ANDY GOLDSWORTHY: TOUCHING NATURE DESCRIPTION 
 A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC. Known as a ‘land’, ‘earth’, ‘nature’ or ‘environmental’ artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION In the 1990s, Andy Goldsworthy’s art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the ‘stone houses’ at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work. AUTHOR BIOGRAPHY 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.

Andy Goldsworthy: Touching Nature (Sculptors)

Arts & Photography

Malpas, William

Sculpture

Crescent Moon Pub

THE ART OF ANDY GOLDSWORTHY  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.   AUTHOR BIOGRAPHY  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.

The Art of Andy Goldsworthy: Complete Works: Special Edition (Sculptors)

Gardners of Eastbourne

LAND ART  A fully illustrated and complete guide to land and environmental art.   For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.  ?  This new book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site • Hans Haacke's Conceptual art • Michael Heizer's Mid-West earthworks • Robert Smithson and his giant spiral, entropic earthworks • Christo's wrapped buildings and islands, • Robert Morris's environments • Walter de Maria's Romantic Lightning Field • David Nash's stoves, stones, trees and North Wales environments • Hamish Fulton's walks and words • Dennis Oppenheim's concentric snow circles • Richard Long and his art of walking • Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures • Alice Aycock's mysterious underground mazes • Mary Miss's sunken pools and pavilions • Wolfgang Laib's delicate, luminous pollen spreads • Nancy Holt and her observation sculptures • and the enigmatic floor sculptures of Carl Andre.   Here are towers, stars, stones, pools, tunnels, pipes,maps, chasms, ladders, mounds, scars, mirrors, cones, furrows, mazes, circles, hills and gardens.  ?

Land Art: A Complete Guide to Landscape, Environmental, Earthworks, Nature, Sculpture and Installation Art (Sculptors)

History & Criticism

Crescent Moon Publishing

THE ART OF ANDY GOLDSWORTHY 
 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. AUTHOR BIOGRAPHY 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.

The Art of Andy Goldsworthy: Complete Works (Sculptors)

Andy Goldsworthy: Special Edition (Sculptors)

LAND ART IN THE U.K. 
 A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed. EXTRACT FROM THW CHAPTER ON ANDY GOLDSWORTHY One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it. In Goldsworthy’s snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and ‘shock’ for Goldsworthy. In Midsummer Snowballs he wrote that ‘[e]ven in winter each snowfall is a shock, unpredictable and unexpected.’ Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child’s joy when it snows (school’s cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs). Andy Goldsworthy speaks in wonder and awe of ‘the effect, the excitement’ of the first snowfall. Some of this excitement comes across in Goldsworthy’s snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987). Some of Goldsworthy’s earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn’t have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

Land Art in the U.K.: A Complete Guide to Landscape, Environmental, Earthworks, Nature, Sculpture and Installation Art in the UK (Sculptors)

LAND ART IN THE U.K.  A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed.   EXTRACT FROM THW CHAPTER ON ANDY GOLDSWORTHY   One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.   In Goldsworthy’s snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and ‘shock’ for Goldsworthy. In Midsummer Snowballs he wrote that ‘[e]ven in winter each snowfall is a shock, unpredictable and unexpected.’   Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child’s joy when it snows (school’s cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).   Andy Goldsworthy speaks in wonder and awe of ‘the effect, the excitement’ of the first snowfall. Some of this excitement comes across in Goldsworthy’s snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).   Some of Goldsworthy’s earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn’t have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

Land art in the U. K.: A Complete Guide to Landscape, Environmental, Earthworks, Nature, Sculpture and Installation Art in the United Kingdom (Sculptors)

Individual Artists

RICHARD LONG  The central fact and act of Richard Long’s art is walking. His work is founded on the art of walking, the act of walking, the actuality of walking, and on walking as art, as act, as experience. His walks become ‘artwalks’, artwalks which become artworks.   For Richard Long, (art)walking is (art)working. As he walks he works. Art-walking and art-working become interchangeable. ‘I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks – who had a genius, so to speak, for sauntering’, wrote Henry Thoreau.   Much of Richard Long’s art consists of measuring walks, mapping walks, walks and executing walks. Memories of walks, dreams of walks... walks in the past, in history. Later and earlier walks in the same landscapes: Dartmoor, Somerset, Ireland, Scotland, Italy, Mexico, India. Real walks, but also artwalks. Walks in imaginary circles or lines. Walks between celestial occurrences such as sunrises or eclipses or solstices. Routes planned and mapped in the studio then carried out in the real world. Walks carrying stones, throwing stones, dropping stones, piling stones. Splashing water. Photographing campsites or mountaintops. Walks in forests and deserts and plains and villages and cities and leafy country lanes. Walks in which lots happens and walks in which nothing much happens. Walks in which hardly anyone is encountered. Walks executed mainly alone, but sometimes with others. Occasional walks with other artists, or critics, or friends. Walks which produce many sculptures along the way and walks which produce only a few words in a frame. Walks which don’t produce any work at all. Favourite walks, favourite routes, favourite places, favourite terrain.   Richard Long is a British land artist and sculptor who works with and in the natural world, but also with and within the highly sophisticated, artificial and humanmade world of art and culture. ‘I too wanted to make nature the subject of my work,’ Long explained of his early work, ‘but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking’.   Fully illustrated, with a revised text. Bibliography and notes.

The Art of Richard Long: Complete Works (Contemporary Art)

LAND ART 
 A fully illustrated guide to land and environmental art. For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks. ? This new book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site • Hans Haacke's Conceptual art • Michael Heizer's Mid-West earthworks • Robert Smithson and his giant spiral, entropic earthworks • Christo's wrapped buildings and islands, • Robert Morris's environments • Walter de Maria's Romantic Lightning Field • David Nash's stoves, stones, trees and North Wales environments • Hamish Fulton's walks and words • Dennis Oppenheim's concentric snow circles • Richard Long and his art of walking • Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures • Alice Aycock's mysterious underground mazes • Mary Miss's sunken pools and pavilions • Wolfgang Laib's delicate, luminous pollen spreads • Nancy Holt and her observation sculptures • and the enigmatic floor sculptures of Carl Andre. Here are towers, stars, stones, pools, tunnels, pipes,maps, chasms, ladders, mounds, scars, mirrors, cones, furrows, mazes, circles, hills and gardens. ?

Land Art: A Complete Guide to Landscape, Environmental, Earthworks, Nature, Sculpture and Installation Art (Contemporary Art)

ANDY GOLDSWORTHY: POCKET GUIDE 
 A pocket-sized guide to the art of Andy Goldsworthy, Britian’s foremost sculptor of the natural world. This book tells you everything you need to know about Andy Goldsworthy and his artworks. EXTRACT FROM CHAPTER 5 Andy Goldsworthy works with the natural world, and within nature. He uses natural materials in natural shapes and forms set in natural contexts. Goldsworthy takes his cue from nature: as Jan Dibbets put it in 1969: ‘I realized that if you want to use nature, you have to derive the appropriate structure from nature too’. Nature may be the starting-point but, as we’ll see, the endpoint – art – is entirely cultural and not something you’ll ever find in the natural world. Andy Goldsworthy seems to be a particularly gentle and sensitive artist, compared to many sculptors and land artists: he stitches together leaves to form lines (which’re often placed in water, or over branches), or makes circular slabs of snow, or entwines twigs in an arc. He creates a delicate spiral of chestnut leaves, called Autumn Horn (1986); he pins bright yellow dandelions on willowherb stalks in a circle, on bluebells (1987); he makes lines and cairns of pebbles; a horizontal line of red sumach leaves was pinned to a willow (at Storm King Art Center in 1998); he rubs red stones to stain rockpools; he pins leaves to tree trunks; he fashions a zigzag line of hogweed stalks along a fallen elm tree (2002); he makes hollow, circular structures, recalling igloos, from slate, leaves, driftwood and bracken; he creates long wavy ridges in Arizonan and Australian desert sand; he throws sand and sticks in the air and photographs the moment; he builds arches, globes, hollow spheres, slabs, spires, spirals and star-shapes out of snow and ice. Very impressive it all is. The sculptures made of sticks, for instance, stuck together in an arch, or a line, reflected in the mirror-like water of Derwent Water in Cumbria in 1988, are indeed wonderful. The sculptures exude tranquillity, an early morning calm. AUTHOR BIOGRAPHY 
 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.

Andy Goldsworthy: Pocket Guide

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