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The Cleveland Museum of Art

Contemporary Landscape Photography

Tags for: Contemporary Landscape Photography
  • Special Exhibition
Saturday, March 26–Sunday, August 14, 2011
Location: East wing, photography galleries

Desert Form #1, New Mexico (detail), 1984. William Clift (American, b. 1944). Gelatin silver print; 19.5 x 24.5 cm. Gift of Mr. and Mrs. Thomas A. Mann 1990.110 © 1984 William Clift

  1.  Desert Form #1, New Mexico, 1984. William Clift (American, b. 1944). Gelatin silver print; 19.5 x 24.5 cm. Gift of Mr. and Mrs. Thomas A. Mann 1990.110 © 1984 William Clift 

  2.  Date Grove, Haifa Street, Baghdad, 2003. Simon Norfolk (British, b. 1963). Chromogenic process color print; 48.6 x 60.8 cm. The Julius L. Greenfield Photography Acquisition Fund 2008.162 © Simon Norfolk, Courtesy Bonni Benrubi Gallery, NYC 

  3.  St. Stefan im Lavanttal, Austria, 2007. Robert Voit (German, b. 1969). Chromogenic process color print; 51.8 x 41.3 cm. Norman O. Stone and Ella A. Stone Memorial Fund 2010.222 © Robert Voit courtesy Amador Gallery New York 

  4.  Abandoned Apartment, Dresden-Cotta, 2005. Fredrik Marsh (American, b. 1957). Inkjet print; 50.8 x 62.1 cm. The Charlotte Ekker and Charlotte Van der Veer Memorial Fund 2010.219 © 2005, Fredrik Marsh 

  5.  Untitled (#228), 2007. Christine Laptuta (Canadian, b. 1951). Platinum/palladium print; 9 x 40.9 cm. Gift of Friends of Photography 2010.228 © 2007 Christine Laptuta 

  6.  New Mexico Landscape #8, 1980. Art Sinsabaugh (American, 1924–1983). Gelatin silver print; 29.8 x 49.7 cm. Gift of Mark Schwartz and Bettina Katz 2004.154 © 2004 Katherine Anne Sinsabaugh and Elisabeth Sinsabaugh de la Cova 
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About The Exhibition

Since the 1960s, contemporary photographers pursuing the landscape as subject matter have predominantly used two conceptual approaches. One is epitomized by the iconic landscapes of Ansel Adams, who sought out pristine views of the natural landscape—rivers, mountains, valleys, orchards, deserts, and the sea in the western United States—all presented with clarity and enriched by his poetic vision and commitment to environmental conservation. The other style sought to balance the depiction of formal beauty with the desire to document humanity's presence and intervention in the landscape. The pioneering photography of Robert Adams is a leading, articulate expression of that approach. This survey show featuring these two methods of recording the natural landscape is drawn from the Cleveland Museum of Art's permanent collection, and contains some 40 images—many of them new to the collection.

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