|
|
In inevitable contrast, contemporary photographers place their activity within the domain of art, and it is from the angle of autonomous criticism that we must interpret the hardened faces of miners and gypsies documented by Pierre Gonnord in Spain; the series of objects consumed by the author, which Hong Hao scans and groups in collages of hermetic lure; the exploration of the oil economy, tackled by David LaChapelle through the dreamlike photo of models of refineries and gas stations made with everyday objects; or the faithful representation of the impact of industrial development on contemporary landscapes, orchestrated by Edward Burtynsky in Bologna’s Palazzo Pepoli with an operatic video that beats on our consciences with the violent beauty of its images.
|
