The forces of destruction are suddenly everywhere. Looming but long held at bay through jury rigging and sleights of hand that appeared to sustain an "our way of life" long envied by the world, media coverage of growing societal tensions suggested the country's problem was little more than a divided majority in need of repair. Claiming these tensions were limited to cultural differences within an otherwise functioning democracy, the gradual dissolution of our way of life for many of those on the lower end of the economic divide received little attention.

The "land of opportunity" narrative, ever reliant on the latent power of the expansionist ethos of Manifest Destiny, projects an image of a society where there is plenty for all. The skies here are always bluer, the mountains higher. America's exceptionalism proved itself through scale. Pushing westward with the confidence that all in sight was there for the taking, the land was synonymous with pillage for many, with glorious depictions by artists retroactively assigning a kind of spiritual justification for the unlimited natural resources magically transformed into material wealth. 

 Focusing on the politics of landscape and land use, this exhibition takes as its reference point Stuart Chases' 1936 land use study Rich Land, Poor Land, a Study of Waste in the Natural Resources of America. Written not long after the environmental devastation of the Dust Bowl, Rich Land, Poor Land argues for a respect for natural processes and resources, which are often ignored at society's peril. Updating these concerns to our contemporary moment, the exhibition will explore connections between landscape as symbolic of bounty for the many, contrasted with the often brutal expropriation of its resources and occupants on behalf of the few.

Carriage Trade would like to extend a special thanks to Rebecca Cleman, Karl McCool, and Jooyoung Friedman-Buchanan at Electronic Arts Intermix, Daniel Cooper for his research for this project, as well as all the artists for their loans of artwork for the exhibition. We’d also like thank to the Cafe Royal Cultural Foundation, Lower Manhattan Cultural Council (LMCC), New York State Council on the Arts (NYSCA), Lawrence B. Benenson, The Parc Foundation, Josephine Simon, and Mr. Jacques Louis Vidal for their vital support of our projects. Thanks also to gallery assistants Jackson Cane, Ryan Johnson, Ana León, Laura Li for their invaluable efforts on this exhibition and the day-to-day operations of the gallery.