Enhanced descriptions from Syndetics:

Now acknowledged worldwide as one of the finest British contemporary artists, Richard Long's stature and international reputation have continued to grow steadily since he was awarded the Turner Prize for his contribution to British art in 1989. Long's art takes the form of walks, sculptures and mud works. His journeys through the landscapes of the world, whether the Sahara Desert, Dartmoor, Japan or Bolivia, are recorded either by photographs of sculptures made along the way from materials immediately to hand, or by maps and text works, which evoke experiences of time, places and ideas. His sculptures in galleries are made by arranging natural materials, usually stone or wood; and his mud works are made on walls or floors, with watery solutions of river mud and clay.

The artist provided the conception and layout for this book, which is divided into two main sections: the main body of his past achievement; and a comprehensive record of work since 1986. Art historian Anne Seymour contributes an introductory essay. The art that Richard Long creates by walking is uniquely described by the artist Hamish Fulton, his companion on many of the longest journeys. Long also talks about his work in an interview with the art historian and critic Richard Cork.

Reviews provided by Syndetics

Library Journal Review

In the 1960s, Long began to merge walking and art, sensing that time, the energy of place, and the human body as measurer and sensor can combine to create a work of sculpture. As this documentation of his recent work shows, the resultant sculpture is often a circle of stones (in the Andes), a line upon the Earth (Bolivia), or a mud painting on the wall of a gallery. Many of Long's works combine simplicity of form and natural materials, often suggesting archaeological ruins. Unfortunately, the text does not adequately discuss the obvious physical similarities or the differences, namely that Long's works are not integral to community life. Indeed, they are often remote, located far from the contemporary community's physical or spiritual center. The book is nonetheless handsomely presented and thought-provoking.-- Douglas G. Campbell, George Fox Coll., Newberg, Ore. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

In this arresting volume, London gallery director Seymour and British artist Fulton present their interviews with and impressions of British conceptual artist Richard Long, who imposes orderly and transitory patterns on nature as he hikes through wilderness areas. Long's walks take place in rural England, the U.S. and the Sahara, and on mountain ranges including the Pyrenees, Alps and Himalayas. Walking itself is Long's purest art, but documentation is the way he shares his experience with his audience: this secondary physical evidence includes outlined road maps, lists of words and phrases that represent memorable points in his journeys, and striking photos of the circles, lines and patterns he creates with rocks, with poured water or with his own footsteps. For his gallery installations, Long positions tree bark or stone on the ground and loosely, dynamically paints river mud over two-dimensional geometric forms. His work, seen here in 193 handsome photos and illustrations, has a patient, mysterious and delicate quality suggestive of time's passage. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

Stunningly produced (with a retail price to match), this publication on one of England's major artists complements the 1991 London exhibition of the same name. It has certain elements of traditional catalogs (e.g., an essay by Anne Seymour, Director of the d'Offay Gallery, London; a 1988 BBC interview with art historian and critic, Richard Cork; detailed listings of one-man and group exhibitions from 1967-1991; a bibliography; and an index of works and photographic credits), but unconventional aspects set it apart from other exhibition publications. The imprint and acknowledgements are at the end! This is somewhat annoying, but their location is designed to cause no interference with the book's conception and layout, which are by the artist himself. Pages 44 to 240 consist of 8 sections by Long, comprising essentially an elaborate artist's book. These are followed by a lovely meditation by friend and fellow artist, Hamish Fulton. Interspersed with 191 images 142 photographs (63 in color) of the artist's works done mainly since the important retrospective at the Guggenheim in 1986 as well as 49 pages of text/poetry, predominantly in red and black this collaborative publication is the most beautiful and important on Long to date. Although little or no attempt is made to place Long's work within an historical context (e.g., nowhere does one find Robert Smithson's name), readers become immersed in an atemporal, meditative, worldwide archetypal journey with the artist. Moving along his path/line, circle, spiral, and meander, we become imbued by the dance of our own external and internal bodies. A major title for collections of contemporary art.-J. Weidman, Oberlin College

Author notes provided by Syndetics

Richard Long (born 2 June 1945) is an English sculptor and one of the best known British land artists.