Burko depicts scientific data through visual motifs, incorporating Landsat imagery, mapping data[17] and U.S.G.S. repeat photography archives.[18] From 2007 through 2011, Burko developed the project Politics of Snow, investigating the historical comparisons of global climate change through images culled from glacial geological data recorded throughout the world.[16] Other works depict the same location seen from different points in time, showing the effects of climate change on a specific site – a method glaciologists call "repeats." Such photo-documents have been shot by scientists and field researchers at U.S. Geological Survey and Byrd Polar Research Center at Ohio State University, such as David Arnold, Henry Brecher, Dan Fagre, Ulysses S. Grant IV, Karen Holzer, Carl Key, Bruce Molnia, Sidney Paige, Tad Pfeffer, Lonnie Thompson and Bradford Washburn.[18]Judith E. Stein observes, "To my horror, I found myself adding my own mental image to each sequence, extrapolating from what [Burko] shows, thereby envisioning the next, un-depicted step in the warming process—our dystopic future."[19]
Since 2013, Burko has embarked on research expeditions to various glaciers and reefs around the world. Through these locations, Burko explores the impacts of climate change, with particular emphasis on glacial melt and coral bleaching.[11][20] In 2013, Burko traveled to Antarctica in January and the high Arctic in October. The latter was sponsored by the nonprofit organization The Arctic Circle, and was supported by a Fellowship in the Arts, awarded by The Independence Foundation in Philadelphia.[21][22][23] These expeditions led to a body of work entitled "Polar Investigations." In 2015, Burko flew from Ushuaia to El Calafate to discover the Patagonian ice field of Argentina. In 2017, her exploration of landscapes affected by climate change continued with New Zealand's Fox and Franz Josef Glacier, along with The Great Barrier Reef. This experience marked a shift in her practice from glaciers to reefs.[16]
In January 2018, Diane Burko travelled to American Samoa, Oahu, and Honolulu with the non-profit project "Kai 'Apapa," a multimedia exploration of American coral reef systems, in collaboration with climatologist Samiah Moustafa, composer/video artist Christine Southworth, and composer/clarinetist Evan Ziporyn. The project aims to raise awareness of the rapid changes to coral reef systems, and present the scientific ramifications through art and performance. The project has received a nearly $31,450 grant from the MAP Fund.[24]
Independently, Burko's recent work includes video and lenticular pieces based on footage from this expedition, alongside paintings of reefs.[11] Following the record-breaking wildfires intensified by deforestation[25] of the Amazon Rainforest in 2019, Burko has pivoted the focus of her paintings towards the Amazon Basin and the relationship between extractive industry and ecological degradation.[26]
Burko was represented by Locks Gallery from 1976 through 2012.[16] From 2012 to 2019 she was represented by Cindy Lisica Gallery, where she mounted her 2016 solo exhibition, "Traces of Change."[39][40] Burko is currently working independently.[41]
Awards
In 1976, Ivan Karp offered Burko a "Dealer's Showcase" at OK Harris Gallery in New York, NY, which attracted the attention of critic David Bourdon, who reviewed her solo exhibition in The Village Voice.[42] Critics and curators who have written about Burko's work include: Lawrence Alloway, Roberta Fallon, Pat Hogan,[43] Leslie Kaufman,[44] Cate McQuaid,[45] Preston McLane,[46] Edith Newhall,[47][48][49]John Perreault,[50]Carter Ratcliff,[18] Libby Rosof,[51] Julie Sasse,[52] Amy Schlegel,[53] Ed Sozanski,[54][55][56] and Michael Tomor.[57][58]
In 1989, the Lila Wallace Reader's Digest Fund awarded Burko a grant to fund a six-month residency in Giverny, France.[59] The paintings which resulted from this residency met with positive reviews in the United States. The Washington Postpraised Burko's "distinctive approach to composition."[60]
In 1993 Burko was awarded a residency at the Rockefeller Study and Conference Center in Bellagio[61] where she painted en plein air for five weeks. This culminated in her 1994 Locks Gallery exhibition, "Luci ed Ombra di Bellagio" – "The Light and Shadow of Bellagio." Robert Rosenblum, who first took an interest in Burko's work in 1976, wrote the accompanying catalog essay.[62]
Burko has received two NEA Visual Arts Fellowships (1985, 1991);[63] two Individual Artists Grants from the Pennsylvania Council on the Arts (1981, 1989); a Lila Acheson Wallace Foundation Residence Fellowship (1989);[64] a Rockefeller Foundation Residence Fellowship (1993);[62] and the Bessie Berman $50,000 Grant, awarded by the Leeway Foundation in Philadelphia (2000).[65]
In 1996, Burko won a $200,000 Public Art commission sponsored by the Redevelopment Authority of the City of Philadelphia[66] and the Marriott Hotel.[67] The result was a three-year project: Wissahickon Reflections, which comprises over 1,400 square feet (130 m2) of paintings, with one single panel measuring 11.5 feet (3.5 m) by 32 feet (9.8 m).[68]
Burko has been an active member in the Feminist art movement. In 1974 she founded the all city festival "Focus: Philadelphia Focus on Women in the Visual Arts – Past and Present." She was awarded the WCA/CAA Lifetime Achievement Award in February 2011.[69][70] In 2019, Burko was awarded the Fleisher Founder's Award, honoring her "contributions as an artist, educator, and environmentalist" and her "commitment to providing access to the arts."[71]
^Cheetham, Mark A. (2018). Landscape into eco art : articulations of nature since the '60s. University Park, Pennsylvania: Penn State University Press. ISBN9780271080031. OCLC1004957218.
^ abcRatcliff, Carter (2017). Diane Burko : glacial shifts, changing perspectives : bearing witness to climate change. New York: KMW Studio. ISBN9780998456409.
^Bourdon, David, "There's a New Kid or Two in Town," Village Voice, June 1977.
^Hogan, Pat (March 5, 2006). "Climate Control". The Philadelphia Inquirer.
^Kaufman, Leslie (Fall 2006). "Women's Art Is Never Done". Inside.
^McQuaid, Cate (March 19, 2006). "Touching the Void". The Boston Globe.
^Terrestrial forces. McLane, Preston., Florida State University Museum of Fine Arts. Tallahassee, Fla.: Florida State University Museum of Fine Arts. 2004. ISBN1889282154. OCLC60379280.{{cite book}}: CS1 maint: others (link)
^Newhall, Edith (February 28, 2010). "Galleries: Paintings depicting the effects of global warming". Philadelphia Inquirer.
^Perreault, John (1990). Diane Burko, reflects : paintings from Giverny, November 5 – December 7, 1990. Philadelphia: Marian Locks Gallery. ISBN0962379964. OCLC23813496.
^Residence Fellowship at Giverny, Reader's Digest Foundation, April – September 1989.
^Wilson, Janet, "Diane Burko's Lasting Impressions," The Washington Post, July 6, 1991, Illust.
^"The Mix"(PDF). Rockefeller Study and Conference Center in Bellagio. 1993. Archived from the original(PDF) on July 1, 2010. Retrieved February 4, 2014. [verification needed]