By Larry Humber
The Art Newspaper
A trove of Inuit art—some 89,000 drawings in all—was created in Cape Dorset (now Kinngait) near the southern tip of Baffin Island between 1950 and 1980, providing a way for the community in Canada’s remote Nunavut territory to generate income. But very few of those works have seen the light of day through the issuing of limited-edition prints, with the Toronto market very much in mind.
After a devastating fire destroyed a similar archive in a nearby Arctic community, the Ontario-based McMichael Canadian Art Collection moved to acquire the Cape Dorset drawings in 1990, giving them a secure home. “Inuit art was always folded into our national identity,” says Sarah Milroy, the McMichael’s chief curator, making the acquisition an obvious move.
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Read MoreBy David D'Arcy
The Art Newspaper
After its US premier at the Sundance Film Festival in Utah, the visually stunning documentary heads to Berlin
The deep brown curves of a strip mine in New Mexico seem like contours of a woven carpet. So do the rows of a palm oil plantation in Borneo alongside a lush green rainforest. A vast garbage dump in Kenya has its own luminous topography, with plastic gleaming like jewelled inlay. Like glowing flows of molten lava, these and the many manmade environments observed in the film Anthropocene: The Human Epoch, which premiered at Sundance, are no less troubling for their eerie allure. Nature isn’t what it used to be.
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Read MoreBy Anny Shaw
The Art Newspaper
Much like archaeological eras, the Canadian photographer Edward Burtynsky’s projects tend to span long stretches of time. He spent a decade working on his Oil series and five years on the Water project. But, for the past five years, he has been preoccupied by the Anthropocene project, part of which was unveiled for the first time at Photo London art fair yesterday, 16 May (until 20 May).
Most striking among the works is a high resolution mural showing a Carrara marble quarry, a more than six metre-long panorama made by seamlessly stitching together 122 50-megapixel files. The piece literally comes to life using augmented reality (AR)—when you hold an iPad up to the print, the image on the screen pans out to reveal the magnitude of the scene, complete with moving trucks and diggers.
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