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Martha Posner

Charlottes and the Storm, 2014. When I began making art in 1978, it was with a hungry investigation to try and understand these magical questions: What makes an object greater than its materials? Where and what is the moment of transformation? And why is the mask of a shaman or a Greek Icon so much more than wood, or paint or feathers?

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Martha Posner | marthaposner.com Reviews
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Charlottes and the Storm, 2014. When I began making art in 1978, it was with a hungry investigation to try and understand these magical questions: What makes an object greater than its materials? Where and what is the moment of transformation? And why is the mask of a shaman or a Greek Icon so much more than wood, or paint or feathers?
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KEYWORDS
1 martha posner
2 portfolio
3 frozen charlotte
4 animals
5 installation and performance
6 body memory
7 memory and desire
8 sisters and mermaids
9 garment series
10 news
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PAGE
martha posner,portfolio,frozen charlotte,animals,installation and performance,body memory,memory and desire,sisters and mermaids,garment series,news,links,resume,website by otherpeoplespixels
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Martha Posner | marthaposner.com Reviews

https://marthaposner.com

Charlottes and the Storm, 2014. When I began making art in 1978, it was with a hungry investigation to try and understand these magical questions: What makes an object greater than its materials? Where and what is the moment of transformation? And why is the mask of a shaman or a Greek Icon so much more than wood, or paint or feathers?

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1

Martha Posner

http://marthaposner.com/section/132072-Frozen-Charlotte.html

Memory, from the series Frozen Charlotte. Water color, gauche, graphite on paper. 12 " x 7.75". Oil stick and Graphite on Paper. Oil stick and Graphite on Paper. Charlottes and the Storm IV. Mixed Media, Oil Paint, Oil Stick, and Graphite on Paper. Charlottes in the Storm III. Mixed Media, Water Color, Gouache and Graphite on Paper. Charlottes and the Storm II. Mixed Media, Oil Stick and Graphite on Paper. Charlottes and the Storm I. Mixed Media, Gouache, Water Color and Graphite on Paper. 22" x 25.5".

2

Martha Posner

http://marthaposner.com/section/235067-Installation-and-Performance.html

Wing to Be Worn. Wire, Fabric, Beeswax, Feathers and Pigment. 205" x 34" x 23". Dancers for Boscobel, 2011. Mixed Media Installation, honeysuckle, wood, bamboo and jute. Detail 96 x 68 x 53. Dancers for Boscobel, 2011. Honeysuckle, Wood, Bamboo, and Jute. 105 x 83 x 69 , 97 x 79 x 60 , 96 x 68 x 53. Fabric, wire, foam wood, honeysuckle vines, synthetic and real hair, tree branches. An Untamed Place, 2011. 6'8" x 15' x 16'. Beeswax, wire, found objects, synthetic hair, and pigment. 61" x 53" x 49".

3

Martha Posner

http://marthaposner.com/news.html

Martha Posner - MERCY Installation. I am excited to announce the opening of my new show Mercy, on view at the Grossman Gallery in the Williams Visual Arts Building at Lafayette College (243 North Third Street, Easton, PA 18042) from 3 June 2016 through 30 July 2016! The opening reception will take place Friday 24 June 2016 from 6-8pm I will also be doing an artist's talk on 12 July 2016 (Media Room 2, 248 North Third Street, Easton, PA 18042) at 7:30pm. Please join me for both of these events! A devised ...

4

Martha Posner

http://marthaposner.com/section/290861-Under-2011-2012.html

Installation: Mercy, 2012. Beeswax, synthetic hair, pigment, found objects, mud, wood, fabric and synthetic fibers. Installation, Mercy, 2012. Beeswax, synthetic hair, pigment, found objects, mud, wood, fabric and synthetic fibers. Installation detail, Mercy, 2012. Beeswax, synthetic hair, pigment, found objects, mud, wood, fabric and synthetic fibers. Installation detail, Mercy, 2012. Beeswax, synthetic hair, pigment, found objects, mud, wood, fabric and synthetic fibers. Installation detail, Mercy, 2012.

5

Martha Posner

http://marthaposner.com/section/331680-Animals.html

Oil Paint, Oil Stick and graphite on Paper. 13" x 32.5". Mixed media, oil sticks on paper. Mixed media and oil stick on paper. Mixed media and oil stick on paper. Found object, beeswax, oil stick, and charcoal on arches paper. 75" x 6" x 1.5". Found object, beeswax, oil stick, and charcoal on arches paper. 12" x 8" x 1.5". Found object, beeswax, oil stick, and charcoal on arches paper. 1075" x 10.5" x1.5". Charcoal and oil stick on Arches paper. Mixed media and oil sticks on paper. A Very Deep Wound.

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toeachhishome.com toeachhishome.com

To Each His Home by Bilyana Dimitrova

http://www.toeachhishome.com/homeowners.html

The links below will allow you to see more creations by the homeowners, beyond the walls of their homes, and will enable you to reach out and support some of their efforts. Places like Bottle Village and St. Elmo Village exist thanks to their devoted volunteers and continued financial support from grants and donations. Erik Sanko and Jessica Grindstaff. Skeleton Key website (Erik's band). New York Times article. Grandma Prisbrey and Bottle Village. Film featuring Grandma Prisbrey and Bottle Village.

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Blog — Kailey Goodnuff

http://kaileygoodnuff.com/blog

Alphabetically Ill (2012 Present). Alphabetically Ill (2012 Present). Create and Connect." A collaboration project I organized with the help of the members of the Northampton Community College Art Student Association. 2012/ Bethlehem, PA. New school, new art. September 15, 2014. Saturday Night in Easton. December 18, 2013. I really loved Mercantile Home's opening reception for their 24th collection, "Golden." It featured the work of Martha Posner. I've had the pleasure of seeing her work at Accol...An id...

georgeandco.org georgeandco.org

Conspirators — George & Co

http://georgeandco.org/about/conspirators

Original Theater. Living Images. Profound Mess. The Co is always in flux, expanding and contracting with the needs of each project. These are some of the unforgettable artists and institutions Anisa George has conspired with over the years. The Barn at Easington. Red40 and The Last Groovement. Red40 & The Last Groovement. Video Postcard from Buenos Aires. Interview with Fringe Arts. New Work In Progress RIOBAMBA.

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Charlottes and the Storm, 2014. When I began making art in 1978, it was with a hungry investigation to try and understand these magical questions: What makes an object greater than its materials? Where and what is the moment of transformation? And why is the mask of a shaman or a Greek Icon so much more than wood, or paint or feathers?

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