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Municipal signage and schematics, as design firm Pentagram’s recent work on New York’s beach and parking signage attests, can play a significant role in (re)defining the character of urban space. Subway maps similarly develop an aesthetic character that transcends their function, as in the London Underground pamphlet released last week designed by the artist Rachel Whiteread.
Though ultimately utilitarian, these textual and visual signs, symbols, and graphics form a vernacular urban directory, a tangible expression of the city’s identity. Over time, such artifacts can serve to document a collision of disparate forces at the intersection of geography, politics, and sensibility.
Fortunately, an independent online repository called nycsubway.org collects New York’s historical transit maps and schedules, offering a collection ranging from the late 19th century to the present. Here are a few highlights.
More maps can be viewed on the Historical Maps page at nycsubway.org.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.