CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

EILEEN QUINLAN

Born 1972, Boston 

Lives and works in Brooklyn

    

EDUCATION

2005                   M.F.A., Columbia University, New York

1996                   B.F.A., The School of the Museum of fine Arts/Tuffs University, Boston

 

PUBLIC COLLECTIONS

MoMA, New York

Whitney Museum of American Art, New York

The Metropolitan Museum of Art, New York

The Museum of Contemporary Art, Los Angeles

Hammer Museum, Los Angeles

Los Angeles County Museum of Art, Los Angeles

Brooklyn Museum, New York

CCS Bard Hessel Museum of Art, Annandale-on-Hudson

The Whitworth Art Gallery, University of Manchester

FRAC, France (Fonds Regional d’Art Contemporain)

Auckland Art Museum, University of North Carolina at Chapel Hill, NC

 

SOLO EXHIBITIONS

2017     Dune Woman, Campoli Presti, London

2016     Mind Craft, Miguel Abreu Gallery, New York

2015     After Hours, Campoli Presti, London

              Double Charlie, Campoli Presti, Paris

2013    Curtains, Miguel Abreu Gallery, New York

2012     Twin Peaks, Campoli Presti, London

2011      Constant Comment, Overduin and Kite, Los Angeles

              Highlands, Sutton Lane (Campoli Presti), Paris

              Nature Morte, Miguel Abreu Gallery, New York

2009     My Eyes Can Only Look at You, The Institute of Contemporary Art (ICA), Boston

2008       Downtime, Overduin and Kite, Los Angeles

                 Fahrenheit and Stone Roses, Sutton Lane (Campoli Presti), Paris

                 Puccio Onyx, Galerie Daniel Buchholz, Cologne

                 Art Statements, Art|39|Basel with Sutton Lane (Campoli Presti), Basel

                 Photographs, Miguel Abreu Gallery, New York

2006       Eileen Quinlan, Sutton Lane (Campoli Presti), London

 

SELECTED GROUP AND TWO-PERSON EXHIBITIONS

2017    Viva Arte Viva, 57th Venice Biennial, Arsenale, Venice; Tainted Love, Confort Moderne, Poitiers, France

2016     ’33 – ’29 – ’36, Um Gallery – Academy Of Arts, Architecture And Design, Prague

Her Wherever, curated by Sara Greenberger Rafferty & Sara VanDerBeek, Halsey McKay Gallery, East Hampton

Systematically Open? New Forms for Contemporary Image Production,curated by Walead Beshty, Elad Lassry, Zanele Muholi and Collier  Schorr, LUMA Foundation, Arles

Group Exhibition, Campoli Presti, Paris

Image Support, Bergen Kunsthall, Norway

Always starts with an encounter: Wols/Eileen Quinlan, curated by Helena Papadopoulos, Museum of Cycladic Art, Athens

Lattice Work, curated by Rola Khayyat, Emily Kloppenburg, Rachel Stern, and Alex Strada, Black & White Gallery/ Project Space, Brooklyn

Pure Numerical Formula Describes Wetness and Light, curated by Eli Bornowsky, Or Gallery, Vancouver

Land Escapes, Joshua Liner Gallery, New York

Hardly visible. Barely noticeable, ESTE, Brooklyn

Still Life with Fish: Photography from the Collection, Hammer Museum, Los Angeles

2015  Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York

A kind of graphic unconscious, Susan Hobbs, Toronto

The Inventors of Tradition II, The Palace of Art, Glasgow

Images That Speak, Presentation House Gallery (Satellite Gallery), Vancouver

New Acquisitions, Whitworth Art Gallery, Manchester

Fictions, Derek Eller Gallery, New York

Lens Work: Celebrating LACMA’s Experimental Photography at 50, Los Angeles County Museum of Art, Los Angeles

An Unfixed Image: The Photographic Across Media, The College of New Jersey, Ewing

The Human Apparatus, Klemms, Berlin

Sylvia Bataille, Joan, Los Angeles

Transmission, Recreation and Repetition, Palais des Beaux-Arts, Paris

2014   American Photography: Recent Acquisitions from the Museum of Modern Art, New York, curated by Sarah Hermanson Meister and Quentin Bajac, in conjunction with Paris Photo, Grand Palais, Paris

Altarations: Built, Blended, Processed, Florida Atlantic University, School of the Arts, Schmidt Center Gallery, Boca Raton

Process Priority, Steven Zevitas Gallery, Boston

A Moveable Feast – Part XI: Eileen Quinlan & Cheyney Thompson, Campoli Presti, Paris

Technokinesis, Blum & Poe, New York, NY; Los Angeles

Lens Reflex, organized by Steven Baldi, Thomas Duncan Gallery, Los Angeles

Outside the Lines: Rites of Spring, Contemporary Arts Museum Houston, Houston, TX  

What Is a Photograph? Organized by Carol Squiers, International Center of Photography, New York

A World of Its Own: Photographic Practices in the Studio, MoMA, New York

2013  L’épreuve de l’abstraction, FRAC Poitou-Charentes, Médiathèque de Vouillé 

New Photography 2013, MoMA, New York

Elements, Rudiments, and Principles, Boston University Art Gallery at Stone Gallery, Boston

Lens Drawings, curated by Jens Hoffmann, Marian Goodman Gallery, Paris

The Cat Show, curated by Rhonda Lieberman, White Columns, New York

Why is Everything the Same? – Works from the Collection of Anne Collier and Matthew Higgs, Shoot The Lobster, New York

2012  Eileen Quinlan & Matt Keegan: Y? O! G… A., The Kitchen, New York

Printed, Mai 36 Galerie, Zurich

Second Nature: Abstract Photography Then and Now, de Cordova Sculpture Park and Museum, Lincoln, MA

Accrochage, an installation of recent works by gallery artists and others, Miguel Abreu Gallery, New York

Blind cut, curated by Jonah Freeman and Vera Neykov, Marlborough Gallery, New York

2011 Structure and Absence, White Cube Bermondsey, London

Next Wave Art, curated by Dan Cameron, BAM, Brooklyn, New York

I don’t know if it makes any sense – I feel quite dizzy and a little drunk due to the blow. I will return with more info shortly, IMO, Copenhagen

All of This and Nothing, 6th edition of Biennial invitational exhibition series, Hammer Museum, Los Angeles

Systemsanalyse, Langen Foundation, Neuss, Germany

New York to London and backThe Medium of Contingency, Thomas Dane Gallery, London

2010  Borofsky, Floyer, Haacke, Janssens, Quinlan, Tremblay, Walker, Walsh, Paula Cooper Gallery, New York

Systems Analysis, West London Projects, London

Crystalline Architecture, Andrea Rosen Gallery, New York

Picture Industry (Goodbye to All That), organised by Walead Beshty, Regen Projects, Los Angeles

50 Artists Photograph The Future, curated by Dean Daderko, Higher Pictures, New York

False / Divide, Miguel Abreu Gallery, New Yor

Blind Mirror, Galleria Raucci/ Santamaria, Naples

Group Show, Galeria Marta Cervera, Madrid

Contemporary Works from the Monsen Family Collection, Henry Art Gallery, Seattle

2009 Kings County Biennial, Dustin Yellin Gallery, Brooklyn, New York

Abstraction and Materialist Praxis in Contemporary Photography, organized by the  Die Storung Collective, Guinea Kunstraum Hoey-Wasow, Rhinebeck, New York

I’m So Sad, My God, curated by Martha Kirszenbaum, International Studio & Curatorial Program, New York

Collatéral  (with Liz Deschenes, Sam Lewitt, Scott Lyall, Sean Paul, Blake Rayne, Nora Schultz, Cheyney Thompson), Le Confort Moderne – Centre pour l’Art Contemporain, Poitiers

Surface Tension: Contemporary Photographs from the Collection, The Metropolitan Museum of Art, New York

Correspondences: Jan Groover/ Eileen Quinlan, curated by Matthew Higgs, Krobath, Vienna Galerie Krobath, Vienna

New Constructivismes!, curated by Oliver Renaud-Clément, Galerie Almine Rech, Brussels

Slow Movement Oder: Das Halbe und das Ganze, Kunsthalle Bern, Bern

To Be Determined, Andrew Kreps Gallery, New York

Photography in the Abstract, organized by Maureen Mahony, Lora Reynolds Gallery, Austin

To be Determined, Austin, Andrew Kreps Gallery, New York                        

Crystalline Architectures, organized by Josiah McElheny, Andrea Rosen Gallery, New York

Practice vs. Object, organized by Margaret Liu Clinton, Miguel Abreu Gallery, New York

On From Here, Guild & Greyshkul Gallery, New York

The Empty Page, James Fuentes LLC, New York

Hermann’s Grid, curated by Gareth James, Franco Soffiantino Arte Contemporanea, Turin

Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York

From Brooklyn With Love, curated by Allun Williams, Parker’s box Gallery, Brooklyn

Every Picture Tells a Story…or at Least Is a Picture, curated by Jo Jackson and Chris Johanson, Small A Projects, Portland

Portfolio Project #2, published by Dispatch, New York

Update, curated by Matthew Higgs, White Columns, New York

Eat the Document, curated by Dean Daderko, Larissa Goldston Gallery, New York

Mirror Mirror, Edward Thorp Gallery, New York

Regroup Show, Miguel Abreu Gallery, New York

24 November – 22 December, Sutton Lane (Campoli Presti), Paris

Form as Memory, Miguel Abreu, New York

Seriality, Shane Campbell, Chicago

Undone, Whitney Museum at Altria, New York

Strange Magic, Luhring Augustine, New York

Blackberring, Galleri Christina Wilson, Copenhagen

TBA with Cheyney Thompson, curated by Martin Clark, Arnolfini, Bristol

Silicone Valley, P.S. 1 Contemporary Art Center, L.I.C., New York

Art Politiquement Engagé, organised by Fia Backström for In Practice Projects, The Sculpture Centre, New York

For the People of Paris, Sutton Lane (Campoli Presti) at Ghislaine Hussenot, Paris (cat.)

Miroslaw Balka, Eileen Quinlan, Michael Benevento, Orange Group, Los Angeles

Dice Thrown (Will Never Annul Chance), Bellwether, New York

How to Build a Universe That Doesn’t Fall Apart Two Days Later, curated by Willl Bradley, Wattis Institute, San Francisco

Just Off Focus, Andrew Kreps, New York

Thin Walls, Klaus von Nichtssagend Gallery, New York

Two Friends and So On, Andrew Kreps, New York

Dereconstruction, curated by Matthew Higgs, Barbara Gladstone Gallery, New York

United Artists Ltd, IV. (Peter Coffin, Anne Collier, Eileen Quinlan), curated by Michael Phelan, United Artists Ltd, Marfa, Texas

Group Exhibition with Patrick Hill and Florian Schmidt, Galerie Kosak Hall, Vienna

Endless Summer, curated by Gyonata Bonvicini, Westlondonprojects, London

Dialog #1: Puzzled, Elena Pankova & Eileen Quinlan, curated by Matthew Higgs, White Columns, New York

Supports, Roger Björkholmen Galleri, Stockholm

Everything beautiful and noble is the result of reason and Calculation, curated by  Howie Chen and Gabrielle Giattino, The Elizabeth Foundation Gallery, New York

Slow Burn, curated by Jonah Freeman, Galerie Edward Mitterand, Geneva

S&M, Eileen Quinlan and Cheyney Thompson, Sutton Lane (Campoli Presti), Paris

Excitations, arranged by Matt Keegan, Andrew Kreps, New York

Bebe le Strange, curated by Rachel Uffner and Barb Choit, D’Amelio Terras, New York

MFA Thesis Show, Studebaker Hall, Columbia University, New York

Past Perfect, curated by Francesca DiMattio, Kantor Gallery, New York

First Year Show, curated by Ali Subotnik, Eli Wallach Gallery, Columbia University, New York

Art in the Office, arranged by Matt Keegan, The Global Consulting Group, New York

Fresh Meat, curated by Stephen Apicella-Hitchcock, CEPA Gallery, Buffalo

Salon V, curated by Tim Bailey, Oni Gallery, Boston

Yes, We’re Excerpts, Andrew Kreps, New York

Welcome to the Playground of the Fearless, curated by James Fuentes, Entropy Gallery, New York

2001  Life is Elsewhere, Eileen Quinlan and Cheyney Thompson, Canada Gallery, New York

 

SELECTED BIBLIOGRAPHY

2017   Macel, Christine, “Viva Arte Viva: 57th International Art Exhibition: La Biennale Di Venezia,” La Biennale di Venezia, September 5, 2017 (cat.)

“Batons and Barriers, A Portfolio by Eileen Quinlan,” Modern Painters, June/July 2017

“Portfolio: Eileen Quinlan,” Monopol Magazine, May 2017

 McDonough, Thomas, “Eileen Quinlan: Between Substrate and Sublimate ,” Osmos Magazine, Winter 2017

2016   Respini, Eva, “On Defiance: Experimentation as Resistance,” Aperture #225, Winter 2016

Aletti, Vince, “Eileen Quinlan, Mind Craft,” The New Yorker, April 2016

Fateman, Johanna, “Critics’ Picks: Eileen Quinlan,” Artforum.com, April 2016

2015    Tarasoff, Sabrina, « Eileen Quinlan: Double Charlie », CMagazine I26, Summer

Watts, Jonathan P., “Eileen Quinlan: Campoli Presti London” Frieze No 171, May

Taylor, Phil, “Eileen Quinlan”, Critics’ Pick, Artforum, March 4

Sterns, Jamie, « Two of a Kind: Eileen Quinlan at Campoli Presti, Nicole Wermers at Herald St », ArtNews, March 31

2014  Pollack, Maika. “What is a Photograph at the International Center of Photography,” Gallerist, February 12

Barry, Schwabsky. “Eileen Quinlan,” Artforum, January
“Eileen Quinlan: New York,” Modern Painters, January

2013  Russeth, Andrew, « Eileen Quinlan: Curtains’ at Miguel Abreu Gallery, » Gallerist NY December 3

Hasset, Christopher, “Eileen Quinlans Curtians at Miguel Abreu”, NYArtsMagzine.com, December 23

Fiske, Courtney. “Critic’s Picks: Eileen Quinlan,” Artforum (review), November

Rexer, Lyle, « Eileen Quinaln: Curtains, » News & Reviews, Photographmag.com, November 21

« Eileen Quinlan, » The Lookout, ArtinAmerica.com, November 21, 2013

Rosenberg, Karen, “Art in Review: Eileen Quinlan, ‘Curtains’,” The New York Times,  November, The New Yorker, November

Bryant, Eric. “Shooting Stars: Eileen Quinlan,” Art+Auction, October

Pollack, Maika. “‘New Photography 2013’ at Museum of Modern Art,” Gallerist NY, Sept. 24

“Goings on About Town: New Photography 2013,” The New Yorker, Sept. 23 Johnson, Ken.

“Art in Review: Images Propelled Beyond Pictures,” The New York Times, Sept. 13, Beshty, Walead. ed., Blind Spot, Issue 46

Smith, Roberta. “Art in Review: The Cat Show,” The New York Times, July 4

Yablonsky, Linda. “Artifacts: Cats, the New Rulers of the Art World,” T Magazine Blog, July 9

“25 Photographers to Watch in 2013,” Complex Magazine, January 9

2012   Smyth, Diane. “The Perfect Playground”, British Journal of Photography, March, Blind cut, Malborough Gallery (cat.)

2011   Structure and Absence, White Cube gallery (cat.)

Systems Analysis, Langen Foundation, Neuss (cat.)

Stillman, Steel, “Eileen Quinlan”, Art in America, March

The Medium of Contingency, published by Urbanoramic in association with Ridinghouse (cat.), “Eileen Quinlan’s ‘Constant Comment’,”, Art                                  Agenda, December

2010   Roberta Smith. “The Varieties of Abstract Experience”, The New York Times, August 6

Jones, Kristin M. “Eileen Quinlan”, Frieze, September, p.139-140

O’Neill-Butler, Lauren. “Eileen Quinlan”, Artforum, Summe

Kley, Elisabeth. “Gotham Art and Theater: Eileen Quinlan at Miguel Abreu Gallery”,

Artnet.com, April 23

Carlin, T.J.. “Studio Visit: Eileen Quinlan”, Time Out New York, Issue 759, April 15-21

Alleti, Vince, “Going On About Town”, The New Yorker, April 7

Clark, Martin. “What To See This Month”, Art Review, March

2009   Quinlan, Eileen. “The Artist’s Artists”, Artforum, December

Godsill, Benjamin. “The Last Artist”, The Last Magazine, Fall issue 3

Quinlan, Eileen & Beshty, Walead. “Walead Beshty & Eileen Quinlan”, BOMBlog, September

Bedford, Christopher. “Depth of Field”, Frieze, September

Smee, Sebastian. “In the Abstract”, The Boston Globe, April 3

Taft, Catherine. “Overduin and Kite”, Artforum, April

Compagnola, Sonia. “Overduin and Kite – Los Angeles”, FlashArt, March – April

Schad, Ed. “Overduin and Kite”, Artslant Los Angeles, January 19

Lehrer Graiwer, Sarah. “Eileen Quinlan: Downtime”, Art Review, March issue

Bergeron, Chris. “Eileen Quinlan’s art pushes photographic boundaries”, The Milford Daily News, March 22

Lowenstein, Kate. “To be Determined”, Time Out New York, Issue 699, February 19 – 25

Brannon, Matthew. “Without Baggage, With Pistoletto: Thoughts on Eileen Quinlan’s Photographs”, Mousse, Issue 16, December – January

Schad, Ed. “Eileen Quinlan at Overduin and Kite”, ArtSlant, January 19

2008  Bryant, Eric. “The Indecisive Image”, ArtNews, March

O’neill Butler, Lauren. “Eat the Document”, Time Out New York, February 14

2007  Cotter, Holland. “Eileen Quinlan”, The New York Times, December 7

Smith, Roberta. “Strange Magic”, The New York Times, November 3

Carlin, Tova. “Eileen Quinlan, Smoke and Mirrors”, Time Out New York, November 1

 “Liz Deschenes and Eileen Quinlan. Interview”, North Drive Press, Fall

Rosenberg, Karen. “Strange Magic”, New York Magazine, July 23

Quinlan, Eileen. “Top Ten”, Artforum, January

Kessler, Sarah. “Seriality”, Artforum.com, 2007

“Dice Thrown (Will Never Annul Chance)”, The New Yorker, November 6

Smith, Roberta. “Dice Thrown (Will Never Annul Chance)”, Art in Review,The New York Times, November 3  

Doran, Anne. “Dice Thrown”, Time Out New York, Issue 579, November 2-8

Stillmann, Nick. “Eileen Quinlan”, Modern Painters, November

“Eileen Quinlan”, Visionaire, October 

Velasco, David. “Dereconstruction”, Artforum, September

“Eileen Quinlan”, Texte zur Kunst, April 

Alemani, Cecilia. “Everything Beautiful and Noble Is the Result of Reason and           Calculation”, Critic’s Picks, Artforum.com, February

Robinson, Walter. Weekend Update, Artnet.com, February 7

2005  “Cheyney Thompson et Eileen Quinlan”, Paris-art.com, November

“Bright Young Things”, Art Review, December 5

2004 Huntingdon, Richard. “CEPA’s ‘Fresh Meat’ is a Savory Exhibit”

2002  Smith, Roberta. “Yes, We’re Excerpts”, The New York Times, August 2

 

TEACHING

Faculty, MFA, Milton Avery Graduate School of Arts, Bard College, Annandale-on-Hudson,

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Eileen Quinlan

09 Sep, 2006-07 Oct, 2006

Sutton Lane (Campoli Presti), London

Eileen Quinlan
9 September – 7 October 2006

Sutton Lane is pleased to announce the first solo exhibition in London of Eileen Quinlan.

Eileen Quinlan is interested in the false transparency of the photographic image. For her, it’s not a window, but a mirror. To force an engagement with the surface of this illusion, she employs crude alienation effects. The process of building pictures with a limited set of materials is illustrated, serving to further highlight the photograph’s constructed nature. Produced via the most common tricks of the commercial photo trade, the “Smoke & Mirrors” pictures are straight-forward still-life photographs, unmanipulated in the darkroom or through digital craft.

For this exhibition she presents editioned photo-works in both black and white and in color. There is also a series of polaroids, and an “edition piece”, which comprises six identical prints, thus turning the idea of the photographic edition against itself by creating a unique work.

Eileen Quinlan was born in 1972 in Boston and lives and works in New York. Recent Group shows include Andrew Kreps Gallery, New York, United Artists Ltd, Marfa, Texas, “Dereconstruction », curated by Matthew Higgs, Barbara Gladstone Gallery, New York and The Elizabeth Foundation Gallery, New York. In 2005 she was part of the two person exhibitions “Puzzled” (with Elena Pankova) at White Columns, New York and “S&M” (with Cheyney Thompson) at Sutton Lane – Paris.

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

Art / 39 / Basel Statement with Eileen Quinlan

04 Jun, 2008-08 Jun, 2008

Basel

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

Please visit West London Projects website

Highlands

11 Sep, 2010-06 Nov, 2010

Sutton Lane (Campoli Presti), Paris

Eileen Quinlan
Highlands
11 September – 6 November 2010
Sutton Lane, Paris

Sutton Lane is pleased to present Eileen Quinlan’s fourth exhibition at the gallery titled Highlands.

Highland Rape, and the suicide of McQueen
Long Lankin and the Sawney Bean
Plaid and heritage, old country, clan
Class and fashion, from Barracuda to Burberry (to its undoing by Miguel Adrover)
« Soches » and « greasers » in film (from West Side Story, to The Outsiders, to Pretty in Pink)
American Psycho
Take Ivy
The Official Preppy Handbook (updated)
The hand of the artist (or un-slicking the surface)
Family heirlooms
My first studio picture
Roussel and rules

Eileen Quinlan lives and works in New York City. She graduated with an MFA from Columbia University, New York in 2005.
She recently had a solo exhibition at the ICA in Boston. The artist will participate in the upcoming Invitational exhibition at Hammer Museum in Los Angeles.

Quinlan’s work forms part of the Los Angeles County Museum of Art collection, of the collection of The Museum of Contemporary Art in Los Angeles, of The Metropolitan Museum of Art collection in New York and the Seattle Art Museum collection.

De America

06 May, 2011-15 Jul, 2011

Indipendenza Studio, Rome

Twin Peaks

08 Sep, 2012-03 Oct, 2012

Campoli Presti, London

Eileen Quinlan
Twin Peaks
8 September – 3 October 2012
Campoli Presti, London

Campoli Presti is pleased to present Eileen Quinlan’s fifth solo exhibition at the gallery. On view are large scale, glossy colour photographs, digitally printed from film negatives. Their size, intensity of colour, and excess of detail create an immersive experience for the viewer, alluding to the seductive force of commercial photography.

This new series reflects the artist’s interest in picturing the body and its abstraction through photography. Yoga mats, transformed via studio lighting and hand manipulation, represent the figural. The mats were chosen for their malleability, but also for their ubiquity – for what they telegraph in the broader culture about health and well being, lifestyle and class, a kind of contemporary spirituality.

The textural, highly defined surface becomes a physical landscape where Quinlan’s ongoing investigations regarding textiles and their relationship to craft, and what might constitute a gendered form of abstraction can be further explored.

Eileen Quinlan lives and works in New York City. She graduated with an MFA from Columbia University, New York in 2005. She is co-chair of the photography department at Bard College’s Milton Avery Graduate School of the Arts. Quinlan has had numerous exhibitions in the U.S. and Europe including All of this and nothing at the Hammer Museum (2010) and a solo exhibition at the ICA in Boston (2009). The Kitchen in New York will present a two person exhibition with Matt Keegan this October.

Fahrenheit and Stone Roses

15 Nov, 2008-06 Dec, 2008

Sutton Lane (Campoli Presti), Paris

Eileen Quinlan
Fahrenheit and Stone Roses
15 November – 6 December 2008
Sutton Lane, Paris

Sutton Lane is pleased to present the first solo exhibition in Paris of New York based artist Eileen Quinlan.

Mastering commercial photography’s processes and equipment, Quinlan firstly arranges table-top still lifes using a very limited number of objects. Mirrors, reflecting surfaces, fabrics materiality is then emphasised to the point to suggest immateriality.

Six of the new photographs on show represent a further development of the series Fahrenheit that Sutton Lane presented earlier this year in the section Statements at Art|39|Basel. The two new black and white silver gelatin prints, where the composition complexity has been pushed much further, correspond to a new engagement of the artist with big size images. Within the exhibition, Stone Roses, the sole representational image, functions as an introduction to the artist’s practice and as a visual explanation of her artistic concerns. In fact, within this realistic photograph are the same elements that characterise the artist’s semi abstract, quasi pictorial photographic outcomes. The only difference consisting in the fact that in the latter ‘Color, atmosphere, time,
composition, description are reduced to their most basic forms, and take their turn as the subject of the photographs.*”

Eileen Quinlan lives and works in New York. She graduated with an MFA from Columbia University, New York in 2005. She currently has a solo exhibition at Galerie Daniel Buchholz, Cologne. The artist has recently participated in Art|39|Basel Statements with Sutton Lane.

Upcoming exhibitions include a solo exhibition at the ICA, Boston in 2009 and the group show Slow Movement oder: Das Halbe und das Ganze at Kunsthalle Bern, Switzerland. Quinlan’s works form part of the Los Angeles County Museum of Art collection, of the collection of The Museum of Contemporary Art in Los Angeles, of The Metropolitan Museum of Art collection in New York and the Seattle Art Museum collection.

*Artist’s statement 2006

S&M

15 Nov, 2005-17 Dec, 2005

Sutton Lane (Campoli Presti), Paris

S&M
Cheyney Thompson / Eileen Quinlan
15 November – 17 December 2005

Sutton Lane is pleased to announce the first two person exhibition of American artists Cheyney Thompson and Eileen Quinlan in Paris.

“At least one charming thing about the human institution of marriage is that although a man may marry, he can never be only a husband. Besides being a money-making device and the one man one woman can sleep with in legal purity without sin, he may as well be some other woman’s very personification of her abstract idea.
And though a woman may marry, she can never be only a wife. Besides being a home-making device and the one woman one man can sleep with in legal purity without sin, she may also be some other man’s very personification of his most licentious desire.
While to their employees, the married couple are nothing but “bosses,” and to their children, nothing but “parents,” each to themselves something certainly more complex.
With all this said, it remains to be seen in the marriage of objects to ideas, whether or not this meticulous monogamy survives representation.”
– Louise Norton on Remy de Gourmont.

Cheyney Thompson born in 1975 in Baton Rouge, LA, USA, lives and works in New York. Group exhibitions include Transmission Gallery, Glasgow, “Clandestine” at the Venice Biennale (2003), ‘Greater New York’ at P.S.1 Contemporary Art Center, New York. Solo exhibitions include the Cheekwood Museum of Art, Nashville, USA and last year’s ART BASEL Statements. Cheyney Thompson will have a two-person exhibition with Eileen Quinlan at Sutton Lane, Paris, this November.

Eileen Quinlan was born in 1972 in Boston, USA and lives and works in New York. She graduated with an MFA from Columbia University, New York in 2005. Group exhibitions include White Columns, New York and Andrew Kreps Gallery, New York. Eileen Quinlan will have a two-person exhibition with Cheyney Thompson at Sutton Lane, Paris, this November.

A Moveable Feast – Part XI

03 Jul, 2014-26 Jul, 2014

Campoli Presti, Paris

A Moveable Feast – Part XI
Eileen Quinlan & Cheyney Thompson
3 – 26 July 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce A Moveable Feast – Part XI with a presentation of works by Eileen Quinlan and Cheyney Thompson. This is their second collaborative exhibition at the gallery since Smoke & Mirrors, presented in Paris in 2005.

In Quinlan’s new black and white gelatin silver prints (2014), photography is used as a space for performance. The female body, reshaped by the glass it’s pressed against and veiled by the effect of vapor and water, is first documented extensively with a regular digital camera. Selected images are later rephotographed with a 4 x 5 large format camera, allowing Quinlan to work serially and to explore further the relationship between the limits of analog photography and the virtually infinite possibilities of the digital.

The final prints are the result of a wide array of physical interventions that degrade the surface of the negatives, such as scratching the film with tacks, steel wool, and ballpoint pens and leaving the film in a bath saturated with chemicals that accelerate or alter the developing process. Here, the sheets of film are processed by hand. Quinlan uses her fingers to push the emulsion across the surface of the negative rather than using the rollers of the Polaroid back. The prints are all equally sized and pinned directly onto the wall, emphasizing their status as images rather than formatted objects. The lack of a frame, a distancing mechanism, makes these works fully available to the eyes of the viewer.

The color Polaroid photograph Fine Motor Skills (2014), is the first in a new series. Quinlan is using the tiles the artists’ children play with to create a sculptural form reminiscent of a fairy-tale castle or the Cologne Cathedral.

Thompson’s latest series of works continue his investigation on the technology, production and distribution of painting within the context of current abstract economy. The works on view are based on the Drunken Walk algorithm, an aleatory path that is used in financial theory to predict stock prices. In his Stochastic Process Paintings, Thompson executes the algorithm inside the three-dimensional color-system created by Albert Munsell. The diverse positions the line draws within the solid of the color model can be translated into amounts of different hues, saturations and values that Thompson finally applies on canvas in squares of one centimeter. All of the works in the series share the same quantities of color information, 8034 square centimeters, thus determining the format of the paintings.

An homologous procedure is followed in his Broken Volume sculptures through the multiplication of a one inch concrete cube along a path prescribed by the Drunken Walk algorithm. In these works, the constraint placed on the sculptural form consists only in the quantitative. All the works produced in this series share the same volume of concrete, 10 liters. With no regard for their own structural limits, they are left to break under their own weight. Outside of the smoothed numeric space of their conception, they continually orient themselves to the material forces embedded in the temporal conditions of exposure and circulation. The works are developed in dialogue with recent critical approaches towards parametric architecture, used for modeling, monitoring and prediction purposes in a context of increasingly mobile political decisions.

Eileen Quinlan lives and works in New York. Her work forms part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art, The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and the FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of the exhibition New Photography 2013, curated by Roxana Marcoci at MoMA, New York. She has recently participated in the exhibitions Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014); in What is a photograph at the International Center of Photography, New York (2014); «Y? O! G… A.», with Matt Keegan at The Kitchen, New York; and All of this and nothing at the Hammer Museum, Los Angeles (2010). Quinlan has had a solo exhibition at the ICA in Boston (2009).

Cheyney Thompson’s work is part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; and the Centre Pompidou, Paris. His work is currently included in the exhibition Une Histoire. Art, architecture et design, des années 80 à aujourd’hui at Centre Pompidou, Paris. He recently had a solo survey exhibition at the MIT List Visual Arts Center, Massachusetts (2012) with an accompanying monograph and was included in the 2008 Whitney Biennial. Past exhibitions include Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz (2013); The Complete Reference: Pedestals and Drunken Walks (solo) at Kunstverein Braunschweig (2012); The Indiscipline of Painting at Tate St Ives (2011); Systems Analysis at West London Projects and Langen Foundation, Germany (2010); Greater New York at P.S.1 Contemporary Art Center (2005) and Clandestine at The Venice Biennial 2003.

After Hours

18 Mar, 2015-17 Apr, 2015

Campoli Presti, London

Eileen Quinlan
After Hours
19 March – 18 April 2015
Campoli Presti, London

Campoli Presti is pleased to announce Eileen Quinlan’s sixth solo exhibition with the gallery, which will run concurrently in London and in Paris.

Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.

The exhibition introduces different photographic genres such as still-life, portrait, and landscape which expand the implications of abstraction. Quinlan’s abstract compositions are based on multiple staging strategies from commercial photography. Based entirely in the studio, Quinlan produces still-lifes using pre-digital photography techniques used to create backdrops —such as strobes, smoke, mirrors and textiles—generating abstract images of light, colour, and texture.

The installation presented in Paris, Double Charlie, consists of two Full Editions composing a unique work of twelve photographs. Rearranged to cover an entire wall of the exhibition, the work activates itself as a backdrop. The scale and texture of the piece creates an immersive experience for the viewer, reflecting on how the work acts on a body when viewing it in space. The intended repetition of the grid considers how photographs circulate in an art market via artificially limited editions.

Eileen Quinlan’s work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009. Past group exhibitions include Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014), What is a photograph at the International Center of Photography, New York (2014) and All of This and Nothing at Hammer Museum, Los Angeles (2011).

Double Charlie

20 Mar, 2015-10 Apr, 2015

Campoli Presti, Paris

Eileen Quinlan
Double Charlie
21 March – 11 April 2015
Campoli Presti, Paris

Campoli Presti is pleased to announce Eileen Quinlan’s sixth solo exhibition with the gallery, which will run concurrently in London and in Paris.

Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.

The exhibition introduces different photographic genres such as still-life, portrait, and landscape which expand the implications of abstraction. Quinlan’s abstract compositions are based on multiple staging strategies from commercial photography. Based entirely in the studio, Quinlan produces still-lifes using pre-digital photography techniques used to create backdrops —such as strobes, smoke, mirrors and textiles—generating abstract images of light, colour, and texture.

The installation presented in Paris, Double Charlie, consists of two Full Editions composing a unique work of twelve photographs. Rearranged to cover an entire wall of the exhibition, the work activates itself as a backdrop. The scale and texture of the piece creates an immersive experience for the viewer, reflecting on how the work acts on a body when viewing it in space. The intended repetition of the grid considers how photographs circulate in an art market via artificially limited editions.

Eileen Quinlan’s work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009. Past group exhibitions include Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014), What is a photograph at the International Center of Photography, New York (2014) and All of This and Nothing at Hammer Museum, Los Angeles (2011).

Dune Woman

01 Jun, 2017-29 Jul, 2017

Campoli Presti, London

 

Eileen Quinlan
Dune Woman
1 June – 29 July
Campoli Presti, London

Campoli Presti is pleased to announce Dune Woman, Eileen Quinlan’s seventh solo exhibition with the gallery. Quinlan’s work is concurrently on view at the 57th Venice Biennial. Her works are exhibited at the Arsenale, as part of the exhibition Viva Arte Viva, curated by Christine Macel until 26 November.

For her exhibition at Campoli Presti, Quinlan presents a wall of new works that continues her exploration of different regimes of image production – from the digital to the analogue, the downloaded to the photographed. Quinlan meditates on the pre-eminence of vision over our other senses and invokes touch as a means of communion with the tangible world.

The immaterial effects of our screenic devices, and their vertiginous flow of images, continuously frustrates our sense of touch, leaving us in a stupefied state where reality itself becomes fragmented. Quinlan’s haptic, textured photographs, unframed and immediate, present images of sand, skin, and chemical deposits on the film itself, confronting the viewer with a longing for physicality. In a context of environmental collapse, war, and mass shootings, Quinlan’s apocalyptic images reckon with our overwhelmed condition and general state of precarity.

Reflecting on Kobo Abe’s existential novel “Woman in the Dunes”, she considers the accumulation of domestic labor in Sisyphean terms – like encroaching sand, it threatens annihilation. For Abe, the house in the pit becomes a world unto itself, perched at the edge of the abyss. For his characters, male and female archetypes, it’s both a prison and an eden.

Quinlan’s nudes, a project she has undertaken since 2014, were born of an insurgent desire to continue making art under the time-constrained, inspired circumstances of new motherhood. As her world shrank, her bathroom became a studio where identity, sexuality, mortality, and the domination of women’s bodies could be confronted. The glass shower wall, itself ossified sand, acts as both a limit and an imaging surface where Quinlan’s compressed, abstracted body is rendered. Like the house at the edge of the dune, the glass both confines and supports what could otherwise slip into nothingness.

Eileen Quinlan lives and works in New York. She is participating in the 57th Venice Biennial this year, as part of the exhibition Viva Arte Viva, curated by Christine Macel. Quinlan’s work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Quinlan’s work was recently presented at the Whitney Museum, New York in Collected by Thea Westreich and Ethan Wagner; at Bergen Kunsthall, Norway and formed part of New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009. Past group exhibitions include Rites of Spring at the Contemporary Arts Museum, Houston (2014), What is a photograph at the International Center of Photography, New York (2014) and All of This and Nothing at Hammer Museum, Los Angeles (2011).

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris