Long- southbank circle Flashcards
(34 cards)
What are the basic details of Richard Long’s Southbank Circle (1991)?
Created in 1991 for Long’s retrospective at the Hayward Gallery in London’s South Bank Centre, Southbank Circle is composed of 168 Delabole slate stones arranged in a near two-metre-wide circle. Each stone touches its neighbours to form a dense, interlocking structure.
What is the significance of the artwork’s title, Southbank Circle?
The title embeds the site of its first installation—London’s South Bank—into the identity of the work, making the location part of its meaning.
How does the form of Southbank Circle reflect Long’s artistic philosophy?
The circular composition, while geometrically controlled by the artist, uses rough, uneven slate pieces to highlight the tension between human-imposed order and the organic randomness of nature.
What visual contrasts are present in Southbank Circle?
The cool grey slate sharply contrasts with the tone of the gallery floor, and the natural irregularity of each piece juxtaposes the idealised geometry of the circle.
How does Long create unity within Southbank Circle despite using irregular materials?
By enforcing rules: each stone must touch those around it; denser stones go in the centre; and visual balance is achieved through careful arrangement.
What recurring theme in Long’s work does Southbank Circle embody?
The balance between natural materials and abstract human order—here shown in the geometric imposition of a circle on uneven, natural stone.
How does Long describe the role of circles in his work?
He sees the circle as “universal and timeless,” emotionally powerful yet non-symbolic—an archetype that connects all cultures.
How does Southbank Circle explore the idea of ‘place’?
It unites Delabole slate from Cornwall with an urban gallery setting, bridging Long’s experience in nature with the viewer’s experience in an institutional space.
Why does Long avoid directly associating his work with prehistoric stone circles?
He rejects academic comparisons, arguing that ancient circles were communal, religious works, whereas his are individual and conceptual.
How does Long relate his work to physics and philosophy?
He draws on the Theory of Relativity and quantum physics, viewing stones as “subatomic particles in the space of the world” — objects within vast cosmic and temporal systems.
How is Zen Buddhism relevant to Long’s practice?
His emphasis on the present, the physical act of walking, and being-in-the-moment reflects Zen’s focus on ‘nowness’.
What is the significance of Long using slate from Delabole quarry in Cornwall?
It creates a physical and conceptual link between rural origin and urban display, grounding the artwork in British geology and landscape.
How does Long view the materials he uses?
He emphasises their simplicity and honesty: “a stone is a stone.” Stones are chosen for availability and meaning, not for aesthetic enhancement.
Why does Long avoid traditional artistic ‘skills’?
He sees art as concept-driven, where arranging humble materials with intention is enough—rejecting fine art virtuosity.
Why is Southbank Circle considered site-specific?
Its name and first installation at the Hayward Gallery tie it to that location; every future assembly reenacts that original connection.
How did the public respond to Southbank Circle at its debut?
It was part of what staff at the Hayward Gallery called “perhaps the most stunning [exhibition] ever to fill the building.”
How is Long’s work influenced by Minimalism and Conceptual Art?
Like Minimalists (e.g. Carl Andre), Long uses industrial materials and floor-based layouts. Conceptually, the idea behind the piece matters more than traditional artistic skill.
Why does Long reject the Land Artist label, despite comparisons to artists like Robert Smithson?
His works are more subtle, smaller in scale, and often ephemeral, avoiding the monumental or dramatic impact of classic Earthworks.
In what way is Southbank Circle an example of postmodern art?
It defies modernist ideals of the heroic artist or narrative art. It’s process-driven, humble, and open-ended—encouraging viewer interpretation.
How does Long connect his work to environmental concerns?
He aligns with Green philosophy, using local, natural materials with minimal intervention—”small is beautiful”.
Is Southbank Circle overtly political?
Not explicitly, but its anti-authoritarian ethos, rejection of traditional art norms, and environmental sensitivity carry implicit political meaning.
How does walking relate to Long’s practice and Southbank Circle?
Walking is foundational—his outdoor stone circles often emerge from walking journeys. Though Southbank Circle is installed indoors, it’s tied to the same physical engagement with landscape.
How does Long see the creation process of such works?
As physical yet joyful: lifting stones and following a personal logic of arrangement. He insists “it’s not hard work because I enjoy it.”
What does Long mean by: “All I’m saying is I’m just putting that stone on the ground”?
He stresses simplicity and realism—he does not ‘create’ in a traditional sense, but arranges natural materials in meaningful ways.
