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48. A clearcut, Columbia County, Oregon. Cable is frequently broken or snarled and abandoned in the process of dragging trees to a loading point. From Turning Back, A Photographic Journal of Re-exploration
48. A clearcut, Columbia County, Oregon. Cable is frequently broken or snarled and abandoned in the process of dragging trees to a loading point. From Turning Back, A Photographic Journal of Re-exploration

48. A clearcut, Columbia County, Oregon. Cable is frequently broken or snarled and abandoned in the process of dragging trees to a loading point. 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: 20 x 25 inches
Credit LinePurchase with funds provided by Kathy and Richard S. Fuld, Jr.
Object number2006.026.048
Curatorial DepartmentModern & Contemporary Art
_Place of OriginUnited States
47. A clearcut, Columbia County, Oregon. Cable is frequently broken or snarled and abandoned in the process of dragging trees to a loading point. From Turning Back, A Photographic Journal of Re-exploration
47. A clearcut, Columbia County, Oregon. Cable is frequently broken or snarled and abandoned in the process of dragging trees to a loading point. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.047
43. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
43. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.043
44. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
44. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.044
45. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
45. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.045
46. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
46. At the edge of a clearcut, Warrenton, Clatsop County, Oregon. Trees taken near the Coast Highway, as here, are often not replanted because the acreage is too valuable for other kinds of development. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.046
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
40. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
40. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.040
41. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
41. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.041
42. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
42. Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.042
49. A stump next to Oregon Highway 47, Columbia County. Among the consequences of clearcutting is its effect on the human spirit. How conductive the practice is to a general attitude of contempt. From Turning Back, A Photographic Journal of Re-exploration
49. A stump next to Oregon Highway 47, Columbia County. Among the consequences of clearcutting is its effect on the human spirit. How conductive the practice is to a general attitude of contempt. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.049
54. Stacking the de-limbed trunks of an immature “harvest,” Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
54. Stacking the de-limbed trunks of an immature “harvest,” Columbia County, Oregon. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.054