Directory: E

by Paul Roth

Edward Burtynsky, Oil Fields #22, Cold Lake Production Project, Cold Lake, Alberta, Canada, 2001. Chromogenic color print. Photograph © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto; Hasted Hunt Kraeutler, New York; and Adamson Gallery, Washington, DC.
I recently organized an exhibition of photographs by Edward Burtynsky, bringing together 12 years of his imagery on the subject of oil at the Corcoran Gallery of Art in Washington, D.C. Burtynsky, a Canadian born of Ukrainian heritage in 1955, is respected internationally for his 25-year focus on industrially-transformed landscapes. His photographs of quarries, factories, mining pits, and railcuts are extraordinary for their depiction of mankind’s organization of the land for resource-extraction and profit. Jennifer Baichwal’s 2006 documentary Manufactured Landscapes is an excellent portrait of Burtynsky, and I highly recommend a viewing of both the DVD and his great books, which include Manufactured Landscapes (2003); Burtynsky – China (2005); and Edward Burtynsky – Quarries (2006).
In organizing the exhibition, it occurred to me that Burtynsk...

‘Like the suspended state of duty-free malls, a zone at once inside and yet outside the legal parameters of the country it exists in, Vaughan and [Crash's narrator] Ballard experience the motorways as weirdly detached from an embedded culture or history or morality’.
Roger Luckhurst, The Angle Between Two Walls: The Fiction of J. G. Ballard.
From today’s news:
‘Japanese tourist Hiroshi Nohara is on a layover at the Mexico City airport. It has lasted almost three months, and he has no plans to leave…
“I don’t understand why I’m here,” he said through a visiting interpreter originally hired by a television station. “I don’t have a reason.”
The embassy can’t force him to leave, and since Nohara’s visa is valid all Mexican official...

by Paul Roth

Edward Burtynsky, Oil Fields #22, Cold Lake Production Project, Cold Lake, Alberta, Canada, 2001. Chromogenic color print. Photograph © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto; Hasted Hunt Kraeutler, New York; and Adamson Gallery, Washington, DC.
I recently organized an exhibition of photographs by Edward Burtynsky, bringing together 12 years of his imagery on the subject of oil at the Corcoran Gallery of Art in Washington, D.C. Burtynsky, a Canadian born of Ukrainian heritage in 1955, is respected internationally for his 25-year focus on industrially-transformed landscapes. His photographs of quarries, factories, mining pits, and railcuts are extraordinary for their depiction of mankind’s organization of the land for resource-extraction and profit. Jennifer Baichwal’s 2006 documentary Manufactured Landscapes is an excellent portrait of Burtynsky, and I highly recommend a viewing of both the DVD and his great books, which include Manufactured Landscapes (2003); Burtynsky – China (2005); and Edward Burtynsky – Quarries (2006).
In organizing the exhibition, it occurred to me that Burtynsk...

‘Like the suspended state of duty-free malls, a zone at once inside and yet outside the legal parameters of the country it exists in, Vaughan and [Crash's narrator] Ballard experience the motorways as weirdly detached from an embedded culture or history or morality’.
Roger Luckhurst, The Angle Between Two Walls: The Fiction of J. G. Ballard.
From today’s news:
‘Japanese tourist Hiroshi Nohara is on a layover at the Mexico City airport. It has lasted almost three months, and he has no plans to leave…
“I don’t understand why I’m here,” he said through a visiting interpreter originally hired by a television station. “I don’t have a reason.”
The embassy can’t force him to leave, and since Nohara’s visa is valid all Mexican officia...