2018 | Poets and Artists, “Figurative Realism” , December, Chicago, USA
2018 | Beautiful Bizarre Magazine, “Poets and Artists Figurative Realism Exhibition”, December, Armidale, Australia
2018 | American Art Collector, “Breaking Traditions” , November, USA
2018 | Nordika Magazine, “Susannah Martin“ September, Spain
2018 | Klassik International Magazine, “Interview with Susannah Martin” Laura Gomez, New York, USA
2018 | Poets and Artists Magazine, “Painting the Figure Now-Exhibition Catalog” Chicago, USA
2018 | Beautiful Bizarre Magazine, “Animation Re-Imagined at Modern Eden” Armidale, Australia
2017 | Poets and Artists Magazine, 10th Anniversary Issue, USA
2017 | The Guide Artists Magazine, Issue 5 July 2017, Spain
2017 | POETS/ARTISTS Magazine, The New Nude, Issue 86, USA
2017 | Frankfurter Rundschau, “Eine Stadt voller Kunst- 15 Kunstansichten” , Frank Sommer, Frankfurt, Germany
2017 | Manifest Press, „INPA 6- International Painting Annual“, Cincinnati, OH, USA
2016 | POETS/ARTISTS Magazine, Figurative Painters 2016, USA
2016 | Empty Kingdom, Interview with Susannah Martin, San Francisco, USA
2016 | Blo Pop Magazine, Interview with Susannah Martin, Los Angeles, USA
2015 | iArtistas Magazine, The Collaboration Issue, Didi Menendez, Goss Publishing, USA
2015 | Lichtenberg Reloaded! Eine Hommage, WP Fahrenberg, Katalog zur Ausstellung, Göttinger Verlag der Kunst, Göttingen, Germany
2015 | POETS/ARTIST Magazine, The Artist´s Gaze Issue, Didi Menendez and Vic Selbach, USA
2015 | American Art Collector, The Artist's Gaze, Seeing Women in the 21st Century, Feb. 2015, USA
2015 | Art in America, Seeing Women in the 21st Century, Feb. 2015, USA
2015 | Manifest Press, International Painting Annual 5- INPA 5, Cincinnati, USA
2015 | POETS and ARTISTS Magazine, “50 Memorable Painters of 2015”, USA
2014 | Dazed and Confused Magazine, The Female Artists Reclaiming Their Bodies, Peter Yeung, December, 2014
2014 | Huffington Post Arts + Culture, A Female Artist Paints Female Nudes Without the Erotic Undertones, Priscilla Frank
2014 | Hi-Fructose Magazine, "Susannah Martin´s Paintings Explore the Idea of Returning to the Wild”, Nastia Voynovskaya, July
2014 | Beautiful Decay, "Susannah Martin´s Contemporary Interpretation of the Classical Nude", Sara Barnes
2014 | Lo-Burn Magazine, Volume 3, "Interview with Susannah Martin" Lana Gentry, May
2013 | "LICHT FELD 13 - Biennale Basel", Gallery Licht Feld Exhibition Catalogue, Basel, Switzerland
2013 | "Die Leinwand des Leibes - Körperkult als neue Soziale Plastik" Künstlerverein Walkmühle, Exhibition Catalogue, Wiesbaden, Germany
2013 | Huffington Post Arts & Culture, “10 Memorable Paintings of 2013“ John Seed, Dec. Los Angeles, USA
2013 | "Wo das Übergewicht regiert, ist Schweinernes nicht fern - zur Ausstellung Die Leinwand des Leibes Künstler verein Walkmühle" Wiesbadener Kurier, Ulrike Brandenburg, 17 Juni
2013 | POETS/ARTIST Magazine - The Chanticleer Issue Summer 2013, Didi Menendez, Lexington, KY, U.S.A.
2013 | Subtle Tea Magazine, “ Interview with Susannah Martin”, David Herrle, USA
2013 | INDA 7- International Drawing Annual, Manifest Press, Cincinnati, OH, U.S.A.
2013 | Catapult Magazine, "Susannah Martin" Issue 21, Thena Cartwright, May, U.S.A.
2013 | Visual Creativity Special Edition Showcase, "Susannah Martin" Mark McGough, London, UK
2013 | Unsung Magazine, Winter Edition “ Portrait- Susannah Martin” London, UK
2013 | JUXTAPOZ Magazine, "Susannah Martin's Primordial Tourists" March 21
2013 | Supersonic Electronics, "Susannah Martin" Zach Tutor, Mississipi, U.S.A. March
2013 | Empty Kingdom, "Susannah Martin" Okmarzo, San Francisco, CA, March 17
2013 | Poets/Artists Magazine, Didi Menendez, Issue #42, January , U.S.A.
2013 | INDA 6 International Drawing Annual
Manifest Press, Cincinnati, U.S.A.
2013 | Masters of Realistic Imagery
Art-Domain Verlag, Leipzig
2012 | Untold Method Magazine, Issue 5 Departure,
Felice Zhukov, October
2012 | Visual Creativity Magazine, London, UK
Mark McGough, January
2012 | Best of Worldwide Portrait & Figurative Artists Volume II
Kennedy Publishing, Virginia, U.S.A.
2012 | Creative Quarterly, Journal of Art and Design, CQ 26, Charles Hively, New York, N.Y., U.S.A. Spring edition
2012 | Manifest Press, Cicinnati, U. S. A.
"INPA 3 - International Painting Annual"
2012 | World Wide Art Books, by Despina Tunberg, Los Angeles, U.S.A.
"International Contemporary Masters Volume V2
2012 | Art Domain Verlag, Ulrich Goette Himmelblau, Leipzig, Germany
"Who's Who in Visual Art Vol 2012-2013"
2011 | "Art Takes Miami 2011", Competition Finalists
SCOPE Art Fair Miami 2011
2011 | Express Cincinnati, "Take it off. 'Nude' at Manifest Gallery" by Fran Watson, 10 September
2011 | Women Drawing Women, Online Exhibition, July
2011 | Architects and Artisans, "Looking out for the Unknown Artist", by J.Michael Welton, July
2011 | Humanitari Wordpress Magazine, Leandro Sanchez
"Art of the Week by Susannah Martin" July 1
2011 | Saatchionline Magazine, Behind the Canvas - Interview with Susannah Martin, June.
2010 | Erik Buchheister, Art Profil, "Susannah Martin: Spiegelung des Menschen", April
Alexandra Heil, AVA Magazine, " Interview mit Susannah Martin Kunst in der Zukunft", April
2010 | Manifest Press, “Nude 3“ Catalogue, September
2009 | Kim Julia Fuge, Artist Window, Cover, " Susannah Martin,1.Preis
Gewinnerin Faces Kunstwettbewerb", Oktober
2002 | Dr.Anja Cherdron-Modig, exhibition catalogue "In Between - Die Kunst Erwachsen zu Werden", Mai
Grit Weber, Frankfurter Allgemeine Zeitung, " In Between- Die Kunst Erwachsen zu Werden", Mai 28
2002 | Ernst Wegener, Frankfurter Allgemeine Zeitung, " Der Keltenfürst hält wieder Hof", Schirn Kunsthalle, Mai 19
1998 | Julie V. Iovine, New York Times, "Bunnies are out, Biedermeier is in", Feb. 12
1998 | Grit Weber, Frankfurter Allgemeine Zeitung, "In Between, Die Kunst Erwachsen zu Werden", 28. Mai
Susannah Martin: The Reflection of Man
Man's difficult interaction with himself as the central point of an existential crisis in society
Consequence: Sustained alienation from one's own self
Man in his environment is not only an artistic issue, but also a philosophical and social one. One's own perception of what depicts reality focuses on man, admittedly, however he is in his being increasingly less differentiated and therefore more problematic as an object to be observed and comprehended. Being human means ever more frequently: alienation from ourselves. There are good reasons for this: financial and private globalisation - the loss of traditional family circles and circles of friends, for example, extreme work-related flexibilisation with considerable mental stress, amongst others. American-born artist Susannah Martin takes on this subject in a realistic manner, in order to present as a theme humankind in an environment - a natural, unspoiled landscape - which can be scaled down in an artistic way to such an extent that man can also become in his own perception what he really is. In the artist's pictures, the human form also embodies something which permits the observer an obvious process of identification and at the same time shows us plainly and without any compromise our own shortcomings and imperfections.
Susannah Martin, born in1964 in New York, studied art with the focus on painting (graduating with a Bachelor's degree plus distinction and a grant), then worked for four years as a scenic artist and muralist before moving to Berlin in 1991. It was not until 2004, working as a freelance artist and portrait painter, that she could again devote herself to her primary topic of interest, namely man and his social background. As a result of important exhibitions in the USA and Germany, public institutions as well as private collectors grew continually more interested in her creative work.
Realistic and at the same time peaceful - just 'natural' - is how Susannah Martin's works of art could be described, for in spite of a harmonious idyll, the artist in no way hints at that paradise worth striving for. She shows no utopian wishful thinking, but rather creative possibilities. In an artistic way she concretizes a discourse which elucidates man's dilemma by consistently concealing this. 'Bathing' men, women and children, as in the works 'The River' or 'C-section' , for example, should be something so natural, something so normal, almost banal even, yet still 'beautiful' as well, so that it would in principle be pointless to have to take as a central theme this bathing as a natural, an obvious leisure time activity. This is also the discursive crux, for that which is natural and obvious speaks for itself and needs no artistic involvement. When the artist, with good reason, hints at an awkward state of affairs, an imbalance between nature and corporeality, between man and his environment, this is the artistic impulse, which would be unnecessary if circumstances were in balance.
Indeed we sense during our reflection that a certain longing for harmony, for freedom from problems, for an 'evolved normative family structure' awakes - or in other words, such pictures are unusual, because they document more the wish for normality rather than the other way round.
The bathers are not so plausible in Susannah Martin's depiction that we purely and simply delight in what is portrayed, but the artist provokes a borderline situation by showing realism in an artistic way - naked, natural people, whose nakedness comes across as so direct and immediate that we, as observers, cannot avoid an inner, shamefaced look - and additionally we sense that it is exactly this which is desirable - and that we know such situations less rather than more.
The naturalness develops into the central motif, also artistically, for only complete detachment from observation enables unprejudiced observation.
Man is free when subject to restraints, for within these limits he can experience his own accountability far more intensively than a pseudo-paradisiacal independence, to the autarchy of which nothing and no-one is bound. As paradoxical as this may sound, being free and still not losing touch with oneself is one of humanity's main tasks nowadays. When man, and above all society, too, is once more a part of lively nature, is aware of his inconsistency and learns to live with this in a natural way, then his own alienation will make way for an evolved certainty of inwardness. Susannah Martin's photographic view is bound to no tradition at all. She ultimately breaks with established techniques and artistic mechanisms by practising an arbitrarily structuring room layout and object disposition. People occupy centre stage completely freely and are accentuated as such. Pictorial contrasts, which regulate light and shade centrally in the picture, are just as indispensable as the same relevance which permits the observer an obvious process of identification and at the same time shows us plainly and without any compromise our own shortcomings and imperfections.
Susannah Martin concedes both the figure and the surrounding landscape. It is less a matter of figures in a painted landscape, but rather the equal significance of this and other techniques shows a current view and involvement with a classical pictorial composition and traditional painting styles. An impartial depiction by a female artist of woman and man - and without a fig leaf - is in this day and age fortunately hardly worth mentioning, because it is normal and must be normal.
Susannah Martin works with photos. Freely conceived, staged and choreographed, the photos are arranged, cut, manipulated and set into the most different compositions. Only then does the actual painting process begin. Here, too, her artistic spectrum is wide: her technical expressive powers range from pastel right through to acrylic and oil or gouache. The artist asks us: 'If the romantic landscape deals with the memory of a still tangible paradise, what can the current landscape with a nude evoke? A perception of our relationship to nature in its present form of 'master and slave' ? Our disengagement from nature and the discomfort arising from this? Or our longing for a power greater than ourselves and the dream of its resurrection?' And she answers her own question explicitly with a pictorial statement, whose option is an approach to us ourselves: coming out of the silence, observing, contemplative, open to emotion, the inner feeling which, like the surface of water, approaches one's own feeling and reflects itself. The fact that an idealising colour myth emerges, is intentional on the part of the artist. It is, however, a means to an end. For a good cause.
ARTPROFIL Magazin für Kunst
Translated from original German by Maggie Bouqdib
ARTPROFIL Magazin für Kunst, Heft April / 2010, c SYNTAX Medienproduktion + Verlag GmbH, 68219 Mannheim, Deutschland