Opening today at the Telluride Historical Museum in Telluride, Colorado and running until next March, Treasure Maps: Cartography of the American Southwest focuses on the mapmakers of the region and includes an augmented reality sandbox (presumably one like this one) to create relief maps in real time. The Telluride News reports. [WMS]
With the Great Lines Project, Karen Rann explores the history and origins of the contour line. In addition to her rather heavily illustrated blog, there’s a related exhibition, the Great Lines Exhibition (naturally enough), which opens today at the Lit & Phil (Literary and Philosophical Society) in Newcastle. Free admission. Details here and here. [WMS]
Update, 9 June: More from CityLab.
An exhibition at the Chidō Museum in Tsuruoka, Yamagata Prefecture features a huge (11 m × 5 m) mid-17th-century map of northeastern Japan, the Asahi Shimbun reports: “It is a copy of the Dewa Ikkoku no Ezu picture map, which was jointly compiled by feudal domains controlling the region stretching from today’s Yamagata Prefecture to neighboring Akita Prefecture.” [WMS]
Running from 29 April to 5 September 2016 at the Witte Museum in San Antonio, Texas, Mapping Texas: From Frontier to the Lone Star State “is a once-in-a-generation, collaborative exhibition covering nearly three hundred years of Texas mapping. The maps, dating from the sixteenth through the nineteenth centuries, document the birth of Texas, the evolution of the physical and political boundaries of the state and the rise of the Alamo and San Antonio Missions.” [WMS]
Meanwhile, the Texas General Land Office has acquired five rare maps from the 1840-1841 survey of the boundary between the then-Republic of Texas and the United States (see example above). Press release. [Tony Campbell/WMS]
The Bristol Post reports on artist Gareth Wood (aka Fuller), whose iconic London Town—now acquired (as an archival print) by the British Library—was preceded by a similar map of Bristol. An exhibition of his work, called Get Lost, will run from 5 to 26 May at the Palm Tree Gallery, 291 Portobello Road, London, W10 5TD. [WMS]
Previously: Fuller: London Town.
Another Italian map exhibit to tell you about: 1716-2016 Cielo e Terra, featuring the cartographic holdings of Rome’s Biblioteca Casanatense, including the 1716 celestial and terrestrial globes of Amanzio Moroncelli, opens tomorrow and runs until 28 November. [WMS]
Previously: When Italy Drew the World.
The show includes portraits of both as well as a half-dozen books to evoke the libraries each brought and the impact they had. Most helpful, however, are two large touchscreens, one for each map, that allow us to access translations and summaries of many of the texts. This quickly becomes addictive, because the journey is full of surprises. Here, we read about scientific theories or descriptions based on travelers’ accounts. There, we learn how best to capture a unicorn.
As I mentioned earlier this month, the David Rumsey Map Center at Stanford University opens today (KQED coverage). To celebrate, there’s a grand opening and open house tonight from 6 to 7 PM at the Center, which is located on the fourth floor of Green Library. Presentations and workshops take place on the 20th and 21st, for which registration is required. That’s followed by a day-long open house on the 22nd.
The Center’s first exhibition, A Universe of Maps: Opening the David Rumsey Map Center, runs from today until 28 August (here’s the online version).
Previously: David Rumsey Map Center at Stanford Opens April 19.
An exhibition of 16th-century Italian maps, Quando l’Italia disegnava il mondo: Tesori Cartografici del Rinascimento Italiano (“When Italy Drew the world: Cartographic Treasures of the Italian Renaissance”) opened last Friday at the Palazzo del Podestà in Bergamo, Italy. It runs until 10 July. English summary. [Tony Campbell]
The Golden Age of American Pictorial Maps is an exhibition running until 3 September 2016 at the University of Southern Maine’s Osher Map Library. (If you can’t go there physically, there’s plenty online at the link, too.) “Curated by Dr. Stephen J. Hornsby, co-editor of the Historical Atlas of Maine [previously] and author of a forthcoming book on American pictorial maps, this exhibit looks at the golden age of pictorial or illustrated maps from the 1920s to the 1960s. Reflecting the exuberance of American popular culture and the creativity of commercial art, the maps are stimulating to the imagination and dazzling to the eye.” [WMS]
Something worth mentioning on International Women’s Day: the Boston Public Library’s exhibition, Women in Cartography: Five Centuries of Accomplishments, opened last October and runs until 26 March at the Central Library’s Leventhal Map Center. The exhibition can also be viewed online.
A few books about women in cartography:
- Soundings: The Story of the Remarkable Woman Who Mapped the Ocean Floor by Hali Felt (Henry Holt, 2012), a biography of oceanographer Marie Tharp (Amazon, iBooks)
- Mrs. P’s Journey: The Remarkable Story of the Woman Who Created the A-Z Map by Sarah Hartley (2001), a biography of A-Z Map Company founder Phyllis Pearsall (Amazon UK)
- Map Worlds: A History of Women in Cartography by Will C. van den Hoonaard (Wilfrid Laurier University Press, 2013), a scholarly history of women mapmakers since the 16th century (Amazon)
Two important seventeenth-century world maps are the focus of a new exhibition opening this Friday at the Asian Art Museum in San Francisco. China at the Center: Rare Ricci and Verbiest World Maps, which runs from 4 March to 8 May 2016, features Matteo Ricci’s 1602 map and Ferdinand Verbiest’s 1674 map.
Ricci (1552–1610) and Verbiest (1623–1688) were both Jesuit priests, in China to spread Christianity; their maps, produced in collaboration with Chinese calligraphers, artists and printers, produced a fundamental rethinking of China’s place in the world. Not that China wasn’t at the centre of these maps, as the essays in the accompanying catalogue point out, but these maps filled out the rest of the world, which was previously a marginal afterthought in Chinese cartography.
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]
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.
An exhibition of the maps of James Robertson (1753–1829), on display at the Arbuthnot Museum in Peterhead, Scotland, wraps up this Saturday. The maps, on loan from the National Library of Scotland, include four maps of Jamaica, where Robertson worked as a land surveyor, and a controversial map of Aberdeenshire that, according to The Press and Journal, “was riddled with ‘inaccuracies’ and spelling mistakes, and sparked a legal dispute which raged until his death in 1829.” [via]