Christina Quarles

[11][12] In 2018, she explained the relationship of her identity to her work: "As a woman, as somebody who's queer, as a person of color, it's important to me to not perpetuate the passive consumption of the body.

This mirrors my experience of living in the body that I inhabit which at certain points I also deviate from in terms of the norm and the expectation of identity or the times when the whole system kind of shows itself up and falls apart.

"[14] Quarles had her first solo show entitled, "It's Gunna Be All Right, Cause Baby, There Ain't Nuthin Left," in 2017 at Skibum Macarthur in Los Angeles, CA.

[15] In 2017, Peter Schjeldahl of the New Yorker equated Quarles' work to that of artists Arshile Gorky and Willem de Kooning, describing her knack for "adapting abstract aesthetics to carnal representation.

Louise Bourgeois, Carolee Schneemann, Cindy Sherman, Lorna Simpson, Ana Mendieta, Mickalene Thomas, and Wangechi Mutu were among them.

[20][21] Six paintings by the artist were included in Cecilia Alemani's exhibition "The Milk of Dreams" at the Venice Biennale 2022, in the Central Pavilion.

[22][23][24] In 2015 Quarles received the Robert Schoelkopf Fellowship at Yale University and in 2016 the Rema Hort Mann Emerging Artist Grant.

[27] In an article published by ARTnews, the museum reported having familiarized with Christina Quarles artistic practice through a show presented at a Miami gallery in 2017.

Her notable solo shows include Baby, I Want Yew To Know All Tha Folks I Am (2017), Skibum MacArthur Gallery, Los Angeles, and David Castillo Gallery, Miami;[15][18] MATRIX 271/Christina Quarles (2018), Berkeley Art Museum and Pacific Film Archive, Berkeley, California;[30] Christina Quarles: In Likeness (2019), The Hepworth Wakefield, Wakefield, West Yorkshire;[31] Yew Jumped too Deep, Yew Buried the Lead (2019), Richmond Center for Visual Arts, Kalamazoo, Michigan;[32] and Christina Quarles (2021-2022), originating at the Museum of Contemporary Art, Chicago.