‘How is the theme of Anthropocene explored through the photography of Lewis Baltz and Richard Misrach?”

“I’ve come to believe that beauty can be a very powerful conveyor of difficult ideas. It engages people when they might otherwise look away”– (R.Misrach, Look at this if you love great photography, 2021)

Throughout my personal study I would like to explore to theme of Anthropocene, looking at how the growing population has affected our natural environment and utilised our natural landscapes to build housing and support the islands economies, such as the finance district and the recycling centre. The relevance of Anthropocene today has elevated my interest in this concept and highlighted the importance of our climate surviving. It is imperative to consider the impact that the growing population previously had on the planet and how this issue only increases. As stated in my opening quote, I will be attempting to analyse how Anthropocene helps bring positive attention towards “difficult ideas” and how photography has highlighted issues of urban expansion. Throughout my project my main aim is to highlight the severity of our current climate crisis and look back at how artists such as Lewis Baltz and Richard Misrach have explored Anthropocene in their work. To illustrate this, I will be going into detail regarding modernism and post-modernism approaches to photography, in particularly how the celebrated work of Ansel Adams and his contemporaries in Group f.64 influenced a new group of post-war landscape photographers who was put together in the landmark exhibition in 1975, New Topographics held at the George Eastman House’s International Museum of Photography.

Lewis Baltz was in this select group of photographers and in this study I will investigate what motivated himself and Richard Misrach to turn their camera on man-made landscapes. In Fotogalleriet Oslo’s book ‘Conversation on Photography’, Baltz states ‘Whether being legitimate or illegitimate, photography was still a product of the industrial revolution.’ (Baltz 2018:74). This quote could be considered controversial as the revolution had a strongly negative impact on our landscape, but without this advancement in technological thinking, the camera may have not been created for Baltz to use. Despite Baltz and Misrach appearing in two different movements, I think they complement each other well. This is because I would like to merge their styles of photography together, using simple compositions and then editing images and colours in subtle ways. I will be responding to their works be recreating some of their images using different photographs from my La Marais and St Clement photoshoot. These will then be edited in monochromatic, to reflect Lewis Baltz’s work, or, manipulated using the ‘invert’ colour tool in Photoshop. The hypothesis above, which addresses how Anthropocene has been explored by Baltz and Misrach will be developed by taking images of highly industrialised areas with natural formations still occurring throughout and surrounding them. This will help me demonstrate that Anthropocene is a constant change in the environment, despite the human population destroying the planet, there is some hope that any natural life can still flourish.        

 

    

The historical context and development surrounding the concept of Anthropocene is one that is very detailed and complex. It all began with the renowned photographer Ansel Adams and his celebrated images of the American west. Throughout his photographic research, Robert Adams states in David Bate’s book, Photography The Key Concepts that ‘photography can be spilt into four stages; Experimental, Factual, Pictorialist and the New photography’ (D, Bate. 2009: 97), along with ‘Pictorialism’ being the term given for disputes regarding whether photography was an expressive form or art of a scientific study. Later, the concept that photographs could be facts were introduced, and during the 1970’s, the ‘New Topographic’ movement started to emerge, with artists such as Robert Adams and Lewis Baltz (among others) involved in making new images responding to changes in the natural and man-made landscape. Photography was not only regarded as art, but as a way of recording how the environment was changing too. This is a key factor in my project as this was a major turning point for photography, as Robert Adams was vital in making sure that these photographers work was not disregarded as ‘recordings’ but was also important art works. Focusing on landscapes which were man-made but now considered part of human’s natural cycle meant that understanding the importance of the gradual change in the landscape was vital. As the landscape changed; so, did photography. For example, the term ‘picture perfect’ started to be considered, as this wouldn’t have occurred without the development of technology of landscape.        

It is evident that throughout Robert Adams’ work he would as a modernist artist, including formal characteristics such as stark lines and dark shadows. There is also an aspect of minimalism in this image above as aesthetically it is increasingly interesting, it could be interpreted that this photograph reflected how industrial features and increasing levels of housing was now becoming a mundane and repetitive feature of society. With the condition of the late 1960’s appearing to be one which Robert Adams has shown as ever-changing, the relevance of modernism fades as more aspects of new ways of thinking about art and culture in general, the term ‘post-modernism’ begins to emerge. The conditions in which post-modernism formed are some which could have been previously predicted, as this new interpretation of photography was build on the foundation that modernism was preoccupied by the vision of a utopian world that could be captured through art, and as photography can be an illusion, creating a dreamlike world through the lens. The consequence of this was the next era being more focused on idealism and reason, whilst suspicion still occurred surrounding the fact that post-modernism left less area for creative thought and higher perspective. Despite post- modernism supposedly being a contemporary mindset in which art was formed, it could also be said that post-modernism is filled with too many dark and serious themes.

Lewis Baltz was a contemporary photographer who focused on adapting the American environment and how the concept of Anthropocene began to emerge in the American west where lived and worked. His explorations led him through California, Nevada and Park City. In 1975 Baltz took part in a travelling photography exhibition inspired by a minimalist approach to landscape photography, the ‘New Topographics: Photographs of a Man-Altered Environment’. He was given the opportunity to show his images from ‘The New Industrial Parks’ and the aim of this exhibition was to illustrate that the industrial revolution had come to an end. This exhibition was a major turning point in his career and it identifies the shift from his ‘conceptual photography’ to ‘minimalism’. The main purpose of his images, in his words, was ‘searching for beauty in desolation and destruction’ (https://www.metalocus.es/en/news/beauty-desolation-and-destruction-work-lewis-baltz-photographer) as he states in and this refers to the destruction that human life had caused. The US population had increased from around 23 million in 1850 to approximately 150 million in 1950. This is vital to consider as it demonstrates how the climate would change to such a state of ‘destruction’. By looking at Baltz’s images it can be interpreted that he enjoys photographing urban infrastructure and this is one way in which he likes exploring Anthropocene. Additionally, he has explored many different geographical areas, this demonstrated his passion for photography and how this translated through to the many different types of images he created.

Pictured above is one image from Baltz’s Nevada collection. I think this is one of his most influential pieces as it is the most visual representation of the reaction to Ansel Adams’ and Edward Weston’s work, an adequate representation of Anthropocene. The layout of the image itself illustrates how Baltz explores Anthropocene throughout all of his work, this is because the type of photography attempts to communicate the message that human habitation has little regard for the natural landscape. The house being placed in the foreground and the hills being very dark in the background could suggest that Baltz was exploring how Anthropocene had changed not only the environment but humans mindsets too. This may be because consideration for preserving the landscape was decreasing, as the increasing population needed to use up these precious areas for themselves as the light within this image highlights the house and not its surroundings, meaning that the focus was now catering for human life and its needs. Baltz has discussed that architecture has been a huge part of his work, in Remi Coignet book Conversations, Baltz says that ‘I have a curiosity and interest for architecture because I am interested in the world. And architecture is the largest. most durable part of the manmade world, so that not too mysterious’. This comments helps us to unwind the reasons why Baltz began his work to begin with, but additionally shows that his interest in the world may have been why his work regarding Anthropocene has been so successful and reveered in the contemporary photography world. Furthermore, this provides evidence that Baltz has approached the concept of the planet changing in a way which focuses not on the decrease of natural landscape still available, but the increase of architecture and how much space humans have immersed in.

‘In life, you’re in motion on a path somewhere. There’s always momentum, but a photograph defies that linear quality of time; it stops us so that we can contemplate something we normally wouldn’t pay attention to.’- on Landscape and Meaning (Misrach 2021: 26). From the perspective of Richard Misrach throughout the 1970’s, he explains that a vital part of life is being on a so called “path” and this is a metaphorical representation of how he perceives his photography. This is demonstrated in some of his work like the image above taken in Arizona. This path is just one example of how his words are reflected in his work. Misrach’s first project depicted homeless residents of Telegraph Avenue in Berkeley, California but it had limited success. This is important and it highlights a turning point in his career because without this failure he may not have begun his longest and more developed project; Desert Cantos. Beginning in 1979, Misrach focused on taking photographs of natural life such as cacti, and took wide-angled images of the desert both in the day and night. It can be interpreted that Misrach explores the theme of Anthropocene because of his amorality for natural life and structure when he states that the reason for this project was: “I was in search of the miraculous” Misrach 2021: 26) as this quote identifies the motivation behind his passion for landscape photography.

After considering the origins and reasoning behind his desire to photograph the western American environment, the question of why he Misrach engages in exploring Anthropocene begins to emerge. This contemplation is one which can be explained through Misrach’s awareness of the deterioration the planet has been undergoing. He states that ‘photographs are reminders that they is no way to avoid the stark realities the viewer may wish to ignore, ranging from the cost environment of nuclear testing to the harm caused by industrial development and petrochemical production’ (Padley 2021: 195). This explains that Misrach interprets photographs as a method of educating people by communicating that our current climate crisis cannot be ignored. Misrach’s work is a visual representation of these ‘stark realities’, and it could be interpreted he is aware of the influence his work has on his audience. Publishing such damaging photographs of the plummeting environmental conditions may be his way of exploring Anthropocene as this method is identifiable and direct.

Overall, the exploration of Anthropocene throughout Lewis Baltz’s and Richard Misrach’s work is a very interesting journey. The main aspect to highlight would be the fact that Baltz and Misrach takes very different approaches to their photography. For example, Misrach focused on photographing natural landscape which has been negatively effected by mankind, whilst Lewis photographs natural areas which have been transformed into beautiful architecture, as he attempts to illustrate that these forms are the new ‘natural’. This highlights a very significant difference between the two artists as the way in which they geographically explore Anthropocene means that there is a noticeable difference in their interpretation and visualisation of this concept. They both physically explore very effected areas, but with Baltz exploring California and Misrach exploring Arizona’s deserts, this allows for a lot of creative freedom and difference between their style of work and its objectives. It is evident that Baltz was searching for beauty in the destruction of the world, and Misrach was attempting to make more people pay attention to the destruction that was occurring around them where they lived. I think this holds a lot of importance as both artists have conveyed Anthropocene as a subject which is undergoing constant change, whilst individually highlighting that the destruction occurring throughout our planet is an idea which needs to be addressed with more sensitivity and less misconduct.

I have included a visual example of my work throughout my own project which focused on Anthropocene. This image demonstrates alongside the work of Baltz that industrial areas are a great way to explore the topic of Anthropocene, as they provide lots of areas that catch the viewers eye, along with lots of detail throughout the infrastructure of the building. Both my example and Baltz’s work include detail in metal work, with plain backgrounds to contrast the structure and draw attention to the focal point of the image: the construction. However, this piece could still be comparable to the work of Misrach as the warm lighting is very much like this work. Furthermore, I can relate my work more towards the mindset and thought process behind that of Richard Misrach, this is because he believes that he’s “…come to believe that art is a really important way of communicating, not only with current generations, but future generations.” (https://news.artnet.com/art-world/richard-misrach-art21-1946853). I fully support this concept and it relates back to the purpose of my whole personal study, with me attempting to communicate and bring awareness to what has been happening to the climate.

Bibliography

• Baltz, L. (2010) Lewis Baltz Texts. Germany: Steidl
• Baltz, L. (2001) PHOTO PHAIDON 55. New York: Phaidon Press
• Campany, D. (2018) Conversation on Photography. Rome: Contrasto
• D, Bate. (2009) Photography. New York: BERG
• Misrach, R. (2021) on Landscape and Meaning. New York: Aperture
• Jones, K. (2014) Remi Coignet Conversations. Paris: The Eyes Publishing
• Misrach. R/ Orff. K (2012) Petrochemical America. New York: Aperture
• Padley, G. (2021). Look at this if you love great photography. London: Ivy Press.
• S, Verlag. (2009) New Topographics. University of Arizona: CCP
• Szarkowski, J. (1966) The Photographers Eye. New York: The Museum of Modern Art
• Respini, E. (2009) into the sunset PHOTOGRAPHY’S IMAGE OF THE AMERICAN WEST. New York: The Museum of Modern Art

Websites:

• sparknotes [Online], Modernism in the visual arts and architecture, Modernism – Modernism in the visual arts and architecture | Britannica, [Accessed 20th January 2023]
• Jeanne Willette [Online] arthistory unstuffed Postmodernism and The Trail of the Floating Signifier | Art History Unstuffed [Accessed 24th January]
• Lewis Baltz- Wikipedia [Online] Lewis Baltz – Wikipedia [Accessed 25th January 2023]
• Caroline Goldstein [Online] ‘It Just Keeps Haunting You’: Watch Photographer Richard Misrach Document the Beauty and Horror of the US-Mexico Border (artnet.com) [Accessed 1st February]