Margaret McCann’s surreal paintings of giants, of Atlantic City, and “headworks” range stylistically from realism to quasi-abstraction, with spatial and compositional complexity. Her favorite painters include Brueghel and di Chirico. She has had solo exhibitions at Jannone Disegni di Architettura in Milan, The Painting Center in New York, and Artemesia in Chicago, and she shows with the Zeuxis still life group. Reviews of her work have been included in La Repubblica, Corriere della Sera, the LA Times, and Huffington Post.
McCann studied at Yale University, Washington University in St. Louis, and the New York Studio School, and her awards include a Fulbright, Ingram-Merrill, Blanche E. Colman, and NH State grants; and artist residencies at Ragdale, Millay, AAIRome, and Cité des Arts in Paris. McCann lived in Rome for eight years, where she taught at American abroad college programs. McCann has also taught at Boston University, University of New Hampshire, Syracuse University, University of Virginia, Pratt, Montclair University, Semester at Sea, and the New York Academy of Art.
McCann edited the Skira/Rizzoli book The Figure – Contemporary Perspective for NYAA, featuring images and essays by emerging and established artists—Vincent Desiderio, Eric Fischl, Trenton Doyle Hancock, Hilary Harkness, Alex Kanevsky, Donald Kuspit, Rona Pondick, Irving Sandler, Jenny Saville, Nicola Verlato, Jerome Witkin, and many more. Essays address the Western tradition’s changing techniques from Antiquity through cyberspace—perspective, camera obscura, photography, Photoshop, 3D-modeling, etc.—and cultural concerns such as Freud, fascism, and feminism. McCann writes art reviews for painters-table.com and wrote for Art New England and The Portsmouth Herald.