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89. Clatsop County, Oregon. . . . the trees have risen one more time and the night wind makes them sound like the sear that is yet unknown the black clouds race over the moon the rain is falling on the last place. W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
89. Clatsop County, Oregon. . . . the trees have risen one more time and the night wind makes them sound like the sear that is yet unknown the black clouds race over the moon the rain is falling on the last place. W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration

89. Clatsop County, Oregon. . . . the trees have risen one more time and the night wind makes them sound like the sear that is yet unknown the black clouds race over the moon the rain is falling on the last place. W. S. Merwin 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 number2006.026.089
Curatorial DepartmentModern & Contemporary Art
_Place of OriginUnited States
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
65. 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
65. 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: 2006.026.065
66. 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
66. 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: 2006.026.066
61. 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
61. 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: 2006.026.061
93. Curry County, Oregon. . . . the poor joiner, working at his wood, Knew not the tree from which the planks were taken, Knew not the glade from which the trunk was brought, Knew not the soil in which the roots were fast, Nor by what centuries of gales the boughs were shaken, But holds them all beneath his hands at last V. Sackville-West How much more difficult it is to imagine the origin of a sheet of chip board. As John Hay has written, we are “destroyers who are incapable of identifying our victims.”From Turning Back, A Photographic Journal of Re-exploration
93. Curry County, Oregon. . . . the poor joiner, working at his wood, Knew not the tree from which the planks were taken, Knew not the glade from which the trunk was brought, Knew not the soil in which the roots were fast, Nor by what centuries of gales the boughs were shaken, But holds them all beneath his hands at last V. Sackville-West How much more difficult it is to imagine the origin of a sheet of chip board. As John Hay has written, we are “destroyers who are incapable of identifying our victims.”From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.093
119. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
119. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.119
118. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
118. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.118
113. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
113. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.113
114. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
114. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.114
115. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
115. On Humbug Mountain, Clatsop County, Oregon. after an age of leaves and feathers someone dead thought of this mountain as money and cut the trees that were here in the wind in the rain at night it is hard to say it W. S. Merwin From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.115