Long, Richard - Slate Atlantic 2002 - sculpture - art postcard

Art Postcard
• Work of art title: Slate Atlantic (2002)
• Artist (if known):  Richard Long (b. 1945)
• Media or other details:  sculpture
• Publisher / Gallery: Tate St. Ives, Cornwall
• Postally used:  no
• Stamp & postmark details (if relevant):  n/a
• Size: modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.:  A459

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I will give a full refund if you are not fully satisfied with the postcard.

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Richard Long CBE (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists.

Long is the only artist to be shortlisted for the Turner Prize four times, and he is reputed to have refused the prize in 1984. He was nominated in 1984, 1987, 1988 and he then won the award in 1989 for White Water Line.^[1] He currently lives and works in Bristol.^[2]

Born in Bristol, England; Long studied at the University of the West of England's College of Art during the years of 1962–5, then to Saint Martin's School of Art, London during 1966–68.^[3] At Saint Martin's, he studied under Anthony Caro and Phillip King, and he became closely associated with fellow student Hamish Fulton.^[2] Within a year after he graduated from St Martin's, the artist became closely associated with the emergence of Land Art; he also participated in the first international manifestations of both Arte Povera, in Amalfi, Italy in 1968, and Earth Art, at Cornell University, New York in 1969.^[4]

Long made his international reputation during the 1970s, but already with sculptures made as the result of epic walks, these take him through rural and remote areas in Britain, or as far afield as the plains of Canada, Mongolia and Bolivia.^[5] He walks at different times for different reasons. At times, these are predetermined courses and concepts; yet equally, the idea of the walk may assert itself in an arbitrary circumstance.^[4] Guided by a great respect for nature and by the formal structure of basic shapes, Long never makes significant alterations to the landscapes he passes through. Instead he marks the ground or adjusts the natural features of a place by up-ending stones for example, or making simple traces. He usually works in the landscape but sometimes uses natural materials in the gallery. Different modes of presentation, sometimes combined, were used to bring his experience of nature back into the museum or gallery. From 1981, Long also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations, establishing a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.^[5] Nearly forty years on, his work continues the dialectic between working freely and ephemerally wherever in the wide world, and bringing it back into the public domain of art spaces and books in the form of sculptures of raw materials such as stones, mud and water and photographic and text works.^[4] In 2012 the artist was on view at the exhibition ""Ends of the Earth: Land Art bis 1974"" with the conceptual and rarely shown work entitled A Walking Line in the Berner Oberland.^[6]

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted