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Slide #20
Slide #20

Slide #20

Artist (American, born Russia (now Ukraine), 1899 – 1988)
Date1967
Period20th century
MediumPainted wood
DimensionsObject Size: 8 1/2 x 3 x 2 inches
Credit LineGift of the Lee A. Freeman Jr. Charitable Trust
Object number2005.054
Curatorial DepartmentModern & Contemporary Art
Copyright©Estate of Louise Nevelson/Artists Rights Society (ARS), New York
_Place of OriginUnited States
Ambiguous Beauty/Aimai-no-bi, Peter Norton Family Christmas Project, 1995
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Image Not Available for Clock
Clock
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85. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
85. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
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1999–2003
Object number: 2006.026.085
86. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
86. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.086
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Grans Rupestres #20
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20. A logging road on a hill above McGowan, Pacific County, Washington. The trees in an industrial forest are not allowed to live beyond infancy, but until there is further climate change or the soil is exhausted the landscape remains green. From Turning Back, A Photographic Journal of Re-exploration
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1999–2003
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Photo: Ken Burris
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LOVE
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1973
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