58. Clatsop County, Oregon. Jellied gasoline (napalm) is sometimes used to speed the burning of waste. 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 number2006.026.058

Curatorial DepartmentModern & Contemporary Art

_Place of OriginUnited States

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57. Clatsop County, Oregon. Jellied gasoline (napalm) is sometimes used to speed the burning of waste. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.057

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

Robert Adams

1999–2003

Object number: 2006.026.086

34. Sitka spruce, Klootchy Creek Park, Clatsop County, Oregon. This 750-year-old tree, which is 206 feet tall and 56 feet in circumference, is the largest tree now standing in Oregon, though it is characteristic of many that used to stand in the original forest. In its presence we find stillness. And perhaps some anxiety: the attack on the tree that Julia Butterfly Hill risked her life to save is representative of a pathology now quite common in the Northwest. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.034

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

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

Robert Adams

1999–2003

Object number: 2006.026.091

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

Robert Adams

1999–2003

Object number: 2006.026.092