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Turf Line, 1990

Somerset turf, 140 x 1280 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Simple Twist of Fate, 2014

Carborundum relief and acrylic paint on paper, 2 parts, 248.5 x 242.5 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Fingers on Fire, 2014

Carborundum relief and acrylic paint on paper, 2 parts, 248.5 x 242.5 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Basalt Ellipse, 2000

Basalt stone, 696 x 280 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Rhine Driftwood Line, 2001

Rhine driftwood, 500 x 1000 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Guitars, Cadillacs, 2014

Carborundum relief and acrylic paint on paper, 2 parts, 232 x 209 cm

Alan Cristea Gallery, London, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Rhine Driftwood Line, 2001

Rhine driftwood, 500 x 1000 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Black Mountain Rag, 2014

Carborundum relief and acrylic paint on paper, 3 parts, 239.5 x 349.5 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

In My Hour of Darkness, 2014

Carborundum relief and acrylic paint on paper, 3 parts, 239.5 x 349.5 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Flint Wheel, 2018

Flint stone, Ø 550cm

Lisson Gallery, London, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Love Minus Zero/No Limit, 2014

Carborundum relief on paper, 2 parts, 121.5 x 388 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Speed of the Sound of Loneliness, 2014

Carborundum relief on paper, 2 parts, 121.5 x 388 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

One Too Many Mornings, 2014

Carborundum relief and acrylic paint on paper, 2 parts, 121.5 x 388 cm

Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Honky Tonk Women, 2014

Carborundum relief and acrylic paint on paper, 123.5 x 248.5 cm


Alan Cristea Gallery, London, Photo: Peter White, FXP Photography

Drawings, 2000–2009

Galerie Tschudi, Zuoz, Galleria Tucci Russo, Torre Pellice, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Drawings, 2000–2006

Galerie Tschudi, Zuoz, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Drawings, 2000–2006

Galerie Tschudi, Zuoz, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Circle of Memory Sticks, 1995

Willow sticks, Ø 350 cm, 250 sticks

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Richard Long

Exhibition view Skulpturenhalle, 2018

Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Drawings, 2002

Galleria Tucci Russo, Torre Pellice, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Drawings, 2000–2006

Galerie Tschudi, Zuoz, Galleria Tucci Russo, Torre Pellice, Lisson Gallery, London, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Drawings, 2000–2007

Galerie Tschudi, Zuoz, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Untitled, 2008

China Clay on wood, 36 x 49 x 1 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

A Three Day Bicycle Ride, 1982

Silkscreen, 106 x 154 cm

Konrad Fischer Galerie, Düsseldorf, Photo: Stefan Hostettler, © VG Bild-Kunst, Bonn 2018

Richard Long

07.09.2018 – 16.12.2018
Curated by Dieter Schwarz

 

Richard Long departed from traditional forms of sculpture while he was still a student, shifting the focus of his work into the landscape. His medium is walking. His walks take place in many different parts of the world, yet he does not propagate any romantic notion of nature. Instead, his work is stringently realistic.

Long takes notes about moments in time. The words, printed on panels, do not describe the path he has taken, nor do they describe his experiences. They are lists of facts, rather than poetry. Long juxtaposes words like stones or pieces of wood: sculptures made of language. The photographs of his walks show traces that Long has found or left behind him on his journey – paths trodden by repeatedly walking them, lines and circles of stones. A circle of stones forms a human trace amongst the many stones in nature. By lifting up the stones and replacing them in another form, he evokes a manifestation of the wanderer. Long then went on to introduce similar signs into galleries and museums. But whereas the stone piles and stone circles in nature were gathered from the pathways he trod, Long sought out local quarries as the source of material for his exhibitions. His sculptures come across as some familiar landmark. This notion is underpinned not only by his use of stones, but also of such elementary materials and turf and driftwood, as well as by the fundamental forms of line and circle.

Mud from the River Avon near his home town of Bristol, together with white clay, have served the artist in his creation of linear and circular drawings. For these, he uses a base of flat, used objects found on his travels – sheet metal, wooden posts, tent-pegs and writing tablets. Recently, Long has been working on large-format prints using a carborundum technique with painterly effects. The titles of these prints are taken from some of his favourite songs. Like the stones, the twigs and the fingerprints, the hand-painted prints leave a trace of human presence in the world.

 

Dieter Schwarz