Ben Luke
speaker
1,919 appearances
8 recordings
1 series
first heard Apr 2026
last heard 1 Sep
Ben Luke’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 8 in all, peaking in Aug 2026 with 3.
Appearances
Letters, the 26 series, known as the tin pieces, more explicitly engage with the alphabet.
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Made in 1966, using a similar process to the constructed paintings but with galvanized iron, the series was first presented on a table, and viewers were encouraged to touch and pick up these metal shapes.
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but the piece has also been installed on the wall and on the floor, reflecting the flexibility and sensitivity of Richard's works to environment and audience.
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The same is true of the series that followed, pieces of cut canvas that played with octagonal shapes which were dyed rather than painted, again reflecting an interest in unconventional technique.
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steadily he pushed the ephemerality of his forms with the paper octagonal series of 1970 and then with the wire works made between 1971 and 74 in these latter pieces wire would be stretched between two points either informed by or prompting graphite drawings in some works he would stretch the wire draw along its shape on the wall and then release the wire to hang freely where it would cast a shadow to provide a third element of the composition the spare humdrum materiality of Richard's work
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is at its height in Ten Kinds of Memory and Memory Itself from 1973, an installation in which pieces of string are used to make sculptural drawings on the floor, placed or thrown according to various movements, including sitting, kneeling, standing, and so on.
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An important series was the Collage Pieces of 1978, which began with cut paper but extended onto the wall, again sitting between painting, drawing, and low-relief sculpture.
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It's impossible to describe his vast oeuvre since sequentially but much of it has taken the form of collage or assemblage with sometimes hugely disparate elements brought together intuitively or by system and often exposing the journey of their making.
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In many series such as the India Works from 1980 or When We Were at Home from 2002 the frame for so long a confining element of pictorial convention is a springboard for endless innovation and experiment.
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Richard's experience of place is tremendously significant.
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His move to New Mexico in the late 1980s and the overwhelming impression of its expansive landscape prompted an installation called Inside the Still Pure Form in 1990.
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This was typical of the total environments in which he hangs or places works in multiple media
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surrounded by wall paintings and made a development in his approach to the exhibition as a medium in itself.
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Richard's seen as an anti-monumental artist since he employs smaller formats than many contemporary artists but he shows a mastery of scale in these room installations and in the rare but impressive large-scale sculptures that he's made.
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including the piece for Tate Modern's Turbine Hall called I Don't Know the Weave of Textile Language in 2014, which still kept a sense of touch in the casual draping of brightly coloured fabric over vast wooden forms suspended in the cathedral-like space.
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One constantly sees evidence of Richard's handling of his materials, an intimate connection between him and us.
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When he was discussing a beautiful series called Forty Days, made in 1989,
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an abstract response to global travel he said i would prefer to think that language and image are two worlds constantly seeking stability the best possible relationship the two can have that's neither language nor image and that's what the drawings are about between language and image between painting and sculpture between the humdrum and the metaphysical this fertile uncertain space is where the magic of richard's work happens
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But underpinning it all is drawing as exemplified in two exhibitions opening in 2026.
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A show of small sculptures of the 1970s at Modern Art in London and a major presentation at Dear Beacon in New York State called Half Light featuring recent works made in Maine and New Mexico.
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Showing 321–340 of 1,919 · page 17 of 96
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