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Lyman Allyn showcases abstract work by Xanda McCagg

By The Day


In her recent work, the artist has drawn from impressions from her travels and from looking back through art history as a way of making sense of the present. Based in Chelsea, in New York City, McCagg has maintained a studio for the past 25 years, and she has exhibited her work in individual and group exhibitions in the U.S. and abroad.

Jaquelyn Tuerk Professor of Art History Kean University


Xanda McCagg's mixed media paintings appeal to the human scale, measuring as large as five feet or as small as five inches, inviting close observation and intimacy. McCagg combines bright and vibrant thick paint with thin washes of muted and fleshy earth tones, the juxtaposition of which excites emotion. Luminous yellows and golds glow from the inside, and saturated mauves shine like encaustic. Stained glass luminosity quivers just below the surface.

Xanda McCagg: Encounters

By Michael J. Bowen, Standpipe Gallery, 2011


The commercial and competitive aspects of the contemporary art market have inspired a great deal of innovation, but also a considerable amount of self-promoting fiddle-faddle and empty experimentation.


It is most refreshing, therefore, to find that the aesthetic and humanist valences of classical modernism still hold a meaningful place in the work of established artists, whose sensibilities required a more personal engagement with the quiddities of image-making.

Artist in Profile: Xanda McCagg

By Jordana Zeldin Art Bridge Installations, LLC

August 2009 New York, New York 


Xanda McCagg (pronounced zan-da) sites her fascination with “human experience” as the driving force in her work. “I’m interested in how things shift,” she begins. “If I’m standing over there, versus if I come up to you and touch you.” She walks over to me and brushes up against my arm. That she incorporated movement into her explanation makes perfect sense. Her canvases, many of them human-size, project a similar sense of motion - quick, energetic lines, bright colors bumping up against one another (as opposed to sitting passively side by side) give us a sense that something is happening, that interactions are taking place between the various forms and textures. It brings to mind haiku, the distillation of a complex idea into three carefully crafted lines.

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