User:PhrameSeek/Edward Burtynsky
Edward Burtynsky | |
|---|---|
 Ed Burtynsky in 2009 | |
| Born | February 22, 1955 St. Catharines, Ontario, Canada |
| Nationality | Canadian |
| Occupation(s) | photographer, artist |
| Awards | Former Officer of the Order of Canada TED Prize |
| Website | www |
Edward Burtynsky (born February 22, 1955) is a Canadian photographer and artist known for his large format photographs of industrial landscapes. His works depict locations from around the world that represent the increasing development of industrialization and its impacts on nature and the human existence. It is is most often connected to the philosophical concept of the sublime, a trait established by the grand scale of the work he creates, though they are equally disturbing in the way they reveal the context of rapid industrialization.[1]
Burtynsky is also the inaugural winner of the TED Prize for Innovation and Global Thinking in 2005. In 2016 he was the receiver of the Governor General's award in Visual and Media Arts for his collection of works thus far.[2]
Though Burtynsky is not actively or openly an advocate for environmental conservationism, his work is deeply entwined in progressive-minded environmental agendas. His rise to recognition in environmentalist circles is in consequence of his themes commenting on the scars left by industrial capitalism while establishing an aesthetic for environmental devastation[1], the sublime-horrors discussed in a number of essays on the topic of his work.[3]
Early Life[edit]
Burtynsky was born in St. Catharines, Ontario, a blue-collar town where General Motors was their largest employer. His Father, Peter Burtynsky was a Ukrainian immigrant who found work on the production line at the General Motors plant. At 11 years old, Burtynsky's father purchased a darkroom and cameras from a widow whose husband had previously practiced amateur photography. Burtynsky was given two rolls of Tri-X film and told to make due with that or support the habit through his own means.[4] Along with learning black and white photography, he learned black and white print.[5] This would prove to be useful in the development of his own business to support his new-found habit as he began photographing events and providing portraits at his local Ukrainian community center, charging 50 cents per photograph. With the money he made, he travelled throughout the countryside of St. Catherines photographing the "pristine landscapes" of his childhood.[6] This is where he would later attribute his interest in pursuing landscape photography.
Education and Early Career[edit]
From the mid-1970s to early 1980s, Burtynsky formally studied graphic arts and photography. He obtained a diploma in graphic design from Niagara College in Welland, Ontario, beginning his studies in 1974. [7] After receiving his collegial diploma, he had not initially considered pursuing higher education, but quickly changed his mind when touring the Ryerson campus on a request from a former photography teacher of his. [4] He enrolled and completed the four-year undergraduate program and obtained a Bachelor's in Photographic Arts (Media Studies Program) from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982.[7]
Burtynsky's earliest works, now donated to Ryerson University's Image Center are primarily taken in locations across Ontario and Western Canada. Influenced by American photographers such as Ansel Adams, Edward Weston and Carleton Watkins, these works consist mostly of colored landscapes. Some of his earliest original landscape photographs such as Landscape Study #1, North Carolina, USA (1979) and Landscape Study #2, Ontario, Canada (1981) served as portfolio submissions for Ryerson and displayed traces of his early exploration into the main themes of his work: human control over nature. [8] Burtynsky briefly worked in photography departments for IBM and the Ontario Hospital Association peri-graduation and in architecture post-graduation [4] until in 1985, he founded Toronto Image Works, a studio space that doubled as a darkroom rental facility, custom photo laboratory and training center for digital and new media. [7]
Some of Burtynsky's breakout works post-graduation such as Breaking Ground: Mines, Railcuts and Homesteads (1983-85) and Vermont Quarries (1991-92) show a decisive transition toward the human impact themes that mark his later work. [7] In many of these indicate an honest account of the ecology of human interaction and the pillaging of landscapes which include the dialogue between the human, machine and the earth. [3]
Photography[edit]
Most of Burtynsky's exhibited photography (pre 2007) was taken with a large format, field camera, on large 4×5-inch sheet film and developed into high-resolution, large-dimension prints of various sizes and editions ranging from 18 × 22 inches to 60 × 80 inches. [9] He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently drones, helicopters and fixed-wing aircraft. Burtynsky describes the act of taking a photograph in terms of "The Contemplated Moment", evoking and in contrast to, "The Decisive Moment" of Henri Cartier-Bresson. [10] He currently uses a high-resolution digital medium format camera. [11]
Burtynsky's photographic style is characterized by the sublime nature of the scale of his photographs. His large-format view camera depicts humanity's scarring on the landscapes he makes his subject, with "astonishing color and relentless detail", always focusing on the consequences of global consumerism. [9] Burtynsky's photography places the viewer in a state of non-intervention with the environments depicted. [9][10] While the viewer witnesses the consequences of radicalized consumerism, the viewer is left to quietly contemplate its political articulation: neither a condemnation nor a celebration of the subject matter, simply an acknowledgement of its existence, to create dialogue, not to dichotomize.[3]
Manufactured Landscapes (2003)[edit]
Manufactured Landscapes is a collection of more than 60 large scale images, many as large as 48 by 60 inches, depicting Burtynsky's travels around the world capturing stunning transformations of nature into industrial landscapes. [9] In 2003, Burtynsky developed a series of images conveying China's contemporary transformation into industrialization. Using a 4×5 medium format camera he presented the result of Western consumerism on the industrialization of China while depicting the effects of the environmental devastation caused by Chinese industrial ambitions in China.[12]
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Burtynsky photographs sweeping views of landscapes altered by industry: mine tailings, quarries, scrap piles. [3] The grandeur of his images is often in tension with the compromised environments they depict. [13] He has made several excursions to China to photograph that country's industrial emergence, and construction of one of the world's largest engineering projects, the Three Gorges Dam. [3]
Photographic series[edit]
- 1983–1985 Breaking Ground: Mines, Railcuts and Homesteads, Canada, USA
- 1991–1992 Vermont Quarries, USA
- 1997–1999 Urban Mines: Metal Recycling, Canada Tire Piles, USA
- 1993–Carrara Quarries, Italy
- 1995–1996 Tailings, Canada
- 1999-2010 Oil Canada, China, Azerbaijan, USA
- 2000–Makrana Quarries, India
- 2000–2001 Shipbreaking, Bangladesh
- 2004–2006 China
- 2006–Iberia Quarries, Portugal
- 2007–Australian Mines, Western Australia
- 2009–2013 Water Canada, USA, Mexico, Europe, Asia, Iceland, India
- 2016 Salt Pans[14]
- 2014–2018 Anthropocene[15][16]
References[edit]
- ^ a b Ptak, Laurel (2006). "EDWARD BURTYNSKY: MANUFACTURED LANDSCAPES". Aperture (184): 14–14. ISSN 0003-6420.
- ^ Burtynsky, Edward. "Edward Burtynsky | Speaker | TED". www.ted.com. Retrieved 2021-02-25.
- ^ a b c d e Schuster, Joshua (2013). "Between Manufacturing and Landscapes: Edward Burtynsky and the Photography of Ecology". Photography and Culture. 6 (2): 193–212. doi:10.2752/175145213X13606838923318. ISSN 1751-4517.
- ^ a b c Herman, Alexander (2010). Kickstart : how successful Canadians got started. Paul Matthews, Andrew Feindel, Inc Gibson Library Connections, Gibson Library Connections. Toronto [Ont.]: Dundurn Group. pp. 150–155. ISBN 978-1-55002-783-9. OCLC 666231575.
- ^ "Edward Burtynsky | The Canadian Encyclopedia". www.thecanadianencyclopedia.ca. Retrieved 2021-02-25.
- ^ Ballamingie, Patricia; Chen, Xiaobei; Henry, Eric; Nemiroff, Diana (2009). "Edward Burtynsky's China Photographs-A Multidisciplinary Reading". Environments. 37 – via ResearchGate.
- ^ a b c d "Edward Burtynsky | The Canadian Encyclopedia". www.thecanadianencyclopedia.ca. Retrieved 2021-04-02.
- ^ "Visionary Canadian photographer Edward Burtynsky gifts career-spanning archive to the Ryerson Image Centre". Ryerson University. Retrieved 2021-04-02.
- ^ a b c d Ptak, Laurel (2006). "EDWARD BURTYNSKY: MANUFACTURED LANDSCAPES". Aperture (184): 14–14. ISSN 0003-6420.
- ^ a b Khatchadourian, Raffi (12 December 2016). "Edward Burtynsky's Epic Landscapes". The New Yorker. ISSN 0028-792X. Retrieved 2019-02-12 – via The New Yorker.
- ^ "An Interview with Edward Burtynsky". Petapixel. Retrieved 2019-02-12.
- ^ Zehle, Soenke (May 2008). "Dispatches from the Depletion Zone: Edward Burtynsky and the Documentary Sublime". Media International Australia. 127 (1): 109–115. doi:10.1177/1329878X0812700114. ISSN 1329-878X.
- ^ Campbell, Craig (2008). "Residual Landscapes and the Everyday: An Interview With Edward Burtynsky". Space and Culture. 11 (1): 39–50. doi:10.1177/1206331207310703. ISSN 1206-3312.
- ^ "Salt Pans". Edward Burtynsky. Retrieved 2019-02-12.
- ^ "Anthropocene". Edward Burtynsky. Retrieved 2019-02-12.
- ^ Davison, Nicola (13 October 2018). "The devastating environmental impact of human progress like you've never seen it before". Wired UK. ISSN 1357-0978. Retrieved 2019-02-12 – via www.wired.co.uk.