Photographs by Edward Burtynsky. Text by Michael Torosian. Yale University Press, New Haven,2003.160 pp., 64 color illustrations, 11x13".
Once again, Yale University Press has given the photography community abook of magnificent work. Using large-format color negatives, Burtynskybrings the rigor and grandiosity of architectural photography to hissubject matter, an in-depth exploration of those vistas where the humantouch-the human will and desire to produce goods-has had an undeniableimpact. Marble quarries and nickel mines are sites of the extraction ofraw materials, and densified scrap metal dumps and coastal shipbreakinggrounds are places of repository. These are all presented insuccession, each as riveting as the next. Burtynsky has photographedthese places with care and mesmerizing exactitude, a blend of theobjectivity of the Bechers and the lyricism of Elger Esser, but with adecidedly North American palate. Definitely one of the best books thisyear.
Manufactured Landscapes.
Over the past twenty-five years, the internationally renownedCanadian photographer Edward Burtynsky has been an explorer ofunfamiliar places where human activity has reshaped the surface of theland. His astonishing large-scale color photographs of the landscapesof mining, quarrying, railcutting, recycling, oil refining, andshipbreaking uncover a stark, almost sublime beauty in the residue ofindustrial "progress." The implicit social and environmental upheavalsthat underlie these images make them powerful emblems of our times.This handsome catalogue of the first major retrospective of Burtynsky'swork features essays by Lori Pauli, Kenneth Baker, and MarkHaworth-Booth, as well as a wide-ranging interview with the artist byMichael Torosian. The book includes sixty-four color plates.
最后的綠樹懶人 The Last Green Slothfulman
粗糙的年輪是大自然精緻的承諾，多麼準確的歸屬感和無疑的信任。
遠方的呼喚，堅定而沉痛的感召使黑幕下鐵窗裡的枯葉、浮躁的靈魂回歸宇的寂靜。
黃昏的天空，隱藏著不欲人知的憂鬱。遠處，被夕陽染成紫紅色的雲，濃濃的模糊的真理；在未知的那一端若隱若現。
发表于 4-5-2008 01:22 PM
变色卡
千斤顶
楼主
。。。只道大马的相关业界应朝这方面发展。
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