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William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy . Tatiana marked it as to-read Nov 01, 2012.
William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America.
William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy . The eroticism of Andy Goldsworthy's sculpture is readily apparent (and one of the reasons for his art's popularity), but the sensuality of Goldsworthy's art is non-human; there are no & figures in his work, though there are vaginal openings, phallic rocks, mounds like breasts, cairns bulging outwards like pregnant bellies, and stalks that bend gracefully like ballet.
A sculptor and photographer, Andy Goldsworthy not only works with nature, but in nature. Rather than building monumental constructions on or out of the land, Goldsworthy works almost telepathically with nature, rearranging its natural forms in such a way as to enhance rather than detract from their beauty. Often quite small in scale, his poetic site-specific pieces are made from ephemeral or organic materials - dandelion flowers lain in a ring or icicles perched on a rock - and then documented through gorgeous color photographs.
The Art of Andy Goldsworthy: Complete Works (Sculptors).
Andy Goldsworthy OBE (born 26 July 1956) is a British sculptor, photographer and environmentalist who produces site-specific sculptures and land art situated in natural and urban settings. He lives and works in Scotland. The son of F. Allin Goldsworthy (1929–2001), former professor of applied mathematics at the University of Leeds, and Muriel (Stanger) Goldsworthy, Andy Goldsworthy was born in Cheshire in 1956. Crescent Moon Publishing. Format Hardback 400 pages.
The Art of Andy Goldsworthy by William Malpas. The right of William Malpas to be identiÞed as the author of Land Art: A Complete Guide has been asserted generally in accordance with sections 77. Andy Goldsworthy: Touching Nature by William Malpas. The Art of Richard Long by William Malpas. Constantin Brancusi: Sculpting the Essence of Things by James Pearson. Alison Wilding: The Embrace of Sculpture by Susan Quinnell. No part of this book may be reprinted or reproduced, stored in a retrieval system, or transmitted, in any form or by any means
This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere.
Fully illustrated, with a revised text. Bibliography and notes.
EXTRACT FROM THE CHAPTER ON GOLDSWORTHY’S LEAFWORKS
It is the leafworks that are the most colourful of Andy Goldsworthy’s sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another. Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. The Autumnal colours of course connote nostalgia, decadence, sensuality, Romanticism, time passing, the decay of the year, and so on, all those things John Keats wrote about in his ‘Ode: To Autumn’, and in a billion other poets’ art. Goldsworthy’s aim in the leaf pieces, though, draws attention to the fragility and delicacy of leaves, as well as their strength and function. A leaf, after all, is a complex biological factory, so the natural scientists say. ‘There is a whole world in a single leaf’, remarked Goldsworthy. Goldsworthy’s leafworks do not have a scientific agenda. Rather, they celebrate the presence of leaves, the being-in-the-world of leaves, so to speak.
William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas’s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.