Ditto to everything said here. "Time" is my favourite book. The hole in the horse chestnut leaves and the ice scuptures my favourite works. I wish I had his dexterity.
Using his work as inspiration is also a fantastic way to get small children interested in art and aesthetics.
I agree. My son came home from school a few years ago (when he was about 8), with a lovely small scale clay arch. Unknown to me, they had been looking at Goldsworthy's sculptures in school. He'd really enjoyed both looking at Goldsworthy's work and making his own interpretation.
Originally Posted by Struan Gray
The last time we tried making rain shadows, it rained for four days :-)
I find it a lot easier to verbalize that which I don't like about certain landscape art than to explain why I value other work very highly. I'd just come out with a load of trite garbage about 'connecting' that would be frustratingly inadequate.
OK, so: "I'm another long-time fan of Andy Goldsworthy's work". Richard Long, Hamish Fulton, Tom Cooper, Charles Jenks and Ian Hamilton Finlay also evoke the same indefinable connection with a certain spirit, though in their own different ways.
Goldsworthy as photographer
Originally Posted by Ryan McIntosh
I actually posted this question about Goldsworthy a few months ago. Goldsworthy creates and then photographs the creation. The photographs are as worthy as the piece photographed. Goldsworthy seems to be a transcendant and enlightened person. I'd love to have lunch with him. I show "Rivers and Tides " to every photography class that I teach. Some get it and some don't.
Severian, Autarch of Urth, Journeyman in the Society of the Seekers of Truth and Penitence aka Jack B
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This is exactly right of Andy.
Originally Posted by severian
For three months, Andy and his waller's built a beautiful serpentine wall out side of the new Doerr-Hosier building at the Aspen Institute. The project was largely hush-hush as was his preference about it.
The Institute is one of my more coveted clients, I was asked to be the exclusive photographer of the whole building project, wall and all. Although I had limited knowledge of Andy's work, I took the 8 month gig and learned a great deal about him.
Andy is very protective of his art and quite often he is resistive of another photographer's take on it. This is well within right's of Andy as he still the best judge of his own artwork and how it should be brought forth.
Remember, much of Andy's work is ephemeral so a lasting photographic image is all he really has at the end of the day on some pieces.
Along side of high end digital, I shot from day one with Kodachrome in either a Nikon FM3, Hassy XPan or my M6.
Andy liked that I was using film. He was intrigued by my use of Kodachrome. I even helped him on a couple of "rubs" he was doing off of a conceptual piece. On the day he took his Hasselblad up the cherry picker to shoot the nearly done wall, I snuck a roll of Kodachrome into his camera bag. In the end, I had won his respect, gained a new friend and made some damn fine images.
I asked Andy to autograph two books. He agreed. When I got them back, he had not only signed them, he had done a "Rub" with red dirt on the opposite page using a wire shaped like the wall. It was all truly rich in experience, priceless.
I can't wait to see Andy and two of the wallers when they come back next month for some serpentine tile work. There will be lots of snow around, and that could be fun for the whole crew..:-).
It's great to see some fans here!!!
Last edited by PKM-25; 12-17-2006 at 01:47 AM. Click to view previous post history.
Well, I'm a fan. We have, on the moorland above Lancaster, a 'triptych'. I can also add that last year, I almost got my fat a**e wedged inside one of the pieces whilst sheltering from the rain. This happen to anybody else?
Norman is an island.Time and tide wait for Norman.