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Aesthetic and Industrial Rupture in the Work of Edward Burtynsky and Justin Brice Guariglia

Aesthetic and Industrial Rupture in the Work of Edward Burtynsky and Justin Brice Guariglia FE A T UR E CYNTHIA HAVESON VELORIC Aesthetic and Industrial Rupture in the Work of Edward Burtynsky and Justin Brice Guariglia “It appears that Edmund Husserl’s idea of the earth as ‘original ark’ is now obsolete; we now have to recalibrate our sensorial systems to adjust to contradiction, catastrophe, and ecological volatility born of human activities that override and neutralize long- standing histories of local knowledge. ... The Anthropocene has altered the terms and parameters of perception itself.” —Amanda Boetzkes, Art in the Anthropocene Art historian Amanda Boetzkes is referring here to Inuit communities in the Arctic who can no longer read their environment due to global warming, and must therefore change their subsistence rituals. They must “recalibrate [their] sensorial systems to adjust.” How do other communities and individuals who live far from these phenomenological realities read different kinds of environmental trauma? Artists Edward Burtynsky and Justin Brice Guariglia challenge and alter our perceptions of anthropogenic landscapes in their photo- based art of industrial mining sites around the world. In this essay I discuss the notion of rupture in thinking about art and the Anthropocene, via consideration of mining as a hyperobject. Both Burtynsky and Guariglia force us http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage University of California Press

Aesthetic and Industrial Rupture in the Work of Edward Burtynsky and Justin Brice Guariglia

Veloric, Cynthia Haveson
Afterimage , Volume 48 (1): 9 – Mar 1, 2021
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Publisher
University of California Press
Copyright
© 2021 by The Regents of the University of California
ISSN
0300-7472
eISSN
2578-8531
DOI
10.1525/aft.2021.48.1.28
Publisher site
See Article on Publisher Site

Abstract

FE A T UR E CYNTHIA HAVESON VELORIC Aesthetic and Industrial Rupture in the Work of Edward Burtynsky and Justin Brice Guariglia “It appears that Edmund Husserl’s idea of the earth as ‘original ark’ is now obsolete; we now have to recalibrate our sensorial systems to adjust to contradiction, catastrophe, and ecological volatility born of human activities that override and neutralize long- standing histories of local knowledge. ... The Anthropocene has altered the terms and parameters of perception itself.” —Amanda Boetzkes, Art in the Anthropocene Art historian Amanda Boetzkes is referring here to Inuit communities in the Arctic who can no longer read their environment due to global warming, and must therefore change their subsistence rituals. They must “recalibrate [their] sensorial systems to adjust.” How do other communities and individuals who live far from these phenomenological realities read different kinds of environmental trauma? Artists Edward Burtynsky and Justin Brice Guariglia challenge and alter our perceptions of anthropogenic landscapes in their photo- based art of industrial mining sites around the world. In this essay I discuss the notion of rupture in thinking about art and the Anthropocene, via consideration of mining as a hyperobject. Both Burtynsky and Guariglia force us

Journal

Afterimage – University of California Press

Published: Mar 1, 2021

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