Andy Goldsworthy

Hazel sticks / Bentham, Yorkshire / September 1980

1980

Sorry, no image available

Not on display
Artist
Andy Goldsworthy born 1956
Medium
2 photographs, gelatin silver print on paper
Dimensions
Image: 507 x 383 mm
image: 504 x 378 mm
Collection
Tate
Acquisition
Purchased with assistance from the American Patrons of Tate courtesy of If Hummingbird Foundation Inc, Jeanne and Mickey Klein, Mr. and Mrs Joel Mallin and an anonymous donor 2011
Reference
P80074

Summary

Hazel sticks / Bentham, Yorkshire / September 1980 1980 is a black and white photograph that shows a spiky cluster of hazel sticks floating on an area of still water in surrounding fields. The reflection of the sticks in the water mirrors their shape, giving the impression of a starburst structure. The title of the work typically describes the object, location and date of the artist’s intervention.

Often categorised as a ‘land artist’, Goldsworthy’s work is frequently linked with that of Richard Long (born 1945) and Hamish Fulton (born 1946) in that it directly engages with the natural landscape. Goldsworthy’s practice encompasses gallery-based sculptures and installations using stone, wood and other natural materials, as well as permanent constructions made outside in the landscape – including earthworks and pieces consisting of dry stone walls – and more ephemeral constructions made using ice, leaves, flower petals, sticks and rocks. Although these are by their nature impermanent, they are documented in the form of photographs and texts.

Goldsworthy has written about the significance of photography in his work, most notably in the survey of his career Hand to Earth, published in 2004:

Taking the photograph is not a casual act. It is very demanding and a balance is kept in which documentation does not interrupt the making. Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its height, 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 in that moment. A drawing or painting would be too defined. The photographs leave the reason and spirit of the work outside.
(Goldsworthy 2004, p.9.)

Further reading
Andy Goldsworthy, Hand to Earth: Andy Goldsworthy Sculpture 1976–1990, London 2004.

Helen Delaney
May 2010

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