Some of the maps presented in this exhibit include Stephen F. Austin’s landmark 1830 map of Texas, unique plat maps that show Native American trails, one-of-a-kind manuscript military maps of the Republic and State of Texas, German immigration maps of the Texas Hill Country, hand-drawn railroad maps created to illustrate the progress of construction of railways across the state, cattle and trail maps from the 1880s, and interesting maps of Hemisfair ’68 in San Antonio, and much more.
Landmarks: Maps as Literary Illustration, an exhibition of literary and fantasy maps at Harvard’s Houghton Library, is free to the public and runs through 14 April 2018. “Presented in conjunction with the bicentenary of the Harvard Map Collection, this exhibition brings together over 60 landmark literary maps, from the 200-mile-wide island in Thomas More’s Utopia to the supercontinent called the Stillness in N. K. Jemisin’s The Fifth Season. Visitors will traverse literary geographies from William Faulkner’s Yoknapatawpha County to Nuruddin Farah’s besieged Somalia; or perhaps escape the world’s bothers in Pooh’s Hundred Acre Wood.” Atlas Obscura has more on the exhibition, along with a selection of some of the maps it presents. [Tony Campbell]
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.
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.
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.
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.