A spacious room meticulously organized with slim metal cabinets surrounds the lower half of the walls, and colorful, print-made paintings fill the upper half. In the center is a massive granite island with smooth wooden corners. On it lays a piece of driftwood curator Emma Geiler brought in.  

Geiler, who graduated from Syracuse University in 2018 with a master’s degree in museum studies, hosted a lunchtime lecture about her curated work of surrealist artist Boris Margo. She stood on the far-right corner of a granite block, while printmaking art enthusiasts listened to the details of the lecture. 

As the gallery’s digital archivist, Geiler said her interest in Margo’s work started after she stumbled upon his work from the many hours digitizing art pieces. She mentioned that seeing Margo’s unique shape design piqued her interest and when she had to choose a topic for research in class, she thought Margo would be a good choice. 

Margo was an adjunct professor at SU in the ’60s and was a specialized surrealist artist who focused on printmaking. The Boris Margo exhibit is currently open for the public at the Shaffer Art Building. 

According to the gallery’s print study, while Margo was walking in New York City, he found a piece of wet and dirty celluloid. After picking it up, he realized an impression the celluloid was left on his hand. The print then inspired him to experiment with the celluloid material in creating a plastic plate for printmaking.  

Margo believed the new process, called Cellocut, was the newest development to printmaking since the Renaissance.  

Along the walls were garish and abstract paintings. Geiler said during the lecture that Margo spent a lot of time in Provincetown, Massachusetts, on the tip of Cape Cod, which explains his leaning toward oceanic-themed work.  

Through one of Margo’s family members, Geiler said, it was discovered that Margo used pieces of driftwood in his printing. Geiler then pointed to the large piece of driftwood as an aid to represent the model.  

Boris Margo’s work was heavily influenced by surrealist ideas. Corey Henry | Photo Editor

The former SU graduate student said her favorite piece was “February,” due to the complex wood print design with a blue background and how the dark shape in the middle represents a piece of driftwood. 

After the lecture, the audience, specifically her former professor Andrew Saluti, asked Geiler questions. 

Saluti is an assistant professor in the program of design and runs the graduate program for museum studies. He mentioned that SU is one of the few places that have any major collection or information about Margo.   

“Margo is important because he was very innovative and he affected other artists in his generation. Which is why he deserves more recognition,” said Saluti. 

After Geiler’s 30-minute presentation was finished, the audience flocked to the paintings to get a better feel for Margo’s work. Among the audience was print lover Helen Neville, who works in the College of Law.  

Upon looking at one of Margo’s pieces, Neville said she didn’t know about Margo until the lecture, but she was drawn to his technique and was fascinated at the colors and how Margo used driftwood in his printing. 

Neville also mentioned that Margo created pieces that “we are all attracted to, something that captures our attention, whether it be color or light.” 

After all art pieces were examined, taken a snapshot of and all obscure questions about Margo’s work were asked — the lunch lecture came to a close and the lecture-goers wandered out of the building. 

Published on October 16, 2019 at 10:00 pm

Contact Christopher: cscargla@syr.edu | @chrisscargs