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
I’ve written extensively about Derek Jarman’s short super-8 film, Journey To Avebury; one of his earliest experiments in film that channels so much of the genii loci of English landscapes, ubiquitous in the more interesting of English arts. His walk through the Wiltshire landscape after the intense stint of work on the sets for Ken Russell’s The Devils (1971) seems to have had a larger … Continue reading Responses: Derek Jarman’s Landscape Paintings
At the recent Alchemical Landscape conference in Cambridge, there was some interesting analysis of the portrayal of landscape in the opening sequence of Alan Clarke’s Play For Today episode, Penda’s Fen (1974). The point in the analysis was to show the subversive nature of the opening in regards to its melding of two potentially differing realities of English landscape; on the one hand, the typical pastoral … Continue reading Wire and Grass: Landscape Binaries in Television and Reality.
While Andy Goldsworthy’s work has a general theme of transience running through its core, it is perhaps best summarised 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 the ice works, specifically his various ice arches. For this article, the ice arch in question is … 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.
Part 1. Portals, Dimensions and Time. For Barbara Hepworth the process actually began in Yorkshire, and Cornwall is the second and last English phase of a basic topographical emotion which is no longer a matter of geography but one of the mind and creation. Neither is it any longer a matter of feeling for landscape in the narrow sense but one of the relation of … Continue reading Uncanny Portals And Standing Stones (Children Of The Stones, The Owl Service and Barbara Hepworth)- Part 2.