“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

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

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Richard Long 10

artist 1945

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“I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.”

Rachel Whiteread (1963) British sculptor

As quoted in "Boxing clever" by Lynn Barber inThe Guardian (16 October 2005) http://observer.guardian.co.uk/review/story/0,6903,1593050,00.html

“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

“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

“My objects are to be seen as stimulants for the transformation of the idea of sculpture.... or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.
THINKING FORMS – how we mold our thoughts or
SPOKEN FORMS – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mold and shape the world in which we live:
Sculpture as an evolutionary process; everyone an artist.
That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.”

Joseph Beuys (1921–1986) German visual artist

Beuys' quote from Theory of Social Sculpture, 1979, as cited in: Chris Thompson. Felt: Fluxus, Joseph Beuys, and the Dalai Lama. 2011. p. 88-89
1970's

“Actually my ideal piece of sculpture is a road.”

Carl Andre (1935) American artist

Source: Minimal Art: A Critical Anthology', 1995, p. 108

“… the fact is, they are sculptures, since they show the relationship of object to object and that is the idea and purpose of a sculpture. I’ve got nothing against ‘poetry,’ but it’s only resonance and tempo. Each of my works is perhaps also indeed a poetic sculpture. It’s not that I think it’s a bad word, poetry, but I’m not a poet, since a poet is concerned with the relationship of human beings to human beings.”

Lawrence Weiner (1942) American artist

Gerti Fietzek, Gregor Stemmrich. Having been said: writings & interviews of Lawrence Weiner, 1968-2003, Hatje Cantz, 2004. p. 158

“I prefer Mexican to Mayan sculpture. Mexican stone sculptures have largeness of scale & a grim, sublime, austerity, a real stoniness. They were the true sculptors in sympathy with their material & their sculpture has some of the character of mountains, of boulders, rocks & sea worn pebbles.”

Henry Moore (1898–1986) English artist

in 'Unpublished notes', c. 1925-1926, HMF archive; as quoted in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 97
1925 - 1940

“I am an artist who makes walks. A walk defines the form of the land in space and time beyond the scale of sculpture or the fixed image. Some of my walks are formal (straight, circular, rhythmic) almost ritualised. I have climbed around mountains instead of to the top, I have made walks about slowness, walks about stones and water. I have made walks within a place as opposed to a linear journey; walking without travelling.”

Richard Long (1945) artist

Richard Long (1980), five, six, pick up sticks, seven, eight, lay them straight, London: Anthony D'Offay Gallery
1980s

“Personally, I don't believe in having expectations, but I can say that, regarding my exterior sculptures, I will only exhibit sculptures in the future that will enrich their surroundings.”

Isa Genzken (1948) German sculptor

after 2010, Isa Genzken, the artist who doesn't do interviews' (2014)

“From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture... My works of this time up to 1924.... are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Gabo, as cited in: Simon Wilson (1991), Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition. p. 146
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