Vincent Van Gogh, Landscape Drawings.
Stephen Shore, U.S. 97, South of Klamath Falls, Oregon, 1973
From the Metropolitan Museum of Art:
This photograph succinctly demonstrates the post-Romantic perspective on American landscape that Shore shared with the other photographers associated with the “New Topographics” in the mid-1970s. Rather than the majestic views produced by Timothy O’Sullivan, Carleton Watkins, Edward Weston, Ansel Adams, and Minor White (who was Shore’s teacher), Shore gives us an image of nature occluded by its own representation. An ironic commentary on “authentic’ natural experience, this photograph also displays Shore’s impeccable color sense—which, along with that of a few other photographers in the 1970s—pulled color photography out of its exile in the commercial world and into the realm of serious art.
In MARY IVERSON’s landscapes, primary-colored shipping containers are nestled within Hudson River school-influenced landscapes.
Au passage d’eau, 1923
[From the Art Gallery of New South Wales]
Don’t take gear too seriously, M. Wriston took these stunning landscapes with his iPhone on Instagram
The Richat Structure in the Sahara desert of Mauritania