{"title":"Open Range","description":"","products":[{"product_id":"three-circle","title":"Three Circle","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eA cowhand works the Three Circle roundup in the Custer National Forest, Montana, 1939. Arthur Rothstein shot the ranges for the Farm Security Administration — the legendary government project that sent photographers into the American interior through the Depression years, and gave the West some of its most enduring images. This is one of them.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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The Sandhills are the largest grass-stabilized dune field in the Western Hemisphere; from the highway they just look like the quietest place on Earth. Photographed by Carol M. Highsmith, whose decades-long project to document America lives in the Library of Congress.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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The river's cold, the dog doesn't care, and this is still how the herd gets moved. Photographed by Carol M. Highsmith, whose decades-long project to document America lives in the Library of Congress.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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Photographed in 2018 by Carol M. Highsmith, whose decades-long project to document America lives in the Library of Congress.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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This is the other West: green, watered, and worked the same way for a hundred and fifty years. Photographed in 2015 by Carol M. Highsmith, whose decades-long project to document America lives in the Library of Congress.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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Photographed by Jacob W. Frank for the National Park Service, whose rangers shoot the park in hours no visitor sees.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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Russell Lee photographed the homesteaders of Pie Town for the Farm Security Administration, and his eye for the details — the tooled leather, the rolled denim cuff, the six-point rowel — turned ordinary gear into American iconography. This is one of those frames.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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These are the descendants of the two dozen animals that survived the great slaughter, protected in this valley since before anyone knew the word conservation. Photographed by Neal Herbert for the National Park Service.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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Russell Lee shot the working West for the Farm Security Administration, and his eye for gear — the same eye that made the Pie Town boots famous — understood that a saddle is a cowboy's biography written in leather. Marfa was already art. Nobody had told it yet.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGiclée print on archival matte fine art paper. 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