The Map as Art: Contemporary Artists Explore Cartography ~ Katharine Harmon. Publisher: Princeton Architectural Press; 26,5 cm x 23,5 cm edition (September 23, 2009) ISBN-13: 978-1568987620
Urbanograph No. 5: Stuttgart: Kleiner Schlossplatz 1794-1855-1975-2005
Urbanograph No 4: Stuttgart Kleiner Schlossplarz 1794-1855-1975-2005
Andric is an artist, architect, and film scenographer in Stuttgart Her series of Urbanographs depicts the structural changes of locations in Stuttgart, Gerrnany, and Sandburg, Austria Each shows a specific place at multiple periods, going back to medieval times, revealin ‘an urban palimpsest. .. of building and destroying, of continuity and changed Andric studied historic city plans and, using a sheet of paper for each, cut away the spokes of buildings standing at each time period. She then careful layered the lacy cutouts atop a black desk to indicate three pieces of information: gray tones shoe subdural overlaps, black areas indicate where buildings have always stood, and white spaces show where open span have persisted. At a glance we see the process of change in the urban landscape.
I like the way that Andric’s maps show both the structure and the changing useage of the environment, they’re complex maps initially, but upon study that become quite straight forward to read.
legend 29, 2007
From the series legend Oil on map 6x 5.5 in.
To make his darkened legend pieces, Bly eliminates from maps all areas where characters or numbers appear. “The works are not intended to be hidden messages of location and travel, or topographic brainteasers,” he says. “Ultimately, these drawings are meant to be somewhat beautiful fields of color, pattern, and shifting planes-albeit a beauty derived from a recipe intended to challenge conventional notions of aesthetic tecision-making.”
I love the idea of deterritorialising common space in this manner, I’ve been playing with similar concepts with some of my clear and traced maps.
Selected prints from Mappa Mundi, a 2007-8 residency at Seattle Art Museum.
Kosaka is a Los Angeles-based visual artist and designer of crosscultural performance pieces. He also happens to be a Buddhist priest and master of Zen archery. He considers his art projects to be an active part of his “ministry,” and throughout his career Kosaka has collaborated with and supported the efforts of many other artists. In recent years he has undertaken a series of collaborative mapping projects in various locales, called Ruin Maps. Kosaka invites participants-often Japanese American elders who were forcibly removed from their neighborhoods and interned during World War Two-to draw memory maps of prior communities. He enlarges
selected drawings, makes a woodcut print of each on mulberry paper, and displays them as a collection of shared and personal memories. For a Seattle Art Museum residency, Kosaka broadened the scope of his project, calling it Tampa Mundi and inviting participants of all backgrounds to share their memories and reflect on the city’s changing neighborhoods. Museum visitors from all or the world-twenty-one countries in five continents-contributed maps. her Kosaka, the woodblock medium makes sense: “Cutting onto a surface of wood is similar, I think, to the way memories wet ingrained in these people’s minds.”
The memory of communities made real again in a passing way – this comes very close to the landscapes conjured up by storytellers and writers. cartographies of oral tradition.
Tabula 3, 1993
From the series Tabula
linocut on kozo paper 48 x36 in.
Thib’s art uses images of the body-typically, individual parts imbued with various associations-as canvases for social commentary. She combines body segments with cultural objects and documents as allusions to “the human desire to leave a mark, to alter the terrain, to create, organize, and understand” Tabula is a series of images of five hands (one of which is shown here) overlaid with interpretive systems-historical and contemporary maps, wilderness survival tips, body camouflage patterns, and garden designs-that explore human relationships to the wilderness.
The relationship between body and place is one that has intrigued me for years, the scars we leave on the environment, and those the environment leaves on us. Also expecially nice use of linocut as a medium.