Born in Virginia Beach

Selected Solo Exhibitions
Everything Is Everywhere,  Galerie Ron Mandos, Amsterdam
Ryan McGinness: Signs, Installed by the New York City Department of Transportation, Manhattan, July 28- August 30, 2014
Figure Drawings,  Pace Prints, New York

Studio Visit, September 29 – June 2, 2013, Virginia Museum of Fine Arts, Richmond, VA

Women: New (Re)presentations, Quint Contemporary Art, La Jolla, CA
Units of Meaning, Baldwin Gallery, Aspen, CO
Women: Blacklight Paintings & Sculptures, Charles Bank Gallery, New York, NY
Women: Sketches & Solutions, Gering & López Gallery, New York, NY
Geometric Primitives, Pace Primitive, New York, NY

Sponsorship Redux, Subliminal Projects, Los Angeles, CA
Trophies, Prism Gallery, Los Angeles, CA
Works on Paper, Country Club, Los Angeles, CA
Recent Paintings, Michael Kohn Gallery, Los Angeles, CA
Color Oblicuo, Espai Cultural Caja Madrid, Madrid, Spain
Black Holes, Phillips de Pury & Company, New York, NY

New Tondos, Galerie Forsblom, Helsinki, Finland
Studio Franchise, La Casa Encendida, Madrid, Spain

Ryan McGinness Works, Deitch Projects, New York
Mindscapes & Blackholes, Baldwin Gallery, Aspen, CO

Aesthetic Comfort, Cincinnati Art Museum, Cincinnati, OH; Artcore/Fabrice Marcolini, Toronto, Canada
A Shadow Feeling of Loss, Paolo Curti/Annamaria Gambuzzi and Co., Milan, Italy

Varied Editions, Pace Prints, New York, NY
A Rich Fantasy Life, Quint Contemporary Art, La Jolla, CA

Never Odd or Even, Galeria Moriarty, Madrid, Spain; Vous Etes Ici, Amsterdam, The Netherlands; Paolo Curti/Annamaria Gambuzzi and Co., Milan, Italy
Gas, Grass, or Ass (Nobody Rides for Free), Glenn Horowitz, Bookseller, East Hampton, NY
Mildly Subversive, Montserrat College of Art Gallery, Beverly, MA

New Paintings, Danziger Projects, New York
Installationview, Deitch Projects, New York
Wall Paintings, Publico, Cincinnati
The Burden of Keeping it Real, Andre Simoens Gallery, Knokke-Zoute, Belgium
Pain-Free Kittens, Quint Contemporary Art, La Jolla

Multiverse, Galerie du Jour, Paris, France
Bucky Balls, Printed Matter, New York
Living Signs, Galeria Moriarty, Madrid, Spain

Project Rainbow, 222 Gallery, Philadelphia
Worlds within Worlds, Deitch Projects, New York
Sponsorship, Black Market Gallery, Los Angeles

This Dream Is So Life-Like, Gas Gallery, Tokyo, Japan
Products Are The New Art, Printed Matter, New York
Dream Garden, Deitch Projects, New York
Fancy Is a Verb, Twentyfour, Vancouver, Canada
Sign Language, Stux Gallery Project Room, New York

Evolution Is the Theory of Everything, Parco Gallery, Tokyo, Japan
Sign Age, Galerie de Miguel, München, Germany
Pieceofmind, Colette, Paris, France
Vocabularytest, Joseph Silvestro Gallery, Brooklyn

Shtick, Houston Gallery, Seattle
Luxurygood, Alife, New York

Flatnessisgod, Zakka, New York

Networking Is a Skill, Chaos, New York

No Sweat, Manhattan Athletic Club, New York

Clever Title Goes Here, a+a Company, New York
Slow Children Playing, Mad River Post, New York

Selected Group Exhibitions

Factory Direct, The Andy Warhol Museum, Pittsburgh, PA
Modern and Contemporary Art from Private Collections, Montclair Art Museum, Montclaire, NJ

Masters of Reality, Gering & López Gallery, New York, NY
Karmic Absytaction, Bridgette Mayer Gallery, Philadelphia, PA
Nose Job, Eric Firestone Gallery, Philadelphia, PA
Contemporary Magic: A Tarot Deck Art Project, Curated by Stacy Engman, Andy Warhol Museum, Pittsburgh, PA
Litos Grafera, Art Centre Silkeborg Bad, Denmark

Contemporary Magic: A Tarot Deck Art Project, Curated by Stacy Engman, National Arts Club, New York, NY

The Garden at 4AM, Curated by Paul Laster & Renee Riccardo, Gana Art, New York, NY

Royal Academy Illustrated, Royal Academy of Arts, London, England

Monumental Drawing, Blue Star Contemporary Art Center, San Antonion, TX

Graphic Content, Contemporary Art Center, Cincinnati, OH
Art on Paper 2006, Weatherspoon Art Museum, Greensboro, NC
The World is Round, Public Art Fund, MetroTech, Brooklyn, NY
USA Today, The Saatchi Gallery, Royal Academy of Arts, London, England
Spank the Monkey, Curated by Peter Doroshenko & Pedro Alonzo, Baltic Centre for Contemporary Art, Gateshead, England
H.O.L.L.A.N.D., Vous Etes Ici, Amsterdam, Netherlands
Since 2000: Printmaking Now, Museum of Modern Art, New York, NY
The Garden Party, Deitch Projects, New York, NY

Threshold, Max Wigram Gallery, London
Greater New York 2005, P.S.1 / Museum of Modern Art, New York

Indianapolis Museum of Art, Indianapolis
Herbert F. Johnson Museum of Art, Cornell University, Ithaca
Museum of Contemporary Art, Denver
Will Boys Be Boys? Questioning Adolescent Masculinity in Contemporary Art
Salina Art Center, Salina
The Dreamland Artist Club, Creative Time, New York
Le Tri Postal, Lille, France
Palazzo dell’Arte, Milan, Italy
USF Contemporary Art Museum, Tampa
Contemporary Museum, Baltimore
Orange County Museum of Art, Newport Beach
Yerba Buena Arts Center, San Francisco
Beautiful Losers, Contemporary Arts Center, Cincinnati
La Collection d’Art Contemporain d’Agnès B., Les Abattoirs Museum, Toulouse, France
Earthly Delights, MassArt, Sandra and David Bakalar Gallery, Boston

Airtight Plan for Killing, Buia Gallery, New York
A New New York Scene, Galerie du Jour, Paris, France
Lead Poisoning, New Image Art, Los Angeles
North Star Video Screening, Mori Art Museum, Tokyo, Japan

SK8 on The Wall, Gallery Rocket, Tokyo, Japan
Session The Bowl, Deitch Projects, New York
Street Wise, A-Part Gallery, London
Group Show, Quint Contemporary Art, La Jolla

Artissima Turin Art Fair, Artissima, Turin-Torino, Italy
Grandes Arquitecturas Pequenas, Galeria Dasto and Centro de Arte Dasto, Oviedo, Spain
Spunky, Exit Art, New York
Group Show, Ground Zero, New York

Critic as Grist, White Box, New York
Tomorrow, Rare, New York
Le Salon for Art Collectors, Babylon, London
Group Show, Steffany Martz, New York
Interior Spaces in Contemporary Art, Whitney Museum of American Art at Champion, Stamford

Size Matters, Gale Gates, Brooklyn
Photo Synthesis, Rare, New York
Road Show, DFN Gallery, New York
Room with a View, Sixth@Prince Fine Art, New York
LA National Juried Art Exhibition, Patricia Correia Gallery, Los Angeles

Fresh Blood: 13 Young Artists, Archibold Arts, New York
Le Salon for Art Collectors, Vanessa Suchar, London

Summer Invitational, Steffany Martz, New York
Wet Paint, Mary Anthony, New York
Group Show, a+a Company, New York

Giftland v: Democra$y, Printed Matter, New York
Night of 1,000 Drawings, Artists Space, New York

Selected Collections

Museum of Modern Art, New York, NY
Virginia Museum of Fine Arts, Richmond, VA
Museum of Contemporary Art, San Diego, CA
MUSAC, Museo de Arte Contemporáneo de Castilla y León, León, Spain
The Taguchi Art Collection, Tokyo, Japan
The Charles Saatchi Collection
Saastamoinen Foundation, Emma Museum of Modern Art Espoo, Finland
New York Public Library
Norton Family Foundation
Cincinnati Art Museum, Cincinnati, OH
UBS Collection, New York
Bank of America, New York
JP Morgan Chase Art Program
MTV Networks
The Neuberger Berman Collection
Hallmark Art Collection
The Schwab Family Collection
Gilberto e Rosa Sandretto Collection
The Malingue Collection
Sammlung Plum & Akzo Nobel Art Foundation
The Richard E. Jacobs Group
The Shockey Family Collection
Cora Diamond Corporation
The Judy & Rob Mann Collection
Orrick, Herrington & Sutcliffe
The Phil Schrager Collection
The Michael Krichman & Carmen Cuenco Collection
The Mathew & Iris Strauss Collection

Selected Bibliography

Enrique, Marcos. “Recap: Ryan McGinness ‘Geometric Primitives’ at Pace Primitive Gallery.” (April 3, 2012)

Stephens, Anna Maria. “Life of Ryan,” Architectural Digest, Germany, July/August, 2011, p. 56.
McKeough, Tim. “Maybe They’ll Study,” The New York Times, USA, Vol. CLX, No. 55,515, September 1, 2011, p. D7
Colman, David. “In the Art World, No Lack of Ryans,” The New York Times, USA, Vol. CLX, No.55,518, September 4, 2011, p. 6 ST

Orden, Erica. “Local Buyers Wrap Teeming Art Basel,” The Wall Street Journal, USA, December 6, 2010, p. A28.
Heller, Steven. “The Message Is the Message,” The New York Times, USA, June 6, 2010, Book Review, pp. 40-41.
____. “Old Meets New at the Virginia MFA,”  Art in America, No. 6, June/July 2010, p. 198.
Robertson, Rebecca, “Logo Motive,” Art News, USA, Vol. 109, No. 4, April, 2010, p. 25.

Wolff, Rachel. “Art Talk: He Shrunk Andy Warhol,” Art News, USA, Vol. 108, No. 9, October, 2009, p. 33.
Galligan, Gregory. “Exhibition Reviews: Ryan McGinness,” Art in America, USA, No. 8, September, 2009, p. 145.
Leffler, Laura, “Ryan McGinness, New York,” Art Papers, USA, Issue 33/03, May/June 2009, pp. 63-64.

Ann Jordan, Betty. “Ryan McGinness Artcore,” Art News, USA, Vol. 107, No. 11, December, 2008, p. 134.
Bryant, Eric. “Ryan McGinness, Pace Prints,” Art News, USA, Vol. 107, no. 2, February, 2998, p. 124
Deem, Megan. “The Art of Revenge,” Elle, USA, No. 270, February, 2008, p. 138.

“MoMA Highlights since 1980,” The Museum of Modern Art, U.S., 2007, p. 254
Hamersly, Michael. “For Jet Set or Skate Set,” The Miami Herald, USA, December 5, 2007, cover, pp.
Cembalest, Robin. “Famous in 2012,” Art News, USA, Vol. 106, No. 10, November, 2007, p. 39.
Salkin, Allen. “Selling Himself, And Prints, Too,” The New York Times, USA, April 8, 2007, Sunday Styles, pp. 1, 11

Fox, Killian. “Spraypainting by Numbers,” The Observer, UK, October 1, 2006, Art 2, Review, Critics 21
Plummer, D’Lynne. “Sign Language: Ryan McGinness,” Art New England, USA, August/September, 2006, pp. 18-19
Murg, Stephanie, “Scents and Sensibility,” Art News, USA, Vol. 105, No. 4, April, 2006, p. 40.
Hares, Amber. “Noted: Installationview,” Afterimage, USA, March/April, 2006, p. 54.
Kuspit, Donald. “Reviews: Ryan McGinness,” Art Forum, USA, XLIV, No. 5, January, 2006, p. 222-223.

Ollman, Leah. “Ryan McGinness at Quint,” Art in America, USA, No. 10, November, 2005, p. 189.
Tanner, Dylan. “Goings on About Town: Ryan McGinnes,” The New Yorker, USA, November 7, 2005, p. 23.
Roberts, Todd C. “Education Is in Fashion,” Vanity Fair, USA, No. 542, October 2005, p. 74.
Heartney, Eleanor. “Return to the Real?” Art in America, USA, No. 6, June/July, 2005, pp. 85-89.
Freeman Gill, John. “Urban History to Go: Black, No Sugar,” The New York Times, USA, June 26, 2005, p. CY 4.

O’Connor, Pauline. “A Night Out with Ryan McGinness,” The New York Times, USA, November 21, 2004, p. ST 4.
____. “The Man-Child Gift Guide,” Time Out, Issue 477, November 18-24, 2004, p. 36.
Nelson, Katherine.  “Sign of the Times,” Readymade, USA, Issue 12, July/August, 2004, pp. 42-43.

Switzer, Ken. “Pop Culture Gurus,” The Village Voice, USA, Vol. XLVIII, September 3-9, 2003/2004.
McCormick, Carlo. “Ver-The-Counter Culture,” Paper Magazine, USA, May 2003, pp. 86-91.
Beatty, Dustin. “Player’s Choice,” Vogue, Japan, No. 43, March, 2003, insert, p. 277.

Farrell, Aimee. “Vital Signs,” Vogue, UK, August, 2002, p. 40.
Towhinden, Mandana. “Julia Chiang and Ryan McGinness,” The New Yorker, USA, July 29, 2002, p. 17.
Gladman, Randy. “Ryan McGinness,” Art Investor, Germany, January/February, 2002, p. 50.

A lot of art is boring. My work is an immediate celebration of life. It is a reaction against much-ado-about-nothing art. I strive to be a part of culture. I am a producer and a consumer. Criticizing. Making fun. Having fun. Seriously funny. Slippery work. Art and entertainment. Art as entertainment. Art as insight. Art is what you bring to it. Everything is going to be alright. Ideas are the source. Humor. Childhood. Surface innocence. Common language. Universal concepts. Collective unconscious.

I struggle to produce work with an honest language that is uniquely my own but that resonates a universal truth while coming to terms with the fact that I’m just like everybody else.

Specifically, I’m most interested in language. The language of images. The language of symbols. Shapes. Forms. Semantics. By combining and remixing graphic vocabularies from a range of sources, I explore meanings in iconography and historical and contemporary symbolism.

When people look at my work, they smile. They get it. There’s an “a-ha” sensation. I give the gift of insight. I tell the truth. Fact is stranger than fiction. Fact is funnier than fiction. It’s funny because it’s true. The man makes the myth. The myth makes the man. You are invited.