男人不是,自然是贫瘠的
— William Blake

Men dig tons of earth
to find an ounce of gold

All things change to fire
和火筋疲力尽
倒回东西
- Heraclitus.

当我在2002年第一次与Edward Burtynsky的纪念照片中盯着Edward Burtynsky的纪念照片时,我被提醒了Heraclitus,那种古老的古代古老的古老谁在6世纪后期的BCE希腊仍然存在迫切相关。

At the same time I was reminded of William Blake, the English Romantic poet whoseMarriage of Heaven and Hell体现和颁布了Burtynsky的有远见的审美。布莱克在他的预言诗中提到了“黑暗撒旦厂”耶路撒冷anticipated Burtynsky’s制造景观。(The latter, of course, is a reference to Jennifer Baichwal’s 2006 documentary film about the photographer.)

Long before Burtynsky became Canada’s most acclaimed photographer, the Kitchener-Waterloo Art Gallery organized his first solo public exhibition, titled土方制品 - 打破地面。他从未忘记了姿态。在欣赏1985年的展示中,基于多伦多的摄影师的St.Catharines出生,给了来自1981年至2001年之间的各种系列的大型彩色照片。

The generous gift received its first comprehensive showing at the gallery in December 2002. Its significance was confirmed when four works were loaned to the National Gallery of Canada for a retrospective on the photographer, who was 47 years old at the time.

拒绝布里蒂斯基是一位艺术家,他们一直在赐予给予 - 至少有关kwag。在2014年底,他给了画廊40份额外的作品,选自1999年至2007年的各种系列。93份作品的总礼物是仅限于国家美术馆的集合的数量。“它的大小非常令人惊讶,”画廊的高级策展人Crystal Mowry。

三十二种发色彩色印花在1月11日下调Edward Burtynsky: Infinite Change.I highly recommend the exhibition. It’s a must-see.

面对Murtynsky的工作是一个令人惊叹,令人兴奋,令人不安,挑战,令人振奋的经验,因为我们陪着从加拿大和美国向西班牙,澳大利亚和中国的Photograpating Planet的摄影师以及墨西哥湾的摄影师。

In addition to Burtynsky’s manufactured landscapes depicting various mega-projects of oil, mining and aggregate extraction, there is:
(1) large-scale dry land farming,
(2) interiors of huge textile mills and oil refineries,
(3)巨大坝项目,
(4)灾难性的漏油,
(5)与迷宫道路和蛇纹石的城市巨大垄断,巨大的巨大建筑物的巨大压实网和无数的汽车停放在行,在行,类似于巨大停车场的火柴盒玩具。

枢轴灌溉#21

枢轴灌溉#21

In most works the industrial landscapes are recognizable; in others the landscapes have been formally reimagined to their constituent geometric shapes.枢轴灌溉#21, High Plains, Texas Panhandle, USAis a gorgeous rust-coloured abstract. SimilarlyDryland农业#24,Monegros县,阿拉贡,西班牙是一种不对称形状的多彩多姿的并置。

Most of Burtynsky’s industrial landscapes don’t make newspaper headlines or nightly newscasts.Oil Spill #4, Skimming Boat, Near Ground Zero, Gulf of Mexico, June 24, 2010是一个例外。它的蓝色发光污渍,类似于凉爽的灰色海洋表面上的巨大螃蟹,拥有一个可怕的美丽与死亡一致。

都市更新#5

都市更新#5

After reacquainting myself with Burtynsky’s work I reread my review of the 2002 KWAG exhibition. I was surprised and gratified that my initial observations remain sound today. Moreover, I was delighted how much Burtynsky’s own words reflect the judgments I advanced in the earlier review.

Here are the photographer’s words which are displayed on the gallery wall to introduce the exhibition:

‘These images are meant as metaphors to the dilemma of our modern existence: they search for a dialogue between attraction & repulsion, seduction and fear. We are drawn by desire — a chance at good living yet we are consciously or unconsciously aware that the world is suffering from our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of the planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our time.’

当我审查展览时Waterloo Region Record.Burtynsky had spent the previous two decades documenting the troubled, and troubling, clash between humanity and nature from a perspective uniquely his own. At a time when the relationship between technology and ecology had been not only controversial but volatile, Burtynsky followed a path less travelled, eschewing advocacy for attentive documentation.

Here, then, is the review in slightly altered form:

在他的艺术中,Burtynsky通过拒绝被拒绝被纳入保护和剥削之间的道德冲突来采取更加困难的艺术之路。这种冲突不仅仅是防止退化的保存。Burtynsky的照片而不是记录合成,而是在动态审美张力中保持这种关键辩证。

在这样做,他为他的艺术建立了一个独特的利基。这并不意味着成就,考虑到这么多是危险的 - 并非最少的是这脆弱,神圣的星球和其遗憾居民的未来(当涉及到环境剥削和退化时)。

From the strain
结合对立面
来和谐
- Heraclitus.

Burtynsky已经追求了世界寻求一般被视为生态破坏的网站的世界。Marble and granite quarries, open-pit mining operations, tailing ponds, refineries, recycling plants, scrap yards, food processing plants, greenhouses, rail cuts and dismantling sites for retired freighters have all fallen under Burtynsky’s ‘cold eye’ — with a nod to W.B. Yeat’s headstone epitaph.

His uncompromising photographs force viewers to confront in a direct and immediate way industrial processes they might otherwise ignore. Fact is, the technological conveniences we take for granted as part of prosperous global economies come at the expense of the environment.

炼油厂#7,Oakville,安大略省将观众放在炼油厂内部内部。相似地,Carrara大理石争吵#4,卡拉拉,意大利将观众放在大理石采石场内。这些网站不仅与生态破坏相关的网站,它们被视为对感官的令人厌恶的侵犯 - 丑陋的正统美容标准。

Burtynsky从不美化或glorifies these sites of planetary devastation or the industrial activities that take place in them. In contrast to Hamilton photographer James Williams, who dignifies labour through heroic portraits of steelworkers, Burtynsky’s images present a terrifying postmodern ambiguity by challenging notions of conventional beauty, which often have more to do with taste, fashion and cliche than with any permanent or universal aesthetic ideals.

任何有眼睛看到不能否认引人注目composition and visual splendour — achieved by blood-red contrasted against deep, dark green — of镍尾矿#31,萨德伯里,安大略省。富有纹理的同型黑色金属粉红色#8,安大略省汉密尔顿or the layers of colour and arresting sense of depth conveyed byMakrana Marble Quarries #6, Rajastan, India.

Without contraries
没有进展
— William Blake

The desire to impose order on chaos is an ancient and perennially recurring artistic impulse. In contrast, Burtynsky documents the order that is contained within chaos. But, while his photographs record, they should not be misconstrued as merely documentary.

它们不仅仅是通过相机的取景器出现的记录;而是正式审议。同样,内容既不是随意的也不是偶然的。在此过程中,Burtynsky在道德上挑战性艺术,在不提供简单答案的情况下提出了困难的问题。

Although he might find beauty in unexpected places, this doesn’t mean he approves of what he details. But judgment and condemnation are left to others. Some viewers might see this as ethical fence-sitting — art for art’s sake taken to a perverse extreme at a time of global crisis.

其他人可能会认为这是对艺术在引领中的作用的肯定,在为时已晚之前改变复杂和困难时期的过程;持有'镜子到大自然'(莎士比亚观察到村庄)随着生态钟作毁了。

Edward Burtynsky将其留给了旁观者的眼睛,以评估这种工业主义,商业主义,城市化和消费的巨大遗产 - 黑暗的撒旦厂。

(精选图像是中国采石场。纸上的数字发色彩色印花的所有图像。Kitchener-Waterloo Art Gallery Collection. Courtesy of Edward Burtynsky, 2014,© Edward Burtynsky。Image courtesy of Nicholas Metivier Gallery, Toronto.)