Making Art From Maps: Inspiration, Techniques, and an International Gallery of Artists

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Targeting […] constitutes the condition of all execution, the execution of acts no less than that of judgments and sentences, such as the death-penalty. In this register, autonomy is represented as an inevitable, and beneficial, technological development. We talked about places he missed, and he would spend hours virtually traveling, with Google Maps as his guide.

Emily Relf is an artist and art educator with a passion for international education and sharing contemporary art with children and children at heart. I suggest that the viewing position formed in the artwork fosters an identification with an imagined viewing position of the United States, conspicuous by its non-depiction in this re-worked ‘world map’. Spheres of Influence (2001), the companion piece of Dark and Light Continents, is harder to read as a rendering of a world map projection, despite the suggestion from the form of the work, in its twelve segments, of the image’s being a world map. The viewing position is posited and structured as one through which ‘knowledge’ is produced of abstractions and abstract relations in the conceptualisation of remote and unknown regions of the globe.With my seventh-grade class at Southwick Regional School, we explored artworks by Lordy Rodriguez and Yin Xiuzhen, noticing that artists can interpret places and play with geography.

She earned her teaching credential in visual art in California with the single minded purpose to teach overseas, which led to four years in Bahrain teaching IB/High School Art and five years in Saudi Arabia, where she fell in love with elementary education. Since 2003 he has covered everything from antique map collecting to the latest in geospatial technology. Many authors writing in this field contribute to an unfolding debate as to how we may usefully define ‘the map’.I know the region I’m looking at, but don’t have a sense of scale, how close this might be to the sea, or to the north, or to Pakistan. iv] This map-painting is oriented with north-east at the top – beside a bright blue lake at the top of the segment I read ‘MATA KHAN’. Each poster is designed to be one-of-a-kind, taking inspiration from the song’s characteristics and blending it with your personal touch.

The Garden now sells them on 1000 piece jigsaws which are popular, and it’s given me the idea of creating some jigsaws of my own. Never will the earth appear to the eye of a satellite or the aerial observer as something covered with toponyms. This 1961 Cuba also stands alongside, as I read, the Afghanistan of 2017, and its geographical and political relationships with the Cuba of 2017, and the undepicted place to the east, as it were, of this map painting.The ‘equator’ formed by the joining of the upper and lower wedges provides an artificial horizon in an otherwise disorienting space (Princenthal and Earenfight, 2008, p. A scratch card map by Ken PerkinsAn artist based in Denver, Colorado, Perkins specialises in scratchboard and pen and ink drawings. He usually begins by gathering images of his subject from various angles, including archival photos and flying around the area at various elevations.

I have selected the artworks that I consider in the following chapters on the basis of the interest they seem to take in ways of seeing, viewing and knowing, treating visual ways of knowing as complex, intricate, and involved in taking up physical and conceptual positions in relation to what is seen, whether that is a photograph of a sky at sunset, or a walk-in globe, or a grid of digital webcam images. You could use the same road map for the whole piece, picking out your favourite local villages or towns. Targets, the main artistic focus in this chapter, is a nine-foot walk-in globe, on whose exterior can be seen the ribs and sections of the wood construction (see fig. And those features vary considerably, especially when comparing maps from different sides of the Atlantic.In large-scale mixed-media works, Mark Bradford focuses on the geography of Los Angeles and uses the process and strategy of mapmaking as a starting point. In this way, the historical particularity is not actively occluded but is assimilated into the broader referentiality of the whole structure.