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Maison Européenne de la Photographie 4 Janvier 2014 au 16 Février 2014

Ryan McGinley





Ryan McGinley (né le 17 octobre 1977) est un photographe américain newyorkais. Il a commencé ses photographies en 1998. En 2003, à l’âge de 25 ans, McGinley était l’un des artistes les plus jeunes a présenter son salon au Musée Whitney d’Américain Art. Il a aussi été nommé le Photographe de l’Année en 2003 par le Magazine de Photo américain. En 2007 McGinley reçoit la Récompense Jeune d’Infini de Photographe par le Centre International de Photographie.


Enfance Ryan David McGinley, né à Ramsey, dans le New Jersey, est le plus jeune des huit enfants. Dès l’enfance ses mentors étaient des skateurs, des auteurs de graffiti, des musiciens et les artistes que l’on a considérés d’être sur les bords de société.

Il s’est inscrit comme étudiant de graphisme à l’École de design de Pasteurs à New York en 1995. Il s’est déplacé au Village Est en 1998 et a couvert les murs de son appartement avec les images Polaroïd de tout son entourage.


Work McGinley had his first public exhibition in 2000 at 420 West Broadway in Manhattan in a DIY opening.

Later, as a student at Parsons, he started taking pictures, which he put together in a book, self published in 1999, called The Kids Are Alright. The book was titled after a film about The Who,[4] was handmade and distributed to people he respected in the art world and sold at the exhibition.


One copy was given to scholar and curator Sylvia Wolf, who later organized McGinley’s solo exhibition at the Whitney. Wolf, in an essay about McGinley, wrote, «The skateboarders, musicians, graffiti artists and gay people in Mr.

They are savvy about visual culture, acutely aware of how identity can be not only communicated but created. They are willing collaborators.»

McGinley’s early work ‘know what it means to be photographed. [...] His subjects are performing for the camera and exploring themselves with an acute self-awareness that is decidedly contemporary.

McGinley has been long time friends with fellow downtown artists Dan Colen and the late Dash Snow. McGinley said of Snow, «I guess I get obsessed with people, and I really became fascinated by Dash.»


Ariel Levy, writing in NY Magazine about McGinley’s friend and collaborator, Dash Snow, said, «People fall in love with McGinleyʼs work because it tells a story about liberation and hedonism:

McGinley started out announcing that ‘The Kids Are Alright,’ fantastic, really, and suggested that a gleeful, unfettered subculture was just around the corner—’still’—if only you knew where to look.»

Where Goldin and Larry Clark were saying something painful and anxiety producing about Kids and what happens when they take drugs and have sex in an ungoverned urban underworld,


Since 2004, McGinley’s style evolved from documenting his friends in reallife situations towards creating settings where the situations he envisions can be documented. He casts his subjects at rock ‘n’ roll festivals, art schools, and street castings in cities.

He shoots 35mm film and makes his photographs using Yashica T4s and Leica R8s. McGinley has drawn much inspiration from Terrence Malick’s wfilm Days of Heaven. Critic Philip Gefter, in a 2007 feature about McGinley, wrote, «He was a fly on the wall.

But then he began to direct the activities, photographing his subjects in a cinema-verite mode. ‘I got to the point where I couldn’t wait for the pictures to happen anymore,’ he said.

‘I was wasting time, and so I started making pictures happen. It borders between being set up or really happening. There’s that fine line.’»


In an April 2010 article in Vice Magazine, McGinley identified Gilles Larrain as one of his early influences, particularly Larrain’s 1973 book Idols.. Critic Jeffrey Kluger wrote in 2008, «Photography is about freezing a moment in time; McGinley’s is about freezing a stage in a lifetime. Young and beautiful is as fleeting as a camera snap--and thus all the more worth preserving.»

Music McGinley is credited for the formation of the New York City based band The Virgins after introducing and photographing two of its members in Tulum in 2004. McGinley said of the band, «Their lyrics are really poetic and very much about New York and the life that we live.»


Donald Cumming, the lead singer of the Virgins was noted as being one of McGinley’s regular models. Music critic Jody Rosen wrote, «’Maybe if you change your hair/You’d be good enough,’ Donald Cumming sneers in ‘Fernando Pando.

In 2008, the Icelandic post-rock band Sigur Rós used one of McGinley’s images for their fifth album Með suð í eyrum við spilum endalaust. The video for the first track from the album, «Gobbledigook», was inspired by his work.

He knows of what he sings: Cumming has been a fixture of New York’s downtown demimonde since he was 16, making films and modeling for hip young photographer Ryan McGinley.»


Editorial work McGinley interviewed long time friend and mentor Jack Walls for an article in Vice magazine. In the introduction he wrote, «I spent two weeks making 500 hand-drawn balloons for Jack Walls’s 50th birthday party.» He has also contributed editorial portfolios to the New York Times Magazine, Oscars, 2004 Olympic Swimmers 2010 Winter Olympics.


He has had solo shows at MoMA P.S.1 in New York (2004), in Spain at the MUSAC in Leon (2005). In 2005, he was the laureate of the Rencontres d’Arles Discovery Award.

Exhibitions As part of the museum’s First Exposure series, a showcase for new photography, McGinley had had a solo show at the Whitney Museum in 2003. [4] In recent years, his photographs have been exhibited in galleries and museums worldwide.


In 2007 McGinley exhibited his show, Irregular Regulars, at Team Gallery in SoHo. Art critic David Velasco, in his review of the show, wrote, «McGinley went on a twoyear road trip, traveling to dozens of Morrissey concerts in the US, the UK, and Mexico. The resultant photos, many of which are densely saturated in the concerts’ colored lights, feature candid shots of fans, regularly zooming in for seductive close-ups of enamored youngsters—a celebration of the ecstatic cult of fame and its ardent enablers.»

In 2008 he exhibited I Know Where the Summer Goes, also at Team Gallery. Kluger, writing in TIME, said, «But his favorite subject remains youth, as his 2008 exhibit, ‘I Know Where the Summer Goes,’ proves. In that collection, McGinley’s troupe travels the country as he photographs them, sometimes clothed and often not, while they leap fences, lounge in a desert, play together in a tree.» In October 2010, McGinley opened his exhibition, «Life Adjustment Center» at Ratio 3 in San Francisco. There he debuted two new portfolios of black and white portraits and color photographs.












Amanda (Hawk), 2011









































Valery alexis ryan mcginley catalogue