Through the lens: Ryan McGinley
An exploration of the early work of acclaimed American photographer Ryan McGinley.
Name-checked as “the most important photographer in America” by GQ in 2014, Ryan McGinley became known for his dreamlike photography depicting youth in all its hedonism and turmoil. Rising to prominence with his self-published The Kids Are Alright in 1999, McGinley made history when, at just 25 years old, he became one of the youngest artists to receive a major solo exhibition at the Whitney Museum of American Art. He has since gone on to have an illustrious career, contributing photography to publications such as Vogue, GQ and Vanity Fair, while also shooting campaigns for Levi’s, Dior and Calvin Klein, alongside album artwork for artists including Beyoncé and Harry Styles.
Despite his consistent success, it is McGinley’s early work, particularly The Kids Are Alright and his associations with fellow Lower Manhattan artists Dan Colen and Dash Snow, that initially attracted me to his photography. While artists like Larry Clark often highlight the despair underlying New York’s teenage skaters, wasters and drifters, McGinley’s early images instead celebrate the gleeful chaos of that brief, fleeting period before adulthood fully sets in.
Elevator, 1999
Agathe & Dash (Black Leather), 2001
Dash Bombing, 2001
Drinking & Peeing, 1999
Dan Dusted, 2002
Having Sex (Polaroids), 1999
Dan (Bloody Eye), 2002
Eric, 2001
Ryan & Marc (red kiss), 1999
Marc (Changing a Record), 1999
Jake (Bloody Brain), 2003
Eric (Sleeping), 2000
Over Ledge, 2000
Red Mirror, 1999
Ryan (Head Butt), 1999
The Kiss, 2000
Sam Ground Zero, 2001
Tim and Dakota, 2002
Kunle, 1998




















