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Andy Goldsworthy
Andy Goldsworthy
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Try to fathom the idea that an artist could a take stroll in the woods, along a riverbank, down a beach, and with no tools at all – no paint brushes, no sculptor’s chisels or knives, no canvases or pedestals or quarried granite or polished wood – manage to create absolutely beautiful art from the objects and materials he finds by chance. That person is Andy Goldsworthy, a sculptor that uses nature to create masterpiece. In some way, Goldsworthy’s work in Rivers and Tides relates to Sven Birkerts’ notion of deep time and vertical thinking.
First, in “The Owl has Flown” Sven Birkerts says “As we now find ourselves at a cultural watershed-as the fundamental process of transmitting information is shifting from mechanical to circuit-driven, from page to
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For how we receive information bears vitally on the ways we experience and interpret reality” (Birkerts31). He explains how vitally important reading and thinking is. Plus, he mentions how we are shifting from vertical to horizontal reading. Vertical reading is someone who reads about a topic thoroughly and gains a lot of information. To simplify, Birkerts wants everyone to think vertically in everyday life and Andy Goldsworthy seems to agree with him and Goldsworthy‘s vertical thinking is shown when he is creating his arts. In the movie “Rivers and Tides” Goldsworthy shows that an art is meant to be ephemeral. In other words, a piece of art will destroy in a time period. Considering Andy Goldsworthy’s work we’ll just assume that it decays, just because he works with things already in the immediate environment around him and it looks like, yes because of that factor it must. What Andy Goldsworthy was talking about in stating that “the very thing that brings it to life causes its death” is this idea that when something in the environment decays, another one of its kind is produced from that decay. Examples I guess could be a tree rotting into the soil, only to have that soil give birth to a new tree, or
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
I have chosen to review Andy Goldsworthy and his piece “Hanging Hole.” Andy Goldsworthy was born in Cheshire, England in 1956. As a young man, he did manual labor on local farms. He studied at both the Bradford School of Art from 1974-1975 and Preston Polytechnic in 1975. While there he listened to a presentation given by Richard Long who ultimately inspired him to create his natural artwork. He has been creating artistic works using the environment and ephemeral materials since the 1970s. In 1997 he created his first significant project titled “The Storm King” located in Mountainville, NY. He has created more than 70 pieces of art and exhibitions all over the world including the Canadian arctic, the streets of London, and Digne, France. All of his artwork is created using natural and ephemeral materials. He responds to natural environments and does not create anything he previously thought of, instead choosing to create whatever he is inspired by while in the space. He uses material like feathers, leaves, sticks, and stones to create his work, and then takes a picture of it to show later. Often he will take a picture of his completed work, and then return at a later date to photograph it again to show how it has changed and weathered. His photographs enhance a specific aspect of the sculpture by using special techniques and ways of photographing the space so that viewers will understand the work as they view the picture.
Robert Smithson is best known as a pioneer of the Earthworks movement. However his involvement in the development of Earthworks is only one of his many contributions to postwar American art. His most popular concepts he innovated was a “site,” which is a place in the world where art is inseparable from its context. In addition to large-scale land interventions, Smithson’s artistic practice also includes photography, painting, film, and language.
Consider for example, the radio and television. The radio and television (before the advent of the internet) were monumental in their effects on transmitting culture, products, and ideas accross vast distances of the United States. Suddenly American’s could relate to the horrors of war overseas, as well as they could learn of each other’s culture, or product. Of course, this was not the same as being able to transport them there, though newer, better, faster forms of mass transit would be developed to help facilitate just this. But all of these developments pale in comparison to almost a half-century later, with the rise of the internet, and with the increasing array uses for it, in the modern day. +++====
Although may of his works may seem simplistic, that shows another level of beauty and intention. In order to create a clear work, one must understand the intricacies of the nature behind it. Accordingly, Goldsworthy ought to recognize and comprehend various components of the environment. Moreover, when augmenting or enhancing aspects of nature, individuals should have knowledge and merit on the topic in advance. Each one of Goldsworthy’s works change with nature. Goldsworthy offers that “[n]ature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature," (Artist/Naturalist Pages). His objective is to keep his art continuous and
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
In three poems – "Old Woodrat's Stinky House", "The Mountain Spirit", and "Boat of a Million Years" – Gary Snyder uses the concept of deep time to show us how nature views time and implies that humanity needs to be able to see time the same way. Snyder's poems imply that he believes people have forgotten their place in the natural world and that we should try to regain our respect for nature. "Old Woodrat's Stinky House" explains what is wrong with how we perceive time. "The Mountain Spirit" shows why nature views time as more like a singular thing than a series of segments like humans do. "Boat of a Million Years" hints at a solution and implies that we should relax and follow nature's example.
Artists of the Modernist era responded to the relationship of body and landscape in many different ways. This essay will focus on the works of Georgia O’Keeffe (1887-1986) and Barbara Hepworth (1903-1975) and will explore two works by each artist. A desire of the Modernist artist was the pursuit of pure forms and removal of extraneous detail that would encumber their vision of what the world should, or in fact did look like to them. As Honour and Flemming (2009) propose, the thought of seeking original elucidations to the issues that surrounded the production of paintings and sculpture helped to propel the movement forward.
Art serves the purpose of transmitting ideas about our lives and environment - forcing people to think about different aspects of our lives. Artist Andy Goldsworthy has a very specific style, creating mostly temporary art using nature as both his materials and his setting. His works range from gold leaf covered rocks to a photo of him throwing a string of kelp into the sky for it to contort into some seemingly random shape. This paper, however, will discuss Goldsworthy 's work “Sycamore Leaves Edging the Roots of a Sycamore Tree” which shows the base of a tree lined with a yellow gradient fading into the ground made from the leaves of the very tree it surrounds. Through this work,
----------. “Tales of the Electronic Tribe.” New Essays on White Noise. Ed. Frank Lentricchia. New York: Cambridge University Press, 1991. pp. 87-113.
The difference between; reality and fantasy, an accurate representation of what is, and a brilliant orchestration of the mind, can often become blurred with the paintbrush of an artist. Yet, as Braque would surely agree, there are certain areas knowledge that only serve to reify our reality, saving us from delving into the fantastic chasm of questions arising from art. This specific area is of course science. One can often become lost in art, in a never ending series of inquiries as to how such a sculpture or painting could be physically possible. Although, science will reassure us as to what is possible and what will remain limited to a picture, or expression of thought or questioning. To evaluate Braque’s claim one must look to art, and the aspects thereof, that defy and upset nature and natural science. Next, the process by which science can reassure ‘what is’, as opposed to a representation of the artistic. And last, what the reassurance of science, as well as, the nature of art entail in their representational and informative nature.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.
Time and space have always posed a threat to all creative artists. To move with time is the easiest way. To move back and forth is also not impossible. But to be timeless and space less- this is the real challenge. Yet any artist worthy of his vocation has in one way or another tried to resolve this riddle. How far he has succeeded is the real test of his genius. It does not simply mean neglecting the concept of linear time. Rather, it is all about a timeless and universal appeal of the human element the work contains.
The information can be expressed through words, numbers, sounds, and images. By better understanding digital technology, we improve our control over such information.