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商品の説明
From Publishers Weekly
石、氷柱、木の葉、枝、草などを素材にして、浜辺や岩の上や林床に、シンプルで印象的な「はかない」彫刻を作る、イングランド出身スコットランド在住のアーティスト、ゴールズワージー。彼は、小さな氷のかけらを凍着させた石や、樹幹を葉でくるんだ楡（にれ）の枯れ木など、自身の作品とその後の変化を（葉が褐色に変わり、氷がとけてゆくさまを）200点余りのカラー写真に記録することで、彼のテーマである自然と時間との関係を浮き彫りにする。既刊作品集（『Time』『Hand to Earth』ほか）の売れ行きからもわかるように、ロバート・スミッソン、マイケル・ハイザーといった前世代のアース・ワーク・アーティストと違い、彼の作品は瞬く間に多くの人々の心をつかんだ。
ユダヤ遺産博物館の依頼で制作した「Garden of Stones（石の庭園）」に関するエッセイ（ニューヨーカー誌初出）で、歴史家のサイモン・シャーマはこう明言している――ゴールズワージーは批評家たちが示唆するような穏やかな「田園詩人」ではなく、自然の移ろいやすく荒れがちな気性の「ドラマトゥルグ」（素材戯曲の研究・翻訳・脚色などを受け持つ演劇顧問）なのだ、と。この「Garden of Stones」をはじめ、彼がカリフォルニア、ニューヨーク、アイオワに建て自ら撮影した「Three Cairns（3つの石塚）」や、ウエスト・サセックスの森で印象深い光を放つ、チョークの粉で描いた「Moonlit Path（月明かりの小道）」などのプロジェクトも本書の目玉になっている。写真はもちろんだが、一緒に添えられたアーティスト自身のメモもファンにはうれしい。「確固たるアイデアを持って取りかからなければならないが、そのアイデアがどこまで実現可能かを素直に受け止める柔軟さも必要だ」。
Copyright Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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カスタマーレビュー
Amazon.com で最も参考になったカスタマーレビュー (beta)
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7件のカスタマーレビュー
55 人中、54人の方が、｢このレビューが参考になった｣と投票しています。
A modern naturalist
2005/9/5
形式:ハードカバー
When I first heard of Goldsworthy my temptation was to label his art as New Agey because of his interaction with natural mediums and his works' outdoor settings. This would have been a gross mislabeling. I've also heard the term "environmental artist" bandied about, but that is just far too vague and I'm hoping we don't adopt that as part of our art-appreciation vocabulary. I think Goldsworthy and Christos are grouped together under that title, but they couldn't be more dissimilar. Christos' works always so statement oriented and meant to be observed from a distance, while Goldsworthy's evocative sculptures and leaf paintings invite you to examine them more closely and admire how well they fit into the landscape. And though his art is made from natural materials and dependent on the elements, the works themselves are very modern. Passage was the first book of Goldsworthy's work that I've been given, though I've seen some of his smaller pieces and photos in several galleries.
His moss covered stones surrounded by sun-blindingly bright leaves in perfect auras make me examine my walks through the park in new ways. He uses sticks and stones and leaves the way James Turrell uses light and corners and openings, letting you rediscover the things you may have taken for granted. Beautiful and painstaking work. Yet accessible. After reading this, you'll be tempted to go outside and create your own sculptures. Passage offers some commentary by Goldsworthy and as well as diary entries and curators' comments. But the pictures make the book. Many of his works are photographed at different times of day or year and because they are dependent on their environment, the pieces change dramatically. Very beautiful.
His moss covered stones surrounded by sun-blindingly bright leaves in perfect auras make me examine my walks through the park in new ways. He uses sticks and stones and leaves the way James Turrell uses light and corners and openings, letting you rediscover the things you may have taken for granted. Beautiful and painstaking work. Yet accessible. After reading this, you'll be tempted to go outside and create your own sculptures. Passage offers some commentary by Goldsworthy and as well as diary entries and curators' comments. But the pictures make the book. Many of his works are photographed at different times of day or year and because they are dependent on their environment, the pieces change dramatically. Very beautiful.
31 人中、26人の方が、｢このレビューが参考になった｣と投票しています。
amazing
2005/1/22
形式:ハードカバー
The pictures in this book are once again amazing - and also very touching. It's easy to forget the time when you flip through this book and read the artist's remarks about certain works. The artist is simply a genius.
2 人中、2人の方が、｢このレビューが参考になった｣と投票しています。
Pulls reader into process of creation!
2009/9/8
形式:ハードカバー
PASSAGE includes everything an interested reader could want: ample beautiful imagery, photographs of how finished pieces progress over time, photographs of original pieces being constructed, concurrent journal entries by Goldsworthy, commentary by various museum curators..
This book communicates beautifully perhaps the most necessary aspect of Goldsworthy's work, one that could not be transmitted merely through photos of his finished pieces. Goldsworthy's art, while accessing relationship with nature, also represents respect of, and submission to, time. It has always amazed me, and I imagine has had similar impact on many others, how much time and care is dedicated to the construction of such beautiful pieces and yet how easily they are allowed to be blown away or washed over or changed in whatever way by the powers that be. And yet, if it were not so, if his pieces were memorialized indefinitely, protected from natural wear and tear, their beauty would be somehow reduced. For it is in this release and acceptance of what must occur, that their power lies.
PASSAGE succeeds in portraying both aspects, relationship with nature and submission to time, through use of various tools, all mentioned in the 1st paragraph. As its title suggests, PASSAGE involves the reader in the process of Goldsworthy's art, from its conception to creation to change and destruction.
I rated this book only 4 stars because a part of me would have preferred more photos and fewer words. A picture speaks a thousand, as you know, and for those who are already familiar with Goldsworthy's amazing work, an inspiring photo of nature cannot but speak of its impermanence.
This book communicates beautifully perhaps the most necessary aspect of Goldsworthy's work, one that could not be transmitted merely through photos of his finished pieces. Goldsworthy's art, while accessing relationship with nature, also represents respect of, and submission to, time. It has always amazed me, and I imagine has had similar impact on many others, how much time and care is dedicated to the construction of such beautiful pieces and yet how easily they are allowed to be blown away or washed over or changed in whatever way by the powers that be. And yet, if it were not so, if his pieces were memorialized indefinitely, protected from natural wear and tear, their beauty would be somehow reduced. For it is in this release and acceptance of what must occur, that their power lies.
PASSAGE succeeds in portraying both aspects, relationship with nature and submission to time, through use of various tools, all mentioned in the 1st paragraph. As its title suggests, PASSAGE involves the reader in the process of Goldsworthy's art, from its conception to creation to change and destruction.
I rated this book only 4 stars because a part of me would have preferred more photos and fewer words. A picture speaks a thousand, as you know, and for those who are already familiar with Goldsworthy's amazing work, an inspiring photo of nature cannot but speak of its impermanence.
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