"…the most important photographer in America…” —GQ magazine Since first coming to prominence 10 years ago, Ryan McGinley has ushered in a wholly new language of photography: images that are uniquely grounded in our contemporary moment while simultaneously evoking an idyllic timelessness. In this new volume, Ryan McGinley: Way Far, the artist presents a collection of his most recent work. McGinley was the first of his generation of artists to explore the nude figure within the American landscape. With a fresh set of eyes, he embarked on an on-going series of images that were shot during months-long summer road trips cross-country. Transfixed by the open vistas and the picturesque wilderness he found along the way, McGinley and his models—not unlike explorers from another century—set out to rediscover these unpopulated spaces. Whether hiking on peat covered mountains, swimming in crystalline lakes, or rolling around in vast fields of tall grass, the artist's images of bodies in pastoral scenes have been his signature, and his triumph has been his ability to evoke the almost dream-like state that comes with that kind of freedom. As one of the most critically acclaimed photographers working today and rightfully considered the voice of a generation, no other contemporary artist’s work has permeated pop culture this indelibly.
The first book to examine Ryan McGinley’s early photographs and Polaroids—raw, visceral portraits of his coterie of friends and artists in downtown New York City. Published to accompany an exhibition at Museum of Contemporary Art Denver, Ryan McGinley: The Kids Were Alright focuses on the photographer’s early work from 1998 to 2003, the year of his solo exhibition at the Whitney Museum of American Art. These early photographs and Polaroids—many of which have never been exhibited or published— document his friends and collaborators in downtown New York City. In the process, McGinley created a powerful portrait of his generation and their often debauched lifestyle: gritty, daring, and focused on moments of both pleasure and tedium. McGinley’s singular ability to capture the mood and emotional depth of a moment is evident even from the earliest years of his career. Curator Nora Burnett Abrams offers the most comprehensive consideration to date of this important work in her essay, and other contributions— including an interview with McGinley and artist Dan Colen and several short reminiscences from many of his subjects and social circle at the time— will provide context and commentary on the more than 100 works in the volume.
2nd ed. of photographs from exhibition. Over the past year, Ryan McGinley and his crew explored huge underground caves, venturing into unknown territory and seeking out spectacular natural spaces, some previously undocumented. The title, Moonmilk, alludes to the crystalline deposits found on the walls of many caves; it was once believed that this substance was formed by light from celestial bodies passing through rock into darkened worlds below. The series, a departure from Ryan's iconic images of the past, firmly places Ryan as one of the most innovative and influential artists of a generation! Moonmilk has been deemed photobook of the year (2009) by the New York Times Magazine!
Ryan McGinley, one of the most important photographers of his generation, asks his friends and colleagues to take the camera into their own hands. Following instructions given to them by the artist, a group of individuals explore their own image. Ryan McGinley, since the earliest days of his unparalleled career, has chronicled his friends and cohorts. Whether on the now legendary annual road trips he has organized with a large coterie of twentysomethings documenting summertime exploits or documenting the early gritty years in downtown New York, McGinley is known as the consummate storyteller about freedom and abandon of youth. A few years ago, however, he wanted to challenge his creative habits and asked more than one hundred of his friends and colleagues--guided by detailed instructions and a camera given to them by the artist--to take nude self-portraits using mirrors and other props. Though related to the ubiquitous selfie, the participants didn't have the benefit of seeing the image before they clicked the shutter. Furthermore, McGinley would make the selection of the final image to represent the photo session. The experiment yielded scores of intimate and psychologically revealing photos that--even though not done by his own hand--bear some signature McGinley flourishes in their emotional depth and resonance.
NEW YORK TIMES BESTSELLER • A stunning “portrait of the enduring grace of friendship” (NPR) about the families we are born into, and those that we make for ourselves. A masterful depiction of love in the twenty-first century. NATIONAL BOOK AWARD FINALIST • MAN BOOKER PRIZE FINALIST • WINNER OF THE KIRKUS PRIZE A Little Life follows four college classmates—broke, adrift, and buoyed only by their friendship and ambition—as they move to New York in search of fame and fortune. While their relationships, which are tinged by addiction, success, and pride, deepen over the decades, the men are held together by their devotion to the brilliant, enigmatic Jude, a man scarred by an unspeakable childhood trauma. A hymn to brotherly bonds and a masterful depiction of love in the twenty-first century, Hanya Yanagihara’s stunning novel is about the families we are born into, and those that we make for ourselves. Look for Hanya Yanagihara’s latest bestselling novel, To Paradise.
NEW YORK TIMES BESTSELLER • In Slaying the Tiger, one of today’s boldest young sportswriters spends a season inside the ropes alongside the rising stars who are transforming the game of golf. For more than a decade, golf was dominated by one galvanizing figure: Eldrick “Tiger” Woods. But as his star has fallen, a new, ambitious generation has stepped up to claim the crown. Once the domain of veterans, golf saw a youth revolution in 2014. In Slaying the Tiger, Shane Ryan introduces us to the volatile, colorful crop of heirs apparent who are storming the barricades of this traditionally old-fashioned sport. As the golf writer for Bill Simmons’s Grantland, Shane Ryan is the perfect herald for the sport’s new age. In Slaying the Tiger, he embeds himself for a season on the PGA Tour, where he finds the game far removed from the genteel rhythms of yesteryear. Instead, he discovers a group of mercurial talents driven to greatness by their fear of failure and their relentless perfectionism. From Augusta to Scotland, with an irreverent and energetic voice, Ryan documents every transcendent moment, every press tent tirade, and every controversy that made the 2014 Tour one of the most exciting and unpredictable in recent memory. Here are indelibly drawn profiles of the game’s young guns: Rory McIlroy, the Northern Irish ace who stepped forward as the game’s next superstar; Patrick Reed, a brash, boastful competitor with a warrior’s mentality; Dustin Johnson, the brilliant natural talent whose private habits sabotage his potential; and Jason Day, a resilient Aussie whose hardscrabble beginnings make him the Tour’s ultimate longshot. Here also is the bumptious Bubba Watson, a devout Christian known for his unsportsmanlike outbursts on the golf course; Keegan Bradley, a flinty New Englander who plays with a colossal chip on his shoulder; twenty-one-year-old Jordan Spieth, a preternaturally mature Texan carrying the hopes of the golf establishment; and Rickie Fowler, the humble California kid striving to make his golf speak louder than his bright orange clothes. Bound by their talent, each one hungrier than the last, these players will vie over the coming decade for the right to be called the next king of the game. Golf may be slow to change, but in 2014, the wheels were turning at a feverish pace. Slaying the Tiger offers a dynamic snapshot of a rapidly evolving sport. Praise for Slaying the Tiger “This book is going to be controversial. There is no question about it. . . . It is the most unvarnished view of the tour—the biggest tour in the world—that I’ve ever read. And it’s not close.”—Gary Williams, Golf Channel “A must-read for PGA Tour fans from the casual to the most dedicated . . . This book is certain to be as important to this era as [John] Feinstein’s [A Good Walk Spoiled] was two decades ago. . . . A well-researched, in-depth look at the men who inhabit the highest levels of the game.”—Examiner.com “A masterfully written account of an important time in golf history.”—Adam Fonseca, Golf Unfiltered “Absolutely marvelous . . . Ryan’s writing flows and his reporting turns pages for you.”—Kyle Porter, CBS Sports “A riveting read.”—Library Journal “Ryan’s fresh look is just what we golfer/readers want.”—Curt Sampson, New York Times bestselling author of Hogan “Ryan does a fantastic job painting a thoughtful and accurate portrait of the new crop of heirs apparent.”—Stephanie Wei, Wei Under Par
The most recent body of paintings of this New York-based artist, featuring the artist's examination of consumer culture in his handmade, "do-it- yourself " aesthetic. This is the first publication to focus exclusively on the roughly hewn paintings by Tom Sachs (b. 1966), tracing his interest in combining cultural icons and corporate logos with a handcrafted aesthetic. Mining the American landscape for iconography, Sachs investigates themes of corporate and cultural identity--such as consumerism, branding, cultural dominance, and technological development--to explore the achievements, failures, and inherent contradictions of contemporary society. In addition to the essay by David Rimanelli and twenty-two plates, there is a conversation with the artist and an extensive chronology. Sachs's meticulously handcrafted paintings depict such diverse topics as the Reese's candy bar, Fanta logo, Family Guy, Air Force One, Krusty O's cereal box, and the American flag; all modern icons that document successes and failures of the American experience and the ambiguities and contradictions inherent in its society and culture.
The debut poetry collection from Arab-American poet Kareem Rahma-formerly of VICE and The New York Times-shows us the future in haiku. What awaits us is not the future we had hoped for or what we were promised, but the terrible consequences of we've done to ourselves. Managing to be both a hopeful prayer for change and direct warning to the reader, New York-based author Kareem Rahma makes masterful work of the haiku form to build a very possible future world dominated by corporations, an earth depleted of natural resources and humans turned into zombies, glued to their screens. Elegant but caustically humorous, even in the darkness, Rahma remains hopeful that we can still keep the promises we made in the past. Paired with Jean-Marc Côté's 19th-century illustrations of an imagined year 2000, We Were Promised Flying Cars is not just for poetry and science fiction fans, but anyone interested in what tomorrow might look like.
