Over the years McGinley’s work has evolved from documenting reality toward creating settings where the situations are choreographed. The process of carefully staging and directing ‘happenings’, often in beautiful rural landscapes, is increasingly more cinematic in tone, while retaining the spontaneity of his early work. This particular series is perhaps the most cinematic yet. The photos have developed a surreal, action-film quality—people ricocheting through unknown spaces, a couple starting up at an apocalyptic sky, figures falling from trees in wet darkness. They’re dramatic and moody, full of storms and rushing rivers and night skies.
In yet another departure, McGinley has incorporated black-and-white and color studio portraits of nudes and animals interacting in sometimes sweet, sometimes surprising ways. The use of animals is another facet of McGinley’s exploration of the natural world. They bring out the animalistic qualities of the nude figure, and the scratches on the bodies signify our desire to commune with nature and the excitement and risks inherent therein.
Born to a drug-addicted mother, Mark Morrisroe (1959-1989) left home at 13, began hustling at 15 and at 17 was shot in the back by a client. The entirety of Morrisroe’s brief life was characterized by danger and poverty, and mythologized by him as such: his mother was a friend and neighbor of Albert DeSalvo (aka the Boston Strangler) and Morrisroe claimed to be his illegitimate son. Morrisroe died in 1989.
Yesterday, NYC-based artist Caitlin Masley took time out of her impressive exhibition whirlwind to sit down and share her thoughts with me. Here is a transcript of our conversation:
“Taking it personally is one the hardest issues for many artists to overcome.”