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Ephemeral art



Another artist who works with highly ephemeral materials is of course
Andy Goldsworthy - beautiful temporary sculptures made from leaves,
rocks, sticks, ice, etc.,  about which he too makes books of photos.
 I love such things as snow and ice sculptures, or the gorgeous food art
done in Thailand, where they carve fruit and vegetables into wonderful
shapes.
Here in Colorado, in Breckenridge,  there is an annual snow sculpture
competition.
There is something wonderful about art which must be experienced right now
and which can't be kept in tangible form.

> -----Original Message-----
> From: Book_Arts-L: READ THE FAQ at http://www.philobiblon.com
> [mailto:BOOK_ARTS-L@LISTSERV.SYR.EDU]On Behalf Of Sue Clancy
> Sent: Saturday, May 12, 2001 11:18 PM
> To: BOOK_ARTS-L@LISTSERV.SYR.EDU
> Subject: Re: Bleach
>
>
> Yes that 'do we want our work to last' is an interesting
> question.  Especially
> when one considers that some artists work deliberately in non
> permanent mediums
> like chocolate - they create art intending that the art is to
> be eaten!! (In the
> area where I live we have an arts center that regularly has a
> chocolate
> festival/edibile art exhibit)
>
> There are any number of art works of all mediums that are
> intended by their
> creators to not 'last', or to 'last' only for a while.
> Which that brings us to the use of 'time' as an artistic
> medium - but that's
> another email.  <smile>
>
> Consider artist Richard Long's work in natural elements
> (stones, water etc.).  He
> constructs these 'sculptures' often in inaccessible
> locations. The art is
> vulnerable to wind, rain, soil erosion, vandalism etc. and
> frequently the most
> 'lasting' element of the artwork is the books that he makes
> about the process of
> creating his art.
>
> Sue Clancy
>
>
> James Tapley wrote:
>
> > So the question is also one of "do we want our work to last
> and in what
> > condition?";
> > who of us can accurately predict what the future, even
> tomorrow, will find of
> > interest and value?
> > For myself, I simply don't believe in doing throwaways, and
> because I spend
> > much of my working life in attempts to slow and ameliorate
> the effects of
> > aging, environment, etc., on works of "art", I've a vested
> interest in trying
> > to get artists to be a bit more careful in their choice of
> materials and
> > methods. As do the admirers and purchasers of those
> artists' works. This is
> > an admittedly "old fogey" point of view.
> > Fifteen years, even fifty, is not a very long time in the
> life of most
> > "things". There is an interesting piece in the NYTimes on
> attempts to deal
> > with the novel conservation problems posed by much postwar art:
> > http://www.nytimes.com/2001/04/05/arts/05REST.html?searchpv=site06
> > which though brief, at least gives a hint of what's involved.
> > As Chris Clarkson, one my personal "gods" of twentieth
> century bookbinding
> > and conservation, has pointed out often, there is far too
> little connection
> > between most modern bookmaking and conservation. To my
> mind, this is a
> > detriment to both fields.
> > I believe that those of us who work in the book arts have a
> very real
> > responsibility to ourselves and others to do our work in
> the very best way we
> > know, if only to spare some future overworked conservator
> (it COULD be me in
> > ten years) the problems of degradation we sometimes build
> into our work. Best
> > James
> >
> > James Tapley Hand Bookbinder
> > 2077 Thirteenth Street
> > Sarasota, Florida
> > 34237   USA
> >
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>             BOOK_ARTS-L: The listserv for all the book arts.
>       For subscription information, the Archive, and other related
>             resources and links go to the Book_Arts-L FAQ at:
>                       <http://www.philobiblon.com>
>
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