Long studied at the University of the West of England's College of Art, Bristol (1962-5); St Martin’s School of Art and Design, London (1966-68). Long became closely associated with the Land Art movement; and participated in the first international manifestations of both Arte Povera, in Amalfi, Italy in 1968, and Earth Art, at Cornell University, New York.
Long came to prominence in the 1970s with sculptures made as the result of epic walks, in Britain, or as far afield as the plains of Canada, Mongolia and Bolivia. He walks at different times for different reasons - either predetermined courses and concepts; or arbitrary circumstance.
Long does not make significant alterations to the landscapes, instead he marks the ground or adjusts natural features. He both works in the landscape and uses natural materials in the gallery.
From 1981 has alluded to painting by applying mud in a very liquid state by hand to a wall establishing a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He has stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.
Nearly forty years on, his work continues in bringing back into the public domain of art spaces and books in the form of sculptures of raw materials such as stones, mud and water and photographic and text works.
India's first-ever contemporary sculpture park has launched its second edition. The not-for-profit project, inaugurated in December 2017, transformed the Madhavendra Palace in Nahargarh Fort, Jaipur, into an expansive sculpture gallery. The sculptures are displayed throughout the majestic rooms and grand courtyards of the 18th-century fortress,...
There can be no doubt that Richard Long is one of the giants of British art. Or so a very impressive curriculum vitae would lead one to suppose. He is now in his early 70s. He made his reputation almost half-a-century ago, as what was then called a Land Artist – going for epic walks, often through very remote locations.
Mud is not a promising medium to draw with. It is dull, thick, unpromising stuff. A muddy drawing sounds like a vague and boring one. Miraculously, however - or maybe just because he's spent 50 years making art in and of the land - Richard Long's huge new mud drawing Gravity Crescent is hypnotic, full of complex 3D curves that snare the eye.
This October, Store Studios will host Everything At Once, an extensive off-site exhibition featuring 24 artists currently shown at Lisson Gallery in celebration of its 50th anniversary.