intrusions-exhibition

[intrusions-exhibition]

This exhibition aims to explore how humans interact with the natural world, with the title of the exhibition, Intrusions reflecting the generally aggressive and invasive quality of these interactions. More specifically, the expedition attempts to showcase the spatial landscape on which these human-nature interactions take place. The viewer is asked to navigate a primarily empty industrial warehouse as they explore and observe the exhibition’s pieces. The strategic layout and presentation of the pieces require that the viewer explore them from various angles, becoming more aware of the space these pieces occupy. The pieces themselves incorporate a variety of different media and traditions to reflect diverse perspectives of human-nature interaction. Through the exhibition experience, the viewer should be made aware of how humans displace, exploit, and reduce the natural world. The ultimate goal is that the viewer walks away from this exhibition with an acute awareness of their role as an intruder in the natural world and that this awareness will translate into a conscious effort to reduce their impact on the environment. The layout of the exhibition is structured to provide a journey for the viewer that gradually increases their awareness of humanity’s impact on the environmental world. The location chosen for the exhibition, an empty industrial warehouse, should also serve as an example of humanity’s impact, and this will become evident to the viewer as they read the welcoming statement. Before entering the warehouse, the visitors will read the welcoming statement which will be posted at the entrance. The statement demands that the viewer perceive the exhibition, and the warehouse, as an intrusion into the natural world, and perceive themselves as an intruder. This statement should heighten the viewer’s awareness of their own role in the issues of environmental degradation and exploitation that they will confront within the exhibition. This viewer’s awareness of their role as an intruder will continue to increase as they explore the exhibition, which is divided into four rooms, each revolving around a different theme. In general, the subject matter of the pieces becomes less abstract and more literal with each room. The first room, Nature Revisiting, is intended to heighten the viewer’s spatial and bodily awareness in relation to natural objects. The pieces featured in this room are all made from objects gathered from nature. The only exception is Olafur’s Sun branch sculpture which includes painted glass and wire, but still contains the natural element of driftwood. The room’s layout is unorganized, mimicking the spontaneity of nature. The viewer might be required to step over the branches of Balengée’s Dying Tree and may visit Goldsworthy’s pieces in any order. The viewer may even accidentally or purposefully alter Goldworthy’s unguarded sculptures. This room is entirely about the individual’s relationship with the natural world. The viewer is expected to reflect on their own history and philosophy of human-nature interaction, and interpret each piece as they wish. The layout and subject matter of this room can be easily related to the Minimalist tradition, as the pieces are very much focused on the physical materials of the natural world. The room’s layout also employs an element of theatricality by requiring the viewer move and explore in order to fully experience and appreciate the pieces. This theatrical experience increases the viewers’ awareness of their own body in relation to the natural objects that surround them. The second room, Self-Destruction, continues this theme of spatial awareness by requiring an element of theatricality as well, but the subject matter of the piece, Cai’s Head On, is more easily consumed. The viewer should understand that the wolves’ positioning and crashing points towards the cyclical nature of destructive action. The wolves themselves suggest an environmental subtext that encourages the viewer to relate the piece to human-nature interaction. The piece’s structure encourages the viewer to explore it from all angles, giving them plenty of time to dissect the piece and its potential meaning. Once the viewer reaches the third room, titled Death By Abundance, the overall message of the exhibition should become quite clear. Orozco’s Mobile Matrix placed in contrast with his Sandstars installation, should be an evident reference to humanity’s pollution of the oceans, and by extension, our overall negative impact on the Earth. The dead whale’s skeleton, when placed in relation to the debris below it, becomes a symbol for the loss of animal life as a result of human intrusion. As the viewer walks around and observes every single object, they might examine each object’s individual effect on the oceans, specifically how each object poses a threat to sea life. And, they should realize that most of these objects are objects they themself have owned and discarded in the past. By the time the viewer reaches the fourth room, The Evidence, they should have a heightened awareness of their role as an intruder. The fourth room conveys humanity’s intrusion into the natural world quite literally through the use of photographic evidence. The three previous rooms, which consisted solely of sculptures and three-dimensional objects should have placed the viewer in a spatially-conscious mindset. The fact that the photographs are displayed in cube-like structures with four adjacent digital screens also keeps this sense of bodily awareness going, as the viewer is required to continuously walk around the structures to view the photographs. Hopefully, they can use this spatial perspective to dissect the photographs presented, noticing the way humans have created entirely new landscapes, destroying those of the natural world. Perhaps, they may even imagine themselves visiting or observing the spaces shown in these photographs. The viewer, who has explored their relationship with the natural world in the previous rooms, should consume this photographic evidence with a consciousness of their own contribution to the environmental abuse pictured. Before they exit the exhibition, the viewer will read the closing statement which will be projected on the wall in giant letters. The statement reads, “This world is not yours. Step carefully.” Ideally, the viewer will leave the exhibition more conscious of the space they occupy, and how that space was occupied by the natural world and its creatures before it. The viewer will continue their daily life with a consciousness that will make them less inclined to displace, manipulate, and alter the natural world. They will understand the need to create a balance between the human and natural world, and will discourage the production of human spaces and human objects that intrude upon the natural world.

[intrusions-exhibition]

AS CIVILIZATION HAS DEVELOPED AND ADVANCED, HUMANS HAVE CONTINUOUSLY ALTERED THE FACE OF THE EARTH, EXPLOITING AND MANIPULATING THE NATURAL WORLD TO CREATE ENTIRELY NEW SPACES‒ SPACES THAT COULD NOT EXIST WITHOUT THE INFLUENCE OF HUMANITY. THESE “HUMAN” SPACES SEEM TO BE CONTINUOUSLY EXPANDING, WHILE THOSE SPACES THAT BELONG TO THE NATURAL WORLD, “NONHUMAN" SPACES, ARE BEING DISPLACED, REDUCED, AND INTRUDED UPON. YOU ARE ABOUT TO ENTER AN ALMOST ENTIRELY “HUMAN” SPACE‒AN EXHIBITION. AS YOU EXPLORE THIS SPACE AND REFLECT UPON HUMANITY’S INTERACTION WITH THE NATURAL WORLD, THINK ABOUT THE INTRUSIVE NATURE OF THESE INTERACTIONS. BE AWARE THAT THIS EXHIBITION, THIS WAREHOUSE, IS ANOTHER INTRUSION INTO THE NONHUMAN WORLD. BE AWARE THAT EVERY STEP YOU TAKE IS THE STEP OF AN INTRUDER.

[intrusions-exhibition]

ROOM 1: NATURE REVISITING

[intrusions-exhibition]

Balengée, Brandon. Dying Tree, 2012.  

Description:  Dying Tree (2012) features an ill (dying) tree with highly sensitive microphones embedded into the outer cellular layers. The sound of water evaporating from the wood tissue is amplified by these microphones. 

As the viewer enters the warehouse, this dying tree, elevated on two cement blocks, is the first object the viewer will take note of. The tree, placed at the front of the exhibition space, will seem out of place against the backdrop of the industrial warehouse. Ironically, the dying tree seems like an intrusive object in this space, with its humongous size and spread-out branches blocking the viewer’s path. The viewer is required to walk around the dying tree in order to get to the other pieces of the exhibition. There is only a narrow space between the tree and the wall of the warehouse. As the viewer is forced to walk through this narrow space to get to the rest of the exhibition, they become aware of how the tree limits their range of movement, and, in a sense, controls how they view and experience the sight of it. As they move around the tree, they may have to step over one or two of the branches in their path. Their experience of the piece will change, as they begin to hear the sound of the dying tree (produced by the microphones in the cellular layers) from various angles. At some points, the tree’s dying voice will appear quite loud, while at other points it might be barely audible. Thus, this piece can be seen as an example of theatricality, as the tree requires the viewer to move and interact with the piece in order to fully understand both the aesthetic aspect and overall message of the work. 

The main goal of this tree is to put the viewer in a mental state of bodily and spatial awareness before they explore the rest of the exhibition. This piece will make them acutely aware of their own presence as an intruder upon the natural world. The tree, being displaced as the result of human action, is an example of how humans alter the face of the Earth and displace the natural world at will. And, although the tree appears to be an intrusive object in the warehouse, it is only there by human design. The viewer will hopefully be aware of the tree’s displaced status, and perhaps even think of the trees that existed in this space before the land was touched by humanity, before the warehouse and the surrounding buildings were built. 

[intrusions-exhibition]

Goldsworthy, Andy. Various sculptures.

Hole covered with small pointed rocks, Clapham, Yorkshire, January 1980

Woven branch arch, Langholm, Dumfriesshire, April 1986

Balanced river stones, Brough, Cumbria, 24 September 1982

Stone circle, sinking into the sand, Morecambe Bay, Lancashire, March 1976

These sculptures by Andy Goldsworthy, placed at different points throughout the room, will continue to evoke the feeling of spatial and bodily awareness that the viewer felt as they passed by the Dying Tree (2012). In general, Andy Goldsworthy creates his sculptures in nature and documents how time and the natural world alter them. Instead, for the Intrusions exhibition, his sculptures will be placed within a human space, and thus, they will be potentially altered by human interaction. Each of the sculptures will be recreated and placed at random at different points of the room. There will be no suggested order for visiting and observing each of these sculptures, and the viewer may decide to go to either one of them first. This freedom the viewer has to choose their own path should mimic the experience they would have if they were out in nature, rather than an exhibition space. And, as in nature, the sculptures will not be guarded by rope or glass. The “Balanced river stones” or “Hole covered with small pointed rocks” sculptures could be easily knocked down if the viewer is not careful. The twigs from the “Woven branch arch” could be broken off, and the sand under the “Stone circle, sinking into the sand” sculpture could be stepped on and scattered around the room. The viewer may even choose to alter the sculptures purposefully if they feel confident enough to do so. Though, their position within an art exhibition might make most viewers reluctant to alter the sculptures. The viewer should question the cautiousness they may feel towards the sculpture. When they are in spaces of the natural world, do they feel this cautiousness? Do they feel as though they are committing a crime or error if they accidentally step on a wild plant, or scratch their initials into the bark of the tree? Why are these objects elevated above the natural world simply because they have been arranged by the human hand and placed into a human space? The interaction with these sculptures should make the viewer reflect upon their own relationship with the natural world, and how this differs from their relationship with the human world. Because human influence on the sculptures is almost inevitable in an unprotected human space, the sculptures can be expected to be altered (either slightly or drastically) as viewers come and go. This, in a sense, illustrates the position of humans as intruders, and the inevitability of their effect upon the natural world. 

[intrusions-exhibition]

Eliasson, Olafur. Sun branch, 2019.

Description:  Made with colored glass (yellow), driftwood, glass sphere, magnet, paint (black), wire. 

Sun branch (2019) will be hung in the middle of the room. The use of glass and wire will distinguish the piece from the other natural objects in the room, as these are sculpted by man rather than simply gathered from nature. Yet, the presence of driftwood intersecting with the glass represents a natural element within the piece. In fact the intersection of the driftwood and the glass can be seen as representing the intersection between the human and natural world. And, interestingly, the man made objects in the piece still allude to the natural world. The yellow glass, as suggested by the piece's title, alludes to the sun. The glass sphere could be likened to a water droplet. And, the painted magnet gives the piece the appearance of a windchime, as if it was made to be placed in nature to interact with the wind. This piece should prompt the viewer to begin thinking about human-nature interaction. The piece's simplicity and balanced appearance suggests a peaceful interaction between humans and the natural world. This will be contrasted in the upcoming rooms with pieces that show the reality of what human-nature interaction has become today: destructive. 

[intrusions-exhibition]

ROOM 2: SELF-DESTRUCTION

[intrusions-exhibition]

Cai, Guo-Qiang. Head On, 2006. 

Description: Head On (2006) features a pack of 99 life-sized replicas of wolves positioned running, jumping, and crashing into a glass wall. The wolves are made of polystyrene, gauze, resin, and hide.

The Head On (2006) installation will be in its own separate room so that the viewers may focus their entire attention on it. Like, the Dying Tree (2012) installation, this piece employs an element of theatricality. It requires the viewer to move around and under the elevated wolves to fully appreciate its aesthetic qualities, as well as grasp its conceptual implications. Though this piece was inspired by the historical divisions between East and West Berlin, it represents the self-destructive and cyclical nature of human history. The wolves, despite violently crashing into the wall, are positioned getting up and running around to do so over and over again. Cai describes this ceaseless cycle as relating to “the destiny of mankind” (Cai, 0:20). The viewer experiencing Head On would hopefully interpret it within the context of human-nature interaction. The piece can be interpreted from many perspectives. The self-destructive nature of the piece can relate to our exploitation and degradation of the Earth. And, so the wolf pack could be seen as a metaphor for humanity as a whole. Or, inversely, the wolf pack can be seen as representing the natural world, and the glass wall, which blocks the wolves’ path, can represent humanity’s intrusion and hampering of nature’s will. 

[intrusions-exhibition]

ROOM 3: DEATH BY ABUNDANCE

[intrusions-exhibition]

Orozco, Gabriel. Mobile Matrix (2006) and Sandstars (2012)

Orozco, Gabriel. Mobile Matrix, 2006. 

Description: This gray whale’s remains were recovered in 2006 from Isla Arena in Guerrero Negro, Mexico where he beached himself. After oil was extracted from the skeleton, 6,000 pencils were used under Orozco’s supervision to draw concentric circles on the skeleton. A metal armature was created to reassemble the skeleton.

Orozco, Gabriel. Sandstars, 2012. 

Description: Objects and debris collected by Orozco from Isla Arena, Mexico. This installation contains nearly 1,200 objects. 

In this room, only two of Orozco’s pieces will be shown. His Mobile Matrix (2006) will be positioned hanging over his Sandstars (2012) installation of found objects. By placing these two pieces parallel to one another, it is expected that the viewer will relate the two. As the viewer witnesses the grandeur of the whale’s skeleton, they will also take in the variety of objects that lie beneath it. These objects, collected from a beach, consist of both manmade and natural items. The viewer will immediately notice that a very large portion of these objects is manmade‒ there are more bottles than there are stones. And, many of these objects pose a real threat to sea life. Though these objects comprise only a minuscule portion of the debris that might be found in our oceans, they take up more space than the skeleton of a whale. The sight of a whale’s skeleton hovering over this collection of objects should conjure thoughts about the loss of life in our oceans caused by human intrusions. How many skeletons are we responsible for? 

[intrusions-exhibition]

ROOM 4: THE EVIDENCE

[intrusions-exhibition]

Jordan, Chris. Midway: Message from the Gyre, 2009 - Current.

Description: These photographs portray the stomach contents of dead baby albatrosses on the island cluster of Midway Atoll. As described by Jordan, “the nesting chicks are fed lethal quantities of plastic by their parents, who mistake the floating trash for food as they forage over the vast polluted Pacific Ocean.”

Four of Jordan’s Midway (2009-Current) photographs are seen above. Ideally, at the Intrusions exhibition, all 30+ photographs from this project will be shown through the use of four screens in which the photographs will be displayed digitally. The four screens will be placed in cube formation so that the viewer must walk around them to see the various photographs. The digital images will be enlarged and will alternate every 20 or so seconds, so as to show all of Jordan’s Midway photographs.

This piece should make the viewer aware of how human objects are finding their way into nonhuman spaces. The stomach of an albatross baby is a space that quite obviously belongs to the natural world, but human influence has still managed to reach this space, and the consequences of this intrusion are deadly. These photographs, as Jordan describes them, should be seen as reflections of “the collective trance of our consumerism and runaway industrial growth.” The objects in these albatrosses’ stomachs are products that humans created, used, and discarded. These objects could have once belonged to anyone, even the viewer. When we buy and discard products at a rate that nature cannot decompose, our waste intrudes upon the natural world, and, by extension, we become intruders.

[intrusions-exhibition]

Burtynsky, Edward. Anthropocene, Various images, 2006-2018.

Salinas #5: Aquaculture, Cádiz, Spain, 2013.

Clearcut #1: Palm Oil Plantation, Borneo, Malaysia, 2016.

Oil Bunkering #4: Niger Delta, Nigeria, 2016.

Building Ivory Tusk Mound: April 25, Nairobi, Kenya, 2016.

Description: Anthropocene is a collection of photographs that showcase “the indelible marks left by humankind on the geological face of our planet” (Burtynsky). 

Four of Burtynsky’s photographs from his Anthropocene collection are pictured above. As with the installation of Jordan’s photographs, ideally, all 50 photographs from this collection would be showcased. The installation would follow the same format as that of Jordan’s Midway, with enlarged digital images of the photographs alternating on four screens. All of these images showcase the way in which humans have altered the face of the planet, creating entirely new landscapes, and manipulating natural objects and materials. The four images shown above were chosen because they represent the variety of subject matter shown within Burtynsky’s Anthropocene collection. I also attempted to order these images in terms of the aggression and destructiveness of the human-nature interaction they portray. The first two images, Salina #5 and Clearcut #1 showcase landscapes that have been spatially altered in an extremely organized fashion. This reflects the often systematic, strategic way in which we harness nature to serve our civilization. The first image, Salinas #5 shows an aquaculture farm, which is typically used for food production but can also be used to replenish endangered wildlife species. The geometric design of the landscape is pleasing to the eye and seems like a practical, utilitarian use of the Earth’s surface. The second image, Clearcut #1, can be perceived as showing a more aggressive human intrusion. We see the sharp divide between the human-altered landscape and the native forest. We understand that this forest is being systematically reduced for the purpose of human consumption. The third image, Oil Bunkering #4, is far more appalling. The landscape is one of desolation, dirtiness. The oil is not extracted in an organized fashion, but recklessly, leaving the area inhabitable by nature and its creatures in order to fuel our industry and livelihood. The last image, Building Ivory Tusk Mound, is the most malignant in nature. Unlike the production of food and energy, there is little practical application for ivory. These objects were stolen from the natural world, and the lives of elephants were lost solely for the purpose of human greed. 

[intrusions-exhibition]

Maisel, David. Various images. 

From Desolation Desert: Lithium Extraction #1, Salar de Atacama, Chile, 2018. 

Description: The Photographic series, Desolation Desert, showcases the mining operations in Chile’s Atacama Desert. 

From The Mining Project: Clifton, Arizona #5, 1989.

Description: The photographic series, The Mining Project, explores extractive sites across the United States. 

From The Lake Project: #67, 2015.

Description: The photographic series, The Lake Project, pictures various images of the extremely depleted Owen’s Lake in California. 

From The Forest: #4 (Chesuncook Lake, Maine), 1986.

Description: The photographic series, The Forest, shows the remnants of various deforested areas in Maine. 

I chose one image from each of the photographic series by Maisel that I would like to showcase at the exhibition. Ideally, several images from each series would be featured in the exhibition and showcased through the same method as the previous photographs by other artists. These photographs by Maisel seem otherworldly, picturing landscapes we might never associate with our Earth. Many of these images quite literally look like a different planet. The images also give the impression that the viewer is looking at something through a microscope, as if the image has been zoomed in. In reality, the photographs are taken from an aerial view, thousands of feet above the ground. I believe Maisel’s work is a prime example of how we have permanently and drastically altered the geography of our Earth. The colors and angles of Maisel’s photographs serve to enhance these drastic alterations of the Earth’s surface, turning them into images that are nearly unrecognizable and disorienting for the viewer. In Lithium Extraction #1, the viewer would likely have no idea what is pictured if it weren’t for the descriptive title. The other images in the Desolation Desert series are similarly perplexing. As stated by Maisel, the extractive industries of Chile’s Atacama Desert “are representative of our radical transformation of the earth and our understanding of our place within it.” The other photographic series, The Mining Project, The Lake Project, and The Forest, similarly show the effect of extractive and destructive industry. The images chosen from The Mining Project and The Lake Project contain red tones that add an aggressive, almost gory, quality to the images. The photographs from The Forest, on the other hand, employ black and white shades to evoke a feeling of mourning for the loss of our planet.

[intrusions-exhibition]

Hirst, Damien. Various images. 

The Physical Impossibility of Death in the Mind of Someone Living, 1991

Description: The piece consists of glass, painted steel, silicone, monofilament, shark and formaldehyde solution. This tiger shark was caught off the coast of Queensland, Australia, by a fisherman commissioned to do so for this piece.

Away From The Flock, 1994 

Description: This piece consists of glass, painted steel, silicone, acrylic, plastic, lamb and formaldehyde solution.

The Dream, 2008

Description: This piece consists of glass, painted stainless steel, silicone, resin, foal and formaldehyde solution.

Beautiful Architect, 2003

Description: This piece consists of hundreds of dead butterflies and household gloss on canvas. 

Lukaemia, 2003

Description: This piece consists of hundreds of thousands of dead flies’ bodies and resin. 

Various activists have pointed out that Damien Hirst’s artwork is responsible for the deaths of nearly one million animals. This figure includes a variety of living things‒ a variety of land mammals, fish, birds, and insects. These animals will be showcased at the Intrusions exhibition as evidence of humans’ unnecessary displacement and exploitation of nature. The pieces will not be physically present‒ so as not to support Hirst’s work‒ but, instead, photographs of his work will be displayed in the same manner as the photographs of other artists. Along with the alternating images, there will be either written facts or a voiceover relating to the content of Hirst’s pieces, more specifically, the number and type of animals killed for each piece. The viewer should reflect upon how humans exploit the natural world for the purpose of visual pleasure, despite the fact that this inevitably reduces the natural beauty and wonders that our Earth contains. This will likely be the last piece viewers come upon before exiting the exhibition, and this positioning is done purposely. After reflecting on all the ways humans intrude upon the natural world, the viewer will find that not even the art world is innocent.

[intrusions-exhibition]

THIS WORLD IS NOT OURS. STEP CAREFULLY.

[intrusions-exhibition]

Works Cited:

“Dying Tree.” brandonballengee.com, Balengée, Brandon, 2013, brandonballengee.com/dying-tree/. 

“Hole covered with small pointed rocks, Clapham, Yorkshire.” Goldsworthy, Andy, January 1980, www.goldsworthy.cc.gla.ac.uk/images/l/ag_01380.jpg. 

“Woven branch arch, Langholm, Dumfriesshire.” Goldsworthy, Andy, April 1986, www.goldsworthy.cc.gla.ac.uk/images/l/ag_03537.jpg. 

“Balanced river stones, Brough, Cumbria.” Goldsworthy, Andy,  24 September 1982, www.goldsworthy.cc.gla.ac.uk/images/l/ag_02320.jpg. 

“Stone circle, sinking into the sand, Morecambe Bay, Lancashire.” Goldsworthy, Andy, March 1976, www.goldsworthy.cc.gla.ac.uk/images/l/ag_00005.jpg.

“Andy Goldsworthy (British, born 1956).” Artnet, www.artnet.com/artists/andy-goldsworthy/. 

“Sun Branch.” Eliasson, Olafur, Photos by Jens Ziehe, 2019, olafureliasson.net/archive/artwork/WEK110916/sun-branch#slideshow. “Head On.”caiguoqiang.com, Cai Guo-Qiang, Commissioned by Deutsche Bank AG, Photos by Hiro Ihara, courtesy Cai Studio, caiguoqiang.com/projects/projects-2006/head-on/. 

Cai, Guo-Quiang. “Cai Guo-Qiang: I Want to Believe - Head on, 2006.” Youtube, uploaded by Museo Guggenheim Bilbao, 30 April 2009, www.youtube.com/watch?v=5rJcem92ns0. 

Art Works For Change, portfolio of artist Cai Guo-Qiang, www.artworksforchange.org/portfolio/cai-guo-qiang/. 

“Mobile Matrix.” Orozco, Gabriel, Photo by Charles Watlington, 2006, artcritical.com/2010/01/06/gabriel-orozco-at-the-museum-of-modern-art-new-york/gabriel-orozco/. 

“Sandstars.” Guggenheim Museum, Orozco, Gabriel, Photo by David Heald, November 9, 2012–January 13, 2013, www.guggenheim.org/exhibition/gabriel-orozco-asterisms. 

Helguera, Pablo. “MoMA: Biography of a Whale.” InsideOut, 8 Feb. 2010, www.moma.org/explore/inside_out/2010/02/08/biography-of-a-whale/.

“Gabriel Orozco: Asterisms.” Guggenheim, 11 Dec. 2018, www.guggenheim.org/exhibition/gabriel-orozco-asterisms. 

“Midway: Message from the Gyre.” chrisjordan.com, Jordan, Chris, 2006-Current, www.chrisjordan.com/gallery/midway/#CF000313%2018x24.

Jordan, Chris. “Midway: Message from the Gyre.” Chris Jordan photographic arts, www.chrisjordan.com/gallery/midway/#about.

“Salinas #5: Aquaculture, Cádiz, Spain.” edwardburtynsky.com, Burtynsky, Edward, 2013, www.edwardburtynsky.com/projects/photographs/anthropocene

“Clearcut #1: Palm Oil Plantation, Borneo, Malaysia.” edwardburtynsky.com, Burtynsky, Edward, 2016, www.edwardburtynsky.com/projects/photographs/anthropocene

“Oil Bunkering #4: Niger Delta, Nigeria.” edwardburtynsky.com, Burtynsky, Edward, 2016, www.edwardburtynsky.com/projects/photographs/anthropocene. 

“Building Ivory Tusk Mound: Nairobi, Kenya.” edwardburtynsky.com, Burtynsky, Edward, 25 April 2016, www.edwardburtynsky.com/projects/photographs/anthropocene. 

Burtynsky, Edward. “Extract from Burtynsky’s essay, ‘Life in the Anthropocene’,”www.edwardburtynsky.com/projects/photographs/anthropocene. 

“Desolation Desert: Lithium Extraction #1, Salar de Atacama, Chile.” Maisel, David,  2018, davidmaisel.com/works/desolation-desert/#7.  

“The Mining Project: Clifton, Arizona #5.” Maisel, David, 1989, davidmaisel.com/works/the-mining-project/#11. 

“The Lake Project: #67.” Maisel, David, 2015, davidmaisel.com/works/the-lake-project/#8. 

“The Forest: #4 (Chesuncook Lake, Maine).” Maisel, David, 1986, davidmaisel.com/works/the-forest/#4. 

“The Physical Impossibility of Death in the Mind of Someone Living.”damienhirst.com,  Hirst, Damien, Photographed by Prudence Cuming Associates, 1991, www.damienhirst.com/the-physical-impossibility-of. 

“Away From The Flock.” damienhirst.com,  Hirst, Damien, Photographed by Prudence Cuming Associates, 1994, damienhirst.com/away-from-the-flock. 

“The Dream.” damienhirst.com,  Hirst, Damien,Photographed by Prudence Cuming Associates, 2008, damienhirst.com/the-dream. 

“Beautiful Architect.” damienhirst.com,  Hirst, Damien, Photographed by Stephen White, 2003, damienhirst.com/beautiful-architect.  

“Lukaemia.” damienhirst.com,  Hirst, Damien, Photograph Courtesy of White Cube, 2003, damienhirst.com/leukaemia. 

Stanska, Zuzanna. “The Story Of Damien Hirst's Famous Shark.” DailyArtMagazine.com - Art History Stories, Daily Art Magazine, 7 Feb. 2018, www.dailyartmagazine.com/story-damien-hirst-shark/.

Goldstein, Caroline. “How Many Animals Have Died for Damien Hirst's Art to Live? We Counted.” Artnet News, 16 Aug. 2017, news.artnet.com/art-world/damien-whats-your-beef-916097.