In examining how he accomplishes this, largely from the springboard of the copious 406 lined school notebooks of which there are some more than 30,000 pages, at times there is the temptation to mimic his method by fracturing the field, separating out the elements that come into conflict, such as sound image text, or even their constituent bodily sources, and it is by such recourse that I isolate the treatment of the face and the voice at the end of this chapter to see better how they interact, meld, hover, disintegrate or invade other elements… Then find Jay has the following on page 207:Īrtaud’s last works are above all, an action, a setting of forces into motion. Rereading Jay Murphy’s book Artaud’s Metamorphosis and thinking about the 30,000 pages of notes Marx is said to have written in the last ten years of his life – and which are only slowly being released through the MEGA. Paperback in 2019 if you are not made of money. ‘Cartographic Abstraction in Contemporary Art: Seeing with maps’ is available for library recommendation at under £90 from Routledge. Cartographic Abstraction: A Material Modality of Thought and Experience Signification in the Soundscape: Bill Fontana’s ‘River Sounding’ĥ. Remote Viewing, Cartographic Abstraction and the Antipodes: Three Works by Layla CurtisĤ. The Drone’s Eye View: Networked Vision and Visibility in Works by James Bridle and Trevor Paglenģ. Reconfiguring the View From Nowhere: Collage and Complicity in ‘Targets’ by Joyce KozloffĢ. Intro – From Critical Cartography to Cartographic Abstraction: Rethinking the Production of Cartographic Viewing Through Contemporary Artworksġ. This research is positioned at the intersection of art theory, critical cartography and materialist philosophy. Reconfiguring the Foucauldian underpinning of critical cartography towards a materialist theory of abstraction, cartographic viewpoints are theorised as concrete abstractions. Reddleman closely engages with selected artworks (by contemporary artists such as Joyce Kozloff, Layla Curtis, and Bill Fontana) and theories in each chapter. In this book, Claire Reddleman introduces her theoretical innovation ‘cartographic abstraction’ – a material modality of thought and experience that is produced through cartographic techniques of depiction. The book is a development of my phd thesis, and so is most likely to be of interest for postgraduate students and researchers – but I think the material about the artworks will also be of interest for art students, artists and art-world professionals, and the theoretical ideas about cartographic abstraction will be of interest for people who work on real abstraction and Marxian-informed ways of thinking about art and visual culture”.
#Synonymia cartographica series#
These ways of seeing with maps are explored with close reference to a series of contemporary artworks, by Joyce Kozloff, James Bridle, Trevor Paglen, Layla Curtis and Bill Fontana.
“It’s all about different forms of cartographic viewing – including the ‘cartographic view from nowhere’, drone viewing, the Apollonian view (in which the earth is ‘seen’ from space), remote cartographic viewing (with particular reference to the antipodes) and an ‘immersive’ form of viewing cartographically from within an art installation. Claire Reddleman’s new book ‘Cartographic Abstraction in Contemporary Art: Seeing with maps’ is out now from Routledge Advances in Art and Visual Studies!
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