Garden History

and Landscape Studies

at the Bard Graduate Center

Volume ı | Number ıı | Spring/Summer 2004

Letter from the Editors Gnomenculture platitudes a bout his true nature, that, as the victim of this erro- neous information, he has hidden himself out of shame. Although produced nowadays in bright plastic and not terra-cotta (as was the case a century and more ago), the tradi- iewpoints, the pub- book edited by Betsy G. he gnome is perhaps the most despised garden orna- tional garden gnome has great charm. Being a good-humored lication of the Fryberger, who organized the ment in landscape history. With his pickax, lantern, fellow, full of laughter, kind to adults, a friend to children, and a Bard Graduate exhibition it accompanied. wheelbarrow, and little deer for companions, he has companion of nature, he embodies the instructive behavior of Center’s program Ethan Carr, assistant profes- long been an object of scorn, an emblem of bad a character in a fairy tale. It is therefore strange that his reputa- of Garden History sor in landscape architecture taste, and an affront to the designers of beautiful tion remains so poor. The gnome’s genealogy is impressive: He Vand Landscape Studies, and regional planning at the flowerT borders. Banished from polite society, he mostly descends from the pygmy and from human beings with grow- addresses readers both within University of Massachusetts dwells in European allotment gardens and American ing disorders. He is a relative of the court dwarfs from the and beyond academia. These and adjunct professor at the blue-collar yards, where he seventeenth and eighteenth include our supporters and Bard Graduate Center, leads a most happy life. At best, centuries, who were valued colleagues in other academic reviews Myth and History in he is admired with an ironic highly, yet also caricatured, institutions and professions – the Creation of Yellowstone eye as a piece of kitsch. To because of their diminutive art and architectural histori- National Park by Paul make matters worse, the classic stature and deformities. ans, landscape architects and Schullery and Lee Whittlesey. 1937 Disney film, Snow White Sculpted series of courtiers as architects, environmentalists, The conservationist and and the Seven Dwarfs, caused dwarfs decorate several gardeners, and people who writer William deBuys offers this noble character to be trans- German and Austrian gar- travel to learn about the his perspective on how the formed into the likes of dens from this period. By the nature of places. natural landscape of northern Bashful, Sneezy, Sleepy, Happy, beginning of the nineteenth We think it is important to New Mexico is in a state of Grumpy, Dopey, and Doc. century, when the brothers feature many facets of land- profound transformation. The publication of Gnome Life: Grimm started to collect folk scape study and to draw per- In this issue, we have cho- A Monthly Celebration of and fairy tales (Grimm’s Fairy spectives from sources sen to bring to the fore the Secrets, Tales, and Whimsy, by Tales, 1819), the gnome beyond our own walls. In this part of garden history and Wil Huygen and the illustrator became thoroughly embed- issue we have invited land- landscape studies that deals Rien Poortvliet (Abrams, ded within the collective scape historian Marc Treib to with those very essences of 1999), made the garden Western imagination. Who is review The Changing Garden: Earth: gnomes, stones, and gnome suffer so much from not familiar with the charm- Four Centuries of European desert soil. While the consid- ing dwarfs and gnomes and American Art, a recent eration of gnomes may seem found in such children books whimsical to some readers, as Elsa Beskow’s Peter in these imaginary folkloric continued on page 4 continued on page 2

Suzanne Hahn, Garden Gnome, 1995. 1 Letter from the Editors New Course Offerings Calendar (continued) beings, which find their way The Bard Graduate Center is pleased to announce the addition Davis has published on various aspects of March 18–June 20, 2004 into the garden as fey orna- of two new course offerings this spring in Garden History and American landscape history and is the princi- The Devonshire Inheritance: ment, make us conscious of Landscape Studies. Vanessa Bezemer Sellers, who earned her pal editor of the forthcoming volume America’s Five Centuries of Collecting the power that the now M.A. and Ph.D. in art history at Princeton, is teaching “The Art National Park Roads and Parkways: Drawings at Chatsworth much-exploited deep forest and Architecture of the Baroque Garden.” Tim Davis, who holds from the Historic American Engineering Record. Comprising more than 200 and mineral-enriched under- a Ph.D. in American civilization from the University of Texas His course, which pays particular attention to works of art, the exhibition ground have had on the and currently serves as lead historian of the National Park intellectual developments of the past half cen- highlights the family’s private human imagination. Then Service’s Park Historic Structures and Cultural Landscapes tury, provides a sweeping overview of the ways in which the collection, not normally on there are those stony land- Program, is teaching “Interpreting Ordinary Landscapes.” study of “everyday,” or “vernacular” landscapes has emerged as a view to the public and rarely scapes that proclaim Earth’s Sellers is the author of Courtly vital scholarly, artistic, and literary pursuit. By examining the exhibited. It presents a com- bones. Machu-Picchu, where Gardens in Holland, 1600–1650: The work of important scholars, artists, writers, and popular social prehensive portrait of five superb Inca masonry is set in House of Orange and the Hortus commentators, students learn to read even the most “ordinary” centuries of artistic connois- dialogue with mountain Batavus. In her class, she charts the landscapes as significant cultural spaces. Drawing on recent seurship and intellectual pur- forms, and Petra, the ancient history of European gardens from the work in art history, sociology, cultural geography, documentary suits and is organized Nabataean desert city of nat- late 1500s through the early 1700s. photography, and environment psychology, the course explores chronologically by generation. ural cliffs carved into archi- Her students analyze landscape theory the ways in which landscapes are invested with meaning and The objects in each section tectural forms, remind us and design through contemporary considers their role in the construction and contestation of cul- have been carefully selected that stones are, as much as engravings, books, and treatises, and tural norms and values. The study of past and present land- to illustrate the interests and plants, an important part of trace the crosscurrents of cultural scapes thus becomes an inquiry into the interactions among the historical roles played by suc- landscape design. Marfa, influence as these images and texts were disseminated human mind, the physical environment, and a host of complex cessive family members. Texas, the semi-desert town throughout Europe. The course also addresses the influence of and often competing social factors – the transformation of Monday where artist Donald Judd cre- science and technology on culture during this rich period of abstract physical space into a richly textured mosaic of individu- March 22, 2004 ated a museum complex, and discovery, especially the technical advances enabling the creation alized and culturally resplendent places. 6:00 p.m. nearby Big Bend National of fountains and other waterworks. In addition, it focuses on Lecture by Kate Colquehoun, Park similarly extend the the era’s cultivation of many new plant species and the phenom- author of A Thing in meaning of the term land- enon of unbridled market enthusiasm known as . tulipomania Disguise: The Visionary Life scape beyond our traditional Students gain insight into the relationship between gardens and of Joseph Paxton notion of moist-climate the decorative arts as they examine the palaces and landscapes The Bard Graduate Center greenery. of Louis XIV, William and Mary, Peter the Great, and other Lecture Hall We value your ideas and princes of the period. (38 West 86th Street) suggestions for future issues Organized in association as we continue to build this with the Horticultural Society forum for literary conversa- of New York. General admis- tion about the history and sion: $20: seniors and meaning of place at the Bard members of the Horticultural Graduate Center and beyond. Society: $15 6:00 p.m. to 7:15 p.m.: lecture Elizabeth Barlow Rogers 7:15 p.m. to 8:00 p.m.: Editor book signing reception Erik de Jong Associate Editor Little Sparta, Stonypath, Dunsyre, near Lanark, Scotland. Garden design by Ian Hamilton Finlay. 2 Begun 1966. Joseph Paxton: Eminent consider the purpose, scope, science; how these disciplines September 23–December 3, where sheep graze and ponds Contributors Victorian Gardener and activities for the group. depended upon ongoing 2004 are ringed with wild vegeta- In 1826, the sixth duke of For more information or social and cultural changes; Ian Hamilton Finlay: tion. Like several eighteenth- Devonshire offered Joseph to register for the meeting, and how botany and horticul- Works on Paper century English gardens, Paxton (1801–1865) the posi- go to www.sah.org or call ture contributed to larger (UBS Paine-Webber Gallery, Little Sparta (so named by Ethan Carr is a visiting profes- tion of head gardener at 312-573-1365. changes in social and cultural 1285 Avenue of the Americas, Finlay following a protracted sor at the Bard Graduate Chatsworth, his Derbyshire practices. For program and between 51st and 52nd battle with local county Center, where he teaches Tuesday estate. The subsequent flow- registration materials, go to Streets. Organized under the authorities over a tax assess- “Central Park: The Landscape, May 4, 2004 ering of Paxton’s genius, www.doaks.org. sponsorship of the Bard ment for his Garden Temple) its Management, and its 6:00 p.m. combined with the duke’s Graduate Center.) is an associational landscape. Restoration.” He is also an Solitary Wanderings: January, February, largess, soon made Certain features are meant to assistant professor of Music, Phantasy, and the March 2005 Graphics and Gardening at Chatsworth a seat of horticul- provoke the visitor’s consider- landscape architecture and Landscape Garden (Two Tuesday afternoons Little Sparta tural renown. Paxton set ation of pastoral and political regional planning at the in the late 18th Century each month) The relevance of Ian about repairing and improv- themes. There are neoclassi- University of Massachusetts, Andrew Appel, clavichordist Great Books, Great Gardens Hamilton Finlay: Works on ing the garden’s original cal columns, walls construct- Amherst and the author of and director of the Four Early Twentieth Century Paper to the BGC is twofold. waterworks, perfecting his ed of weathered local stones, Nations Ensemble and Erik English Gardens and Their Given its focus on the decora- Wilderness by Design: hydrological skills until he and carefully crafted wooden deJong, associate director and Creators tive arts and design, the insti- Landscape Architecture and became the foremost English bridges and benches. Many of professor of Garden History (A mini-course taught by tution’s purview includes the National Park Service fountain engineer of the day. these have incised words that (1998). and Landscape Studies, Bard Eleanor Dwight, Ph.D.) graphic art. In addition, Chatsworth’s Emperor allude to Finlay’s obsession Graduate Center (Event In the early twentieth cen- because Finlay has created an William deBuys, Ph.D., Fountain at Chatsworth was with themes of the pastoral, will be held at the home of tury English gardeners creat- important and original gar- teaches documentary studies in its time the world’s tallest. World War II, the sea, the the program director.) ed exciting landscapes in a den, his work relates to the at the College of Santa Fe Paxton also earned renown as French Revolution, and the This recital and discussion new style that combined their BGC’s recently established and chairs the Valles Caldera the designer of Crystal Palace poem. The exhibition high- of garden engravings in rare knowledge of the past with Garden History and Trust, which administers the for London’s Great Exhibition lights the ways in which books, followed by buffet contemporary planting phi- Landscape Studies program. 89,000-acre Valles Caldera in 1851. He was, in addition, Finlay, a concrete poet and supper, is limited to members losophy and horticultural First-year students taking National Preserve. DeBuys the creator of several of owner of the Wild Hawthorn of the Bard Garden Circle opportunity. The designers of the Garden History and is the author of four books, England’s first purpose-built Press, combines graphic and invited guests. Hidcote and Sissinghurst Landscape History survey including public parks. design and word play in his River of Traps changed the direction of gar- course examine the works of (1990), a finalist for the May 6-8, 2004 prints and limited-edition den history by synthesizing contemporary landscape Pulitzer Prize, and Salt April 14-17, 2004 Dumbarton Oaks Garden publications. The relationship the formal and informal with architects, land artists, and Dreams: Land and Water in The Society of Architectural and Landscape Symposium between his garden and their structured layouts and gardeners at the end of their Low-Down California (1999), Historians’ 57th Annual 2004 graphic art is revealed in the imaginative planting. second semester. Prominent which won a Western States Meeting Botanical Progress, show’s prints and pho- The course will begin with among these is the postmod- Book Award. (Providence, Rhode Island.) Horticultural Innovations tographs. a review of the history of ern garden, Little Sparta that The Landscape Chapter and Cultural Changes For more information on Marc Treib is professor of English garden styles and will Finlay built in the rolling Organization meets Friday, (Held in conjunction with the exhibit, call 212-713-2885. architecture at the University emphasize selected fiction, downs of southern Scotland April 16, from noon to the Smithsonian Institution, Those wishing to visit Little of California, Berkeley. His memoirs, letters, and biogra- 2:00 p.m. The discussion, led Department of Botany, and Sparta will find information most recent book is phies of innovative landscape Noguchi by Marc Treib, University the United States Botanical at www.gardenvisit.com/ creators, members of the in Paris: The Unesco Garden of California, Berkeley, will Garden) g/lit6.htm (William Stout, San Francisco Bloomsbury group and other consider reinstituting a This joint symposium will and Unesco, Paris, 2003). writers. Landscape Chapter of SAH explore how major develop- Participation is limited to reflecting increased interest ments in botany and horticul- members of the BGC Garden among the membership. This ture impacted gardens, Circle and other supporters. will be an informal gathering gardening, landscaping and To register, please call to test the interest in a 212-505-3064 or e-mail Landscape Chapter and to [email protected]. 3 Gnomenculture Words from the West hardly have done a better job. But the purpose of the agencies (continued) was the reverse, and especially in the case of the Forest Service, it was to enhance, protect, and use those selfsame timber resources in a sustainable manner. What went wrong? Blueberry Land or Astrid Lindgren’s The Tomten? The garden A Perfect Storm of Landscape Transformation The roots of the problem are both intellectual and attitudinal: gnome is their dear relative. ot long ago, I watched dawn illuminate the Rio The former because the foresters’ conceptual model for how His origins can be traced to myths and sagas from densely Grande Valley from the hills above Santa Fe. The forests functioned was deeply flawed, and the latter because wooded and mountainous areas of Eastern, middle, Western, Jemez Mountains bound the valley on the west, and, their exaggerated belief in their capacity to control nature blind- and northern Europe. It was only in the sunny lands of southern as the morning advanced, low-angle sunlight pene- ed them to the import of contrary information. Their failure was Europe that the gnome did not take up residence in the popular trated the forests of the eastern slopes of the an inability to learn and adapt. imagination. Like Snow White’s dwarfs, the gnomes of myth NJemez in such a way that from forty miles away, I could identify Primary among the conceptual errors was their misunder- and saga are traditionally itinerant mountain people, trekking expanses of forest that had burned in the crown fires of the past standing of the role of fire in structuring the mid-altitude from place to place to do seasonal work in mines. These miners’ decade. Where only dead trees stood, the snow on the ground ecosystems of the West and Southwest. Ponderosa-pine forests, sudden comings and goings and frequent disappearances into shone through brightly. I was surprised by the vastness of the in particular, are superbly adapted to recurrent, low-intensity the bowels of the earth fostered the impression, which was area of gleaming snow. ground fires that retard fuel buildup and seedling establish- adopted by later storytellers, that gnomes were diminutive folk. South to north, I could see the territory of the Dome Fire of ment, thereby maintaining the open and grassy near-savanna From such tales, the garden gnome derives his principal 1996, the Cerro Grande Fire of 2000 (which consumed more characteristics that greeted the region’s first Euro-American attribute, the pickax. He thus became famous for being a crea- than two hundred residences in Los Alamos – by far the largest settlers. ture who lives close to the earth, a participant in the earth’s community in the Jemez), and the Oso Complex fire of 1998. But the errors run much deeper than simply misapprehend- magical powers. Believed to be Less distinct, both because of the greater number of intervening ing the role of fire. The people who built the institutions of so- an advocate of nature, he is Save the Date! years and because it burned on relatively flatter terrain, was the called land management in the United States failed to appreciate seen as a caretaker of all living Fall Picnic with Gnomes La Mesa fire of 1977, tucked between the territories of the Dome the complexity of the natural systems in their charge, and they things and earns his rightful in Central Park and Cerro Grande fires. These four fires total more than assumed that their understanding of how those systems operat- place in the garden by assist- Wednesday, September 29 100,000 acres, and they nearly blanket the ponderosa-pine zone ed and how the systems might be altered to satisfy human ing flowers, plants, and trees and most of the mixed-conifer zone of the east face of the entire appetites was both accurate and sufficient. They also failed to to grow. It is no exaggeration to say that the garden gnome, Jemez mountain range. There are gaps, of course, but the thor- recognize that low-intensity fire was the keystone process that influenced by nineteenth-century romantic nationalism, has ough destruction of the primary timber resource of such an structured southwestern pine forests. They believed that by come to symbolize nature. Understandably, therefore, the gar- enormous area is the unfortunate result of 95 years of land eliminating forest fires, they would automatically grow more den gnome does not consort with Flora, Ceres, and Pomona. management, from the establishment of the Jemez Forest and better timber. But they did not adequately test these These are the classical goddesses of agriculture and horticulture Reserve in 1905 until 2000, when the last embers of the Cerro hypotheses until enormous, irrevocable damage occurred. that one finds represented in aristocratic gardens of the seven- Grande fire grew cold. Along the way (and much to the conster- The cause of firefighting helped justify the establishment of teenth and eighteenth centuries. Instead, the garden gnome, nation of the Forest Service), a significant portion of Santa Fe the National Forest System and the Forest Service. The agency being a true “genius of the place,” embodies something more National Forest (into which the Jemez Forest Reserve had been was created during a period when devastating fires roared elemental: the very forces of nature. As such, he represents absorbed) was set aside as Bandelier National Monument and through the northern Rockies and when the memory of even democracy, freedom, brotherhood, and equality, symbolized by placed under the management of the National Park Service. worse conflagrations in the cutover pinelands of the upper his red Phrygian cap, derived from the headgear of French If the purpose of the Forest Service and the Park Service had Midwest was still fresh. Emerging from such trauma, the Forest Revolutionaries at the end of the eighteenth century. been to destroy the timber resource of the east face of the Jemez Service developed a strong sense of its firefighting mission as an Fortunately, contemporary artists such as Suzanne Hahn Mountains, we would certainly congratulate them. They could essential element of its esprit de corps, even to the point of have revived the motif of the garden gnome. Hers is a small denying, in the face of much evidence to the contrary, the practi- figure, his head still topped with a red hat. But he wears a mod- cal utility and ecological importance of low-intensity fires. ern suit and stands dapper with hand in pocket. He gazes opti- Ultimately, the agency accepted the necessity of controlled burn- mistically upward, his left hand raised, and appears as if about ing only when forced to do so as a condition of establishing to speak. We get the impression that he is wondering…about us, perhaps? “Once upon a time” has become in the hand of this artist “here again.” Recently, some of us humans have reported hearing in woods and gardens tiny voices whispering: “Watch out! We’re coming!” Or was that simply the sound of rustling leaves? – EDJ

4 national forests in the famously fire-dependent pinelands of the feel privileged to witness changes more pervasive and profound Bare-Bones Beauty: Southeast. Even then, the Forest Service was lamentably slow to than those that any other recent generation has seen. But the Donald Judd and the Wide-Open West Texas Landscape abandon its prejudice against fire and to adopt fire as a manage- necessary detachment does not come easily. owadays, walk down the main street of Marfa, Texas, ment tool. The best result of all this change, if only it could be realized, and you are likely to hear tourists speaking French or The legacy of the Forest Service’s anti-fire policy contributes might be a new humility among land managers, opening them German. Fast becoming a cultural anomaly in a to a situation that few previous generations have been able to (and us) to relying less on received wisdom and to feeling a land where sun-bronzed locals with work-hardened observe: We are now well positioned to witness a perfect storm renewed dedication to meaningful learning. We might start by hands still gather to drink black coffee rather than of landscape change. In addition to fire, it involves massive abandoning the arrogant term land management, which gains Ncappuccino, Marfa is a small cattle-and-military town on which forest-tree diebacks and, in some areas, grasses. The principal particular irony within the context of the eastern slopes of art-world fame and money have recently descended. Its several dieback agents are the same as those that increase the land- the Jemez Mountains. Both society and the environment would restored buildings, including the Marfa Bookstore (which scape’s vulnerability to devastating fires: Unnaturally high tree benefit if we were to admit that we don’t really manage land. contains a large inventory on subjects such as the architecture of densities also mean unnaturally high competition for limited The most we usually do is nudge it in the direction we want it to Frank Gehry), the spruced-up old Paisano Hotel, and a newly water and, as a consequence, reduced vigor and increased go. But to do that, we must also be land learners. opened restaurant offering risotto instead of refried beans, vulnerability to insects and disease. In addition, two important What are the characteristics of a land learner? Such a person are the result of the singular ambition of minimalist sculptor climatic changes are at work. The first is the Southwest’s return (or agency) must be committed to empirical, incremental learn- Donald Judd (1928–1994). to conditions of relative aridity. Since the winter of 1995-96, ing and also be committed to monitoring ecosystems in ways It is doubtful that Judd would have wanted it this way. Like the lack of region-wide precipitation has approached levels not that strive to measure change, not just in areas where change is other artists of his generation who boycotted the gallery system seen since the drought of the 1950s, which remains one of expected, but also in areas where it is not – in ways that are alert to create new art-exhibition alternatives to conventional muse- the worst on record. to surprise. This commitment must extend beyond the surface um spaces, Judd chose as the site of his museum complex the Global climate change may also be a factor in the gathering of field science to include the art that inheres in science and that former Fort D.A. Russell – originally a cavalry outpost, then storm. The long-term record of the Southwestern climate is vari- embraces the inescapable uncertainty of complex natural sys- a U.S. Army station for border patrol, then the headquarters of able enough to account for the current temperature extremes tems. The science of land learning is always experimental yet the 77th Field Artillery battalion, and a camp for German pris- and dryness, but systemic climate change may also be at work, cumulative, disciplined yet flexible, and thorough yet open to oners during World War II. Sponsored by the Dia Foundation expanding the range of variability and amplifying the difficulties additional questions. It must incorporate all these qualities and beginning in 1979, it has been administered since 1986 by the posed by an already challenging and challenged environment. many more: humility, restraint, and an eagerness for new ways not-for-profit Chinati Foundation (so named for the nearby Recent aerial inventories indicate that 3.5 million acres of of thinking. mountain range) that Judd established before his death. piñon- and ponderosa-pine habitat are dominated by dead and A land learner must also be adaptive. Every way of looking at But why Marfa? Located in the cacti-dotted West Texas plains dying trees in New Mexico, Colorado, Arizona, and Utah. This the world contains its own intrinsic truth, and the traditional not far from Presidio (the border town that doesn’t report its amounts to more than 8% of all such habitat – and there is no understandings of place-based native cultures from around the reason to believe that the dieback is over. An additional 8% to globe have much to teach Western scientists about the respon- 10% could easily fall victim to drought and insects if dry condi- siveness and complexity of the inhabited world. Imagine how tions persist. Local diebacks that are much less dramatic have much better off the lands of the American West would be if the also been noted among Douglas fir in the mixed-conifer zone, founders of the Forest Service had been willing to consider or at one-seed junipers in the woodland zone, and the grasses of least seriously test the wisdom of the Native Americans who semi-arid rangelands. It seems that no ecosystem will escape the understood the role of fire in maintaining balanced ecosystems. vise of drought. Observers who detach themselves from the Every land steward should wonder what so-called folk or native emotional effect of seeing so much death in the landscape can practices we as a society currently ignore to the detriment of the land and the people on which it depends. The forest of charred, dead snags that blankets the eastern slopes of New Mexico’s Jemez Mountains provides eloquent testimony that we land stewards of the twenty-first century have a long and challenging journey before us. – William deBuys

A garden in Marfa, Texas.

5 daily temperatures to mini- The Davis Mountains are especially scenic, as are the mize its notoriety as the Guadalupe Mountains to the northwest. Both ranges comprise hottest spot in the nation), peaks that reach above 8,000 feet, and their heavily wooded Marfa is about as far removed ridges and rocky canyons offer many fine hiking trails where from the cultural climate of diverse ecological niches support a variety of species of vegeta- the New York art world as tion and wildlife. possible. Judd first discovered The grandest West Texas landscape of all lies within the Marfa when he served in the 801,000-acre Big Bend National Park just southeast of Marfa. army. Like Robert Smithson, Like the other mountains that rise in clumps from the flat Michael Heizer, and James northern Chihuahuan Desert, the Chisos Mountains within Big Turrell, land artists of his Bend are igneous in origin. The differential erosion between generation who purchased their solidified magma and the softer strata of limestone formed ranches in Utah, Nevada, and by marine deposits sometime after the period of volcanic erup- Arizona as sites for their tion that created them, left the present-day landscape of sheer- work, he chose Marfa precise- sided, monumental, burnt-red blocks and peaks. ly for its remoteness and the Naturalists come to see some of the 450 species of birds (the opportunity to buy a large greatest number found in any national park) as well as 1,200 tract of land (340 acres) at a species of plants. Spiny wands of ocotillo (Fouquieria splendens), low price. There, in a place four kinds of yucca, the sculptural blue-gray-leaved Havard where the surrounding land- agave (Agave havardiana), and more than 60 species of cacti, scape reinforces the spare including the beautiful purple prickly pear (Opuntia violaceaa- purity of minimalist art, Judd mong) grow along pine-and-juniper-clad mountainsides or in thought he could realize his the chalky cream-colored surrounding desert. River trips down vision of creating a personal the Rio Grande take rafters through a canyon whose towering, museum in which a permanent Donald Judd, Untitled Work in mill machine-milled aluminum boxes. The two spacious interiors in sheer-faced bluffs can be read as layers of geologic time. For display of his work and that of aluminum, 1982–6. The Chinati which these works are installed offer views of a landscape that students of landscape design history, a hike on Lost Mine Trail other artists he admired could be Foundation, Marfa, Texas. stretches to the horizon. This combination of vast interior space in Big Bend offers an opportunity to examine the fine rockwork installed. and endlessly extensive exterior space enhances the serene walls that the Civilian Conservation Crew built from 1940 Two enormous remodeled artillery sheds, a stripped-down nobility of Judd’s pieces, providing an aesthetic experience that to 1942. former gymnasium, and several U-shaped barracks set in the could not have been found in another location. The commingling of nature and art as landscape constitutes immense big-sky landscape that Texans call the Big Bend (Marfa Those who travel as art pilgrims to the shrine of minimalism the fundamental perspective of all the BGC’s courses in Garden is located just an hour north of where the Rio Grande swings that Marfa now represents sometimes don’t realize their oppor- History and Landscape Studies. Marfa, Big Bend, and the around to form the large lobe that gives the state its distinct tunity to experience this extraordinary landscape for its own scenery of West Texas combine a bare-bones landscape beauty shape) provided an ideal spot. The quietly beautiful West Texas sake. The town of Fort Davis, a few miles north of Marfa, is the with the opportunity to see how Donald Judd capitalized on that light pours through the long walls of continuous squared and home of the MacDonald Observatory, which is administered by beauty as the context for his refined, minimalist art. – EBR quartered windows, variously modulating the soft sheen of the astronomy department of the University of Texas. The obser- Judd’s 100 equally dimensioned, but diversely designed, vatory, which sits atop the Davis Mountains, is equipped with four telescopes. Even without the aid powerful lenses, visitors can see the revolving constellations in the clear night sky. The observatory boasts a lunar ranging station and the world’s third largest optical telescope, which is used for spectroscopic com- puter imaging.

6 Books and Exhibitions the Nabataean capital and its questions about Nabataean luxury trade for several cen- walls, gave them a sure cultural interpretation was civilization. turies when Egyptians, means of protection and the subject of a recent exhibi- Originally, the Nabataeans Greeks, and then Romans defense against invaders – tion at the American were, like other Bedouin incorporated the lavish burn- and a highly improbable loca- Lost and Found: north-south axis between the Museum of Natural History tribes of the Arabian desert, a ing of incense into their tion for their future city. The Desert City of Petra Dead Sea and the Gulf of in New York City. Organized nomadic people living off the religious practices. These fra- According to the Greek Petra Rediscovered: Lost City Aqaba, this hidden city, Petra, by Glenn Markoe, curator meat of their flocks and herds grant gum resins from trees geographer Strabo, between of the Nabataeans. meaning “the rock,” was of Classical and Near Eastern and the wild edible plants found within a limited range the third and first centuries Edited by Glenn Markoe. fortified by nature with tower- Art at the Cincinnati Art they foraged. After mastering of the south Arabian peninsu- B.C.E., a revolution in (Abrams, in association with ing cliffs of reddish lime- Museum, it consists of camel transport, they gained la were a source a great pros- Nabataean society occurred, the Cincinnati Art Museum, stone. In 1812, Johann numerous artifacts owned by an advantage over other tribes perity until the advent of and the nomads shifted from 2003). Ludwig Burckhardt, an intre- that museum (more than as caravan traders. Because Christianity, when the use of a tribal organization and, like Petra. pid Swiss scholar and explor- half of the finds unearthed they were skilled hydrologists incense in religious cere- other contemporary By Maria Giulia Amadasi er disguised as an Arab, was to date), which have been and could read the dry land- monies declined. Hellenistic societies, adopted Guzzo and Eugenia Equini the first Westerner to behold reunited for the first time scape with acumen, the Closer to home, the a monarchial system of gover- Schneider. its monumental tomb archi- since their excavation with Nabataeans were able to drill Nabataeans cultivated other nance. Relying on more (University of Chicago Press, tecture, a sophisticated vari- holdings from the Jordan into its limestone bedrock a sources of wealth, mining recent information than that 2002). ant of Hellenism, which Archaeologica Museum, chain of well-concealed cis- copper found in the Wadi of Diodorus, who character- Petra and the Lost Kingdom was – astonishingly – carved Amman. terns for water storage that Araba and harvesting bitu- ized the Nabataeans as tent of the Nabataeans. out of the living rock. Markoe is the editor of the allowed them to make the men from the Dead Sea, dwellers, Strabo describes By Jane Taylor. Who were the Nabataeans, 22 essays contained in Petra long desert crossing that oth- the source of asphalt and Petra as an opulent city with (Harvard University Press, the desert people who created Rediscovered: Lost City of the ers could not. In this way, the material used by the fine houses, gardens, and 2002). this remarkable place during Nabataeans, the exhibit’s they gained control of the Egyptians for embalming the public buildings. Petra: Lost City of the the centuries bracketing the companion volume. This movement of frankincense dead and caulking boats. From this we can infer Ancient World. beginning of the Common beautiful and useful scholarly (Boswellia) and myrrh They also produced an exclu- that, following Alexander the By Christian Augé and Era? Archaeological discover- work follows the publication (Commiphora myrrha) as well sive variety of labdanum Great’s military conquests Jean-Marie Dentzer. ies and subsequent scholar- of two other books, Maria as other lucrative products, (Labdanum cistaceae), a resin and creation of an empire (Abrams, 2000). ship have supplemented the Giulia Amadasi Guzzo and including silks from China perfume that they derived throughout the Mediter- romantic accounts of the few Eugenia Equini Schneider’s and spices from India. Their from combing the beards of ranean and extending as far For more than adventurous handsome and informative caravans traversed the their goats. east as Persia, the prosperous a thousand nineteenth- Petra and Jane Taylor’s highly Arabian peninsula from the How and why and Nabataeans had assimilated years, only century grand readable account, Petra and land the historian Diodorus when did the Nabataeans, a the Hellenistic artistic and Bedouin tribes- tourists and the Lost Kingdom of the of Sicily (90–20 B.C.E.) called nomadic tent-dwelling architectural vocabulary that men knew of early Holy Nabataeans. In addition, the Eudaimon Arabia and the people, become sedentary and was the lingua franca of this the existence of Land sight- handbook-size volume by Romans Arabia Felix (today’s establish a kingdom and widespread Greek-derived an abandoned seers who fol- Christian Augé and Jean- Yemen) overland to Gaza and capital? By the fourth century culture. But unlike other ancient city lowed Marie Dentzer, published in other ports on the Mediter- B.C.E., according to Hellenistic cities such as concealed with- Burckhardt. Abrams’s Discoveries series, ranean. Diodorus, they had laid Miletus and Priene, where in the narrow The rediscov- provides both the contempo- Frankincense and myrrh – claim to a particular rocky there is a clearly discernable gorge of the ered art and rary tourist and armchair the aromatics the Magi car- stronghold where their accu- grid plan and a central public Wadi Musa on architecture of traveler with a helpful digest ried as offerings to the new- mulated wealth from trade space, Petra possesses a less the western of recent scholarship and a born Messiah in Bethlehem – could be safely stored. The legible and presumably more edge of the standard of landscape inter- were the basis of a lively narrow cleft, called the Siq, Jordanian pretation not available in where the Wadi Musa flows plateau. Lying east of the most guidebooks. Combined, between two sheer limestone Negev and midway along the these volumes offer many answers and raise further

7 pragmatic plan, one that settlement pattern was due to magnificent facades for these little remedy for the careless in oil on canvas the dramatic days of the Roman Empire. reveals Nabataean ingenuity the necessity of locating pop- tomb chambers. The slip of a stone carver’s tool. sight of the Khazneh, coming The impressively large Greco- in adapting Hellenistic urban- ulation units according to the Nabataeans’ relations with Craftsmen from Alexandria into view at the end of the Roman theater that Lear ism to their extraordinary availability of water. Topogra- Egypt gave them familiarity may have assisted on projects Siq. described with wonder was site. phy, too, and the Nabataeans’ with that country’s funerary such as the carving of the Edward Lear, the land- constructed in the first Rather than settle more nomadic cultural background monuments. They sometimes Khazneh, the royal tomb that scape artist and writer of non- century C.E. Petra did not logically on the nearby agri- dictated Petra’s anomalous amalgamated the abstract pla- is Petra’s most spectacular sense verse, arrived in 1858 decline after Trajan made cultural plain where the Wadi urban fabric. Families or trib- nar forms of Egyptian archi- and famous sight. Located at and proceeded to produce Arabia a province in 106 C.E. Musa opens into a spring-fed al units settled on scattered tecture with the more ornate the end of the Siq’s narrow, what is perhaps the most At that time, Petra was valley, the urbanizing sites, and residential areas naturalism of the Greco- votive-filled passageway, its rhapsodic impression of Petra made capital of province of Nabataeans chose to use their followed the contours of the Roman styles that they inter- sun-washed façade consti- in that era of unrestrained Palaestina Tertia and skills as hydrologists to create rising slopes. Nevertheless, preted with much originality. tutes the visitor’s first breath- admiration for the exotic. He designated a metropolis. Even an intricate system of con- certain public spaces and Remarkably, this architec- taking glimpse of Petra. Long declared himself to be after the empire became duits, tapping regional urban forms did adhere to the ture was not built from quar- before archaeologists had Christianized in the fourth overwhelmed with extra springs to furnish water to Hellenistic model. A colon- ried and carved stone but was unearthed portions of the century, Petra’s importance as surprise & admiration at their old stronghold. naded axial main street, like carved in its entirety from the sprawling city, its rock-hewn an urban center was beyond the truly beautiful & aston- Channels carved into rock the ones in Ephesus and natural rock. This meant that tombs, and particularly this dispute, a fact confirmed ishing scenes. The whole faces as well as stone con- many other Hellenistic cities, craftsmen had to mount scaf- one, riveted the gaze and in 1992 when archaeologists valley is a great ruin – duits and clay pipes carried followed the line of the regu- folds or scale walls to attain fired the imaginations of excavated an extraordinary temples – foundations – water to storage cisterns. larized Wadi Musi. It led to high perches in order to chis- Westerners following mosaic-filled Byzantine basili- arches – palaces – in Because the rocky landscape the Qasr-al-Bint, a large tem- el and plane cliff faces accord- Burckhard’s footsteps. ca on a ridge north of the inconceivable quantity & does not absorb rainwater ple built in the first century ing to precise architectural Two Frenchmen, Léon de Colonnaded Street. confusion: & on 2 sides of readily, water engineers pro- B.C.E. plans. Being almost entirely Laborde and L.M.A. Linant de Only with a series of earth- the valley are great cliffs, tected the city from flash Like other societies in the sculptural in character, Bellefonds, who traveled quakes and the advent of all cut into millions of flooding by diverting the ancient world where similar Nabataean tomb architecture together through the inhos- Islam in the Middle East did tombs – magnificent tem- overflow of the Wadi Musa geological conditions was one in which there was pitable and dangerous desert Petra’s fortunes wane and its ples with pillars, – theaters through a tunnel into an prevailed, the to Petra in the early 1830s, population disperse, leaving it etc. so that the whole place alternative streambed, from Nabataeans and two Englishmen, William abandoned until its rediscov- is like magic; & when I which it was channeled into buried their Bankes and David Roberts, ery as a magnificent and add that every crevice is cisterns, thereby increasing dead in tombs who went there in 1818 and evocative ruin. The exhibition full of Oleander & white the city’s water supply. They hollowed out 1838 respectively, brought “Petra Rediscovered,” with its Broom, & alive with doves, also constructed dams to of the rock faces back to the West the first many fine freestanding gazelles, & partridges – assist in the distribution of of cliffs. After views of what romantics of Greco-Roman sculptures and you may suppose my water both to the urban area they assumed a that time considered to be a fragments of Hellenistic and delight was great. All the where there were gardens monarchial new window on the mysteri- Byzantine architectural orna- cliffs are of a wonderful and to the alluvial plain form of govern- ous Arabian Orient and the ment, together with Markoe’s colour – like ham in where there were agricultural ment and with biblical Holy Land. Although volume and the other books stripes; & parts are salmon fields. their increased Frederick Edwin Church, the mentioned above, greatly colour. It was because of this intri- wealth from nineteenth-century American expand our still-imperfect cate system of water supply trade, they artist of exotic locales par The archaeological investi- knowledge of the Nabataeans and distribution that Petra began to create excellence, only stayed for two gations of Petra since Lear’s and their remarkable capital assumed its irregular urban days, he was able to re-create day have helped to establish a city. – EBR form and amorphous bound- chronology of its artistic and aries. The city’s fragmented architectural past. It is now clear that the city continued to flourish throughout the

8 The Khazneh (Treasury), Petra. Photography and the romantically mysterious ruins how the rediscovered sites of fabulous notion that the pyra- the beautiful tonality in If Easterly’s Big Mound Ancient Americas of pre-Conquest cultures to pre-Conquest American mids of Mesoamerica were Maudslay’s meticulous pho- series records the callousness The New World’s Old World. compel attention. It was then civilization have inspired out- the work of architects from tographs was sometimes that was the price of Edited by May Castleberry. that the infant science of standing work from docu- Egypt or the lost continent of achieved by coating structures American progress, other (University of New Mexico archaeology turned its eyes mentary and commercial Atlantis. Some dismissed the with whitewash and ash, and contemporary photographers Press, 2003). toward the grandeur of “lost” photographers as well as pho- Puebloan peoples of the that he did not hesitate to found in native ruins and civilizations. Although con- tographic artists. These essays American Southwest as well move stelae to improve the their starkly beautiful envi- The presence of also help us to understand as Mesoamericans and latter- light on his principal subject. rons in the American photography in the various viewpoints, con- day Incas as culturally inferi- The wheelbarrows in this Southwest elements of the our lives and its ceptually as well as literally, or since, had they been able photograph, which may be Picturesque and Sublime. It ability to transport from which the photographs and so inclined, they could only moving dirt, remind us, was at this time that explo- us instantly to far- were taken. In roughly offer no convincing proof of moreover, of how often these ration and mapping of the away places is so chronological sequence, they their connection with the sites were and still are plun- American West and the prevalent today were intended to serve as impressive civilizations their dered for grave goods, orna- romantic naming of ruins that we tend to archaeological records, com- local ruins presupposed. mental sculptures, and other was underway. Photo-docu- forget how rela- mercial souvenirs, works of Some early daguerreotypes valuable items. mentation gave visual proof tively recent pho- photographic art, and, in the and collodion prints betray The series of daguerreo- of the ruins of Cliff Palace at tographic case of Josef Abers and oth- this attitude of assumed supe- types that St. Louis photogra- Mesa Verde and other pueb- technology is and ers, as design inspiration. riority to the native popula- pher Thomas Easterly made los in the Four Corners area, how exotic the Because of the inherent tions the photographers in the early 1850s of Big stimulating a new apprecia- images early photographer- temporary artists sketched mysteriousness of the monu- encountered and the archae- Mound, one of many impres- tion of Native American cul- explorers made of strange some of the great architectur- ments and strangeness of the ologists employed. Notable in sive earthen pyramids built ture as a colorful thread to be locales seemed at the time al monuments that were desert, mountain, and jungle this regard is Alfred Percival by the Mississippian people woven into the tapestry of they were first displayed. Last being slowly rediscovered in landscapes associated with Maudslay’s stunning 1890 as their civilization reached national identity. summer’s exhibition at New the Mesoamerican jungle, the them (particularly in the eyes photograph, The Palace, View its climax around 1100 C.E., This was the period in York’s AXA Gallery and its American Southwest, and of the first non-natives to of the Western Court and tells a different story. Here, which Yellowstone and other accompanying book, The New Peru, it was obvious that behold them), they spawned Tower, Looking South, from only Easterly’s camera national parks were being cre- World’s Old World, prompt archaeology’s new technologi- numerous speculations, some Volume IV of his landmark remained to protest Big ated, and archaeological further observation regarding cal handmaiden, the camera, unsupportable. For instance, Biologia Centrali-Americana, Mound’s destruction as year remains linked to natural fea- the European colonizers’ bru- could document them with Augustus and Alice Le or Contributions to the by year workers’ pick axes tures became the icons of a tal conquest of native cultures an unequivocal, awe-inspiring Plongeon, a husband-and- Knowledge of the Fauna and and shovels dismantled it to new nation with the need to in the Americas: The con- verisimilitude. The visual wife team, believed that the Flora of Mexico and Central allow the grid of newly grad- celebrate wonders as great as querors eradicated previous power of these ruins and our Maya were the Ur-civilization America. In it a tall, fair- ed city roads to engulf and the cathedrals of Europe. religious practices as much as interest in discerning the from which the ancient skinned, athletic-yet- level it. Easterly shot his last Timothy H. O’Sullivan’s 1873 possible and destroyed many character of the civilizations Egyptian and other civiliza- scientific-looking gentleman photograph of Big Mound in Ancient Ruins in the Cañon de important religious centers, that produced them continue tions were derived. While imperiously presides from an 1869, when it was reduced to Chelle, N. M., in a Niche 50 often using them as quarries to attract photographers. they interviewed resident upper niche within a high, a mere spire of dirt. In it, Feet Above Present Cañon Bed for the stone with which they The exhibition and book, natives in the hope that their vine-entangled tower over a there is room for only one depicts the fine masonry of built their own monasteries, with catalog illustrations and traditions might illuminate group of native children dig- worker to pose atop a meager remote Basketweaver and churches, and cathedrals. accompanying essays by this theory, other early pho- ging trenches below. In pinnacle while others gaze Anasazi peoples lodged in Only with the invention of Kathleen Stewart Howe, tographer-explorers and Martha Sandweiss’s informa- at the camera from below and crevices of sandstone cliffs photography in the mid-nine- Martha A. Sandweiss, and archaeologists refused to tive essay, we learn that horse-drawn carts stand with streaks of iron-red “var- teenth century did the tempo- Edward Ranney, show believe that extant local popu- ready to carry away the last nish.” Then thought to have ral distance of long-won lations could be descended artifact-laden debris as fill colonial supremacy make it from the creators of the for an extension of the North possible for curiosity to over- astonishing monuments they Missouri Railroad. take cruelty and for the beheld. Some entertained the

9 been the work “the Aztec ument the Inca ruins of a Sacred Geography,” is him- eras and that these things will race…centuries ago,” the pre- Cuzco, Sacsayhuaman, Pisac, self a photographer who has soon make the archives of sumed forerunner of the and Ollantaytambo in made the poetry of Peru’s photographs taken over the builders of Tenochtilan, the Andean highlands. As past his subject since he was past 150 years seem quaintly Montezuma’s glorious city tourists began to make an exchange student in Cuzco archaic. It is hard to imagine, conquered by Cortes, the their way to Peru in the years forty years ago. Then, he was however, that the status of the possibility that these ruins following Bingham’s “deeply struck by the sense of works exhibited and depicted were the ancestral homes well-publicized find, these design and masterful interre- in The New World’s Old World of contemporary Hopi, Zuni, photographers discovered that lationship of Inca stonework will seem less interesting or and other Puebloan people there was a market for sou- and the highland landscape.” remarkable. They, after all, (as they are considered to be venir views and postcards. Later, Ranney had the oppor- contain a record of scientists’ today) was dismissed. By Thus were photographs at tunity to work with Martín curiosity, travelers’ wonder, divorcing them from living this time able to supplant Chambí’s photographer son and indigenous peoples’ Native Americans, Anglo- paintings of the kind Guardi Victor, and with his own work rediscovered cultural pride. Americans could thus look on once made of Venice for photographing diverse As for the landscapes them- them as part of the unencum- Grand Tourists as a means of Peruvian landscapes, has aug- selves, even if millions of bered scenic grandeur of their sharing and recollecting the mented the Chambí legacy. eyes have consumed them new continental nation. scenes of travel. Ranney has focused his cam- and innumerable film and Photography sustained and Some Peruvian photogra- era on the rock shrines, digital cameras have pho- advanced this perception of phers were caught up in the known as huacas, by which tographed them, their strange enigmatic antiquity combined movement of Indigenismo, pre-Conquest Peruvians beauty remains for tourists with sublime nature as a part which called for a revalidation imbued the Andean land- and natives alike a source of of America’s cultural her- of the patrimony and tradi- scape with sacred meaning. wonder as well as a cause for itage. Today protected as tions of Quechua-speaking The spiritually charged hua- conservation. – EBR national parks, Canyon de people, who had been long cas, part of the exquisite dia- Chelley, Mesa Verde, Chaco suppressed by Spanish set- log Inca carvers created Bad History Canyon, Hovenweep, and tlers. Among these, Martín between sculptural stone and or Lasting Legend? Chimney Rock are places Chambí, who set up a studio mountain form, are still Myth and History in the where contemporary archeol- in Cuzco in 1920, served revered by some Peruvians Creation of Yellowstone ogists have successfully built combined documentary, com- Edward Ranney, Cave of can be seen as abstractions, today. National Park. the case for a richer, more mercial, and artistic ends Choquequilla, Huarocondo Ravine, patterns in their own right as But what will be the fate of by Paul Schullery and inclusive sense of national with an impressive body of Cuzco, 1975. well as documents of the film photography as an art Lee Whittlesey. identity. work depicting indigenous larger landscape of nature form? Ranney, like others, (University of Nebraska In Peru, the story of early subjects, Inca architecture, on landscapes and ruins. shaped by human intention. wonders if “the need for inde- Press, 2003). exploration and documenta- and Andean landscape Between 1928 and 1931, U.S. In recent times, Marilyn pendently created, high-quali- tion – most famously by grandeur. The mestizo cul- Navy pilot Lieutenant George Bridges has mined the ty images might seem to be National parks have always Hiram Bingham, the discov- ture thus found in Chambí R. Johnson was part of a expressive potential of the waning, particularly as our been reservoirs of national erer of Machu Picchu, the portrayed helped to forge a team making an extensive Nazca lines of the Peruvian silver-based black-and-white imagination and identity as “lost city of the Incas” in 1911 more authentic Peruvian aerial survey of Peru, which desert plain, photographing photographic process will much as they are natural – is much the same as in national identity. included in addition to their trapezoidal, spiraling, become outmoded in the near resources and ecosystems. Mesoamerica and the Ameri- Aviation opened up new Machu-Picchu and Cuzco the and biomorphic shapes in the future.” The landscapes and historic can Southwest. At the turn of opportunities for photogra- circular agricultural terraces raking light of early morning It is true that photography sites that constitute the the twentieth century, local phers and new perspectives at Moray and the geometrical- and late afternoon. will continue to be rapidly national park system in the Peruvian photographers, sev- ly terraced slopes of the Colca Edward Ranney, who con- transformed by new digital United States, therefore, have eral of whom operated Valley. Besides providing an tributed the essay “Images of technologies and the use of portrait studios, began to doc- invaluable overview of the remotely controlled satellite landscape, aerial photographs or balloon-suspended cam-

10 offered a rich territory for had become a California state to the 1905 memoir of one of ans), the impulse for the “need for an accessible past group of citizens acting for postmodern critique and his- park eight years earlier, in the participants, Nathaniel P. Yellowstone legislation almost and a willingness to embrace the general public benefit torical analysis of the “tradi- neither case did it explicitly Langford, a surprising and certainly originated with myths that are too popular, rather than any private inter- tions” and myths that invest intend to preserve wilderness magnanimous consensus had Cooke and other operatives too powerful, to be dimin- est embodies an ideological scenic places with cultural as largely inviolate nature. emerged as well: Congress promoting the interests of the ished by the truth.” foundation of modern preser- significance. In Myth and Latter-day environmentalists, should set the entire area Northern Pacific. Langford For Pitcaithley, as well as vation efforts. History in the Creation of including scholars, public aside as a “national park” (who worked for Cooke) for Schullery and Whittlesey, Preservationists, as John Yellowstone National Park, officials, and many American rather than allow it to be became the park’s first super- interpreting the nation’s most Muir would evangelize by the however, two eminent citizens, nevertheless cele- claimed and developed by pri- intendent; the story he pre- scenic and historic places 1890s, should champion val- Yellowstone historians brate the Yellowstone legisla- vate owners. Then, according sented in his memoirs requires a full appreciation of ues untainted by considera- address a more subtle point: tion as the beginning of a to Langford, following a rapid was contrived long after the the public’s desire for more – tions of profit. The myth of Even the “diminished credi- national park movement, a eighteen months of altruistic events described. or less – than the whole Yellowstone’s creation rein- bility” of a myth does not – watershed in the nation’s atti- advocacy, he and other park Schullery and Whittlesey truth. The art of interpreting forces the identity of preser- and in some cases should tude toward nature, and the backers convinced Congress fully endorse and confirm the mythic sites involves vation as a struggle of good not – undermine its “symbol- beginning of modern wilder- to enact the park legislation. conclusions of their mentor acknowledging beloved myths against greed, and this char- ic power.” Myths, after all, do ness preservation. For decades tourism pro- and fellow Park Service histo- while avoiding outright acterization still motivates not depend on veracity for Until the 1960s the origin moters and the Park Service rian, Haines (who died in deception. For public histori- many conservationists. their authority, but rather on of this “American national presented the campfire story 2000); they too conclude that ans addressing the issue of Schullery and Whittlesey a need for the sense of park idea” was credited to the as an accurate history. But by Langford probably fabricated landscape preservation and argue that by merely replac- cultural identity grounded in members of the 1870 the 1950s historians had the campfire story, for what- interpretation today, the ing the campfire story with ancestral authority that such Washburn-Langford-Doane begun to suggest that the ever reasons. But the authors didactic power of popular the “new myth” of the stories provide. expedition. According to “the Madison Junction campfire, if also question whether it is beliefs can be a tool for Northern Pacific’s pervasive As the authors observe, no campfire story,” the geolo- it took place at all, was not always the duty of the histori- engaging the public and pro- influence, we create a para- myth has been more central gists, officials, and local busi- where or how the idea for the an to “challenge popular moting a thoughtful dis- digm that is “just as disap- in the “psychic fabric of the nessmen who made the national park originated. myths myths solely on the course on a landscape’s pointing and shallow as the National Park Service and the expedition assembled around Above all, Aubrey L. Haines basis of inaccuracy.” Quoting significance. Such opportuni- old one,” one that presents a conservation community” a campfire at Madison (whose two-volume 1977 historian Patricia Nelson ties should be exploited – “desperately sad view of than the story of the creation Junction, where the Firehole work remains the authorita- Limerick, they agree that without sacrificing historical history.” The campfire story, of Yellowstone National Park and Gibbon rivers meet, on a tive history of the park) point- “when the human spirit accuracy – through thought- however false, remains an in the 1870s. Yellowstone is September evening near the ed out inconsistencies in undertakes to soar, it is not ful interpretive programs and instructive bit of lore. It is famous for its wildlife, water- end of their journey. There Langford’s account. He also necessarily the duty of the materials. Echoing a still popular with the public falls, and geysers, as well as they discussed the wonders noted that Jay Cooke, the New historian to act as air traffic Yellowstone superintendent because of the idealism it for being the they had expe- York financier acting at the controller and force…a land- of the 1950s, the authors espouses; it therefore lives on. first national rienced on the time for the Northern Pacific ing.” This attitude currently seem to agree that if the The authors seem to accept park in the Yellowstone Railroad, played a crucial pervades much official policy campfire story never hap- its survival as inevitable and, United States Plateau as well role in lobbying Congress to at the Park Service. The pened, “We would have been although not endorsing it as and the world. as the possibil- create the park. The planned agency’s chief historian, well advised to invent it. It is fact, hope that some good can Although in ities for the route of the Northern Dwight T. Pitcaithley, recently a perfect image.” This image come of it: The “Madison the same 1872 private dispo- Pacific’s transcontinental line observed, “Our collective her- remains powerful (if not truly campfire story is without bill setting sition and passed through Livingston, itage is as much memory as “mythic”) for millions of park question lousy history, but it aside profitable use Montana, and the construc- fact, as much myth as reality, friends and visitors. is not without greater mean- Yellowstone of the region. tion of a branch line would as much perception as preser- The ideals represented by ing, even yet.” Myth and Congress acted But according generate profits if Yellow- vation.” He believes that there the campfire story are what History in the Creation of to preserve stone became a tourist desti- exists among the public a most interested the authors Yellowstone National Park Yosemite nation. According to Haines and led them to write this fas- will be enjoyed by anyone Valley, which (and numerous other histori- cinating and topical analysis. The narrative of an altruistic

11 interested in the always pow- than those designed by André through a contemporary lens, the negative effect of “cor- scenes Claude had painted in as his villa retreat. He named erful – and always shifting – Le Nôtre in the previous cen- one reflecting the personal rupt” civilization on the sens- the previous century and pur- his country estate Moulin Joli relationships between the tury, also challenged abso- prejudices and values of a es had an equally profound chased his canvasses to hang because of the eye-catching nation’s great public land- lutism. Because of the lively and liberal member of effect on eighteenth-century in the galleries of their old mill that stood on the scapes and the people who rivalrous nationalism of both the ancièn régime. The inten- attitudes in general and land- great houses. It is therefore property and set about land- use, love, and extract mean- countries, the French main- sity of the debate about land- scape design in particular. not surprising that, when scaping it in the style cham- ing from them. – Ethan Carr tained that the aesthetic theo- scape aesthetics, in which It was in this climate of they came to create their own pêtre, a form of set-piece ries that guided them were Watelet’s voice is only one of interactive English and three-dimensional land- rusticity that characterizes French Picturesque indigenous and, for the most several, illustrates the political French philosophy as con- scapes, they chose to evoke many of Boucher’s paintings. Landscape Theory in the part, independent of English importance accorded to land- ceived by Locke and extended on English soil a Claudian Influenced by Watelet, other Ancièn Régime influence, while the English scape design in the eigh- by Rousseau that Romanti- vision of the Roman members of the ancièn Essay on Gardens: A Chapter saw the so-called jardin teenth century. Watelet’s cism was born and, with it, Campagna with its pic- régime, including Marie- in the French Picturesque. anglais in France primarily as Essay offers readers an oppor- the kind of garden in which a turesque scatter of antique Antoinette, adopted the style By Claude-Henri Watelet. a British invention. The truth, tunity to examine one of the combination of natural ruins. Their predilection champêtre as a fashionable Edited and Translated by of course, lay somewhere two principal versions of the scenery and human art elicit- for Claude was reinforced by garden idiom. Samuel Danon with between, for a cross-Channel French Picturesque, the rustic ed specific mental associa- the correspondence between Even though his approach Introduction by Joseph body of aesthetic theories and pastoral (as opposed to tions and emotional reactions. his landscapes and the liter- to landscape was painterly, Disponzio. existed, breeding certain simi- the Rococo exotic), and the Contemporary aesthetic ary works in which upper- Watelet claims equality with larities in spite of real differ- aesthetic theories underpin- theory held that various types class Englishmen were the other liberal arts for land- Whig libertari- ences due to ning it. of scenery could induce schooled. The pastoral poems scape design, considering it ans in eigh- disparate cul- First, one must acknowl- predictable responses such as of Horace and Virgil, with allied with, yet different from, teenth-century tural attitudes. edge a common philosophical melancholy, delight, fear, and their nostalgia for the Golden painting. He points out that, England The recent ancestry for both English and pleasure as well as reflections Age, a time in which unlike painting, landscape claimed author- English-lan- French attitudes toward land- on friendship, history, virtue, humankind lived in harmony design is an art more subject ship of a natu- guage publica- scape and life in John Locke’s honor, and truth. and contentment nourished to temporal change, involving ralistic idiom of tion of (1632–1704) Essay Concerning Because the Picturesque on nature’s bounty, struck actual, rather than illusional, landscape Claude-Henri Human Understanding style is closely allied with the same idyllic chord as space. He is conscious of design and ide- Watelet’s (1690). An advocate of civil painting, we can infer the dif- Claude’s paintings. The movement as a factor to be alized it as a (1718–1786) liberty and parliamentary ferences between the English French aristocrats of the accounted for in landscape manifestation Essay on rule, Locke countered the and French approaches ancièn régime, on the other composition, and he speaks of their coun- Gardens (1774), rationalism of Descartes with by observing which painters hand, were more attracted of the visual impressions try’s civil free- edited and a philosophy that granted to exerted the most influence to the rustic intimacy gained from different spatial doms in translated by the individual a domain of on landscape design in and rural picturesqueness configurations and propor- opposition to Samuel personal experience in which the respective countries. In found in the work of the tions as well as from varia- absolute Danon, is fur- sensibility – the experience of England, Claude Lorrain seventeenth-century painters tions in topography. As monarchy, nished with a sensory stimuli and their (1600–1682), the French Jacob Ruisdael (1628–1682) Disponzio states in his intro- which they helpful intro- effect upon the emotions – expatriate painter of Arcadian and Meindert Hobbema duction, “Watelet combines saw embodied in the geomet- duction by landscape histori- was paramount. If Locke’s landscapes set in the country- (1638–1709). the dimensions of space rically ordered gardens of an Joseph Disponzio. It philosophy was the genesis of side outside Rome, was a Watelet was himself a and time to fashion a sophis- France. French garden cre- provides a means of viewing the psychological theory primary source of inspiration. painter and a close friend of ticated, time-dependent, ators of the same period were eighteenth-century French that association is the basic Eighteenth-century grand the artist François Boucher three-dimensional theory of equally prone to assert that landscape design history principle of all mental tourists traveled to Italy, (1703–1770), whom he asked their gardens, more irregular activity, Jean-Jacques where they admired the to remodel the simple bour- and picturesquely composed Rousseau’s (1712–1778) belief geois house on the island in in the innate goodness of the Seine that he purchased nature and “natural man” and

12 picturesque garden composi- adornment, Frenchmen century wore on. blowsy bowers, could not Gardens Viewed, Arts, where Fryberger is cura- tion.” sought pleasure in theatrical The fabriques (ornamental have been far from Watelet’s Gardens Rendered tor of prints and drawings. Watelet’s Essay contains no representations of piquant landscape structures) Watelet mind when he drew the fol- The Changing Garden: Her story commences in the prescriptions, plans, or practi- rusticity. Watelet’s Essay proposes are derived from lowing picture of the Pleasure Four Centuries of European Italian Renaissance and con- cal information. Rather, he confirms this observation. It humble rural huts rather than Garden: and American Art tinues in fits and starts describes a series of designed also inadvertently demon- from the exotic models rec- Edited by Betsy G. Fryberger. through the early decades of All things submit to com- landscapes of various kinds strates the doomed fantasy ommended by William (Cantor Center for the the twentieth century. “There fortable, agreeable, and and their intended effect on life of a society caught in the Chambers, whose Dissertation Visual Arts and University of are relatively few drawings sensuous uses. Grass-cov- one’s senses and sentiments. rising tide of democracy with- on Oriental Gardening (1772) California Press, 2003). included by garden designers, ered mounds will be To achieve this end, his out an evolving constitutional enjoyed a much greater vogue because this is not an exami- turned into sofas and beds; approach to design is system to support the liberal in France than in his native In her lead nation of the small trees and flowers emphatically theatrical. He values espoused by such England. Throughout the essay, “The practicalities will be trained into fes- speaks, for instance, of gar- aristocrats as Watelet and his Essay, Watelet emphasizes Artist and the of design,” toons, wreaths, interlaced dens that are open to the pub- contemporary, the marquis simplicity and moderation as Changing explains monograms, and garlands. lic as if they were stages for de Girardin (1735–1808), the principles of good taste Garden,” Betsy Fryberger in Flowing waters will pro- “actors of all ranks and all creator of Ermenonville. and warns against artifice and Fryberger notes her introduc- duce soft sounds or will ages, variously attired, [who] Rusticity in Watelet’s eyes opulence. He deplores all hot- that “Artists tion. While set hidden mechanisms in will fill these galleries and equates with a certain house floral cultivation and have long any curator motion whose sweet and animate the scene with their Rousseaulike moral perspec- display, and he dismisses observed gar- must be delicate tunes will excite lively pantomime.” He takes tive, and he seeks to promote “baths, [Turkish] tents, kiosks, dens.” While allowed her the birds to redouble their the reader on a long imagi- a style of landscape design and Chinese pavilions.” His hardly news to own position, song. nary walk on paths that “trace devoid of the excesses of an aesthetic leaves no room for most potential this proscrip- softly winding curves” overcivilized urban society. In these kinds of Rococo fea- His garden, Moulin Joli, readers, this tion of design through a ferme-ornée, or the Essay he rails against the tures so abundantly lavished was a famous sight and opening process is, to embellished farm, where a voluptuous luxury and osten- by Carmontelle (born Louis gathering place for numerous remark does my mind, a series of pastoral scenes tatious vanity represented by Carrogis, 1717–1806) on the visitors including Marie- direct attention to the garden serious shortcoming: Design unfold. To further the associa- rigidly geometrical gardens Duc de Chartres’ Parc Antoinette and Benjamin as a site of artistic investiga- drawings reveal as much tions inspired by such containing elaborate parterres Monceau. Franklin as well as Watelet’s tion, whether to reveal the about contemporary ideas scenery, he recommends the de broderie and artificially con- Watelet was very much a fellow artists, philosophes, and landscape’s own cultural con- regarding landscapes as they addition of didactic poetry in trived bosquets. He believed man of his time. A well-to-do other members of the creative tent or that of contemporary do about the practice of creat- the form of “inscriptions of that such gardens were not aristocratic bachelor who and political intelligentsia works of art. That contact ing them. Designers always well-chosen, short passages only monotonous and insipid, lived as a happy member of a of his day. Its demise during between artist and garden can operate within a social, politi- carved on trees, columns, and but also morally pernicious, ménage à trois for many years, the French Revolution, when occur directly or at some cal, and economic context; obelisks.” dulling the senses and turn- he cultivated those sensory a developer bought it, cut remove, depending on time, their representations depict French landscape ing sensibility into empty wit. responses that fostered a sen- down the trees, and parceled patronage, and inclination, the intentions behind making designers’ affinity for the the- Watelet, however, does not suous and sentimental atti- it into lots for sale, symbol- and it is these transactions landscapes as much as draw- ater and stage-set design mention the practical matter tude in addition to those ized the end of an era of aris- between art and landscape ings by artists portray their is perhaps what most differ- of cost: Maintaining such promoting moral virtue. tocratic privilege and the that The Changing Garden: appearance and use. Those entiates their work from large and highly ornamental Amorous dalliance, as por- beginning of democratic capi- Four Centuries of European few design drawings included that of English designers. gardens was becoming trayed in the paintings of talism, a new motive force in and American Art sets out to in the publication bear this While Englishmen found increasingly difficult for Jean-Honoré Fragonard landscape design that contin- display and explain. The book out, offering the eye beautiful delight in the associative many financially insecure (1732–1806), wherein young ues in our own time. – EBR accompanies a traveling exhi- techniques as well enticing potential of pastoral scenery, aristocrats as the eighteenth lovers disport in half-decayed bition that opened in June ideas. Drawings by Gertrude either with or without parks where once-trimmed 2003 at Stanford University’s sculptural and architectural hedges and pruned trees have Cantor Center for the Visual grown into picturesquely

13 Jekyll for her circa 1908 Every reader can select his regards the two as synony- gled out and grouped here as Most puzzling is Paula the true subject? There is lit- Upton Grey borders, for or her own favorites from the mous, but why this is so we somehow distinct? One gets Deitz’s hagiographic paean to tle consistency throughout example, demonstrate how book’s many illustrations. never learn. Their scale, the the feeling that their inclu- contemporary landscape the text in pursuing one path the construction of her One nominee: the sketchy nature of the activities within sion depended on what architect George Hargreaves. or the other. To be fair, one “drifts” were conveyed to her 1879 Luxembourg Gardens at them, their public accessibili- images could be found rather As no images illustrate land- might argue that this gardeners, while Beatrix Twilight by John Singer ty, and their level of mainte- than on their cultural scapes realized in the years approach could provide an Farrand’s 1910 studies for a Sargent (although the more nance have all colored our significance per se. The third between the early twentieth intertwined mosaic of garden suburban garden encapsulate finished version in the respective readings of park section, Garden Gatherings, century and the 1980s, this history, artist biography, and many of her ideas about the Philadelphia Museum of Art and garden, and they do not is the truest to the topic, essay is a complete anomaly. art practice that showcases domestic landscape. is perhaps a finer work). A easily lend themselves to sim- although even here the And in its attribution of Cris- the inherent richness of the Throughout the book, second: a sketch by Jean- ple conflation. Given the con- images wandered consider- sy Field in San Francisco – topic. I would agree. But which is at base a splendid Baptiste Oudry, circa 1745. ceptual oscillation between ably in narrative content. the sole project by Hargreaves given the lack of connections compendium, one finds strik- Sargent deftly captures the the two terms in the lead Unfortunately, the rampant Associates included in the and the basic fracture of the ing and handsome images form, light, life, and mood of texts and catalog entries, per- number of subsections con- book – to Hargreaves alone, it text, if this were the goal, it that vary in technique from the gardens in hurried yet haps the more generic term jures the impression that unfortunately diminishes the has remained unachieved. those of the pencil and brush confident brushwork. In con- landscape might have been every two images warranted importance of his collaborat- One also misses a bibliogra- to those of the camera. There trast, Oudry’s black chalk-on- more appropriately used yet another section. In some ing partners and staff. Equally phy, as well as some back- are few real surprises here in light-blue paper sketch View throughout the book. ways, in terms of its structure perplexing are the maquettes ground on the contributors, either the range of mediums of a Château in the Park of Certainly, the aspects of the book should be called 136 for Frank Gehry’s fish sculp- and the index is unfortunately or the selection of works, Arcueil uses the most delicate change central to the title are Landscape Images in Search of ture and Claes Oldenburg limited to proper nouns. however. Given the profession of lines and hatchings to evident throughout, especially a Thesis, suggesting the and Coosje van Bruggen’s Other scholars have exam- of the curator, the book’s draw the eye to the stairs and to a reader already knowl- structural ideas arrived only Spoonbridge and Cherry at the ined the same subject, among emphasis on prints and draw- cascade that form the ostensi- edgeable about landscape his- after the selection of works. sculpture garden of the them Il Giardino dipinto nella ings is quite understandable, ble subject of the sketch. tory. However, given the In spite of these criticisms Walker Art Center in pittura lombarda dalSeicento and many of these are famil- White heightens the play of essentially nonchronological of the project as a whole, Minneapolis, which are both all’Ottocento (Skira, 1995). iar to those in the field: prints light on architectural forms presentation of material, styl- several of the lead essays are left somewhat adrift. Given its restricted corpus by Giovanni Battista Falda complemented by textured istic diversity due to cultural quite strong. Claudia Lazzaro’s Two sets of structural and time frame, this small and Israël Silvestre, for exam- masses. change from period to period “Representing the Social and problems undermine the publication is far more coher- ple, or the oft-reproduced 1573 If The Changing Garden: is far from evident. Cultural Experience of Italian argument implicit in the text: ent than The Changing view of the Villa d’Este by Four Centuries of European The book, like the exhibi- Gardens in Prints” addresses first, the issues of park and Garden. In the former, per- Etienne Dupérac. And where and American Art presents a tion, is divided into three its topic directly if broadly, garden mentioned above; sec- sonal images of landscapes would we be without that handsome, well-produced thematic areas: Designing laying a sturdy foundation if ond, whether the book is are successfully played off goldmine of nineteenth-cen- album of landscape images, Gardens, Historic Gardens, not constructing a complete about the landscapes or their more rigorous architectural tury photographs of Versailles its ultimate premise is and Garden Gatherings. These edifice. More detailed and representations. Some views of the villas and their (and Paris) by Eugène Atget? difficult to discern. Even its categories, unfortunately, engaging is Elizabeth S. descriptions and essays focus gardens. In Gardens on Paper: Why was he able to capture title hints at a confusion of are of only limited utility. The Eustis’s “The Garden Print as on the gardens, others on the Prints and Drawings, so poignantly the sorrow of purpose. Is this a book about majority of the images in Propaganda.” Eustis clearly artists and the works. Some 1200–1900 (National Gallery aged statuary and the solidity gardens or about art? And Designing Gardens, for exam- directs her essay not to gar- prints and photographs fea- of Art and University of of vegetation in a manner even the word garden is prob- ple, simply depict landscape den history alone as she ture landscapes as the set- Pennsylvania Press, 1990), matched by few contempo- lematic, as the book’s essays elements and offer no sense focuses more on prints and tings but do not really editor Virginia Clayton adopt- rary photographers? (From and illustrations nominally of how parks and gardens books concerning the garden. address the subject of the gar- ed a more directly chronologi- this unfairly sweeping dis- equate parks with gardens. were actually designed and To those unfamiliar with the den. Can we accept that any cal approach, which makes missal I must except Michael Presumably the editor realized. Then follows topic, this will be the book’s image made or taken in a this earlier work much easier Kenna’s haunting images of Historical Gardens: Are not strongest contribution. landscape is about that land- to follow. Interestingly, many Le Nôtre’s gardens.) virtually all the landscapes in scape? Or does the landscape of the same images appear in the exhibition and catalog provide only a setting that at historic gardens? Why were times is almost extraneous to the places in this section sin-

14 both Gardens on Paper and landscape history in shows The Changing Garden, sug- and books such as these. gesting the existence of an Nevertheless, despite the con- historical or curatorial canon, siderable interest and beauty or perhaps just the availability displayed by many of the of certain images for loan. works, the path that leads us In some ways, Mac through these gardens ulti- Griswold’s 1987 Pleasures of mately provides only a pleas- the Garden offers, well, the ant ramble. With a more greatest pleasures in books of instructive purpose and this genre. It would appear more focused structure, The that the Metropolitan Changing Garden might Museum of Art commis- have taken readers from gar- sioned Griswold to explore its den to garden in a way that collections and select materi- also heightened their under- als that featured the garden in standing of landscape design some way – any way. Neatly history. – Marc Treib circumscribed by a single resource, the author looked Profound Stoniness, Fragile inspired by the not-knowing, York. Although many monu- to the crumbling and slippage Jean Pagliuso, Sacsayhuman, 2003. squarely at the subject matter Remains: A Photographer’s the mere romantic specula- ments and landscapes are of the stones portrayed. Gelatin silver print on handmade and devised headings as Romance with Ruins tion regarding origins. currently protected by organi- Pagliuso’s evocative depic- Kaju paper, polyptych. Courtesy diverse as Gardens of An Exhibit of Photographs Similarly, travelers experienc- zations such as the World tions of Machu Picchu, the Jean Pagliuso and Marlborough Paradise and Follies & by Jean Pagliuso: ing the Roman Forum by Monuments Fund, Pagliuso Inca fortress of Sacsay- Gallery, New York. Features. Of course, the cate- Fragile Remains. moonlight or beholding the sees even the most seemingly human guarding Cuzco, the gories appear almost com- (Marlborough Gallery, New massive vine-clad pyramids of timeless and durable as Anasazi ruins found in Chaco systems and relationships pletely arbitrary, but the York, January 8–February 7, the Maya or the crumbling hauntingly fragile in their Canyon and in the creviced with the natural world over volume does offer the reader 2004). temples at Angkor Wat have continuing slow decay. She walls of Canyon de Chelley, time. Pagliuso’s original pho- a panoramic view that been struck with wonder at chose to convey her vision of the fretwork friezes of the tographs and accompanying includes the wealth of land- Like sentence fragments, past architectural achieve- the ephemeral character of temple platform at Mitla, and limited-edition albums of scape traditions in the Middle ruins elicit imaginative con- ment while pondering the these ancient remains scenes from Cappadocia, Fragile Remains, each contain- and Far East as well as the clusions. Over time, seeming- fugitiveness of power. In the through gelatin silver pho- Puja, and the Ganges are of ing 23 images digitally print- West. While certainly not ly indestructible structures eighteenth century, landscape tographs printed in light gray particular interest to the stu- ed with archival pigmented tightly woven into a single intended to stand for all eter- designers saw beauty in the or pale sepia tones on hand- dents at the BGC because of inks, also point out the thesis, the book treats readers nity have been abandoned or relics of lost time, and made Kaji paper. To further the Garden History and dependence of our field on to a feast of garden images partially destroyed through because of the associations emphasize her theme of Landscape Studies program’s photographic representations. found on screens, in rugs, conquest, migration, or gen- these had with the native past fragility, she arranged them broad purview, which This makes us aware of how and on ceramics, as well as in eral shifts in cultural values; or classical antiquity, they as diptychs, triptychs, and includes ancient ritual sites we must read the implica- prints, drawings, and paint- their meaning has been lost, incorporated ruins – both real polyptychs, piecing together as well as vanished, partially tions of photographers’ inten- ings. and their forms have become and artificial – into their the conjoined images with destroyed, and restored his- tions as well as those of the Similarly viewed as an enigmatic. Reinterpreting designs. edges slightly lifted and bare- torical landscapes. We exam- creators of particular land- album of garden and park them is the work of scholars, The poetics of stony ruins ly mismatched. These minor ine the theories underlying scapes, since, when we can- images, The Changing but they often elicit another and the mystery of time as disjunctions among the com- historic preservation, ques- not travel there, it is through Garden: Four Centuries of response in artists and writ- the indifferent destroyer of posite photographs’ parts are tioning whether a strict period the camera’s vantage point European and American Art ers. Poems such as Shelley’s human endeavor was the sub- perhaps an indirect allusion approach is as satisfactory as and the photographer’s vision succeeds admirably. Perhaps “Ozymandias” have been ject of photographer Jean one that perceives landscape and technique that we see it is demanding too much Pagliuso’s recent exhibition, in more fluid terms, as a them. – EBR to seek contributions to “Fragile Remains,” at the testament of human belief Marlborough Gallery in New

15 18 West 86th Street, New York,NewWest Street, 10024 18 86th NY Program Studies Landscape and History Garden Culture and Design, Arts, Decorative the in Studies for Center Graduate Bard The

Volume 1, Number 11 Spring/Summer 2004

Editor: Elizabeth Barlow Rogers Associate Editor: Erik de Jong Assistant Editor: Margaret D. Sullivan Copy Editors: Tara Matarazzo and Kathryn Papacosma Production Manager: Alexa Georgevich Design: Skeggs Design Contributors: Ethan Carr William deBuys Mark Treib

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