Ryan McGinness is one of the most successful contemporary young artists. His work references the visual langauge of symbols and iconography while also combining a specific garish aesthetic of whimsical, layered swirls.
Flatnessisgod is about the basic practice of seeing and understanding how we construct and consume a picture plane. It is the graphic equivalent of the artist's book. Ryan McGinness subverts commercialism through oversaturating the eye with public domain imagery. Well respected and known throughout the commercial world, his clients include IBM, SEGA, Sire, MTV and Geffen. Contents include logo development, Graffiti tags, Art Haiku Alien Conspiracy Theories and Groundbreaking layouts.
Somewhere between an artist's book and a catalogue, Installationview provides insight into the works and process of artist Ryan McGinness. The book is a dense collection of new paintings, works on paper, installations, sketches and notes, inspiration snapshots, and pieces made specifically for its pages. "McGinness has developed an expansive vocabulary of eccentric, vaguely familiar symbols drawn from art historical and modern vernacular sources."--the New York Times "An unusual marriage of abstraction and representation"--Art News "For those inclined to debate the line that separates graphic design from fine art, there is no better case study than Ryan McGinness."--Metropolis "McGinness is on image overload."--the Boston Globe "The 33-year-old's recent paintings combine colorful icons drawn from mythology, pop culture, and nature"--Departures
The latest limited edition from Ryan McGinness - No Sin / No Future is a catalogue turned artist's book published on the occasion of his simultaneous No Sin / No Future exhibitions at CAIS Gallery in Seoul and Hong Kong. Following the trajectory of the now out of print Project Rainbow (2003, Gingko Press), the book is a collaged collection of snapshots, sketches, and scans, culled from the artist's studio archives. Sketchbook notes collide with paintings-in-progress and combine with vectors and bitmaps creating a dense site-specific visual mash-up that provides insight into the mind and process of the artist. The work of Ryan McGinness is highly influential in graphic design and visual art circles, and is collected by many venerable institutions including the Museum of Modern Art in New York.
Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these "cruder," more mundane aspects of a painter's daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art's most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made "Artist's Questionnaire," Fig began a journey through the workspaces of some of today's most exciting contemporary artists.
This Book is a Collection of Essays and Interviews with Various Artists, Curators, and Writers Originally Published in 2003 on the Topic of Corporate Sponsorship and Fine Art. The Book Looks at How Corporate Over-sponsorship and Pseudo-Patronage of the Arts Have Achieved Inappropriate Levels in Which Companies that Want to Appear to be Down with a Certain Demographic Have Attempted to CO-OPT an Honest, Organic, and Real Culture with a Commercial One. In These Essays and Interviews, McGinness and His Peers Examine What it Means to Produce Limited-Edition Products Such As T-Shirts, Books, Skateboards, Prints, Figurines, Etc. As Well As What it Means for Artists to Work With Corporations. Book jacket.
Now a New York Times bestseller! Just add color! For anyone who loves creativity and contemporary art, or who simply loves the joy of coloring, comes Outside the Lines, a striking collection of illustrations from more than 100 creative masterminds, including animators, cartoonists, fine artists, graphic artists, illustrators, musicians, outsider artists, photographers, street artists, and video game artists. With contributions from Keith Haring, AIKO, Shepard Fairey, Exene Cervenka, Keita Takahashi, Jen Corace, Ryan McGinness, and more, Outside the Lines features edgy and imaginative pieces ready for you to add your own special touch.
Craig Costello, aka KR, grew up in Queens, New York, where graffiti was part of the landscape and a symbol of the city. While living in San Francisco, he quickly garnered attention when his signature "KR" tag popped up throughout the city. As he became one of the more prominent figures on the streets on NYC and San Francisco, he began to hone his craft by creating better tools launching his own line of homemade markers and mops, combining his moniker KR with the word INK. In KRINK: GRAFFITI, ART, AND INVENTION, Costello has compiled a visual memoir: from his early days of the '80s and '90s and launch with the hip New York City retailer Alife, which put his brand on the map, to his evolution as an artist and high-fashion collaborator. The book showcases Costello's seminal style and his extensive body of work, including site specific installations around the world. It also chronicles his myriad collaborations with Alife, Nike, Coach, Moncler, Modernica, Marc Jacobs, Levi Strauss & Co., Mini (BMW), Casio, Smith Optics, Carhartt, Kidrobot, Medicom Toy, agnès b., and Colette, among many others. Today, Costello's reach and influence goes far beyond urban street culture. Krink has grown exponentially into a global artist materials brand with expanding collections of apparel, tools, and accessories, while Costello's unique aesthetic can be seen on objects from sneakers to luxury goods to cars. KRINK is both stylish and informative, capturing the ethos of punk and hip-hop culture, and is sure to appeal to the fans of high/low cultural crossovers, as well as die-hard fans of street art and fashion.
New York City is the undisputed centre of the North American art world, and its public art is one of the most evident signs of its cultural wealth. For more than 30 years, Creative Time has been an avatar of public art in the city, working to engage art and the environment, artists and the public.