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Profile of Andy Goldsworthy

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by

Laura Critchlow

on 15 October 2012

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Transcript of Profile of Andy Goldsworthy

Refinement “I make one or two pieces of work each day I go out. From a month’s work two or three pieces are successful. The ‘mistakes’ are very important. Each work is a result of knowledge accumulated through past work. A good work is the result of being in the right place at the right time with the right material.” “I soon realised that what happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount required was prohibitively expensive and wasteful.” Scale “The ball, patch, line, arch and spire
are recurring forms in my work.” Forms Arch Sphere Line Spire Enclosure Patch Materials Bone Ice /Snow Leaves / Grass Time Wall with Winter Snow and Summer Wool
Scaur Glen, Dumfriesshire March 2005 'Snow Ball Fold'
Scaur Glen, Dumfriesshire
August 2006 Goldsworthy Andy So where did it all begin ? .... 1956 Goldsworthy born 26 July in Cheshire



1974-75 Studied at Bradford Art College



1975-78 Studied for a BA in Fine Art
at Preston Polytechnic
(now University of Lancaster) Originally a category of art and sculture where elements of
the landscape are used within the final piece.

Initially influenced by Richard Long
and Hamish Fulton



Goldsworthy is often listed as a member
of this movement due to his similar approach
to outdoor sculpture, although he has never personally expressed an
association with this movement

1977 Worked as an apprentice to David Nash

1979-82 Experimental work and travel around the North of England

1981-82 Won two Northern Arts Awards

1982 Moved to Southern Scotland and undertook larger,
more permanent commisioned work

1987 Won his first Scottish Arts Council Award

2000 Awarded an OBE for his contribution to Land Art








- Andy Goldsworthy, ‘Earthworks and Beyond’ 1984.







- Andy Goldsworthy, 'Andy Goldsworthy' 1990. Embracing the British Landscape An internationally inspired artist ... LSC 6004 Art Practice and Landscape Design
Artist Research Presentation

Laura Critchlow
Jo Svensson
Mo Hussain The 1960s American Land Art Movement Goldsworthy's
Sphere Series meanwhile, across the Atlantic ... Because he works outdoors with natural materials, Goldsworthy is sometimes portrayed as a modern Druid; really, he is much closer to a latter-day Impressionist. Like those 19th-century painters, he is obsessed with the way rain falls and sunlight flickers, especially on stone, water and leaves. Not afraid of injury ....... “There were artists… who would go around and… take photographs of [landscape objects] so that they could be transformed into art …to aestheticise the environment.” Our Designs Should Evolve Summary A variety of approaches ... “Movement, change, light, growth and decay
are the lifeblood of nature, the energies that I
try to tap through my work.”
- Andy Goldsworthy Thanks for listening ! Any questions ? “I was always going to be an artist since I was a kid,
but the impact that farming had was tremendous.
Ploughing a field is drawing lines on the land,
painting the fields – it’s incredibly visual.” - Andy Goldsworthy
Time Magazine. 2007 - Arthur Lubow
Smithsonian Magazine 2005. “He is [] widely admired by the public but only gingerly embraced by the art world; a populalrizer and domesticator of radical artistic ideas, not an innovator.” - Roberta Smith, New York Times, 2003 “Andy Goldsworthy’s sculpture [is] not in the typical manner of the
earth artists to whom he is often compared. He is not interested in
demonstrating human dominion over nature. Instead he goes to great lengths to point out that Mother Nature is in charge.” – Bridget L Goodbody, New York Times 2007. Locality Time Material Scale Refinement Form Locality 'Woodline'
Presidio Park,
San Francisco
2010 -2011 Stone / Slate Wood / Wicker Wool “I have become aware of how nature is in a state of change
I want my art to be sensitive and alert
to changes in material, season and weather.” “Working in Britain means working close to change : a clear day
can soon cloud over, snow melts quickly, a calm morning turns
windy. These qualities give urgency and energy to what I do.” - Andy Goldsworthy, 'Andy Goldsworthy' 1990. – Andy Goldsworthy Wet wool on rocks,
North West England, 2005 'Arch, 1982'
Bleanau, Wales 'Iris leaves with red berries'
Yorkshire Sculpture Park , Aug 1987 'Large fallen oak trees'
Jenny Noble's Gill, Dumfriesshire 1985 'Snow and wind damaged pine trees'
Grizedale Forest, Spring 1985 'Spire' in Park Pesidio
San Francisco 2008 'Hanging Tree'
Yorkshire Sculpture Park 2007 "Goldsworthy's ingenuously crafted work is immensely appealing to viewers because it reawakens a childlike joy in the unexpected metamorphoses of commonplace materials" - David Bourden, art critic for Art America 'Stone River'
Stanford University, California 2001 'Bracken stripped down one side'
Brough, Cumbria 1982 'Sticks framing a lake'
2003 'Whale Bone Ball'
National Museum of Scotland
Edinburgh 2001 'Touching North'
North Pole 1989 "I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material itself, it is an opening into the processes of life within and around it.
When I leave, these processes continue." - Andy Goldsworthy,
in his self-titled book. Elm Branch and Stone Dam
Townhead Burn, Dumfriesshire
March / April 2005 - Andy Goldsworthy, ‘Earthworks and Beyond’ 1984. Photography - Nancy Holt, Earthworks and Beyond “Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive.” - Andy Goldsworthy, 'Andy Goldsworthy' 1990. “My approach to the photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens
and no filters.” - Andy Goldsworthy, 'Andy Goldsworthy' 1990 Oak leaf Sphere, 1985 Stone Sphere, 1980 Ice Sphere, 1987 Log Sphere, 2003 Whalebone Sphere, 2001 What can Landscape architects
learn from Andy Goldsworthy? The original construction... Begins to fracture after rainfall ... And eventually collapses completely . Always Remember to Document Your Work Don't Be Afraid of Failure The Landscape is Always Changing Source Materials Locally Consider the Identity of the Site
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