Ryan McGinley

RYAN MCGINLEY "CYCLONE" 2008

$5,500

Ryan McGinley (b. 1977) is arguably the most renowned photographer of his generation. In 2003 at 25 years of age, McGinley became the youngest artist to ever have a solo show at the Whitney.

Over the past two decades, McGinley has proven himself to be the successor to both Nan Goldin and Larry Clark with a unique documentary style that portrays the idealisms and realities of a generation. His work captures the optimism, rebellion and hedonism experienced by friends and lovers in and around New York City. Artists like the late Dash Snow and Dan Colen regularly make appearances in his images.

A decisive shift took place in McGinley's work when, in summer 2003, a collector loaned their Vermont country house to the artist. McGinley invited friends and acquaintances to the house each week. Away from the density of New York City, he captured his subjects cinematically in this raw, bucolic setting. This moment inspired a series of summer road trips in the following years, which resulted in several new bodies of work and would come to mark an important period in his oeuvre.

This image is surreal, playful, and iconically Ryan McGinley. Against a sweeping sky of mauve spotted with clouds, a nude figure with a blunt, blonde bob tumbles across the composition. The figure is lit with a strobe, making her stand out against the clouds, despite her small scale. The title plays into the dreamy scene, implying that the figure is being swept away by a cyclone.

While McGinley established his photographic reputation in the early 2000s, he has gradually evolved into one of the most sought-after portrait photographers. Today, his work regularly appears in magazines including Vanity Fair and the New York Times magazine. 

Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.

"Cyclone"

2008

Chromogenic color print mounted to plexiglass

16"H 24"W (work)

17"H 25"W (framed)

Very good condition

Literature: Ryan McGinley: Whistle for the Wind. Rizzoli, 2012. (p. 174)

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