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

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As it is, viewing remotely, in print, ‘CUBA’ has become somewhat more legible, but nothing jumps out at me as a centre of the image. However, remembering Kozloff’s idea of claustrophobia, and Wood’s ‘devastating’ encounter, I read a form of control and limitation in the viewing experience of Targets’ disjointed maps as one is unable to scroll up or down, unfold the next section of the map, or turn the globe to read the adjoining area. For a less positive discussion of Harley see the introductory essay to Harley’s posthumous collection of essays, The New Nature of Maps, by J.

From the outside of the structure, the interior map paintings are visible, evoking commercial wallpaper featuring enlarged maps that has become popular in the period since the making of this work in 2000. While at one level this new form is a totalised image of US aerial bombardment, it also cites a history that can be indicated in a listing of dates and locations, such that the artwork could be interpreted as potentially simply a creative way of thinking about the histories in question [xiii]. Artist Ed Fairburn, left, shows CBS News correspondent Ian Lee some of his work at his studio in Southampton, England.Ian Lee is a CBS News correspondent based in London, where he reports for CBS News, CBS Newspath and CBS News Streaming Network. The antipodes is engaged in the implication of bodies and places through having theorised their existence prior to ‘discovery’, that is, encounter with the West. and Derek Gregory (2011) pays close attention to the material practices through which drone viewing is produced, based on the live interaction that takes place among operators, other pilots in the battle-space, analysts, and particularly the video feeds which are analysed and used to inform operational decisions immediately. Denis Cosgrove also argues that compilation is an aspect of selection, the process of compiling survey data into appropriate forms to be drawn onto the map. For my son, creating a map of this place alleviated some of his feelings of loss and gave him a much-needed activity.

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. You got all these, kind of shapes that complement one another but don't necessarily align perfectly, and that's kind of what I'm looking for," said Fairburn. Cross-curricular connections came up as well: two students chose Alaska because their English Language Arts class was studying a book about the spirit bear. Oxford University Press, New York and Oxford, for discussion of the complex philosophical question of objectivity as an approach to formulating knowledge of the other from outside of the subject’s experience or position.But if I framed a map of all the places special to me, I wouldn’t have any space on the walls for anything. When introducing a piece, I usually begin with a simple reflection routine, such as “ I See, I Think, I Wonder,” to gather students’ observations about the work.

I also draw on her proposals regarding the interpretation of, and encounter with, the artwork: “the encounters staged by art contain within them the possibilities to challenge our typical ways of being in the world; disrupting our systems of knowledge, we are in effect, forced to (new) thought and actions” (Hawkins, 2014, p. I use a close reading of a selected area of Targets to open out questions of map interpretation in light of the recognition of maps as irreducibly both graphic images and texts. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. I suggest that a continuity can be seen from these early, and interestingly spatial, works, to the form seen in Targets, in which visual pattern takes the form of map segments and comes to actively structure the viewing space and surface. One girl selected Sentinel Island, off the coast of India, which she described as a place disconnected from the modern world.From the inland sea, to the west, rise abruptly the mountains in the west of Pakistan, while to the north-east, beyond El Salvador’s small stretch of coastline we can make out the city of San Salvador in the distance, and further beyond it, Kinshasa. The drone’s eye view is a viewing ‘position’ of lethal power, as well as a certain kind of intimacy on the part of the viewer. But that horror runs deep beneath the deliberately numbing tidiness and bloodlessness of Targets, emphasised by the light- and air-admitting oculus at its apex.

The internalisation of this disciplinary gaze in the viewed subject perpetuates the dynamic of domination and submission. The end results were exactly what maps should be: small images representing vast areas of land and water. depicting all the countries that have been bombed from the air by the US between 1945 and the work’s making in 2000 [ii].The temporality of this viewpoint is nuanced; from its position external to the earth, multiple time zones may be viewed simultaneously.