2002 — The World’s Great Age, Margaret Lanzetta
The World’s Great Age
University of Southern Maine
USM Glickman Library Portland Campus
Margaret Lanzetta (2002)
During her stay as a visiting artist-in-residence with the USM Art Department in the spring of 2002, Margaret Lanzetta created this large-scale painting with the assistance of art students Rebecca FitzPatrick, Jessica Goudreau, John Jennison, Kathi Smith, and Silver Woodward. Although primarily a painter, Lanzetta’s work transcends specific disciplines. She combines a deep interest in industrial and textile patterning, computer imaging, painting, and screen-printing to develop highly lyrical tableaus. In this work, ancient floral motifs from central Asia were merged with patterns from contemporary industrial screens. The patterns were digitally manipulated in Photoshop and photographically transferred to silkscreens. Students participated in every stage of the painting from the initial stretching and sizing of the canvas to the screen printing of the final layers.
“My paintings explore the manipulation and confluence of organic and industrial visual systems,” Lanzetta states. “Stylized designs from traditional textiles and nature systematized by mathematical science are other sources for organic patterns. The industrial, geometric patterns are derived from generic plastic or metal products and architectural elements. By combining visual systems from nature and both the developing and industrial worlds, independently existing cultural and natural imprints are linked and questioned.”
A resident of New York City, Lanzetta attended Skowhegan School of Painting and Sculpture and received an M.F.A. from the School of Visual Arts in New York City. Lanzetta’s work has been exhibited nationally and internationally and most recently at Karen McCready Fine Art and the Catherine Moore Gallery, both in New York City; the Weatherspoon Art Museum, North Carolina; the Katonah Museum, New York; and the Milwaukee Art Museum, Wisconsin.
Her work is represented in several collections including the British Museum and the Victoria and Albert Museum in London; the Museum of Modern Art and the New York Public Library Print Collection, both in New York City; and Northern Illinois University Museum. Grants and residencies include a Prix de Rome Abbey Painting Fellowship from the British Academy, 2003; a MacDowell Fellowship, 2001; a Dieu Donne Papermill Workspace Residency, 1998-99; a National Endowment of the Arts-Council on Arts Fellowship 1996; a Fulbright-Hays Award, 1989; and a Graff Travel Grant, Hunter College, CUNY, 1987.