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

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I was approached by the teachers at the Duchess High School in Alnwick as they were having a brand new school built.

This sparked discussions about whether people are happier with modern technology and whether the island’s inhabitants have been affected by COVID-19. I studied the height of map-making culture (AD 1200 to 1700) in my PhD, which was awarded by Durham University in 2014. It has sparked a bit of debate and conversation with my family about the places I’ve chosen to feature. With millions of songs to choose from, you can create a unique masterpiece that reflects the beauty of your musical memories in a visually captivating way.

Alongside these more individualised concerns, which to a certain extent take the viewing experience to be something that goes on while one is alone, I was concerned to explore the relationship between individualised reading and interpreting, on the one hand, and the larger social level, on the other. Whether the viewer is able to connect ‘Bay of Pigs’ to the organising concept of Targets depends on knowledge gained, or not, outside of the artwork; the bay is the site of the failed 1961 US invasion of Cuba. Masks (2004-6) is a large series of works, one strand of which is formed of Venetian full-face masks painted with maps of Mediterranean islands, and Knowledge (1998-2000) is a cycle of frescoes and decorated globes depicting changing conceptions of the form and extent of the terrestrial globe through history. Emily Relf is an artist and art educator with a passion for international education and sharing contemporary art with children and children at heart.

Even though many of the maps are out of date and not of actual practical use, I keep them as crafting and upcycling resources.In this spirit of close attention to the importance of interpretation as a process, my reading of Targets acknowledges both my position as a ‘remote viewer’ of this work, encountering it through books and online images, but also the importance of the experience of reading the map as a text. What is needed now is work that explores ways of fleshing out and expanding on what we can do with the framework of social abstraction, to attempt to find ways of analysing how subjects are mediated by, and constituted through, particular modalities of abstraction. 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. In the centre, my eye is first drawn to the diagonal word ‘AFGHANISTAN’, written in block capitals, slanted downward across a field of dark yellow.

It is with these accounts of embodied experiences and remote viewing in mind that I read a section of Targets. Each poster is designed to be one-of-a-kind, taking inspiration from the song’s characteristics and blending it with your personal touch. I don’t see any sign of the ‘ruins’ that are indicated in Kozloff’s version, in the middle of the lake’s northern shore. 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.The time-lapse video below shows how I draw my maps: detailed planning in pencil, then drawing in pen. iv] See Fredric Jameson, The Geopolitical Aesthetic: Cinema and Space in the World System (1992), in which Jameson elaborates the notion of ‘cognitive mapping’. opens it to processes of interpretation developed through structuralism, an approach also pioneered by Denis Wood. 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.

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