“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

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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“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 (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

“A sculpture, a map, a photograph; all the forms of my work are equal and complementary. The knowledge of my actions, in whatever form, is the art. My art is the essence of my experience, not a representation of it.”

Richard Long (1945) artist

Richard Long: Books, Prints, Printed Matter. Exhib cat New York Public Library, New York 1994
1990s

“After weeks of indoor work it actually felt good to be doing something—clean, direct, muscles and mind.”

Gregory Benford book The Sunborn

The Sunborn (2005), Part I, Chapter 4, “Vent R” (p. 38)

“Nature has always been recorded by artists, from prehistoric cave paintings to twentieth-century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking … My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art.”

Richard Long (1945) artist

Richard Long in: Ben Tufnell (ed.), Richard Long: Selected Statements & Interviews, London 2007, p. 39; Cited in: " Richard Long: A Line Made by Walking 1967 http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-ar00142/text-summary," at Tate.org
2000s

“Being an MP is the sort of job all working-class parents want for their children — clean, indoors and no heavy lifting.”

Diane Abbott (1953) British Labour Party politician

Independent, 18 January 1994.
1990s, 1994

“Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

“The distinction between indoors and outdoors, which in England is usually so marked, was temporarily suspended in a hot gauzy haze.”

Quentin Crisp book The Naked Civil Servant

Source: The Naked Civil Servant (1968), Ch. 13

“Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age.”

Alan MacEachren (1952) American geographer

(2004), p. v
How Maps Work: Representation, Visualization, and Design (1995)

“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

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