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 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. Andy Goldsworthy makes 'land' or 'earth' art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth. Andy Goldsworthy born in Cheshire in 1956. He studied at Harrogate High School, Bradford College of Art and Preston Polytechnic, where he studied on the BA Fine Art course, graduating in 1978. Many of Goldsworthy's site-specific works and commissions have been in the North: the giant maze and Lambton Earthwork (at County Durham, 1988-9), the Grizedale Forest site works (1984 onwards), residencies at Yorkshire Sculpture Park (1987), the Lake District National Park (1988), and so on. Goldsworthy has worked at the Venice Biennale, Grise Fiord and the North Pole, in Japan, Castres and Sidobre in France, and in Haarlem, Holland. He has had one-man shows in France, Japan, Holland and the UK, and participated in groups shows in Italy, Germany, and the USA. A major retrospective, Hand to Earth: Andy Goldsworthy: Sculpture: 1976-1990, was held at the Henry Moore Centre for the Study of Sculpture, Leeds City Art Gallery: the show also travelled to the Royal Botanic Gardens in Edinburgh, Stedelijke Musea, Gouda and Centre Regional d'Art Contemporain Midi-Pyrenees in Toulouse. Goldsworthy's work has appeared on TV (in, as expected, Channel Four documentaries, The Late Show, an Arts Council film (Two Autumns), and regional news programmes, as well as a couple of Japanese broadcasts), also the ubiquitous appearances on Radio 4's arts show Kaleidoscope and Radio 3's arts interview slot, Third Ear. A half-hour BBC TV programme on Goldsworthy's Sheepfolds project was aired in 1997; there was also a Sheepfolds exhibition at Michael Hue-Williams Gallery in London. In the 1990s, Goldsworthy's art began to rise in popularity: the glossy coffee table book Stone became a bestseller. In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he took part in an intriguing group show at the British Museum, 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. Goldsworthy continues to work in countries such as Japan, Australia, Canada and North America, France, but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work. Malpas surveys all of Goldsworthy's art, and discusses his relation with other earth/ land artists such as Robert Smithson, Walter de Maria, Richard Long and David Nash.
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读Andy Goldsworthy的书,总让我有一种置身于荒野,却又倍感宁静的体验。它不是那种会让你大声惊叹的展览,而是一种缓慢渗透、深入骨髓的共鸣。他那些用自然材料搭建的、 ephemeral 的雕塑,仿佛是大地母亲在呼吸时留下的印记。看着那些层层叠叠的叶子,那些蜿蜒的藤蔓,那些堆砌的石块,我感受到一种超越人类意志的强大力量,一种顺应自然、而非征服自然的智慧。这本书的排版和图片质量都堪称一流,每一张照片都清晰地捕捉到了作品的精髓,以及它与周围环境的互动。我尤其喜欢那些展示创作过程的图片,虽然没有文字的详述,但那种亲手触摸、亲手搭建的痕迹,那种与自然的搏斗与融合,却通过影像传递得淋漓尽致。它让我反思,在现代社会高度工业化和人为化的进程中,我们是否已经遗失了与大地的最本真的连接?Goldsworthy的作品,就是对这种连接的一种温柔提醒,一种充满诗意的呼唤。
评分第一次翻开这本厚重的画册,就被那扑面而来的原始气息和充满生命力的质感所震撼。Andy Goldsworthy,这个名字仿佛自带一种触感,让人联想到泥土的芬芳、石头的冰凉、树叶的干燥。书中的每一页,都仿佛是一扇窗,将我引向他那些令人惊叹的、转瞬即逝的艺术作品。我站在文字之外,用眼睛和心灵去感受他与自然对话的过程。他的作品不是被创造,更像是被发现,被诱导,然后又悄无声息地回归大地。我惊叹于他对材料的敏感,那些随处可见的落叶、枯枝、冰凌、鹅卵石,在他手中仿佛拥有了灵魂,被赋予了全新的生命。我沉浸在他构筑的那些几何图形和色彩组合里,它们如此纯粹,又如此复杂,仿佛是自然本身在低语。我能想象他在野外,顶着风雨,在寂静中,专注地进行着他的创作,那是一种何等的耐心和虔诚。这本书不仅仅是关于艺术,它更像是一次关于存在的沉思,关于时间流逝的哲学,关于我们与这个星球之间千丝万缕的联系。我反复翻阅,每一次都有新的发现,新的感动。
评分这本书就像一个静谧的邀请函,邀请我去探索那些隐藏在寻常事物中的非凡之美。Andy Goldsworthy的艺术,与其说是创造,不如说是对自然之美的深刻理解和放大。他不是在“做”艺术,而是在“成为”艺术的一部分,一种与大地脉搏同步的表达。我被那些巧妙的构图所吸引,那些色彩的对比,那些形状的呼应,都源自于自然本身,却又被他提炼出一种独特的秩序感。例如,那些用冰凌串成的链条,在阳光下闪烁着晶莹的光芒,脆弱却又充满生命力,仿佛是时间凝固的瞬间。那些用枯叶拼贴而成的巨大图案,在秋日的旷野上,与落叶融为一体,不仔细看,甚至会以为是自然鬼斧神工的杰作。这本书没有冗长的理论阐述,更多的是用视觉语言来对话,但正是这种留白,才让观者有了更广阔的想象空间。我从中看到的是一种关于耐心、关于观察、关于臣服于自然规律的深刻洞见。
评分这本书所呈现的,是一种超越艺术界限的体验。Andy Goldsworthy的作品,与其说是在创作,不如说是在与大地进行一场深情的对话。我被那些充满生命力和时间印记的装置艺术深深吸引,它们没有固定的形态,没有永恒的实体,却在短暂的绽放中,释放出无比强大的生命张力。那些用落叶拼成的色彩斑斓的圆圈,那些用石头堆砌的精巧的拱门,那些用冰凌凝结的晶莹剔透的形状,都仿佛是大自然在呼吸、在生长、在流转的真实写照。我透过这些图片,仿佛看到了艺术家本人,在寂静的旷野中,用双手触摸大地,用眼睛捕捉光影,用一颗虔诚的心,去感受万物的律动。这本书的视觉呈现极具冲击力,每一幅图像都充满了故事性,让人不禁去想象创作的场景,去感受材料的质感,去体会那种与自然融为一体的宁静与和谐。它不仅仅是一本艺术画册,更是一次关于生命、关于存在、关于我们与这个星球之间深刻联结的哲学之旅。
评分翻阅Andy Goldsworthy的画册,我感受到的是一种洗涤心灵的力量。他的作品,仿佛是大自然最纯粹的语言,不需要翻译,直接触及灵魂深处。我被那些用最简单的材料——石头、树枝、泥土、冰雪——构建出的、既宏大又细腻的作品所折服。它们的美,不在于复杂的技法,而在于那种与环境融为一体的和谐,那种短暂存在却又留下深刻印象的生命力。我尤其着迷于他对时间维度的运用,那些冰雕在阳光下缓缓融化,那些叶子在风中飘散,都诉说着生命的无常和循环。这本书的图片质量极高,每一张都仿佛能让我闻到泥土的清新,感受到微风的拂过。我看到了艺术家对每一个微小元素的尊重,对每一次偶然机遇的把握。它让我重新审视我们与自然的关系,意识到我们在一个宏大的生命系统中,只是其中微小的一部分,而真正的智慧,往往蕴藏在对自然的敬畏和顺应之中。
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