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Archive for the ‘01 What’s A Map?’ Category

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Fujimi jūsanshū yochi zenzu
(Map of the thirteen provinces from which Mt. Fuji is visible)
1843  |  Edo : Yamashiroya Sahei
Source

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Kaihō Kai no Kuni ezu
(Pocket map of Kai Province)
1842  |  Kōfu, Kai Province : Murataya Kōtarō
Source

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 Ōsaka yori Tōkai ni itaru kairo no zu
(Tōkaidō and the sea route from Ōsaka to Edo)
1855  |  Manuscript
Source

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Shiga kenka Shiga-gun Fujio-mura chinai aza Ōhira Kaigaya Maegaki jissokuzu
(Measured map of Ōhira Kaigaya Maegaki, in Fujio Village, Shiga County, Shiga Prefecture – Gunpowder Safety Map)
1870  |  Manuscript
Source

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University of British Columbia
Collection: Japanese Maps of the Tokugawa Era
Source & Description

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Céline Boyer: Empreintes (from Céline Boyer)

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Denis Wood’s 2010 book Rethinking the Power of Maps includes a discussion of exhibits devoted to maps created by artists prior to 2010. A significant number of exhibits have opened since the book was published. Map Art Exhibitions, 2010-11 was posted in late 2012, and an update for 2012-13 is below.

Map Art Exhibitions, 2012-13

While we know there were more exhibitions than we cover here – so please note any we’ve overlooked in the comments – the last two years have marked a slackening of interest in map art as the genre is increasingly taken for granted. Map art is gradually seeping into art the way landscape painting did into the Western tradition in the fifteenth and sixteenth centuries, solidifying its position in the world of art as it loses its novelty.

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Zarina: Dividing Line (Paper Like Skin, Guggenheim)

One thing this means is that map art is beginning to show up in broader bodies of work – as in Zarina Hasmi’s (above) or Erik Parker’s (below) – and in exhibitions on other themes – as in three of shows we’ve included here.

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Eric Parker: Preoccupied (Too Mad to be Scared: Aldrich Contemporary Art Museum)

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Julia Penrose: from Mapping the Future: Where Are You Now?

Mapping The Future: Where Are You Now? Textile Forum South West, Gallery at The Brewhouse Theatre & Arts Centre, Taunton, England, 2012. Following a successful Textiles Forum South West (TFSW) conference, Maps define the future: where are you now? held at Somerset College in 2011, our exhibition here included the work of 35 textile artists reflecting on a variety of map themes. The artists utilized a range of experimental techniques, including delicate hand stitch, felt making, quilting, collage knitting, sculpture as well as digital media. Reviews of the show are posted at the exhibition site, along with descriptions of all the projects. There’s a catalogue too, as well as a DVD of the show.

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Joyce Kozloff: JEEZ (Joyce Kozloff)

Joyce Kozloff: JEEZThe Armory Show Modern, New York, 2012. About JEEZ, which hung at the main entrance of the 2012 Armory Show Modern in New York, Kozloff has said, “JEEZ is my election year piece, a 12’ x 12’ painting based on the Ebstorf map, a 13th century mappa mundi, which depicted Biblical stories and pagan myths within the world as it was then known, with Christ’s body as a symbolic and literal frame. I have inserted and rendered 125 images of Jesus from the history of art and worldwide popular culture – black, Latino, female, Asian; adults and babies; gay and straight; images from the movies and New Age hippies off the Internet – each true to its artistic ideal. As the archetypes and stereotypes accumulate, holy portraits are transformed into a rogue’s gallery of mismatched characters. Seen altogether, this proliferation wryly erodes their power.” Kozloff’s work was also included in a number of the other exhibitions noted here, in exhibitions at D. C. Moore in New York, and elsewhere.

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from Atlas Critique

Atlas critique, Parc Saint Léger, Contemporary Art Centre, Pougues-les-Eaux, France, 2012. The curators of this very interesting show wrote: “Although we are aware of the extent to which cartography as a discipline has been profoundly imbricated in the performative production of the narratives of modernity, in objective and positivist rationality, but also the history of colonialism and nationalistic constructions, for artists today, it has become a privileged site for the invention of counter-practices that open up new perspectives and participate in a deconstruction of hegemonies and post-colonial epistemologies as alternative tools for the production of knowledges, narratives and realities.” In demonstration of this they showed the work of, Francis Alÿs, Erick Beltrán, Berger & Berger, Border Art Workshop [a San Diego-based collaborative], Mark Boulos, Lewis Carroll / Henry Holiday, Chto delat? [a Russian art collective], Fernand Deligny, Michael Druks, Claire Fontaine, Internacional Errorista [an international art movement], Pedro Lasch, Vincent Meessen, Nástio Mosquito, Estefanía Peñafiel Loaiza, Lia Perjovschi, Radek Community+Dmitri Gutov [Moscow-based group], Philippe Rekacewicz, R.E.P. Group [a Ukrainian art collective], Allan Sekula & Noël Burch, Société Réaliste [a Parisian cooperative], Stalker [a walking group based in Rome], Endre Tót, David Wojnarowicz / James Wentzy / AIDS Community Television. This was an amazing exhibition, accompanied by conferences, performances, and films.

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Richard Long: A Line Made by Walking (from Contemporary Cartographies: Drawing Thought)

Contemporary Cartographies: Drawing Thought, CaixaForum, Barcelona, Spain, 2012. Curated by Helena Tatay, this important exhibition included more than 140 works by 77 artists, from the classics (Dalí, Debord, Duchamp) to the contemporary (Alÿs, Kentridge, Kuitca), with the goal of “inviting the visitor to question both the systems of representation that we use and the ideas that underpin them.” As the press release put it, “The central aim of this exhibition is, therefore, to explore the ways in which contemporary artists have used cartographic language to subvert traditional systems of representation, propose new formulas or suggest the very impossibility of representing a globalised, ever more chaotic world.”

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Joyce Kozloff: Targets (from The Map as Art, Kemper Museum)

The Map as Art, Kemper Museum. St. Louis, Missouri, 2013. Inspired by Katharine Harmon’s best-selling book, The Map as Art, this exhibition presented work that explored the issue of mapping – whether conceptually or quite literally – while examining systems of personal gesture involved in large-scale works. The exhibition featured more than 30 works by seven artists: Ingrid Calame, Nathan Carter, Tiffany Chung, Joyce Kozloff, Lordy Rodriguez, Robert Walden, and Heidi Whitman, several of whom made presentations in the extensive programming that accompanied the show. It was co-curated by Kemper Museum curator Barbara O’Brien and Katharine Harmon. There was an illustrated gallery card. Sept 14, 2012-April 21, 2013.

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David Reimondo: Patch World Inverso (from MAPPAMUNDI, art et cartography

MAPPAMUNDI, art et cartographie, Hôtel des Arts, Centre d’art du Conseil général du Var, Toulon, 2013. Less pretentious than some shows, but more exciting, MAPPAMUNDI brought together 58 works by 26 artists, a number of them represented in Atlas critique (for example, Stalker) and/or Contemporary Cartographies: Drawing Thought (for example, Kuitca) in a show organized by Guillaume Monsaingeon around three themes: the body, combat, and the tale. Monsaingeon also wrote the fully-illustrated, 190-page catalogue, MAPPAMUNDI, art et cartographie, which opens with a long history of maps and map art. The exhibition included Céline Boyer’s project Empreintes, a collection of photographs of hands, against black backgrounds, on which maps of their places of origin (Senegal, Iran, Spain, and so on) have been superimposed. A 100-page book – all of which fold out – documents Empreintes. Boyer’s project is connected to those in the exhibition of Qin Ga and Kuitca, though indeed this show was rich in resonances.

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Expanded Map (from Expanded Map)

Expanded Map, RM Gallery, Auckland, New Zealand, 2013. Curated by Ruth Watson and James Wylie, who both co-authored the catalogue and have pieces in the show, Expanded Map is an artists show in an artists space. With the exception of Gigi Scaria, Lize Mogel, and Clare Noonan all the artists are locals: Auckland has a rich map art scene! The show was divided into two parts, both of them covered in the color catalogue.

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 Mark Schatz: Universe Hive (From ArtHopper.com)

Universe, The Sculpture Center, Cleveland, Ohio, 2013. Mark Schatz mapped the world in this sprawling, double-sided landscape model built with ideas from architects, planners, hobbyists, and self-taught artists,. The faceted map could be folded up to make a Buckminster Fuller-inspired cuboctohedron; and it drew attention to individual perceptions of ones place, ones residence or “home,” and how it’s all a multifaceted, living, growing experience.

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Samuel Rowlett, Still From “Landscape Painting in the Expanded Field” (from Artfcity.com)

Artists’ Walks: The Persistence of Peripateticism, Dorsky Gallery, New York, 2013. Curated by Earl Miller, this is an example of a show tangential to the world of map art, but in an essential way, for walking, after all was for most of human history how we came to know the world. A lot of peripatetic art still uses maps to document the walks. Here this was the case for the work of Danica Phelps, Gwen MacGregor, and Sandra Rechico. The latter two also organized a piece, “Map It Out (New York),” in which they invited people to map the travels they’d made during the day, and then they assembled the collected drawings into a psychogeographic portrait of New York that hung alongside works by Richard Long, Hamish Fulton, and others. Neat show.

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Joseph Kosuth: From Memory, Draw a Map of the United States (from Huffington Post)

From Memory: Draw a Map of the United States, Sean Kelly Gallery, New York, 2013. This show is the first presentation of a project conceived and produced in 1971-1972 by Hisachika Takahashi. Takahashi, a Japanese artist living in New York, asked twenty-two fellow artists to each draw or paint a map of the United States entirely from memory on the handmade Japanese paper he provided: Arakawa, Jed Bark, Mel Bochner, Juan Downey, Alex Hay, Jasper Johns, Joseph Kosuth, Jeffrey Lew, Jane Logemann, Brice Marden, Gordon Matta-Clark, Richard Nonas, Robert Petersen, Robert Rauschenberg, Dorothea Rockburne, James Rosenquist, Keith Sonnier, Hisachika Takahashi, Cy Twombly, Susan Weil, Lawrence Weiner, Robert Whitman and Don Wyman. It’s a valuable document of the scene and of the map ferment beginning to grip the art world.

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Detail from Nalini Malani and Iftikhar Dadi: Bloodlines (from IndiWeek)

Lines of Control: Partition as a Productive Space, Nasher Museum of Art, Duke University, Durham, North Carolina, 2013-14. This is another show at once tangential to map art and yet concerned with an essential map element: lines of control. The lines of control in this case are mostly borders through contested areas (India/Pakistan, Israel/Palestine, Mexico/US, and so on). Green Cardamom brought together more than thirty contemporary artists (from Francis Alÿs to Muhammad Zeeshan) and a host of other contributors (including Iftikhar Dadi and Irit Rogoff) to mount a ceaselessly stimulating exhibition, first in 2012 at Cornell and then in 2013-14 at Duke. It spawned a 240-page full-color catalogue. A great stimulating show and a terrific catalogue!

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Maya Lin: Blue Lake Pass (from IndiWeek)

Surveying the Terrain, Contemporary Art Museum, Raleigh, 2013-14. While Lines of Control was up at Duke in Durham, across the Triangle in Raleigh, CAM was showing Surveying the Terrain, another show tangential to map art, yet equally concerned with an essential subject; or, as the gallery brochure put it, “Surveying the Terrain explores contemporary artworks that map our terrain.” Curated by Dan Solomon, it featured ten artists including Alfredo Jaar, Laura Kurgan, Maya Lin, and Trevor Paglen. Beautiful work!

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(from Bronx River Art)

MAPnificent! Artists Use Maps, Bronx River Art Center, New York, 2013-14. Curated by Yulia Tikhonova, this show’s 18 artists – among whom were Paula Scher and Mannahatta – approached the map from every direction. This may have been the year’s most classic map art show, a fading form.

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Roosmarijn Pallandt (from Roosmarijnpallandt.com)

Unmapping the World, EXD’13 / Instituto de Investigação Científica Tropical, Palácio dos Condes da Calheta, Lisbon, Portugal, 2013. Part of Experimental International Design Biennial 2013, and curated by Annelids de Vet (of the Subjective Atlas of … fame) and Nuno Coelho, the exhibit was “an exploration into the field of reactive map making practices. It aims to counterpoise the apparent neutrality of professional cartography through contemporary engaged mapping projects. In this exhibition, ways of mapping are used to resist the authority of state, to question ruling power structures and to expose the propensity of maps to simplify our world. The act of uncapping is presented as a poetic form of resistance.” And so much more!

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Across the Wall: Israeli Settlement Bus Routes: Ahmad Barclay & Polypod (from Visualizing Palestine)

The Cartography of the Unseen, The Research Gallery, Holon Institute of Technology, Holon, Israel, 2013. This exhibition dealt with “the political reading of the overt and covert mechanisms embedded in the act of cartography, by exposing the ideological aspects, as well as the solicitation to action performed through mapping. The exhibition analyses the ways in which the design of maps conditions the very interpretation of them, and examines how the act of mapping affects the reorganization of the mapped territory.” Thirteen projects from as many territories were presented, including work from both Israel and Palestine. Radical presentation!

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Crippled children study map on ceiling while they lie on table taking treatments…

Innovations in linoleum maps, ca 1942:

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Located in the Shrine Hospital in San Francisco.

Map made from 451 individual pieces, and measures 32 feet by 12 feet.

Popular Mechanics, August 1942

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Back in 2008 the word cartocacoethes was first used on this blog to describe “a mania, uncontrollable urge, compulsion or itch to see maps everywhere.”

Counter cartocacoethes can be applied in the world of espionage allowing spies to sneak intelligence out of hostile territories – making maps that don’t look like maps.

Stained-glass windows, butterfiles, leaves, moth heads…

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In making the drawings of fortified positions after ascertaining their plans, it was the work of the spy so to disguise them that their true character would not be recognized in the event of his capture by military authorities in the country where he was operating.

The plans of a fortification were first drawn in a regular manner and then disguised. In one case this was done by sketching ostensibly a stained-glass window. To the casual observer the drawing would bear no indication of its importance, but to the spy it was a carefully executed map of a military stronghold.

In another case the spy chose an ivy leaf as a pattern, the veins being drawn to represent the outline of the fortified position; the shading marking the ground sheltered from fire, and heavy spots, resembling worm-eaten holes, the positions of the large guns.

The entire article, reproduced in Popular Mechanics (July 1915) from an article in The Sketch (February 24, 1915):

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It measures 69 feet long and 11 feet wide and required the services of nearly a dozen men to carry it…

Enormous map moving, ca. 1917.

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The map shows that portion of the United States between the eastern boundary of Minnesota and the Pacific coast, and the entire Northern Pacific Railway system, including practically every station on the line.

Popular Mechanics, February 1917.

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Chemical smoke puffs represent exploding shells…

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Surveyed through field glasses that make it appear miles away, a novel war map at Princeton University makes artillery practice realistic to students of the Princeton unit of the Reserve Officers Training Corps.

…Each student takes his turn at directing the miniature “barrage.” The ingenious map is operated by the instructor, who follows the student’s data and commands to fire. A small adjoining map is criss-crossed with lines showing where shells with various ranges would strike. Over this key chart moves a lever which, placed at the spot where the student’s shot would fall, swings a glass nozzle to a corresponding position on the large map; at the student’s word “fire” a puff of artificial smoke is released.

Popular Mechanics, May 1927

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Iowa is dignified by the largest egg of all…

Innovations in poultry maps, 1931…

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An egg map of the United States, showing at a glance relative egg production of each state, ca. 1931.

Each state is represented by imitation eggs of different sizes.

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Popular Mechanics, May 1931

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The isotherms nestle together,
The isobars tenderly twine…

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Cupid’s Weather Map

If Gladys had sent me no message,
Or the mail from Palm Beach met mishap,
Though I lacked premonition or presage
Or courage the wires to tap,
I am sure I could learn when she planned her return
From one look at the weather man’s map.

You’ll notice, no matter in what light
These loops and festoons you may view,
Wherever she moves, like a spot-light,
A zone of fair weather moves, too.
The breezes of May will be blowing her way
When our cars and our fingers are blue.

One sunshiny patch, set off clearly
In a country with rain-clouds all black,
To-day travels northward or nearly,
While a blizzard descends in its track.
Can I possibly err if from this I infer
That Gladys is on her way back?

No; the stupid old map of the weather
Tells the news in its tiniest line.
The isotherms nestle together,
The isobars tenderly twine,
While the forecast they print bears so rosy a tint
It well might be Cupid’s – or mine.

Philip Loring Allen

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Life, February 28, 1907, p. 49

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The revised and expanded second edition of Denis Wood’s Everything Sings: Maps for a Narrative Atlas, is due May 30, 2013 from Siglio Press.

The second edition of the atlas comes with ten new maps, including Numbers and Roof Lines (below).

The second edition also includes an interview with Blake Butler, as well as essays by Albert Mobilio and Ander Monson. This edition comes swathed in a violet dust jacket and the book itself is daffodil yellow, but it’s the new maps and accompanying essays that are the main attraction.

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I Don’t Want To But I Will: Title Page of Denis Wood’s Dissertation

Throughout graduate school I heard tales of the Denis Wood’s outrageous dissertation, curiously titled I Don’t Want To But I Will. Of particular interest are the scathing Acknowledgments, where Denis took his advisors to task. A worn copy of the Acknowledgments was passed among grad students as a bit of intellectual contraband.

But the content was what was most important. It’s a crazy dissertation. It’s about maps, mental maps, getting kicked off a bus, psychogeography, single element veridicality analysis, Europe, cartography, Kevin Lynch, passed-out subjects, Peter Gould, psychogeomorphology, the Shirelles, and the invention of “Environmental a” – a language for mapping. Among other things. It is driving the wrong way down the one-way-street of academia.

The dissertation was printed in a very limited number by the Clark University Cartographic Laboratory. Denis has recently made available a PDF of this never-really-in-print gem. I have reproduced Denis’ comments on the different chapters in the dissertation, along with links to the entire document and each chapter, from his web pages (here).

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I DON’T WANT TO, BUT I WILL

By Denis Wood

1973

Download it by chapters (below) or as a single 685-page document.

The front matter, including the dedication (by the Shirelles), the notorious acknowledgements (my unhelpful faculty and the rare humans), credits (as in a movie), and Introduction (opening with Ed’s story, a night watchman on the edge of Castle Hill park, and going on to talk about psychogeography and various kinds of mental maps).

PART I: Psyching Up for the Trip (a sort of philosophy section).

Chapter 1: The Beginning of All This (“How would you like to go to Europe this summer?” Bob Beck asked me; and the design of the study).

Chapter 2: Some Relevant Ancestors (individual, consensual, and standard mental maps, Peter Gould, and Kevin Lynch; or, what passes in the trade for the “review of the literature”).

Chapter 3: The Study Tools (Bob and I invent Environmental a, a mapping language).

Chapter 4: The Study Starts Before the Trip (long-distance training in Environmental a and the “predictive morphologies” of London, Rome, and Paris).

PART II: The Trip or Denis’ Inferno (the novelesque part).

Chapter 5: What Others Have Thought of Travel (a bouquet of quotations about travel).

Chapter 6: A Terminal Wet Towel (Bob and I meet the Group L kids at Kennedy and what happens after that).

Chapter 7: A Day on a Tour (the first day: I will show you blood in a handful of data).

Chapter 8: Down and Out in London (the week in London).

Chapter 9: Parnassus in Innsbruck (and one of the kids ODs or, well, just passes out).

Chapter 10: When in Rome, Don’t Do as I Did (in which I get drunk and kicked off the bus).

Chapter 11: Kid’s Lib, or Aristocracy in Exile (in which the kids take control of the research and collect all the Paris data).

Chapter 12: Old Tours Never Die, They Just Fade Away (in which, months later, a bunch of us get together again for a weekend in New York).

PART III: After the Trip; or What’s in Klein’s Bottle (the “science” part of the dissertation).

Chapter 13: Tripping and Tracing through the Data (trace events; or the crumbs of the cookies left for Santa).

Chapter 14: The Content of the Tour (applying Lynchian content analysis to the traces left by the Group L kids).

Chapter 15: Travel Connections (or trying to wrap graph theory around the kids sketch maps).

Chapter 16: Hanging Out the Rivers to Dry (trying to read the maps through something I called single element veridicality analysis).

Chapter 17: Pagan Curves, Lincoln Variations, and Eber Aberrations (or the quest for the warped space of human experience and psychogeomorphology).

Chapter 18: Bigger is Better – Or Worse (you draw what you feel; or, the analysis of the areal and feelin overlays).

Chapter 19: You Are Where You Sit (the analysis of the bus seating charts and their relation to the maps; or, Fixers, Mixers, and Rangers).

Chapter 20: That’s the End of the Movie! ! ? ? ! ? ? (which is a whole long list of “conclusionettes” that concludes, “That the subject can have the first, last and most comprehensive word on the subject of the investigation itself, specifically that: I DIDN’T WANT TO, BUT I DID.”

BIBLIOGRAPHY

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