Now I think I've read a bit about his work in England? That he doesn't
'drape' natural situations, but does try to render them more visible?
But I don't remember exactly how he does that, standing stones, etc?
With regard to the discussion of the Christos work, can you ay a bit
more about what Goldsworthy does, Barry?
I'd be interested, anyway....
Doug
On 3-Mar-05, at 9:31 AM, Barry Alpert wrote:
> OF ANDY G[oldsworthy]
>
>
> Occupy space on the beach [feeling a complete commitment to their
> success]:
> failure is very very important.
>
> Aesthetically awful works—-I hate looking at them.
> Never fell down . . . at least when I was
> drain up. I need that like I need food.
> You may have seen
>
> growing . . . They think they were the devil’s seeds.
>
>
>
> OF ANDY G[oldsworthy]
>
>
> On one hand, rise to the scale of the place.
> Of the night, left them on the streets of London.
>
> A terrible press (a lot of snowball fights that evening):
> “Andy Goldsworthy said the project was pointless.”
> And when I was asked to make work,
> “Very violent thing to do to a stone.”
>
> Garden looks . . . It took me a lot of explanation to say . . .
>
>
> Barry Alpert / Silver Spring, MD US / 3-3-05 (11:32 AM)
>
>
> This follows the opening section posted two weeks ago to the Snapshot
> Project, and awaits the final revisions to two acrostic half-sonnets
> which
> originally ended the six-part, three-section serial work written while
> viewing a videotape of Andy Goldsworthy's lecture at the National
> Gallery
> of Art in Washington DC.
>
>
Douglas Barbour
Department of English
University of Alberta
Edmonton Alberta T6G 2E5 Canada
(780) 436 3320
http://www.ualberta.ca/~dbarbour/dbhome.htm
care to be more
precise about whatever
it is you are
saying, I said
Bill Manhire
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