| | | | Ryan McGinness: #metadataText by Dieter Buchhart, Andrew Blauvelt, Ben Sutton, Carlo McCormick, Bill Powers.
 “A Warholian mix of pop iconography and silk-screening.” —The New York TimesRyan McGinness: #metadata features new paintings by Ryan McGinness. McGinness’ work, taking inspiration from skate and surf culture and graphic design, has been characterized as “equal parts Pop, Baroque, commercial and street.” But in his recent paintings McGinness stays local, taking his inspiration from his own studio space and tools. The paintings in the Studio Views and Screen Combines series depict various scenes and detritus from the studio, including tools, sketches, paint containers and finished paintings. Disrupting the normal hierarchy of means and ends, works in progress and finished products, McGinness presents us with the very tools and spaces used to make the paintings themselves. Ryan McGinness: #metadata features an interview with the artist, a selection of early works and installation views of McGinness’ work on view at the Kohn Gallery in Los Angeles and the Cranbrook Art Museum.
Ryan McGinness (born 1972) grew up in the surf and skate culture of Virginia Beach, Virginia, and studied at Carnegie Mellon University in Pittsburgh, Pennsylvania, as an Andrew Carnegie Scholar. During college he interned at The Andy Warhol Museum as a curatorial assistant. His work is in the permanent public collections of The Museum of Modern Art, The Metropolitan Museum of Art, Virginia Museum of Fine Arts, Museum of Contemporary Art San Diego and the Cincinnati Art Museum. McGinness lives in New York.
Featured image is reproduced from 'Ryan McGinness: #metadata.' |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/25/2018 "Don't Stress the Machine" (in studio, 2017) is reproduced from Ryan McGinness: #metadata, published by Damiani. "McGinness' Pictures in Pictures offer a kind of studio view with the maelstrom at its center," Carlo McCormick writes, "carefully framed by the quotidian elements of wood flooring or the buckets upon which a painting might rest as post-modern tromp l'oeil situational landscape—but these effects are about as comforting as being able to see the narrow ledge you're standing on after you've climbed out the window of a very tall building. Knowing there is something solid under your feet does little to ameliorate the unfathomable spectacle of what lies beyond. Nietzsche parsed the human condition as preferring 'the void as a purpose than the void of purpose,' and even if McGinness has an abiding optimism that is far from the nihilism of Nietzsche, his art has an uncanny way of playing right along that thin line of intentionality where meaning and oblivion clutch close to one another in a mortal dance. He allows us the judicious cogency of less is more, but he also raises that storm of superfluity that wracks and ruins the architecture of signification into the traumatic rubble of desperate loss. It's as if he uses the building blocks of visual language to build a Tower of Babel befitting the contemporary polyglot of culture's wanton referencing, assembling it all to an unfeasible height for the glorious purpose of watching it implode." continue to blog | ART BOOKS & MUSEUM EXHIBITION CATALOGS: FORTHCOMING AND RECENT RELEASES |  | HAUSER & WIRTH PUBLISHERSISBN: 9783906915722
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