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The symbols of British Columbia, its provincial flower, the Pacific dogwood (Cornus nuttalli) and its animal, the Spirit Bear (also known as the Kermode bear, a white morph of the American Black Bear, Ursus americanus kermodei) cover the hand-carved map of BC in this linocut. The block was inked 'à la poupée' (with different colours, green and gold, in different areas) and printed by hand on lovely Japanese kozo (or mulberry) paper. Each print is 23.5 cm by 31.8 cm (9.25" by 12.5"). The print is one of an edition of eight.
The symbols of Ontario, our provincial bird the common loon and our flower the white trilium cover the hand-carved map of Ontario and the Great Lakes in this linocut. The block was inked 'à la poupée' (with different colours, black, green and yellow, in different areas) and printed by hand on lovely Japanese kozo (or mulberry) paper. Each print is 23.5 cm by 31.8 cm (9.25" by 12.5"). The print is one of an edition of eight.
Map of Lake Park (1885), Olmsted, Olmsted Eliot
“Why should the particular pieces of land to which the term park was first applied have been regarded as choice & peculiarly desirable possessions for so long a time & by men of such very different wants & habits?”
–Frederick L Olmsted on the Psychological Effects of Park Scenery, 1868
“Frank’s Hill,” or the Shadewald Mound Groups located along the north bank of the Wisconsin River in Richland County is on the National Register of Historic Places for “Prehistory” and “Religion” (NPS.gov). The Late Woodland Cultures (500-1000CE) traveled an extensive river networks to build animal effigy mounds and burial mounds out of their deceased. This vast river culture included settlements located on Lake Michigan and the Milwaukee River.[2]
In viewing the landscape from an aesthetic perspective, both the Shadewald Mounds and the Milwaukee River-Lake Michigan corridor share elements commonly associated with Olmsted and Romantic style landscape design – even though only the city of Milwaukee had such formal design. A place to sit underneath a tree overlooking the water – a roundabout path, branching off towards the top of the highest hill or bank closest to the water. Olmsted termed the “view” design element,[1] and applied it in the construction of Lake Park, which included the destruction of numerous mounds.
In the historic 1855 publication of The Antiquities of Wisconsin, Increase Lapham describes in great detail the site location and characteristics of earthwork mounds, in which he further reinforces Olmsted’s theory of landscape aesthetics. In it he states:
“The banks of rivers appear to have been their favorite localities; and in this respect they resemble the present Indians, who select sites commanding a view of the country around them (so as to detect the first approach of an enemy), and near hunting and fishing grounds. They appear also to have had an eye for the beautiful as well as the useful, in choosing their places of abode.”
The Shadewald Mound Group photos remind us of what a park might look like before it is labeled as such. Whether a threat of urbanization or environmental change, the value of beauty is a constant that resonates through the landscape through time, and is a primary driver in site location. Toady, Lake Park is on the National Registry of Historic Places for significance in not only “Landscape Architecture” and “Engineering”, but for “Prehistory” as well (NPS.gov).
1. Frederick L. Olmsted, Address to {the} Prospect Park Scientific Association, 1868
2. Robert Birmingham and Leslie E. Eisenberg, Indian Mounds of Wisconsin (Madison: The University of Wisconsin Press, 2000).
The symbols of Manitoba, its provincial animal the bison and flower the crocus (Anemone patens) cover the hand-carved map of Manitoba in this linocut. The block was inked 'à la poupée' (with different colours, black, green and yellow, in different areas) and printed by hand on lovely Japanese kozo (or mulberry) paper. Each print is 23.5 cm by 31.8 cm (9.25" by 12.5"). The print is one of an edition of seven.
solo show opening party on Dec 5th, 2013
senaspace
229 Centre (just above Grand)
..after party at my karaoke bar around the corner
solo show opening party on Dec 5th, 2013
senaspace
229 Centre (just above Grand)
..after party at my karaoke bar around the corner
watercolor dreams
//zoom for better view
//originally a map of england on a scrapbook page insert, but i painted over it
ink, paper
1936 Map of Milwaukee County
The term “lungs of the city” is one of several metaphors commonly used to describe nature. Borrowed from parks in London, the phrase was made popular in the U.S. by renowned landscape designer and engineer Frederick Law Olmsted. Charles Whitnall, having grown up on the Milwaukee River, readily elicited similar language as a member of the Socialist Party and first Secretary of the Milwaukee County Park Commission (starting 1907) – referring to the benefits of a “transfusion of nature’s refined blood” associated with the development of a geographically and ecologically interconnected park system.[1]
While both Olmsted and Whitnall believed that nature was an indicator of human physical and mental health, they differed in their means of reaching such a state. Olmsted’s background in English Romanticism and Victorian landscape led him to emphasize the “view,” or an accentuated aesthetic brake in the landscape, as an element of formal parks.[2] In contrast, Whitnall focused on providing experiences of nature in everyday settings – such as streets, boulevards, and “parked ways” as green space corridors.[3]
Both viewpoints can be seen as a response to the industrialization period and the urbanization of Milwaukee. Olmsted reflected on culture itself and declared the designation of parks imperative. As illustrated in the 1868 memoir The Justifying Value of a Public Park, he asked himself a dire question: “Considering that [the park movement] has occurred simultaneously with the great enlargement of towns and development of urban habits, is it not reasonable to regard it as a self-preserving instinct of civilization?”
1.Charles B. Whitnall, lecture at USC, 1937, Milwaukee Historical Society
2.Frederick L. Olmsted, Address to {the} Prospect Park Scientific Association, 1868
3.Charles B. Whitnall, The First Tentative Report of the Metropolitan Park Commission [City of Milwaukee], 1909, Milwaukee Historical Society
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.
solo show opening party on Dec 5th, 2013
senaspace
229 Centre (just above Grand)
..after party at my karaoke bar around the corner
solo show opening party on Dec 5th, 2013
senaspace
229 Centre (just above Grand)
..after party at my karaoke bar around the corner
Using a lot of book paper I added graph paper from a moleskin book and scrap paper that suited. The flowers are a gelli print on deli paper
jaw bones, ink, paper
1936 Map of Milwaukee County
The term “lungs of the city” is one of several metaphors commonly used to describe nature. Borrowed from parks in London, the phrase was made popular in the U.S. by renowned landscape designer and engineer Frederick Law Olmsted. Charles Whitnall, having grown up on the Milwaukee River, readily elicited similar language as a member of the Socialist Party and first Secretary of the Milwaukee County Park Commission (starting 1907) – referring to the benefits of a “transfusion of nature’s refined blood” associated with the development of a geographically and ecologically interconnected park system.[1]
While both Olmsted and Whitnall believed that nature was an indicator of human physical and mental health, they differed in their means of reaching such a state. Olmsted’s background in English Romanticism and Victorian landscape led him to emphasize the “view,” or an accentuated aesthetic brake in the landscape, as an element of formal parks.[2] In contrast, Whitnall focused on providing experiences of nature in everyday settings – such as streets, boulevards, and “parked ways” as green space corridors.[3]
Both viewpoints can be seen as a response to the industrialization period and the urbanization of Milwaukee. Olmsted reflected on culture itself and declared the designation of parks imperative. As illustrated in the 1868 memoir The Justifying Value of a Public Park, he asked himself a dire question: “Considering that [the park movement] has occurred simultaneously with the great enlargement of towns and development of urban habits, is it not reasonable to regard it as a self-preserving instinct of civilization?”
1.Charles B. Whitnall, lecture at USC, 1937, Milwaukee Historical Society
2.Frederick L. Olmsted, Address to {the} Prospect Park Scientific Association, 1868
3.Charles B. Whitnall, The First Tentative Report of the Metropolitan Park Commission [City of Milwaukee], 1909, Milwaukee Historical Society
This Map Art Cover from a 1965 issue B/A - Quebec map by J.Fenwick Lansdowne, OBC. The map was one of a provincial series produced for B/A from 1965-67 by the H.M. Gousha Company
solo show opening party on Dec 5th, 2013
senaspace
229 Centre (just above Grand)
..after party at my karaoke bar around the corner
-Jaw bones, map
The term “lungs of the city” is one of several metaphors commonly used to describe nature. Borrowed from parks in London, the phrase was made popular in the U.S. by renowned landscape designer and engineer Frederick Law Olmsted. Charles Whitnall, having grown up on the Milwaukee River, readily elicited similar language as a member of the Socialist Party and first Secretary of the Milwaukee County Park Commission (starting 1907) – referring to the benefits of a “transfusion of nature’s refined blood” associated with the development of a geographically and ecologically interconnected park system.[1]
While both Olmsted and Whitnall believed that nature was an indicator of human physical and mental health, they differed in their means of reaching such a state. Olmsted’s background in English Romanticism and Victorian landscape led him to emphasize the “view,” or an accentuated aesthetic brake in the landscape, as an element of formal parks.[2] In contrast, Whitnall focused on providing experiences of nature in everyday settings – such as streets, boulevards, and “parked ways” as green space corridors.[3]
Both viewpoints can be seen as a response to the industrialization period and the urbanization of Milwaukee. Olmsted reflected on culture itself and declared the designation of parks imperative. As illustrated in the 1868 memoir The Justifying Value of a Public Park, he asked himself a dire question: “Considering that [the park movement] has occurred simultaneously with the great enlargement of towns and development of urban habits, is it not reasonable to regard it as a self-preserving instinct of civilization?”
1.Charles B. Whitnall, lecture at USC, 1937, Milwaukee Historical Society
2.Frederick L. Olmsted, Address to {the} Prospect Park Scientific Association, 1868
3.Charles B. Whitnall, The First Tentative Report of the Metropolitan Park Commission [City of Milwaukee], 1909, Milwaukee Historical Society
The symbols of the Northwest Territories, its territorial symbols the gyrfalcon and mountain avens flowers cover the hand-carved linocut map of NWT. The block was inked 'à la poupée' (with different colours, gray-brown, green and yellow, in different areas) and printed by hand on lovely Japanese kozo (or mulberry) paper. Each print is 23.5 cm by 31.8 cm (9.25" by 12.5"). The print is one of an edition of eight.
I combined my series of 13 province and territory linocuts in Photoshop to see the full country. Each one shows the place and its symbols (at least two: one plant, one animal). In real life the prints are not the same scale because PEI is so much smaller than many other provinces. Originals are printed on Japanese kozo and inked à la poupée.
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.