Margaret says, "Painting in New Mexico is a very unique experience as it traditionally has been for other art artists. The light is perpetually amazing—clear and vivid—with the ability to illuminate the landscape in brilliant detail. New Mexico has been always about earth and sky. How these two elements meet is perpetually changing. Frequently they meet in such crisp, definitive lines along the horizon only to merge and blur at day’s end."
Historically, the artists in and around Taos were a particularly tight-knit group. Painters and photographers like Georgia O’Keeffe, John Marin, Ansel Adams, Edward Weston, Paul Strand and Rebecca Salsbury James were creatively inspired by their New Mexico visits and experiences.
One of Margaret’s major influences is the Abstract Expressionist painter, Richard Diebenkorn. After Diebenkorn was discharged from the Marines in 1945, he attended the California School of Fine Arts in San Francisco. Here he met David Park, who became his teacher and good friend; Elmer Bischoff; Clyfford Still; and Mark Rothko. In 1950, Diebenkorn moved to Albuquerque to obtain his Master of Fine Arts degree from the University of New Mexico. During this period his paintings took on a spaciousness and a linear organization reminiscent of the sweeping desert and sharp sunlight of his surroundings.
Margaret is drawn to the rectilinear form and they predominate in her work. Squares and rectangles ground the painting compositionally and create a framework around which all other elements depend. Often these elements are metaphorical; other times they are meditations informed by tribal cultures, ancient monuments and historical sites, particularly those of the Ancient Puebloans of the American Southwest. The architectural vestiges of ancient sites and their residual foundational blocks of stone often are all that remains of once thriving cultures. Yet, they are durable reminders of cultural processes and allude to complex organizations, beliefs and identities. They communicate in the absence of the communicators. So fragmented in their current state, they still retain the power to link people together.
Margaret has been dedicated to the arts and has taught art history to university students and museum docents. She holds a B.A. in art history from the University of Arizona, where she specialized in the art of the Italian Renaissance. There she participated in two archaeological excavations in Umbria, Italy, and later taught European art history at Northern Arizona University. She also worked at contemporary art galleries in Santa Fe, NM and is the author of several publications about tribal art and culture.
While living in San Francisco, CA, Margaret volunteered at the Fine Arts Museums of San Francisco and wrote about numerous traditional tribal African objects for the collection in Highlights from a Decade of Collecting (2009). Additionally, she assisted with docent education, research on acquisitions and composed labels for objects on display in the African galleries. In 2012 she authored an article for TRIBAL Magazine entitled “Seeing the Unseen: Visionary Aspects of Eskimo Snow Goggles”.
Currently, Margaret resides in Telluride, CO where she participated in the local art school, Ah Haa School for the Arts, Second Annual Juried Exhibition of Regional Artists, BEST OF 2014. Further, she has contributed to The Telluride Painting School lecture series with a talk entitled, Art of the ‘So What?!’: The History of Still Life Painting. In 2016 she juried the 3rd Annual Exhibition of Regional Artists. Her work hangs in numerous private collection throughout the US.
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