Richard Long Was in Born Term Paper

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To create his art, Long walks hundreds of miles for days and weeks at a time, often through uncultivated areas, from the countryside of England, Ireland, and Scotland, to the mountains of Nepal and Japan, and the plains of Africa, Mexico, and Bolivia (Spector pp).

Long documents his journeys with photographs, maps and lists of descriptive terms which are exhibited as individual works (Spector pp). Unlike other artists who manipulate the landscape to create Earthworks, Long does not alter the terrain by digging or constructing, he simply adjusts the placement of rocks and wood to subtly demarcate geometric shapes (Spector pp).

Long's 1980 "Red Slate Circle," is 336 inches in diameter and consists of 474 stones from a New York quarry, and when it is installed in the Guggeheim's rotunda, "the monumental ring echoes the building's unique spiral while conjuring images of vast canyons, still lakes, and stone pathways leading into the distance" (Spector pp).

Long's 1987 "Vermont Georgia South Carolina Wyoming Circle," 291 inches in diameter, consists of white, red, grey, and green stones (Vermont pp). He uses color as an interval stop (Hackett pp).
"Slate Atlantic," 2002, is 10 X 5 meters, is constructed with slate in a half-moon shape on a green field (New pp). His 2005, "Untitled (1): 8 Fingerprints on Black," is 31/2 inches high and 10 inches in diameter, and consists of eight fingerprints from the River Avon mud on a tree trunk (New pp). "Tame Buzzard Line," 2001, is a 75 X 3515 cms. Line made from flint across a green pasture with a single tree at the end of the sculpture (New pp).

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