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92. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration
92. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration

92. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. 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 number2006.026.092
Curatorial DepartmentModern & Contemporary Art
_Place of OriginUnited States
90. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration
90. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.090
91. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration
91. Clatsop County, Oregon. Oregon’s public schools are funded in part by taxes linked to the short-term profits of industrial forestry. It is thus argued that clearcutting is done for the benefit of children. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.091
98. Floras Creek, Curry County, Oregon. The Oregon Department of Forestry proposes a “compromise” by which clearcutting would be done less often on state-owned land. It is a proposal that fails to acknowledge the central contention of many of the industry’s critics, that forests are sacred and must never be totally cut lest they be permanently destroyed. From Turning Back, A Photographic Journal of Re-exploration
98. Floras Creek, Curry County, Oregon. The Oregon Department of Forestry proposes a “compromise” by which clearcutting would be done less often on state-owned land. It is a proposal that fails to acknowledge the central contention of many of the industry’s critics, that forests are sacred and must never be totally cut lest they be permanently destroyed. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.098
99. Floras Creek, Curry County, Oregon. The Oregon Department of Forestry proposes a “compromise” by which clearcutting would be done less often on state-owned land. It is a proposal that fails to acknowledge the central contention of many of the industry’s critics, that forests are sacred and must never be totally cut lest they be permanently destroyed. From Turning Back, A Photographic Journal of Re-exploration
99. Floras Creek, Curry County, Oregon. The Oregon Department of Forestry proposes a “compromise” by which clearcutting would be done less often on state-owned land. It is a proposal that fails to acknowledge the central contention of many of the industry’s critics, that forests are sacred and must never be totally cut lest they be permanently destroyed. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.099
75. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
75. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.075
76. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
76. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.076
78. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
78. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.078
77. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
77. Near Clatskanie, Columbia County, Oregon. Raymond Carver, the short story writer and poet, was born in Clatskanie. His family soon moved, but as a young man he worked in lumber mills in Chester and Eureka, California. The landscapes of industrial forestry are consonant with some of the hard truths about which he wrote. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.077
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
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
Robert Adams
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