An Artful Archaeology of National Defense
By Ivan Amato
Science Communicator
The Corona photo-reconnaissance program was one of the most technologically sublime expressions of national Cold War angst. Declassified in 1995, the program, identified to the public under the cover name Discoverer, has been chronicled in books, documentaries, and museum exhibits. Artists now are enriching the Corona story by eliciting meaning with the help of their own telling lenses.
Authorized by President Eisenhower within one year of the Soviet Union’s late-1957, jab-in-the-fright-center, success with Sputnik 1—the world’s first artificial satellite—the joint CIA/Air Force Corona program began in 1960 to deliver intelligence of unprecedented extent and quality about Soviet air and missile assets. We should all still be grateful. This was the kind of sky-truth verification that gave national leadership the strength and confidence to sign arms-control treaties, which helped prevent the Cold War from becoming the world-ending hot war everybody feared.
Obtaining this intelligence required astonishingly capable cameras. It inspired the development of breakthrough film technology that could capture high-resolution imagery of many millions of square miles of territory from a short-lived satellite flying up to a hundred miles overhead at thousands of miles per hour. It required still nascent rocket booster technology, command-and-control capabilities, and techniques for placing the satellites into specific orbital trajectories, among many other engineering and procedural innovations.
Perhaps the most head-shaking feature of the Corona system was the James Bond-means of retrieving the film. While still in orbit, the satellites ejected one or more canisters containing reels of the exposed film. After a canister incandescently reentered the atmosphere and deployed its parachute, a military aircraft with a tethered snaring claw and winch would snatch the descending package in midair. The continuously upgraded Corona program lasted through 1972, by which time it had achieved 165 film recoveries (not always in midair) in its total of 145 launches. Some of Corona’s descendent technology is flying overhead as you read this essay.
There is nothing high-tech, high-flying, or audacious about the concrete, x-marks-the-spot calibration markers in Arizona’s Sonoran Desert that artists Julie Anand and Damon Sauer have captured in a photography series titled Ground Truth. In the Corona program, these 60-foot-diameter X-glyphs were arranged, allegedly with millimeter precision, one mile apart, most of them in a 16-square-mile grid. They served as photogrammetric markers that interpreters of the Corona film relied on to determine the sizes and separations of visible features, such as aircraft and missile complexes, in the snapshots captured over the Soviet Union and elsewhere. As such, these markers provided part of the ground truth for the otherwise harder-to-interpret overhead imagery. The principle is the same as
An exhibition by Julie Anand and Damon Sauer titled Ground Truth: Corona Landmarks was on display in the National Academy of Sciences’ Upstairs Gallery from September 24, 2018, through February 22, 2019.
walking close enough to a distant sign so that you can actually see and verify the words that you think you might have read from a distance.
With their portraits of some 40 of the markers in their stark and lonely desert settings, Anand and Sauer hint at the ultimate fate of what is to come of humanity’s most audacious feats of technological cleverness. Not even 70 years old, many of the markers already have taken steps toward a more thorough disintegration that one day will make them indiscernible from the desert settings in which Cold War contract employees constructed them. The artists showcase the markers’ status as Cold War archaeology. Like far more famous ruins in Egypt, Rome, and Central and South America, these fading ground-truth markers symbolize the transience of human touch and intention, no matter how grand.
At the same time, the photo series—both in the process of its making and in its final visual phenomenology—vogues a continuity connecting our present moment with our mid-20th-century relationship to technology and geopolitics. To produce the series, for one, the artists relied on photographic technology, albeit of a current generation, with electronic “film” replacing the then-high-tech polymer film that reeled through the Corona cameras. And by superimposing onto the sky of each photograph the complex, intersecting pattern of the trajectories of the many currently orbiting satellites, the artists connect the now-fossilizing early phase of the space age with the still-evolving current phase that has made the orbital environment a busy one. These images make me wonder what sorts of ground-truth calibration elements remain operative at various tucked-away places on the planet and how these elements, too, are fated to become archaeological hints of what also will become past technology.
By conducting current photographic reconnaissance of a come-and-gone technological system, Anand and Sauer intentionally expose a country’s urgent actions to detect and specify adversaries’ previously unknown intentions and capabilities. At some of their photo shoots, the artists chose to record themselves in time-lapse photography as they undertook their work. Though it might not have been intentional, their self-recording reflects how we are voluntarily contributing to, and accelerating the arrival of, an era of ubiquitous surveillance. Perhaps one of the satellites passing overhead captured the artists in the act of recording themselves capturing a Cold War reconnaissance system slowly fading from view.
Elegy for Pine Island Glacier, West Antarctica, 2015
Archival inkjet prints
30 x 30 inches each
Elegy for Upsala Glacier, Argentina, 2015
Archival inkjet prints
30 x 30 inches each
Diane Burko’s interest in climate change has led her to participate in several expeditions to Antarctica and the Arctic Circle. These works from her Elegy series are scanned enlargements from paintings created from her imagination. They allude to aerial views that she has experienced firsthand and that she has discovered through decades of researching visuals from scientific literature. According to Burko, “They serve as elegies—identifying melting glaciers and locations threatened by climate change throughout the world.”
Boston Basin
Photographed 2004, composited 2005
Digital inkjet print
28.5 x 78 inches
This work depicts a 16-mile-wide by 4.5-mile-deep view of Boston Basin looking west toward downtown as if the viewer were positioned in the harbor. The large city seems miniscule in comparison to what lies beneath. The Geologic Map of Massachusetts (1983) by National Academy of Sciences member E-An Zen and others provided the basis for constructing the image.
Views from the Marble Canyon Platform: Confirming the details of the moment across the geologic horizon of Marble Canyon. Views from a military spotting scope on the Platform, where William Holmes drew the eastern edge of the Kaibab in 1882, 2008
Digital inkjet print
17 x 90 inches
The basis of this work is an 1882 lithograph by William Henry Holmes. Holmes was an explorer, artist, scientific illustrator, and geologist who documented the American West. To express the passing of time visually, Mark Klett and Byron Wolfe overlaid the lithograph with round images taken through a military spotting scope at the same location in 2008. The artists draw attention to how perceptions of our environment are formed and mediated through imagery.
Lithograph by William Henry Holmes (1846–1933), 1882. Sheet XIX, Views from the Marble Cañon Platform from the Eastern Brink of the Kaibab. From Clarence Dutton, Atlas to Accompany the Monograph on the Tertiary History of the Grand Cañon District. (Courtesy of the Library of Congress)
Sandstone Crevice, 2009
Oil on canvas
20 x 22 inches
Inner Life, 2009
Oil on canvas
20 x 22 inches
Rosalie Lang’s paintings draw inspiration from the aesthetic of rocks photographed along the Pescadero, California, coast. She writes, “I don’t know a rock until I paint it,” underscoring the importance of mark making in observation and learning. The realism of Lang’s paintings of rock surfaces, combined with the absence of a horizon or other cues to scale, may cause viewers’ perception to oscillate between reality and abstraction.
Crumbling Iceberg I, Cape Adare, from the series The Last Iceberg, 2006
Inkjet print
39 x 93 inches
Camille Seaman is a Ireland-based photographer who captures the essence of awe and beauty of indigenous cultures and environments. In this series, her goal is to depict the “individuality” of icebergs, which she describes as “stoic, glowing masses of time and experience.” Inspired by her first sighting of an iceberg in 2005, Seaman journeyed to Antarctica and the Arctic regions of Svalbard and Greenland to create the photographs in The Last Iceberg series. They are part of a larger project titled Melting Away, in which she documents the polar regions of our planet, focusing on their environments, life-forms, and inhabitants. With this work, Seaman has created a stunning visual record of the Earth’s polar regions as they undergo rapid changes due to global warming.
Cedar Fire, from the series Wildfire Progression, 2016 India ink and charcoal on paper 26 x 40 inches
Rim Fire, from the series Wildfire Progression, 2020 Ink and charcoal harvested from Rim Fire wood on paper 26 x 40 inches
The Rim Fire started in 2013 when a hunter lost control of an illegal campfire in a remote canyon in the Stanislaus National Forest just outside of Yosemite National Park. The fire doubled in size overnight and within four days had consumed 100,000 acres. The fire’s rapid spread was attributed to a record-breaking drought, a heat wave, past fire suppression efforts that had altered the normal fire regime, population growth, and Forest Service budget cuts. Adrien Segal gathered some of the charred wood from the area of the Rim Fire and made her own ink using the charcoal, which she used to create this drawing. She referenced data from the map on the far right, showing the fire’s progression from August 17 to August 26, 2013.
Segal originally created the Cedar Fire drawing from a bird’s-eye view of the fire’s progression as a Computer Aided Design (CAD) model, rendered geometrically as a three-dimensional surface defined by contour lines and shading. She then rendered the drawing by hand, resulting in the work you see above to the left. Segal meticulously inked the lines with freehand strokes and carefully built up shaded areas with charcoal to create a sense of depth. She referenced data from the Cedar Fire map to the right, showing the fire’s progression through different elevations in Southern California from October 25 to October 30, 2003.
Cedar Fire Progresssion Map
Rim Fire Progression Map