Like everyone else on the train to Roskilde, his eye was caught by the woman in the tattered dress handing out candy to all the children in the carriage. When she reached him she gave him a piercing look and said, “Although I usually give candy to children only, you deserve a piece, because you’re just a big child yourself.” He took the candy and stuffed it in his jacket pocket as he stared after her until she vanished into the next carriage.
Jonathon Keats has been described by The New Yorker as a “poet of ideas.” Keats’s latest project is the Millennium Camera, a custom-built pinhole camera with a one-thousand-year exposure time that will remain inside Amherst College’s Stearns Steeple until 3015. In May 2015, the college’s Mead Art Museum documented the intellectual and material creation of Keats’s camera, displaying its blueprints and predecessors alongside the camera itself in an exhibition titled Jonathon Keats: Photographing Deep Time. To commemorate the opening of the exhibition, Keats spoke with Vanja Malloy, the Mead’s curator of American art, about deep-time photography and about the rapidly changing nature of humanity’s relationships with its environment and its descendants. This essay has been adapted from that conversation.
I take the number 25 bus from Piazza San Marco north into the hills and get off at La Pietra—a stone marking one Roman mile from Florence. Behind the imposing gate, Villa La Pietra waits at the top of the long drive lined with Tuscan cypress trees.This fifteenth-century villa is the centerpiece of a fifty-seven-acre estate of Renaissance-revival gardens,a vast art collection, a library of over twelve thousand volumes, and olive groves with views of the Duomo.
Morning air pumped off, cannabis-induced despondency
Replaced him and her. Far away, his ball-playing days,
His cap floating on the river, his soft tissues
Like severed seaweeds. This happened in 1976.