The text in this PP, unless otherwise noted, are quotes from Lucy Lippard's 1997, The Lure of the Local, Senses of Place In a Multi-Centered Society. Place and time makes us who we are. How can these be sources for greater understanding of self and society. Consider how several artists have used mapping techniques to enlarge persepctives. See art and visual culture from the area around Wichita Falls, Texas.

1. MAPPING YOUR SENSE OF
PLACE: DISCOVERING
UNDERSTANDING
EMBRACING
LIZ LANGDON- UNIVERSITY OF NORTH TEXAS

2. SPACE DEFINES LANDSCAPE,
AND SPACE COMBINED WITH
MEMORY DEFINES PLACE
If space is where culture is lived,
then place is the result of the
union.
(Lucy Lippard, 1997)
Doris Boles
Rabbit Creek Bridge Near
Randlett, OK

3. GOOD REGIONAL ART HAS BOTH ROOTS AND
REACH
(LIPPARD, 1997)
Frank Tenney Johnson, Range Boss of the SMS Ranch (Joe
Ericson), c.1935

4. ROOTS DEFINED
•What kind of Roots?
•Local styles
subordinate
•Centered
•Hierarchical
ART

5. RHIZOME ROOTS
•De-centralized
Networks
•Horizontal
• Non-Hierarchical
•Non-reproducible
structure
•Adds on, and on
Art
cars
ART Craft

6. INTERNET RHIZOME
• Clusters of straight lines that
combine into bigger clusters
• all connected in some way
• can be used to frame the
mind, memory, language and
culture.

7. FRAMING
CULTURE
Infographic: Mapping
The 70-Year Gestation
Of Street Art. In the
annals of “Fine Art
History”
http://www.fastcodesi
gn.com/1670917/info
graphic-mapping-the-
70-year-gestation-
of-street-art#
1

8. “GOOD REGIONAL ART HAS BOTH ROOTS
AND REACH (LIPPARD, 1997)
•How far can your art
reach ?
• Spatially?
•Conceptually?
• Temporally?

9. map of Lordy Rodriguez
http://www.amoainteractive.org/lordyrodriguez2009/

10. IN WHAT WAY
CAN PLACE
ENTER INTO
CONCEPTUAL
LANGUAGE ?
Rust Belt
Bible Belt
Unchurched Belt
Grain Belt
Rice Belt
Black Belt
Jello Belt
Sun Belt
Banana Belt

11. RETHINKING TEMPORALITY: BERGSON’S
CONE
You are the Red
Dot
DURATION
http://su.wikipedia.org/wiki/
Wayah

12. Why is the sculpture there?
Who does it serve?
What does it say about the place
that surrounds it?

14. Land, history and
culture meet in a
multi-centered
society that values
place, but cannot
be limited to one
view
How is this so?
What is your view?
How is it formed?
What ideals does it embody?
Is it localized thinking?

15. THE CULTURE OF PEOPLE IS
UNINTENTIONALLY REFLECTED
IN ITS COMMON EVERYDAY
LANDSCAPE
• “No place” where these elements
are unknown or invisible. (Scale:
Too vast, Too small)

16. “PLACELESSNESS” A PLACE IGNORED, UNSEEN OR
UNKNOWN
MESQUITE TREES- AUDRA
MILLER
MESQUITE TREES-DORIS
BOLES

17. “SOME PLACE”
WHAT WE ARE ALL LOOKING
FOR
psychological echoes
social ramifications

18. HISTORICAL WICHITA FALLS
Jack Stephens- Ouichita

19. POSSIBILITIES OF UNCOVERING THE
INVISIBLE
EXPLORING SHARED PASTS
• An artist’s task can be to
recover memory and history
in ways that psychologically
allows people to enter the
public sphere in meaningful
and committed ways (Pinar,
1991)
MISSING

20. GOOD REGIONAL ART HAS BOTH ROOTS AND
REACH WHAT CONNECTION CAN YOUR ART MAKE
TO PLACE?
Conceptual Mapping of Creative Conceptual Mapping of cyber places
Inspirations

21. MIND MAP TO RECENT LIVES

22. THANK YOU
Liz Langdon, -University of North Texas
lizlangdon1@gmail.com