Laura McPhee’s Smoke from a Wildfire Ignited by Sparks from a Burn Barrel, Champion Creek, Custer County, Idaho, 2005. Gift of the artist and Carroll and Sons (Boston, MA) in honorof Joe Deal, is part of the America in View: Landscape Photography 1865 to Now exhibit on view at Museum of Art Rhode Island School of Design, Providence. © Laura McPhee. Museum of Art Rhode Island School of Design, Providence.
The Museum of Art Rhode Island School of Design announces its major fall exhibition, America in View: Landscape Photography 1865 to Now, a broad panorama of our country’s topographies and correlating narratives that reveals a nation’s ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years. The show opens Friday, September 21, 2012, and is on view through January 13, 2013.
The public is invited to a free opening party at the RISD Museum on Thursday, September 20, at 5:30 pm; all are welcome.
On Wednesday, October 3, at 6:15 pm, Sally Mann, one of the most influential photographers in the world today, shares her evocative images and reads from her forthcoming book.
“The landscape has inspired and challenged artists since the earliest days of our nation,” says Museum Director John W. Smith. “The remarkable works in this exhibition not only capture photography’s evolving relationship with the landscape but also trace the larger narrative of America itself.”
From the earliest images in the show, it is clear how purpose guided style. Carlton Watkins’ 1860s painterly and atmospheric views of the sublime landscape portray the wilderness as a place of spiritual renewal and a refuge from urban problems. In contrast, Timothy O’Sullivan, employed for the government’s geological surveys in the 1870s, made purposefully spare and anti-picturesque images that seem to provide proof of empty territories needing to be studied, secured, and settled.
In her essay for America in View‘s accompanying catalogue, photographer Deborah Bright, chair of the Fine Art Department at Pratt Institute, suggests that some of the historical shifts in environmental consciousness seen in the photographs “illuminate how the works also reflect changing conceptions of landscapes as bearers of cultural meaning.” Ansel Adams, whose mid-20th-century views of nature’s majesty and vastness represent many people’s ideals of American landscape photography, omitted human impact on the land. Widely used by the Sierra Club, his stunning images of untouched wilderness encouraged conservation in the face of an increasingly industrial society.
By the 1970s, artists including the late RISD provost and photography professor Joe Deal saw that the environment entailed both wilderness and the vacant lot next door. Their “New Topographics” imagery depicts recently constructed tract homes, industrial parks, and highway culture —- inverting Adams’ exclusion. “‘Landscape’ is probably better understood as that set of expectations and beliefs… we project upon the world,” explains Brown University art historian Douglas Nickel in the catalogue. “Not every photograph of land is a landscape, and not every landscape necessarily features the land.”
The past 20 years reveal a return to romantic views of the landscape, even in its degraded state, often including figures to create narratives. Justine Kurland’s landscape under an overpass shows a stunning place of fantasy and escape. RISD alumnus Justin Kimball explores fantasies of finding wilderness in public parks —- where instead we find others seeking the same.
America in View was inspired by a generous gift of photographs from Deal and his widow, Betsy Ruppa. Jan Howard, the Museum’s curator of Prints, Drawings + Photographs, says, “This gift, and other contributions in Joe’s honor, gives the Museum a new strength in late 20th-century landscape photography, celebrated in this exhibition.”
Southeastern New England’s only comprehensive art museum, the Museum of Art Rhode Island School of Design —- also known as the RISD Museum of Art —- was established in 1877. Its permanent collection of more than 86,000 objects includes paintings, sculpture, decorative arts, costume, furniture, and other works of art from every part of the world —- including objects from ancient Egypt, Greece, and Rome, and art of all periods from Asia, Europe, and the Americas, up to the latest in contemporary art. The Museum also offers a wide array of educational and public programs to more than 100,000 visitors annually.
The RISD Museum of Art, with entrances at 224 Benefit Street and 20 North Main Street in Providence, RI, is open Tuesday through Sunday, 10 am-5 pm, and 10 am-9 pm on Thursday. For more information, call 401 454-6500 or visit risdmuseum.org.
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