech, which is typical for a living artist whose gallery representation is still relatively recent. Whitewall reported in its coverage of his market that his prices rose sharply in the years leading up to his Gagosian representation, though that figure describes primary market movement rather than a verified auction series.

Top auction results

WorkPriceSale
Over Yonder (2015) (2018)USD 260,000 (GBP 212,500 (hammer GBP 170,000))Phillips, London

Selected exhibitions

YearsExhibitionVenues
2026A Love Letter to My MotherNational Public Housing Museum, Chicago
2025Echoes from CopelandGagosian, New York (541 West 24th Street)
2025Not Far From Home; Still Far AwayGagosian, New York (980 Madison Avenue)
2024The Time is Always Now: Artists Reframe the Black FigureNational Portrait Gallery, London
2020Nathaniel Mary QuinnGagosian, London
2019Always Felt, Rarely SeenAlmine Rech, Brussels
2019Dirty ProtestHammer Museum, Los Angeles
2018This Is LifeMadison Museum of Contemporary Art, Wisconsin

Museum collections

  • Whitney Museum of American Art, New York
  • Los Angeles County Museum of Art (LACMA)
  • Museum of Contemporary Art, Los Angeles
  • San Francisco Museum of Modern Art
  • Art Institute of Chicago
  • Brooklyn Museum, New York
  • Hammer Museum, Los Angeles

Awards and honors

  • Honorary Doctorate, Wabash College (2023)

Authentication and provenance

No catalogue raisonne.

No catalogue raisonne has been identified for this artist. Quinn is a living artist represented by Gagosian and Almine Rech; the research available does not identify a separate certificate program, so works are generally verified through current gallery records and exhibition history.

Primary reference: https://gagosian.com/artists/nathaniel-mary-quinn/

Quinn is represented by two major galleries, Gagosian and Almine Rech, and there is no published catalogue raisonne; verification generally runs through current gallery and exhibition records rather than a certificate program. His confirmed auction history is thin, anchored by a mid-six-figure result at Phillips in 2018 and a comparable result at Christie's in 2023, so collectors should treat any single public sale as a limited data point rather than a full market curve. Some biographical details commonly repeated in press, including his exact birth date and the precise dates of his highest auction sales, are not consistently confirmed across primary sources and should be treated with caution until corroborated directly with the artist's galleries or the relevant auction houses.

Data current as of 2026-07-13.

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