Charting Richard Long’s critical reception, this anthology of writings tracks the artist’s radical rethinking of the relationship between art and landscape.
Widely considered as one of the most influential British artists of his generation, Long’s practice stems from his deep love of nature and the experience of making solitary walks. He first came to prominence in the late 1960s and is part of a generation of international artists that extended the possibilities of sculpture beyond traditional materials and methods.
This volume includes a coherent span of over 30 essays and reviews on the artist from the late 1960s to the present, drawn together here for the first time. The texts are accompanied by a selection of the artist’s own statements, key interviews, as well as an introductory essay by Clarrie Wallis that examines Long’s unique position within postwar art history.
in stock $36.00
Free Shipping
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
FORMAT: Pbk, 5.88 x 8.875 in. / 344 pgs / 91 color. LIST PRICE: U.S. $36.00 LIST PRICE: CANADA $49.95 ISBN: 9781909932302 PUBLISHER: Ridinghouse AVAILABLE: 8/1/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Ridinghouse. Edited by Clarrie Wallis.
Charting Richard Long’s critical reception, this anthology of writings tracks the artist’s radical rethinking of the relationship between art and landscape.
Widely considered as one of the most influential British artists of his generation, Long’s practice stems from his deep love of nature and the experience of making solitary walks. He first came to prominence in the late 1960s and is part of a generation of international artists that extended the possibilities of sculpture beyond traditional materials and methods.
This volume includes a coherent span of over 30 essays and reviews on the artist from the late 1960s to the present, drawn together here for the first time. The texts are accompanied by a selection of the artist’s own statements, key interviews, as well as an introductory essay by Clarrie Wallis that examines Long’s unique position within postwar art history.
