Goldsworthy discusses a series of shadow works, where he lays down in the rain and leaves the trace of his body on nature.
Video Archive Subclip | Yearly Archives1993 (68)
Goldsworthy describes a series of walls. He stresses that he draws walls in nature that have sympathy with the place that they travel through. The walls don’t cut the trees, they go around them. Goldsworthy explains that the importance of this work relies on the fact that even if the tree disappears there is a trace of its existence. Goldsworthy also shows a series of cones made out of the same stones as the walls.
Goldsworthy discusses a series of works, begun in 1977, that feature black holes. He stresses the contrast between the inside and the outside of the holes. He shows his series of works with snowballs, commenting on the importance of time and photography in his pieces.
After being introduced by Merry Norris, Andrew Goldsworthy notes his early experience as a farm laborer, and shows some of his early works with earth and water. Goldsworthy insists that he is not an observer, but a participant. He tries to understand nature by touching, feeling and making.
Stein discusses connecting landscapes now to landscapes of the past. She presents a project in San Francisco in which an ice enclosure shed alfalfa seeds as it melted. Stein follows her lecture with a question and answer session in which she comments on the issue of environmental remediation, stating that you can never truly restore nature, but you can attempt to balance natural systems.
Stein presents a large scale project in India where she was hired to add decorative landscaping to a new industrial area, but pushed for a land management plan that created substantive benefits by mediating between the government and the factories. She returns to the theme of conflicts between recreation, conservation and agriculture. She discusses the value of cultural traces on the landscape and their ability to generate new landscape types.
Stein discusses outdoor recreation and the problem of visitors, where heavy use can imperil the landscape being preserved. She argues for human intervention to protect the natural functions of the environment, and make environments robustly self-sustaining. She proposes a different understanding of the way we design on the land. In Los Angeles, for example, the landscape ends where the watering hose ends. Stein discusses “processed landscapes,” and humans both healing the land and helping it become productive.
John Kaliski introduces Achva Benzinberg Stein, noting her academic and professional achievements in architecture urban and landscape design. Stein discusses the meaning of form
in design and shows paintings to express her desire to move past imagery where nothing can be added or subtracted. Looking at nature, she suggests a dynamism that goes beyond ideals of perfection.