Mapping

Robert Storr

Author
Storr, Robert

Date

1994

Publisher
The Museum of Modern Art: Distributed
by H.N. Abrams

ISBN

0870701215, 0810961407

Exhibition URL
www.moma.org/calendar/exhibitions/436

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2017 The Museum of Modern Art

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 Mapping

Robert Storr

THE MUSEUM OF MODERN ART, NEW YORK

DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK
 (4 refuse
Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6—
tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture

The exhibition is supported by AT&TNEWART/NEWVISIONS.

Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established
with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder.

This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art.

Produced by the Department of Publications

The Museum of Modern Art, New York
Osa Brown, Director of Publications
Edited by Alexandra Bonfante-Warren
Designed by Jean Garrett
Production by Marc Sapir
Printed by Hull Printing
Bound by Mueller Trade Bindery

Copyright © 1994 by The Museum of Modern Art, New York

Certain illustrations are covered by claims to copyright cited in the Photograph Credits. All rights reserved
Library of Congress Catalog Card Number 94-077142
ISBN0-87070-121-5(The Museum of Modern Art)
ISBN0-8109-6140-7(Harry N. Abrams, Inc.)

Published by The Museum of Modern Art

11West 53Street
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Distributed in the United States and Canada by Harry N. Abrams, Inc., New York. A Times Mirror Company

Printed in the United States of America

Cover:Kim Jones. Untitled (detail). 1991.Pencil on paper, three parts, each 38 x 25", overall 38 x 6'3". Collection
of the artist

Inside front cover: Giant Terrazzo Map of New York State, Texaco Touring Center, New York State Pavilion,
1964 Worlds Fair, Flushing Meadow Park, Queens, New York. 130x 160'

Inside back cover: Rudolph Burckhardt. Giant TerrazzoMap of New YorkState,New YorkState Pavilion,Flushing
MeadowPark.1994. Gelatin-silver print

Photographcredits: The Museum of Modern Art, New York: photo: Kate Keller:Front cover,4, 7 ©1954,1965by
J. R. R. Tolkien, © renewed 1982 by Christopher R. Tolkien, Michael H. R. Tolkien, John F. R. Tolkien, and
Priscilla M. A. R. Tolkien. Reprinted by permission of Houghton Mifflin Company. All rights reserved, 11©1943
Turner Entertainment Co. All rights reserved, 30, 33,37, 41, 50; Kate Keller and Mali Olatunji: 42. Inside front
cover:©TexacoInc. Reprinted with permission from Texaco Inc. Courtesy of the Department of Library Services,
American Museum of Natural History, photo: Lenskjold: 6. Photo: Harry Shunk: 8. Photo: Testoni Studios,
Montevideo: 9. Courtesy of the Bibliotheque municipale, Grenoble: 12. Photo: David Allison: 25. Courtesy of
Thomas Cohn Arte Contemporanea: photo: Adam Reich: 28. Photo: Heinpeter Schreiber: 29 ©SPADEM.
Photo: Edie
Bressler:31.Photo: Fred Scruton: 32,39,43,49, 51.Photo: Sue Tallon Photography 35.Photo: Dean Beasom:40 ©1994
Board of Trustees, National Gallery of Art, Washington D.C. Courtesy of Sperone Westwater: 45. Courtesy of The
Lisson Gallery 47. Copyright Gilissen—
Estate Broodthaers: 53.Photo: Rudolph Burckhardt: Back cover.

..„yi The Museum of M ! Arf Library

 Contents

The Map Room: A Visitor's Guide

Robert Storr

Plates

Bibliography

Acknowledgments

Trustees
God's Work of the Third Day. Fromthe Nuremberg Chronicle. 1493
The Map Room: A Visitor's Guide

In a short text entitled "Of Exactitude in Science" (1933-34), the Argentine writer
Jorge Luis Borges relates the legend of an empire whose cartographers created a RobertStorr
map identical in size to the territories it described. Over time, it tattered and
crumbled, so that in the end nothing but giant scraps could be found scattered in
the desert, like the ruins of Ozymandias's domain. These remnants of the
unwieldy chart were the only surviving evidence of that empire's abandoned dream
of a perfect science of geography. Earlier on, Lewis Carroll, whose fanciful
writings Borges knew well, imagined much the same thing. In Sylvieand Bruno
(1889), Carroll's preposterous character Mein Herr boasts of a map made to the
scale of a mile to a mile, which, however, was never unfurled, because farmers com
plained that it would smother the land and block out the sun. Nevertheless, Mein
Herr concludes, the country itself does nearly as well as the map.
Such literal duplication of geography is a marvelous absurdity. Like the tale
told of Zeuxis, the Greek artist who painted a picture of a bunch of grapes so true
that birds came to pick at it, Borges's little fiction, which is also a fable of civiliza
tion's vainglory and decline, belongs to the lore of illusion, and to the special branch
of aesthetic literature that has long toyed with the possibility that at some magical
point the distinction between the real and its copy might cease to exist. Like
Carroll's vignette, moreover, it is a playful demonstration of a corollary law of
redundant representation, for when any macrocosmic surrogate reproduces its sub
ject in every detail it becomes useless. Borges's image thus teases the mind because
it contradicts the very premise upon which cartography is based. While paintings
may achieve an uncanny resemblance to the things in the world they depict, maps
of the world are by their very nature abstractions. The greater their scope and the
more particular their purposes, the more obviously the fact asserts itself.
The shape of our planet necessarily imposes this. Lrom any single place on Earth,
high or low, our perspective is limited by the surrounding horizon. When we pin
point any location on a globe, however large or small, we lose sight of what lies beyond
the ring that runs the globe's circumference ninety degrees from that spot in all direc
tions. Visually, the world is like the moon: the side we see casts the opposite side into
obscurity. Hemispheres are exclusive of one another. In that respect, the perceptual

5
 orientation of the world is similar to that of our bodies. Looking ahead, we ignore
what lies behind; always facing front, we are frustrated by our inability to scrutinize
the equal physical dimension at our back. Thus the woman or man trying to inspect
a mole too far down the shoulder, and the person chasing the setting sun are in much
the same position. The first needs a hand-mirror and, perhaps, the supplemental
reference of an Anatomy, the second a mirror in space and an Atlas.
The world is a whole of which we can only perceive the parts. An all-
encompassing view is mathematical or divine — or both. In the Nuremburg
Chronicle(1493), the hand of God summons forth the heavens and the Earth, and
their still-blank contours are represented by concentric circles. William Blake's
engraving God Creatingthe Universe( The AncientDays) (1794) depicts the radiantly
haloed Deity gauging the inchoate black emptiness below Him with widespread
calipers in hand. In the beginning, according to such symbolic descriptions, was
geometry. Geography is a more recent thing. Indeed, the methodical pursuit of
geographic accuracy signaled the dawning of the modern era, inasmuch as it
belongs to that epoch in which the learned began to assert their right and capaci
ty to correctly analyze Creation, and the venturesome began to exercise their claim
over every territory within the reach of ships and arms. In short, the sciences set
out to diagram God's Great Design, and, with His tacit permission, facilitate the
gradual transfer of practical power over worldly affairs to humans.
Paintings of the early modern era are replete with emblems of knowledge and
of European civilization's consequently growing dominion. Jan Vermeer's geogra
pher, better known as TheAstronomer(c. 1669), stares pensively out a window, his
hand balancing a compass over unrolled charts, while behind him a cradled globe
is visible next to a partially cropped map on the wall. In the ordinary light of a
cozy Dutch day he seems to be envisioning the Earth's huge expanse — or the
infinite darkness of the star-marked firmament used to reckon it. The French
ambassadors, in Hans Holbein the Younger's painting of that name,
from 1533,stand in front of a cabinet on which are jumbled a globe, a
celestial orb, a variety of geometric solids, measuring instruments,
and finally a lute and open music book, suggesting that science was
then closer to the arts than it is generally thought to be today.
So far, of course, I have referred only to the view from Europe.
Yet, some unspecified centuries before they were "discovered" by
European sailors, Melanesian and Polynesian navigators were criss
crossing the Pacific with the aid of elegantly latticed devices. Lengths
of wood indicating the direction and relative forces of tides, currents,
and prevailing winds were jointed with shells at the locations of major
islands and easily missed atolls. Being mindful of our pride in scien
tific precision, think of the paradox of scale and material these
stick-charts constitute, and consider their beautiful simplicity and
fragility against the crushing oceanic immensity they measure. What
Marshall
Island
seachart.Nineteenth
century.
Wood,shells, r •1 • 1 • 111 1 1 >•
°neSelf
e'th
tder andplan,«b„.37. MIT.tor,,,, .1fe Cpar.mnn, fa ^ °" WOuU haVe t0 haVChad ln ° t0 IaUnch ° int
ofLibrary
Services,
AmericanMuseumofNatural
History water with such a deceptively crude web-work as guide.

6
 Explorers' maps, meanwhile, followed the coastal contours of the known and
invented the interiors of the unknown. If the divine plan was complete but partially
hidden, it fell to mortals to find and fill in its furthermost regions. In certain ways,
however, the fascination of uncharted territories outweighed the satisfaction gained
from penetrating their enigmas. Extrapolated from antique astronomy as well as from
ancient and contemporary reports of travelers, the projections of the second-
century Alexandrian cartographer Ptolemy remained in use until the dawn of the
Renaissance, but recorded only those areas of the world that had been reached by
emissaries of Mediterranean culture. These maps nonetheless de-emphasized
Europe's centrality and splayed out the continents, leaving gaps or cropped land mass
es at the margins where knowledge or speculation stopped. Beyond these
limits Ptolemy's latitudinal and longitudinal lines continued briefly into the void,
curving links to the gridded template of the terrestrial sphere that had been theoret
ically proven to exist, even though its nature was as unfathomable to people of that
time as that of commingling quarks, supernovas, and black holes are to ours.
For generations to come, the existence of Terra incognita,Unknown Land, was
an irresistible lure. The vacancy surrounding Ptolemy's Mappamundi, and the
amorphous shapes that gradually crept into its Renaissance successors, took
wondrously specific form in the works of scholars, artists, poets, and mystics. To
their visions we owe the myth of Atlantis, for example, and, by the nineteenth
century, parts of the Book of Mormon. With Science steadily encroaching upon
Mystery, such hermetic realms become more precious. Enlightenment concen
trates obscurity and invests it with special meaning, as its diminishing zones
become the last wilderness preserve of the imagination. Prejudice may discolor
our dreams of alien peoples and places, but our spirits are terribly confined with
out the license to build castles in Spain.
As the unplotted world shrinks, there is ever less room for free D Agar Iad

geographic reverie, so we must concoct alternatives, and to this

task science fiction and fantasy literature are dedicated. For many
of my generation the thrall of J. R. R. Tolkien's allegories of
Middle Earth answered this need, and their success with childish
minds depended significantly on the decoratively detailed foldout
ov
maps contained in each volume of his trilogy, TheTord of theRings
(1954—55).Perusing them, I could track his heroes' course from the
safe haven of English-style fields and hamlets through labyrinthine
woods and treacherous mountains. As my eye traveled toward
Mordor, scene of Tolkien's Armageddon, it sometimes seemed as KHAN
if the temperature dropped and the page darkened, in accordance
with Tolkien's Manichaean notions and the tradition of moralized
cartography to which his renderings belong. Map
ofMiddle
Earth
(detail).
FromJ. R.R.Tolkien.
P
8 Though Ptolemy and scholars of the Mediterranean and Fertile Crescent had TheFellowsh|of the Rm 195455
long ago determined that the Earth was round, folk custom maintained otherwise.
The matter was compounded by the insistence of the Catholic Church that the world
was the center of the universe, which threw off astronomical calculations of the
 JasperJohns.Study for First Version of Map
planets rotations. The symbolism of theology and that of science were often at odds.
(Based on Buckminster Fuller's Dymaxion
Airocean World). 1967-71. Pastelon photostat,
Though Galileo affirmed that "the Book of nature is written in mathematical char
2416x S\Z". Collectionof DavidWhitney acters, his ecclesiastical inquisitors forced him to recant his heliocentric theories in
1616.Paradoxically, the empirical verification that the world was not flat after all came
from a man whose navigational skills were unexcelled but whose intellectual curiosi
ty was minimal, and whose intuitive conviction approached pure superstition. The
Wrong- Way Corrigan of his day, Christopher Columbus planned to reach the East
by sailing west, basing his quest on the biblical cosmologies of Paolo Toscanelli. To
his patrons, King Ferdinand and Queen Isabella of Spain, Columbus wrote: "In car
rying out this enterprise to the Indies, neither reason nor mathematics nor maps were
any use to me."
Columbus nevertheless valued maps sufficiently to make his own to describe
his voyages, and the questions he and his contemporaries raised in their attempts
to render the Earth's proportions have bedeviled cartographers ever since. In part,
these questions are intrinsic to the geometric problem of translating a sphere onto
the flat surface of a chart, as if one were peeling an orange and spreading out its
rind. Distortions are inevitable in this process, as Gerardus Mercators solution
shows. The greatest geographer of the Age of Exploration, his model has come
down to us in much the same way that Ptolemy's was passed along to him — as an
inspired but flawed paradigm. Mercators projection was the first to show the
world at a glance without excisions or sheer make-believe. So doing, however, he
enlarged the areas to the north of the equator, relative to those to the south.
Consequently, Europe, Central Asia, and North America dominated the picture,
while Africa, Latin America, and the Asian subcontinents appeared as appendages.

8
 The inherent bias of such a representation is obvious, but it suited the self-image
of Europeans and North Americans so well that it was not until our century that
fundamental revisions were made. One alternative, first published in 1974, is the Peters
map, which corrects the relative scale of the southernmost regions by uniformly elon
gating the standard geographic grid. Buckminster Fullers somewhat earlier
Dymaxion Airocean World map (1943) takes a more radical approach. Rather than
stretch a sphere over a rectangle and try to adjust it to so incongruous a format, Fuller
split the Earth's curves into triangular facets and laid them out like a collapsed poly
hedron. The end product is less hierarchical than even the Peters map, and more
clearly describes the contiguity of territories that usually appear as blocks and
columns of land divided by oceans.
Fuller's design upsets deeply ingrained habits of orientation: whether to map
or globe, we are accustomed to applying anthropomorphic coordinates. Whatever
other reference points might define the Earth's position in space, for humans held
tight to its whirling shell, the North Pole is up and the South Pole is down. The
positive and negative connotations of these terms are commonplace. In response,
the Uruguayan modernist painter Joaquin Torres-Garcia drew an "inverted" map
of Latin America, whose pinnacle was the Western Hemisphere's stormy no-man's-
land, Tierra del Fuego. When Torres-Garcia named his Constructivist academy the
School of the South, he was effectively turning his back on the North in an act of
proud defiance. At the same time, Borges, a modernist of an altogether different
sort, held dear the primitivist southern mystique. In a story titled "The South"
(1953),he explains that the frontier of this archetypal region passes through the city
of Buenos Aires: "Every Argentine knows that the South begins at the other side
E cvaZo
of Rivadavia. Dahlman was in the habit of saying that this was no mere conven
tion, that whoever crosses this street enters a more ancient and sterner world."
Meanwhile, from what vantage do we speak of the Far East and Far West? And
Joaquin
Torres-Garcia.
Inverted Map of South Ame
what of their more exotic and culturally encoded names? The terms 1943.Chinaink on paper,SVix 5!3".Collection
of the
"the Levant" and "the Orient" both derive their literal meaning from the image of Fundacion
Torres-Garcia,
Montevideo
the rising sun, and have long epitomized mystery. At the opposite extreme, "the
Occident" denotes the quarter of the sky in which the sun sets. For right-wing
anarchists in contemporary France who have revived this archaic usage as the name
for their chauvinistic crusade, its doomsday Spenglerian symbolism should be iron
ically clear. However, the sun goes down in the West, and were it not to appear
again in what they consider the benighted East there would be eternal darkness.
These basic tropes are the inspiration and heritage of Empire. The conqueror
divides the spoils; when that means land, the nature of the lines drawn may be ratio
nal or accidental. The most regular divisions (but often the most illogical) are laid
down by the closeted surveyor's pen and ruler. Thus, the acreage of great plantations
are squared off on paper, and ink roads cut into and across the terrain. The most
irregular divisions usually follow topographical features readily discernible in situ: a
mountainous wall, the sweep of an escarpment, a meandering riverbed. Or the line
may link an army's most remote outposts. In a similar fashion to that of the immense
imperial map described by Borges, the Great Wall of China was a fortified line
separating civilization from the barbarians, and, like its imaginary counterpart, it
failed. Once hegemony weakens, an empire may undergo repartitioning or complete
breakup. If, as Karl Marx and others have argued, the history of the world is the his
tory of struggle, then mapmakers are among its chief chroniclers.
The myriad shapes that lock together in maps like pieces in a jigsaw
puzzle have myriad reasons for being. The majority are painful. It is in the nature
of boundaries to be contested, and, from the impersonal distance of a globe spin
ning under the poised finger of a warlord, the carving-up of territory resembles a
kind of megalomaniacal sculpture. The cause in whose honor this power is claimed
is usually the full possession or repossession of a homeland. The nationalist equa
tion of blood and soil has roused generation upon generation over virtually every
inch of the world, to literally transfuse the earth. Now that infrared satellite pho
tography records the planet's crust with minute accuracy, locating subterranean
water and minerals, it may someday soon be capable of comparing the sanguinat-
ed mud of one region with that of another, and tell us which of all systems and
peoples have paid the most efficient price for their supremacy.
Where the insignia of power change frequently as power changes hands vio
lently, the relative stability of a states borders may give solace to its population.
Hence, the Brazilian curator and critic Paulo Herkenhoff argues, Latin Americans
generally identify more strongly with maps than with flags. Subtle or not-so-subtle
friction at the frontiers is, conversely, cause for alarm. Expansion and containment
are the yin and yang of modern geopolitics. The cordonsanitaire,or protective barri
er of alliances set up around Germany after the First World War, and the garrisoned
Iron Curtain setting the Communist East apart from the Capitalist West following
the Second, marked the separation of these inherently antagonistic and reciprocal
ly defined forces. Conservative governments generally tend to their own business
within their self-designated limits, Henry Kissinger asserted in his study of
Napoleons diplomatic adversary, Prince Metternich, while revolutionary govern
ments are under constant pressure to overrun theirs. The peaceful dream of a world
without divisions and therefore without tensions is just as likely to become a night
mare. Several years ago I was guided through the wood-paneled offices of a derelict
film studio. Opposite what had been the movie mogul's art deco desk was a mural
map of the world, with the reassuringly prosaic graphic appeal of my elementary-
school geography text. There was something subliminally troubling about it,
however, and a long hard look was required before I realized that absent from it was
any demarcation of the principal countries of Europe, which were tinted an overall
faded scarlet. Only then did I check the date, which was 1943.
That was the year Casablancapremiered. The film opens to the image of a
turning clay globe suspended in cottony sky. As the cinematographer
closes in on France, he cuts to double-exposed images of heavily burdened civilians
on the road and tramp steamers at sea, superimposed on a scrolling map of the
route from Paris to North Africa. The spatial poetics of this sequence are com
plex. The animated line that charts the exodus moves more rapidly than the
slogging pace of the refugees, while the theater audience's perspective is that of
someone securely aloft in an aircraft. In this wartime context, the
dialectics of near and far, fast and slow, had a special poignancy.
Fear of entrapment and endangered stasis or of the horrible
advance of or against military odds haunted the geographic imag
ination. Using the corniest of devices— bird's-eye views of
rotating planets were a favorite motif of post-Lindbergh Holly
wood — Casablanca'sdirector, Michael Curtiz, mapped by stages
the emotional distance his public craved. Levitated by an airborne
camera, and freely crossing battle lines with an impunity
unknown in reality, they vicariously felt the exhilaration of flight.
The largely useless maps in contemporary airline
magazines, with their bursting, firecracker-like transit networks,
faintly recall this thrill. However, technology and its now-
routine benefits have irrevocably altered the experience of air
travel. With good reason, the newest generation of planes are
called Airbuses, and they have all the charm of gravity-defying
Greyhound or Trailways coaches. Though sleeker models like
the Concorde may conveniently shave hours off a trip, they can
not restore the magic of Casablanca'ssimultaneous images of
encumbered and unencumbered movement over and above land.
Which is why, in his 1984 action extravaganza, Indiana Jones and
the Templeof Doom, Steven Spielberg quotes the 1930s and 1940s
cinematic representations of barrier-hopping, dot-connecting
planes flying across scenery nations.
UnitedStates.
Casablanca. Michael
Curtiz.1943.Courtesy
of
Descent from upper altitudes entails an accelerating transition from macro- to TurnerEntertainment
Co.
microcosm. Continent telescopes into country, country into region, region into
city, city into street, street into building, and building into a single window
through which we may catch a brief downward glimpse of intimate spaces like
those where we will finally come to rest at the end of the journey. At each suc
cessive level our sense of belonging or alienation shifts, and increases, depending
upon the circumstances that await us and our natural disposition. Spiraling to a
landing or zeroing in on ever more detailed charts, agoraphobia — the fear of
yawning vastness — and claustrophobia — the fear of confinement — reverse their
polar holds on the imagination. By the same token, maps may comfort the shut-
in and the shut-out. If, on the one hand, you are grounded by obligation, lack of
money, or official constraint, the minuscule maps at the back of a common
appointment book can open the doors to dream-travel. If, on the other hand,
you find yourself in a foreign place on the road to nowhere, or stuck in a purga
torial way-station, a pocket atlas is of more than practical use: it is full of
compact mantras, each of which concentrates your thoughts on the possibility
of being somewhere.
The homing drive is basic to humans, however disquieting or impermanent
one's domestic reality may be. Restlessness is that drive's twin. We owe the liter
ature of self-exile and rueful nostalgia to the subtle slippage from wanderlust to
 transience and deracination, though true nomads hew to their regular routes and
at every stop recreate the hearth. For Americans perpetually suspended between
arrival and departure, Thomas Wolfe stated the case with finality in the still-
memorable title of his now little-read novel YouCan't Go Home Again (1940). The
urge persists, nevertheless, and can be partially satisfied by the symbolical evoca
tion of one's native ground and forays from it. Stendhal annotated the manuscript
of his pseudonymous memoirs The Life of Henry Brulard, written in 1836, with
dozens of detailed maps of places dear to him in his youth, as well as of the sites
of his accomplishments as a man of the world.
Like the Renaissance game of imagining a building in whose rooms memo
ries are parked, then summoned forth one by one like compliant houseguests,
Stendhal's systematic mapping was a mnemonic device, allowing the patient
reconstruction of a busy and far-flung existence around stable geographic and
architectural recollections. The graphic results of the disciplined remembering
scattered in his book's margins put space at the service of time, with each frag
ment describing the scene along the way of the author's autobiographical
trajectory. Few people could match Stendhal's feat, or piece together a coherent
map of the whole of their lives from the parts they could successfully recall. In
this respect our fate may be similar to that of the disoriented tourist who asked
the farmer which way he should go to reach his destination, only to be told,
"Come to think of it, you can't get there from here."
The habit of translating mental or moral circumstances into situational terms
is common. Consequently, we say of anyone who has mistaken their vocation,
fallen prey to vice, or otherwise succumbed to some inner confusion, that they have
Stendhal
(Marie-Henri
Beyle).
Drawings
fromThe Lifeof
lost their way" or "come to a dead end." Giving advice to those in such unfortu
HenryBrulard.1835-36.Courtesy
of theBibliotheque
municipale,
Grenoble nate positions means giving directions, pointing the way out or the way ahead. The
source of error is usually instinct or emotion, where reason, it is thought, is the com
pass of the passions. This idea was taken to its most refined extreme in the
seventeenth-century salons of Paris, where, on the frontispiece to her novel Clelia
(1654—60),Madeleine de Scudery introduced what she called "La eartede Lendre,"or
The Map of Tenderness,an orderly overview of desire's disorderly realm. Beautifully
engraved in the manner of the period, and complete with a scale of distances cali
brated in "leagues of friendship," it charts the gamut of romantic sentiments from
the Sea of Intimacy to the Lake of Indifference. Between these, on a plain bisected
by the River of Inclination, are dispersed such hamlets as Little Courtesies, Indis
cretion, Perfidy, Pride, Forgetfulness, Cruelty, Compliance, and Submission.
Transfixed by this didactic and wonderfully precious conceit, the highborn literati
of the day would plot the course of their current affairs and contemplate their
amorous opportunities, like people at a party gathering round a Ouija board or a
siege of Monopoly. Indeed, La carte de Lendreis among the prototypes of modern
board games, which, like the matrices of chess or go, are laid out as territories around
or through which contestants must progress in order to win.
Poised over their preferred field of action like competing Titans, board-game
players share in the rare sensation of omniscience and omnipotence that the

12
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Frontispiece
The Map of Tenderness. to Madeleine
deScudery,
Clelia,an ExcellentNew Romance.English
editionpublished
in London,
1678.Courtesy
of theGeneral
Research
Division;
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NewYorkPublicLibrary;
Astor,Lenox
andTildenFoundations

map-obsessed relish, as their gaze wanders the quadrants of the diagramed world.
Maps give men and women the power of gods and captains, but their attraction to
artists is somewhat different. For though a painter or sculptor may also enjoy that
feeling of universal mastery, the particular opportunities maps provide visual
artists — and their special appeal to modern sensibilities — result from their being
the ultimate pictorial coincidence of exacting representation and total abstraction.
Between the demands implicit in these two ways of seeing, and the alterna
tively depictive and schematic conventions developed to fulfill them, is spread a
panorama of formal and metaphoric options. In any one period, some preoccu
py artists more than others, and for reasons that, so far as they can be ascertained,
tell us useful things about the larger preoccupations of the culture. For a time, in
the years after the Second World War, artists generally leaned away from carto
graphic symbolism and toward a more disinterested investigation into maps as
found visual objects. In their hands, geographic enclosure ceased to signify iden
tity, but instead offered a means of isolating one section of the whole in order to
focus on its essentially arbitrary or cryptic configuration. Conversely, they would
take the well-known silhouette of a country or region and erase all or part of its
 boundaries, leaving behind a partially or entirely non-objective image. In the
1960s and 1970s, maps were widely used by conceptualists and others intent on
analyzing and undoing the scientific and linguistic systems normally relied upon
to describe reality. Site-specific sculptors often included maps in drawings and
project proposals, fully appreciating their decorative effect, but insofar as they
used them instrumentally, as architects or engineers do, theirs is a case apart.
More relevant are those artists who saw maps as the site of their speculations and
proceeded to revise or reshape them according to unusual but revelatory criteria.
In recent years, maps have once again begun to be examined as problematic social
and political emblems, where every exaggeration or distortion of the norm is
understood to be a calculated semiotic disturbance of the officially delineated
world order. Such disturbances may occur only in the brain of the beholder, but
their proportions can be whimsically or angrily seismic. And finally, throughout
the history of contemporary art, there have been those who have looked to maps
for personal, lyrical motives, gently altering this detail or that to mark the pas
sage of their unregimented spirit.
Given its quantity and diversity, no single exhibition could adequately cov
er the full range of such material, nor delve into all the nuanced distinctions that
exist between one example and another. In fact, no two or three exhibitions could
exhaust the possibilities — still further indication of the widespread fascination
maps have had for artists of our day. By design, this exhibition is small and
disjunctive. It emerged out of an association of images, and is intended to stim
ulate similarly associative thinking in those who see it. The method of selection
was curiosity, the presentational structure is that of an anthology, which, to
return to the starting point of this introduction, was among Borges's favorite lit
erary forms. Anthologies are sometimes looked down upon as the least
disciplined of intellectual collections, since they are generally unified by indi
vidual taste rather than by a sustained thesis. Borges knew that they serve a
subtler purpose, since, unlike more rigorous compilations, they permit the read
er to skip around without any obligation to follow the author or editor's
governing thought. Free in that fashion to follow their own inclinations, the
reader draws mental and spiritual sustenance wherever he or she comes to rest,
and is reminded of the axiomatic truth that in imaginative pursuits what counts
is not the destination but the journey. In the process, they may divine previous
ly unforeseen correspondences and patterns linking superficially dissimilar
things, and so exercise faculties unreached by predetermined modes of inquiry.
This sampler is likewise intended to provide food for thought, but, above all, aes
thetic pleasures of various intensities and kinds. What follows are brief
commentaries on the artists and works chosen for the occasion,* they will, it is
hoped, smooth the way to such enjoyment without depriving the viewer of the
chance to see things differently.
Geography was at the heart of Italian artist Alighieroe Boetti's problem of imagining anything so big and, in its way,so abstract
personal and aesthetic concerns. Something of a vagabond, as this nation. In Studyfor Tirst Version
of Map (Basedon Buckminster
Boetti traveled to Afghanistan in 1970 and there made contact Tuller's Dymaxion AiroceanWorld)(p. 8), the only preliminary
with local artisans, whom he commissioned to execute his con sketch for the full-scale painting commissioned for Expo '67 in
ceptual designs in embroidered fabrics. Among the works Montreal (Museum Ludwig, Cologne), Johns gesturally
produced in this manner were a series of small, square panels unlocks and loosens the integrated world map conceived by
with block-letter images, and a large text-and-textile piece, Buckminster Fuller. Over the photostat ground of Fuller's
Tapestryof the ThousandLongestRivers of the World (1971—79, diagram, Johns's deft marks and cancellations are a graceful
The Museum of Modern Art, New York). On one level, the demur to his friend's global idealism. If nothing is self-evident,
piece is a straightforward geographic index, or gazetteer, on and the center will not hold, the consequences, in Johns's hands,
another it is a spatial fantasia in words. Boetti's maps, which vary are not catastrophe but a dissociative artistic freedom.
in size but are consistent in layout, are also catalogues of a sort.
Surrounded by a uniform oceanic blue background are spread At its most basic, the blank map of a territory is an empty
silhouetted continents, each of which is divided into its compo frame. Like a portrait silhouette, its vacant contour creates a
nent countries, represented by flags cropped to fit their space into whose externally distinctive but internally dimen-
boundaries. Graphically, these maps are activated by the stress sionless features we may project our ideas about the nature of
between the flags' alternately implosive and explosivedesigns and something still dimly perceived by us. But how does one repre
the breadth or density of the particular territories they stand for. sent a "somewhere" that can never be fully comprehended, or
(Conflating the two primary ways of representing the nation- whose specified parts cannot be made into a whole? What form
state, its emblem and its contour, Boetti combined the devices does formlessness take in this context, what frame does mys
separately dealt with by Jasper Johns in his map and flag works.) tery require if it is to continue being mysterious? Terraincognita
Resorting to tourist-trade craft, Boetti thus created philosophi is Latin for "Unknown Land," but how might one depict
cal souvenirs of global consolidation and countervailing Unknowable Land? In Africa, India, and Japao, all of 1972,
nationalist separatism. Results of that dynamic already date WaltercioCaldashas found the solution. A resident of Rio de
them: the red banner of the Soviet Union no longer extends from Janeiro, itself once a series of coastal tucks in the outline of the
Europe to Asia, and not a few small countries have fractured into New World enigma, Caldas has turned his attention eastward
yet smaller entities. Mappadelmondo(1989) is also, in retrospect, a to countries and continents whose names are familiar but
memento mori.The last of the series, and unique among them, its whose distant reality may still elude the imaginative grasp of
background is black instead of blue. In 1994, five years after its Europeans and Americans. Quoting the French-ruled margins
completion, Boetti died of cancer. and elegant lettering of classical cartography, Caldas has set up
an insoluble game of connect-the-dots. The result is a scatter
JasperJohnspaints against givens. In his map, as in his flag and ing of reference points that, in failing to constitute a legible
target paintings of the mid-1950s to the mid-1960s, shapes map, strikingly renders the incomplete profile of that aspect of
generally taken for granted assume a mesmerizing instability. all places, East or West, that remains intangibly and insur
What balanced design or clear delineation does in the proto mountably foreign to people from everywhere.
type, repeated or abbreviated brushstrokes undo in Johns's
version. Divisions that clarify iconic form are thus contradicted The maps of Californian GregColsonderive their character from
or subdivided in ways that shift or shatter the image's outline the aesthetic convergence of the strip and the scrap. The strip is
and open the nested spaces it contains. The visual and lexical the dominant axis of the U.S. car-dependent metropolis, and
wonderment resulting from this transformational slippage should be used as a collective rather than a singular noun, since
depends upon the painterly tact with which it was done; Johns the more they mushroom outward, the more intricately our cities
teases but never mocks symbolic convention. The churning are criss-crossed by such matrices. Main Street is a memory, mon
overcast grays and mottled hues he employs in Map (1963) give strously parodied by these commercial arteries that circulate the
that painting a muffled friction and create a picture of a moody population through what science-fiction writer William Gibson
and tenuously United States that seems to have less to do with has aptly christened "The Sprawl." The scrap is the antithesis of
the linguists' game of relating concepts to signs than with the the strip: it is an absolutely particular thing, the discard people

15
 traveling and consuming at high speed have no further use for. A member of the anarchic Fluxus confederation, as well as a
The scavenging artist might, however, discover that it perfectly close associate of Pop artists like his countryman Claes
fulfills a function in some evolving image. In an ongoing suite of Oldenburg, Oyvind Fahlstrom was a consummate draftsman, col-
urban plans — think of them as coastal annexes to the oceanic lagist, and performer. As the political climate in the United
stick charts of the Pacific Islanders — Colson has resca led the States turned threatening in the 1960s, with this nations deep
expanse of the West Coast cities he knows to the specific quality ening commitment to a brutally unwinnable war in Southeast
of the materials he selects. When his map of Portland (1992) opens Asia, Fahlstrom s once- whimsical involvement with caricature
to the suburbs along the oblique road that cuts north from its and composite images turned toward other, angrier, but still
center, where it meets another peripheral highway, that trajectory humorous ends. Close in mood to the spirited rudeness of R.
is described by an ordinary length of metal tubing, while the Crumbs Zap Comix, Fahlstrom's graphic analysis of the
older sections of town are laid out in intersecting, sometimes cal geopolitics of First World intervention in the Third World put
ibrated wooden segments. An abstract composition in the spirit the medium to didactic purposes the Haight-Ashbury "head"
of Ellsworth Kelly's Fields on a Map (Meschers,Gironde) (p. 41), culture never attempted. Mixing a school-primer sensibility —
a relief reminiscent of Russian Constructivism of the twenties, picture this (coveted) resource, picture that (no-goodnik)
and a homely object in the tradition of vernacular American entrepreneur — with a New Left but nonsectarian disgust with
assemblage, Colsons Portland is an engagingly makeshift template the American Dream gone sour, Lahlstrom used the graphic
of a streamlined world.
obviousness of the comics to spell out the obvious but
artfully obscured falsehoods of governmental rhetoric and
Like many of her South American contemporaries, the Brazilian patriotic bluster. Board games were another paradigm. Replac
painter Adriana Varejao views the past with a keen but unsenti ing the rainbow brightness of the commercial product with acid
mental interest. After incorporating the religious iconography of blues, greens, and ochers, Fahlstrom invented his own to show
Conquest-era Catholicism into her earliest paintings, then that Monopoly was played on a worldwide scale — and for real
juxtaposing Chinoiserie patterns and Latin American Baroque and for keeps. Garden (A WorldModel) (1973) is a variant on these
styles in her slightly later works, to symbolize the links between cartoon polemics. Drawn and lettered over the abstract leaves of
colonized lands, Varejao has begun looking at old maps. The the plants in his hothouse Eden are the hard political facts of
artist s unusual handling of pigments is the material complement life in the last quarter of this century: pollution, nuclear energy,
to this pictorial preoccupation. At first she painted in thick, exploding population, and the economics of development and
stucco-like layers, occasionally interrupted by even heavier underdevelopment. Not strictly speaking a map, but rather an
mounds or welts of molded oil color. More recently, Varejao eccentric flow chart of international relations, Lahlstrom s mod
imitated the ceramic craquele of Chinese export porcelain by el forms a symbolic archipelago of power and its contingencies.
slathering her canvases with a glue-and-plaster compound that
when dry would fracture and cup like dried mud. In Mapa de Lopo To appreciate the self-effacing humor of Jan Dibbets's panora
Homem (1992), the building-up of the surface initially looks like mas and site-related works, one must begin with the virtually
a partial rendering of the Earths volumes, but the massing of undifferentiated flatness of his native Holland. When, for
semisoft pigment and the Assuring of the paint skin also resem example, Dibbets manipulated perspective curves as armatures
ble swollen, gashed, and punctured flesh, a reading made more for laying out sequential landscape photographs and called
explicit by the blood-red seepage inside the gouges, and the the bowed and bumpy horizon that resulted Dutch Mountains,
threads that partially suture one of them. What the cause or who the joke was that Holland has no mountains. Moreover, like the
the author of these traumas may be we are not told, though Paulo mathematically structured "terrain" he created for the under
Herkenhoff informs us, in his discussion of Varejao s work, that pinnings of his images, a very large proportion of the country's
the cartographer Lopo Homem tried in 1519 to show the terri actual territory is landfill, or what one might call "invented
torial unity of the continents, converging in the south, so as to geography." The one advantage of The Netherlands' planarity
justify the biblical story of Adam and Eve as the progenitors of is that one needn't calculate distances "as the crow flies"
all humankind. In any case, if the world is indeed the living hypothetically. It is enough to get in a car and drive the straight
organism that Varejao paints, then permanent scarring is the away yourself, which is what Dibbets did to make The Sound of
inevitable consequence of such wounds. 2j Km., Holland (1969). His flat-out course is duly noted as a

16
perfectly straight line on a road map, its orientation with the the cumulative image created by the 18,089 dots in six colors is
country is similarly presented in another chart, and the high an open maze. Representing the exact number of steps taken in
way's perspectival vanishing point is recorded in a snapshot. the course of six separate walking trips, the dots are strewn
With the hum of a motor in the background periodically punc around the page with no beginning or end points indicated,
tuated by the artists deadpan countdown of the elapsed making it as impossible to retrace Fulton's course as if each
kilometers, the accompanying tape tells the story most vividly. imprint had been made in trampled grass or windblown sand.
What this audio map of a certain space covered at a certain A map that disorients rather than orients the viewer, it is also
speed at a certain time reproduces is the sound of distance. a picture of directional entropy, and a metaphorical portrait of
the inveterate rambler.
Like a chunk of the Earth's crust trimmed by a cookie-cutter,
Heide Fasnacht'sfloor piece, My City WasGone(1991—92),is a As their name implies, the Situationists as a group were acutely
stratified amalgam of geological sediments rendered in wood, attuned to the vagaries of circumstance. Poetically and political
cloth, and cotton batting. The blanket that covers them all is a ly, their aim was to disrupt the normal routines of life in
domestic substitute for an earthen mantle, its plaid pattern a capitalist society. Members of a literary, artistic, and activist
surrogate for the longitudinal and latitudinal coordinates that movement whose publications and provocations had a significant
locate the places within its borders and align it with the larger impact on the Parisian student strikes of May 1968, the Situa
world beyond. If home is where the heart is— particularly in tionists drew their inspiration from old Dadaesque strategies as
the reassuring Midwestern myth of which Dorothy of Kansas well as contemporary Leftist ideologies. GuyDebord.the princi
and Oz is the muse— then Fasnacht's map conspicuously lacks pal theorist of the group and the author of its influential
such a core. Instead, a steel-collared hole encircles the magnet manifesto, Societyof theSpectacle
(first published in French in 1967),
ic center to which prodigal daughters and sons of this unnamed was also the creator of its distinctive "psychogeographic" guides
province are supposed to return. Indeed, you would have to to Paris, of which Discourssur lespassionsde I'amour(1957) is one.
have come from there or know your geography very well to Modeled in part on La cartedeTendre(p. 13),while at the same time
recognize which state Fasnacht has chosen to represent. It is evoking the nineteenth-century figure of the flaneur,or idle urban
Ohio, and the missing city is Cleveland. But we are dealing with wanderer, celebrated by poet Charles Baudelaire, as well as the
an archetype in which all the comforts of home, blanket and stark Romanticism of the American film noir classic NakedCity
bed included, are simultaneously promised and revoked. And (1957),Debord based his map on the notion of derive,or drifting.
this leaves us with a mixture of longing and renunciation In preparation, he would lose himself in Paris, turning down this
like that felt by those who can't wait to get out — only to street or that alleyway out of desire or curiosity. Then, cutting
discover that once they have, they can't get back. up a standard French tourist map, he pieced together the sections
of the city he had explored, creating a narrative labyrinth, and
Like his friend Richard Long (see p. 50), HamishFultonis an identified zones of consciousness that symbolically undid the
explorer, in an age when all that remains to be discovered are rigid social organization of the modern metropolis. By recon
the spaces between the places that are known. And, like Long, figuring its plan so that a wrong turn is inherently a right turn,
he belongs to a long tradition of walkers who traverse the Debord saw to it that emotion and inclination displaced utili
British Isles and the remoter corners of the world in search of tarian reason, thus returning the mysteries of Paris to its
the picturesque. In previous generations such men and women convoluted streets.
would have brought back detailed journals and watercolors
describing the scenes of their travels. An artist of his own era To many who watched the bubbly toasts atop the Berlin Wall
and of an indefatigably empiricist type, Fulton ranges the coun five years ago, the reunification of Germany seemed almost
tryside, documenting his excursions with terse texts, elegantly surreal, if not worrisome. One former native of the city
schematic drawings, and plain but evocative photographs. The remarked, "It's wonderful when we drink champagne, but
meticulousness Fulton brings to this general endeavor he has beware when we drink beer." In light of the difficult adapta
also sustained in Counting18,089Dots (1993), but its application tion of East Germany to West, a formerly Communist society
differs in emphasis. Where the usual effect of Fulton's descrip to a booming capitalist one, Luciano Fabro's La Germania
tive systems is to give a distinct sense of place, in this instance (Germany) (1984) now seems as much a premonition of the

17
 troubled time ahead for that country as a comment on its pre In mounding clouds we may see gargantuan faces, in lines of a
vious division. Each component of this installation triggers cracked ceiling we may envision dramatic scenes, in the shape
multiple associations: the sandbags at the sculpture's base and of landmasses on a map we may make out a boot, a buffalo, or
fulcrum suggest both heavy industry and street barricades, a bearded man. In Three Attempts to Understand van Gogh's Ear in
much as the leaning lamppost with its livid light suggests the Terms of the Map of Africa (1987), David Ireland plays this divert-
alienating landscape of the big city or the Autobahn, along
ame
n£ * g of pseudomorphism backward and forward, finding
with the violent toppling of such beacons during accidents or analogous forms in otherwise incommensurable objects. A for
urban violence. Torch-cut out of plates of heavy-gauge steel, mer big-game tracker in Africa, he presents, by sleight of hand,
the bifurcated map of Germany similarly evokes the modern a map of the continent that is actually the preserved ear of an
industrial state. The disposition of the two separate sections elephant, and proposes it as the key to comprehending one of
of this map lend the piece its special irony. Bolted together and modern arts great unsolved secrets, the meaning of van Gogh's
spread like the clamps of a crude vise, the shapes of East and self-mutilation. The equation is, of course, nonsensical, but,
West seem poised to fall into complementary place as soon as patient in his illogical pursuit, Ireland created a suite of three
the joint holding them apart is loosened. That, however, is not bent-wire sculptures of what might be the artist's severed ear or
to be. Fabro has flipped the plate representing East might be variants on that of the pachyderm. But what has one
Germany — Berlin being represented by a hole formally got to do with the other, and what has Africa to do with frus
belonging to neither solid half — so that the edge describing trated creativity? Except, perhaps, that it was there that Ireland
the frontier it shared with West Germany no longer matches went during the long hiatus between the end of his early stu
up. Using brute weight, harsh light, and strained sculptural dio education and the late-blooming beginning of his career as
balance, Fabro has made a massive and radically simplified a conceptual artist. The point is that we will never understand
jigsaw puzzle whose pieces cannot be dovetailed, and a geo van Gogh's ear in terms of a map of Africa, or in any other
graphic Humpty-Dumpty that quite ominously can never be terms, but our sometimes rigid minds can be beneficially bent
put back together again. in the attempt.

The emblematic forms of Jasper Johns s earliest paintings were War is the bellicose caprice of boys and the dread memory of
selected because they were readily recognizable and easily damaged men. At the purest level of us-against-them, the field
legible — "things," he explained, "the mind already knows." of play and the field of battle are different only in the way one
Johns s favorites, the American flag and the map of the keeps score. Unlike truly mortal conflicts, however, the mock
United States (see p. 24), should be so indelibly impressed in slaughters children stage, and the psychic accounts they settle on
any schoolchild's mind that nothing could disturb their cohe carpets, in sandlots, or on paper, cost only in the renewable
sive form. That the actual geographic memories of American resource of juvenile aggressive fantasy. In 1958, at the age of
teenagers should be less than perfect but also wonderfully thirteen, Kim Jones devised his own private version of the rules
improvisatory indicates not so much the decline of public edu of engagement, dividing his imaginary forces into two armies,
cation as the unreliability of visual recall (upon which Johns's the Dot Men and the X Men. He set them against each other
art was predicated). Kim Dingle's map paintings take eccentric with tanks and artillery, in protracted wars fought around intri
shape around this experimental premise. United Shapes of cately designed fortresses, and over terraced and barricaded
America III (Maps of the U.S.Drawn by Las VegasTeenagers
i) (1994 ) is terrain. After military service in Viet Nam (1967-68) and the
based on outline drawings of the United States done at the resumption of his pre-enlistment artistic life, Jones returned to
artist s request. Dingle culled from this graphic poll an archive the game. Originally, he didnt think of the amusement as art,
of misrepresentations, from which she then creates her own but rather as a kind of primitive pinball machine. Thus,
metamorphic charts. Irregularly ranked, like rocks in a although well known in his performance persona, Mud Man, he
dry-stone wall, the United States we think we remember has only recently exhibited the results. The simple goal of the
expands and contracts, crumples and sprouts appendages, or exercise was for one team to eliminate another, since, as Jones
collapses into an inchoate lump, answering Johns's fine erosion explains straightforwardly, "destruction is in their nature." The
of visual certainty of forty years ago with the contemporary losses can be detected in the pencil indentations and erasures
vitality of guiltless confusion.
that spread around the points of confrontation, lending works

18
 like Untitled (1980), with its spidery graphite line, the tonal short, its attributes complemented those of the text, to create
nuance of Giacometti's much-revised figure and landscape the composite portrait of someone whose identity was in a
studies. Like Giacometti's drawings, moreover, Jones's are only sense being hidden by the same process that was commemo
slowly completed — his notational maneuvers can last for weeks rating it. The subject was then presented with an album
or even years— and some are never finished but simply aban containing postcards, photographs, and other souvenirs of the
doned and thrown away. Whatever the outcome, be it a place, along with instructions for finding it. The instructions
captivating entanglement of strokes and a beautifully bruised consisted of a sequence of charts, beginning with a map of the
page, or another sheet for the wastebasket, Jones continues to United States and ending with nearly abstract blowups of the
reenact the primal struggles that arise when orderly compulsion actual site where the encapsulated poem had been put.
is besieged by sublimated violence. Whether the person in question — in this case the critic John
Perrault — went looking for it or not, the treasure to be found
Seen through the camera eye of an orbiting satellite, our planet was the experience of the situation Holt had associated with
seems to be made of the same stuff as the fathomless atmos that person, and the time to reflect on the reasons why. Into
phere in which it is suspended, as if it were a marbled blue and the spare vocabulary of early conceptual art, Holt thus
white crystallization of celestial gases. The intrinsic beauty of reintroduced the Romantic notion of injecting character into
this image is undeniable, but its special appeal lies in its sharp nature, intimacy into indifferent space.
contrast to our uncomfortable awareness of the unclean human
clay of which we, its inhabitants, are made, and the process of "Right away I understood that science could be part of art,
decay that simultaneously enriches and corrupts the soil since art was obviously part of science," NancyGraves,daugh
beneath our feet. Our destiny is to go from ashes to ashes; that ter of a father who worked at The Berkshire Museum, an
of the world is to go from pristine minerals and fecund vegeta institution dedicated to both Art and Science, has said. From
tion to deepening sludge. JohnMillersees this clearly and depicts the time of her first major appearance on the art scene, in 1969,
it plainly. Taking Joseph Beuys's warm, earthen brown and this belief has been evident in her work, which is patterned
giving it a frankly scatological cast, Miller has saturated after the models science builds to represent the world, from
garments and smeared models of the industrial landscape with the anatomical reconstruction of animals, to the stippled tech
his signature hue. In Untitled (1988) he symbolically does the nical illustrations of biologists and the plotted vistas of
job to universal imperfection. Mimicking The Sherwin- astronomers. While sculpture has been Graves's primary
Williams Company logo, which shows a bucket of paint poured means of expression, painting and drawing have periodically
over a globe bannered with the slogan We Cover the Earth, preoccupied her as well. For much of the early 1970s she devot
Miller has generously coated his globe with the color of lustrous ed herself to transposing the encoded information sent back
excrement. Or compare it with the monochrome topographic by NASA's Lunar Orbiter Satellite, enriching their rather
reliefs of Yves Klein's Planetaire(Bleu) (p. 44). Kleins work is a limited tonal and chromatic range with graphic improvisa
visual pun hinting at transcendence. Miller's brings one back tions. The drawings in the Lunar Orbiter Series, which,
down again, plunging the mind that longs to escape its own fate incidentally, roughly coincide with Jennifer Bartlett's bright
and functions back into the muck it inevitably creates. dot-matrix plaques, represent the unexpected fusion of allover
color-field abstraction and the boundlessness of outer
1)
de- Nancy Holt's Buried Poem # 2 (April ZO, (197 s space— the American sublime and the Milky Way.
specific work of a special order. The orientation of her large
sculptural outdoor projects was determined by natural EllsworthKellyis an abstractionist in the true sense of the word.
phenomena such as the path of the sun or the lay of the land, The images in his work are the distilled visual essences of phe
and at the same time brought attention to them. This work, nomena that have been or might be observed in reality. A form
like the others in the series to which it belongs, focuses on an and its hue or disposition may refer back to the tilted edge of
individual person. In each instance, Holt composed a concrete a partially raised garage door or a particular color that one day
poem for a particular friend and buried it in a remote location, caught the artist's attention out the window of his car. From
chosen, she wrote, by virtue "of certain physical, spatial and these quick impressions, and the sketches or snapshots he
atmospheric qualities [that evoked the] person I knew. In makes to preserve them, Kelly fashions and revises the basic

19
 terms of his pictorial language. Fields on a Map (Meschers
, GirondeJ anism than to a thoroughly pragmatic form-finding. His shapes
I95°)> ( which has never before been exhibited, dates to the are consequences of incremental decisions rather than aesthetic
beginning of the artists career, during an extended stay in or ideological symbols: they are material manifestations of men
France (1948—54). At that time, he concentrated on elaborately tal constructs. A wall drawing may therefore consist of a pattern
fragmented compositions using a variety of design schemes of intersecting lines and a lettered text describing where and by
based on chance distribution of color swatches, the cutting up what method those lines were to be laid down — a graphic map
and rearranging of gestural drawings, and observed patterns following a verbal map. With the same eye for structure, LeWitt
such as light scintillating on the Seine or the broken shadow has studied his immediate surroundings, indexing objects with
cast by steel stairs, rendered as line segments on a folding comparable attributes. In 1980, he published an artist's book,
screen. Like the last example, this collage owes its existence to Autobiography,in which he grouped snapshots of light fixtures,
Kelly's keen eye for what one might call "found formalism." pipes, filing drawers, window grates, and various other aspects
Starting with a regional map he discovered while browsing in of his environment, classified by simple geometric correlations.
Paris bookstalls, Kelly transcribed the oblique or arcing lines in Le Witt's interest in maps is similar. For Photographof Part of Man
slender lengths of blue paper, then, adding a few of his own hattan with the Area Between the John Weber Gallery, the Former Fhvan
invention, subtly adjusted their relationship until he achieved an Gallery, and Sol LeWitt's ResidenceCut Out (Ryefj) (1977), LeWitt
exquisitely balanced frieze of non — or, rather, no-longer — excised the space triangulated by his New York City studio and
representational elements. Stripped of the original map's prac his past and current galleries. Reminiscent of the chance opera
tical purpose, this graceful abstraction remains all about tions of John Cage, LeWitt's system results in a dramatic
position and framed open spaces.
polygon of a kind that he has recently begun realizing in sculp
tural form. Like Guillermo Kuitca (see p. 45), LeWitt takes the
Travel accounts belong to an inherently discursive genre. Of the urban plan as his template, but while Kuitca loses himself in its
"see-America-first" variety, Jack Kerouac's On the Road (1957), intricate web, LeWitt uses it to mine the city's grid for finely cal
said to have been written on a single unbroken roll of paper ibrated variations of form.
cranked through a typewriter, is still the most entrancing post
war account of a cross-country rush. Annette Lemieux's Portable Yves Kleins poetics begin with matter and end with ether.
World (1986) is a vertical non-narrative variation on Kerouac's Among the most influential experimental artists in postwar
straight-ahead narrative format. Piecing together overflight Europe, Klein established many of his most important ideas
photographs of the northeast coast of the United States — separately from any studio practice. After a long period of
Manhattan makes two appearances in two different travel and study outside his native France, his first artworks
orientations — Lemieux caps her scroll with a view into the eye consisted of small monochrome paintings, from which he
of a storm that seems to hover menacingly above the scene soon developed a diverse range of formal and procedural
below. Meanwhile, the keys of the old-fashioned typewriter out avenues, including installations, performances, and purely
of which this composite picture curls bear cameo photographs conceptual pieces. Like a number of his vanguard peers —
of terrain or stratospheric formations instead of letters, as if among them, Lucio Fontana and Piero Manzoni — Klein was
this portable machine truly could "write" a map to suit the fan initially fascinated by the textural objectivity of paintings.
cy of anyone who sat down. Harkening back to the assisted Molding their surfaces or building them up with heavy gran
ready-mades of Man Ray, Lemieux has repatriated Surrealism ular compounds or sponges, Klein made the relief element of
and updated it as well. But not so far as all that: while virtual his works the image, even as his applications of gold leaf or
reality actually lets us choose our Fantasy Island and type in the highly saturated primary pigments gave them a dazzling and
weather, Portable Worldstill relies upon the imagined rather than intangible glow. In Planetaire (Bleu) (1961)— the inscription on
technological leap from here to there.
the back substitutes the words "planete-terre," or "planet
Earth," for their homonym in the official title, which means
Sol LeWitt is a geometer of ideas. Though his cool white sculp "planetary" — Klein reproduces what looks like a section of a
tural cubes and mural matrices resemble the elements topographical map of an unidentified mountainous region
Constructivism and Suprematism bequeathed to contemporary that could be at the highest altitudes or in the ocean's lowest
art, their appearance in Le Witt's work owes less to such Utopi- depths. Dusted with his trademark 1KB (International Klein

20
Blue), this map conflates mass and light, material tactility and (1963-67), Oldenburg explored ways of further softening images
dematerialized opticality, finite objecthood and infinite space. by creating gooey painted-plaster surrogates of junk food and stan
The piece, which differs from his abstract reliefs because of its dard commercial products. Simultaneously, Oldenburg and his
illusionistic detail, was conceived and executed just after the then wife,Patti, created fabric versions of many of the same images,
first Soviet cosmonauts were rocketed aloft, and it was Klein's some of which reached monstrous size. Two such treatments of
way of reminding the public that the leap into the void is a the map of Manhattan exist. One is covered with drooping cloth
metaphysical rather than a scientific feat. subway tracks; the other, SoftManhattan#1 (PostalZones)(1966), is
divided up into nestled blocks representing the city's postal zones.
It is perhaps natural that GuillermoKuitca,a compatriot of the Like the stuffed car tires Oldenburg made at the same time, these
late Jorge Luis Borges and a fellow-resident of Buenos Aires, interlocking units ironically parallel the modular constructions of
should be obsessed with maps. The grandchild of Ukrainian- early minimalism. At the other extreme, the piece resembles a side
Jewish immigrants, it is also understandable that he should of beef incised with a butcher's chart of the prime cuts. In either
long for European cities to which, until recently, he had nev case, SoftManhattanis uncanny and emotionally unyielding.
er traveled. Kuitca is a young man with a past not entirely his
own, and a future that is defined by the dual attractions of the The business of civic commemoration is often haphazard and
street and the studio. Before the studio there was home, which always political. Which street will bear the name of which war
appears in painting after painting as the floor plan of the rior, philanthropist, or successful ward heeler is a matter of
small apartment that he shared with his parents. By exposing opportunity and negotiation. Rare is the coherent pattern
the insides of that intimate setting without fully revealing his found in Richmond, Virginia, where, at each traffic circle along
place within it or the interactions of daily life, Kuitca creat the east—west—running Monument Avenue, an equestrian stat
ed a small psychic maze where his absence and presence were ue of a Confederate general stands guard; those facing south
alternately felt, and his mood was evident in the color of the died in the Civil War, those that face north survived and were
walls or the ground plane, or in the addition of tears or oth symbolically ready to fight again. Simon Patterson'srevamped
er symbols. Protective and claustrophobic at the same time, subway map of London is systematic in this fashion, and
this is the environment that drove a young man to explore the delightfully arbitrary at the same time. All the stops on each line
world outside for excitement, or offered a haven from the are named after people or things of a certain category: Engi
anonymity and isolation of the urban landscape. Kuitca's neers, Planets, Journalists, Footballers, Musicians, Film Actors,
domestic module has its place in the labyrinth of the arche Saints, Italian Artists, Sinologues, Comedians, and more, so
typal metropolis — not always his native Buenos Aires— and that a trip across the city might take you from Victor Emmanuel
its byways may be described by lengths of thorny vine or by III to Bo Derek by way of Immanuel Kant and Zeppo [Marx].
syringes lined up end to end. Zurich is the subject of Unti Interweaving these lists of the honorable and the dishonorable,
tled (1992), and it floats in front of the viewer like a city seen the truly famous and the flashes in the pan, Patterson's GreatBear
through crepuscular mists. Alluring and cold, fantastic and a (1992) is a constellation of stars that nicely scrambles our usual
bit dreary, it is a place that keeps rather than advertises its secrets. cultural hierarchy and so gently chides the officialdom that
enforces it. In a Situationist frame of mind, meanwhile, it is
New York is often thought of as a hard town. It could only have pleasant to contemplate spending a day at Odysseus but
occurred to ClaesOldenburgto render it as a big stuffed toy. Not appalling to think of being stuck, even briefly, at Oliver North.
that this reincarnation as cheap, canvas-upholstered goods really
makes it all that friendly an object. As with its antecedents, the The exploration and conquest of the Americas by Columbus
opposite is true. Oldenburg's earliest sculptural cityscapes were and his followers produced a wealth of maps that Argentine-
painted on and roughly cut out of cardboard, under the combined born and New York—based artist Miguel Angel Rios has
inspiration of the bleakest of French writers, Louis-Ferdinand rediscovered and exploited as a splendid pictorial and sym
Celine; the grittiest of French painters, Jean Dubuffet; and the bolic reserve. In Columbus Making Ripples (1993), Rios
cheeriest of American showmen, Walt Disney. From these flats appropriates one of Columbus's own depictions of one of his
the artist created his desolate cartoon installation, TheStreet(i960), voyages across the Atlantic. As in most of the artist's recent
in New York City's Judson Church. In works for The Store work, the techniques applied to reinterpreting this primary

21
 source include printing a much-enlarged photographic fac
RichardLongis of both types at once, and A SevenDay Circleof
simile of the original, then schematically restructuring the
Ground (1984) expresses the centrifugal impulse of the first
image and reapportioning areas within it. Rios accomplishes and the focus of the second. This walk, like the others upon
this by displacing the center of the map, which he then cuts
which his gallery work is based, combined preset limits and
into radial strips outward from that point, pleating them as he
unplanned reconnoitering. Pitching camp in the scrublands
goes, and so fashioning a medallion relief and a completely
of Dartmoor, in the middle of an imaginary circle five and a
new axial structure that contrasts with the map's actual coor
half miles in diameter, Long spent seven days taking note of
dinates. Confusing Columbus's attempts at accurate
features such as Naker s Hill, Stall M^oor, and Great Gnats'
description with his own decorative manipulations of the grid,
Head. The wall diagrams recording them are akin to the con
Rios wryly toys with the record of history and its heroic aura.
ceptual graphics of Sol LeWitt (see p. 43), and one might say
The aim is not to deny the explorer's impact — Rios readily that Long s actual walks are conceptual drawings on the
acknowledges that the hybrid culture of the Americas has been
Earth. Long's concerns differ from LeWitt's in their empha
fundamentally shaped by the unforeseen consequences of sis on the relation of space and time. Scattered among the
Columbus s initiative— but merely to point out that, like a place names are dots labeling Long's position at midday of
stone dropped into the ocean, Columbus made waves even
each day of the week he was in the area. We are not told which
though he was lost.
marker refers to which day, nor is there any way of determin
ing his path from one point and moment to another, yet we
RobertSmithsonwas a theorist of entropic degeneration and an
imagine his stride bridging the gaps between them. The land
aficionado of wastes. His fascination with modern civilization's marks cited are permanent, Long's passage was ephemeral; it
vernacular monuments was the flip side of his earlier science- is the tension between the two that gives the work its
fiction fantasies. A painter of off-key, whizzbang symbolist
poignancy. His work is a ritual of "being there." His alert but
cartoons in his youth, Smithson as a mature artist explored the fleeting presence is both means and end.
gravel pits and industrial parks of New Jersey and the deserts
of the West. In galleries, he assembled what he called "non-
AdrianPiper's unrealized project ParallelGrid Proposal
for Dugway
site" sculptures, using rocks and rubble he had gleaned on his
ProvingGroundHeadquarters(1968) belongs to the Utopian phase
travels. In the great outdoors, he realized full-scale earthworks
of the earthworks movement, but implicitly raises political
like the sometimes submerged, sometimes visible SpiralJetty issues generally untouched by the mammoth environmental
(1970) in Utahs Great Salt Lake. Like the Nazca lines in Peru, undertakings of her peers Michael Heizer, James Turrell,
and the Neolithic glyphs scattered over the English downs, Nancy Holt, and the late Robert Smithson. Piper's plan is
Smithsons coiling levee is a sign on the land. Like Atlantis, the simple, though its execution would be difficult. The proposed
subject of Mapof ClearBrokenGlassStrips(Atlantis)(1969) and sev site was the Dugway Proving Ground Headquarters in Utah
eral other drawings, SpiralJetty threatens to disappear under the
and its immediate residential surroundings. The piece itself
watei forever, surviving only in myth. However, Atlantis was
was to consist of a huge, two-mile-square grid made of steel
never anything buta myth; to give it substance, therefore, Smith- girders held a half-mile above the ground on I-beams. As the
son reimagined it on paper and finally went to his haunts in the sun traversed the sky each day, the shadow cast by this struc
Meadowlands, between New York and Newark, and laid out ture would create a system of gradually moving coordinates
its silhouette in sheets of glass. Recalling both the early nine such that someone awakening in Zone A might find themselves
teenth-century German painter Caspar David Friedrich's in Zone C by lunchtime, without having ever moved, or, if they
depictions of mounding, jagged ice floes, and modern pulp- got in the car to travel from home to work at the Dugway facil
novel visions of alien planets with crystalline landscapes, ity) they might find themselves back in Zone A, having briefly
Smithson sketched his own Funk Romanticism, in the form of driven through the sun-shifted Zone B. Conceived at a time
a phantom world supposedly located in the Mid-Atlantic, not when Pipers abstract philosophical and aesthetic aims were to
far from the course traveled by Columbus and his followers.
devise ways of specifying finite things within a hypothetically
infinite range of space-time relations, her selection of the
There are two kinds of wanderer. One kind seeks to widen ideal place to install this combination of sundial and map
the circumference of their world; the other seeks its center. structure anticipates her later, socially engaged activity. The

22
 Dugway Proving Ground was a nuclear-weapons testing site— are subordinate and expendable. The second collage, Untitled
fig-
2)I9")
>7 what more fitting location for a piece using solar cycles than ("fig-1fig- 0fig- A z ll ( juxtaposes a tiny Merca-
one where atomic power was measured? And what more tor map of the world and an image of a ship going down at
provocative site for a permanent moving-target map than that sea. What the fastidiously numbered notations on the map
where bombs were perfected for Ground Zero in other lands. refer to is anyone's guess— were they ports of call for the
beleaguered vessel, or something completely unrelated to it? In
The fascination of RaymondPettibon'sdrawings is their vivid any case, it is clear from the first collage that humanity is
slightness. Graphically, they are the equivalent of B-movie out- scarcely the center of the universe, and from the second, that
takes, 1940s pulp-magazine illustrations, or candidates for even in our own world we are anything but masters of our fate.
Ripley's "Believe It or Not" that proved just too weird to use.
Verbally, they speak with the voice of Gus Van Sant's movie
drifters, Raymond Chandlers hard-bitten loners, James Agee's
biblical incantations, and Herman Melville's haunted medita
tions. Proliferating in variations on and digressions from a few
dominant themes, Pettibon's pictorial ruminations make loop
ing swings from miserable skepticism to rhetorical grandeur,
from Slacker distraction to cosmic consciousness. In them, the
fevered obsessions of the recluse find periodic release in all-
seeing remove. That is the thrust of Pettibon's untitled work of
1990. Cursorily brushed inside a circle traced around an old-
style LP are the silhouettes of North and South America,
bracketed by empty oceans and the visible extremities of other
continents. An inscription reads: "A flat landscape extending in
all directions to immense distances placates me." Pettibon's
sublime is rudimentary but sufficient for those whose intu
itions of solitary freedom of thought and movement are paired
with a similar experience of mentally congested confinement.

Like most anarchists, Marcel Broodthaers was obsessed by

systems. A schoolmaster of the absurd, he delighted in the
discrepancy between things and their names, the curious
shapes of objects and their conventional uses, the mundane
preoccupations of reasonable citizens and the strange hori
zons impractical reasons could open up. Usually involving
found forms and images, Broodthaers 's methods were
extremely economical and invariably resulted in inspired non
sense. Maps understandably attracted such a mind, and the
small disturbances Broodthaers created in the maps he revised At the same time as I began work on this exhibition, Frances
Colpitt, unbeknownst to me, was also making plans for a show
or repositioned reverberate in the imagination with a charac
dealing with maps in contemporary art, which is currently touring
teristic but hard-to-explain force. Soleilpolitique(1972) is a Texas.While we shared only one artist, Kim Dingle, we both chose
simple diagram showing the relative size of several planets in the same title, Mapping,and both made use of the same fable by
our solar system; in it, Earth is the smallest by far. Broodthaers's Borges, which was also, by the way,the jumping-off point for Jean
Baudrillard'sinfluential 1983postmodernist essay,"The Precession
interventions consist of cancelling Earth out with a stroke of
of Simulacra." If nothing else, this coincidence and the antecedents
his pen, and amending the identification for the giant sun with for Borges'stext would seem to confirm one of the fundamental
the adjective "political." This is galactic Realpolitik; there is tenets of his worldview,namely that all art is based upon the nec
no doubt where the power lies, or which parts of the cosmos essary recurrence and reiteration of a handful of primary images.

23
 Alighiero e Boetti

JSCONQSBl ^^MjJMAMJEAB^M£B^y^iE_CaRJ_Cj^RMDA DlEDON

N^BfBANBNE L UMPR

Mappadel mondo.1989.Embroidered
cloth,55%"x TV/". Courtesy
of Sperone
Westwater,
NewYork
 Jasper Johns

4 ixcii*
c Alien

ATfcAX'l

Map. 1963.Encaustic
andcollage
on canvas,
60" x 7'9". Privatecollection,
NewYork
 Waltercio Caldas

Japao.1972.Inkon paper,19x 171

ft'. Collection
of Gilberto
Chateaubriand
 Greg Colson

?I
rr
J:I

!/". Portland. 1992.Enamel

andink on woodandmetal,65" x t'VA" x 3 Courtesy
of Sperone
Westwater,
NewYork
 Adriana Varejao

WvSIL

0CCE.A\J\/^ MtRIDlOMMJ-

Mapade LopoHomem.1992.Oil on woodwiththread,

MVi x W/ x 3'/i".Private
collection

28
Oyvind Fahlstrom

Garden(A World Model).1973.

Acrylicandink on vinyl,sixteen
flowerpots,
andwood,
dimensions
variable.
Collection
of Sharon
Avery-Fahlstrom
 Jan Dibbets

The Soundof 25 Km.,Holland.1969.Blackandwhitephotograph,

maps,
adhesive
digits,pencilon paper,
andcassette
(sound),
21'/ x 30".Private
collection,
Italy

30
Heide Fasnacht

My City WasGone.1991-92.
Plywood,
silicon,
rubberbelting,
latex,cottonbatting,
woolblanket,
Dacron,
steel,4 x 50 x 55".Collection
of theartist
 Hamish Fulton

Counting 18,089 Dots. 1993.Gouache

or
Courtesy
of theJohnWeberGallery,
NewYork
Guy Debord

DISCOURS
SURLESPASSIONS
DEL'AMOUR
pentespsychogeographiques de la derive et localisation
d'unites d'ambriance

par G.-E. DEBORD

 Luciano Fabro

La Germania(Germany).1984.Metals,
glass,electrical
elements,
sandbags,
9'3K" x 3IW x 69" installed.
TheArt Gallery
of Ontario,
Toronto.
Purchase,
1985

34
Kim Dingle

ways
jwMsfeWas
g * «™jj?5aSi orw

1994.Oil on panel,
UnitedShapesof AmericaIII (Mapsof the U.S.Drawnby LasVegasTeenagers). 48" x 6'. Courtesy
of theartistandBlumandPoe,SantaMonica

35
 David Ireland

°8
"'s
*pi,
,m
han >an
G Ein
w ,i,e
m° ti «am * ••>«
36
 Kim Jones

ir'^'^'^fc
'f'^
"
'- ^
;*
Untitled.
1988.Styrofoam,
modeling
paste,
acrylic,
andashwood
stand,
60 x 35 x 35".Collection
of EddoBult
Nancy Holt

BuriedPoem#2 (April 20, 1971). 1971. Notebook,

11x8 A". Courtesy
of theJohnWeber
Gallery,
NewYork

39
 Nancy Graves

>. - "CKviv!

v ?M
" mk

vwlllrf
i'&V&Wft!«<«J.•;:,

Ty-rc E88>w raj

•; C5a£H
M^sti^StiSksmsmA#

:#s1S*
W a "A.

MontesApenninusRegionof the Moon,fromthe LunarOrbiterSeries.

1972.Gouache
andink overgraphite
onArches
paper,
22^ x 30".National
Gallery
of
Art,Washington,
D.C.Giftof Esther
CattellSchmitt1992.45.10

40
Ellsworth Kelly
 Annette Lemieux

PortableWorld. 1986.
Typewriter
andblackandwhitephotograph
scroll;typewriter:
6 x 13x 12";scroll:16'long,
variable.
Barbara
andRichard
S.Lane
42
Sol LeWitt

mwM
$8£S
•tv».»-«•;

AB&KflEft •^ J

Photograph of Part of Manhattan with the Area Between the John Weber Gallery, the Former Dwan Gallery, and Sol LeWitfs Residence Cut Out (R745).
1977.Photograph,IStf x I5V5".Courtesyof the JohnWeberGallery,NewYork

43
Yves Klein

Planetaire (Bleu). 1961.Pigment

andsynthetic
resinon board,31M x W/". Courtesy
of Sidney
Jam's
Gallery,
NewYork
Guiilermo Kuitca

Untitled.
1992.Mixedmediums
on canvas,
8'\W x 6' I /". TheMuseum
of Modern
Art,NewYork.Giftof Patricia
Phelps
de Cisneros
in Memory
of Thomas
Ammann
Claes Oldenburg

Soft Manhattan#1 (PostalZones).1966.Canvas filledwithkapok,

impressedwith
patterns
in sprayed
enamel;
wood; androd,70 x 26 x 4".Albright-Knox
Art Gallery,
Buffalo.
Giftof Seymour
H.Knox,1966
 Simon Patterson

The Great Bear

gzsssxxs
1s,~. • j[W£3£s. jsrassrfcE - ssrwrsB"-—
E£-~ sssssr* gs^Hssr.

felliifciftfciRi! i its ill liftk-*

TheGreat Bear.1992.Offsetlithograph
on paper,
aluminum,
andglass,
42/4x 52%x 2". Courtesy
of TheLisson
Gallery,
London

47
 Miguel Angel Rfos

l>TV\"IEnARS

AFRICE'SIVF
^ETHiOPifc PAP

eftperC*

iscoer

ColumbusMaking Ripples.1993.Cibachrome
mounted
on canvas,

48
Robert Smithson

LJtfCI FANOV

jV\$ p oF c LEA 19. Top yiJ?w

(yl fijS
STKifS- (flT

C » SitE
MfEV

Mapof ClearBrokenGlassStrips(Atlantis).1969.Collage
mapandpencilon paper,13'/ x 16'/".Estate
of Robert
Smithson.
Courtesy
of theJohnWeber
Gallery,
NewYork
 Richard Long

MIDDAY
Fox tor
Mires

Swincombe
Head Avon Head

Cater's Ream
MIDDAY
Naker's Hill
MIDDAY

Plym Head
Great Gnats'
Head

MIDDAY Green Hill

)ltsworthy Warren

Huntlngdor
Erme Head Warren
Giant'
Hill
Hlckaton
Hill

Langcombe
Head
MIDDAY MIDDAY

Shavercombe
Head

Erme
Plains Qulckbeam Hill

MIDDAY

A SEVEN DAY CIRCLE OF GROUND

A
1 SEVENDAYS WALKING WITHIN AN IMAGINARY CIRCLE 5 MILESWIDE

DARTMOOR ENGLAND 1984

A Seven Day Circle of Ground, Seven Days Walking Within an Imaginary Circle 5 'A Miles Wide. Dartmoor, England 1984.
1984.Printedtext, 62 x 42". Privatecollection,England

50
 tfivf I
Poiirn+i 22R

dLh
7-.I5 «* I"*

f"
L

o\ np ur 1 r
Ai <a)

I i 1 I I I ANCX-tC OA CL£V*'tO* >0&-•

\ \ \ \ \ \ \ \ \ \ \ \ \
OA iU^tTKV- 7f*

\ \ \ \ \ \ \ \ \ \ \ \\ \
\ \ \ A. \ \ t L

Parallel Grid Proposal for Dugway Proving Ground Headquarters. 1968.Blackring binder,8!/f x II".
Courtesyof the JohnWeberGallery,NewYork
Raymond Pettibon

A fltt LftNDSCAR-
tXItNWNfcMl
WMGVCM TO\m\M
D\SAKMCLS?\ACMIS
Ml

(Notitle). 1990.Inkon paper,13x 13".Collection

of Michael
Solwa
 Soleilpolitique.1972.Printon paper,
collage,
andink,I0I/Sx 14".Collection
of MariaGilissen

Untitled ("fig.I fig. 0 fig. A fig. 2 fig. 12"). 1972.Collage-drawing:

ink, pencil,photograph,
and
s/5t".
« l4 x I7 Collection
of MariaGilissen
 Alighiero e Boetti MarcelBroodthaers.Exhibition catalogue (Paris: Smith, Geri. "Waltercio Caldas: The
Galerie Nationale du Jeu de Paume, 1991). Mental Carpenter of Rio." Artnews
Born Turin, 1940
Died Rome, 1994 (October 1991): 98—99.
Goldwater, Marge, and Michael Compton.
Marcel Broodthaers.Exhibition catalogue Venancio Filho, Paulo. WaltercioCaldas
Selected Bibliography
(Minneapolis: Walker Art Center, 1989). (New York: Center for Inter- American
Alighiero e Boetti. "Four Pages of Work." Relations, 1984).
Marcel Broodthaers(London: The Tate
Studio International (January/February 1976):
Gallery, 1980). WaltercioCaldas. Exhibition catalogue
18—21.
(Rio de Janeiro: Museo de Arte Moderna
Marcel Broodthaers:Cataloguedes Livres/ Cata
Ammann, Jean-Christophe. Alighieroe Boetti. de Rio de Janeiro, 1973).
l915 logueof Books/ Katalog der Biicher OAl~
Exhibition catalogue (Lucerne: Art
(Cologne: Galerie Michael Werner; New
Museum of Lucerne, 1974).
York: Marian Goodman Gallery; Paris:
Ammann, Jean-Christophe, and Tommaso Galerie Gillespie, Laage, Salomon, 1982).
Greg Colson
Trini. Alighieroe Boetti (Basel: Kunsthalle Born Seattle, 1956
Marcel Broodthaers:Catalogue— Catalogus.
Basel, 1978). Lives and works in Venice, California
Exhibition catalogue (Brussels: Palais des
"Collaboration Alighiero e Boetti." Beaux-Arts, 1974). Selected Bibliography
Parkett 24 (June 1990): 18—87.
McEvilley, Thomas. "Another Alphabet: Clearwater, Bonnie. Creg Colson. Exhibition
Di Pietrantonio, Giacinto. "Alighiero The Art of Marcel Broodthaers." Arforum brochure (Los Angeles: Lannan Museum,
Boetti: United Colors." Flash Art (November 1989): 106—15. 1988).
(January/Lebruary 1993): 72—75.
Ratcliff, Carter. "The Mold, the Mussel Heartney, Eleanor. "Greg Colson: Sperone
Heartney, Eleanor. "Alighiero e Boetti at and Marcel Broodthaers." Art in America Westwater Gallery." Artnews (May 1990): 210.
John Weber." Art in America(May 1988): 190. (March 1983): 134—37.
Mahoney, Robert. "Greg Colson." Arts
Licht, Jennifer. Eight ContemporaryArtists. (April 1990): 109—10.
Exhibition catalogue (New York: The
Waltercio Caldas Muchnic, Suzanne. "California Currents,
Museum of Modern Art, 1974).
Artists Choose Artists: Ed Ruscha and
Born Rio de Janeiro, 1946
Smith, Roberta. "Tiny Units Make Playful Greg Colson." Artnews (November 1991): 98.
Lives and works in Rio de Janeiro
Wholes in Italians Work." The New York
Times,23 November 1990, C24. Nesbitt, Lois. "Greg Colson: Sperone
Selected Bibliography
Westwater Gallery." Arforum
Szeemann, Harold, ed. When Attitudes Brett, Guy. Transcontinental:Nine Latin American (April 1990): 173.
BecomeForm. Exhibition catalogue Artists. Exhibition catalogue (Birmingham,
(Berne: Kunsthalle Berne, 1969). Pagel, David. "Greg Colson: Homage to
West Midlands: Ikon Gallery in association
the Repairman." The Los AngelesTimes, 15
with London: Verso Press, 1990).
Vetrocq, Marcia E. "Utopias, Nomads, April 1993, F6.
Critics: From Arte povera to the Trans- Brito, Ronaldo. "A natureza dos jogos."
avanguardia." Arts (April 1989): 49-54. . "Object Lessons: The Assem
WaltercioCaldas Junior (Sao Paulo: Museu de
blages of Greg Colson." Arts (October
Arte Assis Chateaubriand, 1975).
1989): 40-43.
. "Clear Bias." WaltercioCaldas.
Marcel Broodthaers Russell, John. "Greg Colson." The New York
Exhibition catalogue (Belgium: Kanaal Art
Times, 12 January 1990, C27.
Born Saint-Gilles, Brussels, 1924 Foundation, 1991).
Died Cologne, 1976 Saltz, Jerry. "Greg Colson: Liberating
. WaltercioCaldas: Aparelhos
Selected Bibliography Materials from Materiality." Flash Art
(Rio de Janeiro: GBM Editora, 1979).
(May—June 1990): 150.
Buchloh, Benjamin, ed. Broodthaers:Writings, Farias, Agnaldo. "Air Awareness." Out of
Smith, Roberta. "Greg Colson." The New
Interviews, Photographs.October42 (Fall 1987), Place. Exhibition catalogue (Vancouver:
special issue. YorkTimes, 29 March 1991, C20.
Vancouver Art Gallery, 1993).
Spector, Buzz. "Transfigured Things: The
. "Marcel Broodthaers: Allegories Herkenhoff, Paulo. Classicono Contempordneo.
Assemblages of Greg Colson." Mapping
of the Avant-garde." Arforum (May 1980): Exhibition catalogue (Sao Paulo: Pafo das
52-59. Histories: Third Newport Biennial (Newport
Artes, 1991).
Beach: Newport Harbor Art Museum,
Calas, Nicolas. "Marcel Broodthaers' Throw Rasmussen, Waldo, ed., with Fatima Bercht 1991): 34-41.
of the Dice." Artforum (May 1976): 34—37. and Elizabeth Ferrer. Latin AmericanArtistsof the
TwentiethCentury.Exhibition catalogue (New
David, Catherine, and Veronique Dabin.
York: The Museum of Modern Art, 1993).

54
 Arforum (April 1973): 4 5—49- . "Kim Dingle at Richard Bennett
Guy Debord
and Parker-Zanic." Art Issues (March/ April
Born Paris, 1931 Dibbets, Jan. "Send the right page . . ."
2> i99 35-
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Benjamin's Aura Turns Green." Flash Art Other." Arforum (March 1990): 111—
15.
Raymond Pettibon." Los AngelesLimes, 18
(November— December 1992): 60—63. November 1993, Lio.

Cottingham, Laura. "Wonderful Life, Pettibon, Raymond. On the Scent Miguel Angel Rios
The Lisson Gallery, London." frieze (Vienna: Galerie Metropole, 1992).
(September— October 1993): 56—57. Born San Jose Norte, Catamarca,
. "Project" for frieze Argentina, 1943
Dannat, Adrian. "Eastside Story: (June/July/ August 1992): 17—18. Lives and works in New York City
A Lragment of Internationalism in a
Plochere, Michelle. "A Conversation Selected Bibliography
Society Under Siege." Flash Art
with Raymond Pettibon." Artweek
(January/Lebruary 1990): 96. Barnitz, Jacqueline. Latin American Artists in
(Lebruary 6, 1992): 20.
Doubletake:CollectiveMemory & Current Art. New YorkSince 19 JO. Exhibition catalogue
Schjeldahl, Peter. "Missing: The Pleasure (Austin: Archer M. Huntington Art
Exhibition catalogue (London: The South
Principle." Fhe VillageVoice,16 March 1993, Gallery, The University of Texas at Austin,
Bank Centre/Parkett, 1992).
pp. 34, 38. 1987).
Gillick, Liam. Wall to Wall Exhibition
Troncy, Eric. "No Man's Time." Flash Art Basualdo, Carlos. "Miguel Angel Rios,
catalogue (London: The South Bank
(November/December 1991): 119—22. Museo de Arte Moderno, Buenos Aires;
Centre, 1994).
Galena der Briicke, Buenos Aires." Arforum
Morgan, Stuart, "thanks for the memo- (December 1992): 101.
ries." frieze (April-May 1992): 6—11. Adrian Piper
Castle, Frederick Ted. "Miguel Angel Rios:
. "Milch Is Good for You." Born New York City, 1948 Epics from the Earth." Arforum
Artscribe(January—Lebruary 1991): 13—14. Lives and works in Massachusetts (November 1988): 122—25.

Patterson, Simon, and Douglas Gordon. Selected Bibliography . "Miguel Angel Rios at Baghoom-
"Colours for identification, coding and ian." Art in America (July 1990): 170.
Adrian Piper: Reflections2967—87.
special purposes," a project for frieze
Exhibition catalogue (New York: Ferrer, Elizabeth. Asi en la tierra comoen el
(1991, Issue 2): 14—15.
Alternative Museum, 1987). cielo:Fxposicion retrospectivade MiguelAngelRios

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!993- !979~ Exhibition catalogue (Mexico Owens, Craig. "Earthwords." October10
City: Museo de Arte Moderno; Monter (Fall 1979): 120—30.
rey: Museo de Monterrey, 1993).
Schjeldahl, Peter. "Robert Smithson: He
Gill, Susan. "Miguel Angel Rios, Made Fantasies as Real as Mountains." The
Allen/Wincor." Artnews (December 1985): New YorkTimes, 12 August 1973, Sec. 2, p. 21.
128-29. Shapiro, Gary. "Entropy and Dialectic:
MiguelAngelRios. Exhibition catalogue The Signatures of Robert Smithson."
(Mexico City: Galeria de Arte Mexicano, Arts (Summer 1988): 99—104.
1992).

Rubinstein, Raphael. "Mapping and Identi

Adriana Varejao
ty." Art in America (January 1994): 88—91,127.
Born Rio de Janeiro, 1964
Sullivan, Edward J. "Miguel Angel Rios."
Lives and works in Rio de Janeiro
Arts (April 1990): 86.
Selected Bibliography
Yau, John. "Palpable Night." Miguel Angel
Rios. Exhibition catalogue (New York: Vrej Adriana Varejao:Terra incognita.Exhibition
Baghoomian, 1991). catalogue (Sao Paulo: Galeria Luisa Strina,
1992).

Herkenhoff, Paulo. "Adriana Varejao:

Robert Smithson Paginas de Arte e Teatro da Historia."
Born Passaic, New Jersey, 1938 Adriana Varejao(Rio de Janeiro: Thomas
Died Amarillo, Texas, 1973 Cohn Arte Contemporanea, 1993).

Selected Bibliography U-ABC:Painting, Sculpture,Photography

from
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Alloway, Lawrence. "Serial Forms."
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Tuchman. Exhibition catalogue
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Hess, Thomas B. "The Condemned

Playgrounds of Robert Smithson."
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 Acknowledgments

Mappingis the second exhibition in an informal series of thematic shows intended

to open further The hduseum of Modern Art to new art and new curatorial
initiatives. It benefited greatly from the practical efforts and suggestions of many
people. I would first like to thank my special and especially talented project
assistant, Jodi Hauptman; my still undaunted regular assistant, Alina Pellicer; for
research in the early stages of the project, Lilian Tone and Fereshteh Daftari,
Curatorial Assistants in the Museums Department of Painting and Sculpture,* and
Clive Phillpot, former Director of the Museum Library, whose encyclopedic
enthusiasm for all kinds of printed matter has been invaluable. For their ideas and
emergency help, I want to acknowledge Paul Beelitz, Collections Manager, Depart
ment of Anthropology, and David Wells, Photographic Collection, American
Museum of Natural History; Teresa Buswell, Permissions Coordinator, the
Houghton Mifflin Company; David Callahan, Donnell Media Center, The New
York Public Library; Thomas Cohn, of Thomas Cohn Arte Contemporanea;
Dawn Giegerich, Registrar, The Queens Museum of Art; Paulo Herkenhoff; Yves
Jocteur-Montrozier, Director, Musee Stendhal, Grenoble; Angel Kalemberg,
Director, Museo Nacional de Artes Visuales, Montevideo; Jorge Helft; Kathy
Lendech, Manager, Clips and Stills Library, Turner Entertainment Company;
James Leggio; David Leiber, Director, Sperone Westwater; Rachel Levin and Jeff
Levine, John Weber Gallery; Lorcan O'Neill, Anthony d'Offay Gallery; Jeffrey
Rosenstock, Director, Queens Theatre in the Park; Myriam Salomon; Jacques
Soulillou of the French Consulate in New York; Elisabeth Sussman, Curator,
Whitney Museum of American Art; Olimpia Torres, Vice President,
Fundacion Torres-Garcia; and Chene L. Vons, Archivist, Texaco Inc. I also want
to express special thanks to Rudy Burckhardt for his original photography, used for
the catalogue s endpaper.
For their work on this catalogue, I am indebted to Osa Brown, Director,
Department of Publications; Harriet Schoenholz Bee, Managing Editor; Amanda
Freymann, Production Manager; Alexandra Bonfante- Warren, Associate Editor;
and Marc Sapir, Assistant Production Mianager; and to Machael Hentges, Direc
tor, Department of Graphics, and Jean Garrett, Designer. My thanks, too, to Mikki
Carpenter, Director of the Department of Photographic Services and Permissions;
Kate Keller, Chief Fine Arts Photographer; and Mali Olatunji, Fine Arts Photog
rapher; in the Museum library, Janice Ekdahl, Assistant Director; Eumie Imm,
Associate Librarian, and John Trause, Assistant Librarian; and Charles Silver, Film
Study Center Supervisor. For the exhibitions production and presentation I have
depended once again on the skill and precision of Richard L. Palmer, Coordina
tor, Elem Cocordas, Assistant Coordinator, and Rosette Bakish, Executive
Secretary, Exhibition Program; Karen Meyerhoff, Assistant Director of Exhibition
Production and Design; Diane Farynyk, Registrar, Alexandria Mendelson, Peter

62
Omlor, and their colleagues in the Registrar's Office; along with that of Antoinette
King, Director, Department of Conservation; and Peter Perez and Robert Stalbow
of the Frame Shop. I also want to thank Beverly Wolff, the Museum's General
Counsel, and Abby Sternschein, Assistant General Counsel; John L. Wielk,
Manager, Exhibition and Project Funding; Jessica Schwartz, Director of Public
Information, and Alexandra Partow, the exhibition's Press Representative; and, in
the Department of Education, Joyce Raimondo, Family Programs Coordinator,
and Cynthia Nachmani, School Programs Coordinator.
To the following collectors, public and private, individuals, galleries, and
museums who have lent work I wish to express my gratitude: Douglas G. Schultz
and the Albright-Knox Art Gallery; The Art Gallery of Ontario; Sharon Avery-
Fahlstrom; Eddo Bult; Blum and Poe; Eaura Carpenter, Laura Carpenter Fine
Art; Gilberto Chateaubriand; Maria Gilissen; Carroll Janis, Sidney Janis Gallery;
Barbara and Richard S. Lane; The Lisson Gallery; Greil Marcus; Ruth Fine and
the National Gallery of Art, Washington, D.C.; Michael Solway; Gian Enzo
Sperone and Angela Westwater, Sperone Westwater Gallery; John Weber, John
Weber Gallery; David Whitney; and all of the artists who have generously lent
their own works.
For their personal and institutional backing of this effort, I am indebted to
Richard E. Oldenburg, Director of The Museum of Modern Art; James S.
Snyder, Deputy Director for Planning and Program Support; Kirk Varnedoe,
Chief Curator of the Department of Painting and Sculpture; Peter Galassi, Chief
Curator of the Department of Photography; and all my curatorial colleagues who
have participated in recent discussions about how to enrich and enliven contem
porary programming at the Museum. For their equally crucial moral and financial
support of this enterprise, I want to thank Lily Auchincloss, Agnes Gund and
Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder, whose generosity and
foresight established a Contemporary Exhibition Fund at the Museum, expressly
to support presentations such as this. I am also grateful to AT&T for its support
through the NEW ART/NEW VISIONS program. A grant from The Junior
Associates of The Museum of Modern Art helped make possible this publication,
and I thank both Howard B. Johnson and Ruth Ann Fruehof for their support.
A contribution from Streetwise Maps, Inc., supported a special children's educa
tional brochure.
This show salutes the late Captain Treasure Jones, Master of HMS QueenMary,
who invited me up for drinks in the First Class bar, where the mechanical Transat
lantic Map was. It is dedicated to my father, whose delight in exploring is the
source of mine.

R. S.
 Trusteesof The Museum of Modern Art

David Rockefeller*
S. I. Newhouse, Jr.
Chairman Emeritus
Philip S. Niarchos
James G. Niven
Mrs. Henry Ives Cobb*
Richard E. Oldenburg
ViceChairman Emeritus
Michael S. Ovitz
Peter G. Peterson
Agnes Gund
Gifford Phillips*
Chairman of theBoard
Emily Rauh Pulitzer
David Rockefeller, Jr.
Mrs. Frank Y. Larkin
Rodman C. Rockefeller
Ronald S. Lauder
Mrs. Wolfgang Schoenborn*
Donald B. Marron
Mrs. Robert F. Shapiro
Richard E. Salomon
Mrs. Bertram Smith*
ViceChairmen
Jerry I. Speyer
Joanne M. Stern
John Parkinson III
Mrs. Donald B. Straus*
Treasurer
Jeanne C. Thayer
Paul F. Walter
Richard S. Zeisler
Lily Auchincloss
Edward Larrabee Barnes*
Celeste G. Bartos*
* Life Trustee
Sid R. Bass
** Honorary Trustee
H.R.H. Prinz Franz von Bayern**
Hilary P. Califano
Thomas S. Carroll*
Mrs. Gustavo Cisneros
Marshall S. Cogan
Ex- OfficioTrustees
Douglas S. Cramer
Gianluigi Gabetti
Rudolph W. Giuliani
Paul Gottlieb
Mayor of the City of New York
Mrs. Melville Wakeman Hall
George Heard Hamilton*
Alan G. Hevesi
Barbara Jakobson
Comptrollerof the City of New York
Philip Johnson*
John L. Loeb*
Jo Carole Lauder
Robert B. Menschel
Presidentof TheInternationalCouncil
Dorothy C. Miller**
J. Irwin Miller*
Barbara Foshay-Miller
Mrs. Akio Morita
Chairman of The ContemporaryArts Council

64
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Kim Dingle Richard Long

Luciano Fabro John Miller

Oyvind Fahlstrom Claes Oldenburg

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