National Geographic's Maps: Tools for Adventure @ the Museum of Science and Industry

If you typed the word "maps" into Google and then visited the first ten sites on the results page, you might get a good idea of what it feels like to walk through the Museum of Science and Industry's exhibit National Geographic's Maps: Tools for Adventure, which is part of the citywide Festival of Maps. That is to say: a nuanced overview of mapping technology, this is not. While the exhibit is kid-friendly, it tries a bit too hard to go after the attention deficit demographic. Thematically, the "tools for adventure" theme is the loose string that sort of ties things somewhat together, almost. In fact, between this, the City of the Future exhibit earlier this year, and the Christmas Around the World disaster that we'll discuss in a minute, I'm beginning to wonder if, perhaps, this legendary museum is just coasting on its historical reputation these days.

But, before a tangent begins, let's get back to NGM. The exhibit is, in plain terms, an awkward hybrid of a video arcade, a preschool classroom, and a museum installation. There are kiosks set up throughout several rooms, as well as a block table (a kid-friendly trick MS&I tried with City of the Future that still feels misplaced) and a large foam-block pyramid puzzle. Add to that a moon rover used for mapping Mars, a fake stargazing setup, and an airplane cockpit with plenty of buttons and levers, and you have an intellectual seizure that can even make the grown-ups a bit dizzy.

If the organization of the content is less than stellar, it should be noted that there are some interesting items on display. A portion of an old scroll map of the Mississippi River makes an early appearance, as does an early map of Disneyland (which is cooler than it sounds). But the overall effect of the topical schizophrenia is that, unfortunately, individual pieces get lost in the muddle. Even for someone used to clicking through a few hundred articles and websites a day, the wide variety of topics covered here was so overwhelming that it got downright boring halfway through. When the brain is presented with too much information, it shuts down. I shudder to think that this is the way the curators at one of the nation's most prestigious museums think that children should be taught (to be fair, the exhibit was organized by the Children's Museum of Indianapolis and the National Geographic Society, but MS&I agreed to host it).

But the real jaw-dropper of the day was not the FoM exhibit, but something tangentially related. Apparently, it is customary for the MS&I to put together a Christmas Around the World exhibit. I haven't been to the museum to see past iterations, but this year the exhibit involves Christmas trees decorated to represent "customs" from countries around the world. This provides the museum with a fabulous opportunity to combat Americans' infamously low geographic knowledge, which it squanders on an embarrassingly simplified version of global cultures.

To wit: Mexico's tree is decorated with dozens of felt-cutout Mexicans complete with sombreros and ponchos, Ireland's is dripping with kitschy shamrocks and jigging leprechauns, and there is a very purple Native American Christmas tree that's decked out in a gazillion of those hexagonal things you make out of yarn in kindergarten. Japan's and China's trees, meanwhile, are both covered in oragami (but the China tree uses fluorescent paper, so it's totally different), and (tellingly) the United States' tree is wrapped in red, white, and blue crepe paper and cardboard cutouts of the 50 states and the US outlying territories. It's as strange as it sounds. In fact, it's worse in person. The entire exhibit has the icky, sticky feeling that comes from seeing or hearing something that you don't quite want to call racist, but can't help admitting is kind of leaning in a generally gross direction. The museum's website claims that the trees are decorated by Chicago's ethnic groups to represent their cultures. And to that I say: whaaaa? If that's the case with most of these, it makes me kind of sad.

So if you are looking to learn about the world and how it was and is shaped and explored, skip the MS&I and check out the Field Museum instead. Or the Newberry Library. Or, you know...Google Maps.

But, just in case you want to see this stuff for yourself...

IF YOU GO
National Geographic's Maps: Tools for Adventure is on display at the Museum of Science and Industry until January 6, 2008. The museum is open Monday – Saturday from 9:30 a.m. to 4 p.m, and Sunday from 11 a.m. to 4 p.m.; the admission fee is $11 for adults, $9.50 for seniors, and $7 for children under 11. There is no student discount. Christmas Around the World also runs through January 6. While you're in the Hyde Park area, check out The Virtual Tourist in Renaissance Rome: The Speculum Romanae Magnificentiae, the University of Chicago's contribution to the Festival of Maps.


Links:
National Geographic's Maps: Tools for Adventure (MS&I)

Christmas Around the World (MS&I)

The Virtual Tourist in Renaissance Rome: The Speculum Romanae Magnificentiae (U of C)

Festival of Maps

Mapping Manifest Destiny @ The Newberry Library

From a curatorial standpoint, Mapping Manifest Destiny at the Newberry Library (which is in a gorgeous building, in case you were wondering) is an excellent exhibit. The gallery space where the maps are displayed is large and quiet, and the information is carefully organized into four color-coded areas that chart the history of the North American West through cartography. The four sections illustrate the progression of the continent from exotic terra nova at the edge of the world to civilized nation linked by a sophisticated network of railroads by defining the primary focus of mapmaking in four different eras of exploration. You can basically watch the centuries-long process of the formation of the United States (and Canada and Mexico, to lesser extents) take place in under an hour. In addition, scale is provided by the inclusion of maps that detail Chicago's own growth from a swampy outpost into a major transportation hub for the rapidly-growing nation. It's downright artful curation.

Oh, and the content is pretty good, too. ;-)

In fact, the collection is a perfect illustration of the fourth use of maps as explained by the Field Museum's Festival of Maps exhibit: these are maps that "bear witness to and shape history." The first two sections, which explore Maps for Empire and Maps to Serve the New Empire show the evolution of the shape of North America as ever more sophisticated cartographical methods and new knowledge about the continent became available over time. Centuries-old European maps are on hand, as are some of the earliest maps of several modern major American cities, such as San Antonio, New Orleans, and Pittsburgh (the last one being drawn and annotated by none other than the young George Washington).

Halfway through you'll find a real treat: William Clark's (of Lewis & Clark fame) original, hand-drawn map of the Corps of Discovery's exploration of the American West in search of an overland river route to the Pacific. The edges are frayed and the ink slightly faded, but this is history, staring you in the face. It almost glows; it gave me goosebumps.

While the first half of Mapping Manifest Destiny shows how the land manipulated the people that explored it, the second half shows how, once the continent had been properly charted, people then manipulated the land. This half is separated into Maps for Enlightenment and Maps for Business, and details the United States' growth into a commercial juggernaut. The gridded system of land surveying that directed property sales and distribution as the US expanded westward, spurred on by the ideology from which this exhibit takes its name, shows up here. Maps for Enlightenment features see nineteenth-century text books opened to maps (my personal favorite was the one that color-coded the world on a scale from Savage to Enlightened). Maps for Business covers Chicago's rise to dominance of the field of commercial cartography. Several maps and books by Rand McNally (the company largely responsible for the Windy City's cartographical supremacy) are on display. The Business section is rounded out by maps of the expansion of the nation's railroad system and the California gold rush.

Mapping Manifest Destiny is short, sweet, and to the point. It's certainly not the kind of thing you'd bring the kids along for (especially if they're the crying type -- the ceilings are high, and everything echoes) as the material is presented in a very mature way. But anyone interested in US history (or the art of exhibit curation) will find the Newberry Library's contribution to the FoM to be a truly enlightening experience.

IF YOU GO
Mapping Manifest Destiny is on display at the Newberry Library on Chicago's Near North Side until February 16th, 2008. The library's exhibit galleries are open Monday, Friday, and Saturday from 8:15 am - 5:30 pm, and Tuesday, Wednesday, and Thursday 8:15 am- 7:30 pm; the galleries are free and open to the public. While you're there, check out Ptolemy's Geography and Renaissance Masters in the gallery across the lobby. A short bus ride down LaSalle Street is Encyclopedia Britannica's US headquarters; the building's lobby is host to a variety of maps from the Britannica collection, marking the company's contribution to the FoM.


Links:
Mapping Manifest Destiny (Newberry Library)

Ptolemy's Geography and Renaissance Masters (Newberry Library)

Encyclopedia Britannica

Festival of Maps

Mapping the Self @ the Museum of Contemporary Art

At first glance Mapping the Self, the MCA's contribution to the Festival of Maps lineup, takes some serious liberties in how it defines what a map is. But then, as the introduction to the exhibit plainly states, this exhibit is not about maps. It's about how artists use maps, both to define themselves and the physical, social, and emotional spaces that they inhabit and/or experience. In fact the very meaning of the word "map" is derived from the Latin word mappa, for the cloth that maps were drawn on. A map is an exploration drawn out on a physical surface. With the etymology in mind, the pieces at the MCA's exhibit fit the theme a bit more logically.

Save for a few larger pieces spread throughout the fourth-floor atrium (including a clever recreation of John Baldassari's Framed Heights), the bulk of the work in the exhibit is organized into two rooms; the first deals with artists' use of mapping to define and examine themselves, and the second with the way that they use maps to explore and reimagine the world around them.

A piece by artist Patrick McGee is a notable highlight in the first section as it explodes the traditional concept of the map at the same time that it asserts itself as one. McGee took measurements of his head to come up with a new system of units of measurement; the diameter of his head (the Fit) became the measurement of length, its volume (the immersion) the measurement of capacity, and weight (the burden) the measurement of mass. McGee's piece is both entertaining and thought-provoking, especially in the context of this exhibit. It represents, after all, the physical nature of the artist's head, but it also breaks the head down into very basic calculations and reevaluates the rest of the physical world in relation to the artist. It is a philosophical mapping of the idea of physicality; a delightful mindf*ck, if you will.

The second room contains pieces that look more like...well, maps, or at least more like what you might expect maps to look like. There are exceptions to this rule, but even a glance around this gallery will reassure anyone thrown off by the first section. Chicago plays a major role here as the physical place being examined and/or reimagined in many of the pieces on display, adding to the sense of familiarity. Works by Stephanie Nadeau and John Cage are highlights, but again, one piece sort of steals this half of the show. That piece, Paula Henderson's Extended Remix, takes Chicago's 77 community areas, color codes them by their majority racial demographic, and then puts them into alphabetical order. The boundaries stay the same, but the names and colors shuffle around, creating a vivid and rather jarring reinterpretation of this notoriously segregated city's racial landscape. It is a very different Chicago seen in this map; paired with Nareau's photographic piece Redlined, it makes a potent statement about the history of racial politics in the Windy City.

Overall, complaints about this exhibit are of the petty variety. Single plaques often hold the descriptions for multiple pieces, which can be confusing. Some of the work on display seemed to lack label or explanation altogether. The thematic nature of the two rooms gives the exhibit structure, though it can be a bit loose at times; as a result, some pieces feel a bit superfluous. But as a whole, the exhibit does what it sets out to do by providing a solid exploration of the way contemporary artists are using maps in very different (and very challenging) ways to explore what it means to be human, and what it means to be part of our society.

While Mapping the Self takes up a relatively small amount of floor space, don't expect to make it through this one on your lunch break. While that would be do-able in theory, in reality you can't really get much from this exhibit unless you plan on taking your time. With most of the art on display, you'll find your efforts well-rewarded.

IF YOU GO
Mapping the Self is on display at the Museum of Contemporary Art until March 2nd, 2008. The museum is open 10:00am-8:00pm on Thursdays, and 10:00am-5:00pm Wednesdays-Sundays; it is closed on Mondays. The entry fee for the MCA is $10 for adults, $6 for students and seniors (both suggested). Tuesdays are free admission.


Links:
Mapping the Self (Museum of Contemporary Art

Maps: Finding Our Place In the World @ The Field Museum

About a fifth of the way through the Field Museum's Maps exhibit, I started to feel a bit giddy. As a long-time lover of maps, I'd been looking forward to this -- the centerpiece of Chicago's Festival of Maps -- for months, and it was clear early on that I would not be disappointed. Now, after having a day to reflect, I can honestly (and emphatically) say that Maps: Finding Our Place in the World is one of the most impressive museum exhibits I have ever attended. Those are strong words, I know, so let that be my one burst of fanboy-style enthusiasm. Henceforth, I'll try to be as objective as possible.

Divided into seven sections, Maps begins by addressing what is probably the most common use of its subject matter: wayfinding. The content of this section is subdivided into two groups, the Itinerary (one route depicted) and the Network (many routes depicted together). The maps on display set the tone for the rest of the exhibit; there is a great variety of mediums, styles, and time periods represented. Highlights include a section of an ancient 60-foot Japanese scroll depicting the road from Kyoto to Edo (now Tokyo), a 1940s road map of America with road trip routes taken by an anonymous family highlighted and annotated, and an original print of Harry Beck's revolutionary redesign of the London Tube map.

The second section of the exhibit displays maps that give structure to the world. While many maps may not be used directly for getting from A to B, they help us to develop a concept of the vastness of the world around us. The exhibit charts the evolution of mankind's understanding of the planet through maps, showing how they were used to record progress and redefine the world as our knowledge grew. The undisputed centerpiece of this area is a set of two large (about 4 feet in diameter, but I'm guessing) wooden globes -- one that depicts the earth as it was believed by cartographers to look (curiosities include the island of California off of North America's west coast and the near-absence of Australia and New Zealand, though overall it's surprisingly accurate) and the other showing the celestial dome above, with full-color representations of the constellations (i.e. a scorpion for Scorpio).

Maps are also used, as illustrated in the third and fourth sections of the exhibit, to show important places and "bear witness to and shape history," in the curators' words. These two collections expand quite nicely upon the logic of the first two; the most obvious uses of maps are to chart the world and the routes that people use to move around it, but with a heightened understanding of the larger world, it makes sense that people started using maps to break the larger world down into smaller parts. Privatization and land division become central foci here. Several important names pop up up in a subset of the fourth section focusing on historical maps of the US: Lewis and Clark's map of their route is here, as are land surveys by George Washington, Thomas Jefferson, Abraham Lincoln, and Benjamin Franklin.

The fifth section includes even more sophisticated maps that make the invisible visible. These are highly detailed creations that bring to light intangible or hidden details about places. One of Jane Adams Hull House's famous maps of Chicago blocks broken down (and color-coded) by ethnicity and income is on display (a print of the same map is included in the Chicago History Museum's Mapping Chicago exhibit). So is a huge, vividly-colored map of the geology of Great Britain, one of the first maps of its kind. Another first here is a small, unassuming map of northern Italy that is believed to be one of the earliest uses of shading to depict topography, pre-dating its common use in recent times by several centuries. A closer look at the plaque describing this piece reveals that its creator was none other than Leonardo da Vinci. Another of his quiet pieces, a plan to canal-ize the Arno, is nearby.

The sixth area is a showcase of maps that depict imaginary places. L. Frank Baum's map of Oz is here, along with several of J.R.R. Tolkien's hand-drawn maps of Middle Earth. This section contrasts nicely with the seventh, which shows maps in rather mundane use in everyday life. A RISK board, a needlepoint map of Great Britain, a kiosk showing mapping technology on modern cell phones -- these examples point out the many ways in which maps seep into our daily routines. This last section culminates in an interactive wall of video maps where you can touch cursors on large screens and navigate satellite imagery and zoom in on your hometown. (It can be a bit tricky to get these to work -- try holding your fingers a few centimeters away from the screen).

If there is one opportunity that is really missed here, it's that Maps does not spend any time on the way that the internet is currently democratizing the field of cartography. There is no mention of mashups or group maps or even Mapquest, the launch of which really was revolutionary moment for mapping technology (though Mapquest's prominence in online mapping has since been usurped by Google and Microsoft). In fact, I kept expecting to see this theme threaded throughout the other sections of the exhibit, but it never even made an appearance.

Overall, Maps: Finding Our Place in the World is a suitably rich and creamy center to the FoM's gourmet chocolate. It's an exhibit that keeps you moving, looking forward to the next map even before you've finished reading about the last. If you don't live in the area but you've been looking for a reason to visit Chicago, this exhibit would even make a good excuse to come. If you live within driving distance and have even a passing or newfound interest in cartography, you have no excuse not to make the trip.

IF YOU GO
Maps: Finding Our Place in the World is on display at the Field Museum until January 27th, 2008. The museum is open 9:00am-4:30pm, seven days a week; the entry fee for the museum and the special exhibit is $19 for adults, $14 for students and seniors, and $9 for children under 12.


Links:
Maps: Finding Our Place in the World (Field Museum of Natural History)

Mapping Chicago @ the Chicago History Museum

Mapping Chicago, the inaugural exhibit in the Chicago History Museum's new Skyline gallery, is also one of the inaugural exhibits in Chicago's Festival of Maps. The show, which opened near the end of September, divides the spacious new gallery into three distinct areas, each with its own theme, and shows the city of Chicago in various stages of its history, and from a variety of distinct perspectives. Overall it's a bit of a grab-bag, but certainly worth your while.

Cities are places with vast histories comprised of millions upon millions of stories stretched across hundreds (sometimes thousands) of years. As the curators of Mapping Chicago point out several times in this exhibit (most entertainingly, at one point, in the rather incredulous "voice" of the city itself) it is virtually impossible to create a map of a city that really encapsulates what Chicago is about. Buildings go up and are torn down, streets are widened or erased, demographics shift as people come and go, and all of this contributes to the fact that as soon as a map of a place as dynamic as Chicago is made, it is in some way already out of date.

The first area of the exhibit, then, attempts to piece together a historic portrait of the city. From a detailed map of the area destroyed by the Great Fire to a map of the original settlement showing the original Native American trails that crisscrossed the area, this introductory set makes no attempt to show Chicago as it is. The unofficial centerpiece here, a wall-sized full-color birds-eye view map of the Loop from the early 1900s drawn in exquisite detail, subtly underlines the show's message; of the many large and grand structures that surely seemed as permanent as time itself when this map was completed, only a few are still around today. Even monumental constructions like the old Federal Building or the Masonic Temple (then the city's tallest building) are long gone.

It's in the second area that the exhibit sags a bit as it veers rather noticeably off course to demonstrate by video and through several kid-friendly kiosks how two-dimensional maps are formed into globes. Replogle Globes, a major manufacturer of the objects, is a sponsor of the installation. This middle section is interesting in and of itself, as it answers in careful detail one of those questions that you'd never thought to ask but find yourself very curious about once it's been asked for you. Still, the section can't help feeling like a commercial in the middle of a good show since the subject matter is only tangentially (at best) connected to that of the overall exhibit. At any rate, it's fun for kids, and certainly no reason to skip Mapping Chicago altogether.

The third and final area is separated from the other two by a very unconventional map made up of a cluster of very large, very colorful representations of Chicago landmarks. It is a sculptural creation made of oversized drawings by children from around the city that sets the tone for the area of the exhibit that shows how the diverse and divergent perceptions of the city by its many inhabitants over the years has created some very interesting and unconventional maps of the city. A pinball machine printed with a map of the 1933 World's Fair, a color-coded map of building heights in the Loop in the early 20th Century, large digitally-produced maps of SOM's plan for the city's 2016 Olympic bid -- all of these and more are on display in this part of the exhibit. Together, they bring home the message that a city like Chicago is a constantly-changing thing, exciting and mysterious in the way that it constantly eludes the cartographer. The city is the subject in all of these maps, but ironically this collection, brought together, puts the focus on the map-makers. After all, in the end it is the people -- not the physical environment -- that make the city what it is at any given moment.

IF YOU GO
Mapping Chicago is on display at the Chicago History Museum until January 6th, 2008. The museum is open seven days a week; the entry fee is $14 for adults, $12 for students and seniors, and free for children under 12. Hours vary, so check the website for more details. While you're there, if you are in need of some more map action, don't miss the permanent exhibit Chicago: Crossroads of America, which features a number of detailed maps from the city's two world's fairs. Also on display: gorgeous architectural models of the Chrysler Motors and Transportation Buildings from the '33 Fair.

Links:
Mapping Chicago (Chicago History Museum)

(PS -- Where is back in business! Thanks to all of the fine people at the North Michigan Avenue Apple Store who saved my hard drive and, by extension, my sanity. They are awesome.)

Festival of Maps Update

The Festival of Maps is getting underway here in the Windy City, and one of the most exciting developments is that of the FoM's shiny new website! Complete with an interactive map of exhibits, a full schedule (it's even bigger than I'd thought it was going to be!) and a list of events broken down by sponsoring institution, the new website is a valuable resource for anyone visiting Chicago and looking to catch some of the action.

The FoM's website highlights a number of exhibits that are currently up and running, including the recently updated "Capital of the 19th Century: Paris in Maps" mini-exhibit (the first part was profiled here last month), and the "Grammar of Landscape" exhibit at the Illinois State Museum's Chicago gallery, among others. The FoM also has a new logo, and the Where/FoM logo (seen above) has been modified to reflect that.

This weekend will see the opening of the Chicago History Museum's "Mapping Chicago: The Past and the Possible", so keep your eyes peeled for a forthcoming Whereview. (Look, ma, it's a portmanteau!) Where will continue to cover the mappy action as it unfolds, so do check back from time to time to see what's doin' in Chicago.


Links:
Festival of Maps

Capital of the 19th Century: Paris in Maps (AI Chicago)

Grammar of Landscape (IL State Museum - Chicago Gallery)

Mapping Chicago: The Past and the Possible (Chicago History Museum)

The Festival of Maps is Coming

"All maps are good, but they are all different."

Tonight's opening quote comes from Vladimiro Valerio, a Venitian historian, and was pulled from a fantastic little article over at the International Herald-Tribune on the politics of globe- and map-making. It serves, I think, as an excellent introduction to the first of a series of posts that will cover the upcoming Festival of Maps in Chicago.

The FoM is described on its website as "a citywide celebration of humanity's greatest discoveries and the maps that record our boldest explorations." Dozens of museums, galleries, universities, and other cultural institutions across the Chicagoland area will host special exhibits of maps from and of all periods and places. And Where is going to blog it all. Well...most of it, anyway.

Keep your eyes peeled in the coming months for the image at the top of this post, as it will mark all FoM-related posts. Things will get especially interesting in early November when the event officially kicks off, but a handfull of exhibits are jumping the gun and starting early. The earliest opened this past Tuesday at the Art Institute of Chicago.

The first of a two-part series (the second will begin near the end of September), the AI's exhibit is entitled "The Capital of the 19th Century: Paris in Maps." It's a small, no-frills collection of maps of the French capital at the height of its prominence (aka "the long nineteenth century") housed in eight glass cases in the museum's Ryerson Library. It's a simple, quiet start to what looks to be a very grand Festival...and that's about all there is to say.

If you go, don't miss the small exhibit on LA-based digital architecture troupe Xefirotarch, which runs through October 28th (all of the dates in this post are, of course, for 2007). Their daring, sinuous, and quite frankly frightening designs are some of the most innovative I've seen in years. Even if you don't like the architecture, you'll marvel at the fact that the models don't collapse.

That's all for now. Remember, keep an eye out for the Where/FoM logo in the future, and make your travel plans now...this is going to be the cartogeek party of the century.


Links:
In Mapmaking, Disputes Over Geography (via The Map Room)

Festival of Maps

The Capital of the 19th Century: Paris in Maps (Art Institute of Chicago)

Xefirotarch