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42 Works 2,537 Membros 29 Críticas 5 Favorited

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Obras por Andy Goldsworthy

Andy Goldsworthy: A Collaboration with Nature (1990) 673 exemplares, 8 críticas
Time (2000) 336 exemplares, 6 críticas
Stone (1994) — Fotógrafo — 246 exemplares, 3 críticas
Wood (1996) 245 exemplares, 3 críticas
Hand to Earth (1990) 198 exemplares
Passage (2004) 182 exemplares, 1 crítica
Wall (2000) 145 exemplares, 3 críticas
Enclosure (2007) 107 exemplares, 2 críticas
Arch (1999) 100 exemplares
Midsummer Snowballs (2001) 69 exemplares
Andy Goldsworthy: Ephemeral Works: 2004-2014 (2015) 47 exemplares, 1 crítica
Rivers and tides Andy Goldsworthy working with time (2003) 40 exemplares, 1 crítica
Andy Goldsworthy: Projects (2017) 28 exemplares
Parkland (1988) 26 exemplares
Touching North (1989) 15 exemplares
Sheepfolds (1988) 14 exemplares
Leaves (1989) 8 exemplares
Alaska Works (1996) 4 exemplares
CAP Collection 2005 (2005) 3 exemplares
Two Autumns (1993) 2 exemplares
Zweitausendeins 1 exemplar
Arche 1 exemplar
Ephemeral Works 1 exemplar
Pierres : Andy Goldsworthy (1994) 1 exemplar
Andy Goldsworthy (2011) 1 exemplar
Passage (2004) 1 exemplar


Conhecimento Comum



You've just gotta Love Andy Goldsworthy's imagination and his drive. His ability to see prospects in the most mundane of objects and situations. And the sheer energy of the man. The meandering mud snake? /river? used on the cover is an example of both his imagination and his technology. As Andy explains.....many people think that two different clays were used for the piece but, actually, the "river" form was thicker clay and thus dried more slowly. I was especially fascinated by this piece because I actually completed my Master's thesis on cracking clays.....though, I think the sodic clays that I worked on would have cracked much more. Though there are some mathematical models somewhere that describe the tendency of clays as they dry and shrink to form a pattern or hexagons or pentagons (as I recall). Though I notice in Andy's case the blocks (peds) appear to be, roughly, four sided. I also admire the guy's energy and drive. Not easy to make a career out of wandering the world piling rocks and leaves and clay into patterns.....most of which are ephemeral and fade away. His ability to turn this activity into films, books, and exhibitions is remarkable.
I was particularly struck by his description of finding a striking patch of red sandstone near Jemez Springs which was a two hour drive from where he was working inn Santa Fe...yet he kept coming back here because of the colour and quality of the red stone.
And how can you make a sculpture with a bunch of sticks laid in different directions....but he does....brilliantly (p151/2). And how about "How to make a black hole (p184) ...again....brilliant but also showing that clever combination of technique and meticulous record keeping (via photos) ...plus his flair for publicity.
He wasn't the first of the outdoor "landscape artists", Smithson in 1970 with his spiral jetty on the shores of the Great Salt Lake was one of those paving the way and Richard Long was a contemporary of Goldsworthy ....doing similar work. Maybe one could also look back to Palaeolithic works and the mounds of the Mississippi Valley also.
Quite a lot of Andy's thinking and approach are revealed in the text. I liked this. It really humanises him. And the failures! Lots of them ....yet he picks himself up and soldiers on or he just makes the most of a situation. He says that he was making about 500 ephemeral works in 1977...most of which were failures. Maybe, there would be one good work per month. There are a couple of interesting lines on p180: "After being rejected by Leeds, Hull and Nottingham, Polytechnics, Goldsworthy is the last, but one, to be accepted for the BA Fine Arts Course at Preston Polytechnic Lancaster Annex, Lancashire". Hardly a glamorous start to an art career. Yet he has kind of made his own way...virtually creating an art form on his own.....though some acknowledgement must be given to Richard Long. (I'm not aware that they ever worked together).
I'm not sure what, exactly, is the appeal of Andy's art. And what makes one of his works a success and another a failure. But it's something to do with pattern...sometimes colour....sometimes the odd or unexpected. And, almost always, there is something of what the Japanese term "wabi sabi"....the beauty in nature of the slightly imperfect or not entirely symmetrical.
Something that comes through in the text but not in the pictures is the sheer physical effort that Andy puts in. He really does get "down and dirty" ..sometimes wet and freezing and often great physical and sustained effort is required to realise his works.
The book details something of the range of his imagination, embracing icicle and earth drawings ...where melting ice combines with earth to make a watercolour; arches made with stone, holes in a beach...washed away by the incoming tide; a pile of luminous maple leaves in Japan; sinusoid land and stand sculptures ....snaking along the ground; a screen of horse-chestnut stalks;.....his inventiveness seems to have no bounds.
I loved the book. Sorry that I couldn't see all the original works but maybe the photography can actually enhance them (with lighting and contrast etc.) Happy to give it five stars.
… (mais)
booktsunami | 5 outras críticas | May 29, 2022 |
Giscard | May 1, 2021 |
The first place that I lived in Guildford was called Sheepfold Road. Never thought much of it until I opened up the most recent of Andy Goldsworthy’s book that I got from the library and realised that this collection of art was based around sheepfolds. These simple structures were used for corralling, washing and sheltering sheep from the harshest things that the Cumbrian weather can throw at them.

Goldsworthy approached Cumbria County Council with the idea of renovating them to enclose some of his artworks or to actually be the artwork in some cases. To complete this task would require more than one man and he set about it with a team of stonewallers and big machines. By the time he had gone to 2006 a total of 35 folds had been created and it is those that are documented and photographed in this book.

And as with all of his other books that I have read, it is just beautiful. Not only does he take a pretty good photo of his creations, but it is those creations that make this book so special. A lot of his art is normally more transitory, made from leaves, ice and sticks, but these are very much more permanent installations. There are sheepfolds with huge boulders in, some with cairns and others with substantial parts of a tree built-in. Some of the folds are lovingly restored and others he has pushed what he can do with the structures incorporating elements in the walls that surprise and delight. If you have ever come across his work before this is another book that you should read.
… (mais)
PDCRead | 1 outra crítica | Apr 6, 2020 |
Wood is a remarkable substance, we can use it to heat us, to carry us through water and air and time spent in coppices can breathe life into our souls. But the artist Andy Goldsworthy sees wood in different ways and this wonderful book is his interpretation of the way a tree lives and transforms. Using the natural materials he finds close to an oak tree in each season he creates breath-taking art that is ethereal and fleeting. These transient pieces are captured perfectly by his camera before they return to nature.

A small confession, Goldsworthy is one of my favourite artists who creates such beautiful natural artworks. His use of different materials in each of the pieces bring different energies and dynamics to the photo, as you know some will not even see another sunrise. There is precious little text in here, the main purpose of the book is the photos. But if you like the natural world, Goldsworthy’s creations from rocks, branches, leaves, ice and snow will touch your very heart. Excellent, just excellent.
… (mais)
PDCRead | 2 outras críticas | Apr 6, 2020 |



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