Wandering Comma: a fantastic world that does not exist

The subject and the technique. These are photography main objects. They have been reinvented, redrawn, and recreated since the very begin, when the history of photograph began to be written. In contemporary photography Ryan McGinley images resemble to that of Robert Frank, travelling across the United State and the American society; that of Nan Goldin documentation of America’s subcultures; or that of Larry Clark’s daydreaming about the summer that has gone.

“I put these images together and it creates this fantasy narrative about America. (…) My photographs are not the truth at all. It’s a fantastic world that does not exist.” [p. 34-5]

Scale is one of the central variable in McGinley’s practice, The seven photographs (280x180cm) shown at Alison Jacques Gallery, in London, were “initially printed in an array of sizes in order to fix the exact dimension that allow the image to speak most effectively to the viewer.” Which bring us, as observers, more close to Richard’s Prince work – selected details from everyday life ads about cowboys and cigarettes that were un-contextualised, fragmented and augmented.

However, McGinley photographs are about movement and suppressed desires – we all know that certain spheres in American’ society want to have a serious purity and righteousness image; we all also know that life is not so straightforward as we wish; while the naked body depose every image from its preconception possibility about class or social stratum – we are all equal in the eyes of God! It is on the first variable - movement – that McGinley works’ start to diverge from the others.

Orchestrated scenarios, where the sensation of disorder exists; of spontaneity. An illusion of chance; of life happening. “Doing repetitive acts to find one moment when everything is perfect. The composition is right. The light is right. The color is right. (…) I try to create these photos, which are like a fantasy, and show this world that does not exist.” [p. 18] In here we are already more close to Jeff Wall practice rather than to the work from the other photographers.

In the photographic context it is in this specific point in where photography main objects meet that Ryan McGinley’s can be find. The combination of subject – movement – with technique – an almost cinematic tekhnē - bring us something fresh to our sight. It is where McGinley’s practice obtains better means to communicate its content, making it easier to engage in a dialogue with us, the observers about things that you can’t control and are spontaneous. As life is! That is why these are great ad-pictures.

Photos: Ryan McGinley, Brandee (Midnight_Flight), 2011; and Wandering Comma Installation View. Courtesy Alison Jacques Gallery, 2011.