Earth-mapping : artists reshaping landscape - download pdf or read online

By Edward S. Casey

ISBN-10: 0816643326

ISBN-13: 9780816643325

ISBN-10: 0816643334

ISBN-13: 9780816643332

ISBN-10: 0816695857

ISBN-13: 9780816695850

ISBN-10: 1391531671

ISBN-13: 9781391531670

Dutch global maps of the 16th and 17th centuries, with their ornamental photos and complicated typography, stand in sharp distinction to the thoroughly sensible maps of this present day, which emphasize specific element and constant scale. paintings, because the Impressionist interval, has likely moved within the wrong way, towards a much less real looking interpretation of the realm round us. Edward S. Casey demonstrates that the disciplines of mapping and portray, lengthy proposal to have diverged, are back intersecting. Earth-Mapping describes the ways that artists of the final part century have integrated inventive mapping concepts into their artwork works. starting with a reassessment of the pioneering earth paintings of Robert Smithson within the Nineteen Sixties and Nineteen 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. targeting types of mapping that leave notably from traditional cartography - relatively "mapping with/in," being with or in a spot, and "mapping out," speaking that have of reference to others Casey - indicates 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 work out the earth because it is sensed, remembered, and reshaped through artists as they discover the influence 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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At the level of content, the difference is that between small discrete objects on a commensurately small stretch of ground and vast areas of the planet Earth. At the level of experience, a downward draft of immersion is succeeded by a sense of drifting up high above the earth and from there looking down at its major configurations. In the first instance, our perceptual noses are rubbed in the rich loam of earth; in the second, we become detached viewers from afar. These doublings can be understood in terms of changes of scale and of level.

If mapping as charting concerns the future of a voyage—a notion to which we will return in chapter 4—the material on McLean's studio wall bore on something that was now in her past: her family's past on a certain plot of land in Virginia, her own past as an adolescent who played on that same plot and revisited it as a young adult. This is not an impersonal primitive past, the geological origins invoked by Smithson. It is a distinctly personal past, though not a past to which one looks back, as in missing or yearning for what has been.

The directionality is at once down into the earth and under the top surface of the soil. , black and gray). Just as memory takes us back into the past, so the painter takes us down here below: on, and just under, the earth, from which each of us comes as an earthling and to which we are always in the process of returning, a regressive move reinforced by the ashlike polyvalent gray and the deathlike black. At the same time, this powerful painting can be seen as an emergent map: the white areas evoking continents; the black regions, seas.

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Earth-mapping : artists reshaping landscape by Edward S. Casey

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