Was 2022 a good year for you?
It’s been my best year for sales in a long time. Plus publicity. It’s probably because I took the time to make an effort!
What were some of the highlights in your art career?
I finished my largest painting to date, The Procession of Hope and Feathers, at the end of 2021. It was eleven feet long, and it was showcased through January 2022 at the R. Michelson Gallery in Massachusetts. I was juried in as a full member of the National Association of Women Artists in NYC, and a painting in one of their member shows sold immediately to a new collector.
My work was featured in several publications during 2022. The Artful Mind put my painting The Raven’s Gifton the cover, and included a six-page profusely illustrated feature inside. Soliloquy was included in Fine Art Connoisseur’s “figures in costume” issue. Juniper Rag Magazine selected Tempest for their issue on the Supreme Court’s Roe decision, “Outrage”. The publisher wrote: “Our biggest emotional pull was Tempest. It really conveys the feeling of chaos and uncontrollability that is pervasive in our society right now, and with the woman looking up, with light on her face, it illustrates strength and hope. We can’t wait to publish this work.” I was just informed that Raw Art Review will publish a portfolio of my work this coming year.
I completed a commission this month for a private client, and I am about to start a new commission for another client.
I have also published limited editions of some of my work this year as fine art prints, and I offer them for sale on my website. I use an excellent local photographer to make the prints – he has actually been professionally photographing my art for over 20 years.
How has social media affected your daily practice?
I am fairly active on Facebook and Instagram. I do feel like it sucks up precious time, and so far I’m not seeing much in the way of sales. I haven’t quite gotten a handle on reels, and I’m not into TikTok, so perhaps that’s the explanation.
What are you looking forward to in 2023?
I have the first two paintings planned in a new series, revolving around a pink full moon. One of them, I suspect, will be a large-scale painting. I’ve been working on easel-size paintings for the last year, so I really look forward to painting big again.
Post's paintings, pastels and monotypes have been exhibited in museums and galleries throughout the country and reside in many important public and private collections. She has had two solo shows at the Mary Ryan Gallery in New York City, seven one-person shows at the R. Michelson Gallery in Northampton, MA and solo shows at the University of Massachusetts and Mary Washington College. Her work has been included in many prestigious group shows and juried exhibitions in New England, New York and the Southeast.
She has been featured in extensive photo essays in Poets & Artists, American Art Collector and American Artist magazines, and a two-page interview, with photos, appeared in the Artful Mind. Her painting, "Solstice", on the cover of The Gettysburg Review received the Ozzie Award for Design Excellence; the Review also selected Post's work for an eight-page color portfolio inside the same issue. Color reproductions of her work have graced the cover of Cornell University's Epoch literary magazine, and were selected for the cover and the content of five Return of the Goddess Engagement Calendars and the hardcover book, Return of the Great Goddess. Reviews and images of her work have appeared in the Boston Globe, the New York Times, Preview Magazine and other national and regional publications. A 24-page color catalogue was published in conjunction with her solo show, Balancing Acts, at the R. Michelson Gallery.
Linda H. Post is a graduate of the University of Rochester and did post-graduate work in printmaking at the Rochester Institute of Technology. She has taught numerous workshops in figure drawing, pastel and printmaking. When she isn't in her studio, she works as Founding Director of the Paradise City Arts Festivals.