The Financial Times looks at bespoke hand-made maps for country estates: map artists like James Byatt, Anthony Pelly and Simon Vernon are commissioned to create one-of-a-kind illustrated maps for fairly wealthy clients (prices start in range of thousands of pounds). [WMS]
Consider this another data point, along with hand-made, hand-painted globes and map collecting in general, showing that maps have become a serious luxury/wealth marker.
Yale University’s Beinecke Rare Book and Manuscript Library has announced that it has acquired “the original artwork for a 1932 map of Harlem nightclubs drawn by E. Simms Campbell, the first African American illustrator to be syndicated and whose work was featured regularly in national magazines. The map, purchased at auction on March 31, provides a ‘who’s who’ guide of the nightclubs that drove Harlem nightlife during and after Prohibition, including the Savoy Ballroom, the Cotton Club, and Gladys’s Clam Bar. It was published in the inaugural edition of Manhattan Magazine and appeared in Esquire nine months later.” [WMS]
Gretchen Peterson has announced City Maps: A Coloring Book for Adults. Adult colouring books have rapidly become a Thing; Peterson once wondered why there weren’t any map colouring books (which is a damn good question: the closest I’d been able to find is Splendid Cities) so she made one herself. “I’m excited about this because normally I make maps that are more scientific, regulatory, or otherwise government oriented but this is a collection of maps for everyone. And what’s more, everyone can color them just the way they want to!” Available now from Amazon.
Three years ago, the Newberry Library posted a note about a 1922 cartoon from the Chicago Tribune: “The New Yorker’s Idea of the Map of the United States” by John T. McCutcheon bears a strong resemblance to Saul Steinberg’s famous 29 March 1976 New Yorker cover, whose inspiration is often traced to Daniel K. Wallingford’s A New Yorker’s Idea of the United States (1937). See the gallery below.
Ellen Harvey’s Network, envisaged as a hand-made glass mosaic depicting Boston’s transportation network, has been chosen as the permanent art installation to be installed at Boston’s South Station. From the proposal:
NETWORK will consist of a hand-made glass mosaic map of the surroundings of South Station juxtaposing the three principal forms of land transportation (rail, subway and road) with the older water-based routes into the city. Each form of transportation is coded a different color—black for subways, dark grey for rail, light grey for roads and silver for water. As travelers descend the stairs, they move towards the ocean where a small mermaid inset in the silvery sea of Boston harbor surveys (literally) the land. NETWORK imagines a world in which the mermaid escapes her destiny of romantic frustration and temptation and decides to take on the land, just as perhaps now we need nature to lead our transportation decisions, rather than to be subject to them.
Harvey, by the way, has the best quote: “There is no romance in your soul if you don’t love a map.” [via]
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.
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.
Ed Fairburn’s art combines portraiture with maps, in which the faces, drawn in ink over an existing map, seem to emerge from the topographic or urban features. Here’s a short video feature on Fairburn from Arts District, a Rocky Mountain PBS program. [via]
The Scituate Mariner has a profile of local resident John Roman, an illustrator whose book, The Art of Illustrated Maps, came out from HOW Design Books last fall. If “illustrated maps” sounds redundant to you, Roman means by it maps that are illustrations, maps that are conceptual rather than geographic—art rather than geometry. Buy at Amazon. [via]
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]
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.
A 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 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]
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/
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.
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]
