You Are Here NYC: Art, Information, and Mapping, an art exhibition at the Pratt Manhattan Gallery curated by Katharine Harmon and featuring maps in a similar vein to her 2016 book You Are Here: NYC (reviewed here), closed last week (my bad for not getting to it sooner), but in the interest of posterity, here’s Gothamist’s coverage.
Opening today at the Osher Map Library in Portland, Maine and running until 10 March 2018, an exhibition of cartographic art called Go Where the Map Takes You: The Intersection of Cartography and Creativity. “Maps show many versions of our world, for many purposes, but their simplest purpose is to show the way from one place to another. The artists in this exhibition have used the techniques of mapping, and maps themselves, to show the way to the metaphorical and the metaphysical. We invite you to explore these artworks and see where they lead you.” Featuring several familiar artists.
Cartografías de lo desconocido persigue dos objetivos. Primero, hacer que el espectador se fije más en el mapa y menos en el territorio, pues sucede a menudo que el mapa—como cualquier buen truco de magia—suele esfumarse, tiende a borrar las convenciones visuales y espaciales sobre las que se apoya para susurrarle al espectador y mostrarle con aparente trivialidad: “Usted está aquí”, “así es la Tierra”, “este es su país”.
Sin embargo, nada es lo que parece. Por eso, en segundo lugar, queremos ofrecerle al visitante un recorrido por algunos de los recursos y los temas más frecuentes en esta historia del conocimiento y el ilusionismo, cómo han gestionado los mapas la información improbable, las novedades, los hechos inciertos, las regiones ignotas, los fenómenos invisibles.
Mapping the Borders, a series of talks, exhibitions and workshops hosted by the University of Sunderland from 18 to 25 November as part of this year’s Being Human festival, includes an art exhibition, a workshop on glass mapmaking, a full day of activities on the 19th, and a number of pop-up talks. [NLS]
Joyce Kozloff’s exhibition at the D. C. Moore Gallery in New York, Girlhood, ends tomorrow. (It’s also online.) Kozloff is a mixed-media artist whose work regularly blends the cartographic, the political and the decorative; in Girlhood the media she incorporates are her own childhood drawings.
Kozloff discovered folders containing her carefully preserved grade school art during the emotional process of packing up and closing her parents’ house after their deaths. Her occasionally phantasmagorical and meticulously painted archaic charts offer a dialogue between the youthful wonderment preserved in her elementary school drawings and adult geographical knowledge. These works bear a riveting similarity to her oeuvre of the last 25 years – maps, charts, decorative flourishes, information organized in graphs, and vignettes that expand the worlds depicted.
Written by Chet Van Duzer and Lauren Beck, Canada Before Confederation: Maps at the Exhibition (Vernon Press, July 2017) explores 18 maps from the 16th through the 18th century. The book accompanies an exhibition of (presumably the same) maps and a conference, Canada Before Confederation: Early Exploration and Mapping, which takes place next month, 13-14 November, at the Maritime Museum of the Atlantic in Halifax, Nova Scotia (preliminary conference program). The back cover copy mentions that the map exhibition has travelled or is travelling to several other locations, but I haven’t been able to find any online; if anyone knows where else it’s been, let me know and I’ll update this post. [WMS]
Opening today at Harvard University in front of the Map Collection in Pusey Library and running until 28 February, Look but Don’t Touch: Tactile Illusions on Maps looks at the use of simulated textures in maps.
Beginning particularly in the eighteenth century, philosophers began to debate what role each of our senses has in this experience. For eighteenth-century philosophers, the crucial distinction was between sight and touch. Would we, they asked, be able to experience depth and understand size without our sense of touch? George Berkeley and Etienne Bonnot, Abbé de Condillac, among others, hypothesized that touch, in fact, was primarily responsible for our experience and understanding of space. All visual knowledge about depth and size, they suggested, derived from tactile experiences. In other words, we needed touch to teach us to see. But what happens to the map if we take seriously this challenge to a visual understanding of space?
All maps in this exhibition toy with the relationship between touch and sight. For some, their interest in touch and sight is ornamental. Either by delighting in the visual illusion of tactility or by referring to a visual cliché, these maps enliven their design—and attract buyers—by appealing to our hands. For others, their interest in touch and sight is about knowledge itself. Either by depicting cartographers’ tools and materials or by tempting us to touch what is not there, these maps play with our sense of what a map is and where it comes from. Paradoxically, they teach us visually about particular places while also questioning the basis for their own visual instruction.
The online version can be found here.
Historic Maps of the Southwest, an exhibition at the Los Lunas Museum of Heritage and Arts in Los Lunas, New Mexico (just south of Albuquerque), features maps on loan from the Albuquerque Museum. Opened on 9 September and runs until the end of December. The Valencia County News-Bulletin has details: “Most of the maps in the exhibit are originals of the Spanish colonial era, the Mexican era, the New Mexico Territorial period and the early statehood period, such as the 1926 and 1928 automobile trail maps.” [WMS]
Beneath Our Feet: Mapping the World Below opened last Friday at the Boston Public Library’s Norman B. Leventhal Map Center and runs until 25 February 2018. The theme: subsurface mapping. “In this exhibition, you will see how ancient Romans carved vast underground catacombs, how minerals and natural resources have been studied, engineered and transported since the 19th century, how today’s scientific and cartographic advancements have enabled us to picture the entire ocean floor, and what lies below the streets of Boston.”
Finland in Ancient Cartography, an exhibition marking the 100th anniversary of Finland’s independence, is being hosted by the National Archives of Finland in Helsinki, in cooperation with the Embassy of Italy in Finland and the Italian Institute of Culture. “The exhibition focuses on the depiction of Finland and offers a journey through ancient cartography history and the representation of the country from the sixteenth to the twentieth century. It places special emphasis on satirical cartography between the end of nineteenth century and the First World War, as these periods are strictly connected to Finnish independence. More than 40 maps from the Gianni Brandozzi Collection and the National Archives are displayed.” Opened 21 September; runs until 17 November. [WMS]
Two related map exhibitions are taking place right now in the Netherlands. Mapping Japan runs until 26 November at the Japan Museum SieboldHuis in Leiden. Its focus is on 18th- and 19th-century Japanese maps from the Leiden University Libraries’ collections. “The impressive scroll painting of the Japanese coast and the personal maps belonging to Philipp Franz van Siebold (on display for the first time) are unquestionably the highlights of this exhibition.” (Possessing those maps got Siebold in considerable trouble in Japan.) Also in Leiden, Mapping Asia runs until 14 January 2018 at the Museum Volkenkunde. Its focus is on the objectivity (or lack thereof) in cartography, and features maps of both European and Asian origin. One highlight is a digitally reconstructed map of the Chinese Empire. [WMS/WMS]
Along with Regions and Seasons (previously), the Boston Public Library’s Leventhal Map Center is hosting another exhibition, Who We Are: Boston Immigration Then and Now, which runs until 26 August. “This exhibition compares the landscape of today’s ‘new’ Boston with that of over 100 years ago. The maps and graphics on display here show where Boston’s foreign-born residents originate from, and where newer immigrant groups have settled, while celebrating who we are, and the vibrant diversity that is Boston.” Text is in English, Spanish, Haitian Creole, Chinese and Vietnamese.
CBS Boston has more on the Boston Public Library’s exhibit, Regions and Seasons: Mapping Climate Through History (previously).
A new exhibition at Harvard University’s Pusey Library, Manuscript Maps: Hand-Drawn Treasures of the Harvard Map Collection, “highlights the process of mapmaking by looking at maps drawn by hand.” Opened yesterday; runs until September 27.
Meanwhile, in Schenectady, New York, there’s another exhibition at Union College’s Kelly Adirondack Center: Parts But Little Known: Maps of the Adirondacks from 1556 runs until September 29.
Mapping in the Enlightenment: Science, Innovation, and the Public Sphere, an exhibition at the University of Michigan’s William L. Clements Library, “uses examples from the Clements Library collection to tell the story of creating, distributing, and using maps during the long 18th century. Enlightenment thinking stimulated the effort to make more accurate maps, encouraged the growth of map collecting and map use by men and women in all social classes, and expanded the role of maps in administration and decision-making throughout Europe and her overseas colonies.” Fridays from 10 to 4 through October. [History of Cartography Project]
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.