PROVIDENCE, RI.- 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 countrys topographies and correlating narratives that reveals a nations ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years.
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 photographys 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 OSullivan, employed for the governments geological surveys in the 1870s, made purposefully spare and anti-picturesque images that seemingly provide proof of empty territories needing to be studied, secured, and settled.
In her essay for America in Views 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 natures majesty and vastness represent many peoples 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 cultureinverting 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 Kurlands landscape under an overpass shows a stunning place of fantasy and escape. RISD alumnus Justin Kimball explores fantasies of finding wilderness in public parkswhere 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 Museums curator of Prints, Drawings + Photographs, says, This gift, and other contributions in Joes honor, gives the Museum a new strength in late 20th-century landscape photography, celebrated in this exhibition.