Wednesday, August 4, 2021

HubPages story about "Haunted Maine Lighthouses"

Thanks to Gilbert Alevaro for writing about my book, "Haunted Maine Lighthouses" in this HubPages post:


"Taryn Plumb wrote a fun and informative background story about Maine Lighthouses. She informs readers about the lighthouses unique characteristics, variable sizes, and their specific hazardous conditions. Characters inhabitants also provides wonderful insight.

Plumb includes a valuable Appendix for travelers and researchers. She includes calendar date information about which lighthouses offer tours, accept tourists, and remain closed to the public. Boat tours provide lighthouse sight-seeing.

Plumb includes a source page listing additional reference material for continual research about New England Lighthouses. Maine includes sixty-five lighthouses along its coast. Click link for a detailed map view of them. The list doesn't organize them in alphabetical order or rank."

An excerpt on Prospect Harbor Light: 

"Taryn Plumb includes a story about eerie crying and shouts for help echoing from the water. Auditory witnesses believe phantom revolutionary army deserters make the noise. Winter Harbor citizens hatched a plan against plunderers they called "harbor boys." They turned off all their house lights, and set-up lanterns against treacherous rocks. Fooled oarsmen deserters navigated their boats towards disaster. Winter Harbor had been raided by French soldiers and native Indians during The Queen Anne's War."

Thursday, July 22, 2021

Thought-provoking, unique, and widely divergent photography at the Griffin

I was excited to write a piece for the July/August Artscope Magazine on the 27th Juried Expedition at the Griffin Museum of Photography in Winchester, Mass.

Check out an excerpt below. The included images, culled from hundreds, are at turns beautiful, frightening, surreal, starkly realistic, social, sensuous.

View them here


by Taryn Plumb

A woman in a torn gauze dress crouches at center, holding an axe.
Around her, the room is a clutter of objects: A flock of birds flying out of a hole in the floor and roosting on the limbs of a tree emerging from the colorful fleur de lis wallpaper; a tiny rocking horse; a rabbit; a birdcage; an overturned chair; a hornet’s nest; candles, tattered books with broken bindings, animal horns, clumps of dug-up roots.
Dorothy O’Connor’s photograph “Passage” is rich with details; the eye is drawn everywhere, almost all at once.

(To read more, pick up a copy of the latest issue!) 

Wednesday, January 13, 2021

Hello...Out There!

(Yes, I'm channeling William Saroyan...thank goodness for that liberal arts degree...)

Well, it's been far too long since I last posted here. Which is not to say that I haven't been up to anything—I'm just not very good at self promotion (indeed, essentially a death sentence in this age). 

But it's a new year, a new decade, (hopefully) a new era, so—for you two or three people out there reading this, that is—stand by for posts on recent work, upcoming work, and items "from the archives." 

Friday, November 8, 2019

N.C. Wyeth at Portland Museum of Art

Check out my latest feature in Artscope Magazine! Visit for more features or to subscribe.


by Taryn Plumb

Boats both rowed and sailed converge on a distinctly Maine island: a hump of rock, with some scrubs of trees but mostly barren, a simple residence located at its central, northernmost point. The sailboats anchor in the turquoise sea; the rowboats dragged up by their mates clutter the drab sand of the shore; and several indistinct figures make their way to the house surrounded by a makeshift maze of stone walls, a muted, impassive sky above.
It is a crisp, solemn depiction, the island version of one of life’s few sureties — death.
But the 1939, egg tempera and oil on hardboard, “Island Funeral,” is also illustrative of its artist’s range of style and emotion. Described aptly as an “ideal marriage of illustration and modern painting,” it is one of the central pieces of “N.C. Wyeth: New Perspectives,” at the Portland Museum of Art. On view through January 12, 2020, the traveling exhibit is the first major retrospective of the artist’s work in nearly 50 years.
The patriarch of his artistically gifted family — most notably his son, the celebrated realist Andrew Wyeth — N.C. Wyeth was one of the most commercially successful artists of his time. Yet despite — or more likely because of — that fact, he was largely shunned by fine art institutions and traditional art critics.
And while some of his commissions, including those made for The Saturday Evening Post, the National Biscuit Company and Bank of America, have an unmistakably slick, commercial feel, the PMA exhibit depicts his diversity of style, tone and color, as well as his changing perspectives over the course of his life.
To that end, the show, that was curated by PMA’s Jessica May and Christine B. Podmaniczky of the Brandywine River Museum of Art, is laid out in five distinct chapters.
Born in Needham, Massachusetts, in 1882, Wyeth early became a pupil of Howard Pyle, who urged him to visit the American west for inspiration; indeed, Wyeth did, and spent his late teens and early 20s working as a cowboy moving cattle and doing ranch chores, while also visiting the Navajo in Arizona. In 1903, at just 20 years old, his first commission appeared on the cover of The Saturday Evening Post. “Bucking Bronco” was a rollicking depiction of just that, and Wyeth went on to do many more oil on canvases interpreting the wild, boisterous nature of the west.
In contrast to these were his Native American pieces of the same time period. For instance, “In the Crystal Depths,” portrays a solitary Navajo, head bowed, navigating an elegantly detailed canoe along a calm river, while “The Silent Burial” shows a figure standing solemnly, yet resolutely, beside a hole dug in the snowy earth; he wears only a loincloth and appears to be eyeless.
By 1911, the established illustrator began a series of commissioned pieces to accompany editions of classic literature. Most notable among these — making him famous, while also considered by some to be his best work — was a set for Robert Louis Stevenson’s “Treasure Island.”
To read more, pick up a copy of our latest issue! Find a pick-up location near you or Subscribe Here.

Monday, August 26, 2019


Wow, well I certainly haven't updated this for some time...

Stay tuned for updates and links on my books and articles! In the meantime, DM me on Twitter, @taryn_plumb, for signed copies or any other info.

Friday, May 4, 2018

May/June Artscope: 10th Biennial State of Clay

Molding Their Visions: State of Clay in Lexington

May/June 2018



By Taryn Plumb

There are forlorn figures of bare-foot young women wearing insects as accessories.
Wooden” Trojan horses with functional wheels.
A modern-day interpretation of Cerberus, the (typically three-headed) Greek hound of Hades bearing an inscription from Virgil,
And his triple jaws forgot to bark.”
Varying in scope, size and subject matter, the unifying element of these pieces is one of the oldest artistic mediums known to humans: clay.
What does clay say and where is it going?” asked Alice Abrams, exhibit co-chair and co-founder. “It keeps expanding in its creative reach and its ability to say different things.”
It’s a question that the Lexington Arts and Crafts Society has posed for more than 20 years.
The answer — resulting in 10 exhibits over the past two decades — has varied and evolved with the times, politics, popular culture and fashion. This year is no exception, with the 10th Biennial State of Clay representing everything from women’s role in society, to family values, to ancient archetypes; as well as the inherent beauty, versatility and classic function of the age-old medium.
One of the region’s foremost shows dedicated to clay, the Biennial features the work of 70 Massachusetts artists. It will be on display at the Society’s space in Lexington, Mass. through June 3; the exhibit will also feature an artist reception and talk with juror Emily Zilber on May 6 from 2 to 5 p.m.

To read more, pick up a copy of our latest issue! Find a pick-up location near you or Subscribe Here.

Friday, March 2, 2018

Check out Artscope Magazine's 12th anniversary issue!

Barbara Peacock: Behind Closed Doors


by Taryn Plumb

She is the very image of a gypsy goddess: Spiraling dirty blonde hair, bra top and short shorts, draped atop a heap of blankets in the back of a pop-up camper, exhaling a willowy puff from a cigarette.
Scattered around her: an ashtray overflowing with cigarette butts, empty travel mugs and juice cans, an errant flip-flop, chili pepper string lights, drug paraphernalia.
Her name is Jessica, and an accompanying statement to her portrait reflects the Milford, N.H. 18-year-old’s carefree spirit: “Sometimes life throws you in all sorts of directions, the most important part about life is to remember you are exactly where you need to be.”
Barbara Peacock wants to know: What’s in your bedroom? This question has prompted her to travel across the country to photograph people in one of their most intimate of spaces for a project she’s aptly titled “American Bedroom.”
It’s the raw honesty of people in America: A depiction of them in their dwelling,” said the Portland-based artist. “We really get a peek into the lives of common, everyday people. It can reveal things to us.”
To read more, pick up a copy of our latest issue! Find a pick-up location near you or Subscribe Here.

Check out more of Peacock's unique and thought-provoking work here. (She is also seeking out grants and looking for more photo subjects; contact her for more info!)