In this edited volume, Norwegian and American scholars offer the first study of the striking parallels in the production, distribution, and reception of these modern expressions of landscape and nationhood. In recognizing how landscape photographs were made meaningful to international audiences—such as tourists, visitors to world’s fairs, scientists, politicians, and immigrants—the authors challenge notions of American exceptionalism and singularly nationalistic histories.
The book includes stunning photographs of mountainous landscapes, glaciers, and forests, punctuated by signs of human development and engineering, with more than one hundred rarely seen plates by photographers Knud Knudsen, Anders Beer Wilse, Timothy O’Sullivan, Charles R. Savage, and others.
Shannon Egan is director of the Schmucker Art Gallery at Gettysburg College and the cofounder and codirector of the art gallery Ejecta Projects. She has authored articles on photographers Edward S. Curtis and Jeff Wall, and co-authored the artbook Ejecta.
Marthe Tolnes Fjellestad is the curator at Perspektivet Museum, Tromsø. She is coauthor of Starman—Sophus Tromholt Photographs 1882–1883, and coeditor of Library and Information Studies for Arctic Social Sciences and Humanities.
Praise and Reviews:“Across the West and Toward the North examines how Norwegian and American photographers pictured the landscape in a period of earthshaking technological transformation and expanding infrastructure. Shared artistic strategies are revealed through this smart cross-cultural study, which challenges entrenched notions that nationalism was uniquely expressed and understood in the landscape photography of each country. This book anticipates growing transnational scholarship resulting from the bicentennial commemoration of Norwegian immigration to North America in 2025.”
—Leslie Ann Anderson, Director of Collections, Exhibitions, and Programs, National Nordic Museum
“This international collaboration reveals fascinating parallels among nineteenth-century American and Scandinavian landscape photographers whose shared motifs—sublime geological phenomena, ethnographic and landscape tourism, wayfarers, railroads, bridges, roads, and inhabited landscapes—affirm communal, transnational connections. Such images featuring environmental exploration and exploitation, underscoring the delicate balance of nature and culture, have lasting relevance.”
—Theresa Leininger-Miller, professor, Art History, University of Cincinnati