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Dewey Decimal Number: 730.92 EAN: 9780810944824 ISBN: 0810944820 Label: Harry N. Abrams Manufacturer: Harry N. Abrams Number Of Items: 1 Number Of Pages: 192 Publication Date: November 01, 2000 Publisher: Harry N. Abrams Studio: Harry N. Abrams Editorial Review: Product Description: In his first major book in four years, internationally acclaimed artist Andy Goldsworthy presents a wealth of new work informed by the passage of time. Goldsworthy, who works with stone, leaves, grass, branches, snow, and other natural materials to create intensely personal artworks, uses time almost as a medium in his art: on a snow-covered Scottish hillside a huge rectangle of compacted snow becomes ever more visible as the surrounding snow melts away; clay walls dry out and crack, revealing previously invisible forms embedded within them; a sculpture of re-formed icicles is made to catch the morning sunshine. In the spectacular color photographs seen here, Goldsworthy celebrates the many ways his art is about, or evokes, the passage of time. Presenting exciting works not seen in previous books, along with revealing excerpts from Goldsworthy's working diaries, this perceptive overview-which includes an extensive illustrated chronology by Terry Friedman-will become the definitive reference on Goldsworthy's art. ANDY GOLDSWORTHY's books include Abrams' Stone, Wood, Arch, Wall, Hand to Earth, and Andy Goldsworthy: A Collaboration with Nature. His work is regularly exhibited in Britain, France, Japan, and the United States. This new book comes in the same year that his first permanent installation in an American museum, at Storm King Art Center in Mountainville, New York, has its official unveiling. Goldsworthy lives with his family in Scotland. TERRY FRIEDMAN is an architectural historian who curated the first major retrospective of Goldsworthy's work. 'Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.' -Andy Goldsworthy More than 250 photographs in full color, 111/2 x 10' Amazon.com Review: Whether measured in minutes or eons, time is a good friend of British artist Andy Goldsworthy's. He spends long, solitary days outdoors in all kinds of weather, doing things like piecing together many, many yellow leaves to create a brilliant band of color at a river's edge in upstate New York or stacking small pieces of ice on the Nova Scotia coast to build a sculpture in the compact shape of an ancient stone monument. Threatened by a strong gust of wind, the incoming tide, or a sudden rise in temperature, these are fugitive works comfortably in synch with the natural rhythms of growth and decay. Other works of his are longer-lasting. In walls made of stacked stones with hollowed-out oval 'chambers' the size of his body--which he began building in 1999 in Lancashire, England--Goldsworthy makes reference not only to the shapes of graves in a nearby church but also to his personal history in the region and the enduring qualities of a rugged landscape. Goldsworthy is the rare artist who can describe what he does in simple, concrete terms that nonetheless reveal his larger vision. Time is a very satisfying collection of 500 photographs, nearly all taken by him, that document the creation and subsequent mutations of his work. These evocative images are illuminated by excerpts from the diaries he kept as he created five projects in Europe and North America in the '90s. He discusses what it's like to explore an unfamiliar landscape, assess how the elements will work for and against him, and perform what are essentially a set of experiments. Success means making work that is, as he writes, 'completely welded to its site.' --Cathy Curtis Related Items:      see moreAverage Rating:
 Rating: - Fantabulous!As a sculptor myself I can truely admire what effort goes into each of Andy's environmental works. In some he works with nature and others against but always with respect of the materials used. Truely inspiring and a wonderful narative style of writing which makes you feel like you were there when the works were created! Rating: - Amazing photos - great complement to the DVD "Rivers and Tides"I had viewed the DVD "Rivers and Tides" which is a tour of Andy Goldsworthy's artistic endeavors. It is very compelling and left a lasting impression. I wanted more and discovered, to my delight, that a large number of Andy's creations shown in the DVD were documented in the book "Time". There had to be photographs of Andy's work since most of them are not permanent in either time or space. In the DVD, we see the creation process as it occurs and then it may dissolve or move. In the book, it is "frozen" in time and space and can be appreciated as a work of art. I recommend seeing the DVD first so the book's contents can be appreciated even more. Rating: - Nature inspirationAndy Goldsworthy's work inspires me to look at nature in a very deep way. His use of the environment and natural materials provokes me to look at how I can incorporate more natural materials into my own work. I am in awe everytime I open up the book and look at the images. I especially like red clay and the way it went through it's own process through time. a gem, a timeless exploration of our natural world! Rating: - What a work of creative and artistic genius!What a work of creative and artistic genius! What to say about such an amazing work? For the first few times I mainly absorbed the photos of his works, with only reading the little captions and it wiped me off my feet. After a few rounds of these I decided to read all of the writing in the book that accompany the works he made and it totally blew me away. This book has definitely altered something deep inside about the way Ilook at nature, change, the seasons and time in general. Time, as the title of the book suggests is the main topic of the book and Andy Goldsworthy's art in general or at least his approach and intention towards it. The body of work presented in numerous photos and with corresponding writing in the form of a journal covers the whole range Goldsworthy's work. For example works made from stone, wood, leaves, snow, ice,... As a result it gives an excellent overview and introduction of his work and via the numerous writings a very deep, personal and detailed insight into how he approaches different places, how he reacts to change and works with the weather. The writing is on par with his work. Very clear, direct, honest and poetic. His insight into the concepts of time and change and seasons and nature is truly breath taking. The introduction he wrote for the book is a wonderful example illustrating this. Part of it can be read by using the "Look inside the book" feature of Amazon. Spending time with this book really cracks ones mind wide open about time, change, nature and seasons and how to look at it and perceive it. And honestly I don't know what's more amazing. These amazing and unbelievable pieces of art. Or the incredibly crisp and poetic writing, deepening so much ones understanding of the works and give insight into Goldsworthys view and approach and thoughts. Or simply that out there somewhere a human being is walking this earth with such an amazing understanding of time and nature and able to transform this into amazing art an writing. If the idea of Goldsworthys work is for him to work with time and change and nature and to further his awareness of these concepts and make sense of them in the most beautiful way then that is exactly what this book excells marvelously at for the reader. Rating: - Another superb look at Andy Goldsworthy's ephemeral artAndy Goldsworthy's artwork is utterly ephemeral and fleeting, and perhaps because of this, utterly transfixing. There is something of the ancients in the way Goldsworthy puts together stone, or wood, or leaves--or even in the way he lays himself down on a dry patch of ground in the rain so that when he gets up, we see a sort of reverse shadow of his body. There is an astonishing intellect at work here, and a soul which sees the value in what some art snobs might term "mere beauty." Goldsworthy's many mediums are covered in "Time," which features sumptuous photography by Terry Friedman. We see perfectly constructed stone cairns--some pyramidal, some only half done and all the more startling for what isn't there as for what is. We see ruddy sandstone arches four times the height of a man. But Goldsworthy's most consistently inviting work is done not in stone, but in the ephemera nature leaves for him everywhere he looks. Goldsworthy's work is sometimes so fleeting as to question the very nature of whether it constitutes art when it lasts only minutes or hours. The frost shadows, for instance, are simply photographs of the still-iced patches of grass over which Goldsworthy stood in the early morning, then stepped aside so that a photograph could be taken. Of course these are gone within minutes as the sun warms the now-exposed grass. Is this art? Merely the fact that you question it shows your engagement with the work--Goldsworthy fosters a kind of subtle dialogue between reader and artist and the dialogue is consistently engaging. Another heat-destroyed piece is the thinnest imaginable sheet of ice, laid against a moss-covered rock, and Goldsworthy's handprint visible on it. As it thawed, it buckled and disappeared and we see its disappearance in the photographs. It's lovely, it's witty and it is, improbably art. Other things disappear, too, but not from the sun's warmth. There is a "stick hole" Goldsworthy built early one spring which he and Friedman came back to photograph throughout the summer until the final photograph shows it utterly covered with the lacy ferns which grew up around it. There are the perfectly circular or perfectly ovoid leaf rafts Goldsworthy stitches together, then sends on their way down a meandering stream, having their path photographed before they disappear. There are the piled of rocks he constructs leading into the ocean so that the tides swallow them up--each stage meticulously recorded on film. Perhaps the most transformative art in the book is the mud wall displayed on the cover. Goldsworthy applied mud to walls and floor in such a way that when the mud cracked and dried, it showed the meandering, snakelike pattern he'd put into it. It has become something entirely different solely through the passage of time. This book is filled with surprises and delights, and will have you utterly absorbed, charmed, and astonished. I can't recommend it highly enough. |
Marie opens the show with an outdoor rendition of "We Need a Little Christmas" and then moves into the studio where Kirk Cameron arrives on a snowmobile (fresh from rescuing a trio of blonde snow bunnies) to read "The First Christmas Story." Lee Greenwood performs "Christmas to Christmas" and later a duet with Marie. "It's Beginning to Look a Lot Like Christmas" is sung by Sally Struthers and daughter with help from the Osmond Boys--six stepping stones ages 4 to 12 who have the senior Osmonds' moves down pat. The adorable award, though, goes to Marie's 5-year-old son, Steven, who performs a rockin' version of "Santa Claus Is Comin' to Town" (clapping on the off-beat nearly the whole song).
Marie has a good, strong voice, but many of the songs are overproduced and melodramatic. This, most likely, is a product of the big, pouffy '80s (her hair and outfits are also bigger-than-life) rather than a reflection of her talents. The closing number, "O Holy Night," sung by Marie alone, is quite lovely. --Dana Van Nest
