This Man Confessed, Malpas Jodie Ellen

There are a number of essential sites to visit for Andy Goldsworthy's art in America: (1) the slate mounds in Washington's National Gallery of Art; (2) Garden of Stones in New York's Museum of Jewish Heritage; (3) the cracked stones at the de Young Museum in San Francisco; (4) the Storm King Wall in New York; and (5) Three Cairns in Des Moines, Iowa.

Fully illustrated, including images of the American landscape, and Goldsworthy's contemporaries.

Includes photographs taken by the author of Andy Goldsworthy's works in America, including in Washington, DC, San Francisco, New York State and Iowa.

Bibliography and notes.

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 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 end-point - 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 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.

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 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.

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

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 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.

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.

This 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.

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.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 971861714039. 280 pages.

www.crmoon.com

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.