Eileen Quinlan’s experimental process unfolds through a limited set of materials and brute repetition, probing and demystifying the circumstances of each image’s creation. It insists, by extension, on the constructed nature of all photographs. As such, the constructions themselves run the photographic gamut from the quasi-pictorial to the semi-abstract, from evidentiary document to expressive collage. The regime of the image materializes in its full heterogeneity, only to recede again under its own weight.

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Eileen Quinlan (b. 1972, Boston) earned her MFA from Columbia University in 2005, and had her first solo museum exhibition at the Institute of Contemporary Art, Boston in 2009. Her first survey show, Wait For It at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, was held in 2019. In the fall of 2020, Quinlan’s sixth solo exhibition at Miguel Abreu Gallery, Dawn Goes Down, was presented concurrently with Displacements and Dead Trees, a two-person exhibition with Cheyney Thompson. Quinlan’s work was included in Artist’s Choice: Amy Sillman—The Shape of Shape, Museum of Modern Art, New York (2020), Objects Recognized in Flashes, a major group exhibition curated by Matthias Michalka at MUMOK, Vienna, alongside Michele Abeles, Annette Kelm, and Josephine Pryde (2019), Passer-by at Lafayette Anticipations, Paris (2019), Picture Industry: A Provisional History of the Technical Image1844–2018 at the LUMA Foundation in Arles (2018), VIVA ARTE VIVA, the 57th International Art Exhibition, Venice Biennale, curated by Christine Macel (2017), and Always starts with an encounter: Wols/Eileen Quinlan, produced by Radio Athènes and curated by Helena Papadopoulos at the Museum of Cycladic Art in Athens (2016). Previously, Quinlan participated in Image Support at the Bergen Kunsthall, What Is a Photograph? at the International Center for Photography, New York, and New Photography 2013 at the Museum of Modern Art, and in other group exhibitions at the Metropolitan Museum of Art, the Hammer Museum, White Columns, the White Cube Bermondsey, the Langen Foundation, Mai 36, Marian Goodman Gallery, Andrea Rosen Gallery, and Paula Cooper Gallery, among others. 

Quinlan’s work is in the permanent collections of the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum, CCS Bard Hessel Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Hammer Museum, Los Angeles, San Francisco Museum of Modern Art, Pinault Collection, Aïshti Foundation, Beirut, MIT List Visual Arts Center, Boston, Institute of Contemporary Art / Boston, Ackland Art Museum, Henry Art Gallery, Seattle, Whitworth Art Gallery, Manchester, V–A–C Foundation, Moscow,  mumok, Vienna, Kunstpalast Düsseldorf, FRAC Normandie Rouen, Brooklyn Museum, and The Art Institute of Chicago.

The artist’s first monograph
, Good Enough, was published by Osmos Books in 2018, while Always Starts with an Encounter: Wols—Eileen Quinlan, was published by Radio Athènes and Sequence Press in 2019. Her seventh solo exhibition at Miguel Abreu gallery was held in March 2023.