The working group (WG) on Art and Cartography was pretty active at the International Cartographic Association Conference in Santiago (Chile) last week. We had our Working group meeting (Attendance: 19 people); a movie screening: A historical review of maps in film edited by Giacomo Andreucci & Virtual globes were born in cinema : A century of envisioning dynamic maps in movies edited by Sébastien Caquard (Attendance: About 100 people); and two paper sessions: 8 papers (Very well attended: up to 110 people). And we were present until the end of the conference as you can see on this picture…
We are looking forward to the next ICC: Paris 2011.
The ICA “Art & Cartography” working group is organizing a couple of activities at the ICC2009 in Santiago de Chile:
A meeting of the working group in order to discuss future ideas, projects, perspectives in the promising field of art & cartography – Wednesday, november 18th: 14-17.30pm in R1 (room);
A special movie screening: A selection of scenes dedicated to “Maps in Movies” (wednesday, november 18th at 18:00 through to 19:00, Main Auditorium);
Two technical sessions (presentation of paper) (Saturday, November 21st).
Please feel free to distribute this message among friends and colleagues who will also travel to Chile and might be interested in topics concerning “Art & Cartography”.
Bierbergen Oedelum Black 2006 cotton, wool, silk & linen 80 x 80 inches
Awesome large-scale quilts are made by Ian Hundley, a Brooklyn-based artist, using maps as an inspiration and transforming them into these special patchwork pieces. (More images here). In this video (Cool Hunting, 2006) Ian Hundley discusses his work and inspirations.
Enjoy!
Thanks to Xabi Zirikiain for being so informative!
American artist Karen O’Leary reimagines the map as an exchange of negative and positive space. Deftly cutting maps of New York, Paris and London with razor precision, she leaves delicate webs of streets as land and water are cut away. Negative space demarcates land, while meandering grids of paper represents streets.
This group exhibition at the England & Co. gallery is the latest in an occasional series of exhibitions of artists using maps and map-making strategies.
Jason Wallis-Johnson: London USA (detail)
Works by artists including: Chris Kenny, Michael Druks, Georgia Russell, Jason Wallis-Johnson, Grayson Perry, Rolf Brandt, Cornelia Parker, Terry Ryan, Abigail Reynolds, Jonathan Callan, Deirdre Jackson, Alberto Duman, Vito Drago, Margaret Proudfoot, Richard Wentworth, Jugoslav Vlahovic, Paul Tecklenberg and Satomi Matoba.
7-28 November. Private View Friday 13 November 6 to 8:30 pm England & Co. Gallery.
216 Westbourne Grove
London
W11 2RH
Thanks to Tinho da Cruz for posting this information via CARTO-SoC, the Society of Cartographers Mailing List.
An exhibition devoted to the role of indigenous peoples in the history of exploration can be seen in London these days. There is also a website containing many images, film clips and research materials from the Royal Geographical Society collections: www.rgs.org/hiddenhistories
Hidden Histories of Exploration reveals the contribution of people such as Juan Tepano, Mohammed Jen Jamain, Sidi Mubarak Bombay, Nain Singh and Pedro Caripoco to the history of exploration. Find out about their role and its lasting significance, as illustrated in the paintings, books, maps photographs, artefacts and manuscripts of the Royal Geographical Society (with IBG). Materials from Africa, Asia, the Arctic and the Americas are respresented, with highlights including paintings by Thomas Baines, Catherine Frere’s sketches of women on an African expedition, and film from the 1922 Everest expedition.
Evert Schut uses “Google Earth as a source of inspiration” to paint landscapes and to address issues related to the environment. I am not sure Google Earth, and virtual globes in general, can serve to stimulate the revival of lanscape painting as Evert suggests, but it has certainly stimulated the emergence of new forms of hybridations between cartography and art.
This blog is literally all about a new perspective for landscape painting: looking down on earth from a satellite up there in space! Google Earth has made it possible for anyone with a computer and internet to roam the Earth like a birds or even an astronout. For an artist like me this has become a huge new source of inspiration. Is this the revival landscape painting needs?
In the 3 day symposium MONITORING SCENOGRAPHY 3: SPACE AND DESIRE, artistic and academic researchers in the visual arts, architecture, theatre studies and art history discuss the existence and textures of spatial languages, choreographies, mise-en-scenes and spatial representations of desire.
The scenographies of desire are both site-specific and global, artistic and commercial, real and virtual. Success stories in popular culture, advertisement and marketing rely heavily on a carefully designed analysis of desire and its translation into product-specific scenographies. In the staged and mediatised lives of the 21st century, the spaces of desire take on many forms. Inscribed onto them is the desire for uniqueness, inimitability and immersion – as both service and response to the spectacle.
MONITORING SCENOGRAPHY 3: SPACE AND DESIRE is the third in a series of annual symposia curated by the members of the Doctorate Program Scenography, a practice-based research unit between the Zurich University of the Arts and the University of Vienna. Its members are a diverse and international group of emerging and established artists and academics engaged in expanding the discourse on scenography toward the intersection of architecture, media, theatre and exhibition.
In the context of the exhibition ‘The Importancy of the unimportant’ (20 September – 30 November), at the Hudson Museum (Rotterdam, the Netherlands) we will find the work of the artist Aquil Copier. Oil, airbrush, photoprint and acrylic for painting (should we say mapping!?) landscapes. Enjoy!
Oil and airbrush on canvas (diptich). 200x150 cm. 2008
I started my first paintings of aerial views in 2003 when I was travelling very often by airplane between the south of Europe (Italy) and Holland. During my flights I was fascinated by the striking differences between the landscape views from my country and Italy. When you are travelling above Italy you see a very different landscape then in the Netherlands: this is of course because Holland is a flat land, and Italy has a great variety of altitudes (there are alps, mountains, hills, etc). When you see Italy from above, you do not have the perception of clear structures. You rather see plots of streets and countryside -urban and natural landscapes strangely intermingled. (Aquil Copier)
Heavenly Heights is the title of this picture, which it isn’t actually a picture but a drawing. It doesn’t exist any real image beneath this one, just Ross Racine’s digital paintbrushes for designing non-existent aerial scenes like this. Enjoy!
The working group (WG) on Art and Cartography was pretty active at the International Cartographic Association Conference in Santiago (Chile) last week. We had our Working group meeting (Attendance: 19 people); a movie screening: A historical review of maps in film edited by Giacomo Andreucci & Virtual globes were born in cinema : A century of envisioning dynamic maps in movies edited by Sébastien Caquard (Attendance: About 100 people); and two paper sessions: 8 papers (Very well attended: up to 110 people). And we were present until the end of the conference as you can see on this picture…
Posted by artcarto 
Posted by artcarto 
Posted by teresaiturrioz 
American artist 
Oil and airbrush on canvas. 30×30 cm. 2008
