Margaret kilgallen prints

Margaret kilgallen instagram
Margaret kilgallen art movement
Margaret kilgallen daughter

•

Margaret Kilgallen

Biography

Margaret Kilgallen was born in 1967 in Washington, DC, and received her BA in printmaking from Colorado College in 1989. Early experiences as a librarian and bookbinder contributed to her encyclopedic knowledge American folk tradition, printmaking, letterpress, signage, freight train vandal art, and decorative arts. Kilgallen had a love of “things that show the evidence of the human hand.” Kilgallen’s works recall a time when personal craft and handmade signs were the dominant aesthetic. Strong, independent women, walking, surfing, fighting, and biking, are also featured prominently in the artist’s compositions. This clip was cut from footage from the opening of Margaret’s retrospective “In The Sweet Bye and Bye” at REDCAT in Los Angeles on June 16, 2005. The music is from Tommy Guerrero’s live performance the same night.

Links

Watch On Vimeo

•

Margaret Kilgallen

American artist (1967–2001)

Margaret Kilgallen

Born	Margaret Leisha Kilgallen (1967-10-28)October 28, 1967 Washington, D.C.
Died	June 26, 2001(2001-06-26) (aged 33) (breast cancer) San Francisco, California
Nationality	American
Education	Colorado College (BFA, 1989), Stanford University (MFA, 2001)
Known for	Painting, printmaking, and graffiti
Movement	Mission School
Awards	San Francisco Arts Commission – Individual Grant: Cultural Equity (1997) Fleishhacker Foundation – Eureka Fellowship (1998)^[1]

Margaret Leisha Kilgallen (October 28, 1967 – June 26, 2001) was a San Francisco Bay Area artist who combined graffiti art, painting, and installation art.^[2] Though a contemporary artist, her work showed a strong influence from folk art. She was considered a central figure in the Bay Area Mission School art movement.^[3]

Life and career

Kilgallen was born in Washington, D.C., and grew up nearby in Kensington, Maryland. Because of her exposure to bluegrass music as

•

Hammer Projects: Margaret Kilgallen

By Eugene Joo

A quirky, forgotten adjective in carnival display type some twenty feet high interrupted by another saying, a name, the backside of a woman in a too-tight dress, a number, a barren poplar or slightly bent acacia tree, the letter F rendered in ornate typography, a shelf of old soap, an uncooperative donkey, the word amok, a lone bird, the face of a fleshy-lipped woman. Margaret Kilgallen’s passion for books, trains, folklore, and craft bursts onto the gallery walls, spinning page upon page, image upon image, in a glorious autumnal gust. The walls now house a series of displaced signs liberated from the rigidity of a singular narrative. Each gesture is a temporal moment buying for autonomy; each painted element demands its own intimate consideration.

Whether evidenced in the line work of Indian miniature painting, an image of a bird scratched on the side of a freight car, or her own painted and sewn works, the artist respects the maker’s hand. Frequent family trips to western Maryland during her childhood taught Kilgall