Alfred Orage was one of those mysterious figures in our cultural history who was in his lifetime extremely influential, and after his death almost forgotten. He was the man who co-founded the Leeds Arts Club, possibly the only genuine manifestation of Expressionism in pre-second world war Britain, which promoted the philosophy of Nietzsche, the mystical socialism of the early Labour movement and suffragette feminism, as well as literary and artistic modernism. He turned the weekly newspaper the New Age from a failing organ of the Christian Socialism movement into the British equivalent of Germany's Der Sturm, and the most widely read cultural periodical of its age. And he was the first mentor of one of the most important writers on modern art of the twentieth century, Herbert Read, helping to shape his philosophy of art, and through him the direction of international modernism. In this book Tom Steele follows Orage's career alongside the history of the Leeds Arts Club, showing that modernism in Britain was not wholly a London-centred affair. Whilst Roger Fry and Bloomsbury were following and promoting French modernism in the first two decades of the twentieth century, Orage and other figures associated with the Leeds Arts Club, including Holbrooke Jackson, Arthur Penty, Michael Sadler, Frank Rutter and of course Herbert Read, were engaged in the far more radical modernist ideas coming out of Germany, with Sadler even collecting paintings by Wassily Kandinsky in Leeds as early as 1913.

Artist Raphael Soyer (1899-1987), whose Russian Jewish family settled in Manhattan in 1912, was devoted to painting people in their everyday urban lives. He came to be known especially for his representations of city workers and the down-and-out, and for his portraits of himself and his friends. Although Soyer never identified himself as a ""Jewish artist,"" Samantha Baskind, in the first full-length critical study of the artist, argues that his work was greatly influenced by his ethnicity and by the Jewish American immigrant experience. Baskind examines the painter's art and life in the rich context of religious, cultural, political, and social conditions in the twentieth-century United States. By promoting an understanding of Soyer as a Jewish American artist, she addresses larger questions about the definition and study of modern Jewish art. Whereas previous scholars have defined Jewish art simply as art produced by people who were born Jewish, Baskind stresses the importance of an artist's cultural identity when defining ethnic art. As Baskind explains how Soyer negotiated his Jewish identity in changing ways over his lifetime, she offers new strategies for identifying and interpreting Jewish art in general. Her analysis of Soyer's work places the artist in a necessary context and provides a valuable new approach to the study of modern Jewish art.

This sumptuously illustrated volume, edited by eminent war historian Joanna Bourke, offers a comprehensive visual, cultural and historical account of the ways in which armed conflict has been represented in art. Covering the last two centuries, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, truthful depiction of warfare and its consequences. Featuring illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix and many others, as well as those who are often overlooked, such as children, women, non-European artists and prisoners of war, this extensive survey is a fitting and timely contribution to the understanding, memory and commemoration of war, and will appeal to a wide audience interested in warfare, art, history or politics. Introduction by Joanna Bourke, with essays by Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington, James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough, Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski, Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John Schofield, John D. Szostak, Sarah Wilson and Jay Winter.

Elegant monograph by Nicholas Usherwood of one of Britain's outstanding figurative artists.

The Story of Dada revives some of the most revolutionary art historical events of the 20th Century and introduces the notion of the "Dada-Gene," which enhances creativity.

'The great picture-galleries may be likened to the temples of art... but every day and all day long we breathe the atmosphere of ornament.' Originally published in 1882, Every-Day Art is a series of essays on design and decoration in daily life by Lewis Foreman Day (1845-1910), a pioneering member of the Arts and Crafts movement. Day trained as a stained glass maker before becoming a celebrated designer of textiles, ceramics, wallpaper and furniture. Sharing with his contemporary William Morris the belief that objects could be both useful and beautiful, Day considers questions of taste, the past, interiors, nature and craftsmanship. Progressive yet undeniably Victorian, he offers pithy comment on the elevated status of so-called high art compared to the decorative arts, and has sage advice for 'Ladies and Amateurs' considering artistic careers. His entertaining and perceptive essays are anchored by a strong belief that craft and honestly acquired skill should win out over the whims and excesses of fashion.

Tanaka Yasuo's Nantonaku, kurisutaru (Somehow, Crystal, 1980) and Yoshimoto Banana's Kitchin (Kitchen, 1987) have been denigrated as emblematic of a so-called "bastardized line" of Japanese literature, characterized by an unabashed celebration of a "late-capitalist" consumerist ethos. Close readings of these works are undertaken in order to demonstrate that, while these works are reflective of late-capitalist postmodern Japan (the development of which is delineated prior to the readings), they nonetheless posit uniquely postmodern strategies for critically engaging issues of identity formation and maintenance, and the creation of meaning as they appear in the contemporary Japanese socio-cultural nexus. I argue that if such strategies are not immediately apparent, it is because they hold to what critic Fredric Jameson, in his discussion of the requisites for a "new political art," calls "the truth of postmodernism." This work will interest those concerned with postwar and contemporary Japanese culture, society and literature, as well as those engaged in the study of "global culture."

This book is about a nation's journey of cultural transformation, a process undertaken by the Republic of Turkey soon after gaining its independence in 1923. Mustafa Kemal Ataturk, Turkey's acknowledged father and first president, envisioned this process. It is still ongoing. There is no certainty as to its conclusion, but to date, the progress has been monumental and mostly irreversible. Ataturk's objective was the modernization and westernization of Turkey's culture as it pertained to the country's nation-building agenda. Provided are little known insights. They deal with the visual arts and their impact on Turkey's society. They address vital and under-stressed aspects of European cultural imperialism that were willingly accepted and in fact invited into the young republic. The impact of the changes in visual arts is still felt in Turkish society. It has relevance to Turkeys' economy, and to many current public policy debates worldwide. *Book also available in hardcover by contacting BookSurge Customer Service.

In "City/Art," anthropologists, literary and cultural critics, a philosopher, and an architect explore how creative practices continually reconstruct the urban scene in Latin America. The contributors, all Latin Americanists, describe how creativity--broadly conceived to encompass urban design, museums, graffiti, film, music, literature, architecture, performance art, and more--combines with nationalist rhetoric and historical discourse to define Latin American cities. Taken together, the essays model different ways of approaching Latin America's urban centers not only as places that inspire and house creative practices but also as ongoing collective creative endeavors themselves. The essays range from an examination of how differences of scale and point of view affect people's experience of everyday life in Mexico City to a reflection on the transformation of a prison into a shopping mall in Uruguay, and from an analysis of Buenos Aires's preoccupation with its own status and cultural identity to a consideration of what Miami means to Cubans in the United States.

Contributors delve into the aspirations embodied in the modernist urbanism of Brasilia and the work of Lotty Rosenfeld, a Santiago performance artist who addresses the intersections of art, urban landscapes, and daily life. One author assesses the political possibilities of public art through an analysis of subway-station mosaics and Julio Cortazar's short story "Graffiti," while others look at the representation of Buenos Aires as a "Jewish elsewhere" in twentieth-century fiction and at two different responses to urban crisis in Rio de Janeiro. The collection closes with an essay by a member of the Sao Paulo urban intervention group Arte/Cidade, which invades office buildings, de-industrialized sites, and other vacant areas to install collectively produced works of art. Like that group, "City/Art "provides original, alternative perspectives on specific urban sites so that they can be seen anew.

"Contributors." Hugo Achugar, Rebecca E. Biron, Nelson Brissac Peixoto, Nestor Garcia Canclini, Adrian Gorelik, James Holston, Amy Kaminsky, Samuel Neal Lockhart, Jose Quiroga, Nelly Richard, Marcy Schwartz, George Yudice

Chakaia Booker: The Observance accompanies the first comprehensive museum survey of the American artist. The publication explores the artist's signature form-monumental works made of rubber-while showcasing her innovations across mediums. Featuring an expansive range of Booker's sculptures, including totemic and anthropomorphic assemblages fabricated from cast-off tires, the volume highlights Booker's ongoing expression of ecological and technological concerns, examinations of racial and economic disparities, and her interest in the symbolism of the automobile in American culture. The exhibition and accompanying publication Chakaia Booker: The Observance include some of Booker's most topical works, including Chu Ching (2012), which depicts a cross on a wheelbarrow resembling Jesus being dismounted from the cross, as well as two rarely seen series of paintings that explore landscape and language. The artist's photographic series, Foundling Warrior Quest (2010) and Graveyard Series (1995), are also featured to explore the importance of performance and mythology in her practice. Anchoring the presentation is The Observance (1995), an immersive installation made of deconstructed rubber tires and tubes-Booker's first work in this signature material, chosen by the artist for its associations with riots.

As we approach the new millenium, the moral, intellectual,and spiritual crisis of our time is visible most plainly in the sickness of the arts. The "postmodern" cultural establishment is philosophically empty and esthetically corrupt. But no one has been able to explain this decline or give a satisfying answer to the question of the proper role of the arts in our society. Now, in The Culture of Hope -- a manifesto for a new vision of culture that is both radical and classical -- Frederick Turner goes beyond the stale dichotomies of Left and Right to take the "third side" in the culture war: the side of art itself. Great art can never be politically correct, Turner reminds us, whether the correction comes from Right or Left, because its sources are deeper than politics. The visionary modernists (Picasso, Joyce, Stravinsky) understood this, but their successors today, as well as their conservative opponents, have forgotten. Turner sharply indicts the bankrupt tribe of venal mediocrities who now infest the arts, citing their naive rejection of morality, their ignorant denial of scientific truth, and their lazy dismissal of the Western cultural heritage. On the other hand, conservatives who call for a return to traditional values seek a socially "safe" vision of art that has never existed and never can. In the past, the arts have flowered when they drew their inspiration from new scientific visions of the cosmos. Thus Turner argues that the revolution in cosmology that is occurring today in the frontier fields of scientific thought will powerfully invigorate the artists of the future. A new esthetic synthesis arising from the unexpected convergence of religion, art, and science will restore a hopeful vision of the cosmos as intelligent, creative, and self-ordering and provide the missing ground for the recovery of classical values in the arts, such as beauty, order, harmony, and meaning. Turner points to new developments in chaos theory, neurobiology, evolution, and environmental science, among other fields, to offer us a guide to the emerging art of the "radical center" which he predicts will shape the culture of the future.

A sumptuous monograph presenting for the first time the extraordinarily imaginative and delightful work of visionary artist Renaldo Kuhler (American, 1931-2013). The Secret World of Renaldo Kuhler catapults a thrilling new discovery into the pantheon of the most accomplished visionary-or "outsider"-artists. Like Henry Darger, Howard Finster, George Widener, and Adolf Woelfli, Renaldo Kuhler was an exceptionally gifted artist and possessed an imagination all his own. By day Kuhler was a self-taught scientific illustrator under the employ of the North Carolina Museum of Natural Sciences, for which he created thousands of wonderfully precise illustrations of myriad natural history specimens-reptiles, fish, turtles, and the like. Renaldo Kuhler was an unusual individual, as was instantly clear from his appearance alone. Six-foot-four, with a white beard and ponytail, he wore a custom-tailored uniform consisting of a sleeveless Kelly green suit jacket with wide, black, notched lapels, epaulets, and brass buttons, a matching suit vest, yellow flannel dress shirt, a fleur-de-lis Boy Scout neckerchief, and tight-fitting knee-length shorts ("cotton-blend lederhosen"). However, unbeknownst even to family, friends, and coworkers, Kuhler was more than an eccentric, gifted scientific illustrator. He was a prolific visionary artist, who, as a teenager in the late 1940s, invented an imaginary country he named Rocaterrania-after Rockland County, New York, where he had lived as a child. For the next sixty years, in secret, he illustrated the nation's entire history and the prominent characters of its populace. Rocaterrania is a fantastical world, a richly illustrated amalgam of Kuhler's personal cultural and aesthetic fascinations. Situated just north of the Adirondacks in New York, at the Canada-United States border, Rocaterrania is a sovereign nation of immigrants, from Scandinavia to Eastern Europe. Kuhler invented a complete world populated by a royal family and a succession of leaders resembling historical Russian figures, Women reminiscent of Marlene Dietrich and Janet Leigh play important roles as do bearded men of a seeming Hasidic Jewish heritage, men bearing curious physical similarities to American presidents, and neutants-individuals neither male nor female. Amid forests, mountains, lakes, and rivers, Kuhler's imaginary country is made up of provinces and cities filled with distinctive Rocaterranian architecture and well-planned railroad and metro systems. Its government is unique, and it has its own religion, Ojallism, and its own evolving language and alphabet. With an organized labor service, a prison system (modeled after a New Jersey state penitentiary), a university system, a Rocaterranian Olympics, and an independent movie industry, Rocaterrania is a nation bustling with dozens of characters and their intrigues. Initially meant to be an escape, Kuhler's Rocaterrania became a secret lifelong obsession, an intricately coded, metaphorical account through Rocaterrania's tumultuous history, which dovetailed with Kuhler's own struggles for independence and freedom. Renaldo was the son of the German-born industrial designer Otto Kuhler, renowned for his Art Deco-era streamlined trains; his Belgian mother had little patience for her son, who was ostracized and bullied throughout his life for being "different." The Kuhler family moved in 1948 from Rockland County, New York, to a remote cattle ranch in the Colorado Rockies-an unbearably isolated environment for the teenaged Renaldo. Retreating to his sketchbooks, journals, and watercolors to invent his imaginary nation of Rocaterrania, young Kuhler wrote, "The ability to fantasize is the ability to survive." The Secret World of Renaldo Kuhler is filled with more than 400 illustrations in pencil, ink, acrylic, oil, gouache, watercolor, colored pencils, and markers, demonstrating Kuhler's phenomenal draftsmanship and wide range of style-from delicately shaded graphite works to comic-book ink drawings. Complementing Kuhler's impressive artistry is his gift for analogical thinking, which flowered in his appropriation and reimagining of personalities, places, and events from world history to form a cohesive and fully imagined world. After decades of secrecy, Kuhler eventually first shared his work and the story of his imaginary country with filmmaker Brett Ingram, whom he met by chance in the mid-1990s. In 2009 Ingram released Rocaterrania, a feature-length documentary with prized footage of Kuhler at home and at work, and talking about his creation. With The Secret World of Renaldo Kuhler Ingram has written the complete story of Rocaterrania as relayed to him over time by Kuhler, resulting in a fascinating, highly entertaining first and major book about this rare, newly discovered, full-blown visionary outsider artist.

Puget Sound's rich abundance of life - from mammals to birds - can be attributed to the fact that the region is far more than just a body of water. Edged by an extraordinary range of habitats, this region is visited and occupied year-round by species that are finely tuned to exploit the resources here that are necessary for their survival. Birds are among the most obvious occupants of these communities, and witnessing their dynamic lives has been a source of inspiration for artist and naturalist Tony Angell. For nearly fifty years Angell has used Puget Sound's natural diversity as his artist's palette. In this book, he describes the living systems within the Sound and shares his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the fledging flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Angell goes on to explain the methods he uses in his art. The shapes, movements, patterns, and even temperatures and smells that he experiences in the field are all brought to bear on his work. His drawings bring clarity to his visual and emotional memories, and his sculptures allow him to approach a memory from many directions and retain that memory in his hands. In all of his work, he lets the passion and excitement of his discoveries drive his artistic expression. Angell augments his descriptions of the wildlife of the Puget Sound region and his working methods with two appendices listing guides and references to this and other regions by other artists and naturalists. These resources not only put wildlife viewers in touch with the times and places to view particular species, but also speak to the patience and willingness to be delighted that are necessary to increasing the understanding of our wild neighbors. See Tony Angell on YouTube: http://www.youtube.com/watch?v=jCemt7hVK_4

The first definitive survey of works by the younger generation of Norwegian artists. Through the last decade we have witnessed a steadily increasing globalization of contemporary art. Norwegian artists are acknowledged as being part of a larger artistic milieu - a milieu in which they have become more visible and active participants. Among the artists: Jesper Alvaer/Isabela Grosseova, Thora Dolven Balke, Siri Berqvam, Kyrre Bjorkas/Rune Andreassen, Ole Martin Lund Bo, Bjorn Basen, Jan Christensen, Gardar Eide Einarsson, Ida Ekblad, Jan Hakon Erichsen, Matias Faldbakken, Jan Freuchen, Ivan Galuzin, Hjordis Kuras, Ingvild Langgard, Jorgen Craig Lello/Tobias Arnell, Trine Lise Nedreaas, Martin Skauen, Eirin Stoen, Stian Adlandsvik, and Oystein Aasan.

A revealing and nostalgic look at how art was taught more than 100 years ago, Decorative Brushwork and Elementary Design is an inspiring guide to creating patterns and graphic motifs. Originally published in 1902 as a resource for schoolteachers, the book is of both historical and current interest, offering advice on choosing paper, brushes and colours and on developing skills in line, tone and composition. Additionally, hundreds of black and white Edwardian designs taken from nature, textiles, pottery and architecture beautifully illustrate the artistic principles.

"Marcia was instrumental in introducing so many artists throughout her career, and I was one of them."--Bruce Nauman
"I know of no other curator who has left a major museum and said, 'I'll start a new museum.' Marcia was for me a mentor, then a beacon, and later a role model. I consider myself fortunate."--John Baldessari
"Marcia was a rebel with a cause: shaking up the staid world of art museums. She did it with vision, guts, and humor. We are forever indebted to her example."--Guerrilla Girls
""A Short Life Of Trouble"--gossipy and delicious, smart and often deeply moving--takes us through Marcia Tucker's tough but fascinating days as a young, adventurous curator at the Whitney Museum to her ambivalent triumphs and constant challenges as the visionary founder of the New Museum, and beyond. The author emerges as a fierce, outspoken champion of contemporary artists, especially the risk-takers who are often marginalized and overlooked or not an easy sell. Her intelligence, passion, immense generosity of spirit, and wry, witty observations on the battles and machinations of the New York art world of the 1980s and 1990s are alive on every page. Although in her quest to live a just, meaningful existence she was often hardest on herself, Marcia Tucker clearly knew how to have fun and made every minute count. This poignant memoir lets us glimpse the all-too-brief but rich and remarkable life of an extraordinary human being."--Jessica Hagedorn, author of "Dream Jungle"

S i THOMAS MODERN ART THE MEN - Y . THE MOVEMENTS THE MEANING NEW YORK SIMLN AND SCHUSTER 4 ALL RIGHTS RESERVED COPYRIGHT, 1Q34, BY THOMAS CRAVEN PUBLISHED BY SIMON AND SCHUSTER, 386 FOURTH AVENUE, NEW YORK MANUFACTURED IN THE UNITED STATES OF AMERICA BY H. WOLFF ESTATE, NEW YORK, N. Y. Designed by Robert Josephy R J Jt 21 34 TO AILEEN CONTENTS INTRODUCTION XIX 1. BOHEMIA 1 The magic of Paris. The authors adventures in the Latin Quarter. The French spirit. Bohemianism an economic asset, a patriotic industry. Civiliz ing influence of the cafe. The Left Bank from Abelard to Murger. Villon. La Vie de Boheme, and the Golden Age. Montmartre, past and present. The Romantic Movement. Bohemia an anti-bourgeois world. Whistler and his snobbish Bohemian creed. The women. System of compulsory cohabitation. In praise of the girls of Paris. The mythical grisette. Effect of Bohemianism on art. Verlaine. Toulouse-Lautrec. Paris produces the stereotype. The arti ficial prolongation of youth. 2. THE NEW CENTURY 35 The little people violently unsettled. The bourgeois machine. Politics in France. Jew-baiting. Anti-Semitic feeling in art. A Frenchman writes a letter. Universal Exhibition of 1900. Architectural horrors. The exotic craze the belly dancers. Loie Fuller, idol of Paris. The new age. French taste. Fashions of 1900. The French monopoly on styles. Invention of lingerie. The well dressed gentleman. No baths. Home life in France. The sordid household. French writers. High-life. The cult of Proust. The artists. Not a decent artist in the Exhibition. Rodins strategy. The academic mills. The impending storm. Revolt in Montmartre. French intolerance. The State and the Bohemians. g . TWO KINDS OF ART 6 1France afraid of original art. All good men persecuted. The Academicians officially controlled. Old Bouguereau and his tribe. Impressionism its history and significance. Daumier. Courbet. Manet. Specialists in sunlight. Seurat. Renoir a real painter. Cezanne his life and work. His enormous influence. Cezanne and Poussin. Final estimate of Cezanne. The new men. 4. VAN GOGH 9 1 The home of Pastor Van Gogh. Vincents repugnant face. His youth in a boarding school. Spiritual agitations-. Assistant in an art gallery at The Hague. Model employee. Transferred to London. A painful love affair. Signs of lunacy. Escapes to Paris. London slums. Prepares for the Church. Evan gelist among the miners of Belgium. Terrible suffering. Turns to art. Un selfish devotion of his brother. In love again. Despised by women. He lives with a prostitute. Paints with maniacal industry. Studies in Paris. Mont martre and the skeptics. Drink and over-work. The South and the sun. The yellow house at Aries. Gauguin and the severed ear. The hospital and the asylum. Auvers and the final madness. He kills himself and is buried among the sunflowers. vii 5-GAUGUIN ll A study in abdication. Born with a grievance against the world. His bad blood Half-breed and half-artist. Strange childhood in Peru. Jesuit sem inary Three years before the mast. Prosperous banker for ten years. His marriage a failure. Restless and embittered, he turns to art as an escape from life Deserts wife and family, and retires to Brittany to paint. His many talents. His hatred of civilization. Fails to conquer Paris and sails to the South Seas. Life in Tahiti. The tropical paradise exposed. Marries a mulatto girl. A pseudo-savage. Makes a holy show ofhimself in Paris. The white mans curse. His Javanese mistress. Returns to Tahiti. Quarrels and degradation, disease and death. The cult of the primitive. 6. WILD ANIMALS 1 43 Van Gogh, his work, his influence, his limitations. Gauguin, his art a French instrument tattooed with savagery. The philosophy of escape. The impetus to pattern-making. Sensational uprising in art. Review of the forces precipitating Modernism. The new movement the culmination of anti bourgeois tendencies. A Bohemian revolt hatched in Montmartre. Picasso and his crew...

Nancy Spero (born in Cleveland, Ohio, 1926) is a pioneer of feminist art and a key figure in the New York protest scene of the 1960s and 70s, as highly regarded as famed artists Martha Rosler and Adrian Piper. With a career spanning over 50 years, Spero continues even today to engage, question, and defy our current political, social and cultural scene. Her work has recently been exhibited throughout the US and Europe, including the last edition of the "Venice Biennial". This book focuses on the artist's search to create her own language, featuring the best of her work, from early student works on paper to her latest presentation at the Venice Biennial.

As World War I shaped and molded European culture to an unprecedented degree, it also had a profound influence on the politics and aesthetics of early-twentieth-century Russian culture. In this provocative and fascinating work, Aaron J. Cohen shows how World War I changed Russian culture and especially Russian art. A wartime public culture destabilized conventional patterns in cultural politics and aesthetics and fostered a new artistic world by integrating the iconoclastic avant-garde into the art establishment and mass culture. This new wartime culture helped give birth to nonobjective abstraction (including Kazimir Malevich’s famous Black Square), which revolutionized modern aesthetics. Of the new institutions, new public behaviors, and new cultural forms that emerged from this artistic engagement with war, some continued, others were reinterpreted, and still others were destroyed during the revolutionary period. Imagining the Unimaginable deftly reveals the experiences of artists and developments in mass culture and in the press against the backdrop of the broader trends in Russian politics, economics, and social life from the mid-nineteenth century to the revolution. After 1914, avant-garde artists began to imagine many things that had once seemed unimaginable. As Marc Chagall later remarked, “The war was another plastic work that totally absorbed us, which reformed our forms, destroyed the lines, and gave a new look to the universe.�

LAND ART IN THE U.K.

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed.

EXTRACT FROM THW CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy s snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and shock for Goldsworthy. In Midsummer Snowballs he wrote that e]ven in winter each snowfall is a shock, unpredictable and unexpected.

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child s joy when it snows (school s cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of the effect, the excitement of the first snowfall. Some of this excitement comes across in Goldsworthy s snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy s earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn t have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!