Richard Long Press Kit Website

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Richard Long
Richard Long was born in 1945 in Bristol,
England, where he currently lives and works. He
studied at the West of England College of Art and
St. Martin's School of Art, London. Long was
awarded the Turner Prize in 1989, the Praemium
Imperiale Art Award from Japan in 2009, and the
Whitechapel Art Icon Award in 2015. With his
seminal walking work in 1967, Long has radically
redefined the boundaries of sculpture – using
nature as both subject and medium -- over the
course of his forty-year career. Since his first one-
person exhibition in 1968, he has had
retrospectives at the Solomon R. Guggenheim
Museum (1986); Hayward Gallery, London
(1991); Scottish National Gallery of Modern Art,
Edinburgh (2007); and Tate Britain, London
(2009). Museum solo shows include the Musée
d'art moderne de la ville de Paris (1993), the
Setagaya Art Museum, Tokyo (1996); the Museu
Serralves, Portugal (2001); Tate St. Ives, Cornwall
(2002); San Francisco Museum of Modern Art
(2006); Musée d’art moderne et d’art
contemporain de Nice (2008); “ARTIST
ROOMS” organized by the National Galleries of
Scotland and Tate, which also traveled to The
Hepworth Wakefield in England, among other
venues (2012-2014); and “Time and Space” organized by the Arnolfini in Bristol (2015). Long created the
work Box Hill Road River for the cycling road race in Surrey as part of the 2012 Olympics. The artist had
his first solo show at Sperone Westwater in 1977, where he exhibits regularly (1978, 1980, 1981, 1982,
1984, 1989, 1991, 1994, 1997, 2000, 2003, 2004, 2011, and 2015).
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Richard Long
Selected Press
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Cochran, Sam. “Rock Steady.” Architectural Digest, August 2017, p. 110.

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Waters, Florence. “Richard Long moves heaven and earth at Houghton Hall.” www.wallpaper.com
(Wallpaper*), 10 May 2017.
Wilderness Dreaming, 2017. Photography: Pete Huggins
‘My talent as an artist is to walk across a moor or place a stone on

the ground,’ artist Richard Long says. What could be more
primitive, more humble than that?
So why has this reclusive artist, who operates on mountains, wild

moors and in deserts, been rambling the immaculately kept
grounds and rooms of Houghton Hall, the grand Palladian stately
home built to house Sir Robert Walpole, the first British Prime
Minister?
In some places he has been incredibly – you could say

uncharacteristically – bold. On the croquet lawn raw, jagged slates
rise out of the pristine turf in a wide criss-cross marked out as
sharply and as neatly as the hedgerows. Smack bang centre of the
main lawn in front of the house he has dug up an 84ft long line and
filled it with rough local sandstone, the reddish raw material once
used to build the nearby stable.
Richard Long photographed in front of his
White Water Falls, 2017
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A Line in Norfolk, 2016. Photography: Pete Huggins
Long is not an iconoclast, is not driven to rebelliously tear up history in the name of politics or ego. For the
artist, the making of the work is the work, just as it was 50 years ago when he made his first sculpture (A
Line Made By Walking, 1967), simply out of walking. Long has in fact been visiting and considering
Houghton’s grounds for years, has walked and walked and thought; he has carried and measured, and laid
out all the stone himself, a long, physically demanding task.
What you find at Houghton is what remains of that labour. He has immersed himself in Houghton, just as
he would a mountain, humbling himself before its scale, grandeur and beauty, experiencing within it the
smallness of a single human step or gesture and the primitive, time-old human urge to respond to that
emotion. Thus, to the shining Stone Hall of marble busts and stucco, Long has carried local Norfolk flint
and slate and made a stone circle, which appears as delicate and intricate as the chandelier that hangs above
it.
The exhibition is very beautiful in rain or shine, with two galleries devoted to his historic, globe-spanning
career. It’s well worth a trip to Houghton.
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Houghton Cross, 2016
White Deer Circle, 2016

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North South East West, 2017
White Water Falls, 2017

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Knights, Emma. “How Norfolk’s Houghton Hall inspired Turner Prize-winning artist Richard Long’s
latest show.” www.edp24.co.uk (Eastern Daily Press), 4 May 2017.
Earth Sky is the new exhibition at Houghton Hall. Here artist Richard Long is pictured with Full Moon Circle, commissioned in
2003. Pictures: Ian Burt
He has travelled the world creating art in the landscape, and for his latest show Richard Long is using the
historic Houghton Hall as his canvas. Arts correspondent Emma Knights finds out more about the Turner
Prize-winning artist’s latest show.
Within the stunning setting of north Norfolk’s Houghton Hall an intriguing new collection of art is waiting
to be discovered.
New yet seemingly timeless, it casts a different light on the 18th century home that was once the residence
of Britain’s first prime minister, Sir Robert Walpole.
Among the works is White Deer Circle, a mysterious and prehistoric-like ring of upturned tree stumps that
has sprung up in the grounds and is reminiscent of Seahenge at Holme, while to the west of the hall is A
Line in Norfolk, a striking 84-metre strip of burnt orange-coloured carrstone which has a curious and
commanding presence. Visitors who venture inside into the Stone Hall will also find North South East West,
a circle of slate and flint adorning the elaborate surrounds like the most precious of jewels.
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A Line in Norfolk.
This is EARTH SKY, the latest exhibition by Turner Prize-winning artist Richard Long whose work has
taken him across the globe, creating his trademark art of lines, spirals and circles everywhere from
Antarctica to Argentina to China.
“My work is to celebrate all the different

landscapes around the world, and this
[EARTH SKY] is one particular landscape,
the English landscape,” said Mr. Long.
His Houghton exhibition also includes a

swirling spiral of slate called Wilderness
Dreaming, a jagged installation on the
manicured lawn of the walled garden called
Houghton Cross, and “mud waterfall works”
in the hall’s colonnades called White Water
Falls.
It is the largest show of Mr. Long’s work

since his retrospective Heaven and Earth at White Deer Circle
Tate Britain in 2009.
The roots of this latest exhibition actually go back well over a decade, as it was in 2003 that Mr. Long
created his first work for Houghton Hall’s owner, the Marquess of Cholmondeley.
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White Deer Circle
A vast circle of carefully arranged slate, it is entitled Full Moon

Circle because as the finishing touches were being made the full
moon was shining in the night sky.
Now, with six more major works also added to the Houghton
landscape, Mr. Long is presenting EARTH SKY.
Explaining the name of his new show, he said: “When I make a

work in the landscape - for example I could make a circle of
stones - I don’t only look at the circle of stones, I look at the
whole space which could be as far as the eye could see, and then
there is the sky above, so EARTH SKY means the totality of
looking at something with the sky above.”
When asked about his key inspirations from Houghton, he said:

“I think the enormous space of the lawns.
“It’s the first time I’ve had the chance to show big works on a
big scale, and also the variety of the locations [within
Houghton] means I can show a big variety of different types of
sculptures – lines, crosses, circles, flint, slate.
A Line in Norfolk
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Here artist Richard Long is pictured with A Line in Norfolk.
“It’s a big opportunity – and you get white deer [which roam the estate] thrown in too!”
The materials he uses are also key to his work, and he is always keen to source as much as he can locally.
“A Line in Norfolk is made of carrstone which is reddish stone, then there’s the big circle work, called North
South East West, in the Stone Hall made of Norfolk flint and Cornish slate. In some ways the materials of
this show are what England is made of,” he said.
Visitors can also see a snapshot of Mr. Long’s work from elsewhere in the world in a gallery within the
exhibition which is full of photographs and text works. There is a focus on many of Mr. Long’s epic walks
which he has turned into art. He is proud to say he was the first person to walk across Dartmoor in a straight
line and his other walks have included walking from the southern most tip of England to the most northern
part of Scotland as well as walking from his home in Bristol to the home of a friend living in Norfolk.
He said: “An important part of EARTH SKY is the exhibition room with the photographs of sculptures I
have made in different landscapes around the world, like in Bolivia, in the Antarctic, in South Africa...and
also the text works which represent my walks, which is another aspect of my work.
“The walking, in fact, is a very important aspect, maybe the most important aspect, because the heart of my
work is walking in landscapes and making sculptures along the way.
“My sculpture is about different places and this EARTH SKY exhibition happens to be about the place of
an English country house.”
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EARTH SKY: Richard Long at Houghton, which is curated by Lorcan O’Neill in association with Mr.
Long, runs until October 26.
Pictured is North South East West. A slate and flint circle in the Stone Hall.
AN 18TH CENTURY HOME INSPIRING 21ST CENTURY ART
A passionate collector of art, the Marquess of Cholmondeley has filled

his beautiful estate’s grounds with contemporary works by an array of
artists, and he said it was a real privilege for his home to be the setting
for the latest Richard Long exhibition.
It is the third major art exhibition in five years that Houghton Hall has
hosted.
Starting with Houghton Revisited, which saw paintings once owned by

Britain’s first Prime Minister, Sir Robert Walpole, brought back to their
original home in 2013, the estate then presented the 2015 Lightscape
exhibition of lightworks by contemporary American artist James Turrell,
and now Richard Long’s EARTH SKY is taking centre stage.
“The first one, Houghton Revisited, was so different, it was a great

North South East West (detail) historic exhibition,” said Lord Cholmondeley.
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“Turrell was light, it was again a very different sort of show, a very different artist, but both [James Turrell
and Richard Long] have a simplicity to their work. Turrell working with light and Richard working with
stone, and certainly one feels there’s a sort of fellowship in their art.”
Bringing modern art to Houghton’s grounds was in fact inspired by an 18th century tradition of follies.
“The idea really was [from] looking at the old

maps of Houghton and seeing the follies and
garden structures that were originally on the
west side but have since disappeared. It came to
me it would be wonderful to do something of
our own time in that spirit - large-scale
contemporary pieces as modern follies.”
Reflecting on the Richard Long exhibition, he

said: “For Richard, his big shows have always
been in galleries, there was a wonderful
retrospective at Tate Britain, but this is
probably the largest collection of major outdoor
work he’s ever done.”
Wilderness Dreaming
He added: “I think it fits so well. The pieces seem as if they have been there forever. They have a
permanence to them, although they may not unfortunately all be permanent. To me the henge of tree stumps
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is like a prehistoric artwork almost...Richard’s a

contemporary artist but these forms have been used in
art for millennia - circles and spirals and lines.”
He said the exhibition gave visitors the chance to

explore Houghton in a new way.
“I think it is experiencing a house they may know as a

classical house, and experiencing it in a different way
with work of our own time which fits miraculously into
a formal 18th century landscape.
Here artist Richard Long is pictured with the Houghton “I do think it’s something you don’t have to have
Cross. knowledge of 20th century or 21st century art to
appreciate. I would say the same about Turrell,
something about light affects us all, and these very
simple shapes and materials [in Richard Long’s work]
also have a visceral effect on you, and you can
appreciate it very well without knowing about Picasso
or Kandinsky.”
He said he hoped the exhibition would be enjoyed by

children as well as adults, and added his own seven-
year-old twins, Xan and Oliver, had been having fun
exploring the works and even helping to create one of
them.
Houghton Cross (detail)
“With the 84 metre line [for A Line in Norfolk], obviously Richard Long
couldn’t lay every stone, so he allowed us all to participate in it, and of
course the children were very excited at being able to lay some stones
themselves.”
Richard Long with White Water Falls

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White Water Falls
Full Moon Circle, commissioned in 2003

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Full Moon Circle, 2003
Full Moon Circle (detail)

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Campbell-Johnston, Rachel. “Sculpture with the X factor.” The Times, 28 April 2017, p. 12.
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O’Flaherty, Mark C. “Hall of Fame.” The Telegraph Magazine, 22 April 2017.

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Barkham, Patrick. “His stark materials.” The Guardian, 17 April 2017.

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Bastable, Jonathan. “The Long view.” Christie’s Magazine, April 2017, pp. 28-31.
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Halperin, Julia. “Richard Long gets down to earth at 101 Spring Street.” The Art Newspaper, September 2016, p. 6.
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Cole, Ina. “Ideas Can Last Forever: A Conversation with Richard Long.” Sculpture, July/August 2016,
pp. 20-27.
Ideas
Can
Last
Forever
Richard Long
A Conversation with
© RICHARD LONG, COURTESY ARNOLFINI

Time and Space, 2015. Delabole
slate, vertical arm: 355.9 x 54.3 in.;
horizontal arm: 354.3 x 54.7 in.
BY INA COLE Boyhood Line, 2015. Limestone,
view of work at The Downs, Clifton,
Richard Long’s practice involves walking great distances in the wilderness, then Bristol.
pausing to make works referencing natural and cosmic phenomena experienced

along the way. He uses walking, therefore, as both medium and measure, and his works act as a direct
response to the world in which he lives. This way of working offers the potential to make sculpture anywhere
and at any time, free from the constraints that can otherwise arise with producing art. Long leaves a mark
or arrangement within an ever-shifting elemental terrain that exerts its own laws of regulation over the
end result. This is his way of expressing ideas about time and space, and what it means to be human
when removed from the cacophony of contemporary life. Long is considered one of the most important artists
of his generation, and he has sited sculpture on all five continents, as well as in many of the world’s most
significant galleries and museums.
Ina Cole: You were born in Bristol, where you continue to live and artistic language at a very young age and that this early experi-
work and where you recently made Boyhood Line. Although you ence still sustains your practice.
travel the globe to make work, is a personal sense of place impor- RL: I was still at the West of England College of Art in Bristol, but I
tant to you? wouldn’t say it set the scene: one has lots of insights with hind-
Richard Long: Yes it is, and Bristol has been important in that sight. Snowball Track was my first sculpture using the materials of
sense. Boyhood Line was placed along an existing footpath, and the place. At that time, I was also interested in rainbows, and
MAX MCCLURE, © RICHARD LONG, COURTESY ARNOLFINI
the shape took its form from the way that people walked to and I’d followed a big rainbow in the Great Rift Valley, Kenya, which
fro across the grass over the years. I partly chose the location to became part of this idea. By using colored powders to make Rain-
have good sight lines and later realized it was only 50 yards from bow on the banks of the River Avon at low tide, I brought foreign
where I made Snowball Track—which was my first landscape material to the place so you could argue, technically, that it
sculpture—and 100 yards from where I made England 1968 four wasn’t as pure as Snowball Track. As an art student, I was trying
years later. So, that whole territory—the plateau on the Avon many different things, like all young artists do. I guess there came
Gorge, the gullies, screes, and caves—was my testing ground for a point toward the end of my time at college when I realized the
the early works. world outside was more interesting than the world of plaster casts
IC: In a sense, Snowball Track set the scene for works such as and drawing classes inside the studio. Tides, weather, and places
A Line Made by Walking and Rainbow. It seems you found your offered me far more potential to engage with the world.
22 Sculpture 35.6
IC: Can you trace these interests back to
your childhood? Sometimes when one
looks back, the strands of early activity
seem clearer and can be followed right
through life.
RL: I’m a product of a happy childhood,
there’s no question of that. I was a city
boy, but all of our family holidays were in
the West Country—visiting my grandpar-
ents, who lived on the edge of Dartmoor
in Devon, or youth hosteling with my
father. In a way, I’ve just followed my
childhood pleasures into my professional life;
I’ve made things I used to do as a kid part
of my work—bouncing stones across rivers,
building cairns, playing on the beach with
pebbles. Even while growing up along the
towpath in Bristol, I was amazed at how
the river was sometimes so full and at
other times completely empty. That was a
great physical dynamic, a phenomenon
that fascinated me. Yet simultaneously, I Above: Slate Atlantic, 2002. Delabole slate, view of installation at Tate St Ives, U.K. Below: Berlin Circle,
had the ambition to make art in new 2011. River Avon mud, view of installation at Hamburger Bahnhof, Berlin.
ways.
IC: You were taken on by Konrad Fischer in
1968, and most of your early exhibitions
were abroad rather than in the United
Kingdom. Did you have more empathy
with artists like Carl Andre and Joseph
Beuys than with the British avant-garde?
RL: In my last month at St Martin’s School
of Art, I got a letter from this guy I’d never
heard of, asking me to do an exhibition in
his gallery. It was Konrad Fischer. It didn’t
come completely out of the blue, however:
TOP: © RICHARD LONG, COURTESY THE ARTIST / BOTTOM: © RICHARD LONG, COURTESY LISSON GALLERY
a fellow student at St Martin’s had already

exhibited in Europe and had put my name
forward for a group show in Frankfurt in
1967. So, I sent a bundle of sticks over with
instructions of how to make the sculpture
for this group show. Konrad was an artist
himself, and just on the evidence of seeing
that one work, he offered me a show in his
Düsseldorf gallery a year later. But that’s
Konrad for you. He was great; he had a fan-
tastic nose for art. After my opening, he
said to me, “There’s this manifestation down
in Amalfi in Italy; a new art movement in my work in Britain, because the art world at that time was dominated by the Anthony
called Arte Povera. Why don’t you get on a Caro school of welding sculpture. In some ways, the British art world was independent
train and go check it out,” which I did. So and insular, but as soon as I went to Düsseldorf, I found a parallel world of experimental
that opened up a new world of Italian artists, practice, like Joseph Beuys, whom I met for the first time in 1968. I found a much more
who all became interested in my work. avant-garde art world in Europe, and I also met other artists like Carl Andre. He took my
I was recognized abroad at least two or work back to New York, so the next show I had after Düsseldorf was there. All the sup-
three years before people took an interest port in my early days was from other artists who found the walking and the lines in fields
Sculpture July/August 2016

Above: A Circle in Antarctica, 2012. Photograph
documenting work in the Ellsworth Mountains.
Left: A Line in the Himalayas, 1975. Photograph
documenting work in the Nepalese Himalayas.
fly to Nairobi for almost nothing. Being out

in the world makes me optimistic; the
world’s a vast, empty place, and nature is
very strong.
IC: When you’re in a massive, open expanse
with only the sky above and the ground
sweeping out for miles in front of you, your
response seems to be to make something
minimal and primarily influenced by the
TOP: © RICHARD LONG, COURTESY THE ARTIST / BOTTOM: © RICHARD LONG, COURTESY LISSON GALLERY
natural geometry of what you see.
RL: I’d say I bring the geometry of an avant-
garde, minimal artist to the place I’m in. I
bring the intellectual baggage of an artist
from the Western world to a place in the
middle of Mongolia, for example. But then,
interesting. I had photographs of the work—like A Line Made by Walking or England when I’m in that place, I use the materials
1968—which I took to Düsseldorf and Italy, so the medium of the photograph was very of the place. Every work in the landscape
important in spreading the word. is absolutely a meeting place of who I am
IC: You then went on to travel across every continent on earth, seeking unoccupied ter- and the topography, characteristics, and
rain in which to make work—mountains, deserts, shorelines, grasslands. Some of these beauty of the place. Every place in the
landscapes are breathtakingly spectacular. world is different, so even though I might
RL: Wild, empty landscape—that’s my love. Every sculpture I make is an emotional response be repeating circles, every circle is different.
to being there at that moment. It doesn’t make me unique, but maybe I was one of the The archetype of the circle emphasizes the
first artists to somehow use the world as one place. I was just trying to seize the poten- cosmic variety of everything, and this gives
tial of the grandeur of the world by going to these big empty landscapes, because that’s it its power, beauty, understandability,
what the world looks like if you seek it out. Theoretically, I felt that I could go anywhere and resonance.
as an artist to make art. Also, I’m of a generation for which it was possible to do that IC: You take what the landscape offers, in
with hardly any money. For example, I hitchhiked across Route 66 and bought a ticket to a sense.
24 Sculpture 35.6
Sunset Circles, 2006. Adobe bricks, view of work in Agadez, Niger. isfying to be on a long walk—with all the hardships, the camping
and the campfires—and it’s similarly pleasurable to make sculp-
RL: And it offers so much. I’ve discovered a fantastically rich terri- tures along the way. When I was in Antarctica, it was like being on
tory to make work—meaning the world and everything in it. It’s the moon except it was white. It was one of the most unique places
like when I made a flint line in Roche Court near Salisbury: during I’ve been to—absolutely lifeless, with not one minute little insect.
the couple of days I was there, a half-tame buzzard was hanging IC: When you’re camping, do wild animals ever become inquisitive?
around. It turned out that I was in its territory, so I called the work RL: I once woke up in Lapland and found the footprints of a bear
Tame Buzzard Line. Everything’s useable. around my tent. It had been a snowy night, and he checked me
IC: Your text works often seem to summarize the stimuli that per- out. But that doesn’t bother me. It’s just what happens sometimes.
vade your senses when you’re walking through a landscape. Words IC: Clearly you’ve always survived these incidents.
are always chosen and positioned very carefully. RL: Well, there was one terrible moment. I was walking in East
RL: Of course, like I choose my stones and my places carefully. The Africa, and suddenly some lions ran toward us from out of the
text works are another strategy I have for making my work. They’re grass. I really thought that was it. There were two of us and a
usually about a very particular idea: Slate, Granite, Sandstone, guide with a gun, but there was no way he would have gotten
Limestone, Chalk is about the geology of a route; Lifedeath identi- the gun off his shoulder in time. But the lions weren’t charging
fies what is living and dead on a walk; Human Nature Walk depicts us; we’d just surprised them, and they ran through us. Luckily,
human intervention versus the animal kingdom; and Tsunami there were no males among that particular group; they were all
Walking was a commission to commemorate the tsunami in Japan. lionesses. Even so, it was a heart-stopping moment, and in retro-
The text works often describe a walk, an idea about a walk, or spect, it was stupid to go walking in the bush.
the story of a sculpture. If I’m carrying a stone in my pocket and What you see in my work are the things I’ve chosen to edit from
placing it on the road as I’m walking from day to day, it’s more my experiences of walking, but I’ve been traveling around the
practical to tell its story with words than to photograph it. world for the last 40 years and have many amazing anecdotes. If I
IC: Some of your walks take weeks to complete, yet the act of was a writer, I’d be writing stories, but because I’m an artist, I’m
making a sculpture, or marking the terrain, can take as little as showing you the sculptures I make along the way or the ideas I
30 minutes. It’s clear that you get immense pleasure from your have in the text works, which are a simplification of the rich experi-
© RICHARD LONG, COURTESY LISSON GALLERY
practice—the physical act of walking, the sheer freedom of being ence of a walk. But as you can tell from the photographs, I do see
outside, the feel of the natural materials—but can you describe interesting things along the way. I stay in amazing little taverns
how it actually feels? or get given tapas if I stop and have a drink on a road walk in Spain.
RL: That’s such a big question. To explain it is the wrong way to Many incidental human occurrences happen on a road walk that
look at it, but if I’m doing a lot of wilderness walking, I very much don’t come into the work. There’s a long history of travel writing
believe in being open to instinct, to chance. I could do a long walk and landscape photography, so it interests me to be in the land-
and not find a place to make sculpture at all, yet another walk— scape as an artist, doing things that haven’t been done before,
like in the Sahara—yielded many sculptures. It’s emotionally sat- discovering new ideas about movement, time, and space.
Sculpture July/August 2016 25

Left: Red Gravity, 2015. Red clay, 154 x 450 in. Above: Bristol 1967/2015, 2015. Plastic,
260.4 in. diameter. Below: River Avon Mud Cresent, 2011. River Avon mud, installation view.
LEFT: TOM POWEL IMAGING, © RICHARD LONG, COURTESY SPERONE WESTWATER, NY / TOP RIGHT: © RICHARD LONG, COURTESY ARNOLFINI / BOTTOM RIGHT: © RICHARD LONG, COURTESY SPERONE WESTWATER, NY
IC: On a practical level, is it difficult to find guides to village kids watching me, fascinated, but they were too shy to come close.
take you to these distant places? Then, when I’d finished, I stood back to take photographs, and the kids all
RL: Not really. When I went to the Antarctic, I used a came up to the circle and spontaneously started running around it. I made
company in Spitsbergen that does Polar expeditions. the walking circle and they made the running circle, hence the title.
You have to get permission first because of the dan- Quite often, I make a work I think is finished, but then something happens
gers: you can’t go everywhere because there are deep that makes it much more interesting. In Mexico, I once made a water line
crevasses. On the first day, I had to learn all the safety along a footpath, and just before I took a photograph of it, there was a snow-
procedures of being harnessed up. It’s a mistake to storm. All the visual characteristics of the place changed, and the photograph
think I do everything alone. Many walks are done alone, shows what the work looked like after the snowstorm. That’s an example of how
but I’ve done other absolutely great walks with Hamish the landscape works are open to the natural vagaries of change and chance.
Fulton or with a guide. IC: Your works are habitually placed in inaccessible locations and often don’t
IC: There’s a photograph of A Walking and Running Cir- have an audience. Sometimes only you see them—and even then, just for a
cle in Warli Tribal Land, India, which shows a group short while, before they dissolve with time and the effects of weather. Yet you do
of children chasing each other around the work. This consider longevity, as attested to in your photographs, text works, and artist books.
is quite unusual because the incidental human occur- RL: Ideas can last forever. Even the stones in the landscape can last forever—
rence, as you put it, remains in the photograph. How it’s just that one might not recognize them as a work of art. I’ve the freedom
did this interaction come about? and the capacity to make a work anywhere I happen to be. As you say, it can
RL: It was the end of the harvest in Maharashtra, and be in an isolated and inaccessible place, and it might disappear after a short
they’d cut the paddy and burnt all the chaff, which time, but I hope that’s what makes my work interesting. I also make shows
left fields of black ash. Being the opportunist I am, I in galleries and museums in the middle of cities, so it’s not either/or. I put
started walking in a circle to make a white circle in my work in the world in many different ways. I’m not interested in ephemer-
the black ash. Out of the corner of my eye, I saw these ality—that’s just a by-product. With A Line in the Himalayas, the idea was to
26 Sculpture 35.6
make the line and take a photograph to
record it, in order to show people what I’d
made on that glacier just below the icefall
on Everest. The fact that it subsequently
broke up and disappeared was logical and
natural, but it wasn’t part of the idea. The
idea was to make it. With England 1968, the
point was to make a manmade mark in a
place that already had a natural pattern of
daisies, so I was superimposing my pattern
on the existing natural pattern by removing
the heads of the daisies. The fact that the
daisies grew back afterwards was neither Above: Muddy Water Falls, 2015. River Avon mud, 143.31 x 444.49 in. Below: Half Moon, 2015. Red slate,
here nor there, because the work had been 21.5 x 196.88 x 98.5 cm.
finished and photographed and the image
was in the world as I wanted it to be.
IC: When you make a work in the landscape,
it appears like a microcosm in a vast terrain,
yet when that microcosm is brought into
the gallery, the reverse is true: it becomes
enormous and pervades the space.
RL: That’s true, but you could say that a
work in the landscape has the scale of the
landscape anyway, so I’m just appropriat-
ing the scale of the place. I don’t need to
make a huge work in the landscape to give
it scale. In a gallery, it’s more condensed:
the work has to have its own independent
scale. I really enjoy making enormous
mud works on gallery walls, for instance.
If somebody gives me a grand space, I
can make a grand work, and I use the beauty
of great architecture, like the Guggenheim his cutouts. I’m no different than any other artist making a work. It’s just a bit more dra-
in Bilbao or Tate Britain. matic when you’re watching me up on scaffolding. What’s important is that I make all
TOP: © RICHARD LONG, COURTESY ARNOLFINI / BOTTOM: © RICHARD LONG, COURTESY SPERONE WESTWATER, NY
IC: I watched you make Porthmeor Arc for my own work. I’m not an industry; I don’t have a studio; I don’t have studio assistants.
the curved, sea-facing wall at Tate St Ives. I’m not making a value judgment, it’s just the way I am. I prefer to make the work myself,
You were up on scaffolding, and I was struck whether it’s walking a thousand miles or making a fingerprint. It’s all based on my strength
by the intense physicality of the act and or even my lack of it. In a way, it’s a portrait of me without being figurative.
how you blocked all peripheral distraction IC: You work through a defined sequence of abstract variables—lines, crosses, rectangles,
to focus solely on the work at hand. It’s squares, circles, and spirals—forms that take us back to the beginning of time. Are you
as though body and mind were fused into trying to retain a sense of Paleolithic engagement lost through human evolution?
a highly disciplined instrument. Is that level RL: Yes, I do feel close to the DNA of primitive man. Using mud with my hands on a wall
of concentration learned or inherent? isn’t so far removed from cave painting. I’m leaving a mark and being human, but being
RL: I have to be focused, and I can’t make human in a new way by adding something to the story of art. But I don’t mean it in a lit-
any mistakes because there are no second eral way. It’s like rock and roll; I feel a primitive energy when I’m making a huge mud
chances. I have to be in the zone, which work or a circle of stones. It’s primal, physical, a celebration.
means being very concentrated. It’s no dif- IC: It’s also a tangible way of confirming one’s existence in the present. Do you feel able
ferent from a musician playing a piece of to reach a higher state of being through this process of making?
music. That’s not to say what I do is a per- RL: I feel like I’m in a state of grace when I’m on a wilderness walk on my own, with just my
formance, but it requires a similar level of rucksack on my back and my camping food. I’m mentally free from the stuff of modern life.
concentration. When I’m making a circle It’s a romantic idea, but it is powerful. It’s nice to be able to touch that psychological state
of stones in the landscape, I’m equally once in a while. Being an artist allows me to get to that state of grace, or happiness even.
wrapped up in the moment. I’m sure
Matisse felt the same when he was making Ina Cole is a Contributing Editor for Sculpture.
Sculpture July/August 2016 27

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McCoy, Ann. “Richard Long: Crescent to Cross.” The Brooklyn Rail, October 2015, 48.
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Pogrebin, Robin. “A Long Walk Brings Dimensions.” The New York Times, 20 September 2015, p. 4.
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Windsor-Clive, India. “He walks the lines.” Resurgence & Ecologist, September/October 2015, cover, pp. 50-53.
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Cook, William. “Richard Long interview: ‘I was always an artist, even when I was two years old.’”
www.spectator.co.uk (The Spectator), 8 August 2015.
On the green edge of Clifton Downs, high above the city, there is a sculpture that encapsulates the strange
magic of Richard Long. ‘Boyhood Line’ is a long line of rough white stones, placed along the route of a
faint, narrow footpath. When Long was a boy, this was where he used to play. There are children playing
here today. They pay no attention to Long’s new artwork. Already ‘Boyhood Line’ has melted into the
scenery. Half a century since he rolled a snowball across these Downs, and photographed the wobbly line
it left behind, it feels as though Long has come home.
Richard Long was born here, in Bristol, 70 years ago. Since the mid-Sixties he’s been making sculptures
all around the world, from Alaska to Antarctica, but he’s never really left the West Country. He still lives
in Bristol, and while many of his journeys have taken him to some of the wildest places on the planet, lots
of others have started from his front door.
‘Boyhood Line’ is the latest of these local works. It’s part of a new show called Time and Space at
Bristol’s Arnolfini Gallery, in the harbour down below. There are two other new artworks in this
exhibition — one made from Cornish slate, another with mud from the River Avon — but many of the
works in Time and Space were made a long time ago. Yet it doesn’t feel quite right to call this show a
retrospective. Long’s work is so timeless that it hardly seems to matter whether he made it yesterday or
50 years ago.
Unlike a lot of artists, Richard Long seemed to start out fully formed. He knew what he wanted to say,
and how to say it, right from the beginning. He was still at Saint Martin’s when he made his first big
statement. ‘A Line Made by Walking’ (1967) saw Long pace up and down a patch of grass until a silvery
line appeared: ‘My intention was to make a new art which was also a new way of walking: walking as
art.’
Recognition came quickly — solo shows in Paris, Milan, New York and Düsseldorf within a year of
leaving college — yet early success did not spoil him. His work was so elemental, neither fame nor
money could affect it. He’s ploughed the same furrow ever since, indifferent to artistic trends or
technological innovations. ‘I’ve kept my own way from the Sixties to now,’ he says, on a visit to
Arnolfini to unveil this new show. ‘Fashions in art come and go.’ He’s never used a digital map. ‘I
wouldn’t have a clue,’ he admits. ‘I think there’s a lot to be said for a compass.’ Once regarded as avant-
garde, today he almost seems conservative — a constant lodestar in a changing world.
Walking has always been utterly central to Long’s work. Sometimes, the walk itself is the entire artwork
— a short factual record the only souvenir. Even when he stops en route to make a stone circle, or take a
photograph, these mementoes seem incidental. It’s art that lives in the imagination: conceptualism, but a
very English conceptualism. A quiet, humble, practical riposte to the shoutiness of America’s ideas men.
He also makes you want to put on your walking boots and have a go yourself.
Of course there’s a bit more to it than that, as anyone who’s tried to make a stone circle or been on a long
walk can confirm. Long’s adventures are often of Olympian proportions, solitary expeditions across
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deserts — hot and cold: 11 days in Bolivia; three weeks in Nepal…. ‘A lot of my work is based on what’s
easiest and most practical,’ he says. He could have fooled me. Even his British hikes can be pretty
arduous. Two years ago, he walked 240 miles in eight days, from Cornwall to Oxfordshire — not bad
going for an OAP. Remarkably, his only injury (so far) has been a broken ankle, in the Cairngorms eight
years ago. He made an artwork out of it, a photo of a snowy ridge called ‘Lull Before a Storm, Pride
Before a Fall.’
He’s had one-man shows at the world’s greatest galleries (Tate, MoMA, the Pompidou, the
Guggenheim…) but even if he’d remained unknown, an anonymous outsider, you know he’d still be
walking, and making art along the way.
The nicest thing about his art is its lack of vanity. Its focus is the landscape and, eventually, the landscape
will destroy it. ‘I use the land without the need of ownership,’ he wrote, ten years ago. ‘I use the world as
I find it.’ He accepts his outdoor work is bound to change, then disappear. At its finest, his art revels in a
childlike sense of wonder. One of his works, ‘Red Walk’, was simply a walk in search of red things,
starting with the Japanese maple in his garden, finishing with the red cliffs of Dawlish, chancing upon a
red plastic shoe, a red muckspreader and a red sunset along the way.
‘I was always an artist, even when I was two years old,’ says Long. ‘I don’t have any choice — that’s the
only thing I can do.’ At infant school, his enlightened headmistress gave him his own easel, and granted
him permission to miss morning service so he could paint instead. During his final term at the local
comprehensive, he was allowed to paint a massive mural in the school dining-room, without any
supervision. Sadly, his alma mater has been demolished, along with his 45-foot mural — yet another of
his artworks that’s been swept away by the tide of time.
Does walking feel different now, compared with when he started out? I ask him. No, not really, he replies.
‘The experience of walking probably hasn’t changed at all.’ Not many 70-year-olds could make that
boast, but when he says so, you believe him. Fifty years of hiking have clearly done wonders for his
physique. He has the lean frame and agile gait of an athlete half his age — there isn’t an ounce of fat on
him. Tough, canny and ascetic, with the fierce stare of a man who’s spent a lifetime gazing at faraway
horizons, he seems more like a prophet than an artist, which is fitting, in a way. There’s always been an
element of pilgrimage about his retreats into the wilderness. There’s always been something deeply
religious about his art.
I hang around at the end of the press conference, and grab a (very) quick one-to-one. Long gives me only
a few minutes, but it’s worth the wait. We stand in front of ‘Dusty to Muddy to Windy’, ‘a walk of 191
miles in five days from Bristol to Truro’. Amid its matter-of-fact descriptions are fragments of pure
poetry: ‘Watching buzzards across the Black Down Hills, into Devon followed by a dog, clattering
hooves on the road…’ It reminds me of a walk I did with my son, along the Thames, from Woolwich to
Henley. Looking at Long’s artworks, that distant memory suddenly becomes very vivid. It makes me
want to call my son and ask him to do that walk again.
Is there something special about walking, I ask, even without making any art about it? For the first time,
Long’s eyes light up and his voice acquires a richer tone. ‘Oh yeah!’ he says, emphatically. ‘It’s good for
the soul — it’s a good way to be in the world.’ And then he’s gone and I’m left alone with his words upon
these walls, words that will outlive him, and the rest of us, for as long as people keep on walking.
‘Walking is universal,’ reads his statement at the start of this exhibition. ‘We walked out of Africa for the
first time as humans, on foot.’ It takes an uncommon sort of artist to transform those journeys into art.
This article first appeared in the print edition of The Spectator magazine, dated 8 August 2015.
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McGivern, Hannah. “Richard Long’s love letter to Bristol.” www.theartnewspaper.com (The Art
Newspaper), 31 July 2015.
The title work in Richard Long’s TIME AND SPACE exhibition at Arnolfini in Bristol. Photo: Stuart Whipps
The Bristol-born and based landscape artist Richard Long is staging his most comprehensive solo
exhibition in his home city for the past 15 years. TIME AND SPACE, which opens at Arnolfini Centre
for Contemporary Arts today, 31 July, features sculptures, drawings, photographs and text works ranging
from the 1960s to the present. In the accompanying publication of the same name, Long says the show is
less a retrospective than “a selection of some of [his] favourite works.”
The artist’s enduring connection to Bristol and the southwest of England is a theme. Vinyl text works
record early walks that he started or ended in the city. Long has also used a favourite local material, mud
collected from the River Avon, to create a new wall drawing for the gallery, Muddy Water Falls (2015),
as well as small-scale fingerprint drawings on driftwood. The title work, TIME AND SPACE (2015), is a
room-filling floor sculpture made from Cornish slate in the shape of a cross.
In what he says is the “first time [he’s] ever remade a sculpture”, Long is also presenting an ephemeral
piece from his student days, Bristol (1967/2015), on the gallery floor. This set of three concentric circles
was originally installed on the Downs, the huge green space in the northwest of the city wh ere Long
played as a child. An offsite Arnolfini commission, Boyhood Line (2015)—170m of white limestone
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tracing an informal footpath through the grass—was unveiled there last month. Meanwhile, an exhibition
of Long’s work is due to open at Sperone Westwater in New York (11 September-24 October).
The UK show is part of a programme of six arts projects marking Bristol’s year as the 2015 European
Green Capital, funded by a one-off £745,000 grant from Arts Council England. These include Sanctum by
the US artist Theater Gates, a 24-hour, 24-day residency in the bombed ruins of a medieval church
organised by the public art producers Situations. Temple Church will host musicians and performers
round the clock from 29 October.
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Muñoz-Alonso, Lorena. “The Long Walk Home: Richard Long Survey opens at the Arnolfini in Bristol.”
www.news.artnet.com (artnet News), 31 July 2015.
Richard Long, Photo: James Wainman Courtesy of Lisson Gallery
Richard Long’s latest exhibition, “Time and Space,” which opens today at the Arnolfini, could be
considered a homecoming of sorts for the Bristol artist, if it wasn’t for the fact that he never really left.
Despite his successful international art career, Long always remained in Bristol, where he was born, in
1945, and where he made his first famous artwork, A Line Made by Walking (1967), at the tender age of
22.
Two years later, in 1969, his work would be included in the seminal exhibition “When Attitude Becomes
Form,” curated by Harald Szeemann at the Kunsthalle Bern. And the rest is (contemporary art) history, as
they say.
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For Long—the creator of a unique blend of art-making

that deftly combines elements of conceptual and land
art with photography, drawing, and a tireless
wanderlust—walking is at the very heart of his
practice.
The majority of his works stem from this activity,

resulting in either text pieces that conceptualize such
experiences within nature, their photographic
documentation, or sculptures made with materials
gathered during his walks.
Installation view Richard Long’s “Time and Space” “Walking is universal,” Long is quoted saying in the
exhibition at the Arnolfini Photo: Stuart Whipps
exhibition’s text. “Journeys are common to all people
and cultures and yet it interests me to make walks that
follow or realize original ideas… Walking as art, in
fact.”
The survey show traces Long’s oeuvre from 1967 to

the present, encompassing the variety of media he has
worked in throughout his career.
The first gallery at the Arnolfini gathers pieces from

different periods that take mud as a starting point. The
gestural Muddy Water Falls (2015), for example, is a
large-scale mural Long has created by applying mud
Richard Long’s Muddy Water Falls (2015) at the Arnolfini with his hands to an entire wall of the gallery.
Photo: Stuart Whipps
“I love mud as a material,” the artist said yesterday

during a press presentation. “It has fantastic properties.
I like it because it makes me have to work fast.”
“I did this whole mural in about 45 minutes, then,

nature did the rest,” he explained, somewhat cheekily,
pointing at the lower half of the mural, which is
covered in mud drips that gave the piece a stunning
Abstract-Expressionist quality.
In the same gallery, the pieces Muddy Boots

Walk (1991), Mud Walk (1987), Straight Miles and
Richard Long’s Muddy Walk (1987) at the Arnolfini
Meandering Miles (1985), Red Walk (1986), and
Watershed (1992) capture a number of walking
experiences around Bristol in wall-text pieces.
The texts are highly evocative—critics have even compared them to concrete poetry. But Long has a
different view on these artworks.
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“The text pieces are not poems and they are not meant
to be a translation of a landscape,” he told artnet
News. “The texts are the stories of sculptures, and also
the distillation of my ideas when I am doing those
walks. The photographs, on the other hand, show what
I have done in those locations.”
Upstairs, the monumental sculpture Time and

Space (2015), which gives the exhibition its title, takes
up an entire gallery room. The right-angle cross—
made with slate from the quarry in Cornwall with
which Long has worked with for many years—focuses
on presence, on marking, rather than on evocation or Richard Long’s Time and Space (2015) at the Arnolfini
conceptualization. It’s a new piece that is, at the same Photo: Stuart Whipps
time, “classic” Long territory.
An unexpected surprise, however, came in the

last room, where a number of recent driftwood
drawings, which Long made with his fingertips,
managed to steal the show (for me).
A much lesser-known body of work, these driftwood

pieces are beguiling in their small scale and
unobtrusive, humble presence, which in many ways
almost contradicts Long’s best known, large-scale
output.
Richard Long’s recent driftwood drawings at the Arnolfini
“I am interested in scale, from walking 1,000 miles to
doing just a small painting with a fingerprint,” Long,
who won the Turner Prize in 1989, told artnet News.
“The driftwood drawings are actually the only works I

make at home, in my kitchen, because I don’t have a
studio. I like the balance between being home and
being away. I am a British artist, but I am also a world
artist.”
He certainly is an artist of the world, having left his

mark all over the planet, in Bolivia, Alaska, Mongolia,
and the Himalayas, to mention but a few locations.
But Bristol still holds a unique place in his psyche and Richard Long’s Boyhood Line (2015) at The Downs,
Bristol Photo: Stuart Whipps
practice. “It’s a very particular landscape, my
territory, and my first works were made here. Many
things have changed, but the landscape hasn’t.”
As part of the Arnolfini exhibition, Long has also installed an off-site commission in The Downs, the
fields where he played as a child. Boyhood Line (2015) is a 170 meter-long line made with limestone
rocks on a natural pathway created by walkers throughout the years.
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But despite this nostalgic nod and the strenuous physical demands of his walk-based works, the artist,
who has just turned 70, shows no signs of slowing down. “Even if I had to stop walking, I would still be
making art, as I don’t really have a choice,” he said. “But, anyway, everyone keeps walking until they
drop dead, so it would be just a question of doing easier, shorter walks. I have been an artist since I was
two, and I don’t see any reason why I shouldn’t continue being an artist until I am 80.”
Richard Long, “Time and Space” is on view at the Arnolfini, Bristol, from July 31-November 15. Long
will be the subject of a solo exhibition at Sperone Westwater Gallery, New York, from September 11 –
October 24.
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Himelfarb, Ellen. “Passage of Time: Richard Long retrospective opens at Bristol Arnolfini.”
www.wallpaper.com (Wallpaper), 30 July 2015.
Time and Space, 2015, a new work, is a monumental cross in interconnected shards of Cornish slate, branding the gallery like a
leaden foot on the Moon. Photography: Stuart Whipps.
Richard Long has the healthy mien of a man who gets out of the office. Indeed, at 70 he has succeeded in
doing the bulk of his life’s work on the road. Dressed in hiking gear and possessed of a deep, mid-
summer tan, he says with understatement, ‘I’m not a studio artist,’ looking very much the Thor Heyerdahl
of the art world.
Long is speaking at Bristol’s Arnolfini gallery, ahead of the launch of ‘Time and Space’, a survey of his
landscape sculpture going back some 50 years. Since his days at the University of the West of England in
the mid-1960s, he has undertaken marathon walks (‘quite pleasurable, really’) around Bristol, progressing
to Nepal, Bolivia and Antarctica, marking his way in the local stone and dirt. Many of those ephemeral
works appear in the Arnolfini’s five sunlit rooms, mostly as textual and photographic reminders of
his endeavours.
In the 1980s, Long was nominated four times by the Turner Prize committee for his primitively styled
environments, finally winning in 1989 for White Water Line, a meandering path traced in china clay.
Here, he takes visitors on a longer journey. It begins with a vast monochrome photograph of A Line in the
Himalayas, 1975, an eerily straight route in ancient stone across a barren plateau. Leading into the main
gallery are hand-painted textual ‘illustrations’ of his West Country endeavours. In Mud Walk, 1987, he
inserts precise distances into prose that takes a haiku-like rhythm.
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‘A 184 mile walk from the mouth of the River Avon / to a source of the River Mersey / casting a handful
of River Avon tidal mud / into the River Thames the River Severn / the River Trent and the River Mersey
/ along the way.’
‘The balance of measurements,’ says Long, ‘is important to the work.’
The progression through to Muddy Water Falls, 2015 – first conceived in 1984 but here recreated as
mural of Avon mud that Long splattered in situ in a frenetic 45 minutes – is heavy of foot. Watching all
those miles tick over, it’s difficult not to think of Cheryl Strayed’s journeywoman memoir Wild.
Since the mid-1960s, Long has undertaken marathon walks around Bristol, progressing to Nepal, Bolivia and Antarctica, marking
his way in the local stone and dirt. Pictured: Muddy Water Falls, 2015. Photography: Stuart Whipps.
The first-floor rooms are bracketed by two epic installations. The first, a target of concentric circles
titled Bristol, was first constructed in 1967 and hauled to Ireland before taking shape here. Next door is
the titular new Time and Space, a monumental cross in interconnected shards of Cornish slate, branding
the gallery like a leaden foot on the Moon.
The real adventure of the show, however, is the satellite work Boyhood Line. A few miles from
the Arnolfini, on the Bristol Downs, Long has found a well-trod path across fields where he played – and
then worked – in his youth. He’s traced it with hundreds of heavy, chalky stones that seem to transcend
the horizon (though in reality the trail is easily and quickly walkable). Boyhood Line marks a full-circle
moment for an artist who has worked with the earth for well over half a century. ‘I don’t have a choice,’
he says. ‘The landscape of the South West, the country lanes – that’s my territory.’
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Kennedy, Maev. “Richard Long goes for a walk through boyhood haunts with latest sculpture.”
theguardian.com (The Guardian), 19 June 2015.
Richard Long next to Boyhood Line, which he thinks may end up in people’s rockeries. Photograph: Max McClure
The Turner prize-winning artist Richard Long has made works of art in some of the most inaccessible places
on earth including Antarctica, Mongolia, the Atlas mountains in Morocco, and the Sahara desert.
“This is not my natural habitat, this semi-urbanised parkland,” he said, looking slightly bemused and even
with a hint of disapproval at the sun shining on the daisies and buttercups of the Bristol Downs, with cars
rumbling past, dog walkers on the march, and a circus student attaching a tightrope between two trees.
As he spoke an excited pug dog set itself the challenge of leaping backwards and forwards across his latest
creation, Boyhood Line, a stripe of brilliant white limestone in the lush grass.
“What is it?” a middle-aged walker stopped to demand. “It’s a sculpture,” Long explained, “made by me,
actually.” “Oh, I thought it might have been something to mark the path,” the man said and strode on, quite
incurious.
Those stumbling across the site of the work commissioned by the Arnolfini Gallery in Bristol, where a
major exhibition of Long’s work opens in July, may be ignorant of his work, but the artist himself is
standing on very familiar turf.
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Long was brought up in Clifton, just beyond the line of trees blurring the horizon, and this high green
plateau overlooking the spectacular Avon gorge was his childhood playground. He now owns a small
woodland just across the river.
“We had our bicycles and we were just turned loose all day. We used to climb trees and track courting
couples, and dig animal traps on the towpath and cover them up with grass to disguise them,” he recalled.
“We never caught anything, but my friend did fall out of a tree and break his arm, so that was exciting.”
Several early pieces were made within a hundred metres of the new work, including the 1964 A Snowball
Track – included in the exhibition in the form of his beautiful photographs – a muddy snail trail left by
rolling a snowball through a thin covering of snow.
Long still uses the silty mud from the Avon in many works, including some new pieces he will be creating
in the gallery.
“I used to think it was the most beautiful mud in the world,” he said, “but now I think the mud I used in
South America, which came washing down from the Amazon, may be more beautiful – so chocolatey.”
He has covered thousands of miles making work described as “walking in landscape”. Most have a formal
geometric elegance, documented in equally elegant photographs and text panels. However, Boyhood Line
follows an informal path worn in the turf by walkers, so it meanders, swerves and at one point humps up to
cover a patch of bumpy ground.
There is no significance in its length either: the

gallery sourced him nearly 11 tonnes of blindingly
white limestone from a quarry in north Wales, and
he laid his track until the stone ran out.
Many of Long’s pieces are fragile and fleeting: a

stripe of un-mown grass in an otherwise close
cropped lawn at the Henry Moore foundation, a
misty circle in Scotland that lasted only until the
day warmed up, a stripe of green grass left by
plucking daisies, or paintings in wet mud that dry
out and crumble.
Richard Long creating a work last year for the Hertfordshire
estate of Henry Moore. Photograph: Graeme Robertson
However, the gleaming stones are very solid. The
piece is intended to remain in place until the
autumn, but neither gallery nor artist is quite sure what happens then: should the stones be left to the curious
dogs and the boots of walkers, or gathered up? “Maybe people will have taken it all away by then,” Long
said. “This could all end up as rockeries.”
Richard Long: Boyhood Line, opens on Saturday, 20 June at The Downs, Bristol, and is followed by Richard
Long: Time and Space, Arnolfini Gallery Bristol, 31 July–15 November 2015, free.
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Day, Jon. “The Last Amateur.” Apollo, March 2015, pp. 134-138.
FEATURE
RICHARD LONG
1 Richard Long (b. 1945) 2 Love Minus Zero/No Limit 3 Guitars, Cadillacs, 2014
photographed in Bristol, 2014 Richard Long
January 2015 Richard Long Two-panel carborundum
Photo: Jooney W oodw ard Two-panel carborundum re lie f printed in yellow o chre /
relief, left panel printed in zinc w hite /p rim rose
a black/ultram arine blue ink verm ilion ink mix on paper
mix, righ t panel in a v e rm ilion / O verall 2 3 2 x 2 0 9 c m
ruby m adder/prim rose ink C ourtesy R ichard Long and
on paper Alan C ristea G a lle ry London
O verall 121.5x388cm © Richard Long
C ourtesy Richard Long and
Alan C ristea G allery London
© Richard Long
gorgeous. It was really thick, chocolatey, even of the road, or carry water from the end of a
when it dried it was darker than River Avon river to its source, or walk from one rainstorm
mud. I liked that.’ to the next and record the journey on a map.
The Cristea prints form a collection Long ‘Leaving a mark. That’s central to my work’,
has called The Spike Island Tapes, and they’re he says. ‘It’s just a human mark. With my body,
bigger in scale and more colourful than much or with my gestures.’
of his previous work. Was the colour a way As well as getting him out of the gallery,
of drawing attention to the fact that these are one of the attractions of the walking sculptures
prints rather than mud works? ‘Exactly, yes,’ was that they liberated him from the need
he says. ‘Making these has given me the to produce objects, leading to a minimalist
opportunity to use colour which I wouldn’t simplicity that he sees as a product of his time.
find in natural materials.’ The names of the ‘I think that was a characteristic of that
pieces too are significant. They’re titled - generation,’ he says. ‘Conceptual art did come
somewhat whimsically, he suggests - after about, partly, through asking: why fill the
some of his favourite pieces of music: blues world with more junk?’
melodies, country and western songs, folk Much of his work has occupied that fertile
tunes. Music has always played a part in his territory between an idea and its actualisation,
work (Johnny Cash, Bob Dylan and John Cage between the act and its record. Often he
have been presiding influences), but for these documents his walking sculptures as maps,
works, produced at Spike Island, a studio and prints and photographs, narrating the story
exhibition space in Bristol, he thought of of them rather than reproducing the journeys
himself as working like a session musician, themselves. Many of his walks are recorded
in one short, inspired burst. ‘It did feel a bit only as text works, haiku-like prose poems,
like when musicians hire a studio and lay and talking to Long is a bit like encountering
down some tracks in a few days’ he says, ‘and one of these enigmatic pieces. He doesn’t
the whole album gets recorded in one intense think of the text works as literature but as
period of time. I think I made them all in two works of art. ‘I always like to steer clear of
days - but I have to work fast anyway, especially the word poetry,’ he says, ‘I just think they’re
where the splashes are formed by the speed of ‘Leavinga mark, works of art made of words, like a sculpture
my hand, the fast gestures.’ is an object made of stone. But obviously they
The Spike Island prints are different from that’s central are words and sometimes they do tell a story.’
the subtler interventions of his walking works, Stories do seem central to his practice -
for which he might arrange stones by the side to my work’ the story of his own body moving through
1 3 6 APO LLO M A R C H 2 0 1 5
FEATURE
RICHARD LONG
4 Turf Circle, 1966 5 A Line Made By Walking, 1966

Richard Long Richard Long
P hotograph and graphite G elatin silver print on paper
on board, 37.5x3 2 .4 cm w ith graphite on board
Tate C ollection 2 7x 3 0 .5 c m
© Richard Long A rtis ts Rooms: N ational
G alleries o f Scotland and Tate
Photo: N ational G alleries
o f S cotland and Tate
© Richard Long
space and time, the story of the marks he think it might be a Richard Long. Other people
makes as he goes - but he resists over-investing can make my work for me.’
in the idea of art as a form of narrative. ‘Well This conceptual purity was born in the
you can read that into it. It’s not for me to say,’ 1960s and manifested itself in a rejection
he smiles. ‘I don’t have any great grand theories of the grandstanding interventions of the
of walking, or of making art into a journey, American land artists and the overblown
they just seemed like good ideas at the time.’ fussiness of the postmodernists. ‘I suppose
Nevertheless it is tempting to see all his work I’m drawn to simple, classical, modernist
as part of a single journey, a continuation of work,’ Long says, ‘as opposed to wacky, comic,
that first line made in the Wiltshire countryside. figurative, messy stuff. I am a product of that
Was A Line Made by Walking the originator ’60s aesthetic - simple ideas. It was so easy
of everything that’s come since? ‘Yes, but it’s to be original for my generation. It was like
easy to say that in hindsight,’ he says. ‘The a blank canvas we had to work on for a time.’
metaphor is like the stone in the pond: it For Long, an idea can be just as beautiful as
ripples out. The first sculpture I made was its realisation, but he doesn’t consider himself
Turf Circle [1966; Fig. 4], in my neighbour’s to be a conceptual artist. ‘I love to make my
garden, so it literally did start on my doorstep work, whether it’s walking 1,000 miles or
and then spread out. One thing leads to
4
walking in the Cairngorms, or w hether it’s
another. That’s the way it goes, right up until making these prints. It’s all me, all made by
now really.’ my energy. I love making all the big sculptures,
Long was born in 1945 in Bristol. His I like hefting all the great lumps
parents m et at a rambling club, and at school of slate around. It’s the doing.’
he was captain of the cross-country running Long was overlooked at home for years.
team. He studied for a time at the West of No one quite understood the subtlety of his
England College of Art before being thrown early work. Back then ‘the London art scene
out (‘too precocious’, he says). One thing was dominated by Anthony Caro, welded
he did enjoy during this period was the day
a week he spent learning etching. At Saint
M artin’s, where he was a contemporary of
Gilbert and George, he was given free reign
to do w hat he liked, as long as he accounted
for his time, signing in and out in a ledger
by the door. And so he organised walks out
of London, went on bicycle rides and made
sculptures on the roof of Saint Martin’s.
For years he didn’t offer interpretations of
his work (‘until people started misinterpreting
it’) . Because of its subtlety, his work acts to
re-enchant the world, making you read it
in a new way. After encountering a work by
Long you never quite know if that stone by the
side of the road has been left deliberately or
is there only by chance. In a sense it doesn’t
really matter. ‘I love that,’ he says. T love the
idea that people might see a work of mine in
the landscape, and that they might recognise
it as a human mark, but not necessarily as a
work of art, let alone a work made by me.
So often people find a circle of stones and
M A R C H 2015 APOLLO 137

FEATURE
RICHARD LONG
6 Richard Long’s White Water
Line (1989) installed in
the Duveen Galleries
at Tate Britain in 2007
© Richard Long
metal, new generation sculpture’, he says,

‘and they didn’t really have eyes to see
it.’ It was in Europe that he first found
recognition, with early shows in Diisseldorf
and Turin, and support from artists such as
Carl Andre and Lawrence Weiner. Though
he still sees himself as an English artist, he’s
now firmly ensconced as one of our most
important and internationally appreciated
sculptors. His work has been nominated four
times for the Turner Prize, which he won in
1989, for a body of work including White
Water Line (Fig. 6). In 2009 the Tate staged a
a survey exhibition of his work, and this year
Bristol’s Arnolfini Gallery is putting on a big
show containing recreations of seminal early
work as well as several large new sculptures.
In March he’ll be anointed as the inaugural
‘Whitechapel Gallery Icon’ at the gallery in
which he had his first major UK show. Does he
feel like a national treasure? He laughs. ‘I’ve
been called th at’, he says. ‘It’s not for me to
say.’ He’s not particularly interested in the
past. ‘I’m not at all interested in doing a big
retrospective. It would be impossible anyway,
because many of the big sculptures are out
there in the world. So it’s not appropriate.
6
People get on to me to do a catalogue raisonne, that’s my choice. I’d have no interest in other own self-worth. What does Long make of
which fills me with dread. Everything I’ve ever people making my work. It wouldn’t be my these Rambo-like ramblers? ‘Well, obviously
done collected into one great dictionary. An work.’ Despite this, he was invited to a you still have to admire people who have done
encyclopaedia of my life.’ He shudders. symposium on mountaineering recently it because it’s a stupendous thing,’ he says,
Long is always moving forward, always and was surprised to discover ‘much to my reflecting on those who climb Everest, ‘but
seeking out the next idea or the next walk to astonishment, that there’s a whole generation now people are going up in crocodiles. It’s a
be made. He talks excitedly about a walk he’s of artists who call themselves walking artists. way of conquering nature. There’s a Carl Andre
just completed, from the Mosque of Cordoba I’ve got a lot to answer for.’ quote: “A man climbs a mountain because it
in Andalusia to the Cathedral of Santiago Long’s work has certainly contributed to is there, a man makes a work of art because
de Compostela in Galicia, a distance of some a new perception of walking, not as Romantic it is not there.” I think some of the mystery of
500 miles (‘not a pilgrimage’, he says, reverie or politicised tramp, but as artistic act. art is to do something in the world that hasn’t
‘a Richard Long walk’) . He’s called it From In the work of authors like Iain Sinclair and been done before, that wasn’t there before. To
Crescent to Cross. But the Arnolfini show in Robert Macfarlane, walking has continued walk in a new way, or to make an object that
particular is a homecoming of sorts. Much to shake off its associations w ith anorak- has never been made before.’ ©
of his early work began in Bristol, a place bedecked ramblers. Another context is that
that is the source both of the raw materials of mountaineering, now often infused with Jon Day’s essay about cycling and landscapes,
of many of his mud works and the starting a whiff of machismo and increasingly Cyclogeography, will be published by Notting
point for many of his walks. undertaken not by the working-class climbers Hill Editions later this year.
Other things haven’t changed. He still of the 1950s who Long admires - people like
works alone. ‘I’m the last of the amateurs. Don Whillans and Chris Bonington - but ‘Richard Long: The Spike Island Tapes’ is
I don’t have a secretary, I don’t have a PA, I do by wealthy hedge-fund managers looking at the Alan Cristea Gallery, London until
everything myself. But th at’s also because to scale the peaks as a way of asserting their 2 April (www.alancristea.com).
1 3 8 APOLLO M A R C H 2 0 1 5
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Durrant, Nancy. “A brilliant career built from mud, sticks and stones.” The Times (UK), 14 March 2015, pp. 8-9.
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Rottenberg, Silvia. “‘I am mediating nature with my body’.” buenosairesherald.com (Buenos Aires
Herald.com), 30 June 2014.
Richard Long has an exhibition Mendoza Walking at

the Faena Arts Centre, running from June 28 for one
month.
Long (Bristol, 1945) is a British artist who has gained

fame within the world of art for his revolutionary
ideas, changing concepts of art. He is renowned for his
“landscape art,” where he leaves traces in nature
during one of his many walks. Walking — or using his
body as his artistic tool — and employing other natural
materials in his work, make him stand out as an artist.
Long has had shows at the MOMA in New York, the
Tate in London and the Guggenheim in Bilbao, to
name a few places. His current exhibit in Buenos Aires
is also his first in South America.
In an interview with the Herald, Long talked about his

focus on walks and his fascination with the Andean
landscape.
Congratulations on your exhibition — it’s the first

one in South America, isn’t it?
Yes, it is. I mean, I was at the Sao Paulo Biennale in
1994, but well, yes, this is the first solo show. When I
came here in 2012 to do the walk in the Andes, I came
by here and saw the place. It is a beautiful place. And
if you give me a beautiful place, I can make a beautiful
Long poses in his Aconcagua Circle, on display at Faena Arts exhibition.
Centre.
Was Mendoza Walking commissioned?

No. I always make my work on my own initiative.
So how did you find Mendoza?

I love the Andes.
Had you been there before 2012?

Yes, I made my first trip to South America in 1972. I went walking in Bolivia and Peru. I love the Altiplano,
its nature is so particular. In 1994, I was here again (for the Sao Paulo Biennale). I hitchhiked all the way
down to Patagonia. Amazing landscape.
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Landscape and nature form an important part of Long’s work. While passing through nature on his walks,
he intervenes and leaves “sculptures” behind.
Why do you feel a need to change or add to nature?

Part of human nature is to leave a mark. A mark on the planet — on some level. It’s not the only reason to
be here, of course, but we want to communicate. Even change something. The best sculptures I make are a
celebration of me being in that place, at that time at that moment. The places usually chose themselves. I
feel the need to leave a mark there and then, even if it’s temporary. If I make a beautiful circle, for instance
(as in his Mendoza Walking exhibit), then I want to show it to someone afterwards. That’s when the camera
comes in.
Why this urge to show it?

That’s the whole point of being an artist: to communicate. If I were the last person in the world, there would
be no reason to make art.
Would it not be enough if other people were crossing the Andes, in this case, and were to encounter
your works, by chance?
Occasionally that happens, but they won’t know that it’s a work done by Richard Long. Other people make
circles. Aboriginals make circles. I leave marks, like other climbers or people and animals living in the
mountains create paths while walking. Sometimes I walk in lines (back and forth, to create a line in the
earth, based upon his renowned 1968 piece) along the foothpaths created by generations of people. There
are different layers on the surface of the world and I am adding to that.
How do you feel about nature changing your works?

I take that for granted.
Do you ever go back to where you walked and left your sculptural traces?
Occasionally, but it is not my intention to go back and check out a site. In fact, I feel the opposite. Sometimes
it is not even there anymore. I make a work. Take the photograph and put everything back.
You actually do that?

Yes, sometimes I do. It kind of depends on the place. The mark is like a stopping place on my walk. I make
the work. Take the photograph. Put the camera back and walk on never to go back to the place again. And
that’s actually quite a nice aspect of it. Knowing that the work will disappear in time.
Is your art about nature?

I turn walking into art. Or I turn nature into art, don’t I? The mud — he points at the mud painting in the
gallery — is nature. And I turn it into art. And into words, as you can see from the text works. This
exhibition in fact shows all the different statures I choose to have at my disposal.
Mud painting is a typical work he has done before.
Why work with mud here though?

Well, when I was here in 2012, I went up to the Delta, to the Parana River and was drawn to it. I found this
mud. I had to look for the right sludge to work with. I have been working two days on this painting, putting
the mud in fast pace on the wall. You see the movement, the gesture of my arm, of my hand. I am mediating
nature with my body.
The framework you painted it in is particular.

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It’s a ziggurat. It is a very South American form, isn’t it? The first time I used this symbolic shape was in
Bolivia, when I was there in 1972. I love the symmetry of it. A lot of my work is about symmetry.
The symmetry gets “broken” by the splashes outside its border.

It is mud, and very liquid. Therefore parts drip down, due to gravity. The splashes are a result of the fast
movements of my hand. The splashes are very much part of the work. I do the top part of the work, and
nature does the rest.
Did you choose this symbol on purpose, do you look into the culture of places you walk and make
art?
I am not an anthropologist. I am not a political thinker. I am not a writer. There is a lot I am not. What I am
is an artist.
The text work made following the Mendoza walk is also constructed in a ziggurat shape.
This is a more complex text work. In another place in the gallery you can see a simpler text. It mentions the
concept of the walk I did in Spain in 2009: a walk following the full moon, until the new moon, following
its waning moonlight. That is what the text says. Here within this symmetrical shape (where words of the
same amount of letters are juxtaposed) I made a much more complex piece of language. Some words
describe the physicality of the place, others are part of the discourse of walking, stemming from
introspective ideas about for reaching the top, about luck and chance on the way.
Are you religious? The “here and now” of the places you chose for your traces in nature, this perfect
circle made of wood snippets — the other site specific work in the gallery — may suggest so.
No, I am not religious. I am drawn to Zen Buddhism, yes, but a lot of artists from my generation are. You
could say I made the circle in a sort of Zen way: being concentrated, relaxed, not worrying about where to
finish.
You mean you didn’t measure this perfect circle?

No. I made it by eye. I just started in the middle and went to the end. I don’t think about it while doing it.
What’s going to happen with these two works when the exhibition ends?
Well, in an ideal world, it would be nice if they could keep it.
Do you have your next walk planned yet?

No. As soon as I am back in England, I have to go to Rome, Italy, for another exhibition. A lot of time is
now spent on time making exhibits and catalogues. It’s not just walking.
Do you like that?

Well, I least like the openings and talking to journalists (laughs). But it’s part of being an artist.
Your international career started in Italy, didn’t it, with the Arte Povera Show in 1968?
Yes, by chance actually. I was in Dusseldorf, had a show there, and then I had nothing to do. So the gallerist
said, “why don’t you head south to Italy, there is a crazy group of artists there. Just show up.” And that’s
what I did. And now, 45 years later, I see I was part of a movement… On a serious note: my “line made by
walking” is in fact a classic Arte Povera work, making something with nothing. And they could see that I
was a contingent spirit, so they took me in. I am fortunate to always have received the encouragement and
support of the artists of my generation.
What about the rest of your entourage?

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From them as well. From my family, my school. In elementary school, I was already the school’s artist.
The head mistress recognized this and would let me paint for half an hour every morning, while the others
had religious service. Later in secondary school, I made the stages for the school plays and a mural in the
summer.
You still paint sometimes?

No. Well, yes, I make fingerprint drawings.
Your body being your instrument.

Yes, it’s about the different scales I use, from the small finger, to the walk of a 1000 miles.
But the walk is just with the foot, right?

Yes, it’s just more.
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Rottenberg, Silvia. “Richard Long: turning walking into art.” buenosairesherald.com (Buenos Aires
Herald.com), 28 June 2014.
A circle of stones in the Aconcagua made by Richard Long
One of the most celebrated English land artists shows his works in Buenos Aires until July 28.
Two years after the famous English land artist Richard Long walked 16 days through Mendoza’s Andes,
he opens with a show at the Faena Arts Centre today.
This is the first one man exhibition he has in South America. Long spoke with the Herald about his 2012
walk and how is to work in this art space. “If someone gives me a beautiful space, I make a beautiful
exhibition,” Long explained. And beautiful it is!
The works in the exhibition consist of three older works, two photographs and one textwork, another more
elaborated textwork and two photos based on his Mendoza Walking, and two site specific sculptures,
following his 2012 visit, made for this show.
Richard Long is known for turning walking into art. He has done so as early as 1968 when he made a line
by walking back and forth, again and again, until a line was defined on the landscape he had walked. “I had
turned something out of nothing,” he said.
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Long developed as an artist within the conceptual art framework of the 1960s and 1970s, partaking in the
revolution of art. Why need a brush? We can leave traces in different ways, using our body as a tool. When
walking we create lines and circles and leave our traces on earth. Not only does Long want to leave marks
in nature — for a next passerby to accidently notice and wonder about them — but he also wants to leave
a mark in the planet, mediating it.
“When I get to a particular place on my walk, I have to stop. I make a sculpture, like a beautiful circle of
stones. I take out my camera. Take a photo. Turn off the camera, and continue walking. The best sculptures
are my celebration of being at that place, at that time, at that moment.” The photographs, as well as the
words he writes in his notebooks, are what he shares of what he made and experienced during the walks. “I
need to show it thereafter. It’s the whole point of being an artist: to communicate it. If I were the last person
on the world, there would be no reason to make art.”
So, instead of following his footsteps through the Andes, we can see his art at the Faena Arts Centre and
imagine ourselves being in those mountains, looking at the perfect circle of stones he made, aligned with
the summit of the Aconcagua. “Yes, use your imagination,” Long highlighted.
But we can also watch his sculptures first-hand, such as the enormous mud painting on the wall or the
perfect circle of wood snippets he has created in the gallery. He always uses natural materials — mediating
the planet. Both works were created during the week he was in Buenos Aires, preparing for the show. To
make the mud wall painting took two days. “The mud comes from the Paraná River. When I was here in
2012, I went up the Delta, and found this mud, which I have now shipped to the gallery. I painted it with
my hands, as you can tell from the gestures. You can see the movement of my arms. The splashes and
drippings are very much part of the work. Movement and gravity are definitive for the work.” The mud
painting is a dynamic chaos with a ziggurat bordered frame, making reference to the Latin culture.
“I am not an anthropologist though. I don’t investigate cultures. When I came to this continent for the first
time in 1972 and went to Bolivia and Peru, I came across this shape and used it. I am not a writer either,
even though some of my works consist of words. I am an artist.”
Cultural references are made when he sees fit. The circle though has a long symbolic connotation in
different cultures. Long has made them in every part of the world: from the Sahara, to Ireland and the
Himalaya. He does everything by himself, with no one there, except for him and his camera as witnesses.
At the Faena Centre, the process of the circle-making was documented. Long explains that he just started
in the middle of the circle and without any worry of where and when to finish. “No measurements
involved?” “No, I did it just by eyeballing it.” It almost seems like a Zen ritual, and the artist confirms this:
“You could say that there is a Zen way to it. You need to focus while I remain relaxed, and should not
worry about the end. Just do what you feel right.”
What feels right for Richard Long has been regarded as innovative in the history of art. He emphasized that
leaving a trace also means to make a mark in the line of art-making. “Van Gogh was innovative. The
Abstract Expressionists were new. And then you have me.” He refers to what many art historians, called
“the end of art,” after Pollock’s drip painting. Where was art to go? Land art and performance art arose in
the sixties and Long was there, in that “here and now” that he wants to keep on showing. His “here and
nows” are to become our “here and knows,” even if it’s only for the duration of the show. If not, you could
always try to trace his walks around the Aconcagua.
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Jobey, Liz. “Tracks in the Wild.” Financial Times, 26/27 April 2014, p. 15.
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Hensher, Philip. “The Long (and squiggly) road to Olympic glory: How a 328ft art work was painted with
watering cans... by car headlight.” www.dailymail.co.uk (Daily Mail), 4 August 2012.
Inspiration: Richard Long drew on his love of cycling and walking for his Olympic creation in Surrey
The world’s cyclists converged on the idyllic setting of Box Hill in Surrey last weekend. As the centre of
the Olympic road races, the best cyclists in the world climbed the famous hill on their way back to the
finishing line in The Mall in London – nine times for the men, twice for the women.
Did Britain’s Lizzie Armitstead notice anything unusual on the road as she raced towards her silver medal?
The person responsible for the unusual apparition on the road, the artist Richard Long, shrugs.
‘Cyclists have got better things to do than look at art,’ he says modestly.
Bristol-born Long, 67, is one of the best known landscape artists in Britain. He has created unobtrusive
interactions between man and the landscape for nearly 50 years.
This work, a joint commission between the London 2012 Festival and the National Trust, is a road marking
328ft long, completed in bright white road paint. It will form a memorable addition to the Zig Zag Road in
this famous chalk landscape for years to come.
The commission, which resulted in the Box Hill Road River, as the artwork is called, was an attractive one
for Long. ‘It’s quite appropriate to my work, because a lot of it has been to do with roads and road walking.’
Long says he connects himself increasingly to the long English tradition of engagement with the landscape
– ‘I don’t think about that relationship, but with 40 years of hindsight, it seems to be there.’
His work began with an intervention that might never have been noticed. As a student in 1967, he took a
journey out into the countryside, and in a field walked up and down until a straight-line path was made in
the grass.
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There are photographs, but the work of art is the event itself, entitled A
Straight Line Made By Walking.
Artists at the time were deliberately making small-scale works that

demanded no skill or expense. Long was connected to the international
group of Arte Povera, or Poor Art. The materials – the simplest stuff of
water, stone, twigs, estuary mud – made him seem part of that
international movement.
‘Those materials are the basic building blocks of the planet. I didn’t have
any desire to work in any other materials. These materials had a
primitive aspect, and my work was something like cave painting.’
Other artists connected with arte povera used sacks, coal and rags in
simple arrangements. There was something about Long’s art, however,
that propelled it to popularity among gallery-goers.
A good example of his work in galleries is now to be seen in a display entitled Artist Rooms at Hepworth
Wakefield, in West Yorkshire.
The Peloton climbs Box Hill during the Women’s cycling road race last weekend on day two of the Olympic Games
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There are two large circles, filled with stone, one smooth-topped, one rugged; there is a long thick line
made from sticks on the floor; and, on the wall, there is a cascading waterfall of white clay, falling from
fields where it has been applied, wet, in fistfuls. ‘I stop short of monuments, ideologically,’ Long tells me.
‘This piece [at Box Hill] is unusual because it’s more ritualised, more permanent than usual.’
Also present in his exhibitions are records of his engagement with landscape. In a work of 1998, he walked
from the southernmost to the northernmost point in mainland Britain, placing a stone every day for 33 days
during the 1,030-mile walk.
He doesn’t criticise his contemporaries, such as Antony Gormley or Anish Kapoor, who have transformed
landscapes with immense monuments such as the Angel Of The North or the Olympic Orbit tower. But it’s
clear that Long’s work has to be sought out by the interested.
‘The solitude in going for a long walk is important,’ he says. ‘Sometimes, that solitude is difficult to
reconcile with the kind of public recognition that art brings.’
Long’s work titled Stone Line, which was part of his 2009 Tate Britain show Heaven and Earth
He is reputed to have refused the Turner Prize, the first time it was offered to him in 1984, accepting only
when he was shortlisted three more times in the next five years.
And though most of his similar contemporaries have remained the object of controversy, Long’s simple
work has attracted plenty of popular acclaim.
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A 2009 retrospective at Tate Britain pulled in 61,121 visitors – respectable numbers for complex art with a
strong conceptual aspect.
What appeals to an audience? In part, it’s the ecstatic response to landscape, and also the way Long has
made art out of those very English things: a walk in a country and a cycle ride. He is an imposing figure at
6ft 4in and still an epic walker.
‘I once walked from Bristol suspension bridge to London Bridge without pausing,’ he tells me. ‘And I’ve
always been a cycling fan, always followed the Tour de France. This piece is inspired, in a way, by the
tradition that fans write messages on the road encouraging the cyclists in the Tour.’
Long has said: ‘The landscapes that I have chosen to work in are the landscapes that still cover most of this
Earth; the world is still basically an empty place.’
Is he not concerned, then, about the spread of road and rail? ‘It’s still pretty well preserved, the English
countryside. I don’t want to change the world. If you do something different as an artist, that’s not populist
but all the same, it makes a difference in the world.’
The making of the Box Hill road markings was an unusually tense piece for Long, who likes to work in
solitude and unobserved.
‘I made it with watering cans. For traffic reasons, I was allowed to work only between 9.30 at night and
5.30 in the morning. For some of the time, I was working between two cars with their headlights switched
on full. Today was the first time I’ve seen it by daylight.’
If you go over the road in the next few weeks and see the markings, you might not recognise it as a work
of art at all.
But you might recognise something stirring, even poetic about it. Like many before, you might be
responding to the art of Richard Long without knowing quite why; and beyond that, allowing him to
reawaken in you a response to the English landscape that you might have forgotten you possessed.
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Rubin, Clive. “A view of the art world carved from rocks and mud.” www.timeslive.co.za (Times LIVE),
31 December 2011.
Untitled, a site-specific mud work by Richard Long on show at Iziko SA National Gallery in Cape Town
Land artist Richard Long finds inspiration in the Karoo, writes Clive Rubin
BRITISH artist Richard Long crossed the Karoo and stayed in the Cradle of Humankind; now traces of his
visits are on show at the Iziko SA National Gallery in Cape Town.
Long is a land or earth artist, a form of contemporary art in which artists, working in the open air, either
leave large-scale works behind to blend into the landscape or remove material (both vegetable and earth
samples) to be reworked as gallery exhibits.
Long has intentionally left his mark in the form of a right footprint at the Cradle of Humankind, and erected
several circular stone works with man-made and/or phallic connotations - some can tell the time - both there
and in the Karoo.
He left these sculptural markers, or stone cairns, after two visits during which he slept in the open for several
weeks at a time.
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These works are complemented and completed by a series of temporary works reflecting on his visits that
are installed in the gallery. There are arranged stone circles; chromosome-shaped nodes also made of
arranged stones; and a single, signature-style mural, smeared by hand using soil and sticky mud. This is an
oval painting made directly on the cavernous museum walls in a gallery lacking natural light - literally, on
a wall in a modern cave.
Since the early 1970s Long has made visits to the desolate and mountainous regions of Africa.
He has visited prehistoric sites, pairing vistas with his own twist on the most traditional English style of art
and painting, the pastoral landscape.
Long’s installations in the gallery use the Karoo’s emptiness - which really conceals dozens of often
unobserved features that can be noticed only on foot and close-up - to occupy every conventional gallery
surface, enveloping the viewer in his temporary capsule of the Karoo and the Cradle of Humankind.
One horizontal sculpture made of stones resembles forked lightning, a crossed path or an interwoven,
double helix strand of DNA - all natural occurrences. Just a slight change of shape or matter and you have
a completely new creation.
By placing a little of upper and middle South Africa side by side at sea-level Cape Town, Long makes us
realise that it’s just the nature of things, time and humans to change the landscape and leave recorded marks.
Nothing is static - unless you paint it, frame it and hang it, and he’s been there and done that too.
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Turvey, Lisa. “Richard Long, Sperone Westwater.” Artforum, September 2011, pp. 344-345.
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Leschrogge, Hank. “Mud and Magic: Richard Long at Sperone Westwater.” artculture.com (Art Culture),
26 May 2011.
River Avon Mud Crescent, Richard Long, Installation View
Flow and Ebb, Richard Long’s fourteenth show at Sperone Westwater in New York and his first in the
Norman Foster-designed building, uses all four floors to display a collection of sculptures, photographs,
and text works that fit well within his forty year oeuvre. While none of the works seem demonstrably new,
all possess the beguiling magic of Long’s simple practice.
A rectangular terrace occupied by loosely-fitted gray, slate bars becomes a meditation on the collective and
the individual, on coherence and incoherence. Tiles of slate dipped into mud illustrate ontological
relationships. Words painted onto a wall evoke lengthy spans of space and time.
Richard Long: Flow and Ebb opens with an overwhelming and head-tilting painting on the gallery’s double-
height, first floor wall. Created specifically for the space, the painting comprises an immense black circle,
which is cut by an arc of light-brownish mud. Nearly spanning the entire wall, the work pushes the gallery-
goer back on order to take it all in.
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The movement enacts a clever positioning between art and

viewer, in which the viewer contemplates fully the painting of
an eclipse while being partially eclipsed by low-hanging, partial
ceiling. Wonderfully messy with wet slaps and drips of mud,
the painting’s active section brims with energy and vitality that
invades the black space and expands into the white of the wall
beyond the circle, evidencing a creator who operates in a space
bounded by oblivion.
After that, what is left to be said? Plenty, as it turns out. Though

the works in Flow and Ebb vary in size, all are equally
expansive. Give them time to unfold.
In the nature of things:

Art about mobility, lightness and freedom.
Simple creative acts of walking and marking about
place, locality, time, distance, and measurement.
Works using raw materials and my human scale in the
reality of landscapes.
Untitled, 2008, Richard Long
Richard Long
Bowery Slate, Richard Long, 2011

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Luke, Ben. “Richard Long - landscape artist.” www.standard.co.uk (London Evening Standard), 27 May
2011.
While the clamour around Tracey Emin’s latest exhibition puts conceptual art in the spotlight again, rather
more quietly, a new show by an artist who in the Sixties truly broke the boundaries of art and helped to lay
the foundations for all that followed has been in preparation.
Richard Long was among a small group from

St Martins School of Art in London who, from
the late Sixties onwards, helped to rupture the
hege-mony of painting and traditional
sculpture in the art world. Though he rejects
the “conceptualist” label and his work always
has a powerful visual impact, the fundamental
idea at the heart of his work is radical: he
claimed the activity of walking as an artistic
act.
Although Long has nothing like Emin’s public

profile, largely eschewing self-publicity and
rarely giving interviews, he is one of the most
respected and influential British artists Walking on: Richard Long stands in front of his work Human Nature
internationally: a Turner Prize winner, with major shows across the years at, among others, the
Guggenheims in New York and Bilbao, the Hayward and Whitechapel, and, in 2009, at Tate Britain.
His larger works sell for six-figure sums.
“I am not a Pop artist, or a monumentalist, and I am not an urban artist trying to beautify towns,” he asserts,
as we stand in one of Haunch of Venison’s galleries, in Burlington Gardens, to discuss his new show, “but
I think that if you are doing something interesting, people do know about it.”
The exhibition at Haunch of Venison, called Human Nature, fills three large and two small rooms and
features more than 20 works made with Long’s own hands - which I romantically assume is why he is
wearing a T-shirt with his own enlarged handprint on the front. The show features works in various
mediums, arising or inspired by his walks around the world: huge, minimal and enigmatic vinyl wall texts,
photographs of sculptures in the landscape, watery mud and pigment thrown and pushed around directly on
the wall, and sculptures using stones from the landscape.
In them, Long evokes natural and cosmic phenomena experienced on his recent journeys in France, South
Africa, China and Britain, and their physical and emotional effects.
This show may be made up of mostly new and other recent works but continues the themes and methods
which Long happened upon in his teens and early twenties, as he experimented in the garden of his family’s
Bristol home, photographing the track left from rolling a snowball, creating a sunken circle in the turf and
pouring plaster into hollows and crevices he had dug in the earth.
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In 1967, as he hitchhiked from Bristol to St Martins, he stopped in a Wiltshire field and walked back and
forth along a straight line, flattening the grass. He photographed the impression he had made in the field,
and called the work A Line Made by Walking. Now in the Tate Collection, it is one of the first significant
pieces of a genre that became known as “land” or “earth art” and the simplicity of the idea immediately
became Long’s focus.
“I had a feeling that the big world that existed outside the studio - the world of fields and moors, rainstorms,
clouds and rivers - was a much more fertile territory than being inside, welding metal or making plaster of
paris sculptures,” he says.
Tall, with short white hair and an intense gaze set beneath magnificently bushy dark eyebrows, Long is
now 65, though he looks younger - all that walking means he is trim and palpably healthy. “I get the
simplicity and the love of nature and walking and cycling from my dad,” he says, “and my intellectual side
from my mother.”
Long was thrown out of West of England College of Art in Bristol in 1966 and his explanation reflects how
strikingly driven he was for a young art student. “I was too precocious or something,” he says, “and they
were too provincial.”
The expulsion was his “biggest break”, he says, because he was able to join St Martins, where Anthony
Caro was a tutor, just at the point when his colourful steel abstractions were making waves on both sides
of the Atlantic. For Long, Caro and his peers’ work was something to react against.
“It was a kind of a mannerism by the time I went there,” Long explains, “that hard-edged welded metal
abstraction was dead in the water.”
Long was on a pioneering course which largely left the students to their own devices. It produced what he
calls a “golden generation” of experimental artists, including Long’s fellow walking artist Hamish Fulton,
and Gilbert Proesch and George Passmore, soon to become Gilbert and George. Long remembers Passmore
as a particularly striking character.
“George is a kind of genius, certainly a social genius. I had a very strong feeling that he was such an original
person that he would make his life’s work out of who he was, and his sense of humour and his
psychopathology, and his madness. Which is the way it turned out.”
Immediately after St Martins, Long attracted interest from artists on the continent and in America, including
Carl Andre, best known for his bricks at the Tate, and the avant-garde Arte Povera movement in Italy.
“Unlike the YBAs [Young British Artists]” - who came 20 years after Long - “I had to leave England to
find people who understood my work, and my peer group,” he says. Interest in the UK did follow, however,
and since the mid-Seventies Long has been at the heart of British and international art even if others have
stolen the headlines.
Over the years, he has quietly refined the clear divisions between the different methods he uses. These are
juxtaposed to dramatic effect throughout his new show.
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“The sculptures feed the senses and the text works and the photographs feed the imagination,” he says,
reiterating his familiar mantra. “I am interested in intellectual beauty as well as the physical beauty - I think
that they can co-exist in the same artist’s work.”
Nowhere is this contrast so striking as in the central room at Haunch, in which a stone circle, more than
seven metres in diameter, is seen next to text works describing walks on the surrounding walls. The stone
sculpture is made from two white Portland stone discs divided by a jagged upright line of Delabole slate.
“The idea really is that the line of the slate axis is north-south, so it is about the magnetic field of the earth.
In other words, if this work was put up anywhere else, the direction of the line would always be the same.”
This is characteristic of Long: the physical earthiness of the stone is obvious but he also alludes to the
invisible geographical forces that govern our experience on the planet. Natural factors are also at play in
the fiercely expressive wall work that gives the show its title, Human Nature, in earthy red clay and resonant
blue pigment. This is as close as Long gets to painting - he takes the clay and pigment in a watery state and
throws them against the wall, pushing them into ordered forms with his hands. But just as important as his
own gestures is the role of gravity, in the splashes and drips around and within the forms he creates. The
work, which to me evokes the stepped pyramids of the Central American Mayan civilisation, is typical of
that way in which Long’s walking discoveries can influence his output for years afterwards.
“Most of my life I’ve used the River Avon mud, which is perfectly satisfactory - it’s a beautiful, tidal mud,
which means it is very viscous and strong,” he says. “But about four or five years ago I did a big show in
Nice, which happens to be near Vallauris, the village where Picasso worked [on his post-war ceramics],
which is famous for its red clay.”
The blue pigment of Human Nature, a startlingly fresh colour in Long’s palette, is a rare unnatural material
in his work. “I went to China for the first time a couple of years ago and made quite a big road trip in
western China, and one of the ubiquitous elements is the big signage, the big lettering on the side of a
farmhouse, for instance - they always seem to have this amazing blue. That’s the colour I remember from
China, and then in the markets, I bought this as pigment.”
That meeting of man-made pigment and earthy clay is what Long means by his “Human Nature” title.
“You could say that my work is always a balance between the human - human ideas, me as a human - and
nature,” he explains. “So in a way this is no different, it is another manifestation of that duality.”
That tension is present in the text works, too. In one, titled An Eight Day Walk in the Cairngorm Mountains,
Scotland, the words form the shape of a cairn in which eight words are repeated, including “Camp to Camp”,
“Footpath to Footpath” and “Rainstorm to Rainstorm”. Long describes these as “pivotal moments” during
the trip he took.
Next to this is Humankind, South Africa, a description of a series of walks he took from Africa’s Cradle of
Humankind, where the highest concentration of the earliest human fossils have been found. On each of the
60 walks represented in that one work in the gallery he left behind a deliberate print in the earth with his
bare foot.
“Me doing radiating walks out of that place, and leaving footprints, is a nod to the idea of our first footprints
as humans,” he says simply.
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Long, who has two children by a previous marriage, now lives near Bristol with his partner. From this base,
he recognises that he has essentially been treading the same ground for 45 years. “There is nothing like
testing an idea by doing it all your life,” he says, “and I would think that my decision to use natural materials,
to use nature and the landscape, to use the planet, the whole world as one place, wasn’t such a bad idea.”
As the focus on man’s relationship with our planet sharpens, Long’s five-decade communion with the earth
seems an increasingly pertinent art for our times.
Richard Long: Human Nature, Haunch of Venison, W1 (020 74955050, haunchofvenison.co) from
tomorrow until August 20. Open weekdays 10am-6pm, Sat 10am-5pm. Admission free.
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Milandri, Atma. “Lives and Works in Berlin | rocks/mud/linoleum: sculpture between sites.”
magazine.art21.org (art21 Magazine), 14 April 2011.
Richard Long’s artistic medium, since the 1960s,

has been walking. On his walks all over the world,
he uses found materials to create formations –
circles, lines, ovals — leaving behind remnants of
artistic presence that are mostly ephemeral.
While his walks take place outside of the grasp of

general art audiences, Long also shows and
develops works for interior spaces, bringing some
of the natural materials that shape his practice into
galleries and museums.
Richard Long, “Berlin Circle,” exhibition view, Hamburger
For Berlin Circle, his exhibition at the Hamburger
Bahnhof. Photo: Anna Milandri.
Bahnhof in Berlin, Long has installed six large-
scale floor works that are accompanied by two
films, Walking a straight 10 mile line forward and
back shooting every half mile (1969) and Richard
Long in the Sahara.
Circles are the reoccurring shapes that one finds

here – not only in Berlin Circle, a stone work with
a diameter of 12 meters that was first shown at the
opening of the Hamburger Bahnhof in 1996, but
also further ones of sandstone, basalt, turf and mud.
What is one to make of Richard Long’s massive

Richard Long, “Basalt Eclipse,” 2000, exhibition view indoor circles? Has earth art, once a radical artistic
Hamburger Bahnhof. Photo: Anna Milandri. expression coming out of the emerging
environmental movements of the 1960s, become a
mere aesthetic, a formal exercise of minimalist forms with natural materials? I would say that the works
definitely do function on a purely aesthetic level (and this is no diss) for many visitors. I recall that, as I
was walking through the space, I also heard someone call them “meditative.”
But while they certainly seem complete, one can also grasp that these forms and materials have a history, a
place and time outside of the realm of the exhibition. A realm that is really only known to the artist in full,
even though their origins can be traced (the mud of River Avon Mud Circle, for example, comes from the
river Avon in Bristol, Long’s hometown), in the Hamburger Bahhof’s large main space, they become
abstractions of things, found things, of the natural world.
Long’s Berlin Circle is paired with the exhibition Land Art, on view in the upstairs exhibition space,
showing some of the prominent names of the Land Art movement, such as Hamish Fulton, Nancy Holt,
Douglas Huebler, Walter De Maria, Dennis Oppenheim, and Robert Smithson, amongst others. I see a
dialogue going on between Berlin Circle and Land Art – Long’s circles functioning as works with a natural
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origin but created for the exhibition space,

and the Land Art works, mostly
represented here in forms of
documentation (which in some cases can
be argued to be the work, in others, is
clearly a mere record).
On one wall, Robert Smithson is quoted on

the concept of the non-site with a statement
from Oberhausen in 1968: “The Non-Site
(an indoor earth work) is a three-
dimensional logical picture that is abstract,
yet it represents an actual site. It is by this
three-dimensional metaphor that one site
can represent another site which does not
resemble it – thus the Non-Site.”
Today, the idea of the Non-Site resonates

in the work of numerous artists not even
born at the time of this statement.
Smithson’s concept of the relationship
between Site and Non-Site, stating that
something shown in the gallery can be an
abstract picture of something from the
natural world, without having to look like
it (or look like it completely) is no less
contemporary 43 years after the fact. It
draws out questions about subjectivity,
appropriation, the role of documentation
and presentation — all considerations that Richard Long, “River Avon Mud Circle,” 2011, exhibition view,
are constantly re-considered and re- Hamburger Bahnhof. Photo: Anna Milandri.
negotiated by artists in the 1960s as well as
today.
While visiting German artist Jürgen Drescher’s exhibition at Klosterfelde, I thought about this level of
abstraction that Smithson talks about – the abstraction that happens when something is transferred to the
(unnatural) context of the exhibition space. One of the three works Drescher shows here, Der Boden unter
Benn’s Boden (The Floor Beneath Benn’s Floor, 2008/2010), is a large piece of linoleum taken from a
pharmacy one floor down from German poet Gottfried Benn’s former apartment. The “once-removedness”
of the linoleum floor from Benn’s actual apartment, who lived in Berlin until his death in 1956, makes
tangible the abstraction (in terms of a connection to Benn) that this floor represents. While being a “real”
object, the linoleum is not the same in the gallery as it was in the pharmacy. At Klosterfelde, it contrasts
with the glossy gray concrete floor and resembles an old worn-out piece of leather in its patina. Viewing it
here neither confirms its biography nor that of Gottfried Benn. Rather, it opens up an associative space that
takes the objet trouvé as a possibility for speculation. Its title highlights the distance to the subject, Gottfried
Benn, who never walked on this floor but whose muffled footsteps might have been heard, at times, through
the old floorboards above.
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Cashdan, Marina. “Richard Long: Tate Britain.” Modern Painters, November 2009, p. 72.
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Feaver, William. “Reviews: Richard Long, Tate Britain.” ARTnews, October 2009, p. 138.
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Flanders, Judith. “A stone’s throw from abstraction.” The Times Literary Supplement, 21 & 28 August 2009, p. 21.
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Wright, Karen. “Walking in the Mind.” mutualart.com (via Phillips ART Expert), 30 July 2009.
Richard Long, A Life in the Himalayas, 1975. Image courtesy of Tate Photography.
Over at Tate Britain is the inspiring show of Richard Long, another artist who lives in his mind. From the
moment that the visitor enters the hallway, which is enlivened by a mud work, one instantly feels energy,
something that is missing in much contemporary work. There have been times that I feel I have seen too
much of Long, in particular his stone works, but this carefully-curated exhibition inspires me to think
differently about his work.
Long is best known for his stone circles that inspired a group of other land artists including the more
decorative Andy Goldsworthy. His stone works here - circles and rectangles – are closely packed into a
room and remind the viewer how intimately concerned Long is with his choice of materials. His use of base
materials such as stones and mud has the transformative power to make poor materials rich, similar to that
of Beuys. It reminds us of how different and unique each material’s original location is, how beautiful and
paradoxically grotesque are each of the Norfolk flints. Only someone who had spent twenty years in the
landscape could have chosen just the right stones to make these poetic works.
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Richard Long, A Cloudless Walk, 1995. Image courtesy of Tate Photography.
Setting up these sculptural works are the works in the early rooms,
records of his walks. Long claims that his walks are made for his own
purposes; they are not merely walks, but “walks as art.” These are
recorded in a variety of ways: concrete wall texts, drawings, mappings,
photographs and framed text works, all words that stay in the mind. In a
short but moving film, Long admits that if he had only made walks, that
would have been enough, but he didn’t. His walks often take the route
of a straight line, as it is the shortest distance between two points, and
produce works that are reminiscent of the charcoal pieces of the Italian
Arte Povera artists. Not a far jump to imagine that the young Long was
influenced by the stones of Pennone, and even the cuts of Lucia Fontana.
What lifts these walks from a mere reprisal of experience is the variety
Richard Long. A Line Made by of recantations; sometimes they are names of places, other times they
Walking, 1967. Image courtesy of Tate are sounds, smells and, in a few instances, just a listing. Long seems to
Photography. be playing games in his own mind to keep himself alert and he passes
this wit on to the viewer.
The works, though, remind the viewer that Long has put in the time and the effort. It is his work and his
alone, without a team of assistants or helpers. It is more poetic than painful. The reward is a series of works
that immerse the viewer in the experience, in a way that few other artists manage to achieve.
What this show does is transform him in my mind from an English Romantic to a truly international artist
who has looked at and thought deeply about Robert Smithson and Carl Andre and has produced his own
canon. And a good one it is.
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Wullschlager, Jackie. “Richard Long at Tate Britain.” www.ft.com (Financial Times), 26 June 2009.
‘A Line in Scotland,’ a sculpture by Richard Long
Landscape as a site for artistic pleasure began in the late Middle Ages, reached its apogee with the romantics
– Constable, Turner, Caspar David Friedrich – and petered out with the end of modernism. It was alien to
classical civilisation and is anathema to most contemporary art. So the great revelation of Richard Long’s
retrospective at Tate Britain is that here is an artist who, since the 1960s, has been quietly, radically
reclaiming landscape as a source of delight, both sensual and intellectual.
This is a sweeping, joyful, dramatically alive show. Long’s seminal idea – that walking became art when
he said it was – is demonstrated in different ways: slate circles arranged on specific sites or imported into
the gallery; sticks or stones marking intervals on a walk; photographs; text pieces noting times, places and
thoughts on his journeys. The idea gains seriousness, credence, occasionally humour, from the repetition
and variety of its manifestations. And even if you leave, as I did, unconvinced by every element, the show
coheres room by room into a persuasive exploration of man’s relationship with and place in the abstract
entity we call nature.
“Heaven” and “Earth”, the mud-and-water frescoes opening the show and providing its title, evoke both
the visceral, spontaneous primitivism of cave-painting and a highly ordered vocabulary of abstraction.
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Derived from ancient Chinese symbols, Long’s marks include signs for mountains, river, wind, tranquillity.
“Heaven” is based on six solid lines; “Earth” on six broken ones, denoting the basic sky/earth,
cerebral/physical duality at the heart of his work. It is a delicately rendered metaphysical piece, answered
by the concluding work, a wall painting in Cornish china clay which, Long says, “represents the force of
my hand speed, and the forces of water, chance and gravity”. The clay courses down like summer rain,
shaping patterns that suggest cosmic variety, life-giving energy, lyrical affirmation.
Both pieces are rooted in the personal and gestural, with the mud in “Heaven” and “Earth” coming from
the Avon in Long’s native Bristol. Throughout the show, the city’s contours of oozing river, mud banks,
spring tides, caves, limestone cliffs, together with the flat expanse of nearby Dartmoor, leave an imprint on
Long’s work that is as pronounced as Suffolk’s Stour is on Constable. A photograph of a Somerset beach,
a text work denoting “A Straight Northward Walk Across Dartmoor”, an Exmoor Ordnance Survey map
marked with the route of “A Ten Mile Walk”, as well as photographs recording treks across treeless plateaus
in the Alaskan tundra, the Mongolian steppes, the Argentine pampas – all echo or reference these landscapes
of Long’s childhood.
Standing out radiantly from them all is “A Line Made By Walking”. In 1967, aged 22, Long took a train
from London’s Waterloo, got off at the first station in open countryside, found a field, walked back and
forth until he had made a flattened line, waited for sunlight, took a photograph and went home. The rough,
grainy image of that sunbeamed line is direct, luminous, mysterious, but also earthy, heavy with the weight
of feet trampling grass.
In one stroke, “A Line Made by Walking” challenged what sculpture could be, relocating it from the studio
to the world, opening it up to time and space. The piece defined Long’s artistic language: rigorous
abstraction – Malevich’s geometric forms and Klee’s “taking a line for a walk” come to mind – and arte
povera’s economy of means and materials consolidated into a new way of making art. What follows in
Long’s photographic work enriches but doesn’t really advance on it: “England” (1968), recording a cross
stomped into a daisy field, is an arresting complement; 20 years later, the tapering diagonal “Dusty Boots
Line” replicates its austere formality on the Saharan plain.
Long insists that “if the idea is good, the beauty looks after itself”. Beauty and optimism are the major part
of the enjoyment these landscapes deliver: the transcendence of the everyday in the domestic images, man
dwarfed by the elements in the mountain or wilderness ones. Only occasionally is a reference more
historically specific, as in the superb crystalline diptych “Windmill Hill to Coalbrookdale”, recording a
113-mile walk from a Neolithic Wiltshire site whose inhabitants were the first in England “to make
permanent changes to the landscape”, to a Shropshire settlement on the River Severn, marked by an elegant
wrought iron bridge stark against misty stream and trees, “the birthplace of the industrial revolution”.
Less satisfying are the overlarge colour prints from the 1990s – formally weak and not altogether
distinguishable from tourist snaps. Yet more hard-going are recent pure text pieces, in coloured capitals,
which read like sub-Johnny Cash lyrics crossed with travel brochures: “Forest White Butterflies Crossing
a Stream/Animal Droppings Slippery Boulders Peat Bog” as a record of a walk on Japan’s Chokai Mountain
in 2003; “One New Moon Two Thunderstorms ... Countless Stars The Infinity of Space” from Switzerland
in 2004.
Has Long gone decadent? He has always insisted that he is a conceptualist, not a romantic: he came of age
in the 1960s when “the idea of filling the world with more and more objects became questionable”, and he
studied at St Martins with “living sculptures” Gilbert and George, whose photo- and text-based aesthetic –
and later hints of didacticism – this show partly recalls. But Long is significant because he became a realist
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anyway. Although he often dematerialises the art object, he also depends on real, natural materials and real
human-scale actions: walking, lifting, placing, carrying, throwing, marking.
In a museum setting, the most compelling results are the floor sculptures, six of which form this show’s
stunning centrepiece. The variations between these deceptively simple works are a delight: a sombre,
smooth slate “Stone Line”; a monumental ring of uneven white stone, “Norfolk Flint Circle”, which seems
to glow with an inner light; the baroque chromatic play of “Black White Blue Purple Circle”; the formal
simplicity of the tightly packed “Basalt Ellipse”.
Of course this is Stonehenge crossed with Carl Andre: English romantic sublime in measured minimalist
register. Long is a peculiarly English artist: narrative, naturalistic, modest in the almost reverse imperialism
– a remnant of his youth in Bristol, a city with a troubled imperial past? – with which he leaves the lightest
intervention in the most difficult locations. “Circle in the Andes”, “A Line in the Himalayas” are whispering
contrasts to the loud theatricality of American land art. Long has, literally, trodden his own road for 40
years, exteriorising an eclectic vision that has become more and more relevant, and that now ripples out
with terrific resonance from the local to a timely, timeless, meditation on the fragility and power of the
earth.
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Januszczak, Waldemar. “Richard Long retrospective at Tate Britain.” www.timesonline.co .uk (The
Sunday Times), 7 June 2009.
Heaven and Earth at The Tate Modem, Richard Long, Installation. June 2009
I owe Richard Long an apology. Over the many years I have been writing about his work, I have, on several
occasions, been snippy about him, and even rude.
In particular, I have complained about the frequency of his exhibitions. After the ninth or 10th attempt to
say something new about his challenging fusions of walking and art, even the most inventive critic would
find himself at a loss for enthusiasm. But that was back in the 1980s and 1990s. More recently, he has
become a much rarer presence. Partly, I suppose, because fashion has taken against him, and his thoroughly
moral approach to landscape art is not exciting enough for the thrill-seeking times we live in.
But the old boy is also getting on a bit. Time has slipped a pebble into his rambling boots. A couple of years
ago, he broke his leg on a walking trip, and those ambitious conceptual stomps of his, depositing choice
bits of minimalism in faraway places, had to be curtailed. Watching him splashing the Avon mud around
Tate Britain last week, however, assembling his long-overdue retrospective, I am pleased to report he looks
in good shape: whippet-thin, hatchet-stern, as cantankerous as a rusty rake. It’s good to have you back,
Richard, and in such dazzling form.
Long emerged in the late 1960s, at a time when loudly saying something was art turned it into art. Gilbert
& George, his fellow students at Saint Martins, called themselves “living sculptures”, and although anyone
with eyes in their head could see that they were actually two fruity gays in suits, if G&G said they were
“living sculptures”, we other living sculptures went along with it. In a comparable effort of will — but with
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much more gravitas and grace — Long decided walking was art. The crucial work in his oeuvre, A Line
Made by Walking, dates from 1967. In the catalogue, he describes how he caught a train from Waterloo and
alighted at the first suitable field he saw from the window. Walking backward and forward across this field,
trampling down the dandelions and daisies, he created a straight line in the grass that became visible when
the light was just so. Then he photographed the results in grainy black-and-white. It’s still weirdly haunting
and thought-provoking.
Part of the appeal is a simple matter of surrealism. The sudden appearance of some strict geometry in the
grass, where you least expect to see it, tickles your surprise nodes. More important, though, is the sense of
a cosmic redesign. Look at any of Long’s magnificent series of lines through nature from the 1970s, or the
giant circles that began appearing soon after, and all of them feel as if a great big finger has come down
from heaven and decided to play noughts and crosses in the landscape. The fact that one little man has had
to scuttle backwards and forwards countless times to make these imposing marks is visually irrelevant.
What counts is the final effect: a rousing romantic minimalism visited on the landscape.
Long hates being called a romantic. Or, worse, a mystic. In the few interviews he has ever given, and again
in the wall texts appended to this show, he insists on the unromantic nature of his calling. In his own eyes,
he’s a conceptual, a Carl Andre of the moors, whose ambitions are precise and intellectual. When you work
with landscape, however, you work with emotional stuff: the thrill of a momentous mountain or the
loneliness of a harsh expanse of desert are unstoppable effects.
The biggest giveaway here that Long is precisely what he says he is not — a soppy English romantic,
engaged in a solitary love affair with the land while disguised as an outdoor minimalist — is a small work
from 1970 produced in the Great Smoky Mountains of Tennessee, in which a kiss-kiss cross made of
pebbles has been added to a shallow pool of water, next to the words: “I keep a close watch on this heart of
mine / I keep my eyes wide open all the time . . . Because you’re mine / I walk the line.” I’m sorry. Richard,
but you don’t quote Johnny Cash while gazing longingly into a pool of water if you are not a romantic.
The first third of the display is given over to the various cunning ways Long has set about recording his
global walks. What he actually did in the landscape — tracing a perfect circle on a map; walking 100 miles
across Japan; collecting the biggest pebbles on a beach in Somerset and making a perfect square — was a
series of private performances that nobody witnessed. So he needed to come up with inventive ways to
record them in the gallery and evoke them for the spectator. His first set of attempts featured Ordnance
Survey maps, on which he would record his routes with those supremely anal pencil marks that became his
trademark. No matter how old Long grows, he maintains the charmingly youthful mood of a schoolboy in
a geography class, brandishing his ruler and compass as he prepares diligently for his Duke of Edinburgh’s
Award: A 294-Mile Walk from Land’s End to Bristol, Walking Nine Straight Miles Along the Way; A
Hundred Tors in a Hundred Hours; Ten Mile Walk, England, 1968. A determined outdoor mind is pitting
itself against the elements.
The maps and route plans are soon joined by sweet little word poems in which Long lists the things he saw
or did on the journey, in a whimsical effort to evoke the experience for us: White Butterfly — Crossing a
Stream — Animal Droppings. The territory is Ted Hughes, the tone is Erik Satie. But the most direct and
effective method Long has found of evoking his walks is photography. I won’t be the only visitor to this
show who is happy occasionally to ignore the hard conceptual groundwork and to enjoy these images on
their most basic, Ansel Adams level, as superb views of superb landscapes.
Long was brought up near Dartmoor — he describes it as his “default” landscape — and the taste for huge,
treeless expanses, dominated by the most basic of divides, between land and sky, has never left him. Put
him somewhere low, empty and flat — the Sahara, the Australian outback, the dusty plains of Peru — and
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he’s at home. The urge to trace lines and circles in the earth’s surface seems to connect him with every
ancient civilisation that has scrawled a spiral in the sand or followed a ley line along a rock. The first image
in the exhibition shows a primitive huntsman scraped out of the English chalk, whose shape rhymes
perfectly with a photograph of Long about to climb Kilimanjaro.
One of the things I admire most about him is the hardcore nature of his resolve.
If it takes 100 miles, he will walk 100 miles. If it means lugging endless rocks up a hill, he will lug the
rocks. Yet the immense effort involved — the private performance — is never allowed to leave a drop of
sweat on the resulting artwork. He may have spent weeks trudging through Nepal to scrape his line in the
Himalayas, but the resulting photograph is so perfect, so right, so graceful.
This is an impressive event. One of the most important careers in recent art is recounted in a show that does
everything well.
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Macfarlane, Robert. “Walk the line.” www.theguardian.com (The Guardian), 23 May 2009.
‘My work has become a simple metaphor for life,’ says Long. A Line in Scotland, 1981, is part of Heaven and Earth at Tate
Britain. Photograph: Richard Long Richard Long /Tate
Richard Long’s 1982 photograph Shelter from the Storm is a black-and-white close-up of his walking boots,
seen from above. The boots are lying on their sides on a tent floor, as if recovering from exertion. Their
leather is knackered and foxed from days on the go. Their tongues are hanging out. No wonder - they’ve
done many miles over the rough basaltic lavas of Iceland, where Long was walking that summer.
The photograph nods to Van Gogh’s 1886 painting A Pair of Shoes, which shows a pair of peddler’s boots,
worn out by use. It also quietly reproaches Andy Warhol’s spangly 1980 reprise of Van Gogh, Diamond
Dust Shoes, in which immaculate high heels (coloured ice blue, lilac, aspic green) are scattered like glacéd
corpses across the frame. Bob Dylan is there too, his song lending the photograph its title. The other allusion
is to Long himself: the invisible walker, the boot wearer, the track maker, the vanished artist. Long’s work
has always thrived on its maker’s absence. Of the thousands of photographs with which he has recorded his
walks and sculptures over the past 40 years, he appears in only a handful. Instead, the images show the
marks he has made: footprints in river mud, paths scuffed through leaf litter, stones aligned or piled.
His best-known early piece is A Line Made by Walking. On a sunlit day in 1967, he caught a train south-
west out of Waterloo. When the suburbs gave way to countryside, Long got off the train, and found a field
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whose grass was starred with daisies. He walked back and forth, until the flattened grass caught the light
such that it was “visible as a line”. Then he photographed the line in black and white, and went home.
The vocabulary of hunting has a luminous word for such mark-making: foil. A creature’s “foil” is the track
it leaves on grass or other surfaces, such as shale, snow, sand, forest floor. From the late 1960s onwards,
Long experimented with foil works. Fire Stones (1974) is a photograph showing the paths left by five stones
that have been rolled down the shale slope of a volcano in Iceland. At Bertraghboy Bay in the west of
Ireland, he walked a cross into tidal mud, let a film of seawater flood the cross, then photographed the
shimmering mark. In 1979, he marched northwards across Dartmoor, treading a straight pathway into the
heather - a meridian made visible. In Scotland in 1986, during a thick haar, he tramped a circle into wet
grass. The resulting photographs (all that now survive of these art acts) are eerily cryptic. They record the
traces of an unspecific human body moving through space and time, causing temporary sight-dents in the
skin of the world.
During the 1970s, Long also began to develop different methods of mark-making, working mostly in wild
landscapes, and using techniques of impression rather than depression. In 1970, he waded into the Little
Pigeon River in the Great Smoky Mountains of Tennessee, and laid out flat stones on the bed of the river,
in the form of an X with five-foot radials. In 1977, on the Alaskan shore of the Bering Strait, exactly at the
latitude of the Arctic Circle, he arranged pale limbs of driftwood into a lunar circle. He added 1,000 stones
to a cairn by the side of a Cumbrian footpath. He heaped shards of limestone into an angular half-wall in
the Burren, County Clare. He has described these pieces as “abstract art laid down in the real spaces of the
world” - and this mingling of conceptualism and skewed functionalism is what gives them their distinctive
texture.
Photographs of these early works are hung in the second and third rooms at the upcoming Tate exhibition
of Long’s work, Heaven and Earth. Viewing the photographs in number, you develop an almost
sinister sense of time lag. Someone has been hard at work, rearranging the world - but has disappeared
before you arrive. The shutter has clicked too late to catch the action. They remind me a little of Eric
Ravilious’s watercolours from the 1930s and early 40s: deserted English landscapes with hints of ghosts and
infiltration. Farm machinery abandoned on ploughed fields. Empty control rooms with strategy maps
on the wall. Military convoys steaming away to battles that will occur off-canvas. When people do figure
in Ravilious’s paintings (marines, soldiers, airmen, farmers), their heads are often featureless and
coloured the pink of healed skin - as though they have been face-scalped.
The audacity of Long’s early work lay in freeing sculpture from the constraints of scale. He dispersed his
art into the landscape, busting it not just out of the gallery, but out of almost all spatial limits. “I could make
a piece of art which was 10 miles long,” he remembered in 1986. “I could also make a sculpture which
surrounded an area of 2,401 square miles ... by almost doing nothing, just walking and cycling.” He
pioneered vast acts of mark-making: art walks rather than art works, that explored what he called
“relationships between time, distance, geography and measurement.”
Long’s other innovation was to make his work not only in the landscape, but of the landscape. Not land art,
exactly - he’s always resisted that label (as he has resisted any associations with the romantic walking
tradition of Rousseau, Wordsworth, Thoreau). His early work was categorically different to the land art
projects that were under way in America in the same period (Robert Smithson, Hans Haacke, James
Turrell). Long’s interventions were more modest, his sculptures bigger but less massy. The same year that
Smithson was hiring earth-movers to bulldoze his Spiral Jetty into place on the salt flats of Utah (a 1,500ft
chameleon’s tongue of black basalt, curling out into ruddy water), Long was walking due north over
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Dartmoor. As Turrell was starting to reshape an extinct volcanic cinder crater in Arizona, Long was
arranging a small circle of stones in the Andes. “Nature has more effect on me than I on it,” he observed in
1983.
Precedents did exist for Long’s “big move” of the late 60s, his heave of sculpture into and across the
landscape. Henry Moore, reflecting on the origin of his carved stone Recumbent Figure (1938), described
how he had “become aware of the necessity of giving outdoor sculpture a far-seeing gaze”. Ravilious had
an unexecuted plan to paint a map of all the places on the South Downs that he and his lover, Helen Binyon,
had kissed. Edward Thomas developed a method of making one-day walks in the design of “a rough circle”,
“trusting”, as he put it in The South Country (1909), “by taking a series of turnings to the left or a series to
the right, to take much beauty by surprise and to return at last to my starting-point”. On these walks, Thomas
would follow what he called “the old ways”: the holloways, pilgrim paths and Neolithic-era chalk paths
that seam the Downs. Thomas’s walks knowingly laid new tracks on an already marked ancient landscape.
“A walk is just one more layer, a mark,” Long noted in 1980, echoing Thomas.
Thomas never covered the distances that Long does, however. On Midsummer Day in 1972, Long tramped
40 miles westwards from Stonehenge to Glastonbury, “following the sun”. In 1999, he covered 349 miles
in 11 days, from Cardigan Bay to the Suffolk coast. He knocked off the 1,030 miles of the Lizard to Dunnet
Head in 33 days, leaving 33 stones by the wayside as he went. He possesses a pair of what Keats once
called “patient sublunary legs”. Long legs, too: he’s 6ft 4in. Divider-like, they measure the land, and as his
legs measure it, his feet mark it, leaving their “three-dimensional traces” (the footprint as an act in time as
well as space). Long’s legs are his stylus, his feet the nib with which he inscribes his traces on the world.
Walking becomes an act of inscription, and his work is a reminder that our verb “to write” originally referred
to a kind of incisive track-making. The Old English “writan” carried the specific meaning “to incise runic
letters in stone”: thus one would “write” a line by drawing a sharp point over the surface - by furrowing a
track.
One of the surprises of Long’s work, in fact, is that the foot acts as an artistic instrument. We don’t intuitively
imagine the foot to be an expressive or perceptive body part. It feels more of a prosthesis, there to carry us
about, rather than to interpret or organise the world for us. The hand always out-skills the foot: we speak of
manipulation, but not pedipulation. The historian of walking Jeffrey C Robinson puts it nicely: “the foot ...
seems not quite part of the heart and mind ... it mingles with the dust, lies in the mud, smells badly of the
day. At once platform and engine, it bears us and launches us.”
But the foot is extremely sensitive: so sensitive that foot-beating is a notorious torture (featuring, for
instance, in John Wyndham’s The Chrysalids, a novel full of tracks and tracking, in which a key betrayal is
made by a footprint in river mud that reveals a child to have six toes). Feet are receptive to pleasure as well
as to pain: the Scottish writer Nan Shepherd loved to walk barefoot, as a way of tasting the landscape.
“Dried mud flats, sun-warmed, have a delicious touch, cushioned and smooth,” she wrote in 1946 with a
fetishy flourish, “so has long grass at morning, hot in the sun, but still cool and wet when the foot sinks into
it, like food melting to a new flavour in the mouth.” Long’s feet, like Shepherd’s, act in multiple ways:
they mark, measure, taste and interpret the world. In personal correspondence, Long signs off with a
spiky signature and, beneath it, a red-ink stamp - rather like a Chinese chop - that shows two feet
with eyes embedded in their soles.
Long’s feet see the world for him. But they also, less conceptually, bear him and launch him. Again and
again in interviews, Long has emphasised the pragmatism of his art: “My work has become a simple
metaphor for life. A figure walking down his road, making his mark. I am content with the vocabulary of
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universal and common means; walking, placing, stones, sticks, water, circles, lines, days, nights, roads.”
He likes overnight walks, he says, because he likes “sleeping on the ground”. He takes the same pleasures
in the open path as almost any walker or wilderness lover. “My work really is just about being a human
being living on this planet and using nature as its source,” he observes in one of the wall-texts at the Tate.
“I enjoy the simple pleasures of ... eating, dreaming, happenstance, of passing through the land and
sometimes leaving (memorable) traces along the way, of finding a new campsite each night. And then
moving on.”
I like this unpretentiousness. It’s probably what appeals to me most about Long and his work. He practises
a kind of ritualised folk art. His circles, lines and crosses are radiantly symbolic, but also childishly simple;
or, rather, they’re radiantly symbolic because they’re childishly simple. It’s for this reason that Long is
ill-served by those interpreters who draw a cowl of Zennish mysticism over his sculptures, or who
interpret his textworks (strings of words and phrases, often superimposed on to a photograph of the
landscape that has been walked) as koan-like chants. When questioned about the textworks, he plays an
amusingly straight bat: “‘Heathrow Airport’ means I just passed Heathrow Airport. ‘Dead Stoat’ means I
passed a dead stoat in the gutter.” Long is frequently compared by critics to Joseph Beuys, but his work
seems to me remote from the shamanistic ecology of Beuys, who made his incantations in wild spaces
with chrisms of fat and fur, and the Cro-Magnon cantrips of leather and horn.
No, Long is no magus. More of a high-end hobo. Among my favourite of his pieces is Walking Music, a
textwork that records the songs that trundle through his mind as he walks 168 miles in six days across
Ireland, the music keeping at bay the loneliness of the long-distance walker. Johnny Cash, Bob Dylan,
Sinéad O’Connor singing “On Raglan Road”, Jimmie Rodgers’s “Waiting for a Train”, Róisín Dubh
played on the pibroch ...
Samuel Beckett - who, like Long, found much to meditate on and much to laugh at in the act of walking;
and who, like Long, loved country lanes and bicycles, pebbles and circles - once observed that it is
impossible to walk in a straight line, because of the curvature of the earth. There’s a great deal of Long in
that remark. His art reminds us of the simple strangeness of the walked world, of the surprises and beauties
that landscape can spring on the pedestrian. It’s good that Long is out there, knackering another pair of
boots, singing Johnny Cash to himself as he walks the line.
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Coggins, David. “Sticks and Stones.” Art in America, Summer 2009, pp. 122-127
.
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Macfarlane, Robert . “Five, Six, Pick up Sticks.” Tate Etc., issue 16, Summer 2009, pp. 54-63.
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Archer, Michael. “Previews: Richard Long.” Artforum, May 2009, p. 152.

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Cork, Richard. “Out of the Studio and Back to the Land.” Financial Times, 11 August 2007, p. 9
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Pitman, Joanna. “They call him the wanderer.” www.thetimes.co.uk (The Times), 26 July 2007.
Richard Long draws his inspiration - and makes many of his works - on lengthy walks in the world’s wild
places.
Richard Long, 62, is one of the great figures of contemporary British art. Born in Bristol, he has gained a
worldwide reputation for his beautiful, thought-provoking work expressing man’s relationship with the
landscape. His new exhibition in Edinburgh, Walking and Marking, is based on the formalised walks and
resulting works of art that he has made since the mid-1960s.
Joanna Pitman Your first Scottish museum show was in Edinburgh in 1974, but you have been walking
and marking in Scotland since 1967. How does the Scottish landscape influence you as an artist?
Richard Long My first art-work in Scotland was when I hitch-hiked from London to Ben Nevis and back
as a student; but I have walked in the Scottish Highlands many times. The Scottish landscape is very
particular, the Highlands are predominantly treeless, and I choose each landscape for the way its particular
characteristics will enhance my work.
JP Has your Scottish work drawn you closer to Scottish culture?
RL I have walked much more in Ireland, and I feel particularly drawn to that culture, the literature, the
music, humour, the talking. I’m more embedded with Irish culture than Scottish, but that’s probably because
I know it better.
JP What will we see in your exhibition?
RL It will have many parallel themes. One of them is mud. There will be large installed works, largescale
mud wall drawings and a display of mud-dipped works on paper and mud-splash drawings. I’m using mud
from the Firth of Forth. It’s not quite as good as Avon mud [from where Long grew up and still lives], but
it is a local material and I like using local materials. There will be smaller hand works, fingerprint works
and drawings I have made over the years. There will be text works and photographic works. There will be
a whole room about my work to do with rivers and tides, and a section about stones. There are three works
using stones from Dartmoor. There will be the first line of cut slate I made, in 1980, using slate from the
Delabowl quarry in Cornwall. And I’m going to use slate from the same quarry to build a cross-shaped
sculpture in the gardens behind the gallery. That’s a new work.
JP You are one of the few highly successful artists who still makes all his own works entirely himself. Why
is that?
RL It’s simply my pleasure. It’s my pleasure to do the walking, and those are my footsteps doing the
walking, it’s my fingers that make the fingerprints, my energy that makes the mud works. I think I like
being responsible for what I do, but in the end the art is what I gain pleasure from, so I like to do it myself.
Many of the works I make on walks are very simple to make, just a straight line of stones, or a circle. Many
of the works you see in photographs have taken perhaps only half an hour to make.
JP Do you worry about climate change?

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RL No I don’t. I was doing a walk in Ireland not long ago and someone said: “Global warming seems to
be doing us some good.” It was a glorious crystal-clear day, and I think that those of us in temperate climates
are actually having a better deal out of global warming. I am grateful for those crystal-clear days when I’m
out walking. They used to be so rare. No, I don’t worry at all because everything is changing all the time;
the geology, the landscape, the climate have been changing for millions of years.
JP What about creeping urbanisation in Britain?
RL I am not an urban artist, I’m a landscape artist. I like big empty spaces. In the places I go to walk, in
the countryside of Britain, for example, the landscape has not really changed since I started. I’ve often said
that I’m a realist and I’ve always chosen the empty wilderness parts of the planet as my arena, the types of
empty landscape that still predominantly cover this planet. That’s where I like to make my works, and
generally these places haven’t changed. The Sahara hasn’t changed. Large parts of rural Japan haven’t
changed. And Dartmoor hasn’t changed at all. I still find England fantastically beautiful. It can still look
like Paradise sometimes.
JP You have done several walks in Japan. Did you find the Japanese culture and appreciation of walking,
the literary works of Basho, for example, something that enhanced your work?
RL Yes, the Japanese are great walkers and mountaineers, and there is a very long history of walking
culture in Japan. So for them, seeing an alien walker like a giant, with an enormous rucksack on his back,
was utterly normal. The Japanese people were completely accepting of me. They didn’t keep stopping and
wanting to give me lifts, which often happens in other countries. It’s the story of my life.
JP What is the next walk you are planning?
RL Five and a half weeks ago I broke my leg on a walk in the Cairngorms. The plaster came off a little
while ago, but I’m still limping with a lightweight splint. I would really like to go back to the Cairngorms
for my next project, when I’m completely better.
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“Land of hope and glory.” www.scotsman.com (The Scotsman), 1 July 2007.
FOR the last 40 years Richard Long has been walking in the name of art.
It began in Somerset in 1967 when, while still a student at St Martin’s, he took a stroll on a beach and
rearranged the stones to invoke his presence within the landscape. Since then his walking has taken him
around the world, from the Himalayas to South America and Africa, and all the time he has been recording
the evidence of his journeyings, and using rocks, wood, mud and water from the locations to create some
of the most original, beautiful and resonant works ever seen in British art.
There is a curious sense of homecoming about this, Long’s first UK retrospective for 16 years. For one
thing, unsurprisingly, the diverse and inspiring landscape of Scotland has often featured in his work. For
another, it was here in Edinburgh in 1974 that he had his first major show.
What we see in the gallery is an impression of the landscape in the most visceral sense: a pure and poignant
memory conjured up through a combination of photography, maps, written text and found objects to create
installations which are at once exquisite, hugely engaging and deeply emotive.
Although not strictly chronological, this superbly hung show, installed with care by the artist himself, does
paint a lucid picture of the development of Long’s work. His art is arduous in the extreme and he pushes
himself to physical limits which many artists would decline. It is worth remembering, when looking at the
sublime beauty of this show, that most of it was made only through pain and loneliness.
The major focus of this show falls on four new wall paintings and a single floor piece. Stone Line, made in
1980 and now, thankfully, in the collection of the National Galleries, occupies the whole of Room 8. The
first cut slate work Long ever made, it consists of dozens of carefully selected, unchanged pieces of slate,
set together so they appear to be contained within a perfect rectangle. The result is spectacular. The stones,
crisply defined against the floor, with a discreet sheen on top and strong shadow underneath, encapsulate a
collision of man and nature.
Principally, Long is a poet, not least in his texts, which hang here, punctuating the paintings, maps,
photographs and objects, as haiku-like suggestions through which we navigate to replicate the artist’s
experience. A prime example is the wall of the final room, on which Long has hung two photographs of a
work on Dartmoor along with a text - ‘Speed of the Sound of Loneliness’ - which imparts, through rhythm,
time and verbal association, as close a sense as he ever gets of taking part in the real thing.
Mud has played a major part in his work since the late 1970s. He is acutely aware of its implicit nature as
a material produced by the flow of water over the earth. While in one work he throws liquid mud from the
Forth, Pollock-like, at a wall, in a larger piece he contains it within a semi-circle, perfectly in tune with the
room’s architectural detail, yet within this constraint allows the material to work for itself. This is central
to Long’s philosophy - that while the artist can choose and direct the materials, it is the materials themselves,
governed by nature, in this case gravity, which actually create the work.
One of the most sublime moments in this show is getting up close to the second huge wall painting, made
using liquid chalk from the Cairngorms. It is possible to follow the imprint of the artist’s fingers as they
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snake intuitively across the wall, calling to mind the hand of Titian as in his finest, final works, he applies
paint directly to the canvas.
Heart-stopping as this is, it’s still not quite the ultimate experience on offer. Look out of the window and
you will see an example of the artist’s most direct intervention with the land. In the garden of the gallery
Long has created a slate cross, embodying the concept of danger and beauty and effectively uniting the
exhibition with the external environment, and so breaking down conventional boundaries.
If you do anything this summer, visit this show. At a time when we are constantly warned of the erosion of
the very fabric of our world, this is a poetic clarion call for us to acknowledge our place in the environment
and our individual responsibility. For if we do not, then all that we will have will be a memory.
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Archer, Michael. “Long’s art is steps ahead.” www.theguardian.com (The Guardian), 29 June 2007.
Once, a long time ago, I lifted 10 tonnes of

slate off the back of a lorry so that the artist
Richard Long could choose a few pieces to
lay out in seven lines on the floor of the
Whitechapel Art Gallery. When he had
finished, I lifted the remaining nine and
three quarter tonnes back on to the lorry.
My friends laughed at my aimless
stupidity, but it seemed to me a pretty good
use of my time and energy.
One of the words used to describe Long’s

work at that time was chthonic - of the
earth. It was as easy back in the 70s as it is
now to place him in a tradition of
specifically British, more particularly
English, landscape artists. Picking the
heads off daisies to make a blank X in an
otherwise white-flecked lawn, or trudging
back and forth across a field until a
discernible line appeared, marked Long
out, the argument went, as the true
successor to John Constable. But where
Constable wrestled with the encroaching
effects of the industrial revolution on the
Walk the line ... A Line Made by Walking, 1967, by Richard Long balance between town and country, Long’s
lines and circles of stones, and flattened
grass, twigs and mud evoked comforting thoughts of ley lines and mythic belonging.
Viewing the world he has wandered for the past 40 years through the prism of his photographs, maps, text
pieces, sculptures and drawings, on show from tomorrow at the Scottish Gallery of Modern Art, one could
be forgiven for assuming that there were no such things as national boundaries or, for that matter, the people
to draw and police them. But there’s always more to it than that.
What’s really good about Long, though, is that he has never felt the need to explain himself. His art school
“talks” were legendary - no words, just a slideshow accompanied by Country and Western music. It’s not
about this, or that, it’s what it is. And that’s not a cop out, it’s the way art always is because to ask what
any of it means is to ask completely the wrong question.
On another occasion I pointed to some muddy handprints on the wall and said to my friends, “That’s
Richard Long”. They were perplexed as to how I knew; because of course anyone can do that. Which they
can. Which is perhaps part of the point.
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“Rock and stroll.” www.heraldscotland.com (The Herald), 29 June 2007.
SIX weeks ago Richard Long broke his leg while walking in the Cairngorms: a cruel twist of fate for the
man who introduced walking as an artform into the 20th century cultural canon. But he’s back on his feet
now, just in time for the opening in Edinburgh of his first major retrospective in Britain since 1991.
Whether by accident or design, Long shares this year’s headlines with fellow land artist Andy Goldsworthy,
whose retrospective currently fills every nook and cranny at Yorkshire Sculpture Park. It’s a great
opportunity to compare the two, and proves their work, though superficially similar in many ways, to be
quite different in content.
While Goldsworthy’s relationship with the land is workmanlike, Long’s is more romantic. While social
values and agricultural history loom large in Goldsworthy’s thinking, Long prefers remote places,
untouched by human interference. The former digs in, the latter moves lightly over the surface of the Earth.
The shows are very different in structure too. While Yorkshire Sculpture Park hosts a sprawling collection
of indoor and outdoor works, the exhibition at the Scottish National Gallery of Modern Art (SNGMA) is
largely indoor, its arrangement tightly controlled. This precision echoes the pristine edges of Long’s
sculptures, paintings, drawings and photographs, which owe a strong debt to the minimalism which went
before.
The late 1960s were a time of artistic departure points, as a generation of artists on both sides of the Atlantic
rebelled against the ever-decreasing circles of minimalism. In Germany, Joseph Beuys extended the
boundaries of art with his all-embracing notion of social sculpture. In California, Bruce Nauman declared
that whatever happened in an artist’s studio was art, including Walking in an Exaggerated Manner Around
the Perimeter of a Square. Meanwhile another American, Robert Smithson, was making transient works in
inaccessible places, showing only documentation back in the gallery.
Long first used the idea of a walk as a work of art in 1967, when as a student he produced his famous Line
Made By Walking. A photograph documents that first walk, showing only the straight, trampled path left in
the grass by the artist’s feet. In one sense, the work is a drawing (think of Klee’s 1925 description of drawing
as “taking a line for a walk”). But in another, Long would recast walking as art whether it left traces or not.
The artist set himself objectives, drawing straight lines and circles on maps and following them faithfully,
or taking water from the mouth of a river and bringing it all the way to its source. He found different ways
of conveying these acts to a gallery audience, after the fact.
Often he creates a simple circle in the wilderness, by subtly rearranging stones, branches or sand. The
resulting photograph preserves that memory while somewhere unseen, the materials settle back into
obscurity. Sometimes, our only record of his walk is a sparse line or two of text, detailing the days it took,
the number of tides, or the stones he turned on the way. The walk becomes to us an abstract measurement
of time and space, though to him, it was a very real, sometimes gruelling experience.
“My work is real,” Long insisted in 1980, “not illusory or conceptual. It is about real stones, real time, real
actions.” Sometimes it’s hard to grasp these realities through the artist’s austere delivery, but glimpses of a
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warmer nature do sneak through. A photograph of Long’s clothes and rucksack laid out to dry on a river
bank commemorates his Falling In A River Walk of 1998.
Long’s commitment to walking was born in an era of rebellion against the impersonal, industrially uniform
objects of minimalism, but his sculptures and photographs are imbued with its formal qualities. He sticks
to simple, universal shapes, and though they are bursting with the infinite freedom of nature, they are
arranged with pin-point accuracy.
This tension is central to all of his mud drawings, which balance the unpredictable, very personal prints of
fingers and hands with the colour fields and geometric patterns of minimalism. His first cut slate work -
owned by the SNGMA and presiding magnificently over one whole room, above - replaces the uniform
bricks of Andre’s famous Equivalent VIII with irregular chunks of Cornish slate. Some of his larger, angular
wall-paintings evoke visions of Frank Stella in a mud-splashing frenzy.
Long likes to keep things simple, and to allow his work to speak for itself. “I like very plain sculptures,” he
said in 1971, “and usually people look for far too much in them.” The arrangement of the exhibition
complements this approach perfectly, with an elegant hang, light and airy, almost completely devoid of
explanatory text. The varied mix keeps things interesting, and every so often you turn a corner to be hit
with the impact of fresh, fragrant Firth of Forth mud all over the wall.
The geography of the gallery’s first floor - arranged around one long, narrow corridor - has allowed for a
tremendous vista from one end to the other; walking in the wilderness, Long has been known to identify
reference points on both horizons, keeping them in view in order to maintain a perfectly straight line. Here,
two of his own works become those reference points. And so our journey through the exhibition becomes
a formal walk in its own right.
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“Art’s Natural Revolutionary.” www.scotsman.com (The Scotsman), 29 June 2007.
Richard Long has been a major presence in contemporary art for 30 years, following a decade in which he
originated and developed the central themes, methods and visual forms that define his work. A member of
the “New Art” generation who in the 1960s broke away from the Pop Art of Peter Blake and David Hockney
and the abstract metal sculpture of Anthony Caro and William Tucker, Long reintroduced natural landscape
as a central theme of art, also making it both the location and the material of his sculpture.
Long matured as an artist very early on, and his vision and aesthetic soon secured admirers. He was
exhibiting internationally in his early twenties, and his first show in a national gallery was here in Scotland
in 1974. Three decades, and some 200 solo exhibitions later, he is back in the first British retrospective
since a major exhibition at the Hayward Gallery in 1991, with a show called Walking and Marking at the
Scottish National Gallery of Modern Art. The present exhibition contains a link to the earlier one in the
form of a white clay ziggurat wall drawing which repeats the form of a campfire ash drawing used on the
cover of the 1974 catalogue. It also includes a slate line floor sculpture purchased by the gallery in 1980,
the first such piece Long ever made.
Long’s earliest work exhibited a rare combination of experimentation, simplicity and strength that has
remained a distinctive virtue. Asked about other artists he admires, he mentions the conceptualist Lawrence
Weiner, whose work consists of short poetic statements or aphorisms, printed on a gallery wall or in a book,
and Sol LeWitt (who died in April this year), considered the founding figure of conceptual art and who also
made wall-drawings.
“Sol’s work had the rare combination of being extreme and quiet,” says Long, adding, “like Weiner’s, there
is a sense in which my work is almost nothing.” Purity, simplicity, directness, immediacy and strength are
recurrent themes in Long’s art and in his conversation.
For him, drawing has always been plain and functional, without expression or adornment, and in the service
of ideas that integrated geometry and pattern with travelling through the landscape. From the mid-1960s,
lines, circles and spirals began to appear, walked in grass or dust, inscribed in the earth or “drawn” upon it
with sticks or stones. Then there were indoor arrangements of driftwood, pine needles and ever more stones.
At first he worked near his childhood home in Bristol, an area in which he has remained interested, then in
Ireland and Scotland, Europe, North and South America, Africa, Australia and Asia. For 40 years he has
walked and worked, his whole body becoming an instrument for drawing upon the Earth.
Walking around the exhibition as the final touches were being added, I was struck both by the undiminished
power of Long’s imagination and the vigour of his work. The show is arranged thematically in several
interconnected ways. First there are the themes of the title, Walking and Marking: walks made and recorded
in framed texts, walks that inspired markings along the way now shown in photographs, or markings made
later in the gallery. Then there are the elements earth and water, compacted and combined - earth as stone;
earth and water as mud, poured, splashed and smeared. Finally, there is space and time as principles of
nature and as measures for work: walking for so far, or for so long, measured by sun, moon and tides.
Long is by nature solitary, by temperament quiet, and by character modest, yet he is proud “of having
introduced space and time into art in a certain way for the first time”.
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“I wanted to revolutionise art,” he says, “because I felt it had more potential than had been realised. I also
liked the idea of using my body directly in my sculpture to extend the scale of art-making. I was quite proud
of creating a work that was ten miles long.”
During the period in which he was developing his distinctive forms, there were others beginning to work
directly on the land. The use of nature in sculpture has since become very familiar through the work of
artists such as Andy Goldsworthy. Long respects his British contemporary Hamish Fulton, with whom he
has made occasional walks since they were students together in London, but he sees Fulton as different in
his restricting of his work to walks and to texts arising from them - there is no sculpting or drawing in the
landscape. Long also sees no connection with the monumental earthworks of Americans Robert Smithson
and Michael Heizer, and perceives his own work as quite different from that of Goldsworthy.
All Long says about the relationship between his own innovations and later “nature art” is: “If one person
opens the door, others can walk through.” In fact, there is a wide gulf between the unsentimental visionary
realism of Long, who is happiest with wilderness and intimations of infinity, and the more rural, intimate
and decorative craftwork of Goldsworthy. Long has no desire for his art to shock, unsettle, disturb or even
puzzle viewers. But nor is it meant to be a source of comfort or nostalgia for city dwellers. “My sensibility
is loyal to the art of the 1960s,” he says. Given his lifelong themes of land and nature and his love of
wilderness, how does Long relate his art to environmentalism and conservation? One recent work featured
a phrase heard in Ireland, “this global warming seems to be doing us some good”. Was he quoting this
ironically? His answer is interesting and will surprise and perhaps even disappoint some.
“I started making my work in the 1960s for completely different reasons than green politics. It is not part
of an environmental manifesto; it’s not evangelical or political; it’s about art. I do care about nature and the
environment. In specific cases if we can do something we should and I have supported particular projects
and campaigns. But that doesn’t mean that we should think that all change is a bad thing. There will always
be change. It is part of the very nature and life of the planet.”
What about interests and inspiration beyond landscape? “I take a lot of imaginative inspiration from music
and from other cultures; country and folk - Johnny Cash, Bob Dylan, Willie Nelson, Irish and African
traditional music. I like the way that around the world people use the same material as in my work - water,
mud, earth, and stones - to make and shape their environments. There is something universal and direct
using your hands and fingers to make a form or image.”
When I ask about whether he takes much interest in contemporary art, he replies: “I don’t spend a lot of
time in galleries. For one thing I am generally out making my own work. But I admire the German
choreographer Pina Bausch, and the work of the Japanese artist Tatsuo Miyajima.” The first choice is
unexpected given Bausch’s rather bleak themes of human struggle and her surreal stage settings; but there
are clear points of contact with Miyajima. He constructs dark environments of small LED number counters
that run between one and nine. Counting at different rates and in different directions, the assemblage
suggests the recombination of the finite towards the infinite. This sets Long off on a philosophical reflection
about themes in his own work.
“I like the random chaos of nature, and working with and sometimes against that. In a sense, the geometry
and measurement that feature in my work are like Platonic forms imposed on formless matter.”
That suggests that Long might be interested in theorising at length about his work. But quite the contrary,
he says. It’s about the act of making and about other people’s experience and appreciation of the results.
“People need art,” he says, “it raises the spirits. It’s also a big part of what makes us human; it’s part of our
fundamental identity: people need to make art and people want to see it. I want to do all of these things but
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I also want to communicate through what I make, so that years later the ideas will still be there for others
to see and understand.
“For me, communicating is the second half of my work, and I want people to appreciate it in the spirit in
which it was made. The best I can do is to make the work and hope people enjoy and understand it. Making
it is easier for me than explaining it but I hope the art speaks for itself. Again, it’s like music. What I have
to say is in the work, not in the explanation of it.”
The depth and strength of Long as an artist, and his creative originality, are everywhere on show in this
exhibition. It is important also for spanning both a range of forms and methods, and for taking the viewer
from the earliest pieces that helped define the “New Art” such as a line walked in the grass or in the desert,
to mud drawings and a large outdoor slate sculpture made for the show.
“Solitude brings me peace and contentment,” says Long, “and I am happy when I am making my art. It is
a great pleasure.”
Visitors to the Scottish National Gallery of Modern Art this summer will be able to see the products of his
solitary making and share in that pleasure. If you only see one contemporary art exhibition this year, it
should be this one.
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Ayres, Robert. “The AI Interview: Richard Long,” artinfo.com (Artinfo), 5 July 2006.
Over the last 40 years, British artist Richard Long has

gone a long way to changing the very perception of what
sculpture can be.
In the late 1960s, he began presenting walks as sculptures,

and in the intervening decades, he has remained faithful
to this simple idea—while expanding considerably the
range of sculptural manifestations that his walks produce.
He has made photographs, text-based works and

sculptures of stones and other materials found on his
This global warming seems to be doing us some good,
walks. He has also represented his walks with drawings
2006. and paintings—perhaps most memorably in mud applied
directly to gallery walls with his hands.
Later this summer, Walther König publishes Long’s latest book Dartmoor—An Eight Day Walk, and he is
currently showing new and recent work at Lismore Castle in Ireland.
Richard, let me begin by asking you about your current show. One of the works is a photo and text
piece titled This global warming seems to be doing us some good—A Dry Seven Day Coast to Coast Walk
across Ireland, Winter 2006. That title rather surprised me. It almost sounds like a joke.
It’s just something slightly ironic that somebody said to me while I was on the walk, as a comment on the
nice weather. The other panel of that piece says The land here is very bad, which was also a comment made
to me by a farmer that I happened to be passing. It’s a very common expression that the locals use, because
on the one hand, it’s idyllically beautiful there, it’s stunning scenery, but from the point of view of a farmer,
his cattle haven’t anything to eat.
The reason I asked you about This global warming seems to be doing us some good was because I’ve
never really thought of your work as having a sense of humor.
It’s not the primary purpose of my work, obviously. But if you pay attention over the years, a little wit
creeps in, as do references to music. It just depends how well you know the work. There are subtle nuances
in many of the text works.
The other thing I wanted to ask you about was how your work has been understood so differently
over the years. When you first appeared on the scene in the late ’60s, you were seen as an irreverent
revolutionary who seemed to want to turn sculpture on its head ...
Yes.
… whereas now you’re seen very much as part of longstanding romantic landscape tradition.
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Well, I might quibble about the use of the word

“romantic,” but certainly a landscape tradition,
absolutely, yes. But perceptions are bound to change over
the course of 30 or 40 years, aren’t they? One can’t have
the same position in the art world. I have a different view
of my own work now than I did when I was a young artist.
There’s more of it, for a start, and the cumulative effect
of it also changes the perception.
Of course, a young man whom no one knows walking

a line over a meadow [A line made by walking,
England, 1967] is perceived very differently to an In the foreground: Upstream, 2006.
artist with a huge body of work behind him.
Sure, yes. And I would argue that the fact that I’ve continued to walk straight lines in many different
geographical locations in all parts of the world, for different reasons, and for different lengths of time,
enriches and changes the resonance of that very first line. If I’d just left it at that effort, and never walked
a line again in my life, the significance of A line made by walking would be quite different now.
During the late ’60s and early ’70s, you were imagined to be part of a land-art movement.
That’s another thing that’s changed. It was only because I was in a few shows with the American land
artists. You could equally see my work in relationship to arte povera, for example. Obviously I am of my
time, and I would say that my work is a synthesis of certain aspects of conceptual art, minimal art and
maybe arte povera.
Unlike some of your contemporaries, your work from that period doesn’t look like a relic from a
distant time. And I think that’s because you haven’t made all sorts of different art since then—unlike
someone such as Dennis Oppenheim, for example, who was imagined to be part of the same
movement.
Yes, he’s been all over the place, hasn’t he? All I would say is that consistency and following a line of
thought counts for something.
Consistency—like your use of the circle motif, which you’ve clearly found very sustaining throughout
your career.
Exactly. It’s a powerful, strong idea that, as you say, has lasted throughout my career in different ways. In
a way, time tests ideas, and if it’s a weak idea, it doesn’t pass the test of time, but if it’s a strong idea, then
it does. That’s partly what all art’s about, isn’t it?
Finally, Richard, can you describe how you go about making work these days? I presume you’re
approached all the time with commissions.
Yes. I resist many of them, because that’s not my preferred way of working. The works that I love to do
most of all are just the walks in wilderness areas and making sculptures in the landscape in remote places.
But my work has so many parallel threads: You mentioned circles, but you could talk about water, you
could talk about stones, you could talk about time, you could talk about the big mud works that I make
directly on the wall in galleries and museums, you could talk about my fingerprint drawings, you could talk
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about my mud works where I dip the paper in muddy water … there are many parallel but interrelated
themes in my work.
So your preferred way to begin working is to identify a place?
A landscape. At the heart of my work is the fact that I make it myself. I have the pleasure of walking and
being in these places and making these works in the landscape. It’s also a question of realizing particular
ideas, too. So let’s say I have a certain idea about the symmetry of time and places, I can actually carry it
out personally by walking that idea. In other words, there’s no point in getting somebody else to do it. The
point of my work is my own physical engagement with the world in different ways, whether it’s walking,
or making fingerprints, or throwing stones, or whatever.
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Baker, Kenneth. “Richard Long’s art can be viewed by all who take a hike – or go to SFMOMA.”
www.sfchronicle.com (The San Francisco Chronicle), 4 February 2006.
British artist Richard Long and a painting made with his hands and clay from Nevada City. His work called “Water to Water” is
now at the Museum of Modern Art. Brant Ward 1/17/06
Richard Long has walked away from much of the sculpture he has made, after walking -- often for many
days -- to some remote spot to make it.
During his student years at St. Martin’s School of Art in London, Long, 60, decided to make walking his
method and signature as a land artist. He has never stood still for long since, though he continues to live in
his birthplace, Bristol, England.
He will walk into a deserted landscape, make a small intervention in it -- arrange stones in a circle, in an X
or in some less obvious pattern -- record it in a photograph, and walk on.
“I’ve left my traces, my rites of passage, all over the world in many different landscapes,” Long said when
we talked in San Francisco recently. “It’s not really about art objects. As you know I’m part of that
generation involved in the dematerialization of the art object. My work maybe disappears as a sculpture,
but the stones themselves do not disappear, they’re always there in the world. Stone is symbolic to me of
what the world is made of. Every stone in the world is different, the way every snowflake in the world is
different, like every fingerprint is different. It’s ideas of cosmic variety.”
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“Sierra Nevada Line” (2006) is a mud wall drawing by Richard Long that spans the long wall on SFMOMA’s third floor landing.
Photo by Ian Reeves courtesy San Francisco Museum of Modern Art.
The For-Site Foundation of Nevada City offered Long a residency last fall and he accepted, on condition
that he could use the time and resources on offer to support a 20-day walk, following the Pacific Crest Trail
through the Sierra. On the way, he made the photographs and gathered the materials for the small show of
his work now at the San Francisco Museum of Modern Art.
Long’s photographs show small alterations he made in the landscape as he found it: a group of flat stones
placed upright on a trail, stones set in rows on either side of a well-trodden path, the trail itself with Long’s
footprints imperceptibly added to it.
“The intention really is to make mountain passages, anonymous works that can’t be found, so they really
don’t become famous places. I’m interested in time and space and distance and not in making monuments
like American land artists that become famous places. The famous place in this particular show is the Pacific
Crest Trail itself.”
Long bluntly disassociates himself from the tendency of American land artists such as Robert Smithson
(1938-1973) and Walter De Maria to make things in remote places that become art world pilgrimage sites.
I wondered whether anyone has ever tried to make a tourist site of one of his pieces. “Yes, once or twice,”
he said. “Once in Ireland somebody put one of my stone circles on a map. That was a kind of strange
experience for me.”
Long usually does not follow prescribed paths -- at least not that he confesses -- in his walks. But of the
Pacific Coast Trail he said, “I was very aware that it’s this sort of social thread going through the mountains,
which is actually made of footprints. If you go onto a side trail by mistake, then you have the feeling that
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you’re on the wrong track. You can always identify the Pacific Coast Trail by the fact that it always has
fresh footprints on it. I was very aware that my walk was a new line of footprints joining an incredible
continuum that, by the time we’re done talking, will be changed by still other footprints, yet it’s still the
same trail. So I’m interested in any place that’s always changing but is always the same.”
Paradoxes crisscross Long’s art. His SFMOMA show contains both works that will be reconstructed by
others in the future and works, equally plain and direct, that only he can make.
“Gold Rush” (2006) was composed of material Long collected near an abandoned mine in the Sierra. Photo by Ian Reeves courtesy
San Francisco Museum of Modern Art.
The stone floor piece “Gold Rush” (2006) spans the end of a room and tapers to an isosceles triangle as it
extends into the space. Long composed it with material he collected near an abandoned mine in the Sierra.
He will write instructions for its reassembly, as he does for all his indoor stone pieces. Looking at “Gold
Rush,” which he installed, one naturally wonders how much care Long took in placing particular stones.
Very little, it turns out. “That’s not the subject of my work,” Long said, “the preciousness of each individual
stone. But having said that, with this piece here the stones are chosen quite randomly from an old mining
area, and each stone in its own right is quite aesthetic.”
As to instructions for its re-installation, “I might specify that they’re all to be laid on their flatter sides,” he
said, “that they’re touching but not overlapping. But if that work is made again by someone else, all the
stones will be in a different place. Nevertheless, overall the work would look much the same.”
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Then again, Long did choose deliberately the stone at the apex of the triangle. He will not insist that it
occupy the same position in the work’s next presentation, but “I might say that the capstone should be a
very heavy stone.”
As to setting up a floor piece, he said, “The method is always whatever is easiest. In circular pieces it would
be really difficult if you started in the middle and worked out. It’s just much easier to start on one edge and
work across. So all these things are just practical.”
In a public lecture at SFMOMA he added, “I sometimes think that if a work takes more than half an hour
to make, there’s something wrong with it.”
Two site-specific pieces here, “From Water to Water” and “Sierra Nevada Line,” wonderfully display
Long’s technique of drawing with mud on walls, something he cannot delegate.
The stenciled-on phrase “From Water to Water” connects two abstract patterns of mud splashed within
black rectangles. Abstract but not non-referential as each pattern approximates the I Ching hexagram
“Kan,” which symbolizes water -- twice -- but evokes darkness or danger skillfully negotiated.
“I thought of this work on the walk itself,” Long said, “because one of the most important facts on a walk
is where is the next water source, especially on a dry walk like in the Sierra. You have to figure out where
your next water is and how much you have to carry and whether the spring is still running and that sort of
thing. ‘From Water to Water’ is part of the structure of the Sierra walk.”
A second mud drawing, “Sierra Nevada Line,” spans the long wall on SFMOMA’s third floor landing.
Long describes it -- a sort of distended ziggurat in form -- as “an abstraction of a mountain.”
The wall pieces, made very fast by the artist’s own hands dipped in liquid mud, have a pleasing interplay
of geometric constraint and whiplash detail, reminiscent more of Jackson Pollock than of any modern
sculptor’s work. But gravity and the physical demands of working process keep the viewer from reading
Long’s flying marks expressionistically.
Does he anticipate, as I do, that visitors will see a quotient of absurdity in what he does?
“I would hope so, yes,” Long said, with a hard-won grin. “I agree with Oscar Wilde that all art is completely
useless, like life itself.”
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Tatley, Roger. “In the Studio: Richard Long.” Art + Auction, February 2006, pp. 40-44.
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Briedenbach, Tom. “Richard Long.” Artforum, November 2004, p. 221

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Durrant, Nancy. “This Week.” The Times, 16 October 2004, p. 20

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Smith, Roberta. “Richard Long.” The New York Times, 8 October 2004, p. E37.
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“Art of the Garden: Richard Long.” Royal Academy (RA) Magazine, Summer 2004.
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“A Long way to go: the art of walking.” Royal Academy (RA) Magazine, Summer 2004, p. 55
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Irving, Mark. “I am just passing though the world.” The Financial Times, 9 June 2003.
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Packer, William. “Mud, mud, glorious artistic mud.” The Financial Times, 27 August 2002.
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Cohen, Mark Daniel. “Richard Long.” Review, 15 April 2000, pp. 16-19.
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Riding, Alan. “A Symbol of Renewal In South London.” The New York Times, 1 May 2000, p. 13.
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Long, Richard. Royal West of England Academy, 21 May – 8 July 2000.

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Dziewior, Yilmaz. “Preview: Richard Long: Kunstverein Hannover.” Artforum, January 1999, p. 58.
Richard Long, Shirakami Line, 1997, framed work: photography and text, 32 x 44”.
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Kirkpatrick, Colin. “Richard Long: No Where.” transcript, vol. 2 no. 2, 1997, pp. 38-51.
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Hammod, Anna. “Up Now: Richard Long.” ARTnews, November 1997, p. 229.
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Hasegawa, Yuko. “Questions for Richard Long.” Richard Long, Sangyo Suigyo. Exhibition catalogue. Tokyo,
Japan: Setagaya Art Museum, 1996, pp. 12-15.
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Friis-Hansen, Dana. “Context and Continuity: Richard Long’s Circles Cycles Mud Stones.” In Richard Long: Circles
Cycles Mud Stones. Exhibition catalogue. Houston, TX: Contemporary Arts Museum, 1996. pp. 9-31.
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Dewan, Shalia. “Walking Man. Richard Long treads lightly on the earth – and his audience’s imagination.” Houston
Press, 1996, p. 41.
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Irvine, Madeline. “A hit of fresh air.” Austin American – Statesman, 1996, p. 49.
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Johnson, Patricia C. “A Long walk in nature.” Houston Chronicle, May 1996, pp. 1D, 3D.
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Stevens, Mark. “Walks of Life.” New York Magazine, 18 April 1994, pp. 106, 110.
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Aukeman, Anastasia. “Richard Long.” ARTnews, October 1994, pp. 180-181.

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Fleck, Robert. “Richard Long, ARC.” FlashArt, Summer 1993, pp. 122-123.
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Mattick, Jr., Paul. “Richard Long at 65 Thompson Street.” Art in America, July 1993, pp. 101-102.
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Cotter, Holland. “Richard Long.” The New York Times, 19 February 1993, p. C26.
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Jones, Amelia. “Richard Long. Angles Gallery.” Artforum, September 1992, p. 104.
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Huntoon, Siri. “Richard Long. Sperone Westwater.” ARTnews, January 1992, pp. 118-119.
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Renton, Andrew. “Richard Long. A Walk Around the Block.” Flash Art, October 1991, p. 129.
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Brown, David. “While out walking.” The Times Literary Supplement, 5 July 1991.
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Dexter, Emma. “Richard Long. Tate Gallery, London.” Sculpture, March-April 1991, p. 67.
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Garlake, Margaret. “Richard Long. Arnolfini/Anthony d’Offay.” Artscribe, May 1990, p. 72.
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Golding, Martin. “Thoughts on Richard Long.” Modern Painters, Spring 1990, pp. 50-53.
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Joyce, Conor. “Walking Into History.” FlashArt International, Summer 1989, pp. 114-117.
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Johnston, Jill. “Walking Into Art.” Art in America, April 1987, pp. 161-169, 235.
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Morgan, Robert C. “Richard Long’s Poststructural Encounters.” Arts, vol. 61, no.6, February 1987, pp. 76-77.
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RICHARD LONG
Biography
Born: l945, Bristol, England.
Education: West of England College of Art, Bristol 1962-1965

St. Martin’s School of Art, London 1966-1968
Prizes and Awards: October 1988 Kunstpreis Aachen

November 1989 Turner Prize
June 1990 Chevalier dans l’Ordre des Arts et des Lettres
July 1995 Doctor of Letters, honoris causa. University of Bristol
January 1996 Wilhelm Lehmbruck-Preis, Duisburg
September 2009 Praemium Imperiale Art Award
December 2012 Commander of the Most Excellent Order of the British
Empire (CDE), awarded by Queen Elizabeth II
February 2015 Whitechapel Art Gallery Icon Award
Solo Exhibitions
1968 “Sculpture,” Konrad Fischer, Düsseldorf, Germany, 21 September – 18 October

1969 “Richard Long,” John Gibson, New York, 22 February – 14 March
“Sculpture,” Yvon Lambert, Paris, France, 5 – 26 November
“Richard J. Long,” Konrad Fischer, Düsseldorf, Germany, 5 July – 1 August
“A Sculpture by Richard Long,” Galleria Lambert, Milan, Italy, 15 November – 1 December
1969-70 “Richard Long: Exhibition One Year,” Museum Haus Lange, Krefeld, Germany, July 1969 – July
1970
l970 “Richard Long,” Dwan Gallery, New York, 3 – 29 October
“4 Sculptures,” Städtisches Museum, Mönchengladbach, Germany, 16 July – 30 August
“Eine Sculpture von Richard Long,” Konrad Fischer, Düsseldorf, Germany, 11 May – 9 June
1971 “Richard Long,” Gian Enzo Sperone, Turin, Italy, opened 13 April
“Richard Long,” Museum of Modern Art, Oxford, UK, 9 – 23 December
“A Sculpture by Richard Long,” Art and Project, Amsterdam, The Netherlands, 17 July – 6
August
“Richard Long,” Whitechapel Art Gallery, London, UK, 9 – 21 November
1972 “Projects: Richard Long,” The Museum of Modern Art, New York, 14 March – 17 April
“Look the Ground in the Eye,” Yvon Lambert, Paris, France, opened May 3
l973 “Richard Long,” Lisson Gallery, London, UK, 23 January – 24 February
“Richard Long,” Wide White Space, Antwerp, Belgium, 5 March – 12 April
“A Rolling Stone,” Konrad Fischer, Düsseldorf, Germany, 29 March – 25 June
1973-74 “Richard Long,” Stedelijk Museum, Amsterdam, The Netherlands, 7 December 1973 – 27
January 1974
l974 “Richard Long,” John Weber, New York, 4 – 29 May
“Richard Long,” Scottish National Gallery of Modern Art, Edinburgh, UK, 9 July – 11 August
“Richard Long,” Lisson Gallery, London, UK, 1 – 30 November
1974-75 “River Avon Driftwood,” Konrad Fischer, Düsseldorf, Germany, 20 December 1974 – 19 January
1975
1975 “Driftwood,” Wide White Space, Antwerp, Belgium, 15 April – 16 May
“Richard Long,” Yvon Lambert, Paris, France, 24 April – 20 May
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“River Avon Driftwood, Crossing Two Rivers / Minnesota / Wiltshire,” Art and Project,
Amsterdam, The Netherlands, 18 March – 5 April
“Richard Long,” Rolf Preisig, Basel, Switzerland, 12 June – 12 July
“Richard Long,” Plymouth School of Art, Plymouth, UK, date unknown
1976 “Stone Circles,” Gian Enzo Sperone, Rome, Italy, 16 March – April
“River Avon Driftwood,” Konrad Fischer, Düsseldorf, Germany, 15 May – 11 June
“Richard Long,” Wide White Space, Antwerp, Belgium, 25 May – 10 June
“Stones,” Lisson Gallery, London, UK, 24 – 26 June
“Richard Long,” British Pavilion, XXXVII Venice Biennale, Venice, Italy, 18 July – 10 October
“Richard Long,” Art Agency, Tokyo, Japan, opened 14 October
“River Avon Driftwood,” Arnolfini, Bristol, UK, 23 November – 24 December
1976-77 “Richard Long,” Sperone Westwater Fischer, New York, 4 December 1976 – 8 January 1977
l977 “Richard Long,” Whitechapel Art Gallery, London, UK, 25 January – 27 February
“A Stone Sculpture by Richard Long,” Art and Project, Amsterdam, The Netherlands, 8 February
– 5 March
“Kamienne Kolo,” Gallery Akumulatory, Poznana, Poland, 9 May – 19 June
“Richard Long,” Rolf Preisig, Basel, Switzerland, 17 May – 21 June
“Richard Long,” Lisson Gallery, London, UK, 21 May – 18 June
“Richard Long,” Kunsthalle, Bern, Switzerland, 15 July – 7 August
1977-78 “Richard Long,” National Gallery of Victoria, Melbourne, Australia, 8 December 1977 – 7
January 1978
“John Kaldor Art Project 6: Richard Long,” Art Gallery of New South Wales, Sydney, Australia,
16 December 1977 – 5 February 1978
l978 “Driftwood Circle,” Art and Project, Amsterdam, The Netherlands, 10 January – 4 February
“Richard Long,” Yvon Lambert, Paris, France, 2 February – 3 April
“Richard Long,” Konrad Fischer, Düsseldorf, Germany, 11 March – 7 April
“Outback,” Lisson Gallery, London, UK, 2 – 20 May
“Richard Long,” Park Square Gallery, Leeds, UK, 6 – 30 June
“Richard Long,” Ink, Zurich, Switzerland, 19 July – 31 August
“Richard Long,” Sperone Westwater Fischer, New York, 30 September – 21 October
“Richard Long,” Ausstellungsraum Ulrich Ruckriem, Hamburg, Germany, 21 October – 12
November
l979 “Richard Long,” Ink, Zurich, Switzerland, 19 February – 8 April
“The River Avon,” Anthony d’Offay, London, UK, 15 March – 12 April
“Richard Long,” Rolf Preisig, Basel, Switzerland, 6 April – 5 May
“Recent Work by Richard Long,” Orchard Gallery, Londonderry, Derry, UK, 1– 19 May
“Chalk Stone Line 1979,” Photographic Gallery, Southampton University, Southampton, UK, 11
– 29 June
“Sculpturen en Fotowerken,” Van Abbemuseum, Eindhoven, The Netherlands, 29 September –
28 October
“Richard Long,” Lisson Gallery, London, UK, 9 October – 16 November
“Richard Long,” Art Agency, Tokyo, Japan, 20 October – 16 November
“Richard Long,” Museum of Modern Art, Oxford, UK, 11 November – 23 December
1980 “Stone Circles,” Karen and Jean Bernier, Athens, Greece, 1 – 29 March
“Stones and Sticks,” Art and Project, Amsterdam, The Netherlands, 22 March – 19 April
“Richard Long,” Fogg Art Museum, Harvard University, Cambridge, MA, 17 April – 1 June
(catalogue)
“Richard Long,” Sperone Westwater Fischer, New York, 26 April – 17 May
“New Work,” Anthony d’Offay, London, UK, 17 September – 16 October
“Richard Long,” Konrad Fischer, Düsseldorf, Germany, 8 – 29 November
l98l “Richard Long,” Sperone Westwater Fischer, New York, 10 – 31 January
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“Richard Long,” Anthony d’Offay, London, UK, 3 June – 8 July

“Black and White Willow Circles,” Graeme Murray Gallery, Edinburgh, UK, 7 – 28 February
“Richard Long,” Konrad Fischer, Zurich, Switzerland, 8 May – 6 June
“New Work,” David Bellman, Toronto, Ontario, Canada, 12 September – 10 October
1981-82 “Richard Long,” CAPC Musée d’art contemporain, Bordeaux, France, 4 December 1981 – 30
January 1982
l982 “Richard Long,” Art and Project, Amsterdam, The Netherlands, 23 January – 20 February
“Richard Long,” Yvon Lambert, Paris, France, 13 February – 12 March
“Richard Long,” Flow Ace Gallery, Venice, Italy, 1 – 31 May
“Richard Long,” Sperone Westwater Fischer, New York, 25 September – 23 October
1982-83 “Richard Long,” National Gallery of Canada, Ottawa, Ontario, Canada, 21 October 1982 – 9
January 1983
1983 “Selected Works, 1965 – 1983,” Arnolfini, Bristol, UK, 26 March – 7 May
“New Works,” Anthony d’Offay, London, UK, 29 March – 12 May
“Richard Long,” Antonio Tucci Russo, Turin, Italy, 20 May – 30 September
“Richard Long Exhibition,” Century Cultural Foundation, Tokyo, Japan, 18 April – 31 May
“Richard Long,” Art Agency Tokyo, Tokyo, Japan, 20 April – 31 May
“Canadian Sculptures,” David Bellmann, Toronto, Ontario, Canada, 19 March – 16 April
“Richard Long,” Konrad Fischer, Düsseldorf, Germany, 16 September – 14 October
1984 “Watermarks,” Coracle Press, London, UK, 7 –31 January
“Stone,” Lucio Amelio, Naples, Italy, 14 January – 6 February
Dallas Museum of Art, Dallas, date unknown
“New Works,” Crousel-Hussenot, Paris, France, 10 March – 15 April
“Richard Long,” Jean Bernier, Athens, Greece, 29 March – 28 April
“Richard Long,” Sperone Westwater, New York, 5 May – 2 June
“Muddy Water Falls,” Anthony d’Offay, London, UK, 16 October – 16 November
“Richard Long,” The Butler Gallery, Kilkenny Castle, Kilkenny, Ireland, 25 August – 23
September
“River Avon Mud Works,” Orchard Gallery, Londonderry, Derry, UK, 23 September – 13
October.
“Richard Long,” Konrad Fischer, Düsseldorf, Germany, 20 October – 30 November
1985 “Richard Long,” Galerie Buchman, Basel, Switzerland, 26 January – 9 March
“From Pass to Pass,” Anthony d’Offay, London, UK, 4 – 29 June
“Richard Long,” Malmö Konsthall, Malmö, Sweden, 20 September – 13 October, 26 October –
24 November
“Richard Long,” Abbots Hall, Kendal, UK, 6 July – 1 September
1985-86 “Richard Long,” Padiglione d’Arte Contemporanea di Milano, Milan, Italy, 29 November 1985 –
25 February 1986
1986 “Œuvres Récentes,” Galerie Crousel-Hussenot, Paris, France, 12 April – 13 May
“Richard Long,” Sperone Westwater, New York, 6 –16 September
“Richard Long,” The Solomon R. Guggenheim Museum, New York, 12 September – 30
November (catalogue)
“Richard Long,” Palacio de Cristal, Madrid, Spain, 28 January – 20 April
“New Works,” Anthony d’Offay, London, UK, 8 October – 12 November
1986-87 “Richard Long,” Tucci Russo, Turin, Italy, 12 December 1986 – 14 March 1987
1987 “Richard Long,” Musée Rath, Geneva, Switzerland, 7 May – 21 June
“Allotment One: Richard Long – Stone Fields,” Renshaw Hall, Liverpool, UK, 19 May –
September
“Richard Long,” Donald Young Gallery, Chicago, IL, 23 October – 28 November
“Cairn,” Cairn Gallery, Gloucestershire, UK, 7 November – 5 December
1987-88 “Richard Long,” Jean Bernier Gallery, Athens, Greece, 15 December 1987 – 9 January 1988
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“Richard Long,” Centre National d’Art Contemporain, Grenoble, France, 13 December 1987 – 9
January 1988
1988 “Richard Long,” Konrad Fischer, Düsseldorf, Germany, 20 February – 30 March
“3.Kunstpreis Aachen,” Neue Galerie Sammlung Ludwig, Aachen, Germany, 14 October – 26
November
“Richard Long,” Anthony d’Offay, London, UK, 22 October – 26 November
1989 “Richard Long,” Kunstmuseum St. Gallen, Switzerland, 15 January – 26 February
“Richard Long,” Jean Bernier, Athens, Greece, 23 February – 27 March
“Richard Long,” Sperone Westwater, New York, 18 March – 15 April
“Footprints,” Coopers Gallery, Bristol, UK, 14 April – 27 May
“Richard Long,” Tucci Russo, Turin, Italy, 21 April – 20 July
“Richard Long,” Galerie Pietro Sparta, Chagny, France, 10 June – 1 October
The Solomon R. Guggenheim Museum, New York
“Richard Long,” La Jolla Museum of Contemporary Art, La Jolla, CA, 20 August – 15 October
Museums Ludwig in den Rheinhallen, Köln, Germany
“New Works,” The Henry Moore Sculpture Trust Studio, Halifax, 25 October – 10 December
1990 “Richard Long,” Arnolfini, Bristol, UK, 20 January – 25 February
“Water and Stones,” Anthony d’Offay, London, UK, 26 January – 24 February
“New Work,” Angles Gallery, Santa Monica, CA, 23 March – 31 April
“Richard Long,” Galerie Tschudi, Glarus, Switzerland, 7 July – 30 September
“Turf Line,” Konrad Fischer, Düsseldorf, Germany, 14 July – mid-August
“Richard Long,” Marc Richards Gallery, Los Angeles, CA, 21 April - 25 May
1990-91 “Richard Long,” The Tate Gallery (new installation), London, UK, 3 October 1990 – 6 January
1991
“Richard Long,” Magasin 3 Stockholm Konsthall, Stockholm, Sweden, 5 October 1990 - 20
January 1991 (catalogue)
“Richard Long,” Musée Départmental d’Art Contemporain de Rochechouart, Rochechouart,
France, 11 October 1990 – 6 January 1991
1991 “Richard Long,” Tate Gallery, Liverpool, UK, 23 January – 3 March
“Richard Long,” Städtische Galerie, Frankfurt, Germany, 21 February – 12 May
“Richard Long,” Tucci Russo, Turin, Italy, 27 February – 27 April
“Richard Long,” Hayward Gallery, London, UK, 14 June - 11 August (catalogue)
“Richard Long,” Sperone Westwater, New York, 19 October - 16 November
1991-92 “Richard Long,” Galerie Tschudi, Glarus, Switzerland, 23 November 1991 – May 1992
“Stone Line 1980 and Selected New Works,” Scottish Gallery of Modern Art, Edinburgh, UK,
December 1991 – February 1992
1992 “Richard Long and James Turrell,” Steingladstone, New York, 11 January - 14 March
“Richard Long,” Jean Bernier, Athens, Greece, 23 January - 21 March
“Richard Long, Mississippi Mud,” Angles Gallery, Santa Monica, CA, 9 April – 9 May
“Richard Long,” Fundacio Espai Poblenou, Barcelona, Spain, 9 June – November
“Richard Long,” Konrad Fischer, Düsseldorf, Germany, 7 November – 2 December
1993 “Richard Long,” 65 Thompson Street, New York, 30 January – 13 March
“Richard Long, River to River” Musée d’Art Moderne de la Ville de Paris, Paris, France, 25
March – 29 May
“Georgia Granite Line,” Cleveland Center for Contemporary Art, Cleveland, OH, 2 April – 27
June
“Richard Long,” Inkong Gallery, Seoul, Korea, April 23 – June 19
“Richard Long, Wayside Stones,” Anthony d’Offay Gallery, London, UK, 25 June – 12 August
“Richard Long, Circles and Lines,” Kunstverein Bremerhaven, Bremerhaven, Germany, 31
October – 28 November
1993-94 “Richard Long,” The Center for Contemporary Arts of Santa Fe, Santa Fe, NM, 22 October 1993
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– 7 January 1994
1994 “Richard Long, Shenandoah Neandertal,” Konrad Fischer, Düsseldorf, Germany, 3 March – 5
April
“Richard Long,” Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, 5 March – 24
April
“Richard Long: Books, Prints, Printed Matter,” The New York Public Library, New York, 26
March – 25 June (pamphlet)
“Richard Long,” Sperone Westwater, New York, 26 March – 23 April
“Museum Studies 2,” Philadelphia Museum of Art, Philadelphia, PA, 12 April – 7 August
“Richard Long,” Palazzo Delle Esposizioni, Rome, Italy, 4 May – 30 June
“Richard Long,” The Pier Arts Centre, Stromness, Orkney, Scotland, 17 June – 9 July
“Richard Long,” 22nd Bienal Internacional de Sāo Paulo, Sāo Paulo, Brazil, 12 October – 11
December
1994-95 “Richard Long,” Tucci Russo, Torre Pelica, Italy, 1 October 1994 – March 1995
“Stones, Clay, Water,” Museum of Contemporary Art, Sydney, Australia, 21 December 1994 –
13 February 1995
1995 “Somerset Willow Line,” Peter Blum Gallery, New York, February
“Ten Stones,” Laura Carpenter Fine Art, Santa Fe, NM, 1 March – 22 April
“Richard Long,” La Sala de Exposiciones de la Diputación de Huesca, Huesca, Spain, 26 May –
10 September
“Richard Long,” Onnur Hæd Syningarsalur, Reykjavik, Iceland, July – August
“Richard Long,” Michael Hue-Williams Fine Art, London, UK, 22 August – 29 September
“A Walk in Iceland, A Circle of Slate, A Walk in New Mexico,” Anthony d’Offay Gallery,
London, UK, 13 September – 14 October
1995-96 “Richard Long,” Daniel Weinberg Gallery, San Francisco, CA, 2 November 1995 – 13 January
1996
“Walking Stones,” Konrad Fischer, Düsseldorf, Germany, 16 December – 21 December 1995, 9
January – 6 February 1996
1996 “Richard Long: Sangyo Suigyo,” Setagaya Art Museum, Tokyo, Japan, 1 February – 24 March;
traveled to The National Museum of Modern Art, Kyoto, Japan, 23 April – 26 May
“Luis Barragan: Sitio + Superficie,” Antiguo Colegio de San Ildefonso, Guadalajara, Mexico,
March – April
“Richard Long: Circles Cycles Mud Stones,” Contemporary Arts Museum, Houston, TX, 27
April – 9 June (catalogue)
“Richard Long: Here and There,” Modern Art Museum of Fort Worth, Fort Worth, TX, 5 May –
7 July
“Richard Long: Dolomite Stones,” AR/GE Kunst, Bolzano, Italy, 10 November – 30 November
“Richard Long,” Galerie Tschudi, Glarus, Switzerland, 29 October- 14 December
1997 “Richard Long,” Wilhelm Lehmbruck Museum, Duisburg, Germany, 19 January – 30 March
“Richard Long: Dartmoor Time,” Spacex Gallery, Exeter, UK
“Richard Long: A Road from the Past to the Future,” Crawford Arts Centre, St. Andrews,
Scotland, 21 March – 20 April
“Richard Long,” Naoshima Museum of Contemporary Art, Naoshima, Japan, opened 25 May
“Richard Long,” Sperone Westwater, New York, 20 September – 8 November
1997-98 “Richard Long,” Spazio Zero, Cantieri Culturali alla Zisa, Palermo, Italy, 1 November 1997 – 15
January 1998
1998 “Richard Long,” Bristol City Museum & Art Gallery, Bristol, UK
“Richard Long,” Zugspitzgipfel, Bayerische Zugspitzbahn AG, in collaboration with the Neuen
Museum, and the Staatlichen Museum für Kunst und Design, Nürnberg, Germany, 18
January – 14 June (brochure), Garmisch-Partenkirchen
1998-99 “Richard Long,” Tucci Russo Studio per l’arte contemporanea, Torre Pellice, Turin, Italy, 19
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September 1998 – 28 February 1999

1999 “Richard Long,” Kunstverein and Orangerie, Hannover, Germany, 17 January – 14 March
(catalogue)
“Richard Long,” Bernier/Eliades, Athens, Greece, 4 March – 21 April
“Richard Long,” Galeria Mário Sequeira, Braga, Portugal, 22 May – 31 July
2000 “Richard Long,” Anthony d’Offay Gallery, London, UK, 18 February – 11 March
“Richard Long: 2000 Fingerprints,” Griffin, Venice, CA, 22 January – 4 March
“Pure,” Maidstone Library Gallery, Maidstone, Kent, UK, 25 March – 6 May
“Richard Long,” Sperone Westwater, New York, 1 April – 29 April
“Richard Long, Fingerprint Stones,” James Cohan Gallery, New York, 5 April – 13 May
“New York Projects,” Public Art Fund, New York, April – June
“Richard Long,” Royal West of England Academy, Bristol, UK, 21 May – 8 July
“Richard Long,” Moderna e Contemporanea di Trento e Rovereto, Trento, Italy, September –
October
“Richard Long,” Konrad Fischer Galerie, Düsseldorf, Germany, 14 October – 25 November
2000-01 “Richard Long,” Galerie Tschudi, Glarus, Switzerland, 5 – 23 December 2000, 16 January – 17
February 2001
“Richard Long,” Adelson Art Gallery, The Aspen Institute, Aspen, CO, 21 December 2000 – 15
March 2001
2001 “Richard Long,” Galerie Daniel Templon, Paris, France, 26 April – 26 May
“Richard Long,” Museum Kurhaus Kleve, Cleves, 24 June – 23 September
2001-02 “Richard Long: Heaven and Earth,” Museu Serralves, Porto, Portugal, 20 October 2001 – 6
January 2002
“On Site: Richard Long,” Milwaukee Art Museum, Milwaukee, 14 November 2001 – 3 March
2002
2002 “Richard Long,” New Art Centre Sculpture Park and Gallery, Salisbury, Wiltshire, UK, 18 May –
22 September
“Richard Long,” Galerie Tschudi, Glarus, Switzerland, 16 February – 31 May
“Richard Long: A Moving World,” Tate St. Ives, Cornwall, UK, 13 July – 13 October (catalogue)
“Richard Long,” Griffin Contemporary, Venice, CA
2002-03 “Richard Long,” Galerie Tschudi, Glarus, Switzerland, 21 December 2002 – 15 March 2003
2003 “Richard Long: Here and Now and Then,” Haunch of Venison, London, UK, 11 June – 30
August
2004 “Richard Long, The Human Touch,” Galeria Mário Sequeira, Braga, Portugal, 3 April – 30 June
“Richard Long,” Kukje Gallery, Seoul, South Korea, 4 May – 13 June (catalogue)
“Richard Long: Little Tejunga Canyon Line,” Van de Weghe Fine Art, New York, Summer
“Richard Long,” Sperone Westwater, New York, 10 September – 23 October (catalogue)
“Richard Long: The Music of Stones,” Synagoge Stommeln, Stommeln, Germany, 19 September
– 28 November
2005 “Richard Long,” Galerie Tschudi, Glarus, Switzerland, 2 April – 28 May
“Richard Long,” Galleria Lorcan O’Neill Roma, Rome, Italy, 9 April – 21 May
2006 “Richard Long: The Time of Space”, Haunch of Venison, London, UK, 3 January – 10
February
“Richard Long: The Path is the Place is the Line,” The San Francisco Museum of Modern Art,
San Francisco, CA, 21 January – 25 April
“Richard Long,” Galleria Tucci Rosso, Turin, Italy, 11 February – 30 April
“Richard Long: Really, Really Simple,” Villa Menafoglio Litta Panza, Varese, Italy, 13 April –
25 June
“Richard Long,” Lismore Castle Arts, Lismore, Ireland, 21 May – 1 October
2007 “Richard Long: Walking and Marking,” Scottish National Gallery of Modern Art, Edinburgh,
Scotland, 30 June – 21 October
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2008 “Richard Long: Neue Arbeiten,” Konrad Fischer Galerie, Dusseldrof, Germany, 7 March –
12 April
“Richard Long,” Galeria Lorcan O’Neill, Rome, Italy, 26 February – April
“Richard Long,” Musee d’Art moderne et d’Art contemporain, Nice, France, 31 May – 16
November (brochure)
“Richard Long,” Haunch of Venison, Berlin, 14 June – 6 September
2009 “Richard Long: Heaven and Earth,” Tate Britain, Millbank, England, 3 June – 6 September
(catalogue and brochure)
2010 “Richard Long – Skulpturen / Sculptures,” Skulpturenpark Waldfrieden, Wuppertal, Germany,
25 February – 18 April
“Richard Long: A Thousand Stones Thrown in the River Yangtze,” James Cohan Gallery
Shanghai, Shanghai, China, 10 September – 7 November
2010-11 “Richard Long,” Galerie Tschudi, Zuoz, Switzerland, 22 December 2010 – 12 March 2011
2011 “Richard Long,” MC Gallery, Seoul, Korea, 18 February – 2 April
“Richard Long: Berlin Circle,” Hamburger Bahnhof, Berlin, Germany, 26 March – 31 July
“Richard Long: Flow and Ebb,” Sperone Westwater, New York, 6 May – 25 June
“Richard Long: Human Nature,” Haunch of Venison, London, 27 May – 20 August
“Richard Long – Champ d’Ocre,” Chapelle Saint Charles, Avignon, 23 August – 16 October
2011-12 “Richard Long: Karoo Highveld,” Iziko South African National Gallery, Gape Town, South
Africa, 9 November 2011 – 10 April 2012 (catalogue)
2012 “Artist Rooms Tour,” The Hepworth Wakefield, Wakefield, England, 23 June – 14 October
“Richard Long: Text Works 1990 - 2012,” Galleria Lorcan O’Neill Roma, Rome, Italy,
23 March – 30 April
“Richard Long: Flint Cross,” Konrad Fischer Galerie, Berlin, Germany, 27 April – 16 June
“Richard Long: Works on Paper,” SMAC Art Gallery, Stellenbosch, South Africa,
14 June – 2 September
“Richard Long: Text and Photo Works,” Lorcan O’Neill, Rome, 14 June – 2 September
“Richard Long: Artist Rooms,” Ronchini Gallery, London, 24 June – 14 October
“Richard Long,” Galeri Artist Istanbul, Istanbul, Turkey, 7 September – 3 October
2012-13 “Richard Long,” Torre Pellice, Italy, 7 October 2012 – 24 February 2013
2013 “Richard Long: Prints 1970 – 2013,” Museum Kurhaus Kleve, Cleves, Germany, 21 April – 30
June (catalogue)
“Richard Long: Rhine Driftwood Line,” DKM Museum, Duisberg, Germany, 20 April – 1 June
“Richard Long: Drawings,” Galerie Tschudi, Zuoz, Switzerland, 27 July – 21 September
“Richard Long,” Hirose Collection 7, Japan, 15 June – 4 August
“Richard Long: Prints 1970 – 2013,” Hamburger Kunsthalle, Hamburg, Germany, 14 July – 20
October
2014 “Richard Long,” Sculpture and Gestural Works, Lisson Gallery, London, UK, 23 May – 12 July
“Richard Long: Mendoza Walking,” Faena Arts Center, Buenos Aires, 28 June – 28 July
(booklet)
“Prints 1970 – 2013,” New Art Gallery, Walsall, 16 April – 22 June
“Spring Circle,” New Art Gallery, Walsall, 16 April – 9 July
2015 “Richard Long: The Spike Island Tapes,” Alan Cristea Gallery, London, UK, 20 February – 2
April (catalogue)
“Richard Long: Time and Space,” Arnolfini, Bristol, UK, 31 July – 15 November (catalogue)
“Richard Long: Crescent to Cross,” Sperone Westwater, New York, 11 September – 24 October
2015-16 “Richard Long - Larksong Line,” Galerie Tschudi, Zuoz, Switzerland, 19 December 2015 – 19
March 2016
2016 “Richard Long. Gravity,” Ivorypress, Madrid, 23 February – 2 April
“Cold Stones,” Centro Arte Contemporaneo Malaga, Malaga, 13 May – 21 August
“Richard Long,” Judd Foundation, New York, 1 October – 17 December
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2017 “EARTH SKY: Richard Long at Houghton,” Houghton Hall, Norfolk, 30 April – 26 October
(catalogue)
Selected Group Exhibitions
1967 “19:45 – 21:55,” Galerie Loehr, Frankfurt, from 9 September

1968 “Young Comtemporaries,” Royal Institute Piccadilly Galleries, London, UK, 30 January – 27
February
“A3: Arte e Azione Povera,” Amalfi, Italy, October
l969 “Earth Art,” Andrew Dickson White Art Gallery, Cornell University, Ithaca, New York, 11
February – 16 March
“One Month,” Seth Siegelaub, New York, March
“Op Losse Schroeven,” Stedelijk Museum, Amsterdam, The Netherlands, 15 March – 27 April;
traveled to Museum Folkwang, Essen, Germany
“Live in your head - When Attitudes Become Form,” Kunsthalle Bern, Bern, Switzerland, 22
March – 27 April; Museum Haus Lange, Krefeld, Germany, 10 May – 25 June; Institute
of Contemporary Arts, London, UK, 24 September – 27 October
“Ecologic Art,” John Gibson, New York, 17 May – 28 June
“July, August, September 1969,” Seth Siegelaub, New York, July – September
“Prospect 69,” Städtische Kunsthalle, Düsseldorf, Germany, 30 September – 12 October
“Land Art,” Fernsgalerie Galerie Schum, Düsseldorf, Germany
“RA 4, Azioni Povera,” Amalfi, Italy, 4 – 6 October
l970 “Tabernakel,” Louisiana Museum, Humlebaek, Denmark, 24 January – 22 February
“Evidence on the Flight of Six Fugitives,” The Museum of Contemporary Art, Chicago, IL, 28
March – 10 May
“18 Paris IV 70,” Rue Mouffetard, Paris, France, April
“Information,” The Museum of Modern Art, New York, 2 July – 20 September
l971 “Guggenheim International Exhibition 1971,” The Solomon R. Guggenheim Museum, New York,
12 February – 25 April
“The British Avant Garde,” The New York Cultural Center, New York, 19 May – 29 August.
“Fünf Sammler-Kunst unserer Zeit,” Von der Heydt-Museum, Wuppertal, Germany, 5 June – 11
July
“Sonsbeek 71,” Arnhem, Netherlands, 19 June – 15 August
“Road Show,” XI Bienal de Sao Paulo, British Council Touring Exhibition, Sao Paulo, Brazil
1972 “De Europa,” John Weber, New York, 29 April – 24 May
“Documenta V,” Neue Galerie and Museum Fridericianum, Kassel, Germany, 30 June – 8
October
“The New Art,” Hayward Gallery, London, UK, 17 August – 24 September
“Actualite d’un Bilan,” Yvon Lambert, Paris, France, October
1973-74 “Contemporanea,” Parcheggio di Villa Borghese, Rome, Italy, November 1973 – February 1974
1974 “Carl Andre, Marcel Broodthaers, Daniel Buren, Victor Burgin, Gilbert & George, On Kawara,
Richard Long, Gerard Richter,” Palais des Beaux-Arts, Brussels, Belgium, 9 January – 3
February
“Sculpture Now-Dissolution or Redefinition,” Royal College of Art, London, UK, 11 – 22
November
1975 “Spiralen & Progressionen,” Kunstmuseum Luzern, Luzern, Switzerland, 16 March – 20 April
“Word Image Number,” Sarah Lawrence Gallery, Bronxville. New York
“Artists Over Land,” Arnolfini, Bristol, UK, 26 August – 20 September
“Funkties van tekenen/Functions of drawing,” Rijksmuseum Kröller-Müller, Otterlo, The
Netherlands, 25 May – 4 August
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1976 “Arte Inglese Oggi 1960 - 1976,” Palazzo Reale, Milan, Italy, 26 February – 16 May
1976-77 “Andre/Le Va/Long,” Corcoran Gallery of Art, Washington, DC, 11 December 1976 – 30
January 1977
“Functions of Drawings,” Kunstmuseum, Basel, Switzerland
1977 “David Askevold, Michael Asher, Richard Long,” Los Angeles Institute of Contemporary Art,
Los Angeles, CA, 15 January – 10 February
“British Artists,” The Fine Arts Building, New York, 5 February – 1 March
“Skulptur,” Münster, Germany, 3 July – 13 November
“ROSC ‘77, the poetry of visions,” National Museum of Ireland and Hugh Lane Gallery of
Modern Art, Dublin, Ireland, 21 August – 30 October
“On Site,” Arnolfini, Bristol, UK
“Europe in the 70’s,” Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and
Sculpture Garden, Washington D.C.; San Francisco Museum of Modern Art, San
Francisco, CA; The Contemporary Arts Center, Cincinnati, OH
1977-78 “Probing the Earth: Contemporary Land Projects,” Hirshhorn Museum and Sculpture Garden,
Washington D.C., 27 October 1977 – 2 January 1978; La Jolla Museum of
Contemporary Art, La Jolla, CA, 27 January – 26 February 1978; Seattle Art Museum,
Seattle, WA, 23 March – 21 May 1978
1978 “Peter Joseph, David Tremlett, Richard Long at Newlyn,” Newlyn Art Gallery, Cornwall, UK, 17
January – 17 February
“Sculpture/Nature,” CAPC – Centre d’Arts Plastiques Contemporains de Bordeaux, France, 5
May – 1 July
Lisson Gallery, London, UK
Ink, Zurich, Switzerland
“Made by Sculptors,” Stedelijk Museum, Amsterdam, The Netherlands
“Foundlings, 1978,” Coracle Press, London, UK, 22 April – 9 June
1979 “Un Certain Art Anglais,” Musee d’Art Moderne de la Ville de Paris, Paris, France, 19 January –
12 March
Art and Project, Amsterdam, The Netherlands
“Toasting,” Gardner Center Gallery, Brighton, UK
“Through the Summer,” Lisson Gallery, London, UK
“Hayward Annual, 1979,” Hayward Gallery, London, UK, 19 June – 27 August
“The Native Land,” Mostyn Art Gallery, Llandudno, UK
“Skuptur: Matisse, Giacometti, Judd, Flavin, Andre, Long,” Kunsthalle Bern, Bern, Switzerland,
17 August – 23 September
“Kunst der 70er Jahre,” Stadtische Galerie in Lenbachhaus, Munich, Germany
“Contemporary Sculpture: Selections from the Collection of the Museum of Modern Art,” The
Museum of Modern Art, New York.
“Summer Group Exhibition,” Sperone Westwater, New York.
“The British Art Show,” Mappin Art Gallery, Sheffield, UK
1980 “Explorations in the 70’s,” Pittsburgh Plan for Art, Pittsburgh, PA
“Andre, Dibbets, Long, Ryman,” Louisiana Museum, Humlebæk, Denmark, 19 January – 24
February
“Pier + Ocean,” Hayward Gallery, London, UK, 8 May – 22 June; Rijksmuseum Kroller-Muller,
Otterlo, The Netherlands
“Summer Group Exhibition,” Sperone Westwater Fischer, New York
“Roger Ackling, Hamish Fulton, Richard Long, Michael O’Donnell: 4 Temporary Works,”
Penwith Gallery, St. Ives, Cornwall, UK, September
“Daniel Buren, Sol Le Witt, Richard Long, Fred Sandback,” Lisson Gallery, London, UK
The Venice Biennale, Venice, Italy
“Kunst in Europa na 68,” Museum von Hedendaagse Kunst, Ghent, Belgium
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“Art Anglais D’Aujourd’hui,” Musée d’Art et d’Histoire, Geneva, Switzerland

“Zomertentoonstelling Eigen Collectie,” Van Abbemuseum, Eindhoven, The Netherlands
“Nature as Material,” Atkinson Art Gallery, Southport, UK
“Artist and Camera,” Mapping Art Gallery, Sheffield, UK, 25 October – 23 November
“One Loan,” Coracle Press, London, UK, 22 November – 19 December
1980-81 “The Morton G. Neumann Family Collection,” The National Gallery of Art, Washington, DC, 31
August 1980 – 11 January 1981
1981 “Artists and the Map: Image/Process/Data/Place,” Helen Foresman Spencer Museum of Art, The
University of Kansas, Lawrence, KS
“New Works of Contemporary Art and Music,” Fruitmarket Gallery, Edinburgh, UK
“Mythos + Ritual in der Kunst der 70er Jahre,” Kunsthaus Zurich, Switzerland, 5 June – 23
August; Kunstverein in Hamburg, Hamburg, Germany
“Gerry Schum: Video,” The Museum of Modern Art, New York
“New Work,” Anthony d’Offay, London, UK, 25 July – 22 August
The Art Institute of Chicago, Chicago, IL
“The Panoramic Image,” John Hansard Gallery, University of Southampton, Southampton, UK
“Poet’s Choice,” Kettle’s Yard, Cambridge, UK
“Landscape: The Printmaker’s View,” Tate Gallery, London, UK
“Summer Group Exhibition,” Lisson Gallery, London, UK
“For a New Art: Toyama Now ‘81,” The Museum of Modern Art, Toyama, Japan, 5 July – 23
September
“Natur-Skulptur,” Kunstverein, Stuttgart, Germany, 1 September – 1 November
“No Title: The Collection of Sol Le Witt,” Wesleyan University Art Gallery and The Davidson
Art Center Gallery at Wesleyan University, Middletown, CT, 21 October – 20 December
“New Works of Contemporary Art and Music,” Orchard Gallery, Londonderry, UK
“New Mansion of Many Chambers: Beauty and Other Works,” Cartwright Hall, Bradford, UK
1982 “Objekt, Skulptur, Installation,” Halle 6 in der Kampnagel-Fabrick, Hamburg, Germany, May –
June
“Gilbert & George, Richard Long, Bruce McLean,” Anthony d’Offay, London, UK, 19 May – 18
June
“Artists’ Photographs,” Crown Point Press, Oakland, CA
“Aspects of British Art Today,” Metropolitan Art Museum, Tokyo, Japan
“G K Pfahler, K R H Sonderborg,” Mac-Ulrich Hetzler, Stuttgart, Germany
“Mise en Scene,” Kunsthalle Bern, Bern, Switzerland
“‘60 ‘80 Attitudes-Concepts-Images,” Stedelijk Museum, Amsterdam, The Netherlands
Konrad Fischer, Düsseldorf, Germany
“Stein,” Kunsthaus Zug, Zug, Switzerland
“Collection, Museum van Hedendaagse Kunst,” Palais des Beaux-Arts, Brussels, Belgium
“Kunst wird Material,” Nationalgalerie Berlin, Germany, 7 October – 5 December
“Documenta 7,” Kassel, Germany, 19 June – 28 September
“Sans Titre,” Muse'e de Toulon, Toulon
“Milestones in Modern British Sculpture,” Mappin Art Gallery, Sheffield, UK
“Postminimalism,” The Aldrich Museum of Contemporary Art, Ridgefield, CT
“Kunst nu/Kunst unsere Zeit,” Groninger Museum, Groningen
1983 “Artists from Sperone Westwater Fischer Inc.,” SVC Fine Arts Gallery, University of South
Florida, Tampa, FL
“De Statua,” Stedelijk van Abbemuseum, Eindhoven, The Netherlands
“Ars ‘83, Helsinki,” Konstmuseet i Ateneum, Helsinki, Finland
“December Exhibition,” Anthony d’Offay, London, UK
“Landscape Prints,” The Gallery, Brighton Polytechnic, Brighton, UK
“Art in Aid of Amnesty,” Work of Art Gallery, London, UK
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“The Sculpture Show,” Serpentine and Hayward Galleries, London, UK

“New Art,” The Tate Gallery, London, UK
“Works on Paper,” Anthony d’Offay, London, UK, 19 July – 26 August
“ARS 83,” Ateneum, Helsinki, Finland, 14 October – 11 December
1984 “The Critical Eye/1,” Yale Center for British Art, New Haven, CT, 16 May – 15 July
“Legendes,” CAPC – Musee d’Art Contemporain, de Bordeaux, Bordeaux, France, 19 May – 9
September
“Gilbert & George/Richard Long,” Carolina Museum of Art, Raleigh, NC, 9 June – 9 September
“Terrae Motus,” Villa Campolieto, Ercolano, Italy, 6 July – 31 December
“ROSC ‘84: The Poetry of Vision,” Guiness Hop Store, Dublin, Ireland, 24 August – 17
November
“1965 – 1972 – When Attitudes Became Form,” Kettle’s Yard Gallery, Cambridge, England, 14
July – 2 September; Fruitmarket, Edinburgh, UK, 6 October – 25 November
“Kleine Arena/Little Arena,” Rijksmuseum Kröller-Müller, Otterlo, The Netherlands, 13 October
– 25 November
“Content, a Contemporary Focus,” The Hirshhorn Museum and Sculpture Garden, Washington
D.C.
PAC, Padiglione d’Arte Contemporanea, Milan, Italy
Castello di Rivoli, Turin, Italy
1985 “7000 Eichen,” Kunsthalle Tübingen, Tübingen, Germany
“Hayward Annual,” Hayward Gallery, London, UK
Sperone Westwater, New York
“Dialog,” Gulbenkian Foundation, Lisbon, Portugal
“Sculpture,” Fondation Cartier Jouey en Jouass, Paris, France
“The British Show,” Art Gallery of Western Australia, Perth, Australia, 19 February – 24 March;
Art Gallery of New South Wales, Sydney, Australia, 23 April – 9 June; Queensland Art
Gallery, Brisbane, Australia 5 July – 11 August
Galerie Max Hetzler, Cologne, Germany
1985-86 “Transformations in Sculpture,” The Solomon R. Guggenheim Museum, New York
“Ouverture,” Castello di Rivoli, Turin, Italy, 18 December 1985– end of 1986
1986 Anthony d’Offay, London, UK
Donald Young, Chicago, IL
“De Sculptura,” Wiener Fest Wochen, U-Halle desMesse Palastes, Vienna, Austria
“Group Show: Drawings,” Sperone Westwater, New York
“Homage a Beuys,” Städtische Galerie im Lenbachhaus, Munich, Germany, 16 July – 2
November
Caxa de Pensiones, Barcelona, Spain
“Falls in the Shadow,” The Hayward Gallery, London, UK
“Landscape,” Luhring Augustine and Hodes, New York
“Philadelphia Collects Art Since 1940,” The Philadephia Museum of Art, Philadelphia, PA
“Entre el Objeto y la Imagen,” Palacio de Velazquez, Madrid, Spain, 28 January – 20 April
“Bodenskulptur,” Kunstverein Bremen, Bremen, Germany, 29 April – 15 June
“Landscape: Place, Nature, Material,” Kettle’s Yard Gallery, Cambridge, England, 12 July – 31
August.
1987 “The Unpainted Landscape,” Scottish Art Council Touring Exhibition, 10 January – 15
November; Maclaurin Art Gallery, Ayr, UK; Pier Arts Centre, Stromness, UK; Scottish
Gallery of Modern Art, Edinburgh, UK; Artspace Galleries, Aberdeen, UK; Collins
Gallery, Glasgow, UK; Crawford Centre for the Arts, St. Andrews, UK; Arnolfini,
Bristol, UK
“British Art in the 20th Century: The Modern Movement,” Royal Academy of Arts, London, UK,
15 January – 5 April
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“Britannia, paintings and sculptures from the 1980s,” Sara Hilden Art Museum, Tampere,
Finland, 16 June – 23 August
“Wall Works: Richard Long, Michael Craig-Martin, Annette Messenger, Marion Möller, Matt
Mullican, Sol LeWitt,” Cornerhouse, Manchester, UK, 14 November – 31 December
Anthony d’Offay Gallery, London, UK
Museum of Modern Art, San Francisco, CA, 4 June – 26 July
Newport Harbour Art Museum, Newport Beach, CA, 14 August – 4 October
1987-88 “A Quiet Revolution - British Sculpture since 1965,” Museum of Contemporary Art, Chicago, IL,
23 January – 5 April 1987; Museum of Modern Art, San Francisco, CA, 4 June – 26 July
1987; Hirshhorn Museum and Sculpture Garden, Washington D.C., 10 November 1987
– 10 January 1988
1988 “Starlit Waters: British Sculpture, An International Art 1968-1988,” Tate Gallery, Liverpool, UK,
28 May – 4 September
“Donald Judd, Richard Long, Kristjan Gudmundsson,” The Living Art Museum, Reykjavik,
Iceland, 4 – 19 June
“Sculpture in the Close,” Jesus College, Cambridge, UK, 20 June – 31 July
“New Sculpture / Six Artists,” St. Louis Art Museum, St. Louis, MO, 23 September – 30 October
“In Praise of Walking,” Cairn Gallery, Nailsworth, UK, 8 October – 9 November
Albright-Knox Art Gallery, Buffalo, NY, 12 February – 10 April
Sperone Westwater, New York
Donald Young Gallery, Chicago, IL
1989 “Bilderstreit,” Rheinhallen der Kolner Messe, Cologne, France, 8 April – 28 June
“Magiciens de la Terre,” La Grande Halle, Centre Pompidou, Paris, France, 18 May – 14 August
“Zeitlos,” Hamburger Bahnhof, Berlin, Germany, 22 June – 25 September
“Collection Panza: Richard Long, Bruce Nauman,” Musee d’art moderne, St. Etienne, France, 30
June – 6 September
“Furkart,” Hotel Furkablick, Furkapasshohe, July – September
“2. Instanbul Bienali,” Suleymaniye Cultural Centre, Istanbul, 25 September – 31 October
Galerie Le Gall Peyroulet, 6 June – 22 July, Paris, France
“Summer Group Exhibition,” Sperone Westwater, New York, June – September.
“Analytic to Poetic,” Burnett Miller Gallery, Los Angeles, CA, 8 September – 14 October
“Lost and Found: The Object Transformed,” Barbara Mathes Gallery, New York, 15 September –
1 October
“Topographies,” Fuller-Gross Gallery, San Francisco, CA, September – October
“International Art in the Fundacio Caixa de Pensions Collection,” The Fundacio Caixa de
Pensions, Madrid, Spain, October – November
1990 “3+1 Paul Brand/Terje Roalkvan/Dag Skedsmo and Richard Long,” Wang Kunsthandel, Oslo,
Norway, 13 January – 11 February
“The Journey,” Lincoln Cathedral, Lincoln, UK, 17 June – 12 August
“Collection: Christian Boltanski, Daniel Buren, Gilbert & George, Jannis Kounellis, Sol Lewitt,
Richard Long, Mario Merz,” CAPC Musee d’Art Contemporain de Bordeaux,
Bordeaux, France, 29 June – 30 December
“Minimal Works: 1969-1989,” Loughelton Gallery, New York, 4 January – 3 February
“Long/Mutal/Ruckriem,” Nohra Haime Gallery, New York, January
“Group Show,” SteinGladstone Gallery, New York, 10 March – 7 April
“Signs of Life: Process and Materials, 1960-1990,” Institute of Contemporary Art, University of
Pennsylvania, Philadelphia, PA, 15 June – 12 August
“Cultures - Relations in Spirit and Form,” Galerie Nachst St. Stephan/Rosemarie Schwarzwalder,
Vienna, Austria, April – May
“Group Exhibition,” Galerie Enrico Navarra, Paris, France
“Group Exhibition,” Hallen Für Neue, Schaffhausen, Switzerland, 2 May – 31 October
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“Von Der Natur In Der Kunst,” Messepalast, Vienna, Austria, 3 May – 15 July (organized by
Wierner Festwochen)
“Jannis Kounellis, Richard Long, Mario Merz,” Barbara Gladstone Gallery, New York, 5 May –
5 June
“Aspetti e Pratiche dell’Arte Europea,” Castello di Rivara, Turin, Italy, 19 May – 31 July
“La Guerre de Troie n’aura pas lieu,” Chateau D’Orion, Orion, France, 1 June – 31 August
“Aussenskulpturen,” Galerie Thaddaeus Ropac, Salzburg, Austria, 27 July – 31 August
“Reihe II,” Vera Munro Gallery, Hamburg, Germany (catalogue)
“Time, Space, Place: Richard Long, On Kawara, Lawrence Weiner,” Ghislaine Hussenot, Paris,
France, 8 September – 18 October
“De aqui para alla,” Galeria Marga Paz, Madrid, Spain, 25 September
“Exposed,” Vivian Horan Fine Art, Thea Westreich, New York, 2 November – 15 December
1991 “Hamish Fulton/Richard Long,” Galeria Weber, Alexander Y Cobo, Madrid, Spain, 6 February –
30 March
“Tony Cragg/Richard Long,” Kanransha, Tokyo, Japan, 21 January – 16 February
“Luciano Fabro, Dan Flavin, Jannis Kounellis, Sol Lewitt, Richard Long, Mario Merz, Bruce
Nauman,” Stein-Gladstone in conjunction with Barbara Gladstone, New York, 2
February – 2 March
“Carl Andre, Ellsworth Kelly, Richard Long: Wood, Bronze, Steel, Stone,” Anthony d’Offay
Gallery, London, UK, 26 February – 23 March
“With Nature,” Galerie Lelong, New York, June – July
“Group Exhibition,” Paula Cooper Gallery, New York, 7 – 28 September
“Selections from the Elaine and Werner Dannheisser Collection: Painting and Sculpture from the
‘80s and ‘90s,” Parrish Art Museum, Southampton, NY, 22 September – 17 November
“Group Exhibition,” Galerie Pietro Sparta, Chagny, France, opened 22 October
“Group Exhibition,” Donald Young Gallery, Seattle, WA, opened 3 October
“Artspace Auction,” Gimpel Fils, London, UK, 18 – 23 November
“The Pencil of Nature,” Galerie Samia Saouma, Paris, France, 9 November – 5 December
“Midi-Minuit: Richard Long, Markus Raetz,” Cabinet des Estampes du Musee d’Art et
d’Histoire, Geneva, Switzerland, 26 November – 8 December
1991-92 “A Passion for Art,” Tony Shafrazi Gallery, New York, 7 December 1991 – 25 January 1992
“Group Exhibition,” Victoria Miro, London, UK, December 1991 – January 1992
1992 “New Work on Paper: Richard Long, Gerhard Richter, Lawrence Weiner,” Anthony D’Offay,
London, UK, 5 February – 8 March
“Skulptur-Konzept,” Galerie Ludwig, Krefeld, Germany, 17 May – 31 July
“Charlton, Flavin, Long, Merz, Ruckreim, Zorio,” Sala Gaspar, Barcelona, Spain
“Books and Portfolios 1957 - 1992,” Marlborough Graphics, New York, 29 September – 28
November
“The Bedsprings Twang in Our House, Works from The Becht Collection,” Arnofini, 9 October –
15 November (catalogue), Bristol, UK
“Schwerpunkt Skulptur (Center of Gravity),” Kaiser Wilhelm Museum, Krefeld, Germany, thru
October 11 (catalogue)
“Anciens Etablissements Sacre,” Galerie Vega, Liège, Belgium, 26 September – 31 October
curated by Alain Hendrick, Belgique
“Terrae Motus alla Reggia di Caserta,” Fondazione Amelio, Naples, Italy, November (catalogue)
1992-93 “Shapes and Positions,” curated by Veit Loers, Kunsthalle/Gallery Ritter, Klagenfurt, Austria, 1
September 1992 – 30 January 1993; Museum Fridericianum, Kassel, Germany, 14
February – 18 April 1993, Klagenfurt, Austria
1993 “Works on Paper,” Galerie Ghislaine Hussenot, Paris, France, February – March
“Gravity & Grace, The Changing Condition of Sculpture 1965 - 1975,” Hayward Gallery,
London, UK, 21 January – 14 March
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“Sculpture & Multiples,” Brooke Alexander and Brooke Alexander Editions, New York, 8
January – 13 February
“Out of Sight Out of Mind,” Lisson Gallery, London, UK, 15 February – 3 April
“La Collection,” Muse Departmental d’Art Contemporain, Rochechouart, France, 10 April – 13
June
“Landscape: Myth vs. Reality,” Barbara Mathes, New York, 10 April – 5 June
“The Spirit of Drawing,” Sperone Westwater, New York, 1 May – 12 June
“Sculpture,” Leo Castelli, New York, opened May 29
“De Verzameling, The Collection,” Stedelijk Van Abbemuseum, Eindhoven, The Netherlands,
opened on 5 September
“Living With Art: The Collection of Ellyn & Saul Dennison,” Morristown, New Jersey, 16
October – 21 November (catalogue)
“Sculptures (1832 - 1992),” Espace 14/16 Verneuil and Marc Blondeau, Paris, France, 8 October
– 18 December
“Schwerpunkt Skulptur” (Center of Gravity), Kaiser Wilhelm Museum, Krefeld, Germany,
September – October
1993–94 “Photoplay, Works from The Chase Manhattan Collection,” Museo Amparo, Pueblo, Mexico;
Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico; Centro Cultural
Consolidado, Caracas, Venezuela; MASP/Museo de Arte de Sao Paulo, Sao Paulo,
Brazil; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo Nacional de
Bellas Artes, Santiago, Chile, Miami, FL (catalogue)
1994 “Some Kind of Fact Some Kind of Fiction,” Sperone Westwater, New York, 8 January – 12
February
“1969,” Jablonka Galerie, Köln, Germany, March – April
“Dear Stieglitz,” Peninsula, Eindhoven, 1 May – 26 June
“Painting, Drawing & Sculpture,” Anthony d’Offay Gallery, London, UK, 2 March – 8 April
“Richard Long: Sao Paulo Biennal 1994,” Sao Paulo, Brazil (catalogue)
1994-95 “Arca de Noe/Noah’s Ark,” Fundacao de Serralves, Porto, Portugal, 29 November 1994 – 19
February 1995
“Sculpture,” Anthony d’Offay Gallery, London, UK, 7 December 1994 – 26 January 1995
(catalogue)
1995 “Sculptuur uit de collectie Marlies en Jo Eyck,” Bonnefantenmuseum, Maastricht, The
Netherlands, 11 March – 3 September
“Art & Project: De Amsterdamse Jaren 1968 – 1989,” Stedelijk Museum, Amsterdam, The
Netherlands, 18 March – 23 April
“Escultura Britanica Contemporanea: De Henry Moore a los anos 90,” Auditorio de Galicia,
Santiago de Compostella, Spain, 10 June – 30 July; Fundacao de Serralves, Porto,
Portugal, 7 September – 5 November
“Donald Judd and his Artist Friends,” Galerie nachst St. Stephan, Vienna, Austria, 22
September – 18 November
1995-96 “The Edge of Town,” Joseloff Gallery, Hartford Art School, University of Harford, Hartford
Art School, Hartford, CT, 9 November 1995 – 15 January 1996
1996 “Portrait of the Artist,” Anthony d’Offay Gallery, London, UK, April – June
“Swinging the Lead,” The Old Leadworks, Bristol, UK, 24 May – 22 June
“Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,” The Solomon R.
Guggenheim Museum, New York, 9 February – 12 May (catalogue)
“Rodney Graham, Geoffrey James, Richard Long,” Angles Gallery, Los Angeles, CA, 2
November - 7 December
“Thinking Print: Books to Billboards, 1980 - 95,” The Museum of Modern Art, New York, 19
June – 10 September (catalogue)
“Sculpture in the Close, Quincentenary Exhibition,” Jesus College, Cambridge, UK, 22
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September – 29 October
1996-97 “Here and There,” Friedrich Petzel Gallery, New York, 14 December 1996 - 25 January 1997
“Travaux Publics / Public Works,” Van Abbemuseum and Peninsula, Eindhoven, The
Netherlands, 8 December 1996 – 9 February 1997
1997 “Wide White Space in Middelheim,” Openluchtmuseum voor beeldhouwkunst Middelhein,
Antwerp, Belgium, 2 March – 17 August
Bristol Museum and Art Gallery, Bristol, UK, 27 March – 11 May
“The Hirshhorn Collects: Recent Acquisitions 1992–1996,” Hirshhorn Museum and Sculpture
Garden, Washington, D.C., 4 June – 7 September (catalogue)
“De Re Metallica,” Anthony d’Offay Gallery, London, UK, 6 June – 2 August
“Géographiques,” FRAC Corse, Corte, Corsica, France, 21 June – 13 September
1997–98 “On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection,” The
Museum of Modern Art, New York, 20 September 1997 – 20 January 1998 (catalogue)
“Magasin 3 Stockholm Konsthall på Arken: Udvalgte værker fra samlingen/Selections from the
Collection,” Arken Museum for Moderne Kunst, Sweden, 29 November 1997 – 8
February 1998 (catalogue)
1998 “Alpenblick: Contemporary Art and the Alpine,” Kunsthalle Wien, Vienna, Austria, 1 February
(closing date)
“On a Clear Day,” Staatsgalerie, Stuttgart, Germany, 4 April – 21 June
“Then and Now,” Lisson Gallery, London, UK, 18 July – 12 September
“Land Marks,” The John Weber Gallery, New York, 13 September – 11 October
“An Exhibition for Children,” The Townhouse, New York, 5 December – 22 December
1998–99 “Inner Eye: Contemporary Art from the Marc and Livia Straus Collection,” Samuel P. Harn
Museum of Art, University of Florida, Gainsville, FL, 22 March 1998 – 3 January 1999;
Museum of Art, Knoxville, TN, Spring 1999; Georgia Museum of Art, Athens, GA,
Summer 1999; The Chrysler Museum of Art, Norfolk, VA, Fall 1999 (catalogue)
1999 “Art at Work: Forty Years of the Chase Manhattan Collection,” The Museum of Contemporary
Art, and the Contemporary Arts Museum, Houston, TX, 3 March – 2 May (brochure)
“The Spirit of Mongolia,” The Walk Gallery, London, UK, 8 May – 29 May
“Walls/Wande,” Konrad Fischer, Düsseldorf, Germany, 8 May – June 19
“House of Sculpture”, Modern Art Museum of Fort Worth, Fort Worth, TX, 22 May
“Group Exhibition,” Sperone Westwater, New York, 18 June – July 30
“Island of Sculptures,” Xacobeo, Pontevedra, Spain, July
“Head to Toe; Impressing the Body,” University Gallery, Fine Arts Center, University of
Massachusetts Amherst, Amherst, MA, 6 November – 17 December
“Richard Long, Sebastian Smith, Serge Hildebrant,” Chantier naval opéra, Antibes, France, 26
July – 3 September
2000 “Live In Your Head: Concept and Experiment in Britain, 1965 – 1975,” Whitechapel Art Gallery,
London, UK, 4 February – 2 April
“Drawings, Maquettes, and other Artworks Pertaining to Environmental Sculptures,” curated by
Christopher Chambers, Dorsky Gallery, New York, 14 March – 29 April (Brochure)
“Creazioni della Memoria,” curated by Andrea Busto, Borgo San Dalmazzo – Ex officina
Bertello, Associazione culturale Marcovaldo, Regione Piemonte, Italy, 17 September –
30 October
2000-01 “Luci in Galleria. Da Warhol al 2000. Gian Enzo Sperone: 35 Anni di Mostre fra Europa
e America/ Lights in the Gallery: From Warhol to 2000, Gian Enzo Sperone: 35 Years
Between Europe and America,” Palazzo Cavour, Turin, Italy, 6 October 2000 – 14
February 2001 (catalogue)
2001 “The First Ten Years, Selected Works from the Collection,” Irish Museum of Modern Art,
Dublin, Ireland, 10 April – 23 September
“At Sea,” Tate Liverpool, Liverpool, UK, 14 July – 23 September
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2001-02 “Letters, Signs & Symbols,” Brooke Alexander Editions, New York, 10 November 2001 – 25
January 2002
“The Cultural Desert,” Scottsdale Museum of Contemporary Art, Scottsdale, AZ, 29 November
2001 – 21 April 2002
2002 “Delabole, the Slate Quarry Show: Richard Long, Kurt Jackson,” Falmouth Art Gallery, The
Moor Falmouth, UK, 4 January – 2 February
“A Measure of Reality,” Kettle’s Yard, Cambridge, UK, 9 March – 28 April
“Photography by Gallery Artists,” Donald Young Gallery, Chicago, IL, 22 March – 27 April
“10 Nederlandse prive-collecties,” De Beyerd, Breda, The Netherlands, 7 April – 26 May
New Art Center Sculpture Park and Gallery, Art 33 Basel, Basel, Switzerland, 12 – 17 June
“Conceptual Art 1965 – 1975 from Dutch and Belgian Collections,” Stedelijk Museum,
Amsterdam, The Netherlands, 20 April – 23 June
James Cohan Gallery, New York, November 9-December 22
2003 “Gyroscope,” Hirshhorn Museum and Sculpture Garden, Washington, D.C., 19 May – 4 January
“Guest Art: works on laon from the Kunsthaus Zurich,” Haus Konstructiv, Zurich, Switzerland,
25 May – 1 October
“Gogh Modern: Vincent van Gogh and contemporary art,” Van Gogh Museum, Amsterdam, The
Netherlands, 27 June – 12 October
“Together,” Casa Biagio Rosetti/Museo Nazionale, Ferrara, Italy, 28 June – 23 November
“Dialog: Richard Long/Jivya Soma Mashe,” Stiftung Museum Kunst Palast, Düsseldorf,
Germany, 13 September – 23 November
Mario Sequeira Gallery, Parada de Tibães, Braga, Portugal, opening June 7
“Sculpture,” Barbara Gladstone Gallery, New York, 14 February -March
“No Canvas,” Galleria Cardi, Milan, Italy, 25 February – 19 April
2003-04 “Thinking about Sculpture,” The Rachofsky House, Dallas, TX, 2003 – 2004
“Mario Merz/Andrea, Burkhard, Fulton Innes, Klein, Long, Ruckriem, Vital,” Galerie Tschudi,
Zuoz/ Engadin, Switzerland, 21 December 2003
2003-05 “The Last Picture Show: Artists Using Photography, 1960-1982,” Walker Art Center,
Minneapolis, MN, 12 October 2003 – 4 January 2004; The UCLA Hammer Museum,
Los Angeles, CA, 8 February – 9 May 2004; Museo de Arte Contemporánea de Vigo,
Vigo, Spain, 28 May – 19 September, 2004; Fotomuseum Winterthur, Zurich,
Switzerland, 26 November, 2004 – 13 February 2005 (catalogue)
2004 “Repetition,” Hudson Valley Center for Contemporary Art, Peekskill, NY, Spring
“Singular Forms (Sometimes Repeated): Art from 1951 to the Present,” Solomon R. Guggenheim
Museum, New York, 5 March – 19 May
“Richard Long / Jivya S. Mashe: Un Incontro In India,” Padiglione d’Arte Contemporanea,
Milan, Italy, 18 March – 16 May
“Off the Wall: Works from the JP Morgan Chase Collection,” The Bruce Museum, Greenwich,
CT, 14 May – 5 September
“Summer Exhibition,” Royal Academy of Arts, London, UK, 8 June – 15 August
2005 “Contemporary Voices: Works from the UBS Art Collection,” The Museum of Modern Art, New
York, 4 February – 25 April (catalogue)
“Sets, Series and Suites: Contemporary Prints,” The Museum of Fine Arts, Boston, MA, 19
January – 24 April
“Mohawk,” Norton Museum of Art, West Palm Beach, FL, March 2004 – Fall
Galerie Tschundi, Switzerland, 19 July – 17 September
“Landscape: Myth and Memory. Works by Lynn Davis, Anselm Kiefer, Richard Long, Charles
Simonds,” Senior & Shopmaker Gallery, New York, 22 September – 23 November
“Drawings from the Modern, 1945-1975,” The Museum of Modern Art, New York, 30 March –
29 August
“Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on
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Paper,” Andrea Rosen Gallery, New York, 28 October – 3 December

2005-06 Galerie Tschundi, Switzerland, 22 December 2005 – 11 March 2006
2006 “Public Space / Two Audiences, works from the Herbert Collection,” Museu d’Art Contemporani
De Barcelona, Barcelona, Spain, 7 February – 1 May
“Walking & Falling,” Magasin 3, Stockholm Konsthall, Stockholm, Sweden, 11 February – 28
May
“Kounellis, Long, Merz, Turrell,” Galleria Cardi & Co., Milan, Italy, 2 March – 7 April
“Contemporary Masterworks: Saint Louis Collects,” Contemporary Art Museum St. Louis, St.
Louis, MO, 7 April – 11 June
“Walsh, Andre, Brouwn, Burkhard, Huws, Klein, Long,” Galerie Tschudi, Switzerland, 11 July –
2 September
“Roger Ackling and Richard Long: 1 + 1 = 2”, Von Lintel Gallery, New York, 7 September – 7
October
“Freeze! A Selection of Works from a New York Collection,” Robilant + Voena + Sperone,
London, 10 October – 4 November
2007 “Hands On, Hands Off,” Ingleby Gallery, Edinburgh, Scotland, 30 June – 7 July
“Fast Forward: Contemporary Collections for the Dallas Museum of Art,” Dallas Museum of Art,
Dallas, TX, 11 February – 20 May (catalogue)
“Mima: Collection,” Middlesbrough Insitute of Modern Art, Middlesbrough, UK, 4 May – 22
July
2007-08 “Water,” The Pulitzer Foundation for the Arts, St. Louis, MO, 20 June 2007 – 5 January 2008
“Richard Long, Not Vital: Agadez,” Galerie Tschudi, Zuoz, Switzerland, 22 December 2007 – 22
March 2008
2008 “Fiat Lux,” Galerie Nikolaus Ruzicska, Austria, 26 July – 30 August
“Richard Long and Simon Starling,” Spike Island Art, Bristol, UK, 4 October – 23 November
“The Panza Collection,” Smithsonian Hirshhorn Museum and Sculpture Garden, Washington,
D.C., 23 October – 11 January
“Blood on Paper,” Victoria and Albert Museum, South Kensington, UK, 15 April – 29 June
(catalogue)
2009-10 “Gwathmey Siegel: Inspiration and Transformation,” Cameron Art Museum, Wilmington, NC,
19 June 2009 – 10 January 2010
“Nature/Artifice: Contemporary Works from the Collection,” Museum of Art, Rhode Island
School of Design, Providence, RI, 25 April – February
2010 “Rewind: Selected Works from the MCA Collection, 1970s to 1990s,” Museum of Contemporary
Art, Chicago, IL, 13 March – 5 September
“A Bit of Matter and a Little Bit More. The Collection and the Archives of Herman and Nicole
Daled,” Haus der Kunst, München, 15 April – 25 July
“One Thing Leads to Another, Everything is Connected. Artworks from Stanmore to Stratford,”
City Hall, The Queen’s Walk, London, England, May – June
“With a Probability of Being Seen: Dorothee and Konrad Fischer Archives of an attitude,” Museu
d’Art Contemporani de Barcelona,” Barcelona, Spain, 14 May – 12 October
“The Journey on Contemporary Art / Ars Itineris. El viaje en el Arte Contemporáneo,” organized
by Sociedad Estatal de Conmemoraciones Culturales, Madrid, Spain; Museo de Navarra,
Pamplona, 30 June – 10 October; Artium, Vitoria; 1 July – 12 September; Museo de
Huesca, Huesca, 2 July – 10 October; Museo do Mar, Vigo, 5 July – 10 October; Banco
Herrero, Oviedo, 7 July – 31 August; Museu de l’Art de la Pell, Vic., 9 July – 10
September; Sala Amós Salvador, Logroño, 13 July – 3 October
“Track, Traces and Transformations_II,” Nest, The Hague, 9 October – 21 November
“ANEYPETOI NHΣOI: Islands Never Found,” State Museum of Contemporary Art and
Contemporary Art Center of Thessaloniki, Thessaloniki, Greece, 28 June – 28
November
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“25 Jahre Galerie Tschudi 25 Years,” Galerie Tschudi, Zuoz, Switzerland, 27 July – 11
September
“Editionen, Künstlerbücher und Arbeiten” / “Editions, Artists Books and Works,” Galerie
Schütte, Essen-Ketwig, Germany, 4 September – 2 October (catalogue)
2010-11 “Between Here and There: Passages in Contemporary Photography, The Metropolitan Museum of
Art, New York, 2 July 2010 – 21 February 2011
“On Line: Drawing Through the Twentieth Century,” Museum of Modern Art, New York, 21
November 2010 – 7 February 2011 (catalogue)
2011 “Surveyor: An exhibition of human exploration, observation, and construction of the landscape,”
organized by Heather Pesanti, Albright-Knox Art Gallery, Buffalo, New York, 18
February – 5 June
“Topography/Typography,” Brooke Alexander Editions, New York, February
“Group exhibition,” Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice, Italy, 15 May –
30 September
“Fragments in Time and Space,” Smithsonian Hirshhorn Museum and Sculpture Garden,
Washington D.C., 23 June – 28 August
“Second Nature: Contemporary Landscapes From the MFAH Collection,” Museum of Fine Arts,
Houston, curated by Alison de Lima Greene, 10 July – 25 September
“Stanley Brouwn, Balthasar Burkhard, Martina Klein, Callum Innes, Richard Long.” Galerie
Tschudi, Zuoz/Engadin, 26 July – 10 September
2011-12 “Erre: Variations Labyrinthiques,” Centre Pompidou-Metz, Paris, France, 12 September 2011 – 5
March 2012
“Powerhouse Depot: Recently unpacked. How art ages,” Marta Herford, Herford, Germany, 8
October 2011 – 8 January 2012
“Made in the UK: Contemporary Art from the Richard Brown Baker Collection,” Museum of Art,
Rhode Island School of Design, Providence, Rhode Island, 23 September 2011 – 8
January 2012
2012 “Selected works.” James Cohan Shanghai, Shanghai, China, 11 February – 11 March.
“Not a Particle or a Place but an Action” James Cohan Gallery, New York, 30 March – 5 May
“Lines of Thought,” Parasol Unit, London, 28 February – 13 May
“Tra Natura e Spirito: Omaggio a Giuseppe Panza di Biumo,” Galleria San Fedele, Milan, Italy,
29 October – 21 November (catalogue)
2012-13 “Encounter: Royal Academy in the Middle East,” Cultural Village Foundation – Katara, Doha,
Qatar, 6 December 2012 – 6 March 2013
“Untitled (Giotto’s O),” Sperone Westwater, Lugano, 30 November 2012 – 15 February 2013
“Galerie Tschudi - 10 Years in Zuoz,” Galerie Tschudi, Zuoz, Switzerland, 22 December 2012 –
16 March 2013
2013 “When Attitudes Become Form,” Fondazione Prada, Venice, 1 June – 3 November
2014 “On The Road,” Pazo de Xelmirez/Park and Church of San Domingos de Bonaval, Santiago de
Compostela, June – November
“Body & Void: Echoes of Moore in Contemporary Art,” The Henry Moore Foundation, Perry
Green, 1 May – 26 October (catalogue)
“The Mysterious Device Was Moving Forward,” Longhouse Projects, New York, 26 June – 16
August
“Enrico Castellani, Richard Long and Jeff Wall,” Galeria Lorcan O’Neill Roma, Rome, 4 July – 6
September
2015 “Signs/Words,” Sperone Westwater, New York, 15 January – 11 April 2015 (catalogue)
“Five Issues of Studio International,” Raven Row, London, 26 February – 3 May
“Accelerazione,” Herbert Foundation, Ghent, 26 April – 15 November
“Roger Ackling, Richard Long, and Adolfo Schlosser,” Galeria Elvira Gonzalez, Madrid, 24
March – 4 July
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“Space and Matter,” Sperone Westwater, New York, 29 June – 31 July

“La percezione del futuro. La Collezione Panza a Perugia,” Galleria Nazionale dell’Umbria, and
Museo civico di Palazzo della Penna, Perugia, 20 June – 8 November (catalogue)
2015-16 “Tahoe: A Visual History,” Nevada Museum of Art, Reno, 22 August 2015 – 10 January 2016;
Oakland Museum of California, Oakland, 27 February – 26 June 2016 (catalogue)
“Museum of Stones,” The Noguchi Museum, Long Island City, New York, 7 October 2015 – 10
January 2016
2016 “Line,” Lisson Gallery, London, 22 January – 12 March
“Hirose Collection 18: Group Exhibition,” Hirose Collection, Hiroshima, 19 February – 19
March
“Conceptual Art in Britain 1964-1979,” Tate Britain, London, 12 April – 29 August 2016
“Drawing Dialogues: Selections from the Sol LeWitt Collection,” The Drawing Center, New
York, 15 April – 12 June (catalogue)
“Landscapes after Ruskin: Redefining the Sublime,” Hall Art Foundation, Reading, VT, 14
May – 27 November (catalogue)
“WITH A TOUCH OF PINK - WITH A BIT OF VIOLET - WITH A HINT OF GREEN -
DOROTHEE FISCHER - IN MEMORIAM,” Konrad Fischer Galerie, Düsseldorf, 3
June – 23 July
“Embracing the Contemporary: The Keith L. and Katherine Sachs Collection,” Philadelphia
Museum of Art, Philadelphia, 28 June – 5 September (catalogue)
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1972 Harrison, Charles. “Richard Long at the Whitechapel.” Studio International, January l972.
Seymour, Anne. The New Art. London: Hayward Gallery, 172, 44-51, 100-102.
1976 Compton, Michael. Some Notes on the Work of Richard Long: British Pavillion XXXVII Venice
Biennale 1976. London: British Council, 1976.
Forgey, Benjamin. “Sculpture That’s an Echo, not a Choice.” The Washington Star, 12 December
l976, Calendar Section G, 1, 28.
Livingston, Jane. Andre/LeVa/Long. Washington D.C.: The Corcoran Gallery of Art, 1976,
22-27, 32.
Richard, Paul. “Art: Off the Wall and Onto the Floor.” The Washington Post, 12 December 1976,
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Adams, Hugh. “Jan Dibbets and Richard Long.” Studio International, Vol. 193, No. 98,
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Causey, Andrew, “Space and Time in British Land Art,” Studio International, March/April, 1977,
122-130.
Overy, Paul, “Richard Long” Art Monthly, February 1977, No. 4, 21.
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Massachusetts, 1980.
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Russell, John. “Fogg Museum to Utilize Courtyard for Sculptors.” The New York Times, May 22,
1980, C34.
Foote, Nancy. “Long Walks.” Artforum, Vol. XVIII, No. 10, Summer 1980, 42-47.
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Four Temporary Works, published by Ackling, Fulton, Long, O’Donnell. St. Ives,
Cornwall: Penwith Gallery, 1980.
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1981 Russell, John, review. The New York Times, 23 January 1981, p.C19.
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Geddes-Brown, Leslie. “The Long March of Richard Long.” The London Times, 27 March 1983.
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April, May 1983, 59-60.
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Lippard.” Art in America, vol. 72, no. 1, January 1984, 9-11.
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of Art, 1984, 103 – 106.
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1984, 59-60.
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Solomon R. Guggenheim Foundation, 1985.
Meneguzzo, Marco, and Anne Seymour. Il Luogo Buono. Milan, 1985.
Wildermuth, Armin. Richard Long. Basel: Galerie Buchmann, 1985.
Russell, John. “Modern Art Museums, The Surprise is Gone.” The New York Times, Sunday, 4
August l985, Section 2.
David Reason. The British Show. Sydney, Australia: Art Gallery of New South Wales, 1985.
Giulio Alessandri. “Luccio Amelio.” Flashart, no. 124, October/November 1985, 74-75.
Carl Andre, Gunther Forg, Hubert Kiecol, Richard Long, Meuser, Reinhard Mucha, Bruce
Nauman, and Ulrich Ruckreim. Cologne: Galerie Max Hetzler, 1985.
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Richard Long. Aquitaine: Fonds Regional d’Art Contemporain, 1985.

1986 Dialogue, May/June, 1986, vol. 9, no. 3, 64.
Charles Harrison. “Sculpture, Design, and Three Dimensional Work.” Artscribe, no. 58,
June/July, 1986.
Wiener Festwochen in Messepalast. De Sculptura. Vienna, 1986.
Falls the Shadow. London: The Hayward Gallery, 1986.
Cooke, Lynne. Flashart, no. 129, Summer 1986, 71.
Klaus Staeck, Manfred Schneckenburger, Klaus Werner, Bazon Brock, eds, Ohne die Rose tun
wir’s nicht für Joseph Beuys. Heidelberg: Edition Staeck, 1986.
Flam, Jack. The Wall Street Journal, 26 September 1986, 28.
Brenson, Michael. The New York Times, Friday, 12 September, C20.
Newhall, Edith. New York Magazine, vol. 19, no. 38, 29 September 1986, 34.
Larson, Kay. New York Magazine, vol. 19, no. 38, 29 September l986, 88.
Rosenthal, Mark. Philadelphia Collects: Art Since 1940. Philadelphia: University of
Pennsylvania Press and Philadelphia Museum of Art, 1986, 88.
Bruderlin, Markus. Flashart, no. 130, October/November, 82 – 83.
Packer, William. Financial Times, Tuesday, 14 October l986, 16.
Fuchs, Rudi. Richard Long. New York: The Solomon R. Guggenheim Museum; London: Thames
and Hudson, 1986.
Wolff, Theodore F. The Christian Science Monitor, 6 October 1986.
1987 Robert C. Morgan. “Richard Long’s Poststructural Encounters.” Arts, February 1987, vol. 61, no.
6, 76 – 77.
Fisher, Jean. Artforum, vol. XXV, n. 5, January 1987, 110-111.
Johnston, Jill. “Walking into Art.” Art in America, v.75, no.4, April, l60-l69, p.235
Chessa, Silvia, review. “Richard Long - Galleria Tucci Russo, Torino.” Tema Celeste, no. 11, 65,
p.87-88.
Kertess, Klaus. “Report from Brittany - In Nature’s Shadow,” Artnews, Vol. 86, no. 7, September
1987, 57 – 59.
Brenson, Michael. “Shaping the Dialogue of Mind and Matter.” The New York Times, Sunday 22
November 1987.
Higgins, Judith. “Britain’s New Generation.” Artnews, vol. 86, no. 10, December 1987, 118-122.
1988 Cover, The Philadelphia Museum of Art, Bulletin, Spring 1988.
Smith, Roberta. “An Array of Artists, Styles and Trends in Downtown Galleries.” The New York
Times, Friday, 26 February 1988, C28.
Dimitrijevic, Nena. “Wall Works.” Flash Art International, March - April, no. 139, 121.
Filler, Martin. “L.A. Angles.” House and Garden, April 1988, 158 – 163.
Morgan, Stuart. “Nicholas Logsdail - Lisson Gallery.” Galeries Magazine, no. 24, April/May
1988, 113 – 117.
Douglas C. McGill. “Collage.” The New York Times, Friday, 24 June 1988, C26.
New Works on Paper, exhibition catalogue. Philadelphia: The Philadelphia Museum of Art, 1988,
34 – 35.
Beck, Ernest. “Artful Traveler.” Artnews, October 1988, vol. 8, no. 8, 71 – 72.
Spector, Buzz, review. “Richard Long - Donald Young Gallery,” Artforum, Summer 1988, 151 –
152.
Paoletti, John T. “Letter from Germany.” Arts Magazine, October 1988, 106 – 109.
Old World New World - Richard Long. London: Anthony d’Offay and Köln: Walther König,
1988.
1989 “Stones and Flies: Richard Long in the Sahara,” directed by Philip Haas, Film Forum 1, New
York, 5 – 18 April, 1989.
Levin, Kim. “Richard Long.” The Village Voice, 11 April 1989, 54.
“Goings on About Town.” New Yorker Magazine, 3 April 1989.
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Marcia Pally. “Egg and Stones and Flies: Richard Long in the Sahara.” 7Days, 12 April 1989, 49.
Gookin, Kirby. “Richard Long: Sperone Westwater.” Artforum, Summer, 138.
Joyce, Conor. “Walking Into History.” Flash Art, Summer, 1989, 114-117.
Lise Holst, “Richard Long: Sperone Westwater,” ARTnews, Summer, 162-163.
Joshua Decter. “Richard Long.” Arts Magazine, Summer 1989, 94.
“Goings on About Town: Art.” review of Guggenheim Museum, The New Yorker, 7 August 1989,
13, 16.
Hindry, Ann. “Quelques questions a Germano Celant.” Artstudio, no. 13, Summer 1989, 34-35.
(transated by Andriana Cavalletti)
Pique, Floriana. “Richard Long.” Flash Art, Edizione Italiana, Summer 1989, 68-69.
Flam, Jack. “Global Art: Getting the Big Picture.” Wall Street Journal, The Leisure and Arts
Section, Tuesday, 25 July 1989.
Graham-Dixon, Andrew. “Inside Europe, Great Britain: Neo, No: Still Faithful to the Old Guard.”
ARTnews, September 1989, 122-126.
“Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960,” edited by Siegfried
Gohr and Johannes Gachnang, in conjunction with exhibition at Museums Ludwig in der
Rheinhallen, Köln. Köln, DuMont Buchverlag, 1989.
Morgan, Stuart, and Guiseppe Panza. “Past Present Future.” Artscribe International, no. 76,
Summer 1989, 53-56.
Soinit, Rebecca. “Landscape As Cultural Solution.” San Francisco, Artweek, 23 September 1989.
(review of Fuller-Gross exhibition)
“Art: New shows of mimimalism and conceptualism prove the power of ideas.” Vogue,
September 1989, 532.
Joyce, Conor. “Walking Into History.” FlashArt International, Summer 1989, 114-17.
Anderson, Michael. “Richard Long.” Art issues, no. 7, November, 25.
1990 Russell, John. “From Lopsidedness to Limpidity: A Rethought and Renewed Tate.” Wednesday,
14 February 1990, The Arts section, C13, C20.
3+1 Paul Brand/Terje Roalkvan/Dag Skedsmo/Richard Long, with essay Sune Nordgren. Oslo:
Wang Kunsthandel, 1990.
Baum, Stella. “Konrad Fischer.” Galeries Magazine, April/May 1990, 142-149.
Russell, John. “At the Tate, A Compelling Inside Job.” The New York Times, Arts & Leisure
Section, Sunday, 25 February 1990, 237, 39.
Garlake, Margaret. “Richard Long: Arnolfini/Anthony D’Offay.” Artscribe, no. 81, May 1990,
72.
Wilson, William. “Ecological Minimalism.” Los Angeles Times, Friday, 6 April, n.p.
McEwen, John. “Past Present Future” at the Tate.” Art in America, June, 61, 63, 65.
Schuck, Peter. “Interview: Earth, Water, Wind.” Contemporanea, April, 64-69.
Golding, Martin. “Thoughts on Richard Long.” Modern Painters, Vol. 3, No. 1, Spring, 50-53.
Morley, Simon. “Richard Long:Anthony d’Offay Gallery.” Tema Celeste, April-June 1990, 72-3
Feaver, William. “London: Remaking the Tate.” Artnews, International, Summer, 63-4.
Jeffett, William. “Contemporary Art Fair Strategies: ARCO in Madrid.” Apollo, May 1990,
323-9.
Nesweda, Peter. “Cultures - Relations in Spirit and Form.” Galeries Magazine, April/May 1990,
177.
Bourel, Michel. “La Collection Hebert.” Galeries Magazine, April/May 1990, 3, 150-69.
Garlake, Margaret. “Richard Long: Arnolfini/Anthony d’Offay.” Artscibe, May, 72.
Review. “Great Tate.” Conde Nast Traveler, July 1990, 49.
Watkins, Jonathan. “London: Metamorphic Strategies.” Art International, No. 11, Summer,
63-64.
Dagen, Philippe. “Bordeaux Warehouse Museum Reopens.” The Journal of Art, October, 24.
Marincola, Paula. “Signs of Life.” Contemporanea, October, 92.
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Overy, Paul. “Richard Long Shows at Tate.” The Journal of Art, December, 16.
Craig-Martin, Michael. “Richard Long.” Tate Preview, Tate Gallery Exhibition and Events,
September - December, 6-7.
Gleadell, Colin. “British Sculpture on the Map.” The Journal of Art, November, 73.
Rose, Barbara. “Giuliano Gori: A Modern Medici.” The Journal of Art, November, 14 – 18.
Mink, Janis. “‘Reihung’ - Serial Art: Vera Munro.” Artscribe, November-December, 93.
“When does a graffito become a work of art?” The Art Newspaper, Art Market Section,
December 1990. 26.
Bevan, Roger. Richard Long. Stockholm, Sweden: Magasin 3, 1990.
1991 Solnit, Rebecca. “Dirt.” Art issues, no. 15, December-January, 30-35.
Turner, Jonathan. “Giuliano Gori: Skeletons, Stairways and Thunderbolts.” Artnews, January
1991, 75-76, and 78.
“Bordeaux: Feux Pales at the Capc.” FlashArt, Flash Art News, January/February, 145, 176.
Cone, Michele. “Baroque Nature.” Arts Magazine, March 1991, 32 - 36.
Dexter, Emma. “Richard Long: Tate Gallery, London.” Sculpture, March/April, 67.
Rainbird, Sean. “Crossing Places: Some Notes on the Works of Richard Long.” In Richard Long,
Walking in Circles, exhibition Brochure for the Hayward Gallery, 14 June - 11 August
1991.
Berger, Laurel. “Madrid: a Hispano-American Machine.” Art International, no.14,
Spring/Summer 1991, 29.
Archer, Michael. “Cod Piece.” Artscribe, March/April 1991, 27.
Muchnic, Suzanne. “Making Book.” Connoisseur, July 1991, 28-29.
“La linea vincente di Long.” Il Giornale Dell’Arte, N.88, April, 1991, 29.
Bevan, Roger. “Beck’s beer sponsors Walking in Circles.” The Art Newspaper, International ed.,
No. 8, May 1991, 9.
Overy, Paul. “Lions & Unicorns: The Britishness of Postwar British Sculpture.” Art in America,
September 1991, 104 - 111, 153 - 155.
Lewis, Peter. “Going round in circles.” Daily Telegraph, Tuesday, 18 June 1991, 14.
Dorment, Richard, “Slap, thud and splatter,” Daily Telegraph, Tuesday, 18 June, 14.
Packer, William. “The Long View.” Finacial Times, Tuesday, 18 June.
Greig, Georgie. “Circular tours in the name of art.” The Sunday Times, 16 June 1991, visual arts
section 5, 7.
Hall, James. “Arts & Media: Endless industry.” New Statesman & Society, 14 June 1991, 28 - 29.
“Going round in circles.” Guardian, 12 June 1991. (photograph)
Housden, Roger. “Art walking round in circles.” The Guardian Guide, 1 June 1991, XII.
The Independent, 11 June 1991. (photograph)
Direction, June 1991.
Kent, Sarah. “Muse on the Loose.” Time Out, 19 – 25 June 1991, 28 - 29.
Glancey, Jonathan. “It may be brutal, but it can be beautiful.” The Independent, 19 June 1991, 13.
Interview, September 1991. (photograph)
Hilton, Tim. “Squaring the circles.” The Guardian, 26 June 1991, 38.
Van der Speeten, Gert. “Landschappen van Constable tot Long.” Gazet van Antwerpen, 20 June
1991, 13.
Taylor, John Russell. “Highly rated in some circles.” The Times, Friday, 21 June 1991.
Feaver, William. “Worth a trek on the Long and winding road.” Observer, Sunday, 23 June 1991,
49.
McEwen, John. “In need of a good scout-master.” Sunday Telegraph, 30 June 1991.
Lubbock, Tom. “A walk around Richard Long.” The Independent on Sunday, 23 June 1991, 24.
Bevan, Roger. “Lunga Camminata nel fango e nelle pietre di Richard Long.” Il Giornale
dell’Arte, No. 90, Giugno 1991.
Brown, David. “Richard Long.” Arts Review, 28 June 1991, 328.
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“Richard Long.” Journey, August 1991. (text in Japanese)

Drabble, Margaret. “What Do We Know About Willie Lot?” Modern Painters, Summer 1991,
40-45.
Schippers, K. “de aarde bekrast.” Cultureel Supplement NRC Handelsblad, 5 July 1991.
Brown, David. “While out walking.” The Times Literary Supplement, 5 July 1991.
Silver, Robert. “The long and the short of it.” What’s On, 3 July 1991, 16 - 17.
Graham-Dixon, Andrew. “Walks on the wild side.” The Independent, Tuesday, 2 July 1991.
Frankel, Susannah. “The Art of Richard Long: Walking in Circles.” Blitz, July 1991, 66 - 67.
Torrents, Nissa. “Long, el artista que juega con las piedras, muestra en Londres sus ultimos
trabajos.” La Vanguardia, 7 July 1991, 64.
Barton, Walter. “Wandelkunst van Richard Long.” Het Financieele Dagbald, 29 July 1991, 9.
Sewell, Brian. “Long shot on the South Bank.” Evening Standard, Thursday, 18 July 1991, 23.
Lee, David. “Opinion: Richard Long & Hamish Fulton.” Arts Review, 26 July 1991, 382 - 383.
Plagens, Peter. “Bringing it all Back Home: English earth artist Richard Long circles London.”
Newsweek, 29 July 1991.
Reitsma, Ella. “Een Engelse zoektocht naar de onbedorven natuur.” Vrij Nerderland, 13 July
1991, 48-53.
Jones, Jerry. “These boots are made for walking.” i-D, The One World Issue, August 1991.
van den Berg, Erik. “Cirkeks lopen in onbarmhartige en onherbergzame natuurgebieden.” de
Volkskrant, 3 August 1991, 9.
Archer, Michael. “A Walk in the Endless Summer From Duncansby Head to the Place of the
Camel Dropping.” Art Monthly, September 1991, 7-10.
Richard Long, Walking in Circles, texts by Anne Seymour and Hamish Fulton. New York:
George Braziller, published in association with London: The South Bank Centre, 1991.
Huntoon, Siri. “Book Review: No Stone Unturned.” The New York Times, Sunday, 27 October
1991, 20.
Wheeler, Daniel. ART Since MID-CENTURY 1945 to the Present. New York: The Vendome
Press, 1991, 264 - 265.
Renton, Andrew. “Richard Long, A Walk Around the Block.” FlashArt, International Edition,
October 1991, 129.
“Goings On About Town.” The New Yorker, 11 November 1991, 16.
Filler, Martin. “A Fine Italian Eye.” House & Garden, December 1991, 120-127.
“Goings On About Town.” The New Yorker, 18 November 1991, 18.
Kandel, Susan. “Review of ‘The Lick of the Eye’.” Arts Magazine, November 1991, 97.
Andreae, Christopher. “A Quiet Reordering of Nature.” The Christian Science Monitor, Monday,
25 November 1991, 16-17.
“Richard Long.” Spazio Umano/Human Space, December 1991, 104-105.
1992 Turner, Jonathan. “Pino Casagrande, Everything But Brushstrokes.” Artnews, January 1992,
67-69.
McEvilly, Thomas. “A Time to Choose.” Artforum, February 1992, 88-90. (Richard Long
Illustration)
Huntoon, Siri. “Richard Long, Sperone Westwater.” Artnews, January 1992, 118-119.
Galloway, David. “Report From Germany: A Tale of Three Cities.” Art in America, January
1992, 36-47.
“Close to the Ground.” artscribe, February/March 1992, 18-19.
“Una collezione per tutte le stagioni.” Il Giornale Dell’Arte, N. 99, April 1992. n.p.
Skulptur-Konzept. Krefeld, Germany: Galerie Ludwig, 1992.
van Winkel, Camiel. “The Crooked Path, Patterns of Kinetic Energy.” Parkett, No. 33, 1992,
118-128.
The Bedsprings Twang in Our House, Works from The Becht Collection, essay by Rudi Fuchs.
Bristol: Anolfini, 1992.
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Jones, Amelia. “Richard Long, Angles Gallery.” Artforum, September 1992, 104.
Terrae motus alla Reggia di Caserta. Naples; Fondazione Amelio Electra Napoli e Guida editori,
1992, 96 - 97.
Schwerpunkt Skulptu: Hundertvierzig Werke von achtzig Künstlern 1950-1990/ Focus Sculpture:
Hundred Forty works of eighty artists 1950-1990. (Center of Gravity). Krefeld: Kaiser
Wilhelm Museum, 1992.
1993 Photoplay, Works from The Chase Manhattan Collection. New York: The Chase Manhattan
Corporation, 1993.
Cotter, Holland. “Richard Long.” The New York Times, Friday, 19 February 1993, C26.
“La Long March.” Liberation. 17-18 April 1993, 25.
Fleck, Robert. “Richard Long, ARC.” FlashArt, International Edition, N. 171, Summer 1993,
122-123.
Mattick, Jr., Paul. “Richard Long at 65 Thompson Street.” Art in America, July 1993, 101-102.
Living With Art: The Collection of Ellyn & Saul Dennison. Morristown, NJ: The Morris Museum,
1993.
1994 Richard Long: Books Prints Printed Matter. New York: The New York Public Library, 1994.
Stevens, Mark. “Walks of Life.” New York Magazine, 18 April 1994, 106 and 110.
Zevi, Adachiara. “Viaggiare, inventando nuove sculture.” Corriere Della Sera Domenica
Smaggio, 18 May 1994, 27.
Garbarino, Steven. “the vogels...art lovers, not moguls.” Interview, May 1994, 56.
Kuspit, Donald. “Richard Long: Sperone Westwater.” Artforum, Vol. XXXIII, no. 1, 102.
Aukeman, Anastasia. “Richard Long.” Artnews, October 1994, 180- 181.
Westfall, Stephen. “Painting on the Wall: II Earth Actions.” Art in America, October 1994, 114-
115.
London Review of Books, 20 October 1994, p.30.
Sperone, Gian Enzo, and Achille Bonito Oliva. La Metafora Trovata: 30 years, Galleria
Sperone, 30 anni. Rome: Galleria Sperone, 1994.
1995 BT Monthly Magazine, January 1995, 195-192.
Richard Long: Somerset Willow Line, text by Jean-Christophe Ammann. New York: Blumarts,
Inc., 1995.
1996 Richard Long: Sangyo Suigyo. Exhibition brochure. Tokyo, Japan: Setagaya Art Museum, 1996.
Luis Barragan: Sitio + Superficie. Guadelajara, Mexico: Aniguo Colegio de San Ildefonso, 1996.
Richard Long: Circles Cycles Mud Stones. Houston: Contemporary Arts Museum, 1996.
Irvine, Madeline. A hit of fresh air. Austin American-Statesman, 23 May 1996, p.49.
Johnson, Patricia C. “ A Long walk in nature: British artist uses the world as his material.”
Houston Chronicle, 2 May 1996, Section D, 1D and 3D.
Dewar, Shalia. “Walking Man: Richard Long treads lightly on the earth -- and on his audience’s
imagination.” Houston Press, 6 June 1996, 41.
1997 Kirkpatrick, Colin. “Richard Long: No Where (an interview with Richard Long).” transcript,
Vol. 2, No. 2, n. d., 38–51.
The Hirshhorn Collects: Recent Acquisitions 1992–1996. Exhibition catalogue. Washington, DC:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1997.
Turner, Jonathan. “John Kaldor, Sydney, Australia.” Artnews, vol. 96 no. 7, Summer 1997, 88.
Dupont, Marie. “Top Collectors: Belgium.” Artnews, vol. 96 no. 7, Summer 1997, 104.
On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection. Exhibition
catalogue by Robert Storr, with an introduction by Kirk Varnedoe. New York: The
Museum of Modern Art, and Harry N. Abrams, Inc., 1997.
Jones, Jonathan. “Taking a Walk on the Wild Side of Sicily.” The Independent, 25 November
1997, 17.
Luckow, Dirk. “Münster Sculpture Project 1997.” Art/Text, no. 59, November 1997–January
1998, 35–37.
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Magasin 3 Stockholm Konsthall på Arken: Udvalgte værker fra samlingen/Selections from the
Collection. Exhibition catalogue. Arken, Sweden: Museum for Moderne Kunst, 1997.
1998 “Alpenblick: Contemporary Art and the Alpine.” Flash Art, no. 198, January–February 1998, 51.
Parlavecchio, Ida. “Richard Long.” Tema Celeste, no. 66, January–March 1998, 66.
Kangas, Matthew. “Marfa,TX: Chinati Foundation.” Sculpture, vol. 17 no. 2, February 1998, 75.
Richard Long. Exhibition brochure, with essay by Lucius Grisebach. Garmisch-Partenkirchen:
Zugspitzgipfel, Bayerischen Zugspitzbahn AG, in collaboration with the Neuen
Museum, and the Staatliche Museum für Kunst und Design, Nürnberg, 1998.
Magasin 3 Stockholm Konsthall 10 År/Years, 1988–1998. Exhibition catalogue, with a foreword
by David Neuman. Stockholm: Magasin 3, 1998.
Inner Eye: Contemporary Art from the Marc and Livia Straus Collection. Exhibition catalogue,
with essay by John Yau, texts by Marc Straus and Livia Straus, and interview by Dede
Young. Gainesville: Samuel P. Harn Museum of Art, University of Florida, 1998.
Tyson, Janet. “Fixing the house(s) that Judd Built.” The Art Newspaper, no. 84, September 1998,
7.
Unger, Miles. “Spotlight: Blurring Boundaries, Installation Art at the Worcester Art Museum.”
Art New England, vol. 19 no. 6, October–November 1998, 39.
1999 Dziewior, Yilmaz. “Preview: Richard Long: Kunstverein Hannover.” Artforum, vol. 37 no. 5
January 1999, 58.
Riding, Alan. “Root and Branch, Swiss exhibition Fights Chainsawa.” The New York Times, 3
February 1999.
Art at Work: Forty Years of the Chase Manhattan Collection. Exhibition brochure, with
introduction by Robert Rosenblum. Houston: The Museum of Contemporary Art, and
the Contemporary Arts Museum, 1999.
Kutner, Janet. “On sculpture’s cutting edge.” The Dallas Morning News, Sunday, 23 May 1999,
Section C, 1C, 8C.
Auping, Michael. House of Sculpture. Exhibition brochure. Fort Worth, TX: Modern Art
Museum of Forth Worth, 1999.
Goldberg, Vicki. “A Garden of Sculpture as an Up-to-Date Eden.” The New York Times, 11 July
1999, Section 2, p.35.
“Actualités,” Beaux Arts Magazine, September 1999.
Kimmelman, Michael. “A Sculptor’s Colossus of the Desert.” The New York Times, 12
December, 1999, 38, 49.
2000 Chambers, Christopher. Drawings, Maquettes, and other Artworks Pertaining to Environmental
Sculptures. Exhibition brochure by for Dorsky Gallery. New York: Dorsky Gallery,
2000.
Feaver, William. “Les associations picturales de Sir Nicholas Serota.” Le Journal des Arts, No 96,
7-29 January 2000, 18-19.
Miles, Christopher. “Richard Long, Griffin Contemporary.” Artforum, XXXVIII, No. 8, April
2000, 146.
“Public Art.” New York, Vol. 33, No. 16, 24 April 2000, 116.
Rothbart, Daniel. “New Projects by Richard Long.” NYArts, Vol. 5, No.4, April 2000, 36-37.
Smith, Roberta. “Richard Long.” The New York Times, 28 April 2000, p.E38.
Riding, Alan. “A Symbol Of Renewal In South London.” The New York Times, 1 May 2000, 1, 3.
Cohen, Mark Daniel. “Richard Long.” Review, 15 April 2000, 16-19.
Kimmelman, Michael. “A Temple of Modern Art and Spectacle.” The New York Times, 10 May
2000, E1, E12.
“Richard Long, New York Projects,” In Process: The Quarterly Newsletter of the Public Art
Fund, vol. 8, no. 3, Spring 2000.
Tromp, Ian. “From Walk to Text.” Modern Painters, Summer 2000, 78-83.
Ollman, Leah. “Richard Long at Griffin Contemporary.” Art in America, September 2000, 158-
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159.
Adamello Walk. Richard Long. Trento and Rovereto: Museo di Arte Moderna e Contemporanea
di Trento e Rovereto, 2000.
Sperone, Gian Enzo. 35 Anni di Mostra tra Europa e America, Torino, Roma, New York:
hopefulmonster, 2000, 188, 203, 272, 294, 311, 337, 377, 416, 442, 471.
Luci in galleria, da Warhol al 2000: Gian Enzo Sperone 35 anni di mostre fra Europa e
America/ Lights in the Gallery: From Warhol to 2000, Gian Enzo Sperone: 35 Years
Between Europe and America. Exhibition catalogue. Torino: hopefulmonster, 2000, 26,
48.
2001 The Whitechapel Art Gallery Centenary Review. Exhibition catalogue. London: Whitechapel Art
Gallery, 2001, 33.
2002 Richard Long: Walking the Line. London: Thames & Hudson, 2002.
Packer, William. “Mud, mud, glorious artistic mud.” The Financial Times, 27 August 2002.
2003 Irving, Mark. “I am just passing through the world.” The Financial Times, 9 June 2003, 12.
Irving, Mark. “Interview with Richard Long.” The Financial Times, 9 June 2003.
Buck, Louisa. “Still Walking, After all These Years.” The Art Newspaper, No. 138, July-August
2003, 28.
2004 Singular Forms (Sometimes Repeated): Art from 1951 to the Present. Exhibition catalogue.
New York: Guggenheim Museum, 2004.
Not Afraid: Rubell Family Collection. New York: Phaidon Press, 2004, 178-181.
“Richard Long, New York Projects.” In Plop: Recent Projects of the Public Art Fund. New
York: Merrell and the Public Art Fund, 139.
“Richard Long.” The New Yorker, 12 & 19 July 2004, 24.
Speaking with Hands: Photographs from The Buhl Collection. Exhibition catalogue with essays
by Jennifer Blessing, Kirstin A. Hoving, and Ralph Rugoff. New York: Solomon R.
Guggenheim Foundation,
2004, 20.
Off the Wall: Works from the JP Morgan Chase Collection, with essay by Nancy Hall-Duncan.
Greenwich, CT: Bruce Museum of Arts and Science, 2004, 40.
“Summer Show.” The New Yorker, 23 August 2004, 15-16.
2005 Contemporary Voices: Works from the UBS Art Collection. Exhibition catalogue (4 February –
25 April, 2005), interview with Ann Temkin. New York: The Museum of Modern Art,
77-85.
Escobar, Juan Guillermo. “La Tierra en el Arte.” Loft, June 2005, 38-39.
“Richard Long: Walking into Existence.” du756, May 2005, No. 4.
Rothfuss, Joan and Elizabeth Carpenter. Bits and Pieces Put Together to Present a Semblance of
a Whole: Walker Art Center Collections. Minneapolis: Walker Art Center, 2005, 359.
Garrels, Gary. Drawing from the Modern, 1945-1975. Exhibition catalogue. New York: The
Museum of Modern Art, 2005.
Long, Richard. Walking and Sleeping. Elena Forster Publications: London, 2005.
Four Works: Ivorypress, Volume One, 1998-2005. London: Elena Forster Publications, 2005.
Contemporary Voices: Die UBS Art Collection zu Gast in der Fondation Beyeler, Basel:
Fondation Beyeler, 2005, 55-59.
Richer, Francesca and Rosenzweig, Matthew (ed.). No.1: First Works by 362 Artists. New York:
D.A.P., 2005, 224.
2006 Falconer, Morgan. “Richard Long: The Time of Space.” The World of Interiors, January 2006,
140-141.
Glover, Michael. “The Earth Reshaped by an Artist’s Eye.” Financial Times, 11 January 2006,
12.
Jones, Jonathan. “Monuments to Passing.” Guardian Weekly, 13-19 January 2006, 21.
Ceria, Melissa. “Down to Earth.” C Magazine, January/ February 2006, 97 –99.
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Tatley, Roger. “In the Studio: Richard Long.” Art + Auction, February 2006, 40-44.
Baker, Kenneth. “Richard Long’s Art Can be Viewed by All Who Take a Hike – Or Go to
SFMoMA.” San Francisco Chronicle, 4 February 2006, E1.
“Itinerary.” Sculpture Magazine, March 2006, 18-19.
Mobley, Chuck. “For-Site Foundation.” Sculpture Magazine, March 2006, 20-21.
Feaver, William. “Reviews: Richard Long.” ARTnews, April 2006, 153.
“Richard Long: The Path Is The Place Is The Line.” San Francisco Museum of Modern Art
Calendar, March / April 2006, 14.
A Sculpture Reader: Contemporary Sculpture Since 1980, edited by Glenn Harper and Twylene
Meyer. New Jersey: International Sculpture Center, 2006, 148-159.
Ayres, Robert. “The AI Interview: Richard Long.” Artinfo.com, 5 July 2006.
Lowenstein, Oliver. “What Ever Happened to Land Art?” Art Review, August 2006, 58-63.
Richer, Francesca and Matthew Rosenzweig. No. 1: First Works by 362 Artists. New York:
Distributed Art Publishers, 2006, 224.
Roseberg, David, et al. The Perlstein Collection: From Dada to Contemporary Art. Gent:
Ludion, 2006, 378, 483.
2007 Fast Forward: Contemporary Collections for the Dallas Museum of Art. Exhibition catalogue.
Dallas, TX: Dallas Museum of Art, 23, 255.
Pacquement, Alfred. Collection Art Contemporain. Paris: Editions du Centre Pompidou, 2007,
282-283.
“They Call him the Wanderer.” Times Online, 26 June 2007.
“Itinerary: Richard Long: Walking and Marking.” Sculpture, September 2007, 16.
Cork, Richard. “Out of the Studio and Back to the Land.” Financial Times, 11 August 2007, 9.
Panza, Giuseppe. Giuseppe Panza: Memories of a Collector. New York: Abbeville Publishers,
2007, Plate 50, 196-197.
Skove, Margaret Ann. Kate Javens: American Beasts. Fort Dodge, IA: Blanden Art Museum,
2007, 67.
Herbert, Martin. “I Loved the Bugs, They Were Gross.” Tate Etc., Autumn 2007, 80, 81.
Leighton, John. Richard Long: Walking and Marking. Edinburgh, Scotland: National Galleries of
Scotland, 2007.
Auping, Michael. “Richard Long.” In 30 Years: Interviews and Outtakes. Fort Worth, Texas:
Modern Art Museum of Fort Worth, 2007, 199-217.
R. Neff, Terry Ann, ed. The Fisher Collection. San Francisco: Doris and Donald Fisher, 2007,
56-67.
2008 Wullschlager, Jackie. “Works that speak volumes.” Financial Times, 19-20 April 2008, Life &
Arts, 12.
Kenichi, Kondo. History in the Making: A Retrospective of The Turner Prize. Japan: Mori Art
Museum, 2008, 18, 56, 83.
“A tradition in good shape.” The Financial Times, 10-11 May 2008, Life & Arts, 13.
Cork, Richard. “Out of the studio and back to the land.” Contract, July 2008, 14-15.
Schulz, Von Bernhard. “Die Liebe zum Sandkorn.” Sonnabend, Nr. 19 9333, 14 June 2008, 17.
Hankins, Evelyn C. and Giuseppe Panza. The Panza Collection: Hirshhorn Museum and
Sculpture Garden. Exhibition catalogue. Washington DC: Hirshhorn Museum and
Sculpture Garden, 2008, 82.
Wainwright, Jean. “Richard Long and Simon Starling.” Art World, December 2008/ January
2009, 120-122.
Foster, Elena and Rowan Watson. Blood on Paper, exhibition catalogue. London: Ivory Press
Ltd. and Victoria and Albert Museum, 2008, illustrated.
Richard Long. Exhibition brochure. Nice, France: Musee d’Art moderne et d’Art contemporain,
2008.
2009 Archer, Michael. “Richard Long.” Artforum, May 2009, 152.
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Macfarlane, Robert. “Walk the line.” guardian.co.uk, 23 May 2009.

Macfarlane, Robert. “The artist who walks the line.” The Guardian Weekly, 5-11 June 2009, 32-
33.
Campbell-Johnston, Rachel. “Richard Long: Heaven and Earth at Tate Britain.”
timesonline.co.uk, 2 June 2009.
Dorment, Richard. “Richard Long: Heaven and Earth at Tate Britain.” Telegraph.co.uk, 1 June
2009.
Januszczak, Waldemar. “Richard Long retrospective at Tate Britain.” timesonline.co.uk (The
Sunday Times), 7 June 2009.
Wallis Clarrie, ed. Richard Long: Heaven and Earth. Exhibition catalogue. Millbank, England:
Tate Britain, 2009.
Wullschlager, Jackie. “Richard Long at Tate Britain.” Financial Times, 26 June 2009.
Macfarlane, Robert. “Five, Six, Pick up Sticks,” Tate Etc., Issue 16/ Summer 2009, 54-63.
Fox, Stephen, Douglas Sprunt, and Deborah Velders. Gwathmey Siegel: Inspiration and
Transformation. Exhibition catalogue. Wilmington, NC: Cameron Art Museum, 2009,
78, 84.
Cherix, Christophe. In & Out of Amsterdam: Travels in Conceptual Art 1960-1976. New York:
The Museum of Modern Art, 2009.
Wright, Karen. “Walking in the Mind.” Phillipsartexpertforum.com/forum (Phillips ART Expert),
30 July 2009.
Flanders, Judith. “A stone’s throw from abstraction.” The Times Literary Supplement, 21 & 28
August 2009, 21.
Ward, Ossian. “Richard Long.” timeout.com/london (accessed 26 August 2009).
Spens, Michael. “Richard Long: Heaven and Water.” studio-international.co.uk (Studio
International), 6 August 2009.
Coggins, David. “Sticks and Stones.” Art in America, September 2009, 122-127.
Feaver, William. “Reviews: Richard Long, Tate Britain.” ARTnews, vol. 108, no. 9, October
2009, 138.
Pogrebin, Robin. “Architect’s Challenge: A Sliver of a Space.” nytimes.com, 20 October 2009.
2010 Editionen, Künstlerbücher und Arbeiten / Editions, Artists Books and Works. Essen-Ketwig,
Germany: Galerie Schütte / Peter Foolen Editions, 2010.
A Bit of Matter and a Little Bit More. Exhibition catalogue. Köln: Walther König, 2010.
2011 Schjeldahl, Peter. “Proto Soho.” The New Yorker, 17 January 2011, 80-81.
Cumming, Laura. “Dirt: The Filthy Reality of Everyday Life – Review.” guardian.co.uk (The
Observer), 27 March 2011.
Imwinkelried, Rita. “Sinfonie In Holz.” Architectural Digest (Germany), April 2011, 163.
Milandri, Anna. “Lives and Works in Berlin│rocks/mud/linoleum: sculpture between sites.”
blog.art21.org, 14 April 2011.
“Bristol’s M Shed £10,000.00 painting…made of mud.” thisisbristol.co.uk (from The Evening
Post), 22 April 2011.
“New Modern and Contemporary Art Galleries Complete Wales’s National Museum of Art.”
artdaily.org, 3 May 2011.
“Richard Long: Berlin Circle / Nationalgalerie at Hamburger Bahnhof – Museum für Gegenwart,
Berlin.” vernissage.tv/blog (Vernissage TV), 4 May 2011.
The Contemporary Art Masters. Bijutsu Shuppan-Sha Co., Ltd., vol. 63, no. 951, May 2011, 188.
“Richard Long, ‘Flow and Ebb’,” Time Out New York, no. 815, 2-8 June, 2011, 45.
Zeitz, Lisa. “Berlin’s Unlikely Art Czar: The Meteoric Rise of Berlin’s Foremost Museum
Director Began Outside the Academy,” Art in America, no. 6, June/July 2011, 69-73.
Leschrogge, Hank. “Mud and Magic: Richard Long at Sperone Westwater.” artculture.com (Art
Culture), 26 May 2011.
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Luke, Ben. “Richard Long – landscape artist.” thisislondon.co.uk (London Evening Standard), 26
May 2011.
Murg, Stephanie. “Cornell Education,” ARTnews, vol. 110, no. 6, June 2011, 26.
Bevan, Robert. “Making an exhibition of an old storeroom,” www.theaustralian.com, 12 April
2011.
Rondeau, James. Contemporary Collecting: The Judith Neisser Collection. Exhibition catalogue.
Chicago: The Art Institute of Chicago, 2011, 90.
“Richard Long’s Comeback & New Sculpture Exhibition.” russianmind.com (Russian Mind), 16
June 2011.
“Richard Long at Sperone Westwater (June 2011).” marceartvlog.blogspot.com (Marcelo’s Art
Vlog), June 2011.
“New exhibition from Richard Long,” www.landscapeinstitute.com (Landscape Institute), 16
June 2011.
Brougher, Kerry. “Fragments in Time and Space, June 23 – August 28.” Hirshhorn Magazine,
Summer 2011, 6.
Britt, Douglass. “MFAH’s new exhibit looks at changing landscapes,” www.chron.com (Houston
Chronicle), 15 July 2011.
Price, Karen. “Watch out Tate, the new National Museum of Art is open,” ww.walesonline.co.uk
(Wales Online), 2 July 2011.
Stephens, Simon. “2012 Artist Rooms tour announced.” 31 August 2011.
“Landscape art: 10 works that changed our views.” www.telegraph.co.uk (The Telegraph), 1
November 2011.
Rubin, Clive. “A view of the world carved from rocks and mud.” timeslive.co.za (Times LIVE),
31 December 2011.
2012 Cooper, Jeremy. Artists’ Postcards: A Compendium. London: Reaktion books Ltd, 2012, 340.
Lodi, Simona. “What Is The Meaning Of Art? A Master Of Arte Povera Gives The Answer,”
huffingtonpost.com (Huffington Post). 15 May 2012.
Hensher, Philip. “The Long (and squiggly) road to Olympic glory: How a 328ft art work was
painted with watering cans...by car headlight.” dailymail.co.uk (Daily Mail), 4 August
2012.
BBC News Bristol, “Bristol artist Richard Long among Queen’s New Year Honours,”
http://www.bbc.co.uk, 29 December 2012.
“Tate’s curator of contemporary art, Clarrie Wallis, to give annual art lection for Glasbury Arts.”
www.herefordtimes.com (Hereford Times), 19 January 2012.
Slenske, Michael. “Ends of the Earth.” W Magazine, April 2012, 96.
Morgan, Robert C. “EARLY CONCEPTUAL ART: Documents, Installations, and Related
Manifestations.” www.brooklynrail.org (The Brooklyn Rail), June 2012.
Cork, Richard. “Art around the nation.” Royal Academy of Arts Magazine, No. 115, Summer
2012, 32-33.
Higgins, Charlotte. “Richard Long: ‘It was the swinging 60s. To be walking lines in the fields was
a bit different.’” Guardian.co.uk (The Guardian), 15 June 2012.
Long, Richard. Karoo Highveld: Works from South Africa 2004 and 2011. London: Haunch of
Venison, 2012.
2013 Wiley, Chris. “Ends of the Earth: Land Art to 1974 – Museum of Contemporary Art, Los
Angeles.” Frieze, January - February 2013, 155.
Kolodziej, Beate, Gerard Vermeulen and Roland Mönig. Richard Long: Prints 1970 – 2013.
Catalogue Raisonne. Berlin: Walther Konig Verlag, 2013.
Tiberghien, Giles A. “The Imaginary Cartographic World in Contemporary Art.” Espace, Spring-
Summer, 2013, 17-22.
When Attitudes Become Form. Bern 1969/Venice 2013. Exhibition catalogue. Venice:
Fondazione Prada, 2013.
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Burns, Charlotte. “Mud Sticks at Masters.” The Art Newspaper, 16 October 2013, 1.
2014 Blind Spot, Issue 47, Spring/Summer 2014, plate 30.
Jobey, Lisa. “Richard Long at Lisson Gallery, London and New Art Gallery, Walsall.” The
Financial Times, 25 April 2014, 15.
Caminos, Ximena. Mendoza Walking. Exhibition catalogue. Faena Arts Center: Buenos Aires,
2014.
Barassi, Sebastiano, ed. Body & Void: Echoes of Moore in Contemporary Art. Exhibition
catalogue. Perry Green: The Henry Moore Foundation, 2014.
Visconti, Jacopo Crivelli. Novas Derivas. São Paulo: WMF Martins Fontes, 2014, XI, XII, XIV,
XIX, 23, 36, 40-42, 45, 56, 61, 77, 79, 80, 84, 94, 127, 157.
2015 Richard Long: The Spike Island Tapes. Exhibition catalogue. London: Alan Cristea Gallery,
2015.
Signs/Words. Exhibition Catalogue. New York: Sperone Westwater, 2015.
Spence, Rachel. “Winning Steps.” Financial Times, 18 January 2015, 13.
Durrant, Nancy. “A Brilliant Career Built from Mud, Sticks and Stones.” The Times (UK), 14
March 2015, 8-9.
Day, Jon. “The Last Amateur.” Apollo, March 2015, 134-138.
Artist Rooms: The First Five Years. London: Tate, 2015, 36-38.
Pardo, Tara. “Turner Prize-winning Bristol artist comes back to his roots.” bristolpost.co.uk
(Bristol Post), 18 June 2015.
Kennedy, Maev. “Richard Long goes for a walk through boyhood haunts with latest sculpture.”
theguardian.com (The Guardian), 19 June 2015.
Walking Sculpture, 1967-2015. Exhibition catalogue. Lincoln, MA: deCordova Sculpture Park
and Museum, 2015, 22-23.
“Richard Long: Time and Space.” Financial Times, 24 July 2015, 15.
“Richard Long.” The Guardian Guide, 26 July 2015, 36.
“He Walks the Line: Richard Long Talks to Bryan Appleyard.” The Sunday Times, 26 July 2015,
8-9.
Osburn, Chris. “Richard Long: Time and Space at Arnolfini, Bristol” www.huffingtonpost.co.uk
(The Huffington Post), 29 July 2015.
Himelfarb, Ellen. “Passage of Time: Richard Long retrospective opens at Bristol Arnolfini.”
www.wallpaper.com (Wallpaper), 30 July 2015.
Sooke, Alastair. “Mud, walks and whimsy.” The Daily Telegraph, 30 July 2015, 23.
McGivern, Hannah. “Richard Long’s love letter to Bristol” www.theartnewspaper.com (The Art
Newspaper), 31 July 2015.
Muñoz-Alonso, Lorena. “The Long Walk Home: Richard Long Survey opens at the Arnolfini in
Bristol.” www.news.artnet.com (artnet News), 31 July 2015.
Granberry, Michael. “British artist Richard Long has given up his ‘Dallas Rag.’” dallasnews.com
(The Dallas Morning News), 31 July 2015.
Forrest, Nicholas. “The Time and Space of Richard Long at Arnolfini, Bristol.”
blouinartinfo.com (Blouin Artinfo), 3 August 2015.
Waters, Lowenna. “Richard Long: Time and Space, Arnolfini.” elephantmag.com (Elephant: The
Art Culture Magazine), 3 August 2015.
Cook, William. “Richard Long interview: ‘I was always an artist, even when I was two years
old.’” www.spectator.co.uk (The Spectator), 8 August 2015.
Long, Richard. “Biopic: Richard Long.” Modern Painters, September 2015, 37.
Long, Richard. “Shivering in Ithaca.” Art in America, September 2015, 61.
Windsor-Clive, India. “He walks the lines.” Resurgence & Ecologist, September/October 2015,
cover, 50-53.
Pogrebin, Robin. “A Long Walk Brings Dimensions.” The New York Times, 20 September 2015,
4.
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Richard Long: Time and Space. Exhibition catalogue. Bristol: Arnolfini; London: Koenig Books,
2015.
2016 Wolfe, Ann M. Tahoe: A Visual History. Exhibition catalogue. New York: Skira Rizzoli
Publications, Inc., 2015, 432-433.
Landscapes after Ruskin: Redefining the Sublime. Exhibition catalogue. Reading, VT: Hall Art
Foundation, 2016.
Embracing the Contemporary: The Keith L. and Katherine Sachs Collection. Exhibition
catalogue. Philadelphia: Philadelphia Museum of Art, 2016, 16, 18, 28, 30, 174-177,
276.
Cole, Ina. “Ideas Can Last Forever: A Conversation with Richard Long.” Sculpture, July/August
2016, 20-27.
Halperin, Julia. “Richard Long gets down to earth at 101 Spring Street.” The Art Newspaper,
September 2016, 6.
2017 Bastable, Jonathan. “The Long view.” Christie’s Magazine, April 2017, 28-31.
Hawkins, Helen, and Mary O’Connor. “Houghton Hall.” The Sunday Times, 2 April 2017, p. 7.
Barkham, Patrick. “Richard Long: ‘I'm proud of being the first person to cross Dartmoor in a
straight line.’” www.theguardian.com (The Guardian), 16 April 2017.
O’Flaherty, Mark C. “Earthly delights: Richard Long unveils a series of art installations at
Houghton Hall.” www.telegraph.co.uk (The Telegraph), 22 April 2017.
O’Flaherty, Mark C. “Hall of Fame.” The Telegraph Magazine, 22 April 2017.
Faith, Sara. “Richard Long At Houghton Hall Norfolk An Inspired Pairing.” www.artlyst.com
(Artlyst), 28 April 2017.
Elwick-Bates, Emma. “A Turner Prize Winner Brings Blue Sky Thinking to the British
Countryside.” www.vogue.com (Vogue), 29 April 2017.
Campbell-Johnston, Rachel. “Sculpture with the X factor.” The Times, 28 April 2017, 12.
Knights, Emma. “New exhibition by Turner Prize-winning artist Richard Long features seven
works inspired by Houghton Hall.” www.edp24.co.uk (Eastern Daily Press), 28 April
2017.
“It’s raining, raining on my art.” The Guardian, 28 April 2017.
“The Critical List: Richard Long at Houghton.” The Daily Telegraph, 29 April 2017, p. 17.
Wise, Louis. “Critical List: The Best of What’s on this Week.” The Sunday Times, 29 April 2017,
p. 18.
“Critics’ choices for the week ahead: Pick of the week.” The Sunday Telegraph, 30 April 2017,
24.
Hallett, Florence. “Richard Long: Earth Sky, Houghton Hall.” www.theartsdesk.com (The Arts
Desk), 30 April 2017.
Knights, Emma. “How Norfolk’s Houghton Hall inspired Turner Prize-winning artist Richard
Long’s latest show.” www.edp24.co.uk (Eastern Daily Press), 4 May 2017.
Jones, Jonathan. “Exhibitions: Five of the best.” The Guardian Guide, 6-12 May 2017, 32.
Waters, Florence. “Richard Long moves heaven and earth at Houghton Hall.”
www.wallpaper.com (Wallpaper*), 10 May 2017.
Januszczak, Waldemar. “Outdoor Art: Richard Long at Houghton Hall.” The Sunday Times
Travel, 14 May 2017.
EARTH SKY: Richard Long at Houghton. Exhibition catalogue. Norfolk: Houghton Hall; Köln:
Buchhandlung Walther König, 2017.
De Bellaigue, Noémie. “Le land art de Richard Long.” www.admagazine.fr (Architectural
Digest), 1 June 2017.
Cochran, Sam. “Rock Steady.” Architectural Digest, August 2017, 110.
Buck, Louisa. “Must See: The Long View.” www.artagencypartners.com (In Other Words), 14
September 2017.
Wallis, Clarrie, ed. Stones Clouds Miles: A Richard Long Reader. London: Ridinghouse, 2017.
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Writings by the artist:
1970 “Richard Long Skulptures: England Germany Africa America 1966-1970,” Städtisches Museum,
Mönchengladbach.
1971 “A Sculpture by Richard Long, Presented by Konrad Fischer,” Konrad Fischer, Düsseldorf.
“From Along a Riverbank: Richard Long,” Art and Project, Amsterdam.
“Two Sheepdogs Cross In And Out Of The Passing Shadows. The Couds Drift Over The Hill
With A Storm,” Lisson Publications, London.
1973 “Richard Long: South America 1972,” Konrad Fischer, Düsseldorf.
“From Around A Lake: Richard Long,” Art and Project, Amsterdam.
“John Barleycorn,” Stedelijk Museum, Amsterdam.
1974 “Inca Rock Campfire Ash: Richard Long,” Scottish National Gallery of Modern Art, Edinburgh.
1975 “From Around A Lake,” Art & Project, Amsterdam. (second edition)
1977 “The North Woods: Richard Long,” Whitechapel Art Gallery, London.
“A Hundred Stones. One Mile Between,” Kunsthalle, Bern.
“First And Last: Richard Long, Cornwall England.
“Straight Hundred Mile Walk In,” John Kaldor Project 6, Sydney.
“Australia: Richard Long.”
1978 “Rivers And Stones: Richard Long, “Newlyn Orion Galleries, Newlyn, Cornwall.
“Richard Long: Sydamerika 1972,” Kalejdoskop, Lund.
1979 “River Avon Book,” Anthony d’Offay Gallery, London.
“Richard Long, “Van Abbemuseum, Eindhoven.
“Richard Long In Aggie Weston’s,” Coracle Press, London, no.16, Winter.
“A Walk Past Standing Stones,” John Robert for Anthony d’Offay, London.
1980 “A Walk Past Standing Stones,” Coracle Press for Anthony d’Offay, London.
“Richard Long: Five, Six, Pick Up Sticks,” Anthony d’Offay, London.
1981 “Seven, Eight, Lay Them Straight, Twelve Works, 1979-1981: Richard Long,” Coracle Press for
Anthony d’Offay, London.
“Richard Long Bordeaux,”CAPC Musée d’Art Contemporain, Bordeaux.
1982 “Mexico 1979: Richard Long,” Van Abbemuseum, Eindhoven.
“Selected Works/Oeuvres Choisies, 1979-1982: Richard Long,” National Gallery of Canada,
Ottawa.
1983 “Touchstones: Richard Long,” Arnolfini, Bristol.
“Countless Stones. A 21 Day Footpath Walk. Central Nepal, Van Abbemuseum, Eindhoven and
Openbaar Kunstbezit.
“Fango Pietre Legni: Richard Long, Galleria Tucci Russo, Turin.
1984 “Planes Of Vision: Richard Long, England, Ottenhausen Verlag, Aachen.
“Sixteen Works: Richard Long,” Anthony d’Offay Gallery, London.
“Mud Hand Prints: Richard Long,” Coracle Press, London.
“River Avon Mud Works: Richard Long,” Orchard Gallery, Londonderry.
“Postcards 1968 – 1982,” C.A.P.C. Musée d’art contemporain de Bordeaux.
“Richard Long,” Century Cultural Foundation, Tokyo.
1985 “Richard Long,” Fonds Regional d’Art Contemporain Aquitaine.
“Muddy Water Marks: Richard Long,”MW Press, Noordwijk, Holland.
“Il Luogo Buono: Richard Long,” Padiglione d’Arte Contemporanea di Milan.
1986 “Richard Long In Conversation. Bristol 19.11.1985,” MW Press, Noordwijk, Holland.
“Richard Long In Conversation,” MW Press, Noordwijk, Holland, Part Two.
“Piedras: Richard Long,” Ministerio de Cultura and The British Arts Council, Madrid.
“Lines Of Time/Tijdlijdin,” Stichting Edy de Wile-Lezing, Amsterdam.
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1987 “Out Of The Wind: Richard Long,” Donald Young Gallery, Chicago.
“A Round Of Desert Flowers Bottle Neck Dobro, Record, produced by Audio Arts, London.
“Dust Dobros Desert Fowers,” Lapis Press, Los Angeles.
“Stone Waters Miles: Richard Long,” Musee Rath, Geneva.
1988 “Twenty Rivers,” Unique book, paper made with pulp and River Avon mud.
“Richard Long: Old World New World.” Anthony d’Offay Gallery, London and Verlag der
Buchhandlung Walther König, Cologne, 1988.
1989 “Richard Long: Angel Flying, Too Close To The Ground.” Kunstverein, St. Gallen.
“Surf Roar: Richard Long.” LaJolla Museum of Contemporary Art, LaJolla, California.
1990 “Nile: Papers Of Rivers Muds.” Lapis Press, Los Angeles.
“Richard Long: Sur La Route.” Musée Departemental de Rochechouart.
“Kicking Stones: Richard Long.” Anthony d’Offay Gallery, London.
1991 “Richard Long: Walking In Circles.” Hayward Gallery, The South Bank Centre, London and
George Braziller, New York.
“Labyrinth: Richard Long.” Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main.
1992 “Richard Long: Mountains And Waters.” Anthony d’Offay, London.
1993 “Richard Long: River To River.” ARC Musée d’Art Moderne de la Ville de Paris.
1994 “Richard Long.” Electa, Rom.
1997 “Richard Long: From Time To Time.” Cantz, Stuttgart.
“Richard Long: A Walk Across England.” Thames and Hudson, London and New York.
1998 Sleeman, Alison. “Richard Long: Mirage.” Phaidon Press Limited, London.
1999 “Richard Long,” Kunstverein Hannover.
“Richard Long, Selected Walks 1979-1996.” Morning Star Publications Centre for Artist Books,
Edinburgh.
Spaulding, Karen Lee. Masterworks at the Albright-Knox Gallery. New York: Hudson Hill
Press, 290-291.
2006 “Dartmoor: An Eight Day Walk.” Koenig Books, London.
2010 “Richard Long: Gravity.” London: Ivorypress.
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Selected Public Collections:
Albright-Knox Art Gallery, Buffalo, New York

Arts Council of Great Britain, London, UK
Art Gallery of Ontario, Toronto, Ontario, Canada
Art Gallery of Victoria, Adelaide, Australia
The Art Institute of Chicago, Chicago, IL
The Art Museum of the Ateneum, Helsinki, Finland
Auckland Art Museum, Auckland, New Zealand
The Blanton Museum of Art, University of Texas at Austin, Texas
Bristol City Museum and Art Gallery, Bristol, UK
Cantor Arts Center at Stanford University, Stanford, California
CAPC Musée d’art contemporain de Bordeaux, Bordeaux, France
The Carnegie Museum of Art, Pittsburgh, Pennsylvania
Carré d’Art, Nîmes, France
Castello di Rivoli, Turin, Italy
Chase Manhattan Bank, New York
Chinati Foundation, Marfa, Texas
City Museum of Contemporary Art, Hiroshima, Japan
Cleveland Museum of Art, Cleveland, Ohio
Columbus Museum of Art, Columbus, Ohio
Crex Collection, Zurich, Switzerland
The Dallas Museum of Art, Dallas, Texas
De Pont, Tilburg, Netherlands
Detroit Institute of Arts, Detroit, Michigan
Domaine de Kerguehennec, Bignan, France
Emanuel Hoffman Collection, Basel, Switzerland
Fond national d’art contemporain, Paris, France
The Fogg Art Museum, Cambridge, Massachusetts
Forte di Vinadio, Vinadio, Italy
Gemeentemuseum, The Hague, Netherlands
Groninger Museum, Groningen, Netherlands
Hallen für neue Kunst, Schaffhausen, Switzerland
Hamburger Bahnhof, Berlin, Germany
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York
The Hirshhorn Museum and Sculpture Garden, Washington D.C.
Irish Museum of Modern Art, Dublin, Ireland
Kröller-Müller Museum, Otterlo, Netherlands
Leeds City Art Galleries, Leeds, United Kingdom
Louisiana Museum, Humlebæk, Denmark
Malmö Konsthall, Malmö, Sweden
Modern Art Museum of Fort Worth, Fort Worth, Texas
Moderna Museet, Stockholm, Sweden
Musée d’Art Moderne de la Ville de Paris, Paris, France
Musée Départemental de Rochechouart, Rochechouart, France
Musée Départemental des Vosges, Epinal, France
Musée national d’art moderne, Centre Pompidou, Paris, France
Museo d’arte contemporanea Donna Regina, Naples, Italy
Museum of the Ateneum, Helsinki, Finland
Museum Boymans-van Beuningen, Rotterdam, The Netherlands
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Museum of Contemporary Art, Chicago, Illinois

Museum of Contemporary Art, Ghent, Belgium
The Museum of Contemporary Art, Helsinki, Finland
Museum des 20, Vienna, Austria
The Museum of Fine Arts, Houston, Texas
Museum Haus Lange, Krefeld, Germany
Museum van Hedendaagse Kunst, Ghent
Museum Kurhaus Kleve, Cleves, Germany
Museum Ludwig, Cologne, Germany
Museum of Modern Art, New York
Museum voor Moderne Kunst, Brussels, Belgium
Naoshima Contemporary Art Museum, Japan
Nasher Sculpture Center, Dallas
National Gallery, Washington, D.C.
National Gallery of Australia, Canberra, Australia
The National Gallery of Canada, Ottawa, Ontario, Canada
National Gallery of Victoria, Melbourne, Australia
Philadelphia Museum of Art, Philadelphia, Pennsylvania
Raussmuller Collection
Rijksmuseum Twenthe, Enschede, Netherlands
San Francisco Museum of Modern Art, San Francisco, California
Scottish National Gallery of Modern Art, Edinburgh, Scotland
Seattle Art Museum, Seattle, Washington
Städtische Kunsthalle, Mannheim, Germany
Städtisches Museum, Mönchengladbach, Germany
St. Louis Museum of Art, St. Louis, Missouri
Solomon R. Guggenheim Museum, New York
Southampton City Art Gallery, Southampton, United Kingdom
Staatliche Museen Preussischer Kulturbesitz, Nationalgalerie, Berlin, Germany
Stedelijk Museum, Amsterdam, The Netherlands
Stedelijk Van Abbemuseum, Eindhoven, The Netherlands
Swindon Art Gallery, Swindon, Wiltshire, United Kingdom
The Tate Gallery, London, United Kingdom
Tokyo International Forum, Tokyo, Japan
Tokyo Metropolitan Museum, Tokyo, Japan
Tokyo Museum of Contemporary Art, Tokyo, Japan
Von der Heydt-Museum, Wuppertal, Germany
Walker Art Center, Minneapolis, Minnesota
Wilhelm Lehmbruck Museum, Duisburg, Germany

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257 Bowery New York 10002

Cochran, Sam. “Rock Steady.” Architectural Digest, August 2017, p. 110.

Wilderness Dreaming, 2017. Photography: Pete Huggins

‘My talent as an artist is to walk across a moor or place a stone on

So why has this reclusive artist, who operates on mountains, wild

In some places he has been incredibly – you could say

A Line in Norfolk, 2016. Photography: Pete Huggins

Houghton Cross, 2016

White Deer Circle, 2016

North South East West, 2017

White Water Falls, 2017

“My work is to celebrate all the different

His Houghton exhibition also includes a

It is the largest show of Mr. Long’s work

White Deer Circle

A vast circle of carefully arranged slate, it is entitled Full Moon

Explaining the name of his new show, he said: “When I make a

When asked about his key inspirations from Houghton, he said:

Here artist Richard Long is pictured with A Line in Norfolk.

AN 18TH CENTURY HOME INSPIRING 21ST CENTURY ART

A passionate collector of art, the Marquess of Cholmondeley has filled

Starting with Houghton Revisited, which saw paintings once owned by

“The first one, Houghton Revisited, was so different, it was a great

“The idea really was [from] looking at the old

Reflecting on the Richard Long exhibition, he

is like a prehistoric artwork almost...Richard’s a

He said the exhibition gave visitors the chance to

“I think it is experiencing a house they may know as a

He said he hoped the exhibition would be enjoyed by

Richard Long with White Water Falls

White Water Falls

Full Moon Circle, commissioned in 2003

Full Moon Circle, 2003

Full Moon Circle (detail)

O’Flaherty, Mark C. “Hall of Fame.” The Telegraph Magazine, 22 April 2017.

Barkham, Patrick. “His stark materials.” The Guardian, 17 April 2017.

© RICHARD LONG, COURTESY ARNOLFINI

pausing to make works referencing natural and cosmic phenomena experienced

a fellow student at St Martin’s had already

Sculpture July/August 2016

fly to Nairobi for almost nothing. Being out

Sculpture July/August 2016 25

Sculpture July/August 2016 27

Richard Long, Photo: James Wainman Courtesy of Lisson Gallery

For Long—the creator of a unique blend of art-making

The majority of his works stem from this activity,

The survey show traces Long’s oeuvre from 1967 to

The first gallery at the Arnolfini gathers pieces from

“I love mud as a material,” the artist said yesterday

“I did this whole mural in about 45 minutes, then,

In the same gallery, the pieces Muddy Boots

Upstairs, the monumental sculpture Time and

An unexpected surprise, however, came in the

A much lesser-known body of work, these driftwood

“The driftwood drawings are actually the only works I

He certainly is an artist of the world, having left his

‘The balance of measurements,’ says Long, ‘is important to the work.’

There is no significance in its length either: the

Many of Long’s pieces are fragile and fleeting: a

4 Turf Circle, 1966 5 A Line Made By Walking, 1966

M A R C H 2015 APOLLO 137

metal, new generation sculpture’, he says,

Richard Long has an exhibition Mendoza Walking at