heaven and earth: the work of richard long, published at the time of the artist's retrospective at...

7/28/2019 Heaven and Earth: The Work of Richard Long, published at the time of the artist's retrospective at the Tate Galler

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RuthRosengarten

HeavenandEarth:TheWorkofRichardLong HeavenandEarth,RichardLongsserenelyexhilaratingretrospectiveexhibitionattheTateBritain(3June6

September2009)servesastestimonytoabrilliantidea.Muchofwhatthisremarkableandsteadfastartisthasdonein

thepastfortyyearsstemsfromanintuition,veryearlyinhisworkinglife,thatsomethinginthelanguageofsculpture

asitthenwashadtochange,andthathehadthewherewithaltochangeit.Thatwherewithalwasaclarityofthought,

andapairofsturdylegs.RichardLonghasmadewalkingthemediumofhisart.

In1964,whenLongwaseighteenyearsoldandastudentattheWestofEnglandCollegeofArtinhishometownof

Bristol,hewentonawalkonthedownsafterafreshfallofsnow,makingasnowballandrollingitalong.Whenthe

snowballwastoobigtopushanyfurther,Longtookaphotographofthetrackleftbyhistrajectory.Theaction,

ephemeralandrecordedinafairlyartlessimage,wasnamed SnowballTrack.Itwasabeginning.Threeyearslater,for

ALineMadebyWalking,LongcaughtatrainoutofWaterloostation,andwhenthesuburbsgavewaytothe

countryside,hegotoffthetrainandfoundafield.Init,hewalkedbackandforth,untilthegrassflattenedbyhis

actionbecamevisibleasalineinthesunlight.Hethentookaphotographofthelineandcaughtatrainbackhome.

Ofthemanystoriesofthegenesisofideasandworksbyartiststhroughtheages,thishastobeoneofthemost

striking,foritisbothradicalanddeadpan.Thechoiceoflandscapewasnotsymbolicallysignificant:ithadneither

historicnorgeologicalnorautobiographicresonance,nordidithavethekindofassociationsofthepicturesqueor

sublimesoughtbyramblersoftheromanticperiod.Rather,itservedapractical,topographicpurpose:itwassizeable,

andflat.Theactionhadaboutitasomethingmeticulousandthoughtful,butwasneithermetaphysicalnorpersonal.

L.SnowballTrack,Bristol,1964

R.Linemadebywalking,England,1967


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Here,then,wasanembodiment,inthelandscapeitself,ofPaulKleesdefinitionofdrawingastakingalineforawalk.

AndjustasKleehadwantedtogetbacktothebasicsofpainting(buildingupfrompointtolinetoplanetocolour),so

Longwastoworkthroughaseriesoflimitedabstractvariables(lines,crosses,rectangles,squares,circlesandspirals

aremoreorlessthesumofformsthatheuses),asifthelandscapewerehiscanvas.Indeed,hehasspokenofhiswork

asabstractartlaiddownontherealspacesoftheworld.Andheresthetwist:whiletheactioninthelandscapemay

beseenasthematerialisationofacertainideaofdrawing,theworkthatisgiventousasviewersisessentially

dematerialised.WehavetotakeontrustLongsaction,andthattrustisbasedonamodeofmechanicalreproduction

that,wepresume,bearstestimonytotheevent.So:asimportantasthegesturesperformedonthelandscapewas

thephotographdocumentingtheevent.(Longsis,arguably,anartthatdependsontheconceptualunderpinningsof

photographyinananalogueage).Eachimagewassingularratherthanserial,ametonymyfortheactionthatit

recorded,ratherthanthesubjectivetestimonyofapassageintimeandspace.Liketheactionwhosevisibletrackit

captures,thephotographisemotionallydetached.Andifitinevitablyincorporates,asallphotographscannothelpbutdo,subjectivevariablespointofview,framingandsoontheconsiderationsaroundtheactionofphotographing

thetraceofanactivityseemtobe,atleastatfirstviewing,documentaryratherthanaesthetic.

OvertheyearsthathavepassedsinceALineMadebyWalking,Longhasmadecountlesswalksinthemostdiverseof

landscapes:fromDartmoor,DevonandCornwall,throughIreland,SwitzerlandandCanada,toAustralia,Nepal,the

SaharaorIceland.Uponthecountryside,hehaslightlyandunobtrusivelylefthismark,sculpturesordrawings

(dependingonhowonewantstoseethem)inalandscapefiguredorimaginedasimmemorial.Stonesrolleddownthe

slopeofavolcano,flatstoneslaidonariverbed,awalkinwetgrassortidalmud,thearrangementoflimbsoftimber

orbleachedshingles,acircleofbouldersonthedesertfloororofanimaldroppingsonatundra,thestampingofa

trackonshaleorsand.

L.ALineinIreland,1974R.ALineintheHimalayas,1975


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ALineinBolivia,1981

Paddy-FieldChaffCircle,WarliTribalLandMaharashtraIndia

Eachwalkiscontainedbyaparticularideathatprecedesit,akindofschemathatarticulatesvariablesofgeometry

andgeography,distanceandtime,butalsodifficultyandease: ASixDayWalkoverallRoads,LanesandDoubleTracks

insideaSixMileWideCircleCentredontheGiantofCerneAbbas ,(1975),orAHundredTorsinaHundredHours

(1976),orALineof33Stones,AWalkof33Days (1998)orHoursMiles:82Milesin24Hours,24milesin82Hours

(1996).Walkingthedistancecorrespondingtothelengthofariver,measuringouttherelationshipbetweenhours

andmilesbyusingstonesasmarkersofeithertemporalorspatialinterval,carryingastonefromonerivertothenext,

movingfrommountaintomountainorlinkingdisparateroadsidecairnssimplybymovingbetweenthem:Longs

worksoccupy,asheputsit,arichterritorybetweentwoideologicalpositions,namelythatofmakingmonuments

orconversely,ofleavingonlyfootprints.


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Themonumentandthefootprintareateitherendofacontinuumofhumanactivity:theonesymbolic,theother

indexical.Wheretraditionally(thoughnotinsomecontemporaryartpractice),themonumenttendstopermanence

andoperatesbythelogicofsubstitution,theindexisasignwhoselinktoitsreferentisoneofbothcontiguityandof

pastness.Anindex,inotherwords,istheplacewheresomethingelseoncewas,thetraceofit.Theindexistherefore

pre-symbolicandhasadirectorigin.Withoutthefoot,thereisnofootprint.Wherethemonumentmight

commemorateandmemorialise,say,singularactionsofindividuals,thefootprintinvariablybearswitnesstoan

individualpresencethatquicklytendstoanonymityanderasure.Crucially,bothmonumentandfootprintare

predicateduponabsence.Betweenthesetwopolesthatdesignateavacancyorvoid,Longsworkdefinesitself:

alwaysmoreephemeralthanonemightimagineamonumenttobe,yetequally,moreenduringthanafootprint.In

thisrespect,theartbookorcataloguethatartefactthat,withitsdeftjuxtapositionofdiverseimages,Andr

MalrauxfamouslydubbedthemuseumwithoutwallshasservedLongwell.Ithasplayedanimportantpartinthe

preservationofhiswork.Butmorethanamnemonicofworkaccomplishedelsewhere,thebook/cataloguehasalso

beenoneoftheconstituentpartsofhiswork.Theattentiontographics,layoutandcomposition,thewaythetextssit

onthepagelikeconcretepoemsandthephotographsstretchbetweenpages,allthesedetailshavebeengiventhe

mostminuteanddetailedconsideration,transforming,asitwere,footprintintomonument.


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Longsworkisnothingifnotconsistent:awalkinafar-flungandruggedlandscapestillresidesattheheartofmostof

hisprojects.SuchdistancebringstomindWilliamHazlittsaphorismthatawisetravellerneverdespiseshisown

country:LongassurelyfindsremotenessinEnglandasabroad.Ifsuchconsistencyhasledsometoconsiderhis

workingmethodsformulaic,onemightrespondwithatwo-prongedretort:firstwithamoralisedargumentabout

effort,rigourandtenacity,andthenwithahedonisticexclamationaboutthesheerpleasurethattheprocesspatently

giveshim,renewedeachtime.Hehas,toanunusualdegree,remainedtruetohisinitialproposition,almostasifhe

couldntbelievehisluckathavinghadsuchagoodideasoearly.Yetslowly,methodically,new(ifalwaysrelated)

ideashaveaccruedandLonghasbroadenedthescopeofhisactions,tothepointthataprojectinitiallyconceptualin

nature(Icandrawalinebysimplywalking)hasbecomeperformative(towhatservicecanIputmywalking?).He

hasaccumulatednotonlydifferentformsofmarkmakinginthelandscape(spoor,impression,depression,

rearrangement,addition,subtraction),butalsodifferentmeansofregisteringtheeventafterthefact.Photographs

arejoinedbytextworks,whichheseesasnarrativesofeventsandsculptureswalksthatIhavemade.Theword

narrativeissomewhatmisleading:thetextsseemmorelikeverbalequivalentsofwalking,mimickingitsclipped,

regularpace.Pithy,elliptical,poeticintheirbrevityandassociations,thesetextsareneatlyprintedonthewallsofthe

spaceswhereartisexhibited,oronthepagesofabook:Drywalk:113walkingmiles/betweenoneshowerofrain

andthenext,or:...thewalkasatruepath/somefalsemoves,oronenewmoon/twothunderstorms/three

placesofstandingstones...Theyactbothasdescriptionsofthecompassofaproject,andasflash-pointsof

consciousnessduringawalk,annotatingthemanystimulithatfloodhissenses.

Then,therearethematerialsbroughtinfromthelandscapeandorganisedonthefloorsofmuseumsandgalleries:

jaggedflintfromNorfolk,redslateandalpinebasaltarrangedinlarge,simplegeometricshapes.Intheenormous

centralgalleryattheTate,sixsuchworksmaybeseen.Huggingtheground,theycommandtheentirespaceand

obligeustowalkaroundthemjustasthetopograpyofaterrainwouldforceustonegotiatewithitsfeatures.But

whileLongsworkseemstobeallabouttracksandtraces,thereissomeevidencethathecarefullyexpunges.What

formoforganisation,whatoperationsoflogisticsandtransportation,arerequiredtoextractheavyrocksfroma

remotelandscapeandbringthemintothemuseum?Thephotographsandtextworksnevertellus.Theyare

illusionisticinthattheykeepintactthefictionofartisticcreationassomehoweffortless.


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StoneLine,HaywardGallery,London,1980

NorfolkFlintCircle,1990


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Centralgallery,TateBritain,2009

Finally,usingnaturesownmaterialsmaterialsthatinthemselvesevokeatrajectoryfromlandscapetomuseum

(mudfromtheRiverAvon,clayfromVallauris,Cornishchinaclay)theartistleaveshisimprintinthespaceofthe

museum.Again,oneisleftcuriousastotheprocessoftransportation,howthevastquantitiesofmudtravelfrom

countrysidetoartinstitution.Alliedtothemonumentalityofscaleofthesepiecesistheknowledgethatattheendof

theshow,theywillbeerased,paintedover.Here,ratherthanhisfeetmarkingtheturf,weseethatage-old,most

primevalofallmarks,thehandonthewall.ButLongsislessanautographicmarkofpresence(Iwashere)thanthe

agitatedtrackofasequenceofmovements.Theseenormous,breathtakinglybeautifulgesturalwallpaintingsregister

theactionsnotonlyofhishands,butofthewholebodypoweringthosemanualgestures.Lookingatthem,weare

invitedtoenvisionthephysicalexertionthatwentintotheirmaking,justaslookingatthephotographs,weare

enlistedtoempathisewiththedurationofthewalk,thestrainandstretchofit.Containedwithingeometricbounds

(rectangles,circles),yetfilledwiththesplashesthattrackthevelocityandfiercenessofakindoftactileand

rhythmicaldance,theseareperhapsthemostmanifestlybodilyofLongsworks.WemayberemindedofHansNamuthsfamousphotographs,takenin1950,ofthepainterJacksonPollockdancingaboutthecanvaseshehadlaid

onthefloorinwhatartcriticHaroldRosenbergdubbedactionpainting.ButwhilePollocksworkbolsteredthe

notionofadominantandempoweredmasculinitybehindsuchacts,figuredasthoseofacreativegenius,Longswall

pieceskeepsuchconnotationsincheck.Theyareatoncemoreorderedandlessemotive:paintingbecomesan

equivalent,withinthecontainedspaceofthemuseumorgallery,ofveryspiritedwalking.

RiverAvonMudCircle,NationalGalleryofCanada,Ottawa,1982


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FromBeginningtoEnd(Tate),2009

ThebodyiseverywhereimplicitinLongswork,forallofittellsus: someonewashere.Hisisanartoftracesand

residues,anartthatevokesthemostintensecorporeality.Init,thebodyisevokedasafantasticallydisciplined

instrument,anagentofimmenseexertion:coveringathousandandthirtymilesoverthirtythreedaysinCornwall,or

placingathousandpiecesofdriftwoodalongthewaterlineandalongthewalkinglineontheMississippiDelta.But

thebodyisalsothereinthewordsthatinvokeallthesensesthatwalkingawakens:thewarmthofawindlessday,the

roaroftheriver,thesplitsecondchirrupofaskylark,thesplashofstonesthrownintowater,dragonfliesonthe

tent.Thetentitself,neverpicturedbutmentionedinseveralofthetextpieces,alertsustotheartistshuman(or

perhapscreaturely)needforshelter,food,bodilyfunctions:needsthatwouldhavehadtobetakenintoconsideration

inthepreparationforthejourney.Alongwithafewvestigesofcampfires,itisoneofthesparseindicesofasingular,

embodiedsubjectivity,aparticularpersonwhoisdoingthewalking.Andthatsomeone,howeverself-effacing,is

overwhelminglypresentintheworksnotonlyasabody,butalsoasthesensibilitythatguidesthesespecific

explorationsofthenaturalworld.

Manywritershaveleftuswithasenseoftheinseparabilityofwalkingandthinking,orindeed,theanalogybetween

them.IamthinkingespeciallyofWalterBenjaminandW.G.Sebald,buttherearemanyothers:Jean-Jacques

Rousseau,CharlesBaudelaire,WilliamandDorothyWordsworth,WilliamHazlitt,AndrBreton,BruceChatwin.Inline

withEmersonsdictumthatthewholeofnatureisametaphorforthehumanmind,eventhatgreatadvocateofthe

Americanwilderness,HenryDavidThoreau,usedwalkinginthelandscapetoexploretheuntappedcapacitiesofthe

humanspirit.Butforvisualartists,suchacorrelationishardertoembodyormaterialise.Theuninhabitedlandscapes

inLongsphotographsaresuggestiveofdramaticsolitudeandbutasinglepairofeyes:hisown.Insuchrichsilence,

heconjuresanambiencepropitioustorumination,yetforthemostpart,heprovidesuswithphenomenological

evidenceofsensoryexperience,ratherthanthecontentsofhisthoughts.Weknowthatsongsaresometimesonhis

mind(WalkingMusic,Ireland,2004),butonlyrarelydoeshegiveusaglimpseofhimselfasasubjectwithahistory,a


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pastandfuture,memories.Allthemorereasontoalightattentivelyonthoseinstanceswhenhedoes,asifforcluesas

tothekindofpersonwhowouldorcouldsoconsistentlyworkinthiswayforsolong.So:thinkingofafuturewalkis

modestlyinterspersedbetweenclimbingovergranite350millionyearsoldonGreatMisTorandeighthoursof

moonlight(DartmoorTime,England,1995),andmoretouchinglystill,myfathersitsbetweenalineofmoments

andstarlitsnow.

Longsworkdidnoteruptinavacuum.Itisframedbyacarefullyarticulateddiscoursethatsituateshisemergenceas

anartistatthecrossroadsofvariousartisticpractices.Itwasbornatamomentoffermentonbothsidesofthe

Atlantic,whenthefamiliaridiomsofsculptureandpaintingwereoverturnedindiverseways.Theconceptualspace

intowhichhisworkandthatofmanyofhiscontemporariesinthe1960sfitshasbeenfamouslydefinedasan

expandedfieldwherethepointsarchitecture/non-architectureandlandscape/non-landscapemapouttheterrainin

whichworksarepositionedinmultipleandhybridways.LongsworkisfrequentlylinkedtoLandArt,tothe

earthworksforwhich,forexample,AmericanartistRobertSmithsonwasfamous.Whiletheseworkssimilarlyentailed

anactioninthelandscape,theygenerallyinvolvedagreatersenseofplaceandafarmorepronouncedmonumentalismthanLongsworkeverhad:Smithson,MichaelHeizerandRobertMorrismovedtonsofearth.For

Long,thereisnosuchliteralsiteoflaboriousexcavation,noristhelocationwheretheactionhastakenplaceever

availabletotheviewer.Rather,theworkexistsasanon-siteinaseriesofrepresentationalrelays:intheoverlapof

maps,textualevocation,andphotographicregister.Inthis,Longsearlyworkintersectedwithconceptualartandits

privilegingofthephotographicandthewrittendocument.Butarguably,thisworkmayalsobeseenasperformance

artinandofnature,butaperformancethathappenswithoutanaudience.

So:foreachintersectionwithanartisticpractice,Longsworkalsocontradictsthatconvention.Theformaleleganceof

hisworksinthelandscapeshareslittlewiththemoreruggedethosofAmericanearthworksortheemotional,visceral

earth-bodyperformancesinthelandscapeofanartistlikeCubanbornAnaMendieta(b.1948,d.1985).Thepoised

grandeurofLongsworkasitisgiventoviewinamuseumorgallerystrikesadifferentchordfromthemoreintimate

mysticismofHamishFulton,anotherwalkingartist,whowasLongscontemporaryatStMartinsSchoolofArt,and

whoistheartistwithwhoseworkLongsbearstheclosestapparentsimilarity.Ineffect,theaustereeleganceof

Longsworkevincesanaffinitywiththeaestheticsofminimalism.Butitseemsthattoinvokeanykindofaesthetics

wouldbetoincurinacontradiction,ifLongsprinciplesofworkinginandwithnatureweretobeconstruedas

workingwithintheframeworksofeitherconceptualorperformanceart:artasideaorartasaction.*

Then,itisalsoclearthatwhiletheveryfirstphotographsrecordingthetraceofanotherwiseinvisibleactivity

performedinthelandscapemayhavebeensouvenirsordocuments,Longsoonrealisedthepotentialofthe

photographtostandasaworkofartinitsownright.Therefinedaestheticismofhisworksputshimatodds,then,

withconceptual,performanceandlandart.TheseambiguitiesinthepositioningofLongsworkwithincontemporary

artdiscourseshave,attimes,servedhisdetractors.Butfromthepointofviewofartisticpractice,thereisnoreason

whyanartistshouldadheretoasingleprogrammeordefiningmanifesto.Onthecontrary,itseemstomethathis

refusaltodosohasgrantedLongthefreedomtoexplorethatratheroldfashionedconceptofbeauty,bothfromthe

* In a now famous article published in Art International in February 1968, Lucy Lippard and John Chandlersaw these as the two intersecting strands of visual art at that time, recognising that these may well turn outto be two roads to one place.


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pointofviewofthewalker,andfromthepointofviewoftheartist.Onemightarguethatbeautyisnotthepoint.But

perhapsinadvertently,Longsetsusuptothinkthatitisso,bythesensethateveryarrangementofstonesonthe

galleryfloor,everyphotographiccomposition,eventheshapeofeverywallpaintingisnotonlygrand,butalso

measured,poised.Then,thereisthefactthattheuninhabitedlandscapesinhisphotographscomplieswithacertain

imagewemayhaveofanuntouchedyetphotogenicwilderness,animagethatincreasingly,overrecentyears,has

beensponsoredbyphotographicrepresentationsweseeelsewhere,inglossytravelbooksandcoloursupplements.

Muchworkhasbeendone,inthefortyyearssinceLongbeganhisambulatoryart,tohistoriciseandpoliticise

conceptsofwilderness.Scholarlyandpopularworksalikehavefosteredanapproachthatseeslandscapeasa

decipherablehistoricaltext,whilemanysite-specificartiststodayfocusontheculturalandecologicalaspectsof

landscaperepresentations.IhavetoconfesstoafeelingofreliefthatLonghaspaidlittleheedtothefashionforart-

as-pontification.IfIgotevenawhiffofpo-facedenvironmentalism,orindeedofself-righteousidentitypoliticsfrom

hiswork,Iwouldlosethewilltolive.Longseemsnottohavebeenseducedwell,certainlynotovertlybya

romancewithsonglinesoraloveaffairwithothernessviatracesofancientritesandcustoms,andthetracesofZennishness(which,Iconfess,slightlymakemebalk)stemfromadifferentsource.

Fromhistextsandphotographs,wewouldalmostbeledtobelievethatLonghascrossedthemostfar-flungareasof

thisglobealone,withouteverhavingstumbleduponanencampmentoravillage,almostnevermeetinganothersoul.

Oneisleftwonderingaboutthereasonsfortheexcisionfromhisworkofapparenttracesofhumanpresence...

otherthanhisown.Theideaofthefrontiersmanisdiametricallyopposedtothatoftheselfeffacingwalker,anditis

tohiscreditandartistrythatLongsworksholdthesetwoimagesindelicateequipoise.Allthemorereasonwhythe

fleetingglimpsesofthehumanandthecivilisationalinhisworkaresointriguing:inonephotograph,tworeceding

backpacks.InIndia,atadistance,childrenstampingacircleintheground,orawomanandtwochildrenpassingon

what,wearetold,isWarlitriballand.Autobiographicmarksareequallyfewandfarbetween:apairofboots,a

kayak,adipthatmarksasleepingplace...theseprovideuncommonvisualdisclosuresofwhatitmighttaketo

negotiatethewild.YoucouldfitIrelandeighttimesintothestateofTexas,inthepieceACoasttoCoastWalk

acrossIreland(2006)givesusanunexpectedsnippetofconversation.Andinarareandfascinatingexcursioninto

contextualisation,wearegiventwophotographsofWindmillHillandtheironbridgeatCoalbrookdaleframingasmall

settlementofhousesastheendpointsofa113milewalkin1979.CoalbrookdaleontheRiverSevernGorgewasthe

birthplaceoftheIndustrialRevolution,weareexceptionallytold.


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IfthepurposeofLongsstrategytoremoveevidenceofthehumanhasbeentoavoidthetrapofthequaint,ofthe

exoticorethnographic,thisalsobringsussquarelybacktotheideaofaestheticisation,forsurelythiskindofrecordis

soselectiveastoinvalidateitsstatusasarecord.Rather,thiswouldsituateLongfirmlyinthetraditionofthe

romanticartist,relishingthesanctityandsolitudeofthecountryside.Yethistorically,suchseclusionineffecttook

placeinanageofgrowingindustrialisation.Itisnotuncommonforculturalhistoriesofthenineteenthcenturytotell

usthattheRomanticperiodalsocorrespondstotheheydayofartisticallyinspiredtourismashordesofvisitors


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throngedtomountains,lakesandwaterfallsinsearchofscenesalreadydescribedorpaintedforthem.Theromantic

artistwas,inaway,hyperbolisingwhatnowadayswouldbecalledagetawayorescapingfromitall.

Today,suchsolitudeprovidesanimageofawildernesstowhichothersramblersormorediscerningtouristsmight

aspire.ButtheimageofhimselfasatouristisnotoneLongwouldwishtofoster.Allowingustosee,ifonly

momentarily,hisawarenessoftherelationshipbetweenthesolitarywalkerandtheIndustrialRevolutionisa

fascinatingand,onehopes,selfconsciouschinkinLongsarmour.Theattentionheanomalouslypaysto

industrialisationanditsproducts(abridge)suggestsanawarenessthatartisticrepresentationsandindustrialisation

haveenjoyedamutuallyco-operativerelationship,onefromwhichtheideaoftourism,andindeedoflandscapeitself,

isneverfar.

Evenwiththecreditcrunchuponus,thestaggeringexpansionoftheleisureandtouristindustrieshasnurtured

realisabledreamsofholidaysinremoteplaces.Ifnotmanywillventuretoofarfromwherepublictransportwillleave

them,growthincarownershiphasmeantthatontheonehand,distancehasclosedinonus,andontheother,ithas

becomeincreasinglyhardertoventureoffthebeatentrack,exceptthroughintenseeffort,extremearduousness.

Clearly,intheruggednessofhischosenterritories,Longallieshimselfmorewiththeexplorerthanwiththetourist,

butitisimportanttorememberthathiswalksarealwaysframedbyanawarenessofhimselfasanartisttoo.Evenif

hechoosestoerasethetracesoftherealeffortentailedinthisenterprise,thephotographsofnatureslightly

rearrangedonstonyorwater-loggedoricycountry,therelationshipbetweenmilesandhours,thebreathtaking

panoramasofpureextent,thesealldemandseriousattentionasunequivocallyastheyassureusofRichardLongs

ownseriousness,whetherthewalkeriswearingtheskinoftheartist,orviceversa.

Cara Aitchison, Nicola E. MacLeod, Stephen J. Shaw, Leisure and Tourism Landscapes: Social and CulturalGeographies, London: Routledge, 2000, p. 72.


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HaunchofVenisonCircle,2003,riverAvonmudonblackpaint.Diameter445cm,byRichardLong.

heaven and earth: the work of richard long, published at the time of the artist's retrospective at...

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