Urban Art Association

Not really i save up my money and sell sweets at school surprisingly it was gettin me some cash lol ive got a couple of hush prints some ben frosts, a neverwork, matt small e.t.c

He might stand the test if time but I still think his artwork is going to look extremely dated in 20-30 years. I like art that's a bit more timeless myself. Personally I think it's too late and you aren't going to get your moneys worth anymore from Parla, Faile, Banksy, Choe or Neate. Or just wait for a serious bargain to come along. Don't rush it.

And I think the Choe that someone here got for 20k I don't think is a 'bargain' either. I think it just looks that way because laz and choe tried pushing the prices up to 40-60k so it just seems like a bargain now. Those prices obviously didn't work and they should have been an asking price of 20k all along which is fair I think. But not a 'bargain' by my estimates.

You wouldnt have got it! there was a queue waiting!

Colourful though

Mose, can you give an example of art inluenced by McGinnes? not really into his work so please make me chance my mind

Piffle.

Mose, to simplify that can i throw in "Think Zaha Hadids artistry with Tom Dixons mass marketing and Ron Arads (Thank you Ernst Mourmans) pricing and distribution policy?.
edit. or not?.
A more "affordable" RM.

I can usually find the odd piece . Take a step across from this art scene to that Art / Design scene and things are not so different. Nice Tom series story!.

ok.... where do you buy your sweets? I think there should be a market for good sweets for biomedical sciences students ;D

BEST PLACE IS COSCO BUT YOU CAN ALSO GET THEM FROM THE POUND SHOP: DOROITOS 10 for £1 at pound shop lol ;D

Source:
Installationview, Published by Rizzoli, 2005, pp. 200-204
“Hybrid States (The migration of Content and Context in
Ryan McGinness’ Art” By Carlo McCormick

In a gallery, in a store, on the page, or on a wall, or for that matter upon pretty much any item
of manufacture one can imagine, it is not so much a question of any single site Ryan McGinness
may occupy as an artist but the sight lines between all his myriad contexts. If we have to situate
his art, it would be somewhere in-between: neither here nor there but per versely and per vasively
ever ywhere. Operating on the mutual understanding that the multiplication of images and
emblems has both diminished meaning and accelerated understanding, Ryan McGinness articu-
lates the multilateral as the compensation of difference. That is, for all that we may gather from
an “installationview,” as an extended oeuvre what we’re really talking about is an instillation
pur view. A matter of semantics perhaps, but pictographically this kind of parsing is just what
Ryan’s art relishes. It is more about instillation than the mere placement of an installation, as
McGinness likes to introduce—or implant—his ideas and methodologies gradually. Indeed, if
no single view is satisfactor y, we need a pur view that encompasses not merely a range and scope,
but the manifold degrees to which he addresses function, power, comprehension, and experience.
At the nexus of fulfillment and desire, McGinness’s super-saturate pictograms speak directly to
the systematic efficacy and incipient self-nullification of our communications age. His art is surely
seductive, but it is likewise remarkably self-referential to the manipulative means by which we are
taught to want. This is design in the most fundamental sense of the term, but it is design without
designation. On first impression of McGinness’s early work, I can quite distinctly recall the reac-
tion that this was just bad clip art. For those of us not too savvy, a younger generation was com-
ing up with a ver y articulate map of how signs functioned—born, it seems now in retrospect, as
if the anatomy of cultural consciousness had grown an extra vertebrae—in ways that were applica-
ble to both fine art and commerce. No matter how many bridges had already been built and
crossed, that drive to now marr y this sacrosanct separation between church and state was unfath-
omable still. Of course, the formative work represented in Flatnessisgod holds up quite well over
time, its prescience an exponential measure of its continued relevance. What is proffered in these
pages, however, is the unmistakable evidence of just how much more sophisticated McGinness has
become in his visual strategies.

A simultaneous confluence and diversification of methodologies, the art of Ryan McGinness is
predicated on its utility. Toward that modernist equation of form following function, McGinness
inserts a more radical quotient where form and function are in subser vient correspondence to an
imperative of adaptability. Hybridity is ever ywhere in the process and effect of McGinness’s art,
be it form, venue, or the dynamics of representation. We might easily call this democratic work
by sheer virtue of its accessibility and affordability, but it is more than that—the inclusivity and
malleability McGinness embraces in his studio/laborator y, crossbreeding product, design, and
fine art, is a direct affront to the autocracy of any individuated domain. McGinness has a wonder-
ful way of coloring outside the lines with an intellectual precision and engineered exactitude.
The results are meant to be confusing—a maze of signs that perpetually cannibalize themselves
and lead us to infotainment cul-de-sacs as if they were grand vistas—but unlike so many who
eak to this contemporar y confusion, McGinness is eminently cognizant ever y step of the way.
Where others are so easily subsumed by the maelstrom of mass communication, this great com-
municator finds the repose by which to enjoy the overlay. Whether he’s working with merchandiz-
ing, paintings, or even directly on dollar bills, McGinness makes opaque the aesthetics of com-
merce. For him, anything that can be bought or sold, that is an object of desire, or more discrete-
ly the immaterial wrapper by which we package the expectation of desire, is of a singular curren-
cy. This multi-denominational currency is the flow that carries the entire oeuvre, the electricity
that illuminates our waking dreams.
Just as we can now see exactly what types of expressions were emblematic of the culture wars, it
is probable that the work of Ryan McGinness will be quite legible in due course as the kind of
art pushing against the embattled boundaries of our current fight over artist properties. Author-
ship and ownership are hypothetical values that he has little interest in making concrete, but
would rather contort into convoluted riddles of identity. His art is his signature, his signature his
art, both bearing a distinct trademark yet born of our latent file-sharing tendencies toward a new
public domain paradigm. Yes, it’s ultimately about property, but it only arrives at its estate as a
matter of trespass. Ever ything is for sale except the artist himself, and it all comes with an unmis-
takably perilous caveat emptor. This is truly art in the age of pluralism, meanings assembled in
the cross-firing synapses of mass mediation. There is an internal logic, a psychology that invokes
the self without accessing it, and a quantifiably conceptual bent to his work as a multifaceted pro-
ject that gives it all a dimensionality and depth, but it is all rendered as pure surface. Surface for
McGinness is not merely the tasty icing by which he makes confection of our chaos; it is the veri-
table skin of content—the definition of whatever vessel or vehicle it may coat. He plays with
the allusion (not illusion) of space as a tapestr y of interconnectivity laid out in the digital bytes
and oceans of billboards we have come to read as architectures of the real world.
McGinness adopts the didactics of representation as the elements of style, disseminating his
dissembled narratives like a meme that can attach itself to anything. And what makes anything
more of a painting than, say, a sneaker? They are both products of non-hierarchical distinction in
Ryan’s eye. Wherever we see the undeniable impressions of the artist’s hand, they are registered
like the traces of a touch that is as much reproduced as rendered. Figuration becomes the abstract
cipher by which we can read the nullification of meaning as an autonomous zone. Abstraction
itself is just another way in which we see how meaning piles up as an accumulation of signs in
the voidof authenticity. What we see is what we read, and what we read is how the universality
of commonalty (does not ever y expression register an emotion?) has collapsed whatever fictional
delusions we may still have to hold subjective understanding apart from objective truth. The
picture is an advertisement for itself.

winter thx for that link, there is some work of McG I'm starting to like, he's very different to a lot of other artist, Refreshing at least!

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