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]
We Are One: Mapping America’s Road from Revolution to Independence, an exhibition by the Boston Public Library’s Leventhal Map Center (it ran from May to November last year) is going on tour. First stop: Colonial Williamsburg. From March 2016 to January 2017 it will appear at the DeWitt Wallace Decorative Arts Museum in Williamsburg, Virginia. From the press release: “More than 30 unique objects from Colonial Williamsburg’s collections will be included in the exhibition, which were not shown when it initially opened at the Boston Public Library in May 2015. […] Many of the objects from Colonial Williamsburg’s collection to be seen in We Are One are on view for the first time or are rarely exhibited.” [via]
Previously: Mapping the American Revolution.
Opening today at the Musée des civilisations de l’Europe et de la Méditerranée in Marseille, France, and running until May 2nd, Made in Algeria: Généalogie d’un territoire is an exhibition of nearly 200 “maps, drawings, paintings, photographs, films and historical documents as well as works by contemporary artists who surveyed the territory of Algeria.” The exhibition examines not only the cartography of the French colonial period, but the political and cultural narratives—to say nothing of the territory itself—created by colonial mapmaking. Lots of material on the exhibition’s website, but it’s French-only. [via]
Mapping Indiana: Five Centuries of Treasures is an exhibition of maps from the collection of the Indiana Historical Society. “Featuring several original—and some never before seen—pieces from our collection, Mapping Indiana explores the ways we think about maps, how we use them and how they have helped to shape Indiana.” From January 16 to April 2 at the Society’s Eugene and Marilyn Glick Indiana History Center in downtown Indianapolis. [via]
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.