It was not the sheep who put people off the land, but the landlords. He clearly needs to be in direct contact with his materials, and feels that he is taking his cue from them rather than vice versa. His stone cones have the feeling to him of guardians, standing and protecting. Much of this can be taken metaphorically; as the artist never describes these natural processes as directed by a greater force, or god though nothing would prevent him going in that direction.
Of greater issue is the degree to which these processes of nature are assumed to be entirely natural, or that even if they were, that would make them entirely good. There is an unexamined assumption that the patterns of nature that Goldsworthy believes he records actually spring from nature itself. His patterns could be taking their cue from a Jackson Pollock painting, for instance.
Goldsworthy acknowledges that the landscapes in which he works are hardly primeval. They have been shaped for generations by human activity, and he tries to incorporate this. For example, the stone wall at the Storm King Sculpture Park was inspired by seeing the remnants of stone walls built by European immigrants when they transformed the Catskill forests into farmland. However, in the nineteenth century, farming shifted away from the area, and the trees grew back over the walls, which had become irrelevant.
It extends through a pond all the way out to the New York State Thruway, where a steady stream of trucks and cars barrel along, thus linking the economic forms of today to those of the past. However, the efforts of human beings are essentially transient in these pieces, whereas the processes of nature are immutable and all-powerful. On some level, this may be true, but it discounts the tremendous power that human beings continuously and in fact inevitably must exert on the environment in order to sustain themselves in increasingly complex ways.
Although Goldsworthy has sought to understand and personalize these forces of nature, there is no hint of the catastrophic destruction say of an earthquake or a flood, which human beings, in some cases at least, can prevent or minimize through the proper application of resources and knowledge.
Conversely, there is no reflection of the irreparable damage done to nature under capitalism with its need to extend markets and exploit resources. Goldsworthy is a very hands-on sculptor for whom a large point of the work resides in the process of making it.
Previous Do you put CPR certification on a resume? Next Is it good to apply to multiple jobs at once? A horseback rider jumped over it. I revisited it several times and saw it sink into the sand and disappear. I often think of it still being there, although I know it isn't intact.
The significance of this work, perhaps more of a study than a finished piece, lies in the artist's acceptance of nature as the co-author of the piece.
Goldsworthy sees human beings as part of nature rather than separate or distant from it, something he understands could suggest his work has a spiritual or mystical purpose. His overriding interest though is practical - he wants to investigate what he describes as the "energy of making" inside of things, while seeing the energy and space around a material the effect of the weather for example as being as important as the energy and space within.
As he puts it himself, "movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. As is often the case with Land art, the viewer is left wondering if the actual work is the short-lived sculpture or the photograph that documents it. Painterly compositions utilizing nature's organic colors and forms, such as Red Leaf Patch , are one of Goldsworthy's trademarks.
To create this bright spot, Goldsworthy describes how he found "one dark and one light leaf of the same size. I tore the dark leaf in two, spat underneath it and pressed it on to the light leaf: the result was what appeared to be a single, two-colored leaf. In this way, Goldsworthy relates to the Bauhaus artist Joseph Albers whose studies underscored the power of color in creating space. Works such as Red Leaf Patch led some to criticize Goldsworthy for overly aestheticizing nature.
In his own defense, he has argued: "But I have to work with flowers and leaves, because they are part of the land. Firstly, the work is ephemeral, eventually vanishing in nature. Goldsworthy is specially interested in the concept of decay - it appears time and again in his works and in his writings.
The leaves are only red for a season. They will inexorably turn black and rot, ultimately resulting in re-absorption into the soil. As Goldsworthy has stated, his art has made him aware of "how nature is in a state of change and how that change is the key to understanding.
I want my art to be sensitive and alert to changes in material, season and weather. Kosky in his assertion that "what is interesting is that for Goldsworthy nature does not specify the place of things but their movement, not their being but their being in time.
Goldsworthy's Hole , made inside the Serpentine Gallery in London, is a continuation of a commission from , in which he created another hole in the gallery's garden. This later Hole , unusual for Goldsworthy, takes a work of nature out of its solely pastoral setting, and brings it into the gallery setting - in a decidedly Robert Smithson fashion. Artists have often used black holes to signify death, and specifically associations between death and art institutions are not uncommon.
The perception of exhibition spaces as voids was part of an institutional critique trend that first inspired the generation before Goldsworthy to work outside. Regardless, whether inside or outdoors, the black hole has been a constant theme throughout Goldsworthy's career. He sees black space as not merely the absence of light but rather a positive presence, a tangible substance in its own right.
Goldsworthy has described how his concept of stability is brought into question when looking into a deep, dark hole. He describes how this encounter with blackness has made him aware of the earth's potent energies. He has also suggested that his last work, the one done before he dies will potentially be a hole. In the artist's own words: "Looking into a black hole is like looking over a cliff's edge I've always been drawn to the black hole - I've been making them since and I keep on making them I can't stop making them, and I have the same urge to make holes as I do to look over a cliff edge.
Some people thought his artworks was trying to express his feelings about the environment and how beautiful nature can be. Goldsworthy has gained wealth and fame through art. One gets the sense that Goldsworthy would be just as satisfied as a farmer, working in nature with animals, and the world as a canvas all around him.
Why does Goldsworthy use circles, lines and spirals in his work? Andy Goldsworthy uses many techniques in his artworks such as, circles, lines and spirals because he is reflecting off nature and the surrounded around him.
Land Art Photography. Andy Goldsworthy is an environmental art photographer from Cheshire, United Kingdom, creating ephemeral sculptures in the landscape which he photographs subsequently.
Why does the artist photograph most of his work? If photos were not taken, then most of his pieces would never be seen due to to weather.
The field of photography had to fight a tough and controversial battle in terms of being considered an art form. Nowadays, photography is considered an art form as valid as any other, and there are multiple museums and galleries exhibiting photographic work.
0コメント