This is a peer­reviewed, post­print (final draft post­refereeing) version of the following published document and is licensed under All Rights Reserved license:

Peck, Julia ORCID: 0000­0001­5134­2471 (2018) Landscape photography in the web of life: Olaf Otto Becker’s documentary sublime. In: Northern Light: Landscape, Photography and Evocations of the North. Image . Transcript Verlag, Bielefeld. ISBN 978­3­8376­3975­9 

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Landscapephotographyintheweboflife:OlafOttoBecker’srenegotiationofthesublime

inaneoliberalisedandclimatechangingworld

JuliaPeck

OlafOttoBecker,aphotographerrenownforhisphotographsoftheArcticnorth,

hasrecentlyturnedhisattentiontotheforestsofIndonesia,Bolivia,Braziland

Australia.Thisisachangeofsubjectforthephotographerknownforhislandscapes

celebratingthecoldnorth.But,asWilliamEwinghasnoted,perhapsthischangein

directionislogicalgiventhatthemeltingoftheArcticispartlyconnectedtothe

destructionoftheworld’smajorforests(Ewing,2015),andthatBecker’sownwork

hasbecomeincreasinglypreoccupiedwithchartinghuman-ledchangestothe

environment.TakinganoverviewofBecker’soutputfromBrokenLine(2007)to

ReadingtheLandscape(2014),IwillarguethatBecker’sapproachcanbereadasan

attempttoresolvetherelationshipbetweenhumanandnature,theeverydayand

thesublimeinatimeofneoliberalisedcapital.

TheArctichasbecomeasignificantphotographicsubjectoverthepastdecade,actingasa

beaconforthosewhowishtoimagetheeffectsofclimatechange.Photographers,artists,

writers,scientistsandtouristsvisitandworkinthelandscapeasameansofcomingtoterms

withthesymbolicpowerofaplacethatisrapidlychanging.Boththeactofvisitingthe

place,andinproducingindividualandcollaborativeresponsesthatmeditateonclimate

change,havebecomesomethingofasignificantculturalactivity.Thematerialthatis

producedincludescampaign-stylematerialsproducedbyconservationandecological

organisationssuchasGreenpeace,mediarepresentations,scientificimagery,aswellas

artists’responsesinawidevarietyofmedia(Buckland2006;Matilsky2013;Wells2012).

Indeed,onecouldsaythattherehasbeenanoutpouringofconcernaboutthelossofsea

andArcticice,andtheimpactthishasonwildlifesuchaspolarbearsandmarinelife.There

isanincreasingawarenessofthehowthelossoficeatthepolarnorthisalsoaffectingour

weathersystems.

Globalairtemperatureduring2016wasconsistentlyreportedasbeinghigherthanthe

averageEarthtemperaturesintheearlytwentiethcentury(Milman2016;Thompson,2016)

butincreasesintemperaturearemarkedlyhigherinthePolarRegions(WorldWildlife

Fund).SeaandArcticice,whichhasbeenreportedrecentlyatthe“secondlowestlevelsince

scientistsbegantomonitoritbysatellite,”isnotshowingsignsofrecoveryinthewinter

months,oracrosslongertimespans(AssociatedPress2016).Similarlydisturbingreports

havebeenemergingaboutthelossofAntarcticseaice(Reuters2017).Theimpactthishas

onpolarbearshasbecomestaplereporting,andpolarbearsnowfeatureinarangeof

affectiveclimatecampaignsasasymbolthatissometimesclichéd,andpowerfully

reinvented,butneverquiteexhausted(Tollman2014).JamesBalogandother

photographershavebeenworkingtobringtowiderpublicattentiontheextentandspeed

ofthelossofice(Balog2009;Balog2012;Orlowski2012).Hisphotographsandstopmotion

sequenceshavebeensuccessfulindemonstratingtheyear-on-yeardecreaseanddeflation

ofglaciersintheArcticandotherpartsoftheworld,whilstalsodeliveringanemotional

impact.

Whilsttherepresentationoficebergs,glaciersmeltingandthePolarRegionshasbecomea

significantaspectoflandscapephotography,therearearangeofrepresentationalstrategies

thathaveaimedtoincreaseawarenessofclimatechangeandtheriskthisposesforthe

Arcticenvironmentandglobalweathersystems.Someoftheseartistsandcommentators,

includingBalog(2009;2012)andAlGore(Guggenheim2006),haveproducedstrongly

evidentialandillustrativeimages1andhavealsoworkedtoadviseaudiencesonstepsthey

cantaketoreducetheirowncarbonfootprintandeffectwiderchange.Other

photographers,includingSubhankarBanerjee(2013)haveaimedtodemonstratetheimpact

oncariboumigrationandindigenousArcticlivesthroughbothillustrativeandpensive

strategies,andCamilleSeaman(2015)hasproducedadeeplypersonalaccountthatdraws

uponherNatureAmericanculturetoproduceareflectiveresponsetothechangesinthe

landscapes.Therepetitionofthemeltingglacier/iceberginphotographyhasalsoledto

playfulandcriticalresponsesfromartistsincludingSophieCalle,JoanFontcubertaand

1ThecategoryoftheillustrativeimagehasbeenborrowedfromHeine(2014).Theillustrativeimageissubordinatetothetext,whichgivesinformationabouthowtointerpretorknowthephotograph(280-283).

others;theseprojectsacknowledgetheclichésofArcticimagerywhilstcritiquingour

relationshipstotheenvironment,whichcanbeoneofexploitation(Martinssonand

Desplechin2015).

Yetclimatecommunicationspecialistsandartistsnotethatviewersstruggletobridgethe

‘gap’betweenknowledgeoftheeffectsofclimatechangetochangesinconsumerhabits

andpatternsoflivingthatmateriallyimpactonourclimate(KollmussandAgyeman2002).

Artistswhoaddressthisissue,suchastheduoSaylerandMorris,workmoreallusivelyinan

attempttobridgethegapbetween‘seeing’and‘believing’;theartistsarguethatasclimate

changeisaproposition(builtuponastatistically-createdandabstractseriesofresearch

projects)thatclimatechangeisnotreducibletothevisual.Notingthatknowingand

believingareoftenconflatedinourfiguresofspeechtheyproposethatphotographyis

closertoknowledgethanbelief,yetfullyunderstandingclimatechangeandadoptingnew

behavioursrequiresbeliefincatastrophiceffectsofclimatechangeratherthanknowledge.

Theyproposethatifphotographscanrepresentfactsthentheycanrepresentorcreate

‘knowledge’ofclimatechangebutnotnecessarilycreatethebeliefthatitishappening;

indeeditseemsthatbeliefisoftenastatethattheviewerbringstotheimageratherthan

acquiringitthroughtheimage(MorrisandSayler2014:302-303).Theirresponsetothis

conundrumistoborrowfromJacquesRanciereandRolandBarthes’ideasofthe‘pensive

image’;animagethatwhilstindeterminateorcontemplativeinvolves“anunthought

thought,athoughtthatcannotbeattributedtotheintentionofthepersonwhoproducesit

andwhichhasaneffectonthepersonwhoviewsitwithoutherlinkingittoadeterminate

object”(RanciereinMorrisandSayler2014:301).Thepointofthe‘pensiveimage’isto

bypassthepurelyillustrativepurposesofinformationalimages(suchasthosefoundin

factualreportingorinBalog’swork)andto“strengthenbeliefinthepotentialtraumaof

climatechange”(ibid:315)becauseitfacilitatestheevidentiaryforceoftheimagewhilst

engagingtheviewerin“adepth(ratherthananaccuracy)offeeling”(ibid:316).Basingtheir

argumentonthefundamentallytraumaticpropertiesoftheimage(suchasthe

photograph’sfundamentalsplicingoftime),theartistsnotethattheirprojectisoneof

failurebuttheyremainhopefulaboutthe“speculativeculturalimpact”oftheirwork(ibid:

319).

WhilstSaylerandMorrisarerigorousintheirarticulationandcontextualisationoftheir

work,theyarenotaloneinproducing,orrelyingon,thepensiveimageasamodeof

practiceinrelationtothetopicofclimatechange.Theirpracticeiswiderangingandalso

includesstrategiesthattraversedifferentdiscoursesandmodesofaddress,including

activistandprotestprojects,andtheyareawareoftheexpresslydepoliticisednatureof

theirpensiveprojects.IncontrasttoSaylerandMorris,manyphotographers,regardlessof

whethertheirworkisillustrativeorallusive,frequentlyavoidstrikingexplicitpolitical

positionsbutmayprovideashortlistofsmallchangesthatcanbeaccommodatedwithin

consumeristlifestyles,suchasinadoptinggreenconsumption,ortheysuggestthatthey

couldlobbytheirrelevantpoliticalactorsforgreateractionwithoutspecifyingtooclearly

whatthenatureofthatactionwouldbe(Balog2009;Guggenheim2006).Certainlyall

photographicpracticeswithintherealmofartexaminedtodatestopshortofsuggesting

structuralchangestoourdevelopedandhighlytechnologisedlives,quitepossiblybecause

photography,andthetravelnecessarytoreachremoteorexoticplaces,arenecessarily

dependentuponthetypesofadvancedtechnologiesorlifestylesthatarealsoimplicatedin

climatechange.Indeed,itishardtocommentonclimatechangeandotherenvironmental

disasterswithoutthemediumofphotographyitselfbeingcriticisedforitsroleindifferent

typesofenvironmentaldestructionorimpact,asRebeccaSolnithasacknowledged(2007).

Nevertheless,therearesophisticatedandthoughtfulresponsesandinterpretationsofsome

environmentalphotographsthatsuggestthatsomeviewersdorespondincomplexand

analyticalwaystoallusivematerial:artisticimagesarethereforenotsimplyentertainment

orspectacle(Schuster2013;Shinkle2014).

Despitetheriskthatadiscussionoftherepresentationoficewithinaclimatechange

frameworkperpetuatessomethingofacliché,thischapterwilladdressthepensiveimagein

relationtoideasofthesublime,of‘thenorth’andpoliticsinrelationtothephotographsby

OlafOttoBecker.BeckerisaGermanartistandphotographerwhohasmadeaseriesof

booksandexhibitedworksthatdepictlandscapesfromIcelandandGreenland,including

landscapesofinhabitation;muchofhisworkexpresslyaddresseslandscapesthatare

affectedbyclimatechange.Hislaterworkshiftsattentiontoforestedregionsintheglobal

South,whichhavebeenseverelycompromisedandreducedbyloggingactivities.

Condensedintofivepublications,thiswide-rangingsubjectmatteriscoherentintermsof

Becker’svisualapproach,aswellassuggestinganincreasedengagementwiththeeconomic

andsocialaspectsofhuman-inducedclimatechange,thedespoliationofvariouslandscapes

andtheimpactthishasonlocalcommunities.Indeed,readingtheproductionofhis

photographsasacontinuousnarrative,thereisastrongsuggestionthatBeckerhasbecome

increasinglyinterestedinthestructuralimpactofglobalcapital,itsfuellingofconsumption

andtheconnectionthishastoclimatechangeandthedegradationofindigenoushabitats.

Becker,incontrasttootherlandscapephotographersinhisfield,seemstowanttoresolve,

oratleastengagewith,thecontradictionsofimageproductionwithinanartscontextand

globalconsumption.ThischapterwillspecificallyarguethatBecker’sphotographs,situated

astheyarebetween‘straight’or‘pensive’photography,thesublimeandanincreasing

awarenessofthegloballyfinancedbasisofclimatechange,isattemptingtoresolvethe

needforinformationaboutclimatechange(theillustrativeimage)withatraumaticand

pensive‘opening’thatmayfacilitatedeeperreflectiononthestructuralsystemsfuelling

climatechange.ThisisnotastraightforwarddiscoursetonegotiateandBecker’sworkwill

beshowntobothalludetothepowerofcapitalismwhilstbeingambiguousinitsstance.

Indeed,Becker’slastbook,ReadingtheLandscape(2014),attemptstotreadtheline

betweenadepoliticisedstanceandanawarenessofstructuralconnectionsofthepractice

ofphotography,whilstseemingtobeopentothesetensions.Tounderstandtheeffectsof

Beckerpracticeitisnecessarytoexamineboththeaestheticsofhisimageryinrelationto

thesublimeandthestraightphotograph,aswellasconsiderastructuralanalysisofthe

contentoftheimagesandtheirnarrativeasconstruedthroughthechronological

developmentofhispublications.Thestructuralanalysiswillconsidertheextenttowhich

thelandscapeshevisitsareasmuchaproductofthecapitalisationofnature(includingall

aspectsofthebiosphere)andthecapitalisationofartsproduction.Itwillbeshownthatthe

capitalisationofnatureandthecapitalisationofphotographyare,forthemoment,

inextricablyentwined.Tothisextent,theanalysisofBecker’sworkwilldrawuponJasonW.

Moore’sanalysisofthecapitalismintheweboflife(2015).

Lookingnorth:IceandLifeinIcelandandGreenland

AgreatmanyofBecker’sphotographshavebeenmadeinthenorth,notthenorthof

EnglandorEurope,butthenorththatcreatedtheirrationaldesiretoexplorefor

exploration’ssake(Spufford1996:49-78).Thenorthisarelativeposition,butaswriters

suchasPeterDavidsonandFrancisSpuffordhavenoted,ideasofnortharefrequently

associatedwithmoralityandasenseoftruth(Davidson2005;Spufford1996).TheArctic

NorthtendstobetheUltimateThuleofmanytravellers,asiteofultimatetruths,however

vaguelytheseareformed(Davidson2005:22).Itisanenvironmentwhereonecanprove

one’smoralworthbyshowingdeterminationandbyovercomingsignificantphysical

hardship,andbothChristophSchaden(2005:140-2)andFreddyLange(2007:8-11),who

havewrittenaboutBecker’swork,haverecountedtalesofhardshipandphysicalprowess

thatBeckerexhibitedintheproductionofhiswork.2TheArcticnorthhasalsobeenasitein

whichmaleproprietarybehaviourhastraditionallyasserteditself(Spufford1996:101).The

globalnorth,whichhassoughttoconquertheArcticnorth,hasalsobeenfullofassociations

withprogress,success,growth,materialismandculturalsuperiority.Manhood,fromthe

globalNorth,hassoughttoproveitsmoralandintellectualsuperiorityovertheArcticNorth,

whilstalsofindingwonderinitsmarvels,especiallyaestheticallyinthedescriptionsofthe

landscape.TheArcticNorth,though,ischangingbothasaspaceandasanidea.Shifting

fromasiteofexplorationforexploration’ssake,itisnowasiteofpotentialdevelopment

andtherearecallsforittobeprotectedagainstclimatechange;additionally,greater

attentionisbeingpaidtoindigenousperspectivesoftheplace(Banerjee2013;Seaman

2015).

FivebookscoverBecker’svisualdepictionofIcelandandGreenland.Thefirstandfourth

books,bothtitledUndertheNordicLight(2005;2011)depictsIcelandandthesecondand

thirdbooksdepictGreenland.BeckerinitiallyvisitedIcelandtophotographwaterfalls

(Gilroy-Hirtz2011:8)andstudymovingsubjectmatter,butoncethereseemstohavebeen

captivatedbytheNorth’smagnetismandpotential.However,thefirstversionofUnderthe

NordicLight,whichisaslimpublication,includesnotjustthesublimeimagerythatBecker

wasseeking,butalsoincludesimagesofports,dwellingsandlanduse.WhenBecker

revisitedIcelandheretainedafamiliarrangeofimagery,notingboththesocialusesofland2BeckersufferedanaccidentwhenmakingBrokenLine(2005)butthestoriesaroundthiseventalsorecounthowhecarriedonworking,despitehisinjuries(Langer2007:8).

anditsscenicgrandeur.Thischapterwillrelyonthelaterversionofthebookandwill

discussitafterBecker’sinterveningtwopublications.

Becker’ssecondbook,BrokenLine(2007)chartstheedgeofthewesternsideofGreenland.

Theimages,oficebergs,seascapes,glaciers,rockfacesandindigenoussettlements,capture

thesplendourofthenorthernlight.Someimages[Fig.1]arereminiscentof19thCentury

paintingsthataimedtocapturethelightofthenorthernregionsandcomparablewith

FrederickEdwinChurch’spaintingof1861,TheIcebergs.Otherimagesarelessindebtedto

RomanticismandaremoreinkeepingwiththestraightphotographywithwhichBeckerhas

beenassociatedandfeaturepalegreyiceagainstgreymoraine.Everyimageinthisbookis

titledwithgeographicalco-ordinatescollectedfromaGPSdeviceandtheintentionisto

allowforcomparisonsregardingicelossandotherchangestothelandscapeinthefutureto

bemade.Icefeaturesextensivelyinthebook,whetherofglaciertongues,icebergs,orrock

scarredbythemovementofglaciers.Beckerincludesmanyphotographsofindigenous

housesandthesearesignificantwithintheproject;Beckerisshowingthesignsofdailyliving

inrelationtoalandscapethatremainsspectacularisedintheeyesofmanynon-Indigenous

viewers.Becker’simages,andthetextsinhisbook,stopshortoffullyengagingwith

indigenoussubjectivitiesandtheirsocialandpoliticalreality.Insteadtheimagesrevealsigns

ofeverydayliving,includingfishing,hunting,leisure,andsomesignsofindustrialactivity;

boatsandskimobilesfeatureprominently.Mentionismadeofonespecificindigenous

subject,whohelpedtrainBeckerhandleadinghyforhislengthyvoyagestophotographthe

Westerncoastbuttherearenoportraitsofhim(Gilroy-Hirtz2011:9).

Becker’sthirdbookAboveZero(2009),engageswiththemeltingoftheglaciersmuchmore

explicitly.Becker’svisuallanguageisalsomorerigorous,achievingconsistencyoflightand

colourintheimagesoficesheets[Fig.2].Beckerhasheremovedfromanimplied‘before

andafter’techniquetodocumentingphenomenathatshouldnotbethere:riversonice

sheetsindicatemelting,andcontributemateriallytotheirdecline.3Thisparticularimage

depictstheendofariverwherethewaterplummetstothebedrockbelow.Knownas

moulinstheyaresignificantastheycausethespeedoftraveloftheglaciertoincrease.3ForadiscussionoftheimportanceofriversonicesheetsseeBalog(2012)andSteffen(2009:166-168).

Theseimagesareinterestinginthattheydepicttraditionalsublimesubjectmatter,buttheir

restrainedaestheticandrepetitionofriverimagery,negotiatetheRomanticsublime.

ExaminingsixdifferentriversacrosstheGreenlandicesheetonecomesawaywithavery

troubledimageofthesewideandpowerfulspacesasitisdemonstratedthaticesheet

meltingisendemic.BeckeralsophotographsscientistsworkingattheSwissCamp,whichis

studyingweatherandicemassdata(Steffen:167).Thesephotographsarehighlystylised

anddepictfiguresinsnowgeartravellingandmaintainingequipmentisnear-blankspaces.

Beckeralsoexploresthetroubledheritageofthesublimeinrelationtotheseicesheets:at

Point660,aplacewheretouristscanreachbycartowalkovertheglaciertongueisshown

asasiteofphotographicperformance.Theimagedepictstouristsphotographingtheglacier

andeachother,spreadoutacrosstheglaciertongue.Thesetourists,whohaveprobably

flowntoGreenland(muchinthesamewaythatBeckerprobablydid),arematerially

contributingtothedeclineofthephenomenathattheyhavecometoseebeforeitvanishes.

Broughtalso,inprobability,byasenseofwonder,theirincursioninthisspace,andtheir

presenceinthephotograph,depictsthemelancholicfollythatweseemdoomedto

participatein.

TheSublimeandtheSocial

PeoplerarelyappearinBecker’simages,eventhoughpeople’shousesandbelongings

appearinbothBrokenLine(2005)andAboveZero(2007).InUndertheNordicLight(2011),

though,humanactivitybecomesthemainsubjectmatterofthebook.Insimilarityto

EdwardBurtynsky’swork,perhaps,UndertheNordicLightdepictslandscapesthatarealso

usedasdwellingspaces,sitesofindustryandprosaicactivities,sitesoftourismandsitesof

wonder.Indeed,Beckerseemstobecomplicatingthesublime.OnthecoveroftheUnder

theNordicLight(2011)isanexpansiveimageofIceland’slandscapetakenfromanelevated

vantagepoint.TheimageprovidesaviewofJökulsááBrúGlacierRiver,adeepgorgewhich

scarsthelandscapeanddownwhicharivershouldbeflowing.Instead,ontheleftofthe

imagethereisaconcretespillwayandinthebottomleft,thereisanobservationorcontrol

centretogetherwithacarpark.Thegorgeissoemptyofwateritispossibletoimagine

walkingalongit.Inthebook’ssequenceofimages,Beckerprecedesthisimageofthegorge

withadifferentviewofthespillway[Fig.3].Thisimagedemonstratesthescaleandpower

oftheimpactonthelandoftheconstructionofthedam,whilstbeingambiguousenoughto

celebratetheachievementoftheengineeringproject.

ThisversionofBecker’sbooksignalssomethingofachangeinhisoutput.Whilst

contextualisingessayshaveaccompaniedallofhispublications,thisbookfeaturesselected

captionsatthebackofthebook,someofwhicharequitedetailed.Whilsttheimage

remainsdominant,andtheviewermustbeattentivetoengagewiththecaptions,the

informationprovidedsignalsadesireonthepartofBeckertomorefullycontextualisehis

practicewithfactualinformation:theimagenolongerstandsonitsown.TheessaybyPetra

Gilroy-Hertz(2011:8-10),insimilaritytotheessaysinBecker’searlierpublications,

celebratesBecker’saestheticsensibility,butalsooutlinessomeofthepoliticaland

economiccontextofIceland.Gilroy-Hirtznotes,forexample,thattheKárahnjúkarDam,

whichhasstoppedtheflowofJökulsááBrúGlacierRiverandresultedinthefloodingofa

NationalPark,wasbuilttoprovidepowerforanaluminiumfactory.AndriSnÆrMagnason

(2013)hasarguedthatIcelandhadnoneedforthisparticularelectricitygeneratingdam

priortotheproductionofaluminium,andaluminiumissingularlyoneofthemostenergy

intensivealloystomanufacture;itsbaseconstituentsarealsoshippedlongdistancesfrom

otherpartsoftheglobe.Iceland’selectricitygenerationandconsumption,then,isonbehalf

ofglobalcorporateconsumptionanditsmachinationsofcapital.

GiventhatBeckerreturnedtoIcelandin2011,aftertheeconomiccrashof2008,andgiven

thatBeckerhadbeenphotographingsomeofthesocialusesofland,theexplicit

engagementwiththesocialandpoliticalisperhapsnotasurprise.Whatseemstohave

takenshape,though,overthecourseofhispublications,isanincreasingcommitmenttothe

factualandinformationalsupplementtohisphotographs.Whilstthesecaptionsareatthe

endofthebook,inaverysmallfont,theyneverthelesstroubletheaestheticanddirectly

visualexperienceofBecker’simages.AlthoughBeckerhasalwaysplayedwithcaption

information,suchasinthegeographicco-ordinates,andhasincludedtestimoniesabout

climatechangefromexperts(Schaden2007;Steffen2009)thesocialandpolitical,whichhas

beenhintedatinthevisual,becomesincreasinglyovert.Indeed,theIcelandicimagesplay

moreextensivelywithbanalityandlandusethanhisearlierworks,eventhoughthereare

manybeautifulandsublimelandscapesinthisbook.Thereareimagesofincomplete

housingdevelopments,emptyout-of-townsupermarkets,residentialblocksaswellas

variousindustrialandshippingsites.

Beckerhasconsistentlyproducedimagesthatarenotablefortheiraestheticcommandof

lightandcolour,utilisingboththelanguageofthesublimeinconjunctionwiththe

aestheticsoftheeverydayandthestraightimage.Hisimagesexhibitrigorousstylistic

repetitionandhetypicallymakesverywidelandscapeviewsevenifthescale,insome

images,ischallengingtodecipher.Hisprojectsincludesignsofhumanhabitationand

activity,althoughthesearesituatedagainstscenesofwildnessandnaturalgrandeur.Yetas

hasbeenhintedatthroughoutthedescriptionofBecker’soutput,Beckerisnotsimply

reproducingthesublime.Indeed,ascanbededucedbythebanalfeaturesofsomeofhis

images,Beckerismovingbetweenlyricismandmoremundanevisualdescriptions,even

thoughhisadherencetostraightimageryisconsistent.Whatdoesthisnegotiationofthe

sublimepropose?

Thesublime,bothhistoricallyandincontemporaryart,isassociatedwithwhatliesbeyond

reasonandcertainties(Morley2010:12).EdmundBurke’saccountofthesublimefromthe

eighteenthcentury,definedasamixtureof“perversepleasure,mixingbothfearand

delight”(ibid:14)retainsapopularcurrencytoday.SimonMorley,whoprovidesan

overviewofhowtheoriesofthesublimedevelopedfromtheEighteenthCenturyinto

contemporarytheories,notesthatthesublimeisstillattachedtotheideathat“ourlivesare

fashionedbyforcesbeyondourcontrol,whichunderpinanddriveouractsof

representation”(Morley2010:18).Morleyaskswhethertheengagementwiththesublime

isawayofsuccumbingtothe“allure…ofacceptingourdominationbyandsubjectionto

nature?”(ibid:18).Notingthattherearebroadlyfourformsinwhichthesublimeinforms

contemporaryartandculture,(theheroicact;shockandawe;realityasfundamentally

indeterminate;andecstasy),Morleyholdsopenthesublimeasabroadandimportant

categorythatextendsbeyondaesthetics.

BarbaraClaireFreeman(2010)hasnotedthatthesublimeisnotnecessarilypolitically

aligned,althoughitisoftenassociatedwithconservatism,andonoccasion,withideasof

libertyandfreedom(ibid:64).Notingthat“themasculinesublime…seekstomaster,

appropriateorcolonisetheother”(Ibid:65)itwouldseemonthesurfaceofthingsthat

Beckerisreproducingamasculinesublime(masteryoflandscapethroughproducing

landscapeviews,demonstratinghismoralandphysicalworth).Afemininesublime,though,

wouldtakeup“apositionofrespectinresponsetoanincalculableotherness”andmeaning

wouldremain“openandungovernable”(ibid:65).Becker’simagerycertainlyavoids,like

manyoftheotherartistsworkingintheArctic,explicitpoliticalpositions,butheisalso

playingwithnotionsofthesocial.Giventhatsomedefinitionsofthesublimeconcentrateon

‘theunrepresentable’itisimportanttonotethatBeckerusestheaestheticsofthesublime

(uncertainscales,expansivevistasetc.)buthealsorepresentsthedistinctlysocialand

materialaspectsofcontemporarylife,bothinGreenlandandIceland.

RobertSmithson(2010),indiscussingthelandscapearchitectureofFrederickLawOlmsted,

proposesthatthelandscape,includingthesublimeengagementwithit,canbedialectical:

InherentinthetheoriesofPriceandGilpin,andinOlmstead’sresponsetothem,are

thebeginningsofadialecticofthelandscape.Burke’snotionof‘beautiful’and

‘sublime’functionsasathesisofsmoothness,gentlecurvesanddelicacyofnature,

andasanantithesisofterror,solitudeandvastnessofnature,bothofwhichare

rootedintherealworld,ratherthanaHegelianIdeal.PriceandGilpinprovidea

synthesiswiththeirformulationofthe‘picturesque,’whichisoncloseexamination

relatedtochanceandchangeinthematerialorderofnature.Thecontradictionsof

the‘picturesque’departfromastaticformalisticviewofnature.Thepicturesque,far

frombeinganinnermovementofthemind,isbasedonrealland;itprecedesthe

mindinitsmaterialexternalexistence.Wecannottakeaone-sidedviewofthe

landscapewithinthisdialectic.…Price,GilpinandOlmsteadareforerunnersofa

dialecticalmaterialismappliedtothephysicallandscape.Dialecticsofthistypearea

wayofseeingthingsinamanifoldofrelations,notasisolatedobjects.Natureforthe

dialecticianisindifferenttoanyformalideal.(Smithson2010:115)

InSmithson’sessay,whereheisexploringtensionsbetweenlandart’sreputationfor

conqueringtheland,andtranscendentalwaysofrepresentingit,arguesforarelationship

thatresolvesthetendencytowardsaman/naturesplit.Scenicbeautyanditsassociatedart,

inSmithson’seyes,isaformofspiritualsnobberyandaformofretreat(ibid:117),andhe

arguesforadialecticalrelationshipinstead.WhilstSmithson’sessayoverlooksmanyofthe

NativeAmericanwaysofunderstandingland,includingtheirownearthworksand

landscapingactivities,Smithson’sessaypointsthewaytounderstandingBecker’simages.

Startingwithadesiretolocatethesublime(intheformofawaterfall),thenmovingfurther

northinsearchofuntouchedscenerybutstillfindingthesocial(suchasinBrokenLine),the

locationoftranscendentallandscapesindecline(AboveZero),Beckerseemstobeseeking

thepristineanduntouched,butfindingalandscapepowerfullyalteredbyman.Whetherwe

wouldliketopreservetheArcticornot,ithasbecomeasiteofhuman-naturerelationships

andBecker’sphotographycannotescapethat.Intuiting,perhaps,thecomplexrelationship

betweenmanandnature,Beckerdoesnotdisavowthesocialinsearchoftheuntouched

wildernessbutisunabletogiveupontheideaofitsexistence.Inthissense,Becker’sworks

seemtobothengagewithman-humanrelationsandresisttheirentwinement.Asnoted

above,theimagesarenolongerpurelyvisualandtheyalsoengagemorefullywiththe

socialrealitiesofthelandscapesthroughtheuseoftext.Theseobservationsetsthescene

forBecker’smostexplicitengagementwiththeeffectsofclimatechangeandenvironmental

devastation.

ReadingtheLandscape

Becker’slatestbook,ReadingtheLandscape(2014),signalsaradicaldeparturefromtheicy

north.SplitintothreeHabitatsections,thebookfollowsatrajectoryfromtheprimeval

forests,toindustrialisedforestclearance,soilerosionandfiredestruction,andthenafinal

sectiononthetropicalmanmadegardensinhighrisebuildingsinplacessuchasSingapore.

ThereisasmallsectiononCalifornia’sredwoodforests,butthemajorityofphotographsof

primevalforestsaretakeninIndonesiaandMalaysia.IncontrasttoBecker’searlierwork

therearesomeimagesandvideostillsofthefloraandfauna,whereBeckerseems

fascinatedwiththedetailoflivingsystemsratherthanjusttheiroverallgrandeur.

Thebook’sfairlysimplisticstructureisstronglyredolentoftheconcernsoftheconservation

movement,onethatproposesthatitispossibletoprotectenvironmentsfromindustrialand

pollutingincursions(Dunaway2005).Itisentirelypossiblethatthese‘primeval’forestsare

changingasclimateschangeandthespeciesthatthesespacessupportmaywellbe

adaptingorindecline.GiventhechangingbiosphereoftheEarth,itdoesseemalittlenaïve

tosupposethattheselivingstructures,magnificentthoughtheyare,arenotdisrupted.The

structureofthebookfurtherimpliesthatwecan‘protect’naturefromtheworstofthe

changesthathumanactivityiscausing.Importantly,though,Beckerdoesmovefromhis

RomanticappreciationoftheforesttotherealitiesofdeforestationintheFarEast:

clearanceforcrops,especiallyPalmOil,andtheillegalconfiscationoflandisbecoming

common.Whilstpeoplearemainlyabsent(insimilaritytoBecker’searlierprojects)one

imagestandsout[Fig.4]:AminandYantiPetanibuildingtheirnewhome,Riauarea,

Sumatra,Indonesia,10/2013(2014:113).Thecaptionforthisphotograph,atthebackof

thisbook,tellsusthat:

…WeranintoAminandYantiPetaniwhilewalkingdownaroad.Theytoldusthat

theyhadjustbeenbuildingtheirownhouse.Theyhadfinallywontheirlandback,

afteratenyearlegalbattlewithaninternationalpapercompany.Thelandhad

originallybeenasmallparadisewheretheirancestorshadlived.However,before

theygotthelandback,thepapercompanyharvesteditforonelasttime.

InmanyplacesinIndonesia,thereisnoproperlyheldlandregistry.Thissituation

makesiteasierforcompaniestoexploitthelandfortheirownpurposesonalarge

scale(Becker2014:151).

Thebleachedcolouroftheimageaccentuatestheashenforegroundandcleared

background.Thetimber-framedhouselookspainfullyinadequateagainsttheforcesof

internationalcapitalismbutalsoseemsironicgiventheclearanceoftrees.ThePetani’sfight

toregaintheirland,though,signalslocalresistancetointernationalcapitalismeventhough

thisisnotthemainsubjectofthebook.

ThefinalsectionconcentratesonGardensbytheBay,inSingapore.Thisisatheme-park

versionoftropicalwoodlandandBeckerisatpainstoillustratejusthowmuchofthis

paradisalstructureismanmade(concrete,woodcarvings,soundsofbirdsthrough

speakers,andanartificiallyconduciveatmosphere).Theabundanceoftheflorastandsin

contrasttotheearlierphotographsofforestswherealthoughthereisanoverallsenseof

profusion,thereislittlesenseofanoverpoweringbotanicdisplay.Thelastimagesshow

highrisebuildingswithlushgardendisplays[Fig.5].Thesehugestructures,whichinother

contextscouldbereadasexpressionsofformalinnovationandtechnologicalachievement,

bringtheworkofinternationalcapitalismmoreclearlyintofocus:suchbuildingsareonly

likelytoexistbecauseofthemammothwealththatinternationalcorporationscanacquire,

borrowandmovearoundtheworldandsuchstructuresarerarelythesoleworkoflocal

economies.Moreover,thereplacementoftheforestwithatallandspectacularcity,signals

anenclosureofthecommonsasonlythewealthywillhaveaccesstothesehighrise

gardens.Whatisbeingalludedtohere,though,istheimpactofinternationalcapital,

createdbythejuxtapositionofthegardenintheluxuryhotelorofficeblock,againstthe

stereotypeofprofusetropicalgreeneryinthethemeparkversionoftheforest;indeedthe

luxuriousvegetationstandsincontrasttothesteelandglassstructure.Importantly,across

thenarrativeofthebookamessageofenvironmentaldestructionelsewhereintheEastand

theglobalsouthisseentofuelglacialretreatintheArcticNorth.

Attheendofthebook,wheredetailedcaptionsexplainsomeoftheimagery,Becker

explainsthat:

Poweroftenbelongstoothers.Inthemajorityofplaces,largecorporationsalready

probablywieldmoreinfluencethantheentireelectedrepresentativesofpeople

acrosstheworldeverhad.Thepowerofthiseconomicsystemhasnowbecomeso

extensiveandsocompletelyamorphousthatthisisverydifficulttograsp.

Corporationstendtoreacttolegislationandotherattemptstocontroltheiractions

simplybystrategicallyshiftingtheirposition,almostalwaysactingtotheirown

advantageandinamannerthatwillprotecttheirprofits.Attheendoftheday,

modernandsustainablebehaviourisjustnotaprofitableapproachforthem.

Corporateethicsareappliedonlywheretheyareuseful–andthenonlyasa

cosmeticexercise,apretencethatcanbedroppedatanytime,whosesolefunction

istopromotetheproductionandmarketingofproducts.…Onlyarapidcounter

movementcouldstillavertthedestructiveconsequencesofthiswayofbehaving.If

thatdoesn’thappen,wewillprobablygambleawayanyremainingchancesfor

generations(Becker2014:150).

WhilstBecker,here,isclearlyscepticalabouttheeffortsofcorporationstoself-policeandto

maintaintheirownpoliciesofmaterialandfinancialsustainability,heisalsosuggestingthat

wemighttakepartinarapidcountermovementtoaddresstheveryconcernsthathis

bookshaveraised.WhilstBeckerdoesnotofferspecificdirectionontheformandtypeof

actionreadersmaytake,onedoesnotnecessarilyhavetoassumethatthereaderwill

simplythinkthattheforcesatworkherearesimplytoogreattobebattledorthatthe

battlewillbeoverlongbeforeithasbeenwon.

Thebookismorecomplexthanmydescriptionhassofarsuggested.Thebookopenswith

anessaybythenotedphotographycurator,WilliamEwing.EwingsituatesBecker’sworkin

relationtothehistoryofphotography,makingaesthetic,stylisticandcontextual

observations.HealsonotesthelogicalprocessbywhichBeckerhasarrivedathissubject

matterasArcticdeclineispartlylinkedtorainforestdestructionandanincreasein

consumption(Ewing2014:8).Ewing,then,acknowledgestheglobalproblemsofclimate

changeandhowthisislinked,atleastinpart,todeforestationandrampantconsumerism.

Henoteshowtheculturalideasassociatedwithforests(atleastintheWest)haveshifted

fromoneoffear,toseeingforestsasinneedofprotection,andthattheyareimportantin

termsofthebiosphereoftheworld.ButEwingiscarefultoensurethatthe‘protection’of

theenvironmentisnotseenasathreattoourlifestylesandheiskeentoassurethereader

thatBeckerisnotanactivist.Instead,heclaims,that:

Beckerisaphotographer.Assuch,heisarealist,acceptingtheworldasitis.Heis

neitheroverlyoptimisticnoroverlypessimistic.Hewouldprefertoseemore

responsibilityonthepartofhisfellowstowardtheenvironment,butunderstands

theeffectiveforces(includinghumannature)thatmakemostofourconcernsring

insincere,andanyactiontakencosmetic(Ewing2014:10).

ItisinterestingthatEwingassumesthataviewerofBecker’sworkwouldratherbe

remindedoftheinherentselfishnessofhumanityratherthanencourageadifferentlifeor,

evenmorebasically,encourageastrongersocialandeconomicunderstandingofour

dilemmainrelationtotheexploitationoftheEarth.Ewing’sapproachseemsoutofstepin

thatthereisnoencouragementtoreflectonourindividualcontributionsorhowwemay

bringaboutchange,whetheronasmallscaleormorestructurally.Moresympathetically,

perhaps,Ewingisavoidingthediscussionofphotography’scontributiontothedevastation

oftheEarth.Eitherway,Ewing’saccountofBecker’sworkseemsreductiveanditispossible

toseeBecker’sbook,togetherwithhispreviouscontributionstothevisualdiscourses

aroundclimatechange,asmorethananobjectivevisualrecordofthestateofourworld.To

comprehendhowthismightbeachieved,itisnecessarytochallengethesplitthatis

proposedbetweenhumanity(andart)andtherestofourbiosphere.Thissplitwaspartially

challengedaboveintheproposalthatthelandscapeisseenlandscapedialectically:as

placesmadebetweenman’sandnature’sforces,butthereareothertheoriesthatcanhelp

analyseBecker’sworkinthisregard.

PhotographyintheWebofLife

Thoseworkinginecologicalphilosophieshavechallengedthesplitbetweenmanandnature

(Bennett2010).Whilstthedivisionbetweenhumanandnatureisunderstandablegiventhat

manyhumansliveinurbanenvironmentsawayfromruralspaces,itinnoway

philosophicallyorpracticallydescribeshuman/naturerelationships.Yetthissplitisnoteasy

toovercome,especiallyasurbandwellersoftendesiretoexperiencewildernesses,orare

encouragedto‘getbacktonature’.Indeed,Becker,asaphotographerwhohastravelled

fromhishomeinGermanytophotographnatureelsewhere,couldbesaidtobe

perpetuatingtheseparation.ButasBecker’simagesallow,thesplitbetweenhumanand

natureatthelevelofthevisualinthesespaces,suchastheArctic,isnolongertenable.

TravellingtotheArcticmeansengagingwiththesocial(suchasIndigenousinhabitations

andwaysofliving,includingsurvivalpractices)andengagingwiththefactofclimatechange

(thewildernessasaffectedbyanthropogenicclimatechange).AsBecker’stravelshave

takenhimfurtherafieldinthesearchoftheprimeval,hehasalsofoundhumanand

environmentaldevastation.

Findingwaystoarticulatetherelationshipbetweenhumanandenvironment,though,has

posedsomechallenges.Onesuchwriter,JasonW.Moore,hasformulatedawayof

overcomingthehuman/naturedivisionthatproposesthatwethinkaboutnatureand

humanrelationships;healsoachievesadialecticalreadingoftheserelationshipsby

proposingtheuseofthewordoikeios.Oikeios,forMoore,indicates“manifoldspecies-

environmentconfigurations”(Moore2015:8)thatincludeshumans,otherspecies,

environmentsandhumanorganisationalactivitiessuchasthecreationofurbancentresand

humaneconomicpractices,suchascapitalism(ibid:8).Moore’sproposalenablesnew

questionstoemerge,suchas,howishumanity“unifiedwiththerestofnature?”and“how

ishumanhistoryaco-producedhistory?”(ibid:9).Hisaimisnottoproduceaholism

betweenhumanityandotherspecies,buttounderstandthehistoricalspecificityof

human/environmentrelationships.Nature,forMoore,isamatrixratherthanresource(ibid:

35)anditmatterstotheentiretyofhumanprocesses,ratherthanbeingitscontext(ibid:

36).Instressingtheinterdependencyofhumanswithnaturalprocessesandenvironments,

ourenvironmentalissuesbecomeoneofrelationshipsratherthanobjects.Indeed,Mooreis

atpainstopointoutthatcapitalism(whilstinnowayinevitableasapoliticaloreconomic

system)isamatrixthatisaweboflifeandrelationships:itisnotaresultof“addingup”

naturewiththesocialandpolitical(ibid:41).Mooreusesthisframeworktoproposethat:

Naturecanneitherbesavednordestroyed,onlytransformed.Theoikeiosrepresents

aradicalelaborationofthedialecticallogicimmanentinMarx’sconceptof

metabolism…neithersocietynornaturecanbestabilisedwiththefixityimpliedby

theirideologicalseparation.Inthisdialecticalelaboration,speciesandenvironments

areatoncemakingandunmakingeachother,alwaysandateveryturn.Alllife

makesenvironments.Allenvironmentsmakelife.(Ibid:45)

Humansandotherspeciescreatetheconditionsforlifeindifferentmodesandwecanbegin

tothinkintermsofdefiniteconfigurationsofactingunitsandacted-uponobjects:

“Capitalismdoesnothaveanecologicalregime;itisanecologicalregime”(ibid:112).Sucha

propositionenablesustothinkaboutBecker’simageryindifferentways.Insteadofseeing

hisimagesasbeingsplitbetweentheprimevalandthedepictionofinternationalcapitalism

throughtherepresentationofmammothsteelandglassstructures,wecaninsteadinterpret

hisimageryasarepresentationofourcurrentecologicalregime:thepillagingofonepartof

theEarthforanunsustainableimageofneoliberalcapitalisminanother;togetherthesetwo

imagesdepictourcurrentoikeios.

Ourcurrentoikeois,Mooreproposes,restsuponCheapNature:theabilityofnaturetobe

harvestedorusedcheaplywithlittlefinancialinvestment.Theclearanceofforestsisclearly

anexampleofCheapNature:thetimberthatisremovedcanbeusedformanyproductsand

spaceiscreatedformonocropssuchaspalmoil.Istherearisk,then,thatinimagingthe

primevalforestthatweidentifyspacesforcapitalistexploiterstomoveinto?AsMoorehas

discussed:“CheapNatureisnotjustthere”becauseitisalsosymbolicallyconstructed(ibid:

193).“Theconceitofcapital,fromitsveryoriginswastorepresenttheworldthroughthe

Godtrick:totreatthespecificallycapitalistorderingoftheworldas“natural,”claimingto

mirrortheworlditwasseekingtoreconstruct”(ibid:211).Thetraversalofspacefrom

EuropetotheArctic,andthentotheGlobalsouthinsearchofthesublime,soundslikea

searchforthenaturalworldand,also,alotlikeenvironmentalphotography.Thesymbolic

representationoftheworldasnaturalispartoftheoikeiosofcapitalismasthesearespaces

forexploitation.

AsaMarxist,Moore’stheoriesencompassthesocial(aspartoftheweboflife).An

alternativepathtoneoliberalcapitalcanonlybeimaginedifclassstruggleisalso

considered:

Thisclassstrugglewastherelationofproductionandreproduction,ofpowerand

wealthintheweboflife.Inthisrespect,thebarrierstoanewagriculturalrevolution

arenotlimitedtobiophysicalnaturesassuch;theyarealsoco-producedthroughthe

classstruggle,itselfco-producedthroughnature(ibid:286).

Indeed,inexaminingthephotographofArminandYantiPetani,theirexpulsionfromtheir

homeisconcomitantwiththedestructionoftheirland.Theyarenowinprecariousposition

ofrebuildingahomeinasignificantlychangedecosystemanditwillbeinteresting,intime,

toseewhattheycreate.

ThelastfullplateimageinReadingtheLandscapeisofabotanicgardeninMunich[Fig.6].

Inthecaptionfortheimage,Beckerrelatesthathesatonthebenchtowritethecaptions

forhisbook(2014:151).Thebotanicgarden,ofcourse,harksbacktoaparticulartimein

thehistoryofoikeios,toatimewhennaturewasbeingordered,visualisedandbecoming

subjecttoknowledgeforcapitalexploitation.Thecreationofthebotanicgardencoincided

withexploration,colonialism,slaveryandtheestablishmentoflargeplantationsoverseas.In

thissense,BeckerbringsusbacknotjusttotheWestafterajourneytotheEast,butalsoto

thehistoryofcapitalismandtheweboflife.SowhileBecker’sbookbringstolightthe

currentcapitalistformationforthoroughlychangingnatureandexploitingpeople,italso

depictsthedifferinghistoricalformationsintheoikeios;fromthewildernesstoorderedand

knownnature.

PerhapsEwingwasrightwhenhedescribedBeckerasa“realist”.Beckerisbraveenough,of

theartistswhoworkwiththeArcticandnotionsofthenorth,tolookbeyondthedeclining

landscapetoexaminethepressuresthathelptocreatethelandscapeindecline.Quitehow

Beckerseesnature,though,isopentointerpretation.Ontheonehandheseeksandcreates

imagesofuntouchednature,butalongthewayheengageswiththesocialandeconomic

aspectsoflanduse.Ifonereadshisimagesnarratively,theydepictourcontemporary

oikeios.Depressingly,wecansaythatthemeltingArcticlandscapesarealandscapemadein

theweboflife–itisourcontemporaryoikeios.Clearedforestsarealsopartofouroikeos.

Developedcitieswithelaborategardens–bothinskyscrapersandasbotanicgardens–are

ouroikeos.Beckerablydrawsourattentiontoouroikeosascapitalismintheweboflife.

BeckerlinksnotionsofNorthandSouth,EastandWest.Helinksenvironmentalexploitation

tolabourandlanddispossession.

Beckerremainsrootedinanappreciationoftheenvironment–fortheplacesthatwe

wonderat,andwhichweexperiencecollectiveurgestoprotect.Butwithoutafully

developedunderstandingofenvironmentandcapitalinaweboflife,thereisnowayof

comprehendingamoreequalwayofunderstandingnature,ourlivesandsocieties.(Indeed,

whilstourunderstandingofnatureissociallyconstructedwedogenuinelyneedtocurtail

ourconsumptioninmeaningfulways.)Importantly,thereisnosenseofwhatthefuture

holds–unlessitismoreofnatureinthespacesoftheurbanenvironmentormoreintense

devastationanddispossession.Asweunderstandthepristinewildernesstobea

constructionofcapitalismanditsdesireforfrontiers(asnewspacestoexploit)perhapswe

willbeabletoletgoofthepristineimageandembracethenewnaturesinwhichhuman

andothernatureswilllivemoreproductivelyandlessbrutally.

Becker,then,isonlypartiallysuccessfulindialecticallyresolvingthetensionsaroundthe

sublimeandthenature/humanbinarysplit.Hisexperiencesandtravelsseemtobeshowing

himthatthewildernessisaconstructthatishardtomaintaininourcurrentoikeiosbutitis

apowerfulmyth,nonetheless.Indeed,itishardnottobemovedatthelossofscenic

grandeur,andtoremainunconcernedaboutthefateofindigenouspeopleswhose

subsistencepracticesaremateriallyimpacted.ButasanarrativeinBecker’sbooks,the

powerandbrutalityofglobalcapitalisexposed;itisonethatisdependentonnatureto

exist.Whatcouldpowerfullycontributetothisnarrative,though,areimagesofwherethe

dialecticalrelationshipsinthewebofliferesultinmorepositiveandsustainablewaysof

living.

Conclusion

Becker’sworks,whetherinexhibitionorbookform,likemanyofthephotographersalso

engagingwithenvironmentalissuesinthecontextofthegalleryormuseum,bothrelyupon

andmakeuseoftheverysystemsthatareensuringsocialandenvironmentaldevastation.

Artistswhosellorexhibitthroughprivategalleries,whomakeworkwithveryhigh

productionvalues,arereliantuponglobalfinancialcapitalaswellastechnologicalprocesses

thatareresourceheavy.Manyartistsinthegallerysystemwhoengagewithissuessuchas

overconsumption,socialinequalityandexploitation,aswellasenvironmentaldevastation

treadafinelinebetweendepictingvariousproblemsandexposingtheirunderlying

structures;asEdwardBurtynskyhasargued,ifyouarenottoocriticalofyoursubjectthey

aremorelikelytoletyouin(Schuster2013).

Someartistsareperhapsmoreadeptatmakingthesestructuresandcontextsmoreclear

thanothers.Similarly,thewriterswhocontextualisetheworkofphotographerswithinthe

artworldacknowledgesomeoftheproblemsofcapitalismwithoutlaunchingafullscale

attackonneoliberaleconomicpolicies.GerryBadger,writinginBecker'sBrokenLine(2005)

givesdetailsontherateofexpirationoftheglaciers(pp.9-10).FreddyLangeinAboveZero

(2007)acknowledgesthehuman-alteredstateoftheglaciersandtalksabouttheeffectsof

blackcoaldustblowninfromelsewhere(Langer,2007,pp.10-11).AndPetraGilroy-Hirtz

(2014),writinginthelaterversionofUndertheNordicLight,acknowledgestheeconomic

contextofIcelandanditschanginglandscapeinthefaceofclimatechange(pp.8-9).William

EwinginReadingtheLandscape(2014)claimsthatitisimpossibletostoptheforcesthatare

creatingmonumentalchangesinourlandscapes,whetherinthenorthorsouth.Whilethe

writersinBecker’sbookshaveexpressedconcernaboutenvironmentaldegradation,and

demonstratevaryingdegreesofeconomiccritique,nonehavebeenexplicitintheircritique

ofcapitalismortheeconomicsofneoliberalism.

ThecuratorsinBecker’sbooksenableBecker’sworktobesituatedcomfortablyand

confidentlywithintheworldofart.YetBeckerrisksnamingthemachinationsofglobal

capitalwhicharealsoconnectedtohiswork.Ashedoessoherisksexposinghisown

contributiontoourclimateandenvironmentalcrisisasnoonetodatehasbeenableto

resolvethecontradictionofshowingdevastationwithoutalsocontributingtoit(through

theuseofphotographyandtravel)andbenefittingfromit(thecreationofaprofile,a

career,salesofwork).Itisclearthatourlives,ourcreativityandouraudiences,aretied

togetherthroughthewebofglobalcapital.Indeed,photographyasanartformcanbesaid

tobepartoftheweboflife,aspartofourcurrentoikeios,aspartofthesystemthatcreates

naturalfrontiersforexploitationand,asIhopethischapterhasdemonstrated,partofits

critique.

TouringthePolarRegionshaslongbeenamoralactivity,albeitanincreasinglytroubledone.

Beckercouldbesaidtobegoingtotheselocationstoprovehisownworth,todefinehis

masculinityinrelationtotheenvironment.Whilsttherehetellsanothermoraltaletoo:that

theArcticisinsignificantdeclineduetoclimatechange.Becker,insimilaritytoother

photographersintheArctic,isconcernedthatwewillloseabeautifulenvironmentthathas

beenatthecentreofourRomanticsensibilities.Thisisthelossofanenvironmentthat

stoodinforanebulousformoftruth,andforamoralitytiedupwithnotionsofendurance.

Welosebothitssublimegrandeuranditsthreattothosewhoexploreinthemannerof

thoseblindtoindigenousinhabitationandsubsistence.

Notalltheselosseswillbeexperiencedinthesameway,andwiththesamedegreeof

mourning.Thelossofasiteformaleproprietorialbehaviour,forexample,isamyththatcan

beamendedorabandoned,especiallyifthereareopportunitiestoengagewithother

subjectivities(Banerjee2013).ButBeckerhasshownhismoralworthinnotjustatraditional

wayastheArcticexplorer.Heislookingforcausesofchangeandisbringingattentionto

thatthroughhisphotography.Heisnotanactivist,butheisreachinganartaudience,

creatingabroadernarrativeaboutthechangesofenvironmentstoourattention,inboth

thenorthandthesouth.Hedoessointhemannerofotherartists,suchasSaylerand

Morris,whodosointhehopethata“speculativeculturalimpact”iscreated.Partofthis

impactisthroughthedialecticsofBecker’spracticethatrevolvearoundthesublimeandthe

everyday,betweentheambiguousimageandtheuseofcontextualisinginformation,

suggestingnewwaysofunderstandingpowerfullandscapesandtheirchanges.Anotherof

thoseimpactscouldwellbeadeconstructionofthebinarysplitbetweennatureandhuman

andonethatisreplacedwithamorecomplexunderstandingoftheweboflife.

ListofFigures

Fig.1IlulissatIcefjord09,07/2003

Fig.2ConcreteSpillwayChute,KárahnjúkarDam07/2010

Fig.3River02,07/2008,Position16

Fig.4ArminandYantiPetanibuildingtheirnewhome,Riauarea,Sumatra,Indonesia

10/2013

Fig.5BusinessBuilding,Singapore11/2013

Fig.6Greenhouse,MunichBotanicalGarden05/2014

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