Ryan McGinley

  • Ryan McGinley

    I STARTED OUT shooting for magazines—Index and the New York Times Magazine—and Vice hired me as their photo editor when I was still in college at Parsons School of Design. Working next to artists like Tina Barney, Juergen Teller, and Wolfgang Tillmans at Index was eye-opening. That really set the stage for me to be a photographer who operated in the art world but still took on commercial and editorial projects.

    In fact, some of the projects I’m proudest of are editorial and commercial assignments: my 2008 Oscars portfolio for the New York Times Magazine; contributing to the advertising history

  • Nick Relph, Raining Room, 2012, car wheels, 2' 1“ x 5' 9 1/4” x 10' 6 1/4".


    To take stock of the past year, Artforum asked an international group of artists to select the single image, exhibition, or event that most memorably captured their eye in 2012.


    Gang Gang Dance (September 22, Cameo Gallery, Brooklyn) If materialism is the unwanted fat on our spirits, Gang Gang Dance’s music is the blade that cuts it all off. Their sounds burn up that heaviness of need and greed and lift the spirits to other dimensions. A hundred years ago, Rudolf Steiner wrote The Philosophy of Freedom and feverishly lectured about protective space and other visionary ideas to

  • Ryan McGinley, Lauren, 2010, black-and-white photograph, 18 x 12".

    Ryan McGinley

    MY PHOTOGRAPHS are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact.

    This year, I began a series of studio portraits, completely changing the look of my work—removing the color, removing the landscape, leaving nothing but a person and a white backdrop. The most important part was casting: finding people who were at a specific time in life, their late teens or early twenties, an exploratory age when you have a