James Niehues Passes the Torch

niehues-sugarloaf
James Niehues, Sugarloaf, Maine, 2000.

The Aspen Daily News has a profile of map artist James Niehues, who’s painted hundreds of different aerial views of ski resorts and recreational areas since the late 1980s. (If you’ve seen a poster of your local ski resort, odds are Niehues was the one who painted it. He sells prints of them, too.)  The article names Niehues as heir to an artistic tradition of alpine cartographic art whose practitioners included Hal Shelton and Bill Brown.

Without knowing it, Niehues had become heir to an American artistic dynasty. Shelton was trained as [a] U.S. Geological Survey cartographer and produced a large number of famous trail maps in the 1960s and 1970s. In the ’70s, Shelton passed the torch to Brown, and by 1988, Brown was ready to pass the torch off to someone else.

In the early 2000s, though, it seemed that the storied line of American mountain illustrators would end with Niehues. His maps, many of which had faithfully represented ski trails for decades, began to be replaced by digitally rendered pieces whose production values placed speed above quality.

But there’s a twist: one of the digital illustrators, Rad Smith, ended looking to Niehues for inspiration and mentorship. Demand for painted maps turns out to be more resilient; Niehues, who I believe is in his late sixties and has described himself as semi-retired, may have someone to pass the torch to after all. It’s a fascinating read. [via]

Previously: James Niehues’s Ski Resort Maps; James Niehues Profile.

One Line, One Map, One World

1line1map1world

Joseph Berkner’s One Line—One Map—One World is a map of the world drawn in a single line.

In mapping, lines are (mostly) used as borders to divide the space in sections: borders between land and water, borders between different altitudes or borders between nations. As a person who loves to make maps, for the last weeks I was thinking about what I can do to draw a line to CONNECT instead of DIVIDE. So I created a world map consisting of a single line. When watching the map from far away you cannot see the connections. It looks like everything is divided. But if you go closer you can see that everything is one. To realize that we are somehow all one community you need to go close to others.

The map is available for purchase as a print or digital download.

Fuller: London Town

fuller-london-town
Fuller, London Town, 2005–2015. Black ink on archival cotton board, 91 cm × 116 cm.

Fuller’s London Town is a pen-and-ink masterpiece of detail that took ten years to create. Unveiled last October, it’s been making the exhibition rounds and is currently at the Hoxtown Gallery in Holborn, London until April 30th. It’s also included, along with his map of Bristol, in Mind the Map, a collection of map art that came out last September from Gestalten. Prints of his work are also available: a print of London Town costs £600 or £2,500 depending on the size. More about Fuller (whose real name is Gareth Wood) here. [via]

Paula Scher: U.S.A.

scher-geography-and-climate
Paula Scher, U.S. Geography and Climate, 2014. Acrylic on hand-pulled silkscreen, 36¾″ × 54⅛″.

U.S.A., a new exhibition of Paula Scher’s map art, opened last week at the Bryce Wolkowitz Gallery in New York. From the press release:

For this exhibition, Scher has created a body of large-scale cartographic paintings focusing on the United States. Paintings as tall as seven feet depict the country swirling in torrents of information and undulating with colorful layers of hand-painted boundary lines, place names, and commentary. Different sets of data—population demographics, transportation flows, geography, and climate—are employed to make connections and establish patterns. While the information can in no way be interpreted as literal fact, the expression of it demonstrates a personalized understanding of the diversity of the United States.

The exhibition runs until March 26. More on the exhibition from Slate and Mental Floss. The New Yorker has a new profile of Paula Scher, a renowned graphic designer who’s been painting these distinctive maps in her spare time.

scher-mapsA book of her map art, Paula Scher: MAPS, was published by Princeton Architectural Press in 2011.

Previously: New Paula Scher Exhibition; Paula Scher: The Maps.

Jane Hunter’s Textile Maps

jane-hunter
Jane Hunter, Above the Firth of Clyde, n.d. Harris Tweed, 38.5×56 cm.

Jane Hunter is a Scottish artist who makes maps from textiles. Contour lines and patterns evincing geological maps are prevalent in her work. Her pieces, as she puts it, “combine free motion embroidery and appliqué with materials of thread and Harris Tweed. The delicately balanced mix of colour and shades in the cloth, taken directly from nature and flecked through the wool, provides me the perfect palette to represent the land.” Giclée prints of the original pieces are available. [via]

 

Walking and Mapping

walking-mapping The paperback edition of Karen O’Rourke’s Walking and Mapping: Artists as Cartographers (MIT Press, 2013) comes out this week. From the publisher: “In Walking and Mapping, Karen O’Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects—many of which she was able to experience firsthand—and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts.” [viaBuy at Amazon (Canada, U.K.)

Bailey Henderson’s Sea Monster Sculptures

Sea monsters are a familiar feature of early modern European maps. Toronto-based sculptor Bailey Henderson has rendered them in real life, casting them in bronze and then painting them. It’s incredible work that really does evoke the original. More details at Hi-Fructose magazine. [via]

For more sea monsters on maps, see my review of Chet Van Duzer’s Sea Monsters on Medieval and Renaissance Maps. You should also be aware that #MapMonsterMonday is a thing on Twitter.

Another Look at Matthew Cusick

Matthew Cusick, Genevieve's Wave (after #3884 by Pierre Carreau), 2014 Inlaid maps on panel 40 x 62 inches.
Matthew Cusick, Genevieve’s Wave (after #3884 by Pierre Carreau), 2014. Inlaid maps on panel.

Creative Boom, an art an design blog, has a brief profile of the artist Matthew Cusick that focuses on his recent ocean scenes. I first blogged about Cusick in 2006; he’s even better now. If you’re not familiar with his art, which is constructed from collages of old maps, you really owe it to yourself to take a look. A close look. [via]

More on ‘A Map of Every City’

Without question, the most popular post on The Map Room so far this week—by two orders of magnitude—was this post pointing to Chaz Hutton’s “A Map of Every City.” Hutton’s map went kind of viral, and not just here. He’s since announced that a print of the map will be available at some point; he’s also written a post on Medium explaining some of the background behind the map.

Ji Zhou’s Civilized Landscape

ji-zhou

Civilized Landscape was an exhibition of Ji Zhou‘s photographic art at New York’s Klein Sun Gallery. The Beijing-based Zhou merges physical art and photography in his work: “Ji Zhou collects maps, hand-sculpting them into peaks and troughs to mimic mountaintops. He includes books that are assembled into cantilevered towers resembling city skyscrapers. These ‘rural’ and ‘urban’ illusions are then photographed, further augmenting reality.” The exhibition apparently ran from September to October 2015, but the Huffington Post got hold of it this week, and it’s gone viral from there.

The Art of The Lord of the Rings

Book cover: The Art of The Lord of the Rings When J. R. R. Tolkien was writing The Lord of the Rings, the map was not an afterthought. (For one thing, with characters travelling many miles over many months, separately and together, distances and dates had to add up.) Tolkien didn’t just draft; he drew—maps, sketches, drawings, whatever he needed to help him visualize the world he was inventing. About 180 of those maps and drawings are now collected in a new book out today: The Art of The Lord of the Rings, edited by Wayne G. Hammond and Christina Scull (who previously authored The Lord of the Rings: A Reader’s Companion). Wired has some sample images. (From what I can tell, the British edition is slipcased.) [Boing Boing/MetaFilter]