Ryan McGinness – Blacklight Nudie Cards
Ryan McGinness – Blacklight Nudie Cards Ryan McGinness – Blacklight Nudie Cards Ryan McGinness – Blacklight Nudie Cards

Ryan McGinness – Blacklight Nudie Cards


These Blacklight Nudie Cards feature iconic drawings that were developed from Ryan McGinness' figure studies of various models. The Blacklight Nudie Cards are best enjoyed under blacklights. 

The deck inclueds 52 regulation playing cards (+2 Jokers+Title Cards)

1 in stock


Product Description

These Blacklight Nudie Cards feature iconic drawings that were developed from Ryan McGinness‘ figure studies of various models.

The deck of cards mimic stag party cards as filtered through McGinness’ particular perspective. This blacklight nudie deck is the first of its kind and contains 52 regulation cards (+2 Jokers, +2 Title Cards) and is printed in fluorescent inks.

The birth of modern-day nudie cards can be traced to16th century cards from India depicting the positions of the Kama Sutra. By the turn of the 20th century, during the Art Nouveau movement, erotic card decks appeared celebrating a renewed appreciation of the female form.

These decks evolved to include illustrations or photographs of nude models, flappers, burlesque singers, and pin-up girls. Because these cards were not legal at the time, they were often sold under the guise of art studies.

The Blacklight Nudie Cards are best enjoyed under black­lights. Blacklights emit only a frequency in the invisible range of 350-370 nm. The fluorescent inks used in the printing of these cards absorb this ultraviolet light and then re-emit it almost instantaneously. Some energy gets lost on the process, so the emitted light has a longer wavelength than the absorbed radiation, which makes this light visible and causes the ink to appear to glow.

McGinness says, “My use of fluorescent paint under the blacklight color spectrum is a strategy to force a singular time/space experience with the work. That is to say, the work must be experienced in person, and cannot be fully appreciated through reproductions via jpegs or printed catalogue pages.”

About the Artist

Ryan McGinness

McGinness’s work consists of an amalgam of icons and symbols. Drawing from his background in the design industry, Ryan McGinness’s work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation. It incorporates strong social commentary on iconography, language, and historical and contemporary symbolism. His graphic drawings and personal iconography are replicated, re-contextualized, and materialized infinitely throughout his densely-layered paintings. His works are in the permanent public collections of the Museum of Modern Art, Virginia Museum of Fine Arts, Museum of Contemporary Art San Diego, Cincinnati Art Museum, MUSAC in Spain, and the Misumi Collection in Japan.

“I’m trying to communicate complex and poetic concepts with a cold, graphic, and authoritative visual vocabulary. I concentrate on shape, line, color, and composition to communicate within simplified picture planes. As such, the work resides somewhere between abstraction and representation.

At the essence of our being is the need to know and the need to understand. I am interested in our need to read into and interpret—to make sense of chaos and give meaning to seemingly abstract forms. This interpretation involves an egocentric faith in the fact that there must be a meaning for us to understand. We surrender our logic to the belief that answers do indeed exist, and so, by default, we invent them. With my work, interpretations are not absolute, but guided, to allow for multiple reads. This allows the viewer to bring to the work his own history, memories, and knowledge to find a personalized meaning.”

— Ryan McGinness, 2005

“In the past decade, McGinness has become an art star, thanks to his Warholian mix of pop iconography and silk-screening.”—New York Times

“An unusual marriage of abstraction and representation. McGinness’ slick, colorful paintings consist of layers of images tidily clustered into baroque compositions.”—Art News

“McGinness has mastered and integrated a seemingly infinite variety of visual languages, producing works that inhabit the ever-blurred border between high art and popular illustration.”—Art Forum