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Andy Goldsworthy

Andy Goldsworthy
Artist/Naturalist Pages Andy Goldsworthy 1956 - Andy Goldsworthy is a brilliant British artist who collaborates with nature to make his creations. Besides England and Scotland, his work has been created at the North Pole, in Japan, the Australian Outback, in the U.S. and many others Goldsworthy regards his creations as transient, or ephemeral. He photographs each piece once right after he makes it. "I enjoy the freedom of just using my hands and "found" tools--a sharp stone, the quill of a feather, thorns. "Looking, touching, material, place and form are all inseparable from the resulting work. "I want to get under the surface. "Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. "The underlying tension of a lot of my art is to try and look through the surface appearance of things. Note 1: Books by Andy Goldsworthy include A Collaboration with Nature; Stone;Wood; Passages, and others. top of page

Lisa Orr Gerhard Richter Biography, Art, and Analysis of Works "What I'm attempting in each picture is nothing other than bring together in a living and viable way, the most different and the most contradictory elements in the greatest possible freedom." Synopsis Gerhard Richter is a German painter who originally trained in a realist style and later developed an appreciation for the more progressive work of his American and European contemporaries. Richter increasingly employed his own painting as a means for exploring how images that appear to capture "truth" often prove, on extended viewing, far less objective, or unsure in meaning, than originally assumed. Key Ideas Richter has maintained a lifelong fascination for the power of images and painting's long, uneasy relationship with photography: while either medium may claim to reflect or express reality truthfully, either ultimately suggests only a partial, or incomplete view of a subject. Richter borrows much of his painted imagery from newspapers, or even his own family albums. Biography

Clary Illian A special exhibition preview reception for this exhibition has been scheduled for Friday, August 24 from 5:00 p.m. to 7:00 p.m. at the Cedar Rapids Museum of Art. This preview is free and open to the public! Ely, Iowa, resident Clary Illian first started making ceramics in the early 1960s, shortly after graduating from the University of Iowa's highly-respected ceramics department and a two year residency with world renowned British ceramicist Bernard Leach. Since then, Illian has created a body of work which not only celebrates the utilitarian qualities she pursues, but also demonstrates her ability to infuse each of her pieces with their own unique character and personality. Whether in stoneware, porcelain, or earthenware, each of her pieces allow the owner to experience pots in a new way. Accompanying this exhibition is a companion volume highlighting Illian's 50-year career. This exhibition is supported in part by the Momentum Fund of The Greater Cedar Rapids Community Foundation.

Biographie » Les premières années Gerhard Richter was born to Horst and Hildegard Richter in Dresden on February 9, 1932. Having married the year before, Gerhard was their first child, with a daughter, Gisela, arriving in 1936. Horst Richter, with whom Gerhard did not have a close relationship, was a teacher at a secondary school in Dresden.1 Hildegard was a bookseller and, like her father, a talented pianist. In 1935, Horst was offered a post at a school in Reichenau, then a part of Saxony, now Bogatynia in Poland. On his return, Horst's reception was not as warm as he might have hoped. Gerhard's own memories of his early years are a combination of fondness and frustration, sadness and excitement. Despite living in the countryside, Gerhard's experience of the war was nonetheless intense. While spared much of the direct bombing to which nearby Dresden was exposed, the war was very much present in Waltersdorf. 1 Dietmar Elger, Gerhard Richter, A Life in Painting, (translated by Elizabeth M.

Land Art Jackson Pollock Web Feature Painting 1 Jackson Pollock, Number 1, 1950 (Lavender Mist),1950, National Gallery of Art, Ailsa Mellon Bruce Fund, 1976.37.1 (Click image or hotlink below to enlarge - 446 k) "It is impossible to make a forgery of Jackson Pollock's work," Time magazine critic Robert Hughes claimed in 1982. It is a telling comment that gets to the heart of Pollock's authenticity as an artist." Lavender Mist about sums up his most ravishing, atmospheric painting....Pollock used the patterns caused by the separation and marbling of one enamel wet in another, the tiny black striations in the dusty pink, to produce an infinity of tones." terms of use | home | Copyright © 2014 National Gallery of Art, Washington, DC

Street Art Jackson Pollock. Number 18. 1950 Jackson Pollock b. 1912, Cody, Wyoming; d. 1956, The Springs, New York Biography Number 18, 1950. Oil and enamel on Masonite, 22 1/16 × 22 5/16 inches (56.0 × 56.7 cm). Solomon R. Jackson Pollock's first fully mature works—dating between 1942 and 1947—use an idiosyncratic iconography he developed in part as a response to Surrealism. Andres Amador San Francisco-area landscape artist Andreas Amador etches massive sand drawings onto beaches during full moons when his canvas reaches its largest potential. Using only a rake and often several helpers the geometric and organic shapes are slowly carved into the sand, often interacting with the physical topography like the stones in a zen garden. The works exist for only a few moments, just long enough to snap a few photographs before being completely engulfed by the encroaching tide.

Andy Goldsworthy's Art in the Presidio Spire In 2006, Andy Goldsworthy visited the Presidio and saw an opportunity to celebrate the lifecycle of the historic forest, planted over a very short time in the late 19th and early 20th centuries. The groves are now reaching the end of their lifespan and require renewal. Aging Monterey cypress trees taken down to allow for young plantings were given new purpose in Goldsworthy’s Spire. Spire recalls one of Goldsworthy’s earliest works, Memories, also spires of mature trees, created in 1984 in the Grizedale Forest in the Lake District of North West England. Wood Line In 2010, Goldsworthy looked to a new part of the park for inspiration - an historic eucalyptus grove near the Presidio’s oldest footpath, Lovers’ Lane. Goldsworthy fills this empty space with a quiet and graceful sculpture. Wood Line is located within the cypress grove near the intersection of Presidio Boulevard and West Pacific Avenue, just off Lovers’ Lane. Tree Fall Tree Fall Hours Get directions to Tree Fall>>

Sylvain Meyer New to me, these wonderful land art installations by Swiss artist Sylvain Meyer who modifies wooded areas and landscapes to create various impermanent patterns, sculptures, and textures. Everything seen here was constructed without the use of Photoshop, even the mossy spider. Whoa! See much more over on Flickr. American Abstract Expressionism: Painting Action and Colorfields » American Abstract Expressionism: Painting Action and Colorfields In the 1940s and the 1950s, American artists become known for their new vision, called Abstract Expressionism. The group includes artists such as Jackson Pollock (1912-1956), Lee Krasner (1908-1984), Willem and Elaine de Kooning (1904-1997, 1920-1989), Mark Rothko (1903-1970), Barnett Newman (1905-1970), Ad Reinhardt (1913-1967), Robert Motherwell (1915-1991), and Norman Lewis (1909-1979). Autumn Rhythm No. 30, Jackson Pollock, 1950. Pollock revealed the life of a painting through “actions,” a technique of dripping and pouring paint on a canvas that is placed directly on the floor. Jackson Pollock’s art conveys the mindset of Abstract Expressionism. Pollock abandons traditional composition. Blue, Yellow, Green on Red, Mark Rothko, 1954. Mark Rothko’s technique of painting departs from Pollock’s actions. What is the truth that Rothko attempted to reveal?

Eduardo Kobra

The way he incorporates nature and involves no expectations of it surviving for a long period of time is what draws my attention. I found a resource that quotes Golsworthy describing his work: why, how, and where he creates his work. This quote below is one that stood out the most to me.

“Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.” by sydneyh Nov 25