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Richard Long |
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Documentation
Still Photos
       
Project Exhibition
Reviews
Art + Auction, Feb 2006
San Francisco Chronicle, Feb 4 2006 C Magazine, Jan/Feb 2006 Recent Exhibitions
2003
Rome Galleria Lorcan O'Neill Roma 2002 Griffin Contemporary, Venice Galerie Tschudi, Glarus New Art Centre Sculpture Park & Gallery, East Winslow Tate St. Ives, St. Ives, Cornwall Tucci Russo, Torre Pellice James Cohan Gallery, New York Galerie Tschudi, Zuoz 2001 Galerie Daniel Templon, Paris Museum Kurhaus Kleve, Cleves Museu Serralves, Porto Milwaukee Art Museum, Milwaukee |
Project Description
Residency Dates: Fall 2005
Distinguished British artist Richard Long, who has spent his career making art that expresses his connection to the land, inaugurated the FOR-SITE residency program in August 2005. Long is recognized for creating a kind of extended sculpture that is informed by his vigorous, solitary sense of quest. Artist Statement
Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking.
Walking itself has a cultural history, from Pilgrims to the wandering Japanese poets, the English Romantics and contemporary long-distance walkers. My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going 'nowhere'. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art that was also a new way of walking: walking as art. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like traveling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking - as art - provided an ideal means for me to explore relationships between time, distance, geography and measurement. These walks are recorded or described in my work in three ways: in maps, photographs or text works, using whichever form is the most appropriate for each different idea. All these forms feed the imagination; they are the distillation of experience. Walking also enabled me to extend the boundaries of sculpture, which now had the potential to be de-constructed in the space and time of walking long distances.Sculpture could now be about place as well as material and form. I consider my landscape sculptures inhabit the rich territory between two ideological positions, namely that of making 'monuments' or conversely, of 'leaving only footprints'. Over the years these sculptures have explored some of the variables of transience, permanence, visibility or recognition. A sculpture may be moved, dispersed, carried. Stones can be used as markers of time or distance, or exist as parts of a huge, yet anonymous, sculpture. On a mountain walk a sculpture could be made above the clouds, perhaps in a remote region, bringing an imaginative freedom about how, or where, art can be made in the world. — Richard Long, 2000 Bio
Richard Long (b. 1945, Bristol, England) studied at West of England College of Art, Bristol and at the St. Martins School of Art, London.
Longs use of walking as an art form was introduced as early as 1967. Initially he documented his walks with texts, maps, and photographs. He began making new types of mud works using handprints applied directly to the wall in the 1980s. In later years he also constructed large lines and circles of stones, slate, and sticks, collected on his walks. In 1976 he represented Britain at the Venice Biennale with an installation in the British Pavilion made of marble selected from an Italian quarry. In 1986, the Solomon R. Guggenheim Museum organized a major exhibition of Longs work from the 1970s and 1980s. In 1989, he was awarded the prestigious Turner Prize in London. He lives in Bristol, England. View the CV. |
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