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

Artist Robert Adams (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 number2006.026.093

Curatorial DepartmentModern & Contemporary Art

_Place of OriginUnited States

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103. Saddle Mountain (3,257 feet) as seen from the side of Humbug Mountain (2,452 feet), Clatsop County, Oregon. Saddle Mountain is the highest point in the Coastal Range in northwestern Oregon. The sorrow one feels here today is not new. Sam Churchill (1911–1991), a well-known newspaperman who was raised in a logging camp near Saddle Mountain, remembered experiencing it as a young child walking with his mother: “I knew that already donkey engines of the Saddle Mountain Logging Company were gnawing at the vast belt of timber almost at the mountain’s foot. A great panic and sadness suddenly welled up within me. I clutched at on of Mother’s blackberry-picking hands. ‘I don’t want all the trees to be gone,’ I sobbed in boyish agony. There, in the sullen loneliness of a logged-off ridge top, and surrounded by blackberry vines and with Saddle

Robert Adams

1999–2003

Object number: 2006.026.103

104. Saddle Mountain (3,257 feet) as seen from the side of Humbug Mountain (2,452 feet), Clatsop County, Oregon. Saddle Mountain is the highest point in the Coastal Range in northwestern Oregon. The sorrow one feels here today is not new. Sam Churchill (1911–1991), a well-known newspaperman who was raised in a logging camp near Saddle Mountain, remembered experiencing it as a young child walking with his mother: “I knew that already donkey engines of the Saddle Mountain Logging Company were gnawing at the vast belt of timber almost at the mountain’s foot. A great panic and sadness suddenly welled up within me. I clutched at on of Mother’s blackberry-picking hands. ‘I don’t want all the trees to be gone,’ I sobbed in boyish agony. There, in the sullen loneliness of a logged-off ridge top, and surrounded by blackberry vines and with Saddle

Robert Adams

1999–2003

Object number: 2006.026.104

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

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

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

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

Robert Adams

1999–2003

Object number: 2006.026.066

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

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

Robert Adams

1999–2003

Object number: 2006.026.078

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

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