Professional Documents
Culture Documents
Richard Long
TIME AND SPACE
Friday 31 July Sunday 15 November 2015
INTRODUCTION whatever location it is set down in. Here, re-created in a gallery setting,
it may be regarded as acting as a memento or portal to the sites it was
As a profoundly simple way of relating to the world around us, and previously set up in. It could also be thought of as a negative to some of
specifically the natural environment, Richard Longs work is about the many other circles Long has created from natural materials around
acts of measurement. Walking alone in the landscape is central to his the world.
approach. It is a basic, though powerful, way to experience the natural
world through physical effort, which he uses as a method both to Gallery 2 and 4 contain some of Longs photographic work. Each piece
measure time and space and create works about his experiences. His represents a different sculpture, or action, undertaken in a landscape,
style is immediately recognisable, combining minimal and conceptual and photographed before being given up to the elements.
art practices with a quality that connects to the most ancient traces of In Gallery 3, Richard Long has said that whereas his photographs
humankinds relationship with the land. and text pieces feed the imagination, his sculptures in the gallery
feed the senses. Time and Space, 2015 in Gallery 3 is a monumental
new sculpture; its weight and scale are in striking contrast to Bristol
GROUND FLOOR: GALLERY 1 1967/2015. It is made from slate, a material frequently used by Long
who has worked with the same quarry in Delabole, Cornwall for many
Muddy Water Falls, 2015, is the latest in a series of works Long has been
years. It takes the form of a right-angled cross, a form or symbol which
doing for many years, in which mud is applied by his hand directly on
like the line and circle, often appears in Longs work. The cross could be
to the gallery wall. For this exhibition the mud has been taken from the
considered as a place marker, a deliberate mark made to symbolise a
bank of the River Avon. As the mud dries a record is made of the dynamic
specific intention or defined point.
gestures by which it is applied, gestures dictated by its fluid, splashing
quality. The watery quality is testament to the muds origin, the cycles of
erosion, redistribution, drying out and washing away that it goes through
LEVEL 2: GALLERY 5
in the tidal, estuarine river.
In contrast to the energy of Muddy Water Falls, further text works on For this gallery, Long has selected new fingerprint driftwood drawings,
the gallery walls are quieter, a more conceptual way of recording the a format much less well known amongst Longs work. The scale is
experience of landscape. more intimate than the pieces downstairs, though in their use of raw,
natural materials, and a repetitive, precise technique, there are strong
similarities. In both instances, a kind of Zen-like artistic freedom is found
LEVEL 1: GALLERIES 2, 3, & 4 through the rigid adherence to a predetermined, repetitive form. It is
possible to say something similar about the way that Long has remained
Presented in gallery 2 is Bristol 1967/2015, which was first constructed in true to the same approaches walks, stone sculptures, mud works
Bristol in 1967, and was then taken by Long to different places, including through the entirety of his career, distilling a simple practice down to its
The Downs in Bristol and the Irish countryside, and photographed in the most profound form, rather than focussing on technical innovation for its
summer of that year. A way of stretching the physical limitations of a own sake.
sculpture, the piece remains the same whilst its shape is completed by
KEY TERMS
Conceptual Art
The term emerged in the late 1960s to describe a shift whereby artists
chose to prioritise an idea or concept over the production of a traditional
art object. From this it follows that conceptual art can be almost
anything, however certain trends appeared such as Performance (or
Action) art, Land or Environmental art and the Italian movement Arte
Povera.
Minimalism
Starting in the late 1950s Minimalism grew from the idea, key to the
Abstract art movement, that art should not seek to represent anything,
but should instead create its own reality. The audience therefore
responds to what is in front of them, typically the material and the form
within which it has been placed.
IMPORTANT IDEAS
Rules Repetition
Long often sets himself rules such as the distance and shape of a walk Repetition is important to Long with walks and symbols often repeated
before he begins. These rules form the basis of the work, which is then across multiple different sites. Even when repeating the same action
realised through the act of walking. however, no two works are ever the same. The use of repetition reinforces
the ideas within his works whilst also demonstrating the constant
Impermanence variation and unpredictability of nature, from splashes of mud through to
Whilst walking Long makes site specific sculptures by quietly changes in the landscape.
rearranging the natural objects around him. These works, typically made
in no more than half an hour, are not preserved but disappear in their own A sense of scale
time, overtaken by the forces of nature. Scale is important to Long with gestures ranging from making marks
with fingerprints through to walks of up to a thousand miles. Similar
Creating a record to this, works and ideas often start in locations close to home in Bristol
Long uses photography, maps and text to record his actions, which are before spreading out across sites around the world. Regardless of the
often seen by few people. He favours simple and minimal approaches, place or scale, Long maintains the same approach, applying his language
creating a document to help our imagination, rather than adding to regardless of what is in front of him.
what has already been made. The artwork itself remains the action, be it
walking or rearranging natural objects. Using the hands
The use of text has been compared to Concrete Poetry, where the visual Through using his hands to directly apply clay, mud and water, there are
arrangement of words and letters contribute to the works meaning. parallels between Longs work and indigenous art. His work can be seen
Whilst there are parallels, Long does not belong to a particular group, but to draw a line from cave painting forwards, looking at mark making and
instead sees writing as another tool at his disposal. human interaction within the landscape.
QUESTIONS TO ASK WHEN IN THE GALLERY
Walking Drawing
Aim: To encourage students to see walking as a creative act, either by Aim: Material is very important in Richard Longs work. These activities
measuring the space, or by recording their observations. will help student to start thinking more closely about the materials they
use, paying attention to how they feel rather than only how they look.
1. Ask students to measure the gallery space by walking from one side
of the room to the other. How many steps does it take? How much time 1. Ask students to close their eyes before handing them a natural object.
passed? After crossing the room once, try again but walking faster, Holding the object under the table (so no cheating occurs) ask students
slower, in large steps or small. Try walking with your eyes closed or on to draw it, depicting what it feels like.
tip toes. After this, ask students to find other ways to measure the space
After they have done this, ask them to change objects with the person
using their bodies. This could involve lying top to tail or using their arms.
next to them and try again.
Questions to ask: What do you notice about the room when you walk
Encourage students to make the simplest drawings they can. This could
faster or slower? Did you choose to walk in a straight line or did you
involve asking them to just draw the outline, or drawing the object
make your own path? How else could you measure the space?
without lifting their pencil from the paper.
2. Ask students to walk across the space and record an observation every Questions to ask: Where do you think the object might come from?
ten steps, using all of their senses. Every student can walk in a different What is it like to present how an object feels rather than how it looks?
way, from criss-crossing the room, to walking in a circle. Ask them to How can you use different senses to create a record?
write down their observations, thinking about the different words they
could use.
After this, give each student three sheets of paper and ask them to
present their observations as different text works, experimenting with
both layout and language.
Questions to ask: How did you choose the words to record your
observations? Why did you lay them out in those patterns? Does
the pattern relate to the walk? Do you think the text work you made
accurately documents the walk you took? How do you think you could
continue this activity outside?
Both of these activities can be started in the gallery but should preferably
be continued outside. Ask students to think about different places that
theyd like to explore, using walking as a tool. This could anywhere local
places, where walking becomes a form of mapping, through to places of
special importance.
LONGER ACTIVITIES
Richard Long is considered to be among the most important artists of Arnolfini welcomes schools, groups and other education organisations
his generation. In 1969, his work was included in the seminal exhibition to engage with our exciting events and exhibitions. All of our school
When Attitudes Become Form at the Kunsthalle Bern, for which he workshops are facilitated by our experienced Learning and Participation
presented his first text work documenting a walk made in the Alps. He Team, who actively encourage dialogue in an open environment to
won the Turner Prize in 1989, and represented Great Britain at the 37th support, challenge and inspire through contemporary art in all its forms.
Venice Biennale in 1976. Richard Long was made a Royal Academician
Our mission is to support teachers and pupils to explore how
in 2001. He was awarded Japans Praemium Imperiale in the field of
contemporary art and creative processes can be used to contextualise
sculpture in 2009, and was made a CBE in 2013. He has made artworks
our world; sparking conversation about contemporary issues and
in all seven continents and has had over 250 solo exhibitions to date.
providing a platform for young voices.
You are also welcome to bring your pupils on a self facilitated visit but we
ask that you let us know in advance if you plan to visit the gallery.