Passage

Passage
by Andy Goldsworthy

Passage
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Book Summary Information

Author: Andy Goldsworthy
Edition: Hardcover
Audio: English (Original Language); English (Unknown); English (Published)
Published: 2004-11-01
ISBN: 0810955865
Number of pages: 168
Publisher: Harry N. Abrams

Book Reviews of Passage

Book Review: creativity meets nature
Summary: 5 Stars

Goldsworthy is a master at using nature in creative ways. I own his book, "A Collaboration With Nature," which is also a beautiful book, but what i love about "Passage" is how it documents and details the design process and the way Goldsworthy actually created his artwork. My favorite piece of work of his in this book is the one he calls pool of light - a huge circle of split wood facing a certain direction so that when the sun hits it, it is illuminated a rich golden color, surrounded by more split wood facing a different direction so that when the sun hits the circle or "Pool", the surrounding wood is dark. By the afternoon, when the sun hits the field of wood from a different direction, the colors are reversed, with the circle appearing dark, and the surrounding wood illuminated golden.

Goldsworthy's ability to use the ordinary changes in nature (such as the sunrises and sunsets, the ocean tides or currents in rivers), and to weave those changes into his art in an interactive way, is nothing short of genius. The photography is also extraordinary. This book is inspirational - it makes you want to go outside, commune with nature, and a create something!

Summary of Passage

Andy Goldsworthy's Passage focuses on the journeys that people, rivers, landscapes, and even stones take through space and time. A cairn made by the renowned sculptor in the Scottish village where he lives reveals the influence that his work close to home has on projects he creates elsewhere. A series involving elm trees, from glowing yellow leaves to dead branches, exemplifies his work's vigorous beauty as well as its association with death and decay. Creations on the beach and in rivers explore the passage of time, while a white chalk path investigates the passing from day into night.

Passage also includes the Garden of Stones, a Holocaust memorial at the Museum of Jewish Heritage in New York, where the artist planted 18 oak trees through holes in hollowed-out, earth-filled boulders. Documenting these and other recent works, this beautiful book is an eloquent testament to Goldsworthy's determination to deepen his understanding of the world around him, and his relationship with it, through his art. AUTHOR BIO: Andy Goldsworthy's work is regularly exhibited in Britain, France, the United States, Japan, and elsewhere. Although commissions take him all over the world, the landscape around his home in Dumfriesshire, Scotland, remains at the heart of his work. Goldsworthy's best-selling books for Abrams include A Collaboration with Nature, Time, Stone, Wall, and Wood. Terry Friedman is an architectural historian and former principal keeper of Leeds City Art Gallery and Henry Moore Centre for the Study of Sculpture in Leeds, England. He curated the first major retrospective of Goldsworthy's work, in 1990.
To achieve the quiet beauty of his art, Andy Goldsworthy spends long hours in rough weather, engaged in a tug-of-war with nature. He wrestles heavy stones on top of one another to form tall, egg-shaped landmarks known as cairns. He painstakingly covers fallen logs with bright golden bands of Dutch elm leaves-a last hurrah for a proud species decimated by disease. He pulverizes white chalk to lay a long, wandering path in the woods that gleams in the moonlight. Works like these are as much about the transience of life as they are about a sense of place and the pleasures of color, light and form. In Passage, the British artist's latest book, he once again provides diary excerpts that chronicle his daily successes and failures. The lush color photographs he takes to document peak moments of the birth, glory and decay of his art are as beautiful as ever. Unlike the other books, however, Passage--which begins in 2000 and darts back and forth over the next few years--is shadowed by a more urgent sense of mortality. Goldworthy's recently deceased father is in his thoughts, and a major project he tackles is the memorial Garden of Stones for the Museum of Jewish Heritage in New York. The garden's giant boulders pose many difficulties--finding the right ones, acquiring them, moving them, experimenting with cutting processes and coping with the elderly stonecutter's frequent tantrums. Hollowed out, the stones will be filled with trowels of earth (a ritual recalling burial) and tiny oak saplings, symbolic of life. "The partnership between tree and stone will be stronger for the tree having grown from the stone, rather than being stuck into it," Goldsworthy writes in his straightforward style. (An essay about this project by the historian Simon Schama, previously published in The New Yorker, is one of several pieces by other writers included in the book.) Once again, Goldsworthy succeeds in showing how seemingly simple ideas and actions can deeply engage both natural forces and human emotions. -Cathy Curtis

Goldsworthy, Andy Books

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