“I like the fact that every stone is different, one from another, in the same way all fingerprints, or snowflakes (or places) are unique, so no two circles can be alike. In the landscape works, the stones are of the place and remain there. With an indoor sculpture there is a different working rationale. The work is usually first made to fit its first venue in terms of scale, but it is not site-specific; the work is autonomous in that it can be re-made in another space and place. When this happens, there is a specific written procedure to follow. The selection of the stones is usually random; also individual stones will be in different places within the work each time. Nevertheless, it is the 'same' work whenever it is re-made.”

— Richard Long

Richard Long, ‎British Council (1994). Richard Long: São Paulo Bienal 1994.
1990s

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Richard Long 10

artist 1945

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“The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received 'indoors' and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition 'second hand' works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it's not possible to say 'everything' in one way.”

Richard Long (1945) artist

Richard Long, ‎British Council (1994). Richard Long: São Paulo Bienal 1994.
1990s

“My photographs are facts which bring the right accessibility to remote, lonely or otherwise unrecognizable works. Some sculptures are seen by few people, but can be known about by many. My outdoor sculptures and walking locations are not subject to possession and ownership. I like the fact that roads and mountains are common, public land. My outdoor sculptures are places. The material and the idea are of the place; sculpture and place are one and the same. The place is as far as the eye can see from the sculpture. The place for the sculpture is found by walking.”

Richard Long (1945) artist

Richard Long & Kenneth Martin (1980) in: D. Ashton (1985), Twentieth-Century Artists on Art, p. 151
1980s

“Light and space … are the sculptor's materials as much as wood or stone … I feel that I can relate my work more easily, in the open air, to the climate and the landscape.”

Barbara Hepworth (1903–1975) English sculptor

1947 - 1960
Source: Interview in Dialogues on Art, Edouard Roditi; London, 1960, pp. 91–92

“The place to improve the world is first in one's own heart and head and hands, and then work outward from there.”

Robert M. Pirsig book Zen and the Art of Motorcycle Maintenance

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 25
Source: Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values
Context: I think that if we are going to reform the world, and make it a better place to live in, the way to do it is not with talk about relationships of a political nature, which are inevitably dualistic, full of subjects and objects and their relationship to one another; or with programs full of things for other people to do. I think that kind of approach starts it at the end and presumes the end is the beginning. Programs of a political nature are important end products of social quality that can be effective only if the underlying structure of social values is right. The social values are right only if the individual values are right. The place to improve the world is first in one's own heart and head and hands, and then work outward from there. Other people can talk about how to expand the destiny of mankind. I just want to talk about how to fix a motorcycle. <!-- p. 304

“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

“my work is actually different from comic strips in that every mark is really in a different place, however slight the difference seems to some. The difference is often not great, but it is crucial.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.”

Dana Gioia (1950) American writer

Essays, Can Poetry Matter? (1991)

“When I was offered the site near the House of Lords... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park — one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it.”

Henry Moore (1898–1986) English artist

Quoted by Mary Chamot, Dennis Farr and Martin Butlin, in Tate Gallery Catalogues: The Modern British Paintings, drawings and Sculpture, Volume II (Oldbourne Press, London, 1964), p. 481 http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689
his remark, concerning the placement of his large sculpture 'Knife Edge – Two Piece', 1962 https://www.parliament.uk/about/art-in-parliament/global/print/?art=S715 - located near the House of Lords.
1955 - 1970

“This thing about looking for someone less different… It only really worked, he realized, if you were convinced that being you wasn't so bad in the first place.”

Nick Hornby About a Boy

Source: About a Boy

“A working brain is probably a lot like a map, where anybody can get from one place to another on the freeways. It's the nonworking brains that get blocked, that have dead ends, that are under construction like mine.”

Ned Vizzini book It's Kind of a Funny Story

Source: It's Kind of a Funny Story

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Richard Long 10

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