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]
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]
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]
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.
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]
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.
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.