Andy Goldsworthy | |
|---|---|
 Goldsworthy in July 2005 | |
| Born | 25 July 1956 Cheshire, England |
| Known for | Sculpture, photography |
| Movement | Environmental art, land art |
| Spouse | Judith Gregson (divorced) |
| Partner | Tina Fiske |
| Children | 4 |
Andy Goldsworthy OBE (born 25 July 1956) is an English sculptor, photographer, and environmentalist who produces site-specific sculptures and land art situated in natural and urban settings.
Goldsworthy was born in Cheshire on 25 July 1956, the son of Muriel (née Stanger) and F. Allin Goldsworthy (1929–2001), a former professor of applied mathematics at the University of Leeds. [1] [2] He grew up on the Harrogate side of Leeds. From the age of 13, he worked on farms as a labourer. He has likened the repetitive quality of farm tasks to the routine of making sculpture: "A lot of my work is like picking potatoes; you have to get into the rhythm of it." [3] He studied fine art at Bradford College of Art from 1974 to 1975 and at Preston Polytechnic (now the University of Central Lancashire) from 1975 to 1978, [1] receiving his BA from the latter.[ citation needed ]
After leaving college, Goldsworthy lived in Yorkshire, Lancashire, and Cumbria. [4] He moved to Scotland in 1985, first living in Langholm and then settling a year later in Penpont, where he still resides. It has been said that his gradual drift northwards was "due to a way of life over which he did not have complete control", but that contributing factors were opportunities and desires to work in these areas and "reasons of economy". [4]
In 1993, Goldsworthy received an honorary degree from the University of Bradford. He was an A.D. White Professor-At-Large in Sculpture at Cornell University 2000–2006 and 2006–2008. [5]
In 2003, [6] Goldsworthy produced a commissioned work for the entry courtyard of San Francisco's de Young Museum called "Drawn Stone", which echoes San Francisco's frequent earthquakes and their effects. His installation included a giant crack in the pavement that broke off into smaller cracks, and broken limestone, which could be used for benches. The smaller cracks were made with a hammer adding unpredictability to the work as he created it. [7]
The materials used in Goldsworthy's art often include brightly coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. He has been quoted as saying, "I think it's incredibly brave to be working with flowers and leaves and petals. But I have to: I can't edit the materials I work with. My remit is to work with nature as a whole." [8]
Rather than interfering in natural processes, his work magnifies existing ones through deliberately minimal intervention in the landscape. Goldsworthy has said “I am reluctant to carve into or break off solid living rock…I feel a difference between large, deep rooted stones and the debris lying at the foot of a cliff, pebbles on a beach…These are loose and unsettled, as if on a journey, and I can work with them in ways I couldn’t with a long resting stone.” [9] Goldsworthy’s commitment to working with available natural materials injects an inherent scarcity and contingency into the work. [10]
In contrast to other artists who work with the land, most of Goldsworthy’s works are small in scale and temporary in their installation. [9] For these ephemeral works, Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials. His process reveals a preoccupation with temporality and a specific attention to materials which visibly age and decay, a view which stands in contrast to monumentalism in Land Art. [11]
For his permanent sculptures like "Roof", "Stone River" and "Three Cairns", "Moonlit Path" (Petworth, West Sussex, 2002) and "Chalk Stones" in the South Downs, near West Dean, West Sussex he has employed the use of machine tools. To create "Roof", Goldsworthy worked with his assistant and five British dry-stone wallers, who were used to make sure the structure could withstand time and nature.
Goldsworthy is generally considered the founder of modern rock balancing.
Photography plays a crucial role in his art due to its often ephemeral and transient state. Photographs (made primarily by Goldsworthy himself) of site-specific, environmental works allow them to be shared without severing important ties to place. [12] According to Goldsworthy, "Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit." [13]
Photography aids Goldsworthy in understanding his works, as much as in communicating them to an audience. He has said, “Photography is my way of talking, writing and thinking about my art. It makes me aware of connections and developments that might have not otherwise have been apparent. It is the visual evidence which runs through my art as a whole and gives me a broader, more distant view of what I am doing.” [10]
Goldsworthy is the subject of a 2001 documentary feature film called Rivers and Tides , directed by Thomas Riedelsheimer. [14] In 2018, Riedelsheimer released a second documentary on Goldsworthy, Leaning Into the Wind. [15]
In 1982, Goldsworthy married Judith Gregson; they had four children together before separating. He now lives in the Scottish village of Penpont with his girlfriend, Tina Fiske, an art historian. [3]
| Image | Dates | Title | Location |
|---|---|---|---|
| 1995–2008 | Sapsucker Cairn [16] | Ithaca, New York, USA | |
 | 1996–2003 | Sheepfolds | Cumbria, England, UK |
 | 1997 | Stone House [17] | Herring Island, Victoria, Australia |
 | 1997 | Cairn [17] | Herring Island, Victoria, Australia |
| 1998 | Hutton Roof | National Museum of Scotland Edinburgh, Scotland, UK | |
| 22 May – 15 November 2000 | Andy Goldsworthy at Storm King Art Center [18] (featuring the installation Storm King Wall) | Storm King Art Center Mountainville, Cornwall, New York, USA | |
| August 2001 | Stone River [19] | Cantor Arts Center, Stanford University Stanford, California, USA | |
| 2002 | Andy Goldsworthy Arch at Goodwood [20] | Cass Sculpture Foundation Goodwood, West Sussex, England, UK | |
 | 2002 | Chalk Stones Trail | South Downs near West Dean, West Sussex |
| 2002 | Three Cairns [21] | Des Moines Art Center Des Moines, IA USA | |
| 4 May – 31 October 2004 | Andy Goldsworthy on the Roof [22] (featuring the installation Stone Houses) | Iris and B. Gerald Cantor Metropolitan Museum of Art Roof Garden New York City, USA | |
| 2005 | Andy Goldsworthy: Early Works A national touring exhibition from the Haywood Gallery [23] | England, United Kingdom | |
| 2005 | Drawn Stone[ citation needed ] | M. H. de Young Memorial Museum San Francisco | |
| 2005 | Arches [24] | Gibbs Farm New Zealand | |
| 22 January – 15 May 2005 | The Andy Goldsworthy Project [25] (including the installation Roof) [26] | National Gallery of Art National Mall, Washington, D.C., USA | |
| 2006 | Red sandstone wall at the Doerr-Hosier Center [27] | Aspen Institute Aspen, Colorado, USA | |
 | 31 March 2007 – 6 January 2008 | Hanging Trees [28] | Yorkshire Sculpture Park West Bretton, Wakefield, West Yorkshire, England, UK |
| 2007 – 2008 | Clay Houses (Boulder-Room-Holes) [29] | Glenstone Potomac, Maryland, USA | |
| October 2008 | Spire [30] | Park Presidio San Francisco | |
| June 2009 | Refuge d’Art Hiking Trail, Provence, France [31] | Provence France | |
 | 2010-11 | Wood Line [32] | Park Presidio San Francisco |
 | 7 September 2012 – 2 November 2012 | Domo de Argila / Clay Dome [33] [34] | Cais do Porto Rio de Janeiro, Brazil |
| 2013 | Tree Fall [35] | Park Presidio San Francisco | |
| 2014 | Earth Wall [36] | Park Presidio San Francisco | |
| 2019 | Walking Wall [37] [38] | Nelson-Atkins Museum of Art Missouri |
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