Margaret McCann

Margaret McCann’s solo exhibitions include Antonia Jannone in Milan, The Painting Center (NYC), Artemesia Gallery (Chicago). Her paintings have been reviewed in La Repubblica, Corriere della Sera, the LA Times, and Huffington Post. She edited the 2014 Skira/Rizzoli book “The Figure,” with essays by artists and art historians addressing evolving figurative techniques from antiquity through cyberspace, and wrote art reviews for Art New England. Her awards include Fulbright, Ingram-Merrill, Blanche E. Colman, and NH State Council grants; artist residencies at Ragdale, Millay, American Academy in Rome, and Cite des Arts in Paris. McCann studied at Yale U., Wash. U. SL, the NY Studio School, and has taught at NYAA, UVA, Syracuse U., BU, UNH, etc., and eight years in Rome.


Clear as Doubt: Bernardo Siciliano at Aicon Gallery

Beyond their doubts, Siciliano’s paintings esteem the powerful legacy of Italian figurative art and its place in contemporary art.

Treedom: Ron Milewicz at the New York Studio School

In Milewicz’s drawings, stillness prevails, the way actual scenes seem to suspend themselves before our gazes.

Mimesis Unbound: Noah Buchanan at Dacia Gallery

The magical display of rendering form from flatness underlines the primary power of all painting.

Patrilineations: Jane Fine at Pierogi

In Jane Fine’s recent work, painting’s power to beautify dark feeling, particularly in the more somber-hued small works, is masterfully on display.

Back to the Future: Hao Liang at Gagosian

In elegant blends of old and new, Hao Liang’s show honors Chinese painting’s great landscape tradition as it abates its current “anxious relationship between the ancient and the modern”.

Designing Women: Kurt Kauper at Almine Rech

Margaret McCann reviews an exhibition of works by Kurt Kauper at Almine Rech.

Sensate Wisdom: Vincent Desiderio at Marlborough

Through the decades Desiderio’s “sensate wisdom,” the unique visualizing capabilities Alberti ascribed to painting, have persevered, balanced with a savvy contemporary approach to subject.

Sex Object Lesson: Lisa Yuskavage at David Zwirner

In Lisa Yuskavage’s paintings, dark humor and acrid color are mitigated by luminosity and sensitive execution.

Power Color: Peter Saul at Mary Boone

Peter Saul has met the enemy and it’s us, and imparts this discomfort beautifully.

Painting’s Place: Susan Lichtman at Steven Harvey

Susan Lichtman’s paintings engage representation and abstraction, and bring a novel female perspective to Intimist iconography.

Object Permanence: William Bailey at the Century Club

Viewers are now free to roam exhibitions with both figurative and abstract associations, without ideological guilt. Bailey’s poetic equivocations invite this in peaceful contemplation.

Refiguring the Grid: Ann Gale at the Fralin Museum

The persistent problem Gale’s fine paintings occupy – simple abstract absolutes, multiplied by the complexity and challenges of perception, minus deceptions of illusion.

Visions and Revisions: Stanley Lewis at NYSS & Betty Cuningham

Stanley Lewis follows Giacometti’s emotive inroads with more pleasure than doubt, searching stabilized both by perspectival logic and moments of detail.

Pictures in Portraiture – Jonas Wood at Anton Kern

Jonas Wood’s current show demonstrates how photography may expand contemporary painting’s enterprise.

Conversation with Megan Marlatt

Margaret McCann interviews painter Megan Marlatt.