Edward Burtynsky, Silver Lake Operations #3, Lake Lefroy, Western Australia, 2007
(Copyright Edward Burtynsky, courtesy Flowers East Gallery, London)

This issue features Edward Burtynsky’s monumental photographs of landscapes transfigured through the extraction of resources – stone, oil and minerals – and includes a selection from his most recent work on Australian minescapes. Burtynsky’s visual spectacles embody the labour inherent in processes of industralisation and the effect of our dependence on nature to provide materials for our ever-increasing consumption. In an accompanying essay, Duncan Forbes traces 18th and 19th century landscape traditions and discusses the ways in which Burtynsky’s vision presents a radically different relationship between humankind and nature.


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Edward Burtynsky, Shipbreaking 9a and 9b, Cittagong, Bangladesh, 2000 (Copyright Edward Burtynsky, courtesy Flowers East Gallery, London)

Edward Burtynsky, Makrana Marble Quarries #18, Rajasthan, India, 2000
(Copyright Edward Burtynsky, courtesy Flowers East Gallery, London)

In Ori Gersht’s two new series – Blow Up and Time After Time – flowers, often the symbols of peace, have become victims of violence, resulting in an uncomfortable sense of beauty. Carol Armstrong discusses the poignancy of these works. Sian Bonnell’s series Kaput! takes as its starting point the high stress levels found in an office environment during a residency in the Czech Republic. In Résidence Astral, Marjolaine Ryley has constructed a family archive informed by memories and a sense of place.


Ori Gersht, Time After Time, Untitled #01, 2007

Ori Gersht, Time After Time, Untitled #09, 2007















































Bianca Brunner, Wood, 2007














Stuart Whipps, Nanjing, Yangtze River Bridge, 0121















James Tye, Pacy, 2007




























Sian Bonnell, Kaput #1, 2005

London is the subject of impressionistic photographic works by Ebru Erülkü, and also by Emily Allchurch, whose series Urban Chiaroscuro pays homage to Giovanni Battista Piranesi’s dark work Imaginary Prisons. Also presenting new photographic work in this issue are Jasmina Cibic, Monica Takvam, Bianca Brunner, Damian Ucieda Cortes, Stuart Whipps, James Tye and Alison Stolwood.

Marjolaine Ryley, Résidence Astral, 1993-2007

Ebru Erülkü, Ravens Flying up River, 2005

Emily Allchurch, Urban Chiaroscuro 6: Paris (after Piranesi), 2007

The 2008 Jerwood Photography Awards have recently been announced and are open for registrations. Now in their sixth year, these annual Awards are financially supported by the Jerwood Charitable Foundation and organised by Portfolio Magazine. They are open to artists who work with photography, and aim to assist recent graduates in their transition to professional life. The five Awards are each worth £2,500, with a group exhibition and publication in the autumn issue of Portfolio. Details are available in this issue and on the Portfolio Magazine website.

Gloria Chalmers

Jasmina Cibic, The Greenhouse Effect, 2006


Edward Burtynsky
Edward Burtynsky’s Negative Sublime
Duncan Forbes  Essay

Ori Gersht
Blow Up / Time After Time
Carol Armstrong  Essay

Sian Bonnell
Pavel Büchler  Essay

Jasmina Cibic
The Greenhouse Effect and Other Mythologies

Monica Takvam 
Janteloven – Small Town Mentality

Marjolaine Ryley
Résidence Astral
Val Williams   Essay

Emily Allchurch
Urban Chiaroscuro
Nigel Warburton   Essay

Ebru Erülkü
Dämmerung – Eventide Visions of London

Bianca Brunner

Damian Ucieda Cortes

Stuart Whipps
Ming Jue: Longbridge and Nanjing

James Tye
Still Standing

Alison Stolwood
Home Away from Home


Monica Takvam, Janteloven – Small Town Mentality, 2005

Damian Ucieda Cortes, Simulacrum, 2007
















































































Alison Stolwood, Plot No. 119, West Mersea Caravan Site, 2005