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Richard Long - Artists - James Cohan Gallery

Considered one of the most influential artists of his generation, Richard Long’s works have extended the possibilities of sculpture beyond traditional materials and methods. Central to Long’s work is the activity of walking.  

Since the mid-1960s he has taken countless walks throughout the world, in such places as the Sahara Desert, Australia, Iceland and near his home in Bristol, United Kingdom.  

The walks bring together physical endurance and principles of order, action, and idea. From these walks emerge the idea and material for his works. Long’s sculptures commonly take the form of geometric shapes, circles, lines, ellipses, and spirals – and are often composed of minerals native either to their location or to the British countryside Long has traveled by foot. 

Ann Hamilton
Installation views of ghost… a border act, 2000, at the former Ix Factory, Charlottesville, Virginia. Silk organza, tables, video projection, and sound, dimensions variable. Photo by Robert Wedemeyer, courtesy Deitch Projects, New York.

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Portraits In the Dance Folded From Tulle Fabric by Benjamin Shine

The latest installation by Benjamin Shine, who studied fashion design at The Surrey Institute of Art and Design and Central St Martins in London - “The Dance” explores ideas of impermanence and the fleeting moment, which are conveyed through the inherent qualities of delicate tulle material.

The idea of ‘painting with fabric’ led to the development of this technique where the portrait image is created through the intricate pleating and pressing of a single length of tulle fabric. The technique aims to utilize the translucent qualities of the tulle fabric to generate various gradients, tones and textures. via


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posted by Margaret

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Oakland based artist Tracey Snelling, creates detailed dioramas and installations of urban landscapes. Ranging from miniature to large scale pieces, her installations represent her impression of a space through the use of mixed media like sculpture, video, and photography.

I often choose to work in small scale because it allows me to capture an entire place or location. It lets the viewer become a voyeur, with permission to look into windows and behind doors that normally aren’t acceptable for viewing. I never build to scale; rather, I eye the location or my sketch of a place and translate it organically, often mixing different scales for effect. At times, I will combine small scale with large scale in installations to explore the idea of what is real, and how reality is ultimately subjective  via