Toronto Life
From media barons to tech titans, culture czars to rap stars: 50 power wielders who are changing the world as we know it.
Read all the profiles, including Edward Burtynsky’s, here.
Read MoreNEWS HUB
The Art Gallery of Ontario puts human destruction on display and calls for change
By Fatima Syed
National Observer
When you first walk into the Anthropocene exhibit at the Art Gallery of Ontario, you stop to watch a man with mismatched boots trudging slowly over a 50-year-old landfill just outside Nairobi, Kenya that was declared full in 2001 and shut down.
You watch the man walk through what looks like a road forming a canyon. It looks like there are mountains on either side of his path, but its actually just one great, continuous mound of discarded plastic of all shapes and colours — the cheapest material to recycle across the world. He keeps walking until he meets a few more people scavenging and sorting through the garbage landscape for small things of value.
The landfill was shut down but is still active, says the description of the video: 2,000 tonnes of waste continue to be dumped there every day. And for the 1 million people who reside on and around it, the site is a primary source of income.
Continue reading the article here.
Read MoreEdward Burtynsky – An earthen canvas.
By Deirdre Kelly
Nuvo Magazine
Edward Burtynsky has made his name standing behind the lens. But today he is out front and in focus as the man who would save us from ourselves. It’s mid-morning at the Art Gallery of Ontario (AGO) and as the Canadian master photographer strolls through The Anthropocene Project, the acclaimed multidisciplinary exhibition combining large-scale resource extraction images, scientific research, and immersive media, he is recognized by several gallery-goers, who rush over to take his picture. They close in when Burtynsky pauses by a 10-by-20-foot high-resolution mural of a pristine coral bed in Indonesia’s Komodo National Park, one of thousands of images he has made of at-risk ecosystems in a 35-year career documenting the beauty and the brutality of the industrial footprint.
Silhouetted against one of his artworks, Burtynsky’s black suit contrasts sharply with the faded abstract-expressionist colour burst that makes the print look more like a Jackson Pollock painting than a call to action. And he makes no apologies for it. “Aesthetics is still one of the most powerful tools at the disposal of a visual artist,” the 63-year-old Burtynsky says. “Not to engage in a powerfully visual way with the image seems to go in an opposite direction.”
Read the full article here.
Read MoreThe Anthropocene Project
AIPAD Exposure
AIPAD member galleries are supporting photographer Edward Burtynsky in enriching the current discourse on our changing planet.
Burtynsky is well known for his large format photographs of industrial landscapes that are on display in more than 50 museums, including the Guggenheim Museum, the National Gallery of Canada and the Bibliotheque Nationale, Paris. His latest project, The Anthropocene Project, is a multidisciplinary body of work he completed with collaborators Nicholas de Pencier and Jennifer Baichwal. The project combines art, film, virtual and augmented reality, and scientific research to investigate human influences on the state, dynamic and future of the Earth.
Read the full article here.
Read MoreArt and the Environment: Museums Adjust to a New Climate
By Greg Morrison
Sotheby’s Museum Network
“We cannot take action together on something we don’t discuss,” says Miranda Massie, director of New York’s Climate Museum. She’s referring to the fact that although 65% of Americans purport to be anxious about climate change, only about 5% speak about it.
Her institution, founded in 2015, is working to change that through art and culture. It is the only dedicated climate-change institution in the world, and so far has hosted exhibitions and events in temporary and public spaces across the city. But the museum is currently without a permanent home – a status that reflects how its necessity has only recently been understood, and how the discussion of climate change is only now taking its place at the heart of the cultural world.
Read the full article here.
Read MoreEDWARD BURTYNSKY & THE BIG PICTURE
By Holly Hughes
PDNOnline
Edward Burtynsky thinks big. Since the 1980s, he has been making large-format images of the extraction and exploitation of natural resources and the impact of these vast operations on the environment. His latest project is his most ambitious to date. In two exhibitions on view now at the National Gallery of Canada in Toronto and the Art Gallery of Ontario, a new book being published by Steidl, and two gallery shows opening in New York City in November, Burtynsky invites viewers to consider the subject of geological time. The title of the project, “Anthropocene,” comes from the name used to describe what, after extensive research, some scientists argue is a new geological epoch, in which dramatic changes to the Earth have been created not by a giant meteor, but by human activity.
Read the full article here.
Read MorePhoto Essay: The Anthropocene Project by Edward Burtynsky
Emergence Magazine
Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man: from stone to minerals, oil, transportation, silicon, and so on. To make these ideas visible, I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries, and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.
These images are meant as metaphors for the dilemma of our modern existence; they search for a dialogue between attraction and 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 for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet set us into an uneasy contradiction. For me, these images function as reflecting pools of our times.
View the photo essay here.
Read MorePODCAST: Ep. 3 - Anthropocene: The Human Epoch
TVO Podcasts
“There's no black and white here… there's no easy answer to this dilemma we find ourselves in of tipping the Earth outside its natural limits.” — Jennifer Baichwal
The team behind Manufactured Landscapes and Watermark is back with a new film that explores the ways human activity has fundamentally changed the planet. Colin sat down with filmmakers Jennifer Baichwal, Edward Burtynsky, and Nicholas de Pencier to discuss the massive impact we’ve had on the Earth.
Listen to the podcast here.
Read MoreREVIEW — Edward Burtynsky: The Human Signature
By Chris Waywell
TimeOut London
★★★★
Edward Burtynsky’s new show is dominated by a six-metre-long photograph of a quarry. A massive orange digger sits in the middle, but it looks like a toy in its surroundings. Burtynsky fans’ spidey senses go on high alert: EB is showing us the rape of the earth by man.
Read the full review here.
Read MoreREVIEW – Edward Burtynsky: The Human Signature
By Matthew Rudman
Studio International
In July 2017, construction workers were digging the foundations for a new fire and police station in the town of Thornton, Colorado, when they uncovered something unexpected: the fossilised remains of a triceratops dating back 66m years. “A lot of times these will be ploughed up and they won’t be recognised,” the curator of a local natural history museum said. Humans have been manipulating the natural world since the dawn of civilisation, but the past 100 years has seen an exponential and uncontrolled increase in disruption and destruction of delicately balanced ecosystems and geologies previously undisturbed for millions of years. We are all-too familiar with the consequences: crumbling ice caps, bleached coral reefs and rising sea levels threatening to engulf our settlements with acidified water.
In the mid-20th century, hundreds of atmospheric nuclear weapons tests were conducted, coating the Earth in a thin layer of radioactive particles. Many scientists are proposing using this layer of toxic dust as the indelible signature of a new geological age, the Anthropocene, an era defined by the impact of humanity on the Earth’s ecology. Canadian photographer Edward Burtynsky (b1955) has long been preoccupied with the troubled intersection of human industry and natural ecosystems, and his most recent output, The Human Signature, on show at the Flowers Gallery, London, is part of his recently launched Anthropocene project, which explores the various manifestations of human mark-making on our planet.
Read the full article here.
Read MoreEdward Burtynsky "I’ve become hardened like a war photographer"
By Ari Stein
52 Insights Magazine
He’s spent most of his career unravelling this thread of human destruction, so much so we now have a word for it, The Anthropocene.
As a photographer he seeks to capture scenes of environmental devastation to educate and inspire us into action, the question constantly arising throughout his work is how did we get to this point? This is a pertinent question that motivates Edward to climb, rail and ascend some of the worlds farthest reaching places. Deploying his arsenal of drones, helicopters and assistants, he magically converts man-altered landscapes into images of sublime beauty.
What the world has gained from Burtynsky’s shock and awe images is the ability to piece together our every day withdrawal from the earth and put it into a whole new perspective. There is no doubt that our earth is experiencing a tipping point but only through the work of people like Edward Burtynsky can we be truly aware of what we are doing. In this exclusive interview, we sit down with Edward to ask not only how 35 years of shooting have changed him as a person but what has he learnt from doing it.
Read the interview here.
Read MoreMaclean's Live In Conversation with Paul Wells and Edward Burtynsly
Striking photos of human scars on Earth
By Cameron Laux
BBC Culture
The Canadian photographer Edward Burtynsky is a master of the post-industrial sublime. His sweeping point of view is, at the very least, ambivalent. His shots, most recently taken from the coolest possible standpoint of a helicopter and sometimes a satellite, are at first sight surreal and glorious, but they have an ominous documentary undertow.
His large-format photos aestheticise mining, deforestation, industrial waste and decay, monumental piles of garbage, plastic, rubber; expanses of new and decommissioned equipment so vast that they look like crystalline formations; dense human settlements which from an Olympian standpoint look like creeping mould or infestations.
Read the full article here.
Read MoreThe Human Signature: Edward Burtynsky's Anthropocene – in pictures
The Guardian
Burtynsky’s unsettling large-scale images of industrial-scale extraction, urbanisation and deforestation reveal humanity’s devastating impact on the planet
The exhibition will run at Flowers Gallery Londonfrom 17 Oct - 24 Nov.
View the gallery here.
Read MoreThe Artist Capturing How Industry is Transforming the Natural World
By Alexander Hawkins
AnOther Magazine
“Beauty” is not a word Edward Burtynsky wants associated with his large-format photographs of breathtaking industrial landscapes. Nevertheless, the Canadian photographer has been accused of aestheticising disaster. For almost 40 years, Burtynsky’s unsettling work has taken a bird’s-eye-view on how industry is spectacularly transforming nature, and our world. His interest, he insists, is not in capturing some terrible beauty, but rather, documenting reality in a visually compelling way.
From a distance, the rough-hewn tiers of marble quarries, the ravaged patchwork of deforested land and the vivid strata of open-pit copper mines appear strangely alluring. The tension between the dramatic pull of Burtynsky’s photographs and the controversy of what they capture is the very contradiction that makes his work so gripping. These sites, where mass human consumption exacts its most devastating impact on the planet, have rarely, if ever, been shown in such a sublime light. It is sometimes hard to look at, but Burtynsky makes it even harder to look away.
Read the full article here.
Read MorePeople vs the Planet
By Jennifer Baichwal, Edward Burtynsky and Nicholas de Pencier
The Walrus
Forests are indispensable to life on this planet. Nearly 1.6 billion people rely on them as sources of food, income, or shelter. Humans have altered over 75 percent of ice-free land on the planet with agriculture, mining, urbanization, and industrialization. And around half of the world’s original forests have been cleared, fragmented, or degraded for human use. These are hard statistics to conceptualize, especially in Canada, where forest spans coast to coast. The boreal, which is the primarily coniferous stretch of dense forest that spans the northern hemisphere above the fiftieth parallel, is a complex landscape of vibrant biodiversity supporting not only the lives of flora and fauna but humans as well.
Read the full essay here, or pick up the November issue of The Walrus on stands now!
Read MoreEdward Burtynsky surveys the devastating scale of man’s footprint on the planet
By Tom Seymour
Wallpaper*
he Anthropocene photographs are huge, imposing and impossibly detailed, designed to stimulate in us a sense of awe – both of the beauty of the natural world, and the destruction our species has wrought upon it. They are images, the photographer says, ‘of a predator species run amok’. But few realise how personal these photographs are to Edward Burtynsky, nor how much they link to his early life.
Read the full article here.
Read MoreThe devastating environmental impact of human progress like you've never seen it before
By Nicola Davidson
WIRED UK
In 1976, when he was a first-year student of photography at Ryerson Polytechnic Institute, in Toronto, Edward Burtynsky was given an assignment that would come to shape his working life. Instructed to go out and photograph “evidence of man”, he initially thought of ruins. What better evidence of man’s passing than something built a long time ago? But this was Canada, not Athens, and ancient ruins were hard to find. Burtynsky recalled that in his hometown, St. Catharines, there were remnants of the old shipping canals that had connected Lake Erie and Lake Ontario in the 1800s. He began shooting images of the sections he could find: abutments and walls that had once been part of an ambitious man-made system and now served, he thought, as an imprint – evidence of how human beings have irrevocably reshaped the land.
By and large, Burtynsky is still at work on that first-year assignment, only now he uses better cameras and criss-crosses the globe. His images are vast and uncanny landscapes of quarries, mines, solar plants, trash piles, deforestation and sprawl – pictures of depletion and desecration that are testament to the collective impact of humankind. Yet Burtynsky’s photos are not depressing. They are reverential and painterly, capturing gargantuan industrial processes in fine detail. He achieves such a quality by shooting in high resolution and by being an enthusiastic adopter of new technologies, such as drones and 3D imaging. He has started to think of himself not so much as a photographer but a “lens-based visual artist”. “Now when I’m in the field I’m working with still cameras, film cameras, and shooting VR and for AR,” he says. “There could be five different forms. I just apply what I believe is the best lens-based experience for the subject that I’m looking at.”
Today, Burtynsky is Canada’s best-known photographer, and his work has been acquired by 60 museums, including the MoMA and Tate Modern. Over the past decade or so, he has been immersed in The Anthropocene Project, a multimedia collaboration with the filmmakers Jennifer Baichwal and Nicholas de Pencier, comprises photographs, a feature film, a book and simultaneous exhibitions at the Art Gallery of Ontario and National Gallery of Canada.
Read the full article here.
Read MoreThe Anthropocene Project
By Bel Jacobs
HowNow Magazine
In face of current environmental events, debate around whether or not mankind now exists in the Anthropocene - an epoch in which human are the single most defining force on the planet and introduced in 2000 by chemist and Nobel Prize winner Paul Jozef Crutzen- seems to akin to re-arranging shells on the beach before a tidal wave. From carbon dioxide emissions to rising sea levels, human impact is undeniable and, almost always, devastating.
There is no uncertainty about the moniker for the pointedly named Anthropocene Project. Documentary makers Nicholas de Pencier and Jennifer Baichwal and photographer Edward Burtynsky have travelled the world, filming the effects that mankind has had on the planet to create a multi-media project that includes a lavish Steidl art book, a gut-wrenching documentary film, an educational programme and Burtynsky’s devastating high resolution murals.
Canadian-born Burtynsky has form in capturing the monumental on film. For over 35 years, he has documented sweeping views of nature drastically altered by human industry. His work occupies the conflicting realms of visual beauty and environmental destruction. “It’s important to me that my pictures are attractive,” Burtynsky told the British Journal of Photography. “But beneath the surface there’s always a bigger, deeper environmental issue.”
Terraforming of the earth through mining, urbanisation, industrialisation and agriculture; the proliferation of dams and the pollution of waterways; the acidification of oceans due to climate change; the pervasive presence of the so-called techno fossils, persistent human materials such as concrete, aluminium and, of course, plastic; unprecedented rates of deforestation and species extinction: the scars humans have left on earth will last long after we have gone.
Read the full article here.
Read More"The Idea is to Raise People’s Awareness of Issues" - an Interview with Andrea Kunard, Curator of Anthropocene
By Anna Savitskaya
Artdependence Magazine
Two simultaneous, complementary exhibitions of Anthropocene opened on September 28th at the National Gallery of Canada (NCG) and the Art Gallery of Ontario (AGO). The website dedicated to the exhibition defines Anthropocene as the current proposed geological epoch, in which humans are the primary cause of permanent planetary change. Three major artists: world-renowned photographer Edward Burtynsky and multiple award-winning filmmakers Jennifer Baichwal and Nicholas de Pencier have created a powerful combination of photographs, film installations and augmented reality (AR) points. Journeying us to places drastically changed by human life, suffering by way of climate change, mass extinctions, invasive species, technofossils, the terraforming of land, the redirection of water, and anthroturbation, etc.
ArtDependence Magazine had a chance to talk to Andrea Kunard, the curator of Anthropocene at the NGC about the project.
Read the interview here.
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