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.
Greater Arizona: Mapping Place, History and Transformation, an exhibition of maps from the Simon Burrow Map Collection at Arizona State University’s School of Transborder Studies that “highlights the different ways the region of Arizona has been conceptualized in a global context,” runs until 19 May at ASU’s Hayden Library. ASU Now: “Dating from the 16th to the 19th centuries, the maps document everything from peoples to borders to geographical features, and were created by a number of nations, including France, Great Britain and Holland—all that variation reveals portions of history that in some cases have been ignored.” [Tony Campbell/WMS]
A 17th-century map by Gerald Valck found stuffed up a chimney has now, following painstaking restoration work (see previous entry), been put on display at the National Library of Scotland’s George VI Bridge building in Edinburgh until 17 April. News coverage: The Art Newspaper, The National. [John Overholt, Tony Campbell]
Mapping the Philippine Seas, an exhibition of 165 maps and sea charts of the Philippine archipelago from the 16th to the 19th century from the private collections of the Philippine Map Collectors Society. At the Metropolitan Museum of Manila. Opened 15 March, runs until 29 April. BusinessWorld. [WMS]
The Osher Map Library’s next exhibition, To Conquer or Submit? America Views the Great War, opens this Thursday (Facebook, Eventbrite). It “commemorates and explores American participation in the Great War—the ‘War to End All Wars’—with a sample of informative and propagandistic posters, maps, and atlases” from the Osher collections, which are based at the University of Southern Maine in Portland.
The World According to Blaeu: Joan Blaeu’s 1648 map of the world, more than two by three metres in size, will be on display at the National Maritime Museum in Amsterdam from 14 April to 31 December. [WMS]
A new exhibition at the Boston Public Library’s Leventhal Map Center: Regions and Seasons: Mapping Climate Through History. “In this exhibition, you will discover how ‘Venti’ were wind personas who directed ancient ships and ‘Horae’ were goddesses of the seasons who dictated natural order during the 15th-17th centuries, how Enlightenment scientists started to collect and map weather data, and how 19th century geographers reflecting the golden age of thematic cartography created innovative techniques to represent vast amounts of statistical data and developed complex maps furthering our understanding of climatic regions.” Runs through August 27; also online.
Sweet Home: Alabama’s History in Maps “is an exhibit presented by the Birmingham Public Library in celebration of Alabama’s bicentennial. The Library’s Southern History Department has carefully selected over 50 maps from our world class collection to tell the story of Alabama. The maps in this exhibit represent 450 years of exploration, expansion, and development.” It opens Wednesday and runs through the end of April; there’s also an online version. Alabama Newscenter. [Tony Campbell]
Where Disaster Strikes: Modern Space and the Visualization of Destruction, an exhibition of disaster maps, is taking place now until 19 April at Harvard’s Pusey Library.
Floods, fires, earthquakes, volcanoes, bombings, droughts, and even alien invasions: disaster can take many forms. And, although disasters are always felt dramatically, a disaster’s form and location impacts who records its effects and what forms those records take. “Where Disaster Strikes” investigates the intertwined categories of modern space and disaster through the Harvard Map Collection’s maps of large destructive events from the London Fire to the present.
Open to the public. The exhibition also has a substantial online presence.
Engraved in Copper: The Art of Mapping Minnesota opened this week at the University of Minnesota’s Elmer L. Andersen Library. “This exhibit highlights unique engraved copper plates used to print topographic maps of Minnesota in the early 1900s, surveying and mapmaking techniques, and government documents related to the process. The plates are part of the evolution of government mapping and the history of the United States Geological Survey, from early mapping efforts to Geographic Information Systems.” Runs until 22 May.
An exhibition of fantasy maps, Worlds Imagined: The Maps of Imaginary Places Collection, opens Friday at Texas A&M University’s Cushing Memorial Library and Archives. “The maps included are part of an ongoing effort by [Texas A&M’s] Maps and GIS [Library] and the Science Fiction & Fantasy Research Collection to develop a shared collection of maps of imaginary places. Cushing is known worldwide for its collection of science fiction and fantasy materials, even housing [George R. R.] Martin’s personal collection of memorabilia.” Worlds Imagined runs until 10 October 2017. [Thanks, Alex.]
Previously: Fantasy Maps Exhibit at St. Louis Central Library.
Another map exhibition I neglected to mention yesterday: Utah Drawn: An Exhibition of Rare Maps runs from 27 January to late summer 2017 at the Utah Capitol Building in Salt Lake City; it features “forty rare historical maps depicting the region that became the state of Utah from its earliest imaginings by European cartographers to Utah’s modern state’s boundaries.” [Tony Campbell]
California as an Island and Worlds That Never Were, an exhibition of maps from the Roy V. Boswell Collection for the History of Cartography at California State University at Fullerton. Runs from 22 January to 29 March at CSU Fullerton’s Pollak Library. News release. [WMS]
Mapping Texas: From Frontier to the Lone Star State features maps spanning more than 400 years of Texas history, mostly from the Texas General Land Office, as well as two museums and private collectors. Runs from 27 January to 8 October at the Houston Museum of Natural Science. News release. [WMS]
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.
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]