Land is embedded in a multitude of material and cultural contexts, through which the human experience of landscape emerges. Ethnographers, with their participative methodologies, long-term co-residence, and concern with the quotidian aspects of the places where they work, are well positioned to describe landscapes in this fullest of senses. The contributors explore how landscapes become known primarily through movement and journeying rather than stasis. Working across four continents, they explain how landscapes are constituted and recollected in the stories people tell of their journeys through them, and how, in turn, these stories are embedded in landscaped forms.

Intimate Landscapes, an exhibition of fifty-five color photographs by Eliot Porter, is the first one-man exhibition of color photographs ever presented at The Metropolitan Museum of Art. Works by Eliot Porter entered the Museum's collection as far back as 1949, when Georgia O'Keeffe presented from the Estate of Alfred Stieglitz an important collection of photographs assembled by Stieglitz himself. This collection included three early black and white prints by Eliot Porter, one of which is reproduced in this catalogue. All the photographs in the present exhibition brilliantly reflect the standards of excellence that are Eliot Porter's greatest contribution to the field of color photography. Upon seeing these photographs, the viewer is immediately struck by the artist's distinctly individual and intimate interpretation of the natural world.

"Of beach plums, ramps, and Ramada Inns: a quietly sensitive eminently sensible consideration of the landscapes of our lives . . . A gift." —Kirkus Reviews Following her bestselling The Architect of Desire, Suzannah Lessard returns with a remarkable book, a work of relentless curiosity and a graceful mixture of observation and philosophy. This intriguing hybrid will remind some of W. G. Sebald’s work and others of Rebecca Solnit’s, but it is Lessard’s singular talent to combine this profound book–length mosaic— a blend of historical travelogue, reportorial probing, philosophical meditation, and prose poem—into a work of unique genius, as she describes and reimagines our landscapes. In this exploration of our surroundings, The Absent Hand contends that to reimagine landscape is a form of cultural reinvention. This engrossing work of literary nonfiction is a deep dive into our surroundings—cities, countryside, and sprawl—exploring change in the meaning of place and reimagining the world in a time of transition. Whether it be climate change altering the meaning of nature, or digital communications altering the nature of work, the effects of global enclosure on the meaning of place are panoramic, infiltrative, inescapable. No one will finish this book, this journey, without having their ideas of living and settling in their surroundings profoundly enriched.

Europe is dotted with tens of thousands of prehistoric barrows. In spite of their ubiquity, little is known on the role they had in pre- and protohistoric landscapes. In 2010, an international group of archaeologists came together at the conference of the European Association of Archaeologists in The Hague to discuss and review current research on this topic. This book presents the proceedings of that session. The focus is on the prehistory of Scandinavia and the Low Countries, but also includes an excursion to huge prehistoric mounds in the southeast of North America. One contribution presents new evidence on how the immediate environment of Neolithic Funnel Beaker (TRB) culture megaliths was ordered, another one discusses the role of remarkable single and double post alignments around Bronze and Iron Age burial mounds. Zooming out, several chapters deal with the place of barrows in the broader landscape. The significance of humanly-managed heath in relation to barrow groups is discussed, and one contribution emphasizes how barrow orderings not only reflect spatial organization, but are also important as conceptual anchors structuring prehistoric perception. Other authors, dealing with Early Neolithic persistent places and with Late Bronze Age/Early Iron Age urnfields, argue that we should also look beyond monumentality in order to understand long-term use of "ritual landscapes". The book contains an important contribution by the well-known Swedish archaeologist Tore Artelius on how Bronze Age barrows were structurally re-used by pre-Christian Vikings. This is his last article, written briefly before his death. This book is dedicated to his memory. This publication is part of the Ancestral Mounds Research Project of the University of Leiden.

Composite Landscapes examines one of landscape architecture's most recognizable representational forms, the montage view. The volume gathers work from a select group of influential contemporary artists and a dozen of the world's leading landscape architects. These composite views reveal practices of photomontage depicting the conceptual, experiential, and temporal dimensions of landscape. Composite Landscapes illustrates the analog origins of a method now rendered ubiquitous through digital means. In revisiting the composite landscape view as a cultural form, Composite Landscapes illuminates the contemporary status of the photographically constructed image for the design disciplines, and beyond.Landscape architects and artists presented:Yves Brunier, Claude Cormier, James Corner, Jan Dibbets, Charles Eliot, Teresa Galí-Izard, Isabella Stewart Gardner, Adriaan Geuze, Booth Grey, Christopher Grubbs/Hargreaves Associates, Gary Hilderbrand, David Hockney, Kenneth Josephson, Kienast Vogt Partners, Anuradha Mathur/Dilip Da Cunha, Valerio Morabito, Eadweard Muybridge, Humphry Repton, Arthur Shurcliff, Ken Smith/Alice Adams, John Stezaker, Stöckli, Kienast & Koeppel, Superstudio, Michael Van Valkenburgh, Richard Weller, Byron Wolfe Ausstellung/Exhibition: Isabella Stewart Gardner Museum, Boston, Massachusetts, 27.6.-2.9.2013

Responding to recent scholarship, this book examines animal domestication and offers a Soiot approach to animals and landscapes, which transcends the wild-tame dichotomy. Following herder-hunters of the Eastern Saian Mountains in southern Siberia, the author examines how Soiot and Tofa households embrace unpredictability, recognize sentience, and encourage autonomy in all their relations with animals, spirits, and land features. It is an ethnography intended to help us reinvent our relations with the earth in unpredictable times.

See the images and read the stories behind the creative process of one of America’s most respected landscape photographers, William Neill.

For more than two decades, William Neill has been offering his thoughts and insights about photography and the beauty of nature in essays that cover the techniques, business, and spirit of his photographic life. Curated and collected here for the first time, these essays are both pragmatic and profound, offering readers an intimate look behind the scenes at Neill’s creative process behind individual photographs as well as a discussion of the larger and more foundational topics that are key to his philosophy and approach to work.

Drawing from the tradition of behind-the-scenes books like Ansel Adams’ Examples: The Making of 40 Photographs and Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, Light on the Landscape covers in detail the core photographic fundamentals such as light, composition, camera angle, and exposure choices, but it also deftly considers those subjects that are less frequently examined: portfolio development, marketing, printmaking, nature stewardship, inspiration, preparation, self-improvement, and more. The result is a profound and wide-ranging exploration of that magical convergence of light, land, and camera.

Filled with beautiful and inspiring photographs, Light on the Landscape is also full of the kind of wisdom that only comes from a deeply thoughtful photographer who has spent a lifetime communicating with a camera. Incorporating the lessons within the book, you too can learn to achieve not only technically excellent and beautiful images, but photographs that truly rise above your best and reveal your deeply personal and creative perspective—your vision, your voice.

Western admirers have long seen the Islamic garden as an earthly reflection of the paradise said to await the faithful. However, such simplification, Ruggles contends, denies the sophistication and diversity of the art form. Islamic Gardens and Landscapes immerses the reader in the world of the architects of the great gardens of the Islamic world, from medieval Morocco to contemporary India. Just as Islamic culture is historically dense, sophisticated, and complex, so too is the history of its built landscapes. Islamic gardens began from the practical need to organize the surrounding space of human civilization, tame nature, enhance the earth's yield, and create a legible map on which to distribute natural resources. Ruggles follows the evolution of these early farming efforts to their aristocratic apex in famous formal gardens of the Alhambra in Spain and the Taj Mahal in Agra. Whether in a humble city home or a royal courtyard, the garden has several defining characteristics, which Ruggles discusses. Most notable is an enclosed space divided into four equal parts surrounding a central design element. The traditional Islamic garden is inwardly focused, usually surrounded by buildings or in the form of a courtyard. Water provides a counterpoint to the portioned green sections. Ranging across poetry, court documents, agronomy manuals, and early garden representations, and richly illustrated with pictures and site plans, Islamic Gardens and Landscapes is a book of impressive scope sure to interest scholars and enthusiasts alike.