Items related to Route 36
Art. Photography. This series of fifty-four photographs follows Route 36 across the Kansas prairie, capturing the region's strong light and registering detailed textures within its vast spaces. Cottonwood trees, twisted by wind, break up the expanses, conveying a sense of scale and vertical life. The images move between the dry, rolling landscape and stark, vertical structures. Buildings often present blank faces, abandoned without names or signage, former uses unspecified. They sometimes appear as depthless surfaces against the deep expanse of prairie. Moving through the collection, we come to recognize this tension--between obsolescence and natural beauty--as characteristic of the region and its moment in history. In his foreword to the book, Merrill Gilfillan comments, "It seems continually necessary to reassert that landscape study and its reflective arts are anything but passive disciplines, that civilization in a sustaining, daily sense emerges most surely from good relations with one's surroundings...Bill Wylie's recent 36 crossings-with-camera remint all of this: the region's great capacity for inflection, double take, and surprise. The humble aplomb of things-in-waiting: a preposterous barn, crooked old trees half crazy with neglect. And the benignity of a deftly cast eye."
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From the Back Cover:
This documentary series of photographs moves progressively westward, beginning at the Missouri River crossing, where oxbows form the platforms for the city of St. Joseph, and ending where the two lanes of Route 36 disappear into Interstate 70 at Byers, Colorado, within sight of the Rocky Mountains. These boundaries demark the specific geographical region of the Western prairie, characterized by low annual rainfall and diminishing vegetation. The area has a particular expansiveness and quality of light that paradoxically feels timeless while revealing its obsolescence and decay. In Route 36, Wylie beautifully captures this quality of light in approximately one hundred photographs, making use of a fine-grain film to record detailed textures within the vast spaces. En route, he draws out relations between the dry, flat landscape and stark, vertical structures. In Wylie’s images, buildings often present blank faces, abandoned without names or signage, former uses unspecified; they sometimes appear as depthless surfaces against the deep expanse of prairie. Moving through the collection, we recognize this tension as characteristic of the region and its moment in history. Wylie presents these photographs as a catalog, assembled into a collective portrait of place, such as Eugene Atget did with Paris, and Walker Evans did in the American South.
From the Inside Flap:
The sequence allows poetry to think, refusing comfortable propositions--Elizabeth Arnold has perfected the form. What Effacement is thinking about is the body, and the materials Arnold is using to think with are many and mixed, from Philip Johnson's glass house to the translucent fish of the hadal depths, from the portraits of wounded soldiers Henry Tonks drew at Aldershot to case studies of reconstructive surgery. In a small way, Arnold's own history with cancer and mastectomy assumes its place among the images, history, and discourse that make up the book of the body. To be a soul is easy, she writes in one poem; the harder part is to burn back into the world.--Keith Tuma
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- PublisherFlood Editions
- Publication date2010
- ISBN 10 0981952038
- ISBN 13 9780981952031
- BindingPaperback
- Edition number1
- Number of pages104
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