By Casey Beal
BESIDE Magazine
Edward Burtynsky’s award-winning, large-scale photographs illuminate the environmental cost and alarming beauty of human intervention in natural landscapes. We spoke with him about his artistic influences, human responsibility for the planet, and the great grief behind it all.
Read the full interview here.
Read MoreBy Chris Dart
CBC Arts
Ezrin is the co-producer of In the Wake of Progress, an immersive short film based on the 40 year career of Canadian photographer Edward Burtynsky. (The other co-producer is Burtynsky himself.) The film, which looks at the effects of resource extraction around the world, made its debut last year, and is currently the centrepiece of a Burtynsky exhibition called Le paysage abstrait, on now at Montreal's Arsenal Contemporary Art gallery.
Read the full article here.
Read MoreFM 98.5
Columnist Fadwa Lapierre, who went to the Arsenal Contemporary Art to attend the exhibition The Abstract Landscape by the artist Edward Burtynsky, paints the portrait on Sunday, on the show Even le weekend.
“At first, we find it magnificent because they are landscape photos, but little by little, we realize the impact of humans on the environment, and therefore of our consumption.” – Fadwa Lapierre
Listen to the full interview here.
Read MoreBy Stéphane Baillargeon
Le Devoir
Photographiés de très loin et de très haut par l’oeil unique du Canadien Edward Burtynsky, un étang d’eau salée du Sénégal évoque une toile de l’abstraction lyrique, le delta du Colorado fait immédiatement penser à une oeuvre de l’expressionnisme abstrait et d’autres prises encore de champs ou de mines, captées aux quatre coins du monde, rappellent les travaux de Clyfford Still, d’Hedda Sterne ou Adolph Gottlieb.
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Read MoreBy Randy Renaud
CHOM 97.7
Bob Ezrin produced The Wall for Pink Floyd, Peter Gabriel's debut album, Destroyer for Kiss, Alice Cooper's classic early albums, U2's latest album, as well as albums for Deep Purple, Rod Stewart, Jane's Addiction; and he dropped by the CHOM studios to discuss a new multi-media production that he is involved in, called Le Paysage Abstrait, at the Arsenal Contemporary Art Gallery all this month. Randy Renaud talks with the legendary Canadian producer about his remarkable career, and the many artists he has worked with, and Ezrin shares personal stories about Peter Gabriel, The Edge, and Pink Floyd, and reveals whether he is still friends with Roger Waters.
Listen to the full interview here.
Read MoreBy Ylenia Granitto
Olive Oil Times
The Sigismondo Castromediano Museum in Lecce, Puglia, will host the ‘Xylella Studies’ exhibition by the Canadian photographer and artist Edward Burtynsky, who has captured the disruption caused by Xylella fastidiosa in 12 large-format photographs and a video until September 10th.
The event is the result of a partnership with Sylva Foundation, a non-profit founded in 2021, aiming at the environmental regeneration of lands affected by Xylella fastidiosa through reforestation.
Read the full article here.
Read MoreBy Ellyn Kail
Feature Shoot
In his new book, Edward Burtynsky recalls photographing oil bunkering sites in Nigeria’s Niger Delta as a “transformative moment of consciousness”—one that demonstrated the true scope of the wounds we inflict on our planet. With refineries spread out across the land, swaths of the environment have been drenched in oil. As the photographer leaned out of a helicopter to take in the scene, surreal colors spread out before him, as far as the eye could see.
Read the full article here.
Read MoreBy Cecilia Pavone
Artribune
Costruire un nuovo ethos ecologico attraverso la testimonianza e la documentazione dei disastri ambientali provocati dall’azione antropica, per contrastare la crisi dell’abitare umano sulla Terra nell’era globalizzata dell’Antropocene. È questo il fulcro tematico dell’opera del canadese Edward Burtynsky (St. Catharines, 1955), fotografo di livello internazionale che ha vinto la XXV edizione del Premio Pascali con la mostra Xylella Studies, al Museo Castromediano di Lecce.Costruire un nuovo ethos ecologico attraverso la testimonianza e la documentazione dei disastri ambientali provocati dall’azione antropica, per contrastare la crisi dell’abitare umano sulla Terra nell’era globalizzata dell’Antropocene. È questo il fulcro tematico dell’opera del canadese Edward Burtynsky (St. Catharines, 1955), fotografo di livello internazionale che ha vinto la XXV edizione del Premio Pascali con la mostra Xylella Studies, al Museo Castromediano di Lecce.
Read the full article here.
Read MoreBy Kate Taylor
The Globe and Mail
89,000 Inuit prints have been languishing in storage at Ontario’s McMichael Gallery for decades. Finally, a technological innovation spearheaded by Ed Burtynsky means the public will be able to see these works – in many cases for the first time – in digital form.
Read the full article here.
Read MoreGalleries West
The Image Centre at Toronto Metropolitan University will digitize 25,000 press photographs of Canadian events, speeding the normally laborious work with an innovative machine developed by Toronto photographer Edward Burtynsky.
Burtynsky says a vast array of stunning photographs at various institutions languish in dark boxes in temperature-controlled storage with no public access.
"It's a thrill to finally be able to initiate an effective and innovative solution to this problem and bring this important photographic history into the light," he says.
Burtynsky has assembled a team of hardware and software developers to digitize the images with his equipment, known as ARKIV360, along with their folded captions, tear sheets and attached ephemera.
Read the full article here.
Read MoreThe Image Centre
Toronto Metropolitan University
Innovative ARKIV360 machine, developed by famed photographer Edward Burtynsky, will be used to scan The Image Centre’s Rudolph P. Bratty Family Collection and make it accessible in an online database.
Toronto, ON – The Image Centre (IMC) at Toronto Metropolitan University (TMU) is pleased to announce that the Department of Canadian Heritage has granted over $300,000 to support the digitization of the IMC’s Rudolf P. Bratty Family Collection of press photographs drawn from the New York Times Photo Archive.
This funding was issued through the Digital Access to Heritage component of the Museums Assistance Program (MAP), which provides support to heritage organizations to digitize collections, develop digital content and build their capacity in these areas.
Read the full announcement here.
Read MoreBy 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.
Read the full article here.
Read MoreBy Rita Trichur
The Globe and Mail
Report on Business
Canadian photographer Edward Burtynsky is urging corporations to help depoliticize the climate crisis amid a growing partisan backlash against environmental issues that is particularly pronounced in the United States.
Mr. Burtynsky, who has spent his 40-year career capturing images of human-altered landscapes, wants business leaders to use their clout to ensure that Canadian society remains aligned on transitioning to a low-carbon economy.
Read the full article here.
Read MoreBy Erica Ackerberg
NYT Book Review
The Canadian photographer Edward Burtynsky’s remarkable, large-scale images offer a painterly view of man-made infrastructure around the world, from quarries in Portugal to rice fields in China to oil refineries in California. His new book, AFRICAN STUDIES (Steidl, $95), focuses on a region he calls globalism’s “final stop”: sub-Saharan Africa. Capturing the impact of industrialization on the landscapes of Kenya, Nigeria, South Africa, Tanzania, Ethiopia and more from high above — from airplanes, helicopters and drones — Burtynsky’s camera documents in stunning detail and vibrant hues the toll of human intervention on our planet, from salt and sapphire mining to plastics recycling and dams. This book is both “a cautionary tale,” he says, and a reminder that this continent “still possesses some of the greatest natural reserves in the world.”\
Read the full article here.
Read MoreBy Kristine Thoreson
Galleries West
In the light-filled back room of the Paul Kuhn Gallery, I’m both transfixed and perplexed by the colours in a photograph by Edward Burtynsky. Salt Flats #2, Sua Pan, Botswana holds luscious swirls of cherry-blossom pinks and amethyst purples. It’s so mesmerizing, I barely wonder what it is.
The image, part of the Toronto photographer’s latest body of work, African Studies, is on view in Calgary until May 27. Burtynsky’s large colour prints show aerial views from across Sub-Saharan Africa shot between 2015 and 2020 using fixed-wing planes, helicopters and drones. He visited 10 countries in all – Kenya, Nigeria, Ethiopia, Ghana, Senegal, South Africa, Botswana, Namibia, Madagascar and Tanzania.
Read the full article here.
Read MoreBy Elyssa Goodman
Blind Magazine
At first glance, Edward Burtynsky’s “African Studies” exhibition at the Howard Greenberg Gallery is a majestic geometry of colors and shapes, all with roots in art history.
The salt ponds of Senegal have traces of Gustav Klimt, sewn together mosaic-like near the towns of Tikat Banguel and Fatick. A view from above the Grand Ethiopian Renaissance Dam recalls M.C. Escher’s famed staircases. In the coal tailings of South Africa, the plume of an Erte ensemble and the distressed rivulets of a Jackson Pollock. But a closer look, a closer read, reveals the startling nature of what Burtynsky calls “business as usual.”
“African Studies” is currently on view in two New York galleries: at Howard Greenberg until April 22 and at the Sundaram Tagore Gallery until April 1. It was also released as a monograph by Steidl at the end of last year. It is a continuation of Burtynsky’s travels across the globe, capturing modern landscapes both touched and untouched by human hands, some more virulently than others.
Read the full article here.
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