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Last night's double-Ryan McGinley openings at Team Gallery brought a massive Deitch-sized crowd to the streets of SoHo. Pitchfork co-hosted and Ryan's friend Bradford Cox (Atlas Sound) played on the roof at the Wooster St location, before getting shut down by a cranky neighbor (he later continued the performance inside).

McGinley's new work is, not surprisingly, gorgeous and impressive. The exhibits are a nice contrast to each other in terms of approach: one is playful, studio-based work pairing models with colorful, strange animals; the other is more traditional McGinley-style documentary work, grids of grainy, blown-up prints of adolescent faces in crowds. The latter shots are candid and lit by their environments -- one of his strengths is his close attention to the serendipity of available environmental lighting. The animal series, despite being based in the studio, also represents the way in which his work and methods embrace dynamics and chance. Here he controls the lighting and the human models, but the animals can only be controlled so much. McGinley is a master at creating a situation, and then documenting it as it plays out. He captures it at the right moments (e.g., the shot with the bird flying in the front of the model's face) and probably also at the wrong moments (he's known for shooting loads of film), but the final edit - therein lies the masterpiece.

IMG_0479.jpgIMG_0481.jpgIMG_0493.jpgIMG_0496.jpgRyan McGinley introducing Bradford Cox

IMG_0501.jpgBradford Cox

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