AN UNEASY CONTRADICTION Surveying the Career of Edward Burtynsky by CAROL M CCUSKER

PANORAMIC AN UNEASY CONTRADICTION Surveying the career of Edward Burtynsky BY CAROL M CCUSKER OIL FIELDS #19 (DIPTYCH), BELRIDGE, CALIFORNIA, USA—2003 Our dependence on nature to provide the materials for our con - quarries, and uranium tailings. More recently, he has pho - This photographic trajectory, from the subtle to the shocking, says the photographer. “We are drawn by desire, a chance at sumption, and our concern for the health of our planet sets us into tographed landscapes we couldn’t imagine without his camera: is in sync with growing public awareness of critical land-use issues. good living, yet…the world is suffering for our success.” an uneasy contradiction. — Edward Burtynsky China’s relocation of millions of citizens to make way for the You could say that Ed Burtynsky and his audience have grown up Three Gorges Dam, E-waste recycling, tire dumps, and ship- together in mutual ecological consciousness, with the photogra - sing color film, a large format camera, positioning himself rom the mid-1980s to the present, photographer Edward breaking. For two decades, Burtynsky’s environmentally con - pher acting like Dickens’s “Ghost of Christmas Future,” revealing above his subject, often printing to a painterly size of 50x60 Burtynsky has made beautiful images of landscapes we’d scious photographs have grown from picturing quiet, seemingly the malevolent fruits of our collective consumption. “Between Uinches, with an eye for compositional beauty amid the Frather not see. He photographs sites that are essential to benign hillsides with houses and dogs to the flagrantly poi - attraction and repulsion, seduction and fear…these images are ruins, his photographs form a detailed archive of the present that our worldwide energy consumption: open-pit mines, refineries, sonous, in the red river tailings of Sudbury, Ontario. meant as metaphors to the dilemma of our modern existence,” acts like a time capsule sent into the future, a future that will know ALL PHOTOGRAPHS © EDWARD BURTYNSKY, COURTESY OF EDWARD BURTYNSKY STUDIO 36 37 C. N. TRACK #1, SKIHIST PROVINCIAL PARK, BRITISH COLUMBIA—1985 HOMESTEADS #29, WALKERVILLE, MONTANA—1985 us in part through Burtynsky’s photographs. His elevated vantage changed the form and content of landscape photography, as point of looking down and out often without a horizon line, works have only a few photographers before him. Young photogra - on our reception of his images. It incorporates what art historian phers now acknowledge him as their inspiration, as others Albert Boime referred to as the Magisterial Gaze. In 19th-century named Ansel Adams or Lewis Baltz a few decades ago. Through painting, this gave Americans a view at one with God—hence, his lens, the earth’s prognosis in the new century is aesthetically Manifest Destiny. Since dramatic skies were an essential part of riveting but environmentally frightening to behold. this view (think Thomas Moran, Albert Bierstadt), one could con - strue that Burtynsky’s frequent denial of the horizon is significant urtynsky was born in Canada, “a country with a in the reverse. Man’s harmony with God’s perspective has shifted, small pop ulation and a vast hinterland,” he says, “…that become stunted, and feels claustrophobic. Although the photog - Bgave this feeling of eternity, and we just a momentary rapher avoids a political or moral stance, the accumulated effect of presence.” Boyhood fishing and camping trips provided him with his photographs nonetheless burdens our knowledge of industry a perspective on the natural world, alongside the General and its weight on the earth’s ecosystems. At the far end of the Motors plant that employed most of his hometown, including his spectrum of the Industrial Revolution, we are forced to look father. Attending Ryerson University’s photography program, he down and into the ramifications of our global progress and profit. would merge these two perspectives into a life’s work. Looking Such photographs, and the artist’s influential career, have at other artists was also integral to his education, among them, HIGHWAY #1, LOS ANGELES, CALIFORNIA, USA—2003 38 39 VERMONT MARBLE COMPANY #5, ABANDONED MARBLE QUARRY, ROCHESTER, VERMONT—1991 NICKEL TAILINGS #31, SUDBURY, ONTARIO—1996 the celebrated 19th- and 20th-century wilderness or industrial years too late to be searching for the sublime in nature” (as landscape painters and photographers from both Canada and Watkins did), he says. Such a sentiment would be contrary to the U.S., Charles Comfort, Charles Sheeler, Carleton Watkins, what he was seeing, and “an expression of nostalgia.” Instead, he and Margaret Bourke-White. “The more you comprehend your pictures the once-booming mining town of Walkerville, formerly indebtedness to your predecessors in art,” says Burtynsky, “the known as “the richest hill on earth” (earlier in the century, it pro - more you can let those influences enrich your own work.” duced one sixth of the world’s copper). Burtynsky photographed it three years after the mine was closed due to contamination. he first two bodies of work that Burtynsky created, Left behind is barren, blown earth, an abandoned rail, the gaping Homesteads and Railcuts , began in the mid-1980s. mouth of a mine, a single street light, a car’s open trunk, and a THomesteads , which calls to mind stalwart 19th-century pio - lone child playing with dogs; a cinematic limbo, used up but still neers, pictures the marks of man upon the land in New York, lived in. The image feels intentionally desolate and not unlike Montana, and western Canada. Carleton Watkins photographed Stephen Shore’s signature imagery of the American West, such the optimism of 19th-century frontiersmen in “Eagle Creek, as “Presidio, TX.” (1975). In both images, the photographers use Columbia River” (1867), an image that shows a small settle - bleaching sunlight on dusty roads that lead to the semi-occupied ment—houses built from the immediate environment along a periphery of small towns outlined by telephone wires and archi - tranquil river. Two people perched on a horse-drawn rail pose tectural edges, distant, banal and mournfully beautiful. for the photographer. The trees and visible wilderness beyond Indeed, Burtynsky’s early images carry the seeds of 1970s supplied the bounty of the milled lumber stacked in the fore - New Topographic photographers, of which Shore was one, ground. It is industry at its most industrious. along with Robert Adams, Joe Deal, Lewis Baltz, and others. Burtynsky’s “Homesteads #29, Walkerville, Montana” (1985) Using medium- or large-format cameras, they reacted to Ansel ROCK OF AGES #1, ACTIVE SECTION, E.L. SMITH QUARRY, BARRE,VERMONT—1991 is, by comparison, a faded, former glory. “I was born a hundred Adams’s heroicizing grand landscapes by refusing the drama of 40 41 OXFORD TIRE PILE #8, WESTLEY, CALIFORNIA—1999 KISS CONCERT PARKING AREA, STURGIS, SOUTH DAKOTA, USA—2008 dusk or dawn light, imaging the nature they saw regularly sur - before turning to color, Burtynsky was, for twelve years, a black rounded by strip malls, freeways, Route 66 motels, and State and white photographer “When I moved to color, I brought a Park parking lots. Their images loosened landscape photography lot of my black-and-white sensibility to the new work,” prefer - from the grip of the idealized. ring to “use color in a subtle way. …I tried to find landscapes that literally looked like black and white images in the real world nfluenced by their work, but upping the ante on environmen - with small bits of muted color coming through.” His favorite tal commentary and complexity in the 1990s, Burtynsky times of year to shoot are fall and spring. “I refer to these sea - Ibegan shooting the destinations of the railroads: the mines sons as having ‘quarter colors,’ where everything is in mid-tone.” and quarries. He then shifted his focus to urban mines, densified The photographer also adds, “Over the last ten years I have scrap metals, the oil fields of Alberta and California, then to found myself working to abstract space. I try to flatten it and Bangladesh, China, and Australia. In his images, Carrara marble exclude the horizon line so that you don’t know whether the quarries and cargo ships assume an architectural monumentality space is advancing or receding. [All] the elements in the image carved by negative space or subsumed in subtle shifts of color. have an equal weight.” He favors overcast days where every - The depth of each of his series, his painterly color palette thing has “an equal value so that the viewer will fall into the sur - indebted to his early training in black and white, and a growing face and read textures and detail.” printing expertise (in 1985, he opened his own color printing In 2005, Burtynsky was given the TED (Technology, lab, Toronto Image Works, which continues today), all grew Entertainment, Design) Prize for a life’s work documenting exponentially alongside exhibitions and publications. Indeed, humanity’s expanding footprint on the planet. Granted three DENSIFIED SCRAP METAL #3A, HAMILTON, ONTARIO—1997 42 43 SILVER LAKE OPERATIONS #12, LAKE LEFROY, WESTERN AUSTRALIA—2007 SOCAR OIL FIELDS #4, BAKU, AZERBAIJAN—2006 wishes from TED, he built an environmental website for kids; says, “The landscape photographers of the 19th century contributes to WorldChanging.com, “a massive, productive bequeathed to us all an image of a new world through the cam - worldwide conversation about sustainable living;” and was able era’s lens… However, [when] I pursue the industrial man-made to meet documentary filmmaker, Jennifer Baichwal, who, with landscape… I’m not trying to editorialize; I’m not saying this is Burtynsky, made Manufactured Landscapes (the second most right or this is wrong. I want to show the scale of that impact.” popular documentary film in Canada, behind The Corporation ).

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