Following up on Louis Helbigâ€˜s presentation at Edinburgh College of Art comes Suzaan Boettgerâ€™s review in Brooklyn Rail of three books of photography of oil landscapes, Burtynskyâ€™s Oil, J. Henry Fairâ€™s The Day After Tomorrow: Images of our Earth in Crisis, andÂ Richard Misrach and Kate Orffâ€™s Petrochemical America.
The review addresses the approaches of the three photographers and comments on their aesthetic and art historical context. Â There is a larger piece of work which would encompass, for instance, the also important books by James Marriott/PLATFORM including Next Gulf: London, Washington and the Oil Conflict in Nigeria and The Oil Road: Journeys from the Caspian Sea to the City of London.
These books provide a counterpoint because rather than focusing on the visual in the context of the industrial, they narrate the relationship between the impact on the lives of people living with the oil industry and our lives in London, or Scotland, or wherever and how we are complicit through financial investments, whether thatâ€™s JP Morgan Chase or Royal Bank of Scotland.Â
ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established byÂ Chris Fremantle, producer and research associate withÂ On The Edge Research,Â Grayâ€™s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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