Richard Edes Harrison and the challenge to American cartography

Schulten, Susan

doi:10.1080/03085699808592886

Cited by 29 publications

(3 citation statements)

References 4 publications

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“…25 In fact, the US journalistic cartography also developed a specific aesthetic in cartographic language, having "artists" such as Richard Edes Harrison showing the "urgency of the war while also maintaining an elegant artistic dimension". 26 As we can tell, both maps published in the press and maps produced by artists have had many interchangeable features and similarities throughout their history and it is not easy to define borders between these cartographic practices. Artistic maps are reproduced in the mainstream press and maps created by newspapers and magazines are incorporated into works of art, creating different images in order to spread geopolitical narratives to a wide audience.…”

Section: Map Art and Popular Geopoliticsmentioning

confidence: 98%

Map Art and Popular Geopolitics: Mapping Borders Between Colombia and Venezuela

Novaes

2014

Geopolitics

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This paper discusses whether the maps made by visual artists and media designers can be a form of counter-mapping, communicating narratives that may blur how state borders are currently defined. Maps and artworks have inseparable histories and many studies have been carried out in order to explore the role of cartography in the construction of national imaginations. If official maps published in atlases and textbooks are still limited to national territories, artistic maps became an important source of information about shared identities and cross-border activities. Taking as a case study maps made in a collaborative art project betweenColombia and Venezuela and maps published in the Colombian mainstream press, the paper identified contradictory narratives, which can simultaneously dissolve and reinforce international borders. Starting with the analysis of images created in a very particular context, this paper seeks to contribute to ongoing debates regarding the relations between map art and popular geopolitics.

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Section: Map Art and Popular Geopoliticsmentioning

confidence: 98%

Map Art and Popular Geopolitics: Mapping Borders Between Colombia and Venezuela

Novaes

2014

Geopolitics

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“…Although all cartography is political (Harley 1988a), this kind of propaganda cartographyespecially in opposition to scientific cartographyarose during the first half of the 20th century and ripened in the US as well as in Fascist Italy and Nazi Germany between the 1920's and 1940's (Herb 1997;Schulten 1998;Boria 2008). This tradition peaked in Germany nurtured by a public discourse that persistently constructed the geopolitical imagination of a German state surrounded by imminent military threats and a German people that, scattered beyond its borders and oppressed by unfriendly European states, longed for its protection (Mazower 1997).…”

Section: The Framementioning

confidence: 99%

The migration map trap. On the invasion arrows in the cartography of migration

Houtum

Lacy

2019

Mobilities

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How is undocumented migration typically mapped in contemporary cartography? To answer this question, we conduct an iconological dissection of what could be seen as the epitome of the cartography on undocumented migration, the map made by Frontexthe EU's border agency. We find that, rather than a scientific depiction of a migratory phenomenon, its cartography peddles a crude distortion of undocumented migration that smoothly splices into the xenophobic tradition of propaganda cartographyand stands in full confrontation with contemporary geographical scholarship. We conclude with an urgent appeal for more scientifically robust, critical and decidedly more creative cartographies of migration.

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“…The Miller and Gall projections-rather than the previously dominant Mercator projection-offered a distortion-free perception of the world illustrating the strategic implications of geopolitical changes. 93 Lattimore also included maps of central Asia in his books as an immediate representation of the political relevance of the "great frontier". The novelty of their visions was not necessarily rooted in new physical geographic realities.…”

mentioning

confidence: 99%