Witnessing can be a significant act. Witnessing through art opens deliberate consideration, as is revealed in this post by DC regular, Vince Carducci. -Jeff

For more than 25 years, photographer John Ganis has been documenting the American landscape in lush panoramic color images that use the tools of photographic convention subversively in order to investigate the intersection of nature and culture, especially in places where the former is losing ground to the latter. In his book Consuming the American Landscape, he collected more than eighty images in which toxic waste dumps, strip mine tailings, and other scenes of environmental degradation are rendered with all of the grandeur characteristic of the work of Ansel Adams and Eliot Porter. This past summer Ganis turned his lens toward two of the most infamous examples in recent memory, the BP oil disaster in the Gulf of Mexico and a much-smaller yet still devastating pipeline leak into the Kalamazoo River in southwestern Michigan.Recently, his latest work was exhibited at the Swords Into Plowshares Peace Gallery in downtown Detroit.

In classic landscape photography, the wide-angle lens and high-resolution detail are devices that serve to convey the majesty of the environment and elicit awe for those parts of the world still seemingly untouched by humankind. In Ganis’ hands, these techniques suggest instead cognitive dissonance, a disparity between form and content: on the one hand the allure of the refined aesthetic with which the images are rendered and on other hand the revulsion at the recognition of what they are about.

In BP Oil Spill Containment Booms, Louisiana (all images 2010, courtesy of the artist), floating orange tubes meander back from the foreground to a horizon that bisects the picture plane. Watercraft of various configurations can be seen in the distance. The ocean in the bottom half of the picture reflects dappled light under the bright blue sky . . .

Read more: John Ganis: Ruptures and Reclamations