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128. Malheur National Forest, South of John Day, Grant County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
128. Malheur National Forest, South of John Day, Grant County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

128. Malheur National Forest, South of John Day, Grant County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Artist (American, born 1937)
Date1999–2003
Period20th-21st century
MediumGelatin silver print on paper
DimensionsMat Size: 14 x 18 inches
Credit LinePurchase with funds provided by Kathy and Richard S. Fuld, Jr.
Object number2006.026.128
Curatorial DepartmentModern & Contemporary Art
_Place of OriginUnited States
35. Along Floras Creek, Curry County, Oregon. Scientists at the National Aeronautics and Space Administration’s Goddard Space Flight Center . . . released photos . . . from 700 miles above the earth, show[ing] a pattern of clearcutting throughout the entire rain forest of the Northwest that is so extensive that the land looks perforated by a giant blast of buck-shot. . . . Ninety percent of the original Northwest forest is gone. Timothy Egan The New York Times, June 1992 From Turning Back, A Photographic Journal of Re-exploration
35. Along Floras Creek, Curry County, Oregon. Scientists at the National Aeronautics and Space Administration’s Goddard Space Flight Center . . . released photos . . . from 700 miles above the earth, show[ing] a pattern of clearcutting throughout the entire rain forest of the Northwest that is so extensive that the land looks perforated by a giant blast of buck-shot. . . . Ninety percent of the original Northwest forest is gone. Timothy Egan The New York Times, June 1992 From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.035
33. Kerstin reading by the Elk River, in undisturbed woods mostly of Douglas fir, in the Siskiyou National Forest, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
33. Kerstin reading by the Elk River, in undisturbed woods mostly of Douglas fir, in the Siskiyou National Forest, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.033
71. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
71. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.071
72. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
72. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.072
73. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
73. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.073
74. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
74. Floras Creek, Curry County, Oregon. Research in South America has shown that the slow release of moisture held by some coastal forests is important to the formation of clouds that then take rain inland. Coastal deforestation is thus believed to contribute to climate change and desertification. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.074
Image Not Available for 59. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
59. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.059
60. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
60. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.060
34. Sitka spruce, Klootchy Creek Park, Clatsop County, Oregon. This 750-year-old tree, which is 206 feet tall and 56 feet in circumference, is the largest tree now standing in Oregon, though it is characteristic of many that used to stand in the original forest. In its presence we find stillness. And perhaps some anxiety: the attack on the tree that Julia Butterfly Hill risked her life to save is representative of a pathology now quite common in the Northwest. From Turning Back, A Photographic Journal of Re-exploration
34. Sitka spruce, Klootchy Creek Park, Clatsop County, Oregon. This 750-year-old tree, which is 206 feet tall and 56 feet in circumference, is the largest tree now standing in Oregon, though it is characteristic of many that used to stand in the original forest. In its presence we find stillness. And perhaps some anxiety: the attack on the tree that Julia Butterfly Hill risked her life to save is representative of a pathology now quite common in the Northwest. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.034
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.062
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.063
64. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
64. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.064