SUMMIT, NJ — Extended technique is a term normally applied to musical performance, but Migratory Marks, a show of seven wall works by seven artists, offers a thoughtful accounting of where extended techniques have pushed the boundary of what can be called a drawing, if there is in fact such a boundary at all.
Unless you live in Utica or Clinton, New York, there’s a decent chance you haven’t heard of the Wellin Museum. Opened last fall on the campus of Hamilton College, the Wellin comes on the heels of some two decades of planning for the school’s first art museum. Luckily, it seems to have been worth the wait.
When I was a kid, my father kept a dog-eared street map of the Dallas metroplex in his truck’s glove compartment. As a contractor who spent hours driving each day, this atlas was his North Star — a point of reference for navigating the city’s chaotic, concrete sprawl. Today, the cartographic tradition that his homely map belonged to — spanning millenniums from the early Phoenicians to Amerigo Vespucci and Lewis and Clark — is rapidly changing. I now find my way through New York by following a tiny, triangular point on an iPhone screen. In an age of new technology, information, and globalization, maps are no longer mere objects, and they increasingly represent immaterial worlds. This shifting understanding of time and space is reflected in Contemporary Cartographies, a group show at CUNY’s Lehman College Art Gallery in the Bronx.