Photo Essays

Looking Beyond the Myths of the Everglades

Florida
Bert Teunissen, “Domestic Landscapes. Everglades” (2014), archival pigment print, 8 ¼ x 10 ¾ in. (image), 10 x 12 in. (sheet), commissioned by the Norton Museum of Art (all images courtesy the artists unless noted)

Curator Tim Wride was surprised when he first visited the Florida Everglades a few years ago. He’d expected a muddy swamp crawling with alligators but instead found a vast ecosystem that unfolded quietly from pine forests to lush grasslands to deep blue lagoons.

“It’s not like hiking Yosemite or Yellowstone; it’s more like being in the desert where the changes are very subtle,” he said recently in conversation with Hyperallergic about the new exhibition, Imaging Eden, at the Norton Museum in West Palm Beach. “The more time you give the landscape the bigger the reward. For me it’s become a lovely refuge.”

Wride began noticing that most people he talked with held a similarly monolithic view of the Everglades, an ecosystem that occupies two-thirds of Florida but has been shrouded in mystery for years. “The odd thing is that it’s so unknown even by people who live here, even though all their drinking water comes from it,” he said.

That lack of public knowledge about the land — bolstered by the fact that it was never officially photographed before the 20th century —  has proved detrimental to its environment. “In the past, people viewed it as simply blank land that was there to be drained and put to use to allow the population to grow,” Wride explained.

Slowly but surely, photographers like Walker Evans, Eliot Porter, and Clyde Butcher began entering the Everglades and photographing its untold beauty. Finally in 2000, after its waterways had been almost irreversibly damaged, Congress passed one of the largest-ever environmental restoration projects to revive its wetlands — a $12 billion project still being carried out today.

Yet the old myth still remains, and it’s partly to dispel it that Wride has organized the show, which looks at the region through the camera’s eye. It includes images by the aforementioned photographers, as well as Marion Post Wolcott, James Balog, Mary Peck, and, more recently, Bryan Wilson, Adam Nadel, and Lisa Elmaleh.

Wride also commissioned four works from five photographers who had never previously experienced the Everglades: Bert Teunissen, Gerald Slota, Jungjin Lee, and collaborators Jim Goldberg and Jordan Stein. “The commissions really grew out of the tradition of Mr. Norton when he was building his collection and the museum. He was always buying art of his time, and it’s really his tradition that we’re upholding,” Wride said.

He hopes the exhibition will encourage a deeper public understanding of the habitat that will help further its preservation. It might even inspire people to come down and check it out themselves. “Once you’re hooked, you’re somewhat rabid about the place,” he said.

Group Pic crop
Unidentified Photographer, [Group Portrait with Alligator] (1916-1917), gelatin silver print, 6 7/8 X 9 ½ in. (image), 8 1/8 x 9 15/16 in. (sheet), Collection of the Lawrence E. Will Museum of the Glades, Belle Glade, Florida
Walker Evans, "Banyan Tree, Florida" (1941, printed c. 1970), Gelatin Silver Print, 8 13/16 x 7 1/16 in. (22.4 x 18 cm), Lent by The Metropolitan Museum of Art, Gift of Arnold Crane, 1972
Walker Evans, “Banyan Tree, Florida” (1941, printed c. 1970), gelatin silver print, 8 13/16 x 7 1/16 in. (22.4 x 18 cm), lent by the Metropolitan Museum of Art, gift of Arnold Crane, 1972
Porter
Eliot Porter, “Cypress Slough and Mist, Cypress Lodge, Punta Gorda, Florida, January 31, 1974” (1974), dye imbibition print, 10 1/2 x 8 1/16 in. (image), 20 x 15 in. (mount), Amon Carter Museum of American Art, Fort Worth, Texas, bequest of the artist
Nadel
Adam Nadel, “Non-Native Seminole War Re-enactor, Second Seminole War Reenactment, Big Cypress Reservation, FL” from the series, ‘Getting the Water Right’ (2014), archival pigment print, artist’s proof, 29 3/4 x 29 3/4in (75.6 x 75.6 cm), purchased with funds provided by the William and Sarah Ross Soter Photography Fund
GoldbergStein
Jim Goldberg and Jordan Stein, “Fire” (2014), color transparency in lightbox, 40 x 60 in., commissioned by the Norton Museum of Art
Florida panther
James Balog, “Florida Panther” (1989), chromogenic development print, 48 x 48 in. (121.9 x 121.9 cm), purchase, R.H. Norton Trust in memory of Dee Snyder
Slota1
Gerald Slota, “The Seminole Wars” (2014), archival pigment print installation, 8 x 18 ft. (overall), commissioned by the Norton Museum of Art
2000.21 Butcher
Clyde Butcher, “Moonrise Number Two” (1986), gelatin silver print, ed. 20/250, 14 x 10 in. (35.6 x 25.4 cm), gift of Mildred and Herbert Lee

Imaging Eden continues at the Norton Museum (1451 S. Olive Avenue, West Palm Beach, Florida) through July 12. 

comments (0)