By Edward S. Casey
Dutch global maps of the 16th and 17th centuries, with their ornamental photos and tricky typography, stand in sharp distinction to the fully useful maps of this present day, which emphasize distinctive element and constant scale. artwork, because the Impressionist interval, has possible moved within the other way, towards a much less reasonable interpretation of the area round us. Edward S. Casey demonstrates that the disciplines of mapping and portray, lengthy idea to have diverged, are back intersecting. Earth-Mapping describes the ways that artists of the final part century have integrated creative mapping ideas into their artwork works. starting with a reassessment of the pioneering earth artwork of Robert Smithson within the Sixties and Seventies, Casey follows Smithson's legacy within the works of Sandy Gellis, Margot McLean, and Michelle Stuart. He additionally explores the visions of the earth present in the summary work of Richard Diebenkorn, Jasper Johns, Willem de Kooning, Eve Ingalls, and Dan Rice. concentrating on different types of mapping that go away greatly from traditional cartography - fairly "mapping with/in," being with or in a spot, and "mapping out," speaking that have of reference to others Casey - exhibits how earth artwork and summary portray respectively reshape our panorama and our view of it, drawing us in from our bird's-eye view of the grid of highways and roads. In those works, we come to determine the earth because it is sensed, remembered, and reshaped via artists as they discover the impact of the panorama on people and the human impact at the panorama, and as they call for a reaction to the altering global round us.
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Extra info for Earth-Mapping: Artists Reshaping Landscape
14 Mapping with Earth Works Earth-Mapping and the Grid Four kinds of mapping, then, are at stake in Robert Smithson's mature work: earthmapping proper (wherein "the ground becomes a map"); 40 the mapping effected by the site of an earth work; carto-photography; and the non-site mapping of materials exhibited in a gallery or museum. The first is a mapping by place of place, the unmodified surface of the earth; the second is mapping of a site whose shape and surface reflect human intervention; the third is mapping on flat and fabricated surfaces, typically on paper; the fourth relies on built surfaces that surround and contain various found materials taken from the earth.
For this reason, a memorial map need not be drawn or constructed in any of the usual ways; it can arise directly out of the interaction between the mind of the artist and various bits of matter in her studio—matter that serves as an active reminder of the artist's past. This allusive-memorial mapping situation is not to be confused with that of a "mental map" as this term is used in cognitive psychology. The bags of material on the wall served not to spark a visualized depictive image of the artist's past but instead to induce a state of mind that was appreciative and respectful of the past without having to represent that past in particular scenes recollected as such.
This is mapping in which forms emerge that are distinctly maplike—topographical, if not cartographical, with a sense of looking onto land formations not just from on high but from many points of view. The bags of material from the yard in Virginia certainly did not constitute anything like a conventional map: they contained no element of representation or abstraction; there was no grid, no metric for scale, no concern with distance. , drawing a definite course across known terrain) nor charting (sketching a possible trajectory across unknown territory).