I have never seen Barry Flanagan’s short video piece, Hole In the Sea (1969), yet I’m not quite sure if I ever quite want to. The short piece, filmed by Flanagan with Gerry Schum in Holland for a Land Art TV exhibition, currently exists in colour and in black & white, contained variously in the Pompidou archive in Paris and the Stedelick Museum in Amsterdam. … Continue reading Responses: Hole In The Sea (1969, 1970), Barry Flanagan
One of Derek Jarman’s first short super-8 film was the haunting A Journey to Avebury. Early evidence that Jarman was interested in the genii loci of English landscapes, his walk through the Wiltshire landscape, after the intense stint of work on the sets for Ken Russell’s The Devils (1971), had a larger influence upon him than the singular short film belies. The ancient landscape generated a whole range minimalist paintings … Continue reading Responses: Derek Jarman’s Avebury
At the recent Alchemical Landscape conference in Cambridge, there was some interesting discussion of the landscape seen in the opening segment of Alan Clarke and David Rudkin’s Play for Today episode, Penda’s Fen (1974). The point of the discussion was to show the subversive nature of the opening titles of the film in regards to its melding of two potentially differing realities of English landscape. … Continue reading Wire and Grass Landscapes
Andy Goldsworthy’s work has a transience running through its core. Such quiet transience is perhaps best expressed in his use of ice within sculpture. Though almost everything the artist does has a brief lifespan as a finished object, there are few that seem so precarious as his ice works, specifically the various ice arches that he laboured on throughout the 1980s. For this article, the … Continue reading Responses: Andy Goldsworthy’s Ice Arch (1982)
The landscape painter and augmenter, Paul Nash, had a momentary, glimpsed relationship with the Wiltshire town of Avebury. The landscape, which brims with a sense of ancientness and magic, evidently enraptured the painter for a brief spell of creative yield not simply in painting but in photography as a sideline as well. Caught in the trace images and memories of its Neolithic stone circles, its … Continue reading Responses: Avebury Photos (1933 + 1942) – Paul Nash.
Celluloid Wicker Man 