At 25, Ryan McGinley made history as one of the youngest artists to open a solo show at the Whitney Museum. In the ensuing 23 years, his photography, which has immortalized queer New York, Morrissey superfans, the protests of 2020, and nudes galore, has flirted with the mainstream without ever severing its ties with the experimental circles it was first incubated in.
McGinley’s first show in New York in close to a decade, on view at Jeffrey Deitch through Aug. 8, sees the photographer revert to a gimmick from some of his earliest series: turning the 9-to-5 on its head and shooting only from the hours of 9 p.m. to 5 a.m. (McGinley once told graduating students at Parsons, where he studied in the late ’90s, to “approach art like it’s your job” in a commencement speech.)
The snapshots in “Night Shift” take us on a nocturnal crawl through the five boroughs, from Coney Island to Lincoln Center, reveling in the city textures that appear like a mirage after hours. Punctuating the images are nude bodies, a McGinley signature; their presence injects a dose of manic hilarity and vulnerability to the otherwise dormant infrastructure. Forget the run club, streaking around New York together might be the fastest way to fall in love.
Ahead of the show’s opening, McGinley let us into the studio where he spends the rest of his time.
What’s the first thing you do when you enter your studio?
After walking up 45 steep steps of an old school New York staircase, I toss small magnets at my magnetic wall, it calms me down, helps me think.
What’s on your studio playlist?
I let my staff choose. Everyone gets an album or playlist. They have very varied taste, so it can go from Charlie to Bob Dylan to Diana Ross to Madonna to Salem.
What’s in your studio fridge?
Oat milk, Celsius, and Diet Coke. On top of the fridge are American Spirits and hot sauce.
If you could have a studio visit with one artist, dead or alive, who would it be?
Robert Mapplethorpe, I’d be so curious to see what he’d think of my work. Plus we have the same initials.
What’s the weirdest tool you can’t live without?
A Rotatrim paper-cutter.
When do you do your best work?
Currently at night. I worked from 9 p.m. to 5 a.m. on my latest project “Night Shift.” I was inspired by how quiet New York was after-hours. It felt like we owned the streets.
Who’s the first person you show something to?
I like to show my work to the legendary photo editor Kathy Ryan. She always finds time for me in her busy schedule to show her a new series. I truly value her eye more than anyone else.
Do you work with any assistants or do you work alone?
I grew up in a family of 10 people, I have seven siblings. I’m most comfortable with at least four, if not eight people around me when I’m taking photos or working in the studio.
There are a lot of costs that come with being an artist. Where do you splurge and where do you save?
My brother is my accountant so he’s always yelling at me, keeping my finances in reality. I splurge on printer ink, photo paper, Polaroids, and film!
If you splurge on materials, what are your must-haves, and where do you get them?
I like a lab called Primary on Eldridge Street in New York. They do great film developing, printing and have a cool bookshop and small gallery up front.
What was the last time you completely lost track of time while working?
If I have a camera in my hands and I’m photographing something that’s exciting, I always lose myself in the image. When I was photographing my current night series, sometimes 5 a.m. would come around so fast.
Have you ever destroyed a work to make something new?
As a photographer I have to make serious edits; sometimes we have to cut an image that may be beautiful to make room for something that’s original.
On a scale of hoarder to Marie Kondo, where do you fall?
I accumulate a lot of things throughout the year: Mostly clothing, cameras, film and art books. Although it’s in my nature as a collector, I really don’t like to hoard, less is more. I like to give things away.
When was the last time you felt jealous of another artist?
If I feel jealous I have a trick I use, it’s silly but it works. I pray everyday for the other person to become more successful until my jealous feelings go away.
If you could change one thing about the art world, what would it be?
Give photographers more space at museums, we always have the smallest rooms.
If your studio were an animal, what would it be?
Probably a chipmunk because they pack their cheek pouches with stuff and transport it underground. It reminds me of driving around the five boroughs of New York on my “Night Shift” project. Cruising the dimly lit streets with our team packed with snacks, flashes, and cameras.
What’s your studio uniform?
I usually just do workwear because I’m always working. My Carhartts are actually distressed from wear and tear of crawling around on the New York concrete while taking pictures.
Tell us about the best studio visit you’ve ever had.
Nan Goldin loves my dog. She’ll come over to visit my dog first, then look at my photos.
What book changed the way you think about art?
David Armstrong: The Silver Cord. I saw it right when I started taking photographs in the late ’90s. It made me think about community and capturing portraits of close friends in tender moments.
If you had to choose, would you rather go to the studio drunk, high, or hungover?
I’d say high on adrenaline after a long night of taking photos.
Weirdest studio visit experience?
The Verizon technician spending the day installing our new Wi-Fi and critiquing my work that was up on the wall.
What’s the best piece of advice you’ve ever received from another artist?
Give more than you take.
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