Andy Goldsworthy Analysis

In the essay, “A Literature of Place”, Barry Lopez expresses the importance of nature as it applies to human life. Through this he states that humans’ imagination are inspired by the scenery around them. Lopez revolves around a central perspective; Ancient american literature has always been rooted in nature. By acknowledging that modern human identity has been interpreted by nature, Lopez describes how the landscape of an area can shape the structure of the communities and how it can help with spiritual collapse. Nature writing has often been summarised by being one of the oldest threads in american literature. With our nation's aging one needs to reflect on their literary past; therefore, Lopez insists that we find our path to nature that

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

Sense of place is a perspective of geography that can be seen in John Steinbeck’s The Grapes of Wrath. As noted in The Human Mosaic sense of place is a term used to connote the humanistic view of geography, it seeks to understand the unique character of individual regions and places. In The Grapes of Wrath, farmers and their families are being kicked off of their land, when one family is selling all of their belongings one exclaims “This land, this red land, is us; and the flood years and the dust years and the drought years, are us. We can’t start again… And when the owner men told us to go, that’s us; and when the tractor hit the house, that’s us until we’re dead.” This was land was their place, they made memories there. Power and Ideology

Louv uses strong imagery to describe how to connection that people have with the environment has changed over the years. He describes how “[they] used [their] fingers to draw pictures on fogged glass as [they] watched telephone poles tick by,” in a time where there was no technology and they had to entertain themselves. By painting a picture of this experience it shows how time has changed

In one's life, for many, the place means everything. In the novel Blank by Trina St Jean, a young teen looses her memory after an upsetting accident and spends the novel trying to figure out what happened. Jessica's life is set in her family farm and surrounding forest. Setting is crucial to her story because of her love for nature, her accident, and her runaway plan. To begin, Jessica’s family farm is the perfect place for a nature lover like Jessica, it could be that living on the farm made her develop her love, or that is grew over time. Nonetheless, the farm is a crucial setting to the story: “After taking the first photo it starts to come back to me. Not a memory, but a feeling. Like I’ve done this before” (St. Jean 189). Here it is seen

I chose to write about Richard Wilson’s ‘Wilton House From the South East”. I chose this work because I associate nature with serenity. I really enjoy the feeling of tranquility one gets when in the wilderness, and that is the first thing that came into my head when viewing the art. Both groups of people in the work seem to be very relaxed and enjoying themselves by the water.

When I was younger, I kept a diary and wrote in it every day. My diary was filled with all my secrets and thoughts, ultimately it was a form of expression for me. My older brothers always stole my diary and read the never ending amount of entries containing everything I wished I could say. For most people who own a diary themselves, it is a way for them to let out their thoughts and feelings instead of holding them in. When someone finds their diary and reads all their private thoughts, the writer is mortified. But, this could be a good for them since it allows the reader to finally comprehend what goes on in the writer’s mind and provide advice for them. In A Prayer for Owen Meany by John Irving, the author

Marcel Duchamp stated that "It was his achievement to treat the camera as he treated the paintbrush, as a mere instrument at the service of the mind” (Biography.com, 2017). In addition, the photogram might seem expressive and abstract, yet on the contrary, it is the precise medium to document the everyday objects in an unrepeatable and somehow uncontrollable way. The artist cannot predict how the selected objects will be recorded under the light sources that were tampered with. From the first glance, the image completely dissociated from its original subject, allowing one’s memory to fill the gap. Yet below its surface, the image is an accurate documentation that captured a moment of psychical intensity. It revealed a new visual experience, using objects in the simplest way. One can say that the use of this medium disclosed reality more preciously due to its invisibility and mysterious representation (The Museum of Modern Art, 2017).

“Owen used to say, gravely, that his father would surely be damned for initiating the move, but that the Catholics had committed an UNSPEAKABLE OUTRAGE- that they had insulted his father and mother irreparably.” (Irving 22). In the beginning, Owen didn't have any idea why his parents were being shunned by the Catholics. He felt because his parents spoke with disdain, he should as well. That's when Johnny notices the affect on Owen's mom. Ever sense a young age, Owen believed he had been of virgin birth, therefor a direct descendant of God. The rejection from that religion and his anti-Catholicism upbringing caused his outlook on Catholics to be sour. The significance of the USPEAKABLE OUTRAGE is that the reader sees how Owen's, and Johnny's,

gallery space. However, it is the aim of a postmodern artist to step outside these

For my final sense of place, I decided to watercolor my experience in my sense of place. It’s an expression of what I’m thinking so my face is in the middle. The top layer, painted in red and yellow, is Arizona. There are two sides to this layer- that with cacti and that with mesas. The cacti represent southern Arizona where I live and the mesas symbolize northern Arizona where the rez is and my family lives. Then, the lower layer is Dartmouth. To the left is the forest and the beauty of New Hampshire. On the other side is Dartmouth Hall which is very different and separated from the forest- Dartmouth is a bubble and is separated from the normality of its surroundings. Between these two layers is the sky- a mixture of blue and purple. Traveling between the two places is very emotional because I have close relationships in both places.

In chapters two and three titled “Sites” and “Movements” respectively, Howard makes the case that there is a “dialectical” relationship between the subject and the landscape (both social and physical) and

Australia has a prolonged tradition in portraying and illustrating the complex and breathtaking landscape which surrounds it. The landscape representation has been extrapolated along time in different backings as painting, literature or cinema and embodies the post-colonial performances. According to the Tweed River Art Gallery (2009), Macleod is influenced and astonished by the greatness and sharpness of the Australian landmass and this is what he intends to represent in his pieces. His sources of inspiration embrace such impressive dissimilar environments as New Zealand, the central Australian desert, and Antarctica. Euan Macleod’s work suggests an utopic world where the countryside is prosperous and wealthy and the human manifestation is

Andy Goldsworthy creates art that not only incorporates the natural environment, but transforms the natural materials he works with into pieces of art that evoke a fresh perspective and a greater understanding of nature. Three of his photographs that show a unique perspective of nature are Rowan Leaves and Hole, Ice Spiral: Tree Soul, and Sticks Joined by Freezing One End to Another. In the first photograph, Rowan Leaves and Hole, Goldsworthy displays his understanding of nature and draws connections to it by using colors commonly found in the outdoors, as well as common forms of nature i.e. the hole and the circle. Circles are most often seen in the sun and the moon, and holes can be found in many places including in the ground and in trees.

Robert Smithson’s, “Spiral Jetty,” is an example of earthwork art. In Smithson’s 1972 essay, “The Spiral Jetty,” he explains his first impression of the area where he created one of his best earthwork projects. Throughout this essay, Smithson recounts how his work was built and explains some of his artistic intentions behind the piece. Earthwork art is a type of process art that is also related to minimalism due to its nature of the aggressive character and makeup of bold, “unitary” forms. His essay placed a strong emphasis on how the integration of literature and visual art can develop the perception, interpretation, understanding, and sensory experience for viewers.