#diane burko

[pwlanier]

Diane Burko (American, b. 1945)

South of M.C.

Signed, dated 9/86 and titled verso, oil on canvas.

Freeman’s

[abstracteddistractions]

Diane Burko, "Unprecedented" (2021), 

Mixed media, 8 x 15 feet

[k00269711]

Diane Burko

While researching for "movement" i came across the artist Diane Burko. She has many pieces focused on landscapes and the effects of climate change.

This piece caught my eye as i like the colours and the movement captured within a still piece.

Great Barrier Reef, 60 ft. x 84 ft., mixed media on canvas, 2018

https://artistsandclimatechange.com/2021/10/25/on-bearing-witness-and-embracing-beauty/

[b0d1l]

Diane Burko

[livingtrophies]

Diane Burko

[uofslibrary]

Schemel Forum Virtual Tour- Diane Burko- 1/23

Schemel Forum Virtual Tour- Diane Burko- 1/23

[cindylisicagallery]

#Repost @brentfosterjones ・・・ This is the last day to view artist Diane Burko’s evocative abstractions suggesting forms and phenomena in the natural world on view @cindylisicagallery in #Houston, Texas. A survey of new and recent work is scheduled for 2021 at American University. . An endlessly inventive painter active for nearly half a century, an uninhibited colorist, and a friend, a work like the extraordinary ‘Great Barrier Reef’ (2018), evidences her master brushwork and formal interests in color and scale with its large expanses of intense hues filling the canvas. . A 2016 recipient of an @awaw.award, @dianeburko #dianeburko, is a brilliant and highly engaged artist whose radical practice is driven by a deep concern with climate change, joining scientific expeditions in remote corners of the world to see firsthand the transformation of landscapes. . Burko began taking flights over the canyon country of the Southwest with Light and Space artist and avid pilot #jamesturrell in the 1970s; she subsequently made what art critic Carter Ratcliff called “silvery, bluish images of stone and sky…notched and folded forms of the canyon walls inflect the path of vision,” as in ‘First Flight with Jim Turrell’ (1977) the same year Turrell began his monumental project at @rodencrater #rodencrater, an extinct volcano in northern Arizona. . Great Barrier Reef, 2018, acrylic on canvas, 60 x 84 inches; First Flight with Jim Turrell, 1977, acrylic on canvas, 48 inches by 80 inches. Photography courtesy of the artist. . #worldoceansday #dianeburko #exhibition #cindylisicagallery #4411montrose (at Cindy Lisica Gallery) https://www.instagram.com/p/BydMI0KAYFv/?igshid=84cnzgsk4fjj

[artandobjectsinc]

DIANE BURKO Opal , 2011 Archival pigment print 20 × 20 in

[agneslovesart]

Geographically Bipolar

The Cultural Programs for the National Academy of Sciences and Artist Diane Burko Explore Climate Change in Unexpected Ways by Lyric Prince SciArt, which is most often defined as a combination of scientific imagery with the creative interpretation of art, is becoming more popular in academic communities for its ability to elicit emotional and philosophical […] from BmoreArt | Baltimore Contemporary Art

[pwlanier]

Diane Burko (American, b. 1945)

Etretat

Signed and dated 3/88 verso, oil on canvas.

Freeman’s

[duvalart]

Sneak peek at Diane Burko’s new work on COVID 19, the pandemic and data. She is getting ready for her show at American University Museum. #intersectionofartandenvironment #dianeburko #americanunuversity #americanuniversitymuseum (at Philadelphia, Pennsylvania) https://www.instagram.com/p/CP_A2mbDb5y/?utm_medium=tumblr

[workshoptings]

Artist and material research

- The Mycological Twist 

http://themycologicaltwist.info/mushrooms-the-art-design-and-future-of-fungi/

- Designer Tom Dixon 

https://www.objekt-international.com/tom-dixon-x-ikea-gardening-will-save-the-world/

- Alan Sonfist 

https://www.alansonfist.com/

- Andy Goldsworthy 

https://www.google.com/search?q=Andy+Goldsworthy&rlz=1C1CHBF_enAU837AU837&oq=Andy+Goldsworthy&aqs=chrome..69i57&sourceid=chrome&ie=UTF-8

- Ruth Wallen 

https://www.ruthwallen.net/

- Diane Burko

https://www.dianeburko.com/artist-activst

- Aurora Robson

https://www.aurorarobson.com/

Biodegradable materials

https://www.sciencedirect.com/topics/engineering/biodegradable-material

https://www.archdaily.com/893552/8-biodegradable-materials-the-construction-industry-needs-to-know-about

[allegraknoxschool]

I chose to observe Diane Burko’s prismacolor pencil on Arches paper drawing “Eastern Plains of Colorado #1.” Looking at this drawing, it can be easily recognized as an aerial view of a river surrounded by mountains and trees and other plots of land. The view near the top fades away, as if we were looking at this landscape in person, the detail would fade and blur together as we looked at points farther away. I loved how she used darker gray shading on the mountains/grey forms in the lower left corner to depict the shadows/reflections of clouds overhead. While up close, I thought those forms looked weird and I questioned why she chose to include them, but when I backed away and saw a smoother version of the whole picture, I was amazed by how well it worked to look like it would in person. However, just because the landscape is recognizable does not necessarily mean it is portrayed realistically. Burko’s choice of medium greatly influences the perception of this drawing. The rough paper creates white space within each color she uses, no matter how dark or hard she used the pencil. This was a feature that immediately attracted my eye, and I really enjoyed the effect it created on the drawing, but it immediately informs the audience that this is a drawing, with a near-abstract depiction of color, rather than reassuring the audience that this drawing is as good of an interpretation of reality as she could manage. From afar, the white spots are barely noticeable. It creates a pleasant, light, but dimensional perspective on what she is depicting. Up close, the dots take up nearly half the image. In between every color, every pencil-stroke, the white space is there. When inspecting the drawing close-up, the white space creates texture. The landscape is recognizable and very coherent; however, I feel the coloring technique, choice of medium, and white space immediately alerts the viewer that the artist made a creative choice to deviate from what they saw in reality in order to make it more visually appealing. Initially, I did not get a sense of expression, that this drawing “came from within” or showed emotion—which made sense, since it is a drawing of a landscape… However, once I read the description for the drawing, I understood that there was an issue Burko was trying to address. She claims that this series focuses on global warming, especially glacial melting in the arctic. When I read this, I assumed this river was a new river caused by increased snowmelt. As I progressed in reading her caption, I learned that this drawing was actually meant to show road-building and agriculture have created artificial shapes on the land. So, while this drawing does represent a “bigger picture,” I am not sure it “stands on its own” because I only interpreted it as a landscape, not the impact humans have on it, until I read the description. This could relate to our discussion on the Gombrich reading, or Errol Morris’ “Photography as a Weapon” essay, where there is an argument that the truth of a painting may change as a title/caption is revealed or changed. While I saw this drawing and saw a landscape before reading the caption, I could have read the caption first and immediately recognized—even sought out—the man-made forms on the land. However, without knowing this drawing was focusing on man-made forms, I simply accepted them as a natural part of the landscape. After staring at the painting for a long time (about 5 minutes) I began to zone-out, honestly. I thought I had recognized the forms, what was happening, etc. But after about a minute, I snapped back and tried to continue the in-depth observation. What I recognized was that I could see the graphite/pencil Burko had used to sketch out the initial design. I noticed a tiny white square in the bottom right corner of the drawing, and spent some time trying to figure out what that was. I stood up and got closer to the drawing to see if the heavier-colored spots rose higher on the drawing than the faded areas (they did not). Ultimately, I learned that even though I had thought I was done looking at the drawing, and thought that it was just a simple landscape and I didn’t have too much to observe, there is a lot to recognize in a drawing of something seemingly familiar. Even though I had interpreted it initially as just trees, mountains, a river etc, I had a lot to learn and observe. I’m sure if I went back to sit in front of it again I would discover even more.

[b0d1l]

Diane Burko

[oselatra]

2017 Fall Arts fine arts calendar

On exhibits at museums around the state.

MAJOR ART EXHIBITS

LITTLE ROCK

Arkansas Arts Center

"Will Counts: The Central High School Photographs," through Oct. 22; "Robert Bean: Personal Spaces," through Oct. 1; "The Art of Seating: 200 Years of American Design, Sept. 29-Dec. 31.

Butler Center Galleries

"Modern Ink," group show, through Oct. 28; "Jim Nelson: Abstraction and Color," through Nov. 25; "The Art of Injustice: Paul Faris' Photographs of Japanese American Incarceration," through Dec. 30.

Clinton Presidential Center

"Art of Africa: One Continent, Limitless Vision," through Feb. 12.

Historic Arkansas Museum

"No-Type. Identity of Us," photographs, through Oct. 8; Danny Campbell and Winston Taylor, through Nov. 5; "Hidden Treasures: Selected Gala Fund Purchases," through Jan. 8; "Gordon and Wenonah Fay Holl: Collecting a Legacy," through Feb. 4, 2018; "All of Arkansas: Arkansas Made, County by County," through March 11, 2018;

Old State House Museum.

"True Faith, True Spirit: The Devotional Art of Ed Stilley," through 2017; "Cabinet of Curiosities," from UA Museum, through 2017.

University of Arkansas at Little Rock

Fine Arts Center

"Heidi Hogden: Uncertain Terrain," through Oct. 1; "Layet Johnson: August-September," through Oct. 1; "Peri Schwartz: The Artist's Studio," through Oct. 17.

BENTONVILLE

Crystal Bridges Museum of American Art

"Animal Meet Human," through Oct. 30; "Not to Scale: Highlights from the Fly's Eye Dome Archive," through March 2018; "Stuart Davis: In Full Swing," Sept. 16-Jan. 1.

CONWAY

University of Central Arkansas

Baum Gallery

"Vertebrates: An Installation by Ben Butler," through Oct. 19; "Equivocal Exposures: Alternative Photographic Processes," through Oct.19.

FAYETTEVILLE

Walton Arts Center

"Glacial Shifts, Changing Perspectives," paintings and photographs by Diane Burko, through September; "Charting Terrain: A Confluence of Light and Form," group show, Oct. 5-Dec. 23.

FORT SMITH

Regional Art Museum

"Searching for the Seventies: The DOCUMERICA Photography Project from the National Archives," through Oct. 29; "Momoyo Torimitsu: Somehow, I Don't Feel Comfortable," vinyl inflatable bunnies, Oct. 6-Dec. 31; "Bonfire: Barbara Cade," felted work, Nov. 3-Feb. 8.

JONESBORO

Arkansas State University

"2017 Faculty Biennial," "Vivid Life," "The Catastrophe of the Present," "Wild Things," work by Roger Carlisle, Shelley Gipson, Claudia Salamanca and Cara Sullivan, through Sept. 29; "A Shared Vision," from the Rudolph-Blume Collection, Oct. 18-Dec. 8; "inspired," work by high school students, Nov. 28-Dec. 8.

PINE BLUFF

Arts and Science Center for Southeast Arkansas

"Pine Bluff Art League Annual Juried Exhibition," through Nov. 11; 2017 "Irene Rosenzweig Biennial Juried Exhibition," Sept. 21-Jan. 6, 2018; "How People Make Things," Nov. 11-April 21, 2018.

2017 Fall Arts fine arts calendar