Burtynsky’s vast manufactured-landscape panoramas depict the slow-violence infrastructure that immediacy culture hides.

Evidence

Radically more than an arm’s length away, the extreme vantage that has become the signature of Canadian gold miner and factory-worker-turned-artist Edward Burtynsky obverts the myriad reductions of photography in Kardashian’s successful, compelling antiart. In five-by-eight-foot high-gloss “manufactured landscapes” that almost never depict human subjects, at a supersize utterly resistant to iPhone circulation—the opposite of selfies in every dimension—Burtynsky’s works study systems and industries like oil drilling, automobile superhighways, copper mining, and waste processing, striving to encompass the banal infrastructure of catastrophic slow violence. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 331

Categorization

• XREF: Concrete exemplar of mediation’s aesthetic counterposed to the selfie/autofiction immediacy features earlier in the book.