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

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 number2006.026.061

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

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

101. Kerstin, next to an old-growth stump, Coos County, Oregon. It will be easier to think well of ourselves when evidence of the original forest is completely gone. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.101

102. Kerstin, next to an old-growth stump, Coos County, Oregon. It will be easier to think well of ourselves when evidence of the original forest is completely gone. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.102

82. Coos County, Oregon. Occasionally a tree will grow on top of an early stump. Here the second tree has itself been cut. From Turning Back, A Photographic Journal of Re-exploration

Robert Adams

1999–2003

Object number: 2006.026.082

Image Not Available

Jonah and the Whale

Sadao Watanabe

1959

Object number: 2012.041

James Forman, like many of the SNCC field staff, was a powerful stump speaker. Here he works the crowd at the Danville mass meeting. An hour later he will be searched by police holding shotguns and automatic weapons from the series Memories of the Southern Civil Rights Movement

Danny Lyon

1963, printed later

Object number: 2015.143

Flowers and Stump, Zion National Park, Utah from Western Landscapes

Eliot Furness Porter

1987

Object number: 2013.024.09