Google richard long biography

Gregory Long. Valerie Long. Sherman D. Dale McCord Long. Barbara Long Sibling. John Sherman Long Sibling. His son Carey passed away in He inherited his dad's heart problems. He outlived his dad by three years, age wise. He was 50 years old at the time of his death. Served in the U. December 7, Archived from the original on September 11, Reading Eagle.

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Long has been taking these walks since the mid s where he has walked in places such as the Sahara Desert, Australia, Iceland and near his home in Bristol, United Kingdom. His work has proven to be revolutionary as it has changed how society views sculpture. His work has influenced the boundaries of sculpture to not be limited to only "traditional" materials and to be able to use alternative materials in his work.

Not only is he using alternative materials such as rock and earth, but he also changed what art is, as the actual art piece can be the process of creating the art itself. In his work, often cited as a response to the environments he walked in, the landscape would be deliberately changed in some way, as in A Line Made by Walking , and sometimes sculptures were made in the landscape from rocks or similar found materials and then photographed.

Other pieces consist of photographs or maps of unaltered landscapes accompanied by texts detailing the location and time of the walk it indicates. The piece is nearly 2 metres in diameter and is composed of pieces of slate that came from the Delabole quarry in Cornwall, United Kingdom. The piece can be configured differently, however Long has specified a few rules on how it should be put together.

All pieces of stone must touch so that they can be locked together and stable, as well as the pieces must form a circle. The connection of the slates and the geometric shape illustrates a common theme that Long portrays in his work about the relationship between man and nature. Long explains, "you could say that my work is It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work.

At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a sculpture to the east of the house. Long's land art there consists of a circle of Cornish slate at the end of a path mown through the grass. Long has created several pieces which hearken back to the original piece A Line Made by Walking. Some are circles or organic paths.

Some exist in snow, dust, and even charred grass. He often returned home after miles-long walks, during which he immersed himself in the natural landscape. His liberal-minded mother and educator father fully supported Richard's desire to explore the outdoors and practice art. Long's early artistic sensibilities were also encouraged by his school; he would often arrive before classes began to spend time painting and became known as the school artist.

He created scenery for school plays and was allowed to create a mural in the dining hall at age His parents similarly allowed him to create a large mural of snow-capped mountains in the family's living room. Next, Long transferred to the rather conservative and provincial West of England College of Art, where his love of nature and sport was atypical.

Here he began experimenting with the physicality that would become central to his artistic production.

Google richard long biography

His refusal of more traditional forms of painting or sculpture, however, was problematic; he was ultimately expelled for an ephemeral, snow-based, school project. Creating a large snowball, Long carefully rolled it down a slope, tracing the existing contours in the landscape. The end result was a linear formation in the snow, which he photographed.

At this point, the photograph was merely a document of the finished work of art, an indentation in the snow that would eventually disappear. In the context of the conservative profile of the college, this experimentation was inconceivable; Long was deemed "too precocious," and asked to leave. He later explained that the school considered his iconoclastic artwork a sign that he was "mad.

Taking a break from schooling, Long briefly worked in a paper mill, where he continued to create art, frequently taking excess paper to make crumpled sculptures. Enrolling at Saint Martin's School of Art in London, he joined a tight-knit group of friends, becoming especially close to peer Hamish Fulton. While his professors included the acclaimed sculptors Anthony Caro and Philip King, Long continued his independent investigation of less traditional media for sculpture.

Instead of working in metal or stone, he experimented with sand and water in the school's garden or on the rooftops, where he blocked the school's drains to leave water stains on the roof's surface. At a time when his colleagues were working on monumental forms in fiberglass and welded metal, his quiet, iconoclastic gestures broke with the legacies of both Abstract Expressionism and Pop art , abandoning the studio and the very notion of permanency in favor of understated, performative, and ephemeral works of art.

Straight from Saint Martin's, Long was recognized on the international art circuit, beginning with the influential German gallerist Konrad Fischer in As Long later recalled, he "sent some sticks in the post from a tiny post office [in Ireland]. Everything came together fast. Following the successful trip to Germany, he traveled to Italy, where he met Giovanni Anselmo and Marisa Merz and showed in the influential Arte Povera exhibition of Andre, an early admirer of Long's work who called him a "master artist of the earth taken as a living entity," introduced his work to dealers in New York.

These connections and assistance propelled both his self-esteem and career. Long marveled that he was able to support himself by selling this unconventional work, explaining, "I was amazed that someone bought that first show. It was a line of sticks on the floor. I knew what I doing was important but I had no idea it would be commercially viable.

He also married his art school girlfriend Denise Johnston, in a ceremony in Kenya where they stood on either side of the equator. The couple later had two daughters, Betsy and Tamsin. Long's environmental sculptures and walking-based works of the late s and s intersected with contemporary experiments in performance and conceptual art. Although many of his works were based on his actions and documented with sparse imagery and text, his focus on nature made him a pioneer in the emerging field of Land Art.

While Long's work has influenced Environmental artists, his approach to the natural world is more personal and experiential than activist. Since that first trip to Africa, Long has traveled extensively, performing walks and recording them for his artwork. These excursions can take on extreme dimensions, walking for weeks in harsh climates and courting the dangers of injury and wild animals, yet they are less about endurance than the complete immersion into nature and the independence of his solitary process.

In order to facilitate the exhibition of his work, Long has found ways to represent his walks in physical forms. In he performed a spiral walk with muddy boots in the Dwan Gallery in New York. For some projects, Long walks to collect natural materials, from which he forms drawings and sculptures. He has also incorporated photography as a meaningful, considered component of his artwork, rather than just a documentation of his often-inaccessible or ephemeral projects.

He is celebrated internationally, including three nominations for the prestigious Turner Prize before his award, his election to the National Academy and appointment to knighthood in Long has returned home, living today in a converted schoolhouse near Bristol with his current partner, the writer and art historian Denise Hooker. While his work is not dependent on his hometown, he argues that "every good artist is first and foremost a local artist Rejecting both traditional and mid-century avant-garde techniques and materials, Long has expanded sculpture and painting by introducing natural elements and performance.

A pioneer of the Land Art movement of the s and s, he is one of the most influential artists of his generation, drawing upon a network of Conceptual, Minimalist , and Performance artists to create a range of temporal and ephemeral work.