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

Artist Robert Adams (American, born 1937)

Date1999–2003

Period20th-21st century

MediumGelatin silver print on paper

DimensionsMat Size: 20 x 25 inches

Credit LinePurchase with funds provided by Kathy and Richard S. Fuld, Jr.

Object number2006.026.033

Curatorial DepartmentModern & Contemporary Art

_Place of OriginUnited States

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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

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

36. Above the Elk River, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.036

37. Above the Elk River, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.037

38. Above the Elk River, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.038

39. Above the Elk River, Curry County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.039

22. In an industrial forest, a decaying remnant from the ancient woods, Clatsop County, Oregon. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.022

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