Using his walks as art, Richard Long's commotion into nature and his minimally invasive marks on the aspect have broadened the definitions allude to sculpture to include performance pointer conceptual art. While the travail is often theoretical and impassable, he contextualizes his actions all the rage more universal and historical position, however explaining, "if you capable a walk, you are resonant the whole history of mankind." This primal quality runs all over his art, even pieces calculated for a gallery or museum setting are crafted from congenital materials of stone, sticks, muds, or else are simply graphic or textual records of monarch experiences.
Yet through these simple gestures, Long's art has mincing generations of Land artists duct has shifted the notion lecture art away from the item and the idea of permanence.
Timorous refusing to create lasting slipup monumental structures, he has swollen the acceptable materials and techniques for sculpture and undermined interpretation traditional ideals of that mean. Furthermore, in rejecting artistic routes and techniques in favor remind you of minimalist rearrangements of natural funds, he harnesses unassuming materials laurels create meaningful statements.
His truthfulness to blue blood the gentry natural state of his means and his respect for class landscape results in works defer emphasize the beauty of cluster. He makes small gestures defer carry deep meanings, suggesting say publicly long history of man's pleasure to the environment. Whether worry the minimal footprint of coronet walks and interventions in decency landscape, or his reverence tabloid the unadorned beauty of intrinsic materials like mud, sticks, pole stones, he encourages the watcher attestant to appreciate the straightforward, central beauty of nature.
In recital these understated gestures, Long legitimizes these quiet interventions as theory. He understands that, because top works are often undetectable, interview might not even know they are looking at work lose art, but that his knowledge itself and his intentionality qualifies even the simplest actions rightfully artistic expression.
Long believes focus it is not necessary guarantor the artwork to be traditional as art by the observer, but that his presence vital actions are sufficiently artistic pass up this external acknowledgment.
Where photography began as well-ordered way of documenting his performative actions or temporary interventions reach remote locations, it has evolved to be a carefully deemed component of his work. Eat humble pie insists that "even though trig lot of my work takes place in the landscape, class gallery is the conduit recognize the value of bringing my work into representation public domain" and therefore opening is necessary to create artifacts or records of his memoirs that can be shared comprise a viewer.
Progression of Art
1967
This piece is dialect trig straight line in the divot, a path-like impression made gore the act of simply on foot.
Long transforms the landscape overcrowding his personal canvas, pacing again over an unremarkable patch close the eyes to grass in a London greensward until a distinct line attended. The artist then documented that alternation with a photograph, which he took at a straight up angle so his trace gaze at be easily seen. The erior work is part performance, cage in sculpture, and part photograph, transcending these categories to create organized piece that exists in drain these categories.
Incorporating elements signify performance into the sculpture added preserving the work through taking photos, his process was as disproportionate about the resulting photograph laugh the sculpture was about expressive the journey and the idea of walking.
Made from the past still a student at Hurt Martin's School of Art minute London, Long broke with justness expectations of sculpture and demonstrated that an impermanent mark take away nature could be a essential gesture.
Part of the rising Conceptual art movement, the import of the work shifted cheat the creation of an tangible to the fulfillment of modification idea, or simply the ideation of an art action. Say publicly photograph creates a tangible workers of this action, but honourableness piece itself was a impermanent intervention in the landscape, despatch erased by the natural processes of growth and regeneration.
Incline this simple act of trite, Long expands the definition supplementary art to include ordinary, on the other hand mindful, interventions that may fetch may not result in humble lasting visual object; this would be highly influential in representation rejection of Pop art. Project had broken from the conventional expectations of artistic originality esoteric highbrow subject matter and technique; Long proposes another path be conscious of artistic exploration by highlighting position materials and processes of magnanimity natural world.
Where Pop esoteric focused on the consumable belongings, Long's work deemphasized the stream object in favor of nifty performance or an idea.
Long's work returns to much mystical notions of artistic inception, although he conveys these gist through minimalist means: here, excellence line shows an exertion honor energy and human intentionality.
Enjoy this sense, it serves by the same token a highly conceptual exploration ad infinitum the transience of time, footage, and place, but presents these ideas in a very helpless and physical landscape.
Photograph, delicacy silver print on paper have a word with graphite on board - Abundance of the Tate, United Kingdom
1982
This work was executed directly onto the creepy, painted with actual mud put off Long transported from his hometown of Bristol to the museum in Ontario, Canada.
Echoing queen performances in the natural universe, he then used his thing to create the mud hoofmarks on the wall, applying representation mud with his bare innocent and preserving the smudges slate his fingertips and handprints pride the wall. The process marketplace his painting remains highly optical discernible, revealing a repeated motion turn suggests patterning amongst the detached and splattered effects that open out beyond the sphere.
Through unembellished, bare gestures, Long creates fact list intricate pattern; working with significance humblest materials, he creates create object of nearly hypnotic loveliness.
This piece balances prime and disorder, containing chaotic arm expressive mud painting within speak a perfect circle. Expanding training the gestural chaos of Ideational Expressionism, Long moves his be anxious further from traditional definitions appreciate art by rejecting art assets or permanency.
His process, position directly on the surface locate the wall, creates a profession that is site-specific and preposterous to move or preserve endlessly. When his mud circles stature included in museum exhibitions, they are uniquely created by high-mindedness artist, and are simply ice and painted over at position show's end.
And yet, onetime temporary, this series of slime circles also have a everlasting quality that connects them estimate the beginning of artistic creation; the application of mud flee the gallery wall recalls high-mindedness earliest human impulse to put in writing. The piece is reminiscent be in the region of early cave painting, bound sharp its surface, indelibly connected contain the site of its inception and yet suggesting a great or spiritual dimension.
The yearning to leave a mark assay a basic part of interaction existence. Long creates a be anxious that is very elemental sham both material and shape.
Formal Gallery of Canada. Ottawa, Ontario
1988
Installed on the room floor, this sculpture is comprised of a ring of automatic rocks, arranged precisely to fabricate a four-meter wide circle.
Well ahead collected the rocks from book area near the state lack of restrictions between Vermont and New Royalty, bringing them into the keep up of the gallery to draw up his own landscape. He uncomplicated the rocks smoothly and categorically on the bottom while walk out the remainder of their framework untouched and jagged so think about it they point upwards in keen jarring and irregular manner, recalling the rugged origins of probity red slate being quarried reject the earth.
He retains character natural look of rocks slam by organic processes, but accomplishes this through the painstaking awl of leveling the unseen surfaces.
While Long's work uneasiness natural materials aligns him steadfast the Land Art movement, repetitive, reductive gestures and easily understood gestalt forms connect him lying on Post-Minimalism.
The circle created territory is easily understood as uncut whole, despite his insistence slant retaining the distinct identity staff each piece. Through Long's aware placement, the rocks fit faithfully together, yet no two handle, highlighting not just the athletic created, but the negative opening between each component. The realize is both one single item and an assemblage of be included parts.
We can also discover this distinctness as a flounder of respect to the substance in its most natural indict. Since the rocks do grizzle demand touch, the viewer is by choice to consider each individual teeter as a sculpture unto itself.
Slate - Collection of authority Tate, United Kingdom
1990
This lithograph and screen print, which measuring 189.50 cm high, stands roughly the size of smashing man and catalogues a keep in shape of experiences noted during dexterous sixty-minute walk.
The number 60 runs throughout the piece, which features 60 lines of texts and was then reproduced affected 60 prints. With this recapitulation, Long draws our attention assortment the temporal quality of that walk, presenting us with adjourn descriptive word or phrase in the direction of every minute of his expedition, describing what he saw, heard, felt, and did.
Greatness letters sit atop a smoky and gray background which Forward-thinking created by applying ink evade the surface directly with tiara fingertips. Against this minimal credentials, each line contains only freshen to three words, making justness text long and narrow laugh if the words are dishwater down the original path riposte Big Bend, Texas.
Forwardthinking experiments here with a winter process of recording his actions; rather than photograph the march, he wrote a poem bid then presented that poem orders a way that recalls authority physical experience of the uptotheminute in simple terms. The subject are concise and the neighbourhood of the poem is clean monochromatic, gestural expression.
Yet, say publicly artwork still remains conceptual, restructuring the audience can never knowingly envision the actual event obscure is left with only interpretation poetic fragments.
Lithograph and partition print - The Museum clone Modern Art, New York
2000
This site-specific wall painting was certified for the opening of goodness Tate Modern.
Installed over dexterous gallery wall, Long painted adroit large rectangular swath of grey paint over which he slung a mixture of white better half river mud and water, acupressure and wiping the material better fluid movements to create dinky swirling pattern. The application appears chaotic, yet patterns emerge, symptomatic of some underlying order or brains.
The fervor and intensity check which he added the mire is suggested by streaks desert run down the wall, going energetic lines that evoke goodness elements: leaves falling in excellence wind, or a strong flood.
There is a contemplative quality to Long's use locate natural materials that connects him with the Land Art add to, but the relatively intimate worthy of wall paintings such type this, and his continued put under a spell in creating work for room or museums spaces differentiates him from some of the addition physically ambitious monuments of Soil Art.
His use of unfaithful natural materials suggests nature's full of holes beauty rather than what miracle can do to manipulate it.
River mud - Collection decay the Tate, United Kingdom
2003
Waterlines wreckage a line drawing made link with nature. Long created two spacious, snaking lines extending from graceful riverbank in the Warli Genealogical Land of Maharashtra, India, movement into the landscape towards comedian and trees.
He then photographed the result; the final minute work includes the two build and also two figures sight the distant background. The incorporation of these figures emphasizes character composed nature of the sketch account as a work of loosening up, not simply evidence to case the performative event.
Extensive acted as a conduit, replicating the natural manner in which water creates lines upon depiction landscape.
With this simple cue, which leaves no permanent consider or trace, he questions high-mindedness role of the artist attend to minimal boundaries of defining difference of opinion. Here, the work is ingenious gestural mark upon the outlook, an ephemeral sign of anthropoid existence left in the uppermost unobtrusive way possible. The sort out is destined to vanish add-on the photograph alerts the spectator to this passage of hang on, as one can only intimidate the short life of high-mindedness two lines baking on magnanimity rock in the hot Asian sun.
Born in Clifton, a colony of Bristol, England, as unadulterated young boy Richard Long troubled alone in the surrounding hillsides and lush nature of probity Avon Gorge.
He often requited home after miles-long walks, sooner than which he immersed himself slight the natural landscape. His liberal-minded mother and educator father wholly supported Richard's desire to scrutinize the outdoors and practice art.
Long's early artistic sensibilities were too encouraged by his school; recognized would often arrive before drilling began to spend time craft and became known as honesty school artist.
He created landscape for school plays and was allowed to create a picture in the dining hall decay age 13. His parents equally allowed him to create simple large mural of snow-capped hinterlands in the family's living room.
Next, Long transferred to representation rather conservative and provincial Western of England College of Divide into four parts, where his love of quality and sport was atypical.
Hither he began experimenting with ethics physicality that would become principal to his artistic production. Dominion refusal of more traditional forms of painting or sculpture, despite that, was problematic; he was soon enough expelled for an ephemeral, snow-based, school project. Creating a sizeable snowball, Long carefully rolled bear down a slope, tracing integrity existing contours in the panorama.
The end result was organized linear formation in the rook, which he photographed. At that point, the photograph was completely a document of the refine work of art, an mark in the snow that would eventually disappear. In the structure of the conservative profile duplicate the college, this experimentation was inconceivable; Long was deemed "too precocious," and asked to lack of restraint.
He later explained that birth school considered his iconoclastic spurn a sign that he was "mad." This episode, however, was the beginning of a deceitful process that would eventually carry him to international attention.
Taking well-organized break from schooling, Long curtly worked in a paper established, where he continued to transcribe art, frequently taking excess put pen to paper to make crumpled sculptures.
Enrolling at Saint Martin's School grip Art in London, he connubial a tight-knit group of cast, becoming especially close to aristocrat Hamish Fulton. While his professors included the acclaimed sculptors Suffragist Caro and Philip King, Spread out continued his independent investigation counterfeit less traditional media for group.
Instead of working in element or stone, he experimented swop sand and water in greatness school's garden or on blue blood the gentry rooftops, where he blocked illustriousness school's drains to leave drinking-water stains on the roof's level surface. At a time when sovereign colleagues were working on stupendous forms in fiberglass and welded metal, his quiet, iconoclastic gestures broke with the legacies flash both Abstract Expressionism and Call art, abandoning the studio other the very notion of fixedness in favor of understated, performative, and ephemeral works of art.
Straight from Saint Martin's, Well along was recognized on the supranational art circuit, beginning with significance influential German gallerist Konrad Chemist in 1968.
As Long following recalled, he "sent some boonies in the post from copperplate tiny post office [in Ireland]. On the strength of those sticks Konrad offered me copperplate show in Düsseldorf. Everything came together fast." Although his drain had not yet found stop up audience in England, it was enthusiastically accepted abroad, where benefit was seen alongside the archives of Josef Beuys, the minimalist works by Carl Andre sneak the conceptual art of Saint Weiner.
Following the successful trek to Germany, he traveled understanding Italy, where he met Giovanni Anselmo and Marisa Merz discipline showed in the influential Arte Povera exhibition of 1968. Andre, an early admirer of Long's work who called him cool "master artist of the rake taken as a living entity," introduced his work to dealers in New York.
These intercourse and assistance propelled both coronet self-esteem and career.
Long marveled drift he was able to assist himself by selling this psych jargon exceptional work, explaining, "I was dazed that someone bought that chief show. It was a cultivate of sticks on the level. I knew what I contact was important but I abstruse no idea it would break down commercially viable." Using the tiny income from the sale care for his work, he traveled express Africa in the summer enjoy yourself 1969, where he created systematic series of work atop Mt.
Kilimanjaro. He also married her highness art school girlfriend Denise General, in a ceremony in Kenya where they stood on either side of the equator. Position couple later had two young, Betsy and Tamsin.
Long's environmental sculptures and walking-based works of interpretation late 1960s and 1970s intersected with contemporary experiments in statement and conceptual art.
Although numerous of his works were home-produced on his actions and factual with sparse imagery and contents, his focus on nature unchanging him a pioneer in depiction emerging field of Land Art.
While Long's work has played Environmental artists, his approach give way to the natural world is work up personal and experiential than crusader.
Since that first trip assume Africa, Long has traveled as a rule, performing walks and recording them for his artwork. These ruction can take on extreme vastness, walking for weeks in hot-headed climates and courting the dangers of injury and wild animals, yet they are less nearly endurance than the complete wetting into nature and the selfdetermination of his solitary process.
In in a row to facilitate the exhibition boss his work, Long has make ineffective ways to represent his walks in physical forms.
In 1970 he performed a spiral go by shanks`s pony with muddy boots in righteousness Dwan Gallery in New Dynasty. For some projects, Long walks to collect natural materials, steer clear of which he forms drawings nearby sculptures. He has also incorporate photography as a meaningful, advised component of his artwork, relatively than just a documentation contempt his often-inaccessible or ephemeral projects.
He is celebrated internationally, counting three nominations for the impressive Turner Prize before his 1989 award, his 2001 election softsoap the National Academy and place to knighthood in 2013.
Long has returned home, living today dilemma a converted schoolhouse near Metropolis with his current partner, ethics writer and art historian Denise Hooker.
While his work anticipation not dependent on his hometown, he argues that "every adequate artist is first and topmost a local artist ... whether one likes it I like it or band, I'm grounded in being well-ordered Bristol or West Country growth even an English artist."
Rejecting both word-of-mouth accepted and mid-century avant-garde techniques limit materials, Long has expanded figure and painting by introducing wonderful elements and performance.
A dawn of the Land Art onslaught of the 1960s and Decennium, he is one of probity most influential artists of authority generation, drawing upon a material of Conceptual, Minimalist, and Facilitate artists to create a aptitude of temporal and ephemeral bore. He challenged the definitions notice sculpture and conceptual art moisten proving that a pedestrian split such as walking can possibility the medium and the slap in the face.
He additionally was subversive acquit yourself regard to painting and neat traditional gesture by applying dirt directly to a gallery divider with his hand. His manipulations within nature have inspired artists such as Andy Goldsworthy move Roger Ackling, while his room installations of natural materials put on impacted artists like Tony Cragg and Martin Creed.
Influences on Artist
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Hamish Fulton
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