phing them. [/color][/font] fyodor_fish fyodor_fish ½March 25, 2014
[I]Andy Goldsworthy ? Rivers and Tides: Working with Time[/I], winner of the Golden Gate Award, Grand Prize For Best Documentary at the 2003 San Francisco International Film Festival, follows Scottish artist Andy Goldsworthy engaging in the creation of ephemeral sculptures from natural, preexisting materials in England, Scotland, Japan, Australia, North America, and even the North Pole. For Goldsworthy, art isn't static, frozen in time, but instead, dictated by changing weather and light patterns, and most importantly, the passage of time. In Thomas Riedelsheimer, the director and cinematographer behind [i]Rivers and Tides[/i], and in Fred Frith, the documentary's composer …show more content…
Goldsworthy chooses to create his ephemeral artwork not in an art studio, but in open fields, beaches, rivers, creeks, and forests (he does, however, photograph his work, paradoxically saving his artwork in a secondary media). For his material, Goldsworthy uses sheets of ice, icicles, snow, driftwood, bracken, leaves, flowers, stones, and sand. For his tools, Goldsworthy uses his hands, unencumbered by gloves, even in frigid, unforgiving conditions. Goldsworthy?s unique approach to sculpture requires an inner awareness and outward manifestation of the connection between art and nature. Goldsworthy rarely works inside an art studio, instead preferring to meld personal expression with nature and natural, sometimes austere, landscapes and bodies of water. His ephemeral sculptures reflect, above all movement, flow, or the potential for movement and renewal. Almost as importantly, by removing the artificial separation between art and nature, and therefore between human creativity and nature, Goldsworthy reproduces the original, primal aesthetic impulse in creating art, of form not just divorced from function, but transcending function into visual, poetic, and spiritual …show more content…
Here, Goldsworthy designed the work, a giant, snaking, stone wall that wends its way across a forested landscape, interrupted only by a river and dirt roads. Due to the size of the project, the physical work was subcontracted to local stonemasons, with Goldsworthy acting in a supervisory role. At completion, a camera installed on crane travels along the length of the stone wall, then rises to tree level to offer a fuller perspective of the interaction between the wall and its natural surroundings. Riedelsheimer also employs an overhead, birds-eye view, via helicopter, that rises into the sky, further delineating the contours and breadth of the stone
[I]Andy Goldsworthy ? Rivers and Tides: Working with Time[/I], winner of the Golden Gate Award, Grand Prize For Best Documentary at the 2003 San Francisco International Film Festival, follows Scottish artist Andy Goldsworthy engaging in the creation of ephemeral sculptures from natural, preexisting materials in England, Scotland, Japan, Australia, North America, and even the North Pole. For Goldsworthy, art isn't static, frozen in time, but instead, dictated by changing weather and light patterns, and most importantly, the passage of time. In Thomas Riedelsheimer, the director and cinematographer behind [i]Rivers and Tides[/i], and in Fred Frith, the documentary's composer …show more content…
Goldsworthy chooses to create his ephemeral artwork not in an art studio, but in open fields, beaches, rivers, creeks, and forests (he does, however, photograph his work, paradoxically saving his artwork in a secondary media). For his material, Goldsworthy uses sheets of ice, icicles, snow, driftwood, bracken, leaves, flowers, stones, and sand. For his tools, Goldsworthy uses his hands, unencumbered by gloves, even in frigid, unforgiving conditions. Goldsworthy?s unique approach to sculpture requires an inner awareness and outward manifestation of the connection between art and nature. Goldsworthy rarely works inside an art studio, instead preferring to meld personal expression with nature and natural, sometimes austere, landscapes and bodies of water. His ephemeral sculptures reflect, above all movement, flow, or the potential for movement and renewal. Almost as importantly, by removing the artificial separation between art and nature, and therefore between human creativity and nature, Goldsworthy reproduces the original, primal aesthetic impulse in creating art, of form not just divorced from function, but transcending function into visual, poetic, and spiritual …show more content…
Here, Goldsworthy designed the work, a giant, snaking, stone wall that wends its way across a forested landscape, interrupted only by a river and dirt roads. Due to the size of the project, the physical work was subcontracted to local stonemasons, with Goldsworthy acting in a supervisory role. At completion, a camera installed on crane travels along the length of the stone wall, then rises to tree level to offer a fuller perspective of the interaction between the wall and its natural surroundings. Riedelsheimer also employs an overhead, birds-eye view, via helicopter, that rises into the sky, further delineating the contours and breadth of the stone