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Or they can lead to different destinations: places turned upside down or inside out, territories riddled with marks understood only by their maker, realms connected more to the interior mind than to the exterior world. These are the places of artists' maps, that happy combination of information and illusion that flourishes in basement studios and downtown galleries alike.
It is little surprise that, in an era of globalized politics, culture, and ecology, contemporary artists are drawn to maps to express their visions. Mapping beyond measure: art, cartography, and the space of global Modernity by Simon Ferdinand. Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking.
This field of "map art" has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space.
The marvel of maps: art, cartography and politics in Renaissance Italy by Francesca Fiorani. Among the most beautiful and compelling works of Renaissance art, painted maps adorned the halls and galleries of princely palaces.
This book is the first to discuss in detail the three-dimensional display of these painted map cycles and their full meaning in Renaissance culture. Both cycles were not only pioneering cartographic enterprises but also powerful political and religious images. The Orbis Terrarum, ways of worldmaking exhibition is part of the Charles V project which marks the th anniversary of the birth of Charles V. From the very beginning of archaeological practice, maps have been one of the most fundamental tools in the discipline.
The number, variety and prominence of maps in archaeology have increased further since the beginning of the s due to the availability of a growing range of digital technologies used to collect, visualise, query, manipulate, and analyse spatial data. However, unlike in other disciplines, the development of archaeological cartographical critique has been surprisingly slow; a missed opportunity given that archaeology can significantly contribute to the multidisciplinary field of critical mapping, thanks to its vast and multifaceted experience with space and maps.
Walking and mapping: artists as cartographers by Karen O'Rourke. An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS.
From Guy Debord in the early s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. The outcome of bringing together these like minds culminated in a wonderful event, spanning three evenings and two days in the Austrian capital. Papers, exhi- tions and installations provided a forum for appreciating the endeavors of artists and cartographers and their representations of geography.
As well as indulging in an expansive and expressive occasion attendees were able to re? It also allowed cartographers and artists to discuss the potential for collaboration in future research and development. To recognise the signi? We believe that this book marks both a signi? The editors would like to acknowledge the work of Manuela Schmidt and Felix Ortag, who undertook the task of the design and layout of the chapters.
In this painting, Vermeer carefully depicts a map of the Netherlands where a large vertical crease divides liberated and occupied portions of the country Williams p. Alpers shows how Vermeer's iconography represented by a map is an analogue for the art of painting Woodward p.
In general, interpretations of the iconography represented in maps in Dutch paintings "include the idea of vanitas or worldliness, political or military power and authority, and science or learning" p.
If the purpose of Vermeer were to portray one of these themes, it would not be a surprise that he would use a map to symbolize such a theme. There is a Dutch and European "custom of using maps as wall hangings even in simple homes" Woodward p.
In addition, globes and cartographic artifacts have often been displayed simply because of their own intrinsic beauty. Woodward refers to Schultz who points out that many "maps represent a visual summa of contemporary knowledge, power, and prestige, some of it religious but most of it secular" p.
The map in Vermeer's Art of Painting illustrates an example of a map displayed for its great beauty and strong statement. Art and maps have historically interacted with each other and can provide similar practical and esthetic functions.
The four relationships described here support the view that cartography is an art form. Maps, like art, form a visual summation of time, place, and a conceptual reference.
There is a significant amount of literature documenting the art of cartography. So far, we have explored the artistry of maps that reflected the technology of their times; however this was a time before computers were commonly available.
Computers and new technologies have changed how artists work. Stephen Wilson has categorized areas where artists are currently working with science and new technologies. The link illustrates the extent of the interaction between art and science at the present time. What has not been explored in this paper, or in fact in any real depth by artists in general, is the use of GIS cartography as a tool or material for art.
Concepts in her work include movement as plot, nature as canvas, and global character. Collaborating artists for this project include Humberto R. The collaborative nature of this project demonstrates how art involving high technology requires the cooperative work of many individuals with experience in many disciplines. Stephen Wilson also uses GPS and mapping technology.
About his Telepresent , Wilson states:. The present is a "magic" box with no wires that automatically sends images from wherever it is to others who are watching it via the web. People carry it with them for a short period in their life and then give it as a present to someone else Wherever they go, web viewers can see whatever the telepresent sees.
People on the web can also enter into the lives of the person who holds the present. They can send real time messages which will be spoken by the speech synthesizer inside the present.
The host server then uses automatic Internet maps to show web viewers exactly where the present is in almost real time Wilson p. David Endelman's Line Drops demonstrates how unseen features displayable through GIS are employed for artistic expression.
The lines in this image are of hundreds of underground and underwater pipelines that draw oil from a reservoir in the Huntington Beach area of California. This work seeks to display a dramatic image not through technical manipulation, but rather by displaying only visual data that is essential to display a landscape of the unseen. Line Drops was among 54 works created by various individuals that were included in the Computer Geoscience as Art exhibit at the Bakersfield Museum of Art in Bakersfield, California.
This exhibit is believed to be the first comprehensive showing of computer geoscience as art in an art museum. Most works in this exhibit were produced using geological modeling software.
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