From Here to the Horizon presents the work of fifty of America’s leading contemporary landscape photographers in honor of the life and influence of Barry Lopez (1945–2020), one of our most revered writers about the landscape and our place within it. Work by each photographer was selected in relation to, and accompanied by, an excerpt from the best-selling book Home Ground: A Guide to the American Landscape, a reader’s A-to-Z guide to American landscape terms, edited by Lopez and Debra Gwartney. With images reflecting landforms or locations and others that are more evocative, the collection creates a portrait of the beauty, diversity, and abundance found in our shared North American topography. For Lopez, the land was never simply a background for human activity but reflected our aspirations and desires, both as individuals and communities. He had a particular affinity with photographers, and some have compared his precise, crystalline language to the artistry found in photography. As Virginia Beahan noted, “What impressed me so much about Barry’s writing was the slow-moving attention to detail . . . as he tried to make sense of the world. The collection includes leading photographers such as Virginia Beahan, Barbara Bosworth, Frank Gohlke, Lois Conner, Emmet Gowin, Mark Klett, David Maisel, Laura McPhee, Andrew Moore, Mark Ruwedel, and essays by Debra Gwartney, Robert Macfarlane, and Toby Jurovics. From Here to the Horizon serves as a marker of the admiration of and affection for Lopez and will spark the imagination of places we already know, or hope to one day visit, or may never see but carry with us because of the life-affirming work of writers like Lopez. Photographers: Robert Adams, Virginia Beahan, Marion Belanger, Michael Berman, Andrew Borowiec, Barbara Bosworth, Joann Brennan, Gregory Conniff, Linda Connor, Lois Conner , Thomas Joshua Cooper, Robert Dawson, Peter de Lory, Lucinda Devlin, Rick Dingus, Terry Evans, Lukas Felzmann, Steve Fitch, Frank Gohlke, Peter Goin, Emmet Gowin, Wayne Gudmundson, Owen Gump, David T. Hanson, Alex Harris, Allen Hess, Ron Jude, Robert Glenn Ketchum, Mark Klett, Stuart Klipper, Peter Latner, David Maisel, Laura McPhee, Andrew Moore, Eric Paddock, Mary Peck, Edward Ranney, Jeff Rich, Meghann Riepenhoff, Mark Ruwedel, Mike Smith, Joel Sternfeld, Martin Stupich, Willy Sutton, Bob Thall , Terry Toedtemeier, Geoff Winningham, Dennis Witmer, and William Wylie Writers: Jeffery Renard Allen, Kim Barnes, Conger Beasley Jr., Lan Samantha Chang, Michael Collier, Elizabeth Cox, William deBuys, Pamela Frierson, Robert Hass, Patricia Hampl, Emily Hiestand, Linda Hogan, Barbara Kingsolver, William Kittredge, Gretchen Legler, Ellen Meloy, Robert Morgan, Antonya Nelson, Pattiann Rogers, Scott Russell Sanders, Eva Saulitis, Donna Seaman, Carolyn Servid, Kim Stafford, Arthur Sze, D. J. Waldie, Joy Williams, Terry Tempest Williams, and Larry Woiwod

Steve Fitch is among America's most well-known chroniclers of the American West since the days of Easy Rider. He has been photographing examples of the West's changing vernacular landscape and vanishing roadside landmarks for more than 40 years. In his new book, he presents both the ancient and the modern by way of petroglyphs, neon motel signs and hand-painted business signs, drive-in movie theater screens, and radio and cell towers. All of them are now endangered because of the advent of the Interstate Highway System and corporate franchises. In this fascinating and comprehensive account, we are able to join in Fitch's expansive journey, truly an odyssey, as represented in the book's 120 unforgettable photographs, all sequenced to mimic the open road-both during day and night. Fitch explains the project in his informative introduction, in which, interestingly, he suggests that the petroglyphs of the ancient Pueblo people have endured far better and longer than anything made during the last sixty years. Curator Toby Jurovics, in his insightful concluding essay, positions Fitch's work in relation to that of the practitioners of the photographic style known as the "New Topographics" and Fitch's own view of photography as a visual form of cultural anthropology. Vanishing Vernacular: Western Landmarks is sure to become a modern-day classic, a book that will be all the more revered as America and Americans move farther away from the highways of the past. That economy and roadside culture are vanishing like endangered species, but Fitch was along for the ride. In sharing that past, he has been witness to his own form of historic preservation.