An exhibition of map-related art is taking place at the Sakshi Gallery in Mumbai, India. Curated by Meera Menezes, Here Be Dragons and Other Coded Landscapes features works by 11 artists; it runs until 31 May. More from the Hindustan Times. [Caitlin Dempsey]
Seeking Civilization: Art and Cartography, an exhibition at Gallery Wendi Norris in San Francisco, “offers a timely re-contextualization of cartographic narrative in contemporary art and dialogue. Including works ranging from deconstructed colonial maps to neon light installations documenting personal journeys in search of love, these artworks direct us towards new reflections on citizenship, power and nationhood.” Featuring art by Michael Arcega, Val Britton, Guillermo Galindo, Taraneh Hemami, Omar Mismar, Miguel Angel Ríos (above) and Adrien Segal, Seeking Civilization opened on 23 March and runs until 6 May. More at SF Weekly.
Meanwhile, at All Over the Map, Greg Miller has a look at another professor with another book: Stephen J. Hornsby, who curated an exhibition of American pictorial maps at the Osher Map Library last year, has published a book on the subject: Picturing America: The Golden Age of Pictorial Maps, out last month from University of Chicago Press (Amazon, iBooks). Miller’s post includes an interview with Hornsby and a sample gallery of some of Hornsby’s pictorial maps.
You might have seen this typographic literary map of London: it was featured in a recent article in the Telegraph and went a bit viral from there. The work of London-based artist Dex, who runs a creative studio with interior designer Anna Burles, the map places the names of fictional characters in the areas of London they’re associated with. It’s one of several typographic maps and illustrations available for sale on the artist’s website. [Cartophilia/Goodreads]
Out this month: the English translation of Andrea Carandini’s massive two-volume, 1300-page Atlas of Ancient Rome (Princeton University Press), which “provides a comprehensive archaeological survey of the city of Rome from prehistory to the early medieval period.” See the book’s website. [Amazon]
Other books seeing publication this month: Picturing America: The Golden Age of Pictorial Maps by Stephen J. Hornsby (University of Chicago Press), a history of the pictorial map art form during the 20th century [Amazon]; and Zero Degrees: Geographies of the Prime Meridian by Charles W. J. Withers (Harvard University Press), a history of prime meridians and the standardization thereof [Amazon].
Related: Map Books of 2017.
interesting job for private client; map a la 20thC political cartoon maps of Fred Rose etc; have taken liberties with geography pic.twitter.com/fm0nAR22tE
— Andy Davey (@DaveyCartoons) December 12, 2016
Last December political cartoonist Andy Davey posted a modern-day caricature map that hearkens back to the eve of the First World War, when such “serio-comic” cartographic portraits were common, but fully up-to-date and relevant to the Trump-Putin era. [Maps on the Web]
Randall Munroe is a bad man who is back with another bad map projection to make our eyes bleed. (If he does this often enough he’ll have enough for a book. Heaven forfend.) This one is, like his other maps, fiendishly subtle: it stretches and compresses countries to fit where their time zones ought to be, longitudinally speaking.
50 Fantasy States is Chris Engelsma’s ongoing project to create fantasy-style maps of all 50 U.S. states. Six have been completed so far, including the above fantasy map of Alaska.
An exhibition of Sohei Nishino’s work is taking place right now at SFMOMA, the San Francisco Museum of Modern Art. In his Diorama Map series, Nishino assembles patchwork-quilt aerial views of cities from thousands of his photographs; each city is thrown deep into its own uncanny valley. Here’s an Atlas Obscura profile
An exhibition opening this week at the Jane Lombard Gallery in Manhattan features, among others, the work of Christine Gedeon, an artist who “uses a sewing machine, fabric and paint on raw canvas to create improvisational stitched ‘plots’ that toe the line between abstraction and landscape. Examining issues of the urban environment, cartography, and urban planning, Gedeon investigates how humans interact with each other and our built environment to form relationships, narratives, and identities.” Examples of Gedeon’s stitched work can be found at her website.
Last November art historian James Welu gave a talk at the Leventhal Map Center about Jan Vermeer’s use of maps in his paintings. The talk is now available on YouTube. I found it fascinating that Vermeer represented actual maps in his paintings — many of which are now very scarce or available only fragmentarily. [Leventhal Map Center]
At The Skiffy and Fanty Show, Paul Weimer reviews Atlas Obscura. “So is there a point to the book? Is there any good reason to read the book and not just go trolling and traversing through the website, which has many more entries? Yes. Even in an interconnected world such as ours, there is a tactile experience to flipping through this book, coffee table style […] While wandering through links on the website is a time-honored tradition, the book has a presentation that the website can’t quite match.” I reviewed Atlas Obscura last September.
Forbes contributor Tanya Mohn reviews Katherine Harmon’s latest map art book, You Are Here: NYC: Mapping the Soul of the City (previously). If all goes well (it doesn’t always, mind), I should have my own review of this book up later this week. [WMS]
As for the other new map book about New York City, Rebecca Solnit and Joshua Jelly-Schapiro’s Non-Stop Metropolis: A New York City Atlas, there’s a review up on Hyperallergic by Allison Meier, replete with photos of the book. “Every map is an intense act of creative collaboration, with essays and illustrations in Nonstop Metropolis from over 30 artists and writers. […] And the maps emphasize that this city’s character is often missing from our more official cartography.” [WMS]
Running until 30 November at the Penarth Pier Pavilion in Penarth, Wales, Dyma Gariad (fel y moroedd)/Here is a love (deep as oceans) is an exhibition by Welsh artist Iwan Bala. It’s an angry, provocative collection of caricatures and maps about Brexit, from a strongly Remain perspective, done in a style described by the Penarth Times as “the rapid often stumbled, crossed out, corrected, blotted, re-adjusted rush to put thoughts on paper and the attempt of a poet to capture a line before it ebbs in the memory.” As the Pavilion describes the exhibition:
Responding to the result of the electorate’s vote on the UK’s EU membership, Bala began to make (alongside politicized ‘maps’), satirical caricatures of the principle [sic] players in the lead up to and result of Brexit. An Artist has a duty to comment, protest and become an agent provocateur through the medium of visual communication. Cartoons have a long and illustrious history, and have always lurked somewhere in the background environs of his artwork.
They may have been anticipating some pushback—the exhibition also had a content warning—and indeed the exhibition has gotten some angry responses sufficient that the Pavilion had to issue a statement defending their decision to host it. That alone tells me it was a success: art provokes. [WMS]