SnakeMedicine_Book1

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TA B L E O F C O N T E N T S PREFACE 3 THE ITINERARY 4 SNAKE MEDICINE 5 LOCATION 1 I MONTICELLO, VIRGINIA 6 MONTICELLO SLAVE GRAVEYARD 7 Conversations with the Artist 9 LOCATION 2 I BEAR MOUND, IOWA 10 EFFIGY MOUNDS NATIONAL MONUMENT 11 Conversations with the Artist 13 LOCATION 3 I LAKOTA HILLS NEAR COLUMBIA, MISSOURI 14 “WINEMAN’S” BLUFF, MISSOURI 15 Conversations with the Artist 17 LOCATION 4 I COLORADO PLATEAU 18 MOUNTAIN RIDGE, COLORADO PLATEAU, COLORADO 19 Conversations with the Artist 21 LOCATION 5 I STONE CIRCLE, COLORADO 15 STONE CIRCLE, COLORADO 22 Conversations with the Artist 25 LOCATION 6 I UTE MOUNTAIN, UTAH 26 ENDLESS EMBRACE 27 VAST EMBRACE 28 Conversations with the Artist 29 LOCATION 7 I CHACO CANYON, NEW MEXICO 30 UNDULATING SEAMS 31 Conversations with the Artist 33 ETERNAL SKY MEETS AGE-OLD ARTIFICES 34 Conversations with the artist 37 LOCATION 8 I BLACK MESA, NEW MEXICO 38 BEYOND APPROACH 39 Conversations with the Artist 41 LOCATION 9 I BLACK MESA, ARIZONA 42 STAIRWAY TO THE GODS 43 A STAIRWAY 44 Conversations with the Artist 45 LOCATION 10 I SUPERSTITION MOUNTAINS, ARIZONA 46 VALLEY OF WHISPERS 47 THE STILLNESS OF A WHISPER 48 Conversations with the Artist 49 LOCATION 11 I BORDER, ARIZONA-NEVADA 50 Conversations with the Artist 53 LOCATION 12 I ANASAZI RUINS, ARIZONA 54 EMBEDDED SERPENT 55 THE WINDING WAY 56 Conversations with the Artist 57 LOCATION 13 I ZUNI LANDS, ARIZONA 58 SPLIT TREE 59 SPLIT TREE IN BLACK-AND-WHITE 60 Conversations with the Artist 61 LOCATION 14 I ESCALANTE PLATEAU, ESCALANTE, UTAH 62 ESCALANTE’S ENDLESS ESCAPE 63 BLEAK PLATEAU 64 Conversations with the Artist 65 SAGACIOUS SAGE 66 Conversations with the Artist 69 WAVES FROZEN IN MOTION 70 Conversations with the Artist 73 ESCALANTE PLATEAU – THE FORTRESS 74 ESCALANTE PLATEAU CREVASSE 76 Conversations with the Artist 77 LOCATION 15 I CAPITOL REEF, UTAH 78 THE TOWER 79 THE STRIPED TOWER 80 Conversations with the Artist 81 LOCATION 16 I BRYCE CANYON, UTAH 82 RED POPSICLES 83 PINS AND NEEDLES 84 Conversations with the Artist 85 IN THE SHADOWS 86 A VOID 88 Conversations with the Artist 89 LAKE PROTECTED BY ROCK 90 Conversations with the Artist 91 GHOST MOUNTAIN 92 Conversations with the Artist, cont. 93 LOCATION 17 I HOVENDEEP, UTAH 94 ANASAZI CLOUD CROWD 95 Conversations with the Artist 97 LOCATION 18 I ZION NATIONAL PARK, UTAH 98 A GATHERING PLACE 99 IN BETWEEN 100 Conversations with the Artist 101 LOCATION 19 I MOJAVE DESERT, NEVADA 102 SKELETAL FINGERS 103 OMINOUS SPACE 104 Conversations with the Artist 105 LOCATION 20 I NEVADA, ON THE WAY TO PALM SPRINGS 106 INDIAN WARRIOR ON HORSEBACK 107 WARRIOR 108 Conversations with the Artist 109 LOCATION 21 I CAHOKIA, ILLINOIS 110 GLIMPSES OF PRIOR GRANDEUR 112 CAHOKIA MONK’S MOUND REVEALED 114 Conversations with the Artist 119 THE WATERSHED 120 REFERENCES 122 SNAKE INSIDE BACK COVER
P R E FA C E The snake is both revered and feared in many cultures, ancient and contemporary. Like all animals, the snake has a practical as well as a metaphysical purpose. For its authors, this book, too, has dual intentions. Scott Angus is a gifted photographer, whose talent is just beginning to gain attention. Emily Sopensky has earned her living crafting words for others. This is her first foray into a joint project with Scott and the art of photography. With this collection of photographs, we embark on the first in a series of personal odysseys that explore sacred earth sites. Capturing the power of these ancient spiritual places is an off-sought, illusive, lifetime goal. It may be too much to anticipate visions of the ancients dancing and chanting on these pages while viewing the accompanying photographs, but we do hope this collection conveys what the photographer sees; why and how he was drawn to each site; speculation on what force powers the site; and what was captured in the photograph. Simultaneously this book was written with the photography student in mind. As a teacher of studio arts, Scott Angus gives subtle guidance in taking photographs that all can learn from, regardless of generational differences. The quality of a photograph, or a photography technique, is often reduced to capturing the moment. With a portrait, it may be about capturing that fleeting smile as it unwinds. Say you are at a party and you want to capture the mood. You whip out your camera, or more likely your cell phone, and snap away. You learn quickly the next sober morning how difficult it is to distill your multiple shots into one that reflects all that you felt then and now about the party and the people who were there. Capturing the moment, the light, the feeling, the people, the room—all that you “recorded” while at the party, is a phenomenally intuitive process that goes underappreciated because everyone can take a picture. Similarly, the art of selecting the picture to be recorded in landscape photograph is just as difficult as flipping through the takes you did get. Determining the subject and its “frame”, selecting the angle that best uses the light, are important in making a memorable photograph that has universal appeal. We revere the great U.S. landscape photographers. Sources of inspiration are Ansel Easton Adams, Edward Weston, Minor White and Sebastião Salgado, all of whom were inspired by the great landscapes of the American West. In the analogs of photographic history, Ansel Easton Adams surely is such a household name that no one in the U.S. has not heard of him or seen his pictures. He and several well-known artists such as Thomas Moran, helped introduce the American West to the United States and the world. Capturing the majesty of such jewels as Yosemite National Park, Adams also sparked environmentalism in the wild west. Older but still a contemporary of Adams, Edward Weston too was enamored of the West. More specifically, California 3
Page 5 and 6: SACRED EARTH SITES: SEEING THE UNSE
Page 10 and 11: THE ITINERARY 1. MONTICELLO, VIRGIN
Page 12 and 13: ON LOCATION 1 I M O N T I C E L L O
Page 15 and 16: C o n v e r s a t i o n s w i t h t
Page 17 and 18: Bear Mound, Iowa. Bear Mound - Effi
Page 21 and 22: “Wineman’s” Bluff, Missouri.
Page 25 and 26: Mountain Ridge, Colorado Plateau, C
Page 29 and 30: Stone Circle, Colorado. Stone Circl
Page 33 and 34: Endless Embrace. Scruff in the fore
Page 37: Undulating Seams. Shot at high noon
Page 40 and 41: Eternal Sky Meets Age-old Artifices
Page 45: Beyond Approach. Cliffs drop off to
Page 48 and 49: ON LOCATION 9 I BLACK MESA, ARIZONA
Page 50 and 51: A Stairway (Black Mesa, Arizona). S
Page 52 and 53: ON LOCATION 10 I S U P E R S T I T
Page 54 and 55: The Stillness of a Whisper. Apache
Page 56 and 57: ON LOCATION 11 I B O R D E R , A R
Page 58 and 59:
Arizona-Nevada border, north of the
Page 60 and 61:
ON LOCATION 12 I A N A S A Z I R U
Page 62 and 63:
The Winding Way. Arizona Anasazi Ru
Page 64 and 65:
ON LOCATION 13 I Z U N I L A N D S
Page 66 and 67:
Split Tree in Black-and-White. A Zu
Page 68 and 69:
ON LOCATION 14 I E S C A L A N T E
Page 70 and 71:
Bleak Plateau. In black-and-white,
Page 72 and 73:
Sagacious Sage. A backward glance c
Page 74 and 75:
Sage Glance. The black and white ta
Page 76 and 77:
Waves Frozen in Motion. This image
Page 78 and 79:
Holding Pen. So much more depth sho
Page 80 and 81:
Escalante Plateau - the Fortress. S
Page 82 and 83:
Escalante Plateau Crevasse. The con
Page 84 and 85:
ON LOCATION 15 I C A P I TO L R E E
Page 86 and 87:
The Striped Tower The Striped Tower
Page 88 and 89:
ON LOCATION 16 I B RY C E C A N Y O
Page 90 and 91:
Pins and Needles. Depths of torture
Page 92 and 93:
s In the Shadows. Fortress of red r
Page 94 and 95:
s A Void. Forming a dark secret
Page 96 and 97:
Lake Protected by Rock. Beneficial
Page 98 and 99:
Ghost Mountain. The haunting of a l
Page 100 and 101:
ON LOCATION 17 I “ H OV ” H OV
Page 102 and 103:
Anasazi Cloud Crowd. Near Escalante
Page 104 and 105:
ON LOCATION 18 I Z I O N N AT I O N
Page 106 and 107:
In Between. Spiritual energy emits
Page 108 and 109:
ON LOCATION 19 I M O J AV E D E S E
Page 110 and 111:
Ominous Space. Darkened lens highli
Page 112 and 113:
ON LOCATION 20 I N E VA DA , O N T
Page 114 and 115:
s Warrior. Illustrating the narrati
Page 116 and 117:
ON LOCATION 21 I CAHOKIA, ILLINOIS
Page 119:
Glimpses of Prior Grandeur. A long
Page 122 and 123:
Peaceful Existence. At the foot of
Page 125 and 126:
C o n v e r s a t i o n s w i t h t
Page 127 and 128:
The Mississippi River and Watershed
Page 131:
Snake. Petroglyph, Tent Rocks, New
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