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.
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.
There is an interview with the artist here.
More information about this work:
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
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
15 October – 10 December 2009
Location: Royal Geographical Society (with IBG), Exhibition Road, London
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.
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)
- Oil and airbrush on canvas. 30×30 cm. 2008
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!
Here you are a “deductive-image”. It depicts the Appalachian mountain range by using only individual road segments. Expressive result taken from “All Streets“, an interesting project by Ben Fry.
“All of the streets in the lower 48 United States: an image of 26 million individual road segments. No other features (such as outlines or geographic features) have been added to this image, however they emerge as roads avoid mountains, and sparse areas convey low population.”
A paper map transformed into a day-dress? Not wearable, of course! They are made only to be watched. The one on the image and some more pieces. It’s the fantastic work of Elisabeth Lecourt. Since graduating from the Royal College of Art ( MA RCA, London) in 2001, Lecourt (French, born 1972, Oloron Saint Marie, France) is becoming a recognised contemporary artist.
The conference “Experimental Geography: An Aesthetic Investigation of Space” will take place on Saturday, March 21st, 3pm at the New Museum, New York. Sounds really interesting! Can anybody make it?
Experimental Geography: An Aesthetic Investigation of Space
Creative Time curator Nato Thompson will lead a discussion of Experimental Geography with Lize Mogel and Damon Rich, two artists who participated in his exhibition (for Independent Curators International) and book (Melville House) of the same name. The discussion will focus on the creative use of landscape hacking, cartography, locative media, and radical urbanism as a means of engaging with the politics of contested spaces. In presenting work from the show and book, the panelists will explore the distinctions between geographical study and artistic experience of the earth, and the juncture where the two realms collide.
More information here.
Writen by Estrella de Diego, a well-known specialist in contemporary art, this recent essay kicks off with the world map altered by french surrealists in 1929. Short essay, but very dense and interesting pages. The only bad news; it’s only in Spanish so far. Rights for English publishing seem to be available anyway. Highly recommended.
” In 1929 the magazine Variétés published an unusual “Map of the World in the Times of the Surrealistic “, whose dislocated cartography, of surprising borders, was announcing other future questioning of the narrative practices agreed in our culture. Because transgressing the map is equivalent to revise the world, as the map is not but the product of certain design “à la carte” that is proposed and is imposed from the power. Following the track of the codified cartographies, the present book raises the use of the maps by the contemporary artists as a weapon against the established narratives and their traps, implicit and inherited.”
(taken from the publishers website)
Estrella de Diego. Contra el mapa. Disturbios en la geografía colonial de Occidente.
La Biblioteca Azul serie mínima. Editorial Siruela. 2008.