Susan Cohen

Vase of Flowers and Reflection, Vibrant Oil & Monochromatic, Walnut Ink on Paper

2022

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Framed: 10.5 x 10.5 in. In her ink on paper miniature still life, Tree No. 120, July 30, 2016, Dina Brodsky replicates the texture of the tree bark in uncompromising detail. Brodsk...

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Margot Glass reimagines color and tone, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemerality, Glass lingers over t...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades. Lecturing at London’s Central Saint Martins for 35 years, including 16 years as head of BA Wom...

Giardino di Rose, 8x10 inches. Ink on Toned Paper. Drawing by artist Justas Varpucanskis. This piece utilizes the "rules of craftsmanship" as outli...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...