Read the Four Statements Below About Postmodernism. Which One of Them Is Not Correct?

"My piece of work has go a elementary metaphor of life. A figure walking downward his route, making his mark. Information technology is an affirmation of my homo scale and senses."

1 of 8

"I approximate I'thou an opportunist, really. I go out into the world with an open up mind, and I rely to a degree on intuition and chance. The idea of making art out of nothing, I've got a lot of time for that."

2 of 8

"My fine art is the essence of my experience, not a representation of it."

3 of 8

"You could say that my work is...a residuum between the patterns of nature and the formalism of human, abstract ideas similar lines and circles. It is where my human characteristics meet the natural forces and patterns of the earth, and that is really the kind of subject of my piece of work."

4 of viii

"The speed of the hand gestures is of import considering that's what makes the splashes, which shows the wateriness of the mud, and water is the main subject and content of these works, they evidence its nature."

5 of eight

"You lot take this wash sweeping up the mud ... muddy creeks ... I estimate information technology's right to say that I accept used that feel in my art: like h2o, the tides, the mud. All that cosmic energy is there in my work."

6 of 8

"I matter I like almost my piece of work is all the dissimilar means it can be in the earth. A local could walk past and not notice information technology, or notice it and non know anything about me. Or someone could come upon a circumvolve and know information technology was a circumvolve of mine. I really similar the notion of the visibility or invisibility of the work too equally the permanence and transience."

7 of 8

"My photographs are facts which bring the right accessibility to remote, lonely or otherwise unrecognizable works. Some sculptures are seen past few people, but can exist known about many."

8 of eight

Summary of Richard Long

Using his walks as art, Richard Long's excursions into nature and his minimally invasive marks on the landscape have broadened the definitions of sculpture to include operation and conceptual art. While the work is oftentimes theoretical and hermetic, he contextualizes his actions in more than universal and historical terms, withal explaining, "if you undertake a walk, you are echoing the whole history of mankind." This fundamental quality runs throughout his art, even pieces designed for a gallery or museum setting are crafted from elemental materials of rock, sticks, muds, or else are just photographic or textual records of his experiences. Yet through these unassuming gestures, Long's fine art has influenced generations of Country artists and has shifted the notion of art away from the object and the idea of permanence.

Accomplishments

Working with natural materials in their original setting and leaving his creations to be reclaimed by nature, Long has refused the notion of art as a permanent object. By refusing to create lasting or awe-inspiring structures, he has expanded the acceptable materials and techniques for sculpture and undermined the traditional ideals of that medium. Furthermore, in rejecting artistic media and techniques in favor of minimalist rearrangements of natural materials, he harnesses unassuming materials to create meaningful statements.
With his simple forms of circles and lines, Long connects the viewer with lyrical and timeless elements of nature. His truthfulness to the natural state of his materials and his respect for the mural results in works that emphasize the beauty of nature. He makes minor gestures that carry deep meanings, suggesting the long history of homo'southward relationship to the surroundings. Whether in the minimal footprint of his walks and interventions in the landscape, or his reverence for the unadorned dazzler of elemental materials like mud, sticks, and stones, he encourages the viewer to capeesh the straightforward, primal beauty of nature.
Moving stones between remote locations or treading a path through grass, Long's most iconic works leave minimal bear upon on their natural environment and are oftentimes erased by the progression of time. In repeating these understated gestures, Long legitimizes these quiet interventions every bit art. He understands that, because his works are often undetectable, viewers might not even know they are looking at piece of work of art, but that his experience itself and his intentionality qualifies fifty-fifty the simplest actions equally creative expression. Long believes that information technology is non necessary for the artwork to be understood as art by the viewer, but that his presence and deportment are sufficiently artistic without this external acknowledgment.
In expanding the definitions of sculpture, Long has incorporated interdisciplinary elements from Operation art, Conceptual art, and photography. Where photography began equally a way of documenting his performative deportment or temporary interventions in remote locations, it has evolved to be a carefully considered component of his work. Long insists that "even though a lot of my work takes place in the landscape, the gallery is the conduit for bringing my piece of work into the public domain" and therefore it is necessary to create artifacts or records of his experiences that tin can be shared with a viewer.

Biography of Richard Long

Built-in in Clifton, a suburb of Bristol, England, as a young boy Richard Long played lonely in the surrounding hillsides and lush nature of the Avon Gorge. He often returned habitation after miles-long walks, during which he immersed himself in the natural landscape. His liberal-minded mother and educator begetter fully supported Richard's desire to explore the outdoors and do art.

Of import Fine art past Richard Long

Progression of Fine art

1967

Line Fabricated by Walking

This slice is a directly line in the grass, a path-like impression made through the human action of merely walking. Long transforms the landscape into his personal canvas, pacing repeatedly over an unremarkable patch of grass in a London park until a singled-out line appeared. The creative person then documented this alternation with a photograph, which he took at a perpendicular angle and so his trace can be hands seen. The resulting work is office performance, role sculpture, and part photograph, transcending these categories to create a piece that exists in all these categories. Incorporating elements of performance into the sculpture and preserving the work through photography, his procedure was every bit much about the resulting photograph as the sculpture was most expressing the journeying and the event of walking.

Made while still a educatee at St Martin'south School of Art in London, Long bankrupt with the expectations of sculpture and demonstrated that an impermanent mark in nature could be a meaningful gesture. Part of the emerging Conceptual fine art movement, the importance of the work shifted from the cosmos of an object to the fulfillment of an idea, or but the ideation of an art action. The photograph creates a tangible marker of this activity, but the piece itself was a temporary intervention in the landscape, chop-chop erased by the natural processes of growth and regeneration. In this simple deed of walking, Long expands the definition of art to include ordinary, merely mindful, interventions that may or may not result in any lasting visual object; this would be highly influential in the rejection of Popular art. Pop had broken from the traditional expectations of artistic originality and highbrow subject thing and technique; Long proposes some other path for artistic exploration by highlighting the materials and processes of the natural world. Where Pop had focused on the consumable object, Long's work deemphasized the art object in favor of a performance or an idea.

Long'southward piece of work returns to more mystical notions of artistic cosmos, although he conveys these ideas through minimalist means: here, the line shows an exertion of energy and human intentionality. In this sense, it serves as a highly conceptual exploration of the transience of time, distance, and place, but presents these ideas in a very grounded and concrete landscape.

Photograph, gelatin silver print on paper and graphite on board - Collection of the Tate, United Kingdom

1982

River Avon Mud Circle

This piece of work was executed directly onto the wall, painted with actual mud that Long transported from his hometown of Bristol to the museum in Ontario, Canada. Echoing his performances in the natural world, he then used his torso to create the mud marks on the wall, applying the mud with his blank hands and preserving the smudges of his fingertips and handprints on the wall. The procedure of his painting remains highly visible, revealing a repeated motility that suggests patterning amongst the loose and splattered effects that extend beyond the sphere. Through uncomplicated, bare gestures, Long creates an intricate pattern; working with the humblest materials, he creates an object of near hypnotic beauty.

This piece balances order and disorder, containing chaotic and expressive mud painting inside in a perfect circle. Expanding on the gestural chaos of Abstract Expressionism, Long moves his work further from traditional definitions of art by rejecting art materials or permanency. His procedure, working directly on the surface of the wall, creates a work that is site-specific and impossible to move or preserve indefinitely. When his mud circles are included in museum exhibitions, they are uniquely created by the creative person, and are but removed and painted over at the show's end. And yet, while temporary, this series of mud circles also have a timeless quality that connects them to the beginning of artistic creation; the awarding of mud onto the gallery wall recalls the earliest human impulse to create. The slice is reminiscent of early cave painting, spring to its surface, indelibly continued to the site of its creation and however suggesting a cosmic or spiritual dimension. The desire to leave a marker is a basic part of our existence. Long creates a work that is very elemental in both material and shape.

National Gallery of Canada. Ottawa, Ontario

1988

Crimson Slate Circle

Installed on the gallery floor, this sculpture is comprised of a ring of blood-red rocks, arranged precisely to create a four-meter wide circle. Long collected the rocks from an area near the state border between Vermont and New York, bringing them into the space of the gallery to create his own landscape. He cut the rocks smoothly and flatly on the lesser while leaving the rest of their structure untouched and jagged so that they indicate upwards in a jarring and irregular manner, recalling the rugged origins of the red slate being quarried from the world. He retains the natural look of rocks dissever past organic processes, but accomplishes this through the painstaking work of leveling the unseen surfaces.

While Long's work with natural materials aligns him with the Land Fine art motion, his repetitive, reductive gestures and simple gestalt forms connect him to Mail-Minimalism. The circle created hither is easily understood as a whole, despite his insistence of retaining the distinct identity of each piece. Through Long's careful placement, the rocks fit carefully together, yet no two impact, highlighting non just the shape created, simply the negative infinite between each component. The event is both one single unit of measurement and an assemblage of private parts. Nosotros can besides read this distinctness every bit a sign of respect to the material in its about natural state. Since the rocks do non touch, the viewer is asked to consider each individual stone equally a sculpture unto itself.

Slate - Collection of the Tate, Uk

1990

threescore Minute Walk

This lithograph and screen print, which measuring 189.50 cm high, stands roughly the size of a man and catalogues a series of experiences noted during a sixty-infinitesimal walk. The number 60 runs throughout the slice, which features sixty lines of texts and was then reproduced into lx prints. With this repetition, Long draws our attention to the temporal quality of this walk, presenting us with one descriptive word or phrase for every minute of his journey, describing what he saw, heard, felt, and did.

The letters sit atop a black and gray background which Long created by applying ink onto the surface directly with his fingertips. Against this minimal background, each line contains only ane to 3 words, making the text long and narrow as if the words are walking downwards the original path in Large Bend, Texas.

Long experiments here with a different procedure of recording his deportment; rather than photograph the walk, he wrote a poem and then presented that verse form in a way that recalls the concrete feel of the original in simple terms. The words are concise and the background of the verse form is a monochromatic, gestural expression. Nevertheless, the artwork still remains conceptual, as the audience can never fully envision the actual result and is left with only the poetic fragments.

Lithograph and screen impress - The Museum of Modern Art, New York

2000

Waterfall Line

This site-specific wall painting was commissioned for the opening of the Tate Mod. Installed over a gallery wall, Long painted a large rectangular swath of black pigment over which he slung a mixture of white red china river mud and h2o, rubbing and wiping the material with fluid movements to create a swirling pattern. The application appears cluttered, however patterns emerge, suggesting some underlying order or logic. The fervor and intensity in which he added the mud is suggested by streaks that run down the wall, leaving energetic lines that evoke the elements: leaves falling in the air current, or a potent rainstorm.

There is a meditative quality to Long's utilise of natural materials that connects him with the Land Art movement, but the relatively intimate scale of wall paintings such every bit this, and his continued interest in creating work for gallery or museums spaces differentiates him from some of the more physically ambitious monuments of State Art. His use of delicate natural materials suggests nature's delicate beauty rather than what nosotros can do to manipulate information technology.

River mud - Collection of the Tate, Great britain

2003

Waterlines

Waterlines is a line drawing fabricated in nature. Long created ii broad, snaking lines extending from a riverbank in the Warli Tribal Land of Maharashtra, Bharat, reaching into the landscape towards fields and trees. He then photographed the result; the terminal photographic piece of work includes the two lines and also two figures in the distant background. The inclusion of these figures emphasizes the composed nature of the photograph as a work of art, not simply testify to document the performative result.

Long acted equally a conduit, replicating the natural style in which water creates lines upon the landscape. With this simple gesture, which leaves no permanent mark or trace, he questions the role of the artist and minimal boundaries of defining art. Hither, the work is a gestural mark upon the landscape, an imperceptible sign of human being left in the most unobtrusive style possible. The piece of work is destined to vanish and the photograph alerts the viewer to this passage of fourth dimension, as one can only imagine the short life of the two lines baking on the rock in the hot Indian sunday.

Like Art

Influences and Connections

Influences on Artist

Influenced by Artist

John Hilliard

Hamish Fulton

Useful Resources on Richard Long

Books

websites

manufactures

video clips

Content compiled and written by The Art Story Contributors

Edited and published by The Fine art Story Contributors

"Richard Long Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Fine art Story Contributors
Available from:
First published on 19 December 2016. Updated and modified regularly
[Accessed ]

kingsburyducand.blogspot.com

Source: https://www.theartstory.org/artist/long-richard/