Works in support of Oregon Measure 34, which would have limited clearcutting in half of the acreage of two state-owned forests; the initiative is defeated.
The Adamses and others begin to commit countless hours to preventing the building of a nearby facility for unloading tankers carrying liquefied natural gas
(LNG), an extraordinarily hazardous cargo.
Exhibition Turning Back opens at the Haus der Kunst, Munich, and the San Francisco Museum of Modern Art. Notes in a letter,
“They have constructed circular benches built to the diameters of old-growth conifers, and a freestanding circular room, also to the tree dimensions,
for showing a tape. Once in a lifetime.”
View exhibition installation
The exhibitions are well reviewed. To Adams’s disappointment, however, the publication of these photographs goes relatively unnoticed, especially in the Northwest.
“Still photography doesn’t seem to have much of anywhere to go these days as a means of contributing directly to the social dialogue
(that seems to be reserved for film and video). Its job is more to address matters that are personal, those having to do with the intersection of this world and another,
a focus closer to that of representational painters and printmakers.”
—From notes made in 2005
Publishes Pine Valley, Turning Back, and A Portrait in Landscapes.