SGT. PEP’S was put together to look at what the lonely people hung their hopes on and athletes were one of those hopes. As little kids in Liverpool the Beatles all were soccer fans and the League Championship returned to Liverpool after a 24 year absence in 1947 with the leadership of the player Albert Stubbins. Some say that John Lennon picked him because of his unusual name.
In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
Francis Schaeffer – How Should We then Live – 07.The Age of Non Reason
BY BRYAN ARMEN GRAHAM Posted: Fri May. 31, 2013
You can try to deny it in some sort of misguided pursuit of individuality. You can point to a lot of other groups that are just as important. But I defy you to press play on Sgt. Pepper’s Lonely Hearts Club Band, which hit shelves 46 years ago this weekend, and then argue that anyone has ever done it better.
Perhaps even more famous than the music itself is the record’s iconic, Grammy Award-winning cover. The legend is that each band member chose roughly 10 people they wanted (or would have wanted) to perform for. The roster includes writers, artists, film stars, musicians, Indian gurus — and these three athletes. (Save it in your back pocket for the next time you want to win a bar bet.)
Where he appears: Front row all the way to the left next to the wax model of George Harrison.
Sporting résumé: Knocked out Floyd Patterson in one round for the heavyweight title in 1962 (at a time when it really meant something); twice stopped by Muhammad Ali; only undisputed heavyweight champion to quit on his stool.
Cultural cache: Enigmatic, tortured figure; died under mysterious circumstances less than five years after Sgt. Pepper’s was released.
Beatles connection: Ali’s 1964 meeting with the Fab Four while training for the first Liston fight is considerably more famous, but the Big Bear actually went to a Beatles concert that same year, though he was kind of a hater. “Is them bums what all this fuss is about?” he was quoted as saying. “Sheet, man, mah dawg play better drums than that kid with the big nose.”
Cover story: Word is that John Lennon was a big fan.
Where he appears: Second row northeast of Harrison and to the left of Marlene Dietrich.
Sporting résumé: Powerfully built English footballer who signed with Liverpool in 1946 for £12,500, then a club record; scored 28 goals in first season with Reds to lead team to first league title in 24 years; retired in 1953 with 83 goals in 178 appearances.
Cultural cache: Moved into sportswriting after retirement from playing career; appeared as a minor character in Stephen Baxter’s 1995 novel The Time Ships.
Beatles connection: While it’s true Stubbins was banging them in for the Fab Four’s hometown side during their formative years, the truth — according to Hunter Davies’ authorized biography — is none of the Beatles were massive soccer fans. (Though, McCartney was born into an Everton family.)
Cover story: The striker was one of Lennon’s choices, as his name had apparently amused him as a child. Stubbins had no idea he was on the cover until the record arrived on his doorstep shortly after its release, signed by all four with McCartney’s handwritten note: Well done, Albert, for all those glorious years of football. Long may you bob and weave.
Where he appears: Second row center behind Ringo.
Sporting résumé: Won five Olympic gold medals for swimming and one bronze for water polo during the 1920s; set 67 world records; reportedly undefeated in official competition for the entirety of his competitive career.
Cultural cache: Played Tarzan in 12 motion pictures from 1932 through ’48.
Beatles connection: None, apparently.
Cover story: McCartney said he was chosen because they liked the sound of his name, replacing an image of Adolf Hitler (Lennon’s pick) present in early photographs of the montage.
Liverpool Legend – Albert Stubbins
Liverpool Legend – Albert Stubbins
Willie Fagan, Albert Stubbins and Billy with their medals presented to them prior to a game against Stoke at Anfield on 3 January 1948 by William C. Cuff,
|This article needs additional citations for verification. (June 2010)|
|Date of birth||17 July 1919|
|Place of birth||Wallsend, England|
|Date of death||28 December 2002 (aged 83)|
|Playing position||Centre forward|
|Whitley & Monkseaton|
|* Senior club appearances and goals counted for the domestic league only.
† Appearances (goals)
Albert Stubbins (13 July 1919 – 28 December 2002) was an English footballer. He played in the position of centre forward, although his career was limited by the onset of World War II. He gained most of his fame and success playing for Liverpool where he won the League Championship in 1947. His later claim to fame was an appearance on the front cover of The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band album.
Dr Toon Albert Stubbins
Life and playing career
Born in Wallsend, Tyne and Wear, England, he spent his early years in the United States, returning to Wallsend, where he attended Carville School, in 1929. Stubbins first played for Newcastle United in 1937, appearing in official games 30 times and scoring six goals for the team. In wartime games (classified as friendlies) he scored 188 goals in just 231 appearances.
In 1946 he was signed by Liverpool for a then club record of £12,500. Stubbins had also been approached by Liverpool’s closest rivals, Everton, and he settled the decision with a toss of the coin. The coin should have been framed by manager George Kay as he made an immediate impact at the club, making his debut on 14 September 1946 in a league match at Burnden Park he scored an 82nd-minute goal as the Reds left it late to claim all the spoils in a 3–1 victory over Bolton Wanderers.
His move to Liverpool gained him most of his fame and success; Stubbins scored 28 goals (24 league goals) in the 1946–7 season (making him joint top scorer with Jack Balmer) helping Liverpool to win the League Championship, the first time in 24 years.
Stubbins also scored 24 goals the following season. Although a contractual dispute in the 1948–9 season limited his appearances for the Merseyside club, he then helped Liverpool reach the 1950 FA Cup Final, the first time Liverpool had ever appeared at Wembley. However, they lost to Arsenal by two goals to nil.
Injuries forced him to retire in 1953, having scored 83 goals in 178 appearances, or 1 every 2.1 games. For a player with such an impressive goal ratio, it is astonishing that he was constantly overlooked by Walter Winterbottom, the England manager at the time. He played for the England once in an unofficial ‘victory’ international against Wales in 1945, a game England lost 1–0.
Following his retirement, Stubbins entered a full-time career in sports journalism, although he briefly coached an American semi-professional side, the New York Americans in 1960.
Stubbins’ later claim to fame was an appearance on the front cover of The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band album, the only footballer to be given that honour. He also has a Liverpool FC fan club named in his honour. He also featured as a minor character in Stephen Baxter’s time-travelling novel The Time Ships. He died in 2002, aged 82, after a short illness.
- Wartime guest games (1939–1946) – 231 appearances, 188 goals
- Liverpool FC (1946–1953) – 178 appearances, 83 goals, Football League First Division (Level 1) championship winners medal (1947), F.A Cup runners-up medal (1950)
|Club||Season||League||FA Cup||League Cup||Europe||Others||Total|
The Beatles: big football fans?
Did any of the Beatles ever express an interest in football, in particular whether they favoured Liverpool or Everton,” asks Steven Draper, “or did they steer clear of the subject for fear of alienating potential fans?”
The answer, James, is ambiguous at best. The Beatles were never regulars at either Anfield or Goodison Park – so it really depends on which titbit of folklore you choose to swallow.
Donald Philips is among many who think that the Sergeant Pepper cover is the killer giveaway. Standing just on Marlene Dietrich’s shoulder grinning madly is Albert Stubbins, the red-haired Liverpool centre forward – and the only player to make the many-faced cover.
While there are those who claim, rather mean-spiritedly, that Stubbins only made the cover because John Lennon liked his name, many more are determined to prove that the Beatles worshiped at the Kop when not hopping across the continents for a visit to the Maharishi.
Karl Coppack comes up with Paul McCartney trying to get the 1977 Liverpool v Man United FA Cup final on the radio while on his boat in the Caribbean, while the words clutching at straws come to mind for both Stephen Pepper – who recalls the Beatles wearing a huge red-and-white scarf in a skiing scene of Help! – and Ian Gresham, who remembers snaps from 1968’s Mad Day Out photo session of McCartney wearing a red-and-white rosette.
A number of you with a worrying knowledge of Beatles lyrics also point out that Matt Busby – an ex-Liverpool player – gets a namecheck on Dig It.
But there are equally tenuous claims for a link between McCartney and Everton. Paul has been known to mention that his uncles used to support the Toffees – and that every now and then he would tarry along with them.
And then there was the rumour that warmed Everton hearts a couple of years back that McCartney was about to invest a lot of money with the club. They’re still waiting for that investment.
The real answer seems to be that the Beatles did not have any great love of football – unusual in four lads from a footballing city, as Karl Naden points out, but not impossible. Indeed, the only positive sighting of a Beatle at a sporting event comes from Iain Saunders, who sat behind McCartney at a New York Yankees baseball game.
Finally George Harrision’s reply to those impertinent enough to ask which club he supported was the obtuse: “There are three teams in Liverpool and I prefer the other one.” Which leaves us very much where we started.
STEVE ARCHIBALD: THE FIRST MAN TO APPEAR TWICE ON TOP OF THE POPS?
“Was Steve Archibald the first man to appear on Top Of The Pops twice in the same night with two different groups (Spurs and Scotland) in 1982?” asks someone whose name we have misplaced.
No he wasn’t, Mr/Ms Anonymous. With eagle-eyed chart knowledge, Knowledge reader Brian Spurrell flamboyantly trumps Steve Archibald with, wait for it, session singer Tony Burrows.
Burrows, Spurrell remembers, once appeared on TOTP three times with three separate bands. “That was in early 1970 when his session career was at its peak and records by the Brotherhood of Man – United We Stand, White Plains – My Baby Loves Loving, Edison Lighthouse – Love Grows Where My Rosemary Goes, and The Pipkins – Gimme Dat Ding, were all in the charts together. All of them feature him on vocals.”
But it was downhill all the way after that. After the triple-starring show, Burrows was collared by a member of the production staff and told he’d been unofficially blacklisted from the show – apparently it was starting to look like a bit of a fix – and Burrows did not appear on TV for another four years despite singing on countless hits.
Nor were his own records played on the radio until First Class recorded Beach Baby in 1974 – a record which reached No4 in the UK charts.
Steve Archibald went on to play for Barcelona.
FOOTBALL IN SPINAL TAP: REPRISE
“In the legendary rockumentary, This Is Spinal Tap, bass player Derek Smalls wears an early 80s Umbro football shirt in several scenes, including the famous airport security scene. Who did he support? It looks a bit like Bradford City to me, but I thought he was from the West Midlands,” expounds Mark Meadowcroft while adjusting his spandex strides, strapping on his axe and turning his amp up to 11.
We’ve dealt with this enquiry before Mark, back in the day when money didn’t matter and it was just about the music. The garment you speak of was in fact a Shrewsbury Town replica shirt.
“Speaking of Derek Smalls in his Shrewsbury shirt, only a true Tap obsessive will have spotted David St Hubbins’s favourite team: Wolverhampton Wanderers,” says Stephen Buckland, going one louder. “As the band arrive in New York for their very first gig, the guitarist and vocalist can be seen sporting the familiar gold and black scarf behind manager Ian Faith. It’s only a few frames, but it’s there. Buy the video, folks.”
Meanwhile Andy Barnes says that “while watching Spinal Tap again, I noticed Derek Smalls sporting a claret and blue baseball cap a lot through the first half of the film. The writing is difficult to make out, but as they go barbers shop at the grave of The King, you can just make out the words West Ham across the front. A pretty good reference to their supposed east-end roots, but a bit odd considering he’s got his Shrewsbury Town shirt on at the same time.”
For even more football-related Tap references and a whole host of other useless but compelling information, why not visit The Knowledge ArchiveThe Knowledge archive.
CAN YOU HELP?
“In the recent Madrid derby Athletico were captained by 19-year-old Fernando Torres. It lead to a discussion about other players who’d taken the armband so young with Tony Adams being widely suggest as the youngest top flight captain in recent history,” says Crispin O’Brien. “Is this true? Also who’s the youngest player to have been given the honour of leading out his country and who’s the youngest skipper to have got his mitts on any silverware?”
“Before Michael Owen and Wayne Rooney started a game up front for England, had a Liverpool-Everton strike pair ever started for England, or any other country?” asks Henry Killworth.
“A friend and I have been arguing about whether his southern English Premiership team or my northern Premiership team has to travel the most during an average football season,” says Anna B. “Has anyone ever calculated whether, say, Southampton travel more miles than, say, Newcastle? Which Premiership club clocks up the most air miles? And does travelling the furthest have an adverse effect on a team’s overall performance?”
“I support Swindon Town, my wife supports Liverpool,” says Tim Beaumont. “Very occasionally both win but more usually one or other loses. This set me wondering: have there ever been any matchdays of maximum happiness for our household? This would involve Swindon and Liverpool winning AND Everton, Manchester United, Oxford United and Bristol City ALL losing, preferably heavily. Is there any way of finding this out?”
“Have two players from the same team ever been sent off for simultaneous challenges on a rival player?” asks Caleb Marwick. “For example, a player chasing back and a closing-down player ever both tackling high on the same man?”
Understanding contemporary art
Richard Long’s work is highlighted at the 12:00 minute mark in the above film.
||This article’s introduction section may not adequately summarize its contents. (April 2013)|
Richard Long CBE (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists. Lin 1972 there was ong 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. He currently lives and works in Bristol.
Early life and education
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. At Saint Martin’s, he studied under Anthony Caro and Phillip King, and he became closely associated with fellow student Hamish Fulton. 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.
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. 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. 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. 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. 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.
A Line Made by Walking (1967)
Richard Long, then 22 years old and a student at Saint Martin’s School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The work, taken as the milestone in contemporary art, balances on the fine line between the performance (action) and the sculpture (object).
Nature has always been a subject of art, from the first cave paintings to twentieth-century landscape photography. I wanted to use the landscape as an artist in new ways. First I started making work outside using natural materials like grass and water, and this led to the idea of making a sculpture by walking. This 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. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking – as art – provided a simple way for me to explore relationships between time, distance, geography and measurement. These walks are recorded in my work in the most appropriate way for each different idea: a photograph, a map, or a text work. All these forms feed the imagination.—Richard Long
The consistent employment of archetypal shapes, mostly circle, line, cross and spiral, is immediately noticeable in the artist’s body of work. Much as the appearance could evoke ancient monumental connotation, the force of Long’s oeuvre lies in its conceptual simplicity. The work is just as it is staged. Nonetheless, Long does not withdraw himself from believing his actions of connecting simple geometric structures such as circles with organic elements, may reach across cultural and generational boundaries:
“I think circles have belonged in some way or other to all people at all times. They are universal and timeless, like the image of a human hand. For me, that is part of their emotional power, although there is nothing symbolic or mystical in my work.” —Richard Long
Stone, driftwood and mud
Long works with indigenous materials, such as stone, wood and mud, collected from his numerous walks around the world. Stone is one of the earliest material used by man to fashion tools; and one of his preferred materials. Delabole Slate Circle, a solid circle made on the floor with slate from the Delabole quarry in Cornwall, was constructed by slate roughly cut to retain as much of its natural character as possible. The circular arrangement is an imposed order, but the flatness of each piece is characteristic of slate, representing a natural order. River Avon Driftwood (1976) seemed to hold chance and order in equal sway, as in much of Long’s work. It is made up of bits of driftwood which he gathered from the banks of the River Avon below Leigh Woods, near the Clifton Suspension Bridge, Bristol. These are used randomly, and spaced approximately but within the precise form of an anti-clockwise spiral. Objects which arrived at a given point by chance, through the flow of the river, are organised into a logical, and ancient, pattern.
From 1981, he also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations. Long applies the mud with his hands — throwing it, drawing with his fingers or using the imprint of his palms. While he may allow people to watch him place stones, he paints in private. The mud circles, the most impermanent parts of his shows -when the exhibitions are over, the circles are painted over — hold everything together. Mud has represented the ground he stepped through his walks and the realisation of these “murals” establishes 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.
Bringing together the unevenly shaped raw materials in the geometric structure, Long’s works illustrate a recurrent theme, the relationship between man and nature, as he has explained, “You could say that my work is a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work.”
Nature vs. gallery
Long usually works in the landscape but sometimes uses natural materials in the gallery. The scale of his sculptures is determined by his response to each particular place or landscape locality. In 2000, for the first time, he also presented discrete, modest-sized works that hang on the wall like paintings. They are portable and permanent, a deviation from his typical practice of enacting temporary installations on site.
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.
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
At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a folly to the east of the house. Long’s land art consists of a circle of Cornish slate at the end of a path mown through the grass.
A permanent installation is on view in the main lobby of Hearst Tower entitled Riverlines. Completed during the summer of 2006 and the biggest wall work he had ever made – about 35 x 50 feet (11 x 15 meters).
- 1969 Museum Haus Lange, Krefeld
- 1969 John Gibson Gallery, New York, NY
- 1969 Konrad Fischer Gallery, Düsseldorf, Germany
- 1969 Konrad Fischer Gallery, Düsseldorf, Germany
- 1969 Yvon Lambert Gallery, Paris, France
- 1970 Abteiberg Museum, Mönchengladbach
- 1970 Konrad Fischer Gallery, Düsseldorf, Germany
- 1970 Dwan Gallery, New York
- 1971 Art & Project, Amsterdam, Netherlands
- 1971 Gian Enzo Sperone Gallery, Torino, Italy
- 1971 Museum of Modern Art, Oxford, UK
- 1971 Whitechapel Art Gallery, London, UK
- 1972 The Museum of Modern Art Projects, New York, NY
- 1972 Yvon Lambert Gallery, Paris, France
- 1973 Konrad Fischer Gallery, Düsseldorf, Germany
- 1973 Lisson Gallery, London, UK
- 1973 Stedelijk Museum, Amsterdam, Netherlands
- 1973 Wide White Space, Antwerp, Belgium
- 1974 John Weber Gallery, New York, NY
- 1974 Scottish National Gallery of Modern Art, Edinburgh, Scotland
- 1975 Konrad Fischer Gallery, Düsseldorf, Germany
- 1976 Arnolfini Gallery, Bristol, UK
- 1976 British Pavilion, Venice Biennale, Venice, Italy
- 1976 Gian Enzo Sperone Gallery, Rome, Italy
- 1976 Sperone Westwater Fischer Gallery, New York, NY
- 1977 Galeria Akumulatory 2, Poznań, Poland
- 1977 Kunsthalle Bern, Switzerland
- 1977 Lisson Gallery, London, UK
- 1977 National Gallery of Victoria, Melbourne, Australia
- 1977 Whitechapel Art Gallery, London, UK
- 1978 Art & Project, Amsterdam, Netherlands
- 1978 Austellungsraum Ulrich Ruckriem, Hamburg, Germany
- 1978 Sperone Westwater Fischer Gallery, New York, NY
- 1979 Anthony d’Offay Gallery, London, UK
- 1979 Museum of Modern Art, Oxford, UK
- 1980 Fogg Art Museum, Harvard University, Cambridge, MA
- 1980 Karen and Jean Bernier Gallery, Athens, Greece
- 1981 Anthony d’Offay Gallery, London, UK
- 1981 CAPC, Musee d’Art Contemporain de Bordeaux, Bordeaux, France
- 1981 Konrad Fischer Gallery, Düsseldorf, Germany
- 1981 Sperone Westwater Fischer Gallery, New York, NY
- 1982 Art & Project, Amsterdam, Netherlands
- 1982 National Gallery of Canada, Ottawa, Canada
- 1982 Sperone Westwater Fischer Gallery, New York, NY
- 1983 Anthony d’Offay Gallery, London, UK
- 1983 Arnolfini Gallery, Bristol, UK
- 1983 Art Agency Tokyo, Tokyo, Japan
- 1984 Anthony d’Offay Gallery, London, UK
- 1984 Coracle Press, London, UK
- 1984 Dallas Museum of Art, Dallas, TX
- 1984 Konrad Fischer Gallery, Düsseldorf
- 1985 Anthony d’Offay Gallery, London, UK
- 1985 Gallery Buchmann, Basel, Switzerland
- 1985 Malmo Konsthall, Malmo
- 1985 Padiglione d’Arte Contemporanea, Milan, Italy
- 1986 Gallery Crousel-Hussenot, Paris, France
- 1986 Palacio de Cristal, Madrid, Spain
- 1986 Solomon R. Guggenheim Museum, New York, NY
- 1987 Donald Young Gallery, Chicago, IL
- 1987 Jean Bernier Gallery, Athens, Greece
- 1987 Musée Rath, Geneva, Switzerland
- 1988 Anthony d’Offay Gallery, London, UK
- 1988 Konrad Fischer Gallery, Düsseldorf
- 1988 Neue Galerie – Sammlung Ludwig, Aachen
- 1989 Henry Moore Sculpture Trust Studio, Dean Clough, Halifax, Nova Scotia
- 1989 Jean Bernier Gallery, Athens, Greece
- 1989 Kunstverein St Gallen, St. Gallen, Switzerland
- 1989 Sperone Westwater Gallery, New York, NY
- 1990 Arnolfini Gallery, Bristol, UK
- 1990 Magasin 3 Konsthall, Stockholm, Sweden
- 1990 Tate Gallery, London, UK
- 1991 Hayward Gallery, London, UK
- 1991 Scottish National Gallery of Modern Art, Edinburgh, Scotland
- 1991 Städtische Galerie im Städelschen Kunstinstitut, Frankfurt, Germany
- 1991 Tate Liverpool, Liverpool, UK
- 1992 Jean Bernier Gallery, Athens, Greece
- 1992 Konrad Fischer Gallery, Düsseldorf, Germany
- 1994 ARC, Musee d’Art Moderne de la Ville de Paris, Paris, France
- 1994 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
- 1994 Museum of Contemporary Art, Sydney, Australia
- 1994 Philadelphia Museum of Art, Philadelphia, PA
- 1994 São Paulo Biennale, São Paulo, Brazil
- 1995 Anthony d’Offay Gallery, London, UK
- 1995 Konrad Fischer, Düsseldorf, Germany
- 1995 Sala de Exposiciones de la Diputacion de Huesca, Spain
- 1996 Modern Art Museum of Fort Worth, Texas
- 1996 The National Museum of Modern Art, Kyoto, Japan
- 1997 Benesse Museum of Contemporary Art, Naoshima, Japan
- 1997 Bristol City Museum and Art Gallery, Bristol, UK
- 1997 Henry Moore Institute, Leeds, UK
- 1998 Yorkshire Sculpture Park, Bretton Hall, Yorkshire, Wakefield, UK
- 1999 Bernier/Eliades, Athens, Greede
- 1999 Kunstverein Hannover, Hannover, Germany
- 2000 Griffin Contemporary, Los Angeles
- 2000 Guggenheim Museum Bilbao, Bilbao, Spain
- 2000 James Cohan Gallery, New York, NY
- 2000 Public Art Fund, New York Projects, New York, NY
- 2000 Royal West of England Academy, Bristol, UK
- 2001 on Site: Richard Long, Milwaukee Art Museum, Milwaukee, MI
- 2002 A Moving World, Tate St. Ives
- 2002 James Cohan Gallery, New York
- 2003 Galleria Lorcan O’Neill, Rome, Italy
- 2003 Richard Long: Here and Now and Then, Haunch of Venison, London, UK
- 2004 Kukje Gallery, Seoul, Korea
- 2004 Richard Long: The Human Touch – O toque humano, Galeria Mário Sequeira, Braga
- 2005 Galleria Lorcan O’Neill, Rome, Italy
- 2006 Richard Long, Lismore Castle, Lismore, Ireland
- 2006 Richard Long: The Path is the Place is the Line, San Francisco Museum of Modern Art, San Francisco, CA
- 2007 Richard Long: Not Vital, Galerie Tschudi, Zuoz, Switzerland
- 2007 Richard Long: Walking and Marking, National Galleries of Scotland, Edinburgh
- 2008 Musée d’Art Moderne et d’Art Contemporain, Nice, France
- 2008 Richard Long, Galleria Lorcan O’Neil, Rome, Italy
- 2009 Richard Long Exhibition no 277, Haunch of Venison, Berlin, Germany
- 2009 Richard Long: Heaven and Earth, Tate Gallery, UK
- 2012 South America. Zédélé éditions, Brest, France. First edition: 1972, Konrad Fischer, Düsseldorf.
- June – July 1970 conceptual art arte povera land art at Galleria Civica d’Arte Moderna, Turin, with 44 artists including Bruce Nauman, Michael Heizer, Mario Merz, Hamish Fulton, Christo, etc.
- 1 September – 2 November 1981 Natur-Skulptur at Württembergischer Kunstverein, Stuttgart, with 35 artists including Alice Aycock, Hamish Fulton, Michael Heizer, Dennis Oppenheim, Robert Smithson, etc.
- 7 September – 7 October 2006 1 + 1 = 2 with Roger Ackling at Von Lintel Gallery, New York Vonlintel.com
- 12 June – 14 August 2010 at William Griffin Gallery with James Turrell, Teresita Fernandez, Karin Sanders, Peter Wegner, Robert Therrien, and Maya Lin
- 6 July – 30 August 2010 at Torre Abbey with Damien Hirst and Heather Jansch
- 27 May 2012 – 3 September 2013 Ends of the Earth: Land Art to 1974 at Museum of Contemporary Art, Los Angeles, with about 100 artists including Vito Acconci, Carl Andre, Keith Arnatt, Alice Aycock, John Baldessari, etc.
- 11 October 2012 – 20 January 2013 Ends of the Earth: Land Art bis 1974 at Haus der Kunst, Munich, with about the same 100 artists mentioned here below
Selected honours and awards
- 1976 Represented Britain in the British Pavilion at the Venice Biennale, Venice, Italy
- 1989 Turner Prize, Tate Gallery, London, UK
- 1990 Chevalier de l’Ordre des Arts et des Lettres, French Ministry of Culture, Paris, France
- 2001 Elected to the Royal Academy of Arts
- 2005 California Residency Award, For-Site Foundation, USA
Long’s Whitechapel Slate Circle (1981) brought a record price price for the artist in 1989 when it sold for $209,000 at Sotheby’s in New York. At another auction in 1992, the piece was estimated far more modestly at $120,000 to $160,000, but bidding never exceeded $110,000; instead, the National Gallery of Art, Washington, D.C. purchased it in 1994 through dealer Anthony d’Offay.
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