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Exhibition in Print
2010
MOSAIC ART NOW
Morning by Ann Gardner. Glass, composite material, concrete, steel. 18 h x 12 w x 12 d feet Photography: Lisa Jacoby
MOSAIC ART NOW2010 Edition
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60 Mosaic Art NOW No. 3 2010 Mosaic Art Now No. 3 2
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Given that the history of mosaic art began more than
4,000 years ago and many works of mosaic art stand
as some of the most enduring icons of art history, it is
surprising just how many people today continue to think
of mosaic making as the work of craftspeople rather
than artists. Yet one only has to look to the beauty of the
Greek wall decorations at Pompeii, Roman floor mosaics,
the shimmering splendor of Byzantine interiors, and
the organic undulations of Antoni Gaudí’s Art Nouveau
creations at Park Güell to be certain that mosaics can, and
do, aspire to the highest echelons of human expression.
The lingering assumption that mosaics are craft stems
in part from the fact that much mosaic art is not only
visual, but utilitarian, and meant to bedeck floors, walls,
ceilings, and the exterior of buildings. Yet painted murals
perform many of these same functions, and few wouldargue that paintings, by virtue of their being incorporated
into architecture, are not art. Others have belittled the
mosaic medium by saying that the technique is simply too
accessible, believing it to be an activity that anyone can
participate in.
To be sure, most of us made mosaics as children, often
using dried beans, cut paper, and other objects found
around the house. Yet few of us have gone beyond these
humble beginnings. Of the practitioners that have, even
fewer have taken their craft to the level of art. All of the
pieces included here were made by artists—ones who have
added to the mosaic tradition and pushed its boundaries,
each time making abundantly evident that the art form is
alive and well.
To create art, conception and execution are equally
required. In other words, some artists have ideas; others
have technique. Those that bring both to the fore and can
do it consistently are the artists. The medium itself matters
little. It is the mastery of that medium, regardless of genre
or utility, that is important. This technical mastery is anecessity. Without it, the end result is compromised—no
matter how good the idea.
As in the case of other traditional “craft” media such
as glass, clay, and wood, mosaic artists have in recent
decades begun to re-emerge in force internationally,
which the beautiful diversity of production included here
makes evident. As juror, it was my intent to try to show the
breadth of global talent that submitted to this competition
and, fortunately, excellent work was submitted in all
techniques and styles. The artworks I chose to include
exemplify a broad range of trends. Landscapes, figures,
and pure abstractions were all worthy of inclusion. Flat
works and objects in three-dimensions were both skillfully
executed. Perhaps ironically—for a medium known for
its functionality—very few of the mosaics submitted were
meant to be used. One of these was selected, Don’t Cut
Your Tongue on the Rhinestones, a vintage cash drawer
ornamented with myriad tiles and found objects. A jewe lry
box extraordinaire, its usability nevertheless plays a minor
role; this object is truly purposed to make viewers smile.
Other artists found humor and whimsy in their medium
and attained it by appropriating the past. These artists did
not simply copy their sources, however, but used them as
points of departure to make social comment and invokenostalgia and a sense of innocence lost. The glitzy Miss
Willendorf uses mosaic to fashion an updated, and far more
secular, version of an ancient fertility idol, a comment
on the consumerism and superficiality of contemporary
society. Spaghetti Western appropriates kitsch by adapting
and then embellishing a 1950s paint-by-number cowboy
and bucking bronco. Surrounding this central image with
ashtrays, belt buckles, toy guns, and spurs, the artist has
created a pop icon that simultaneously oozes nostalgia
and critiques consumer culture. White Rabbit also looks
nostalgically at the past, but with a less cynical edge. With
painstaking and gorgeous attention to detail, the artist
turns to childhood literature to remind us of the frenzied
pace of our own lives through that of the late-running hare.
All of the artists whose work is depicted were true to
their medium and exploited its unique expressive potential,
and all of them brought depth and diversity to their pieces
by using tesserae in a range of materials, shapes, and sizes.
The work titled Ramblings focuses on the rich beauty of
the artist’s materials, combining an infinitude of glass,semi-precious stones, millefiori, and smalti to create a
lush abstraction that seems to have evolved organically
and yet results in a remarkably cohesive whole. Others
took advantage of their medium’s ability to assume three
dimensions by richly layering forms, as in the case of Bull’s
Eye and also Notturno, both of which breach the picture
plane into luscious sweeping forms and patterns. Keep Me
Warm uses this same approach but with a more homespun
Curator’s Statement
result. Rippling mosaic squares become the drapery folds
of a quilt that figuratively offers a traditional sense of
family and community. In Primavera, flowers and leaves
grow organically beyond the picture plane to culminate in
a sculptural, blue-eye-shadowed Mother Nature and bird.
Other artists omitted backgrounds altogether, creating
sculpture in the round. Late Bloomer , Geology, and Meredith
each look to nature for inspiration, finding harmony and
universality in its microcosm. Late Bloomer is cocoon-like,
incorporating silk fibers into the “skin” of a pod that also
includes shells, turquoise, and gemstones. Geology delves
beyond the earth’s strata to allow us to peer into hidden
realms. Meredith evokes the bark of an ancient tree, the
gorgeousness of the glass tiles both revealed and obscured
by the mortar, which plays an integral role in this complex,
and yet very subtle, piece.
Other artists approached their mosaic layers not assculptors, but almost as painters. Carterton Lily Pond and
Familiar Groundoffer new takes on old subjects, yet are
distinguished by the freshness of their approach. Familiar
Ground takes landscape representation into conceptual
realms through its incorporation of materials gathered
from the Wisconsin site that is depicted. A more abstract
approach to nature is evident in Sidonea Menageria, a
tree of life that boasts watch-bellied birds perching on its
gnarled branches. February Morning, Paris also features
trees, but these are hauntingly barren, contributing to
the paramount sense of loneliness of a nearly deserted
Parisian street.
Quite apart from the tranquility and quietude of
these images, No! and Maria provide two very different,
although equally disturbing, takes on contemporary life,
each with elements of humor. While No! suggests through
the actions of a child a universal human frustration at our
lack of control over politics, the system, and our destiny,
Maria evokes through a robotic goddess the future itself,
one in which we have lost our humanity to technology andthe machine.
As these pieces make evident, mosaics are as diverse
an art form as any other and at once contribute to and
participate in international aesthetic trends. It is my hope
that the pieces selected here prove as inspirational and
eye-opening to the readers of this magazine as they were
to me. Distinguished by a synthesis of original approach,
technical realization, and formal achievement reflecting
the personal creative vision of the artist, each piece, in
its unique way, brings new vitality and contemporary
perspectives to this ancient and enduring medium.
Scott A. Shields, Ph.D.
Associate Director and Chief Curator
Crocker Art Museum, Sacramento
About the Exhibition in Print
When we thought last year about pos
enhancements to the Mosaic Gallery fe
of Mosaic Art NOW , we knew we wanted t
something bigger, better, bolder. We wanted
everything we could to present mosaics as fin
We looked to our own jaw-dropping, never forg
experiences at art exhibits for inspiration. W
had made those particular museum/gallery vis
special?
Our list started with the phrase great art
quickly progressed to selective, a cohesive
of work, curator commentary, interesting
statements, the ability to linger over a piece
return for closer investigation, something is lea
and finally, the ability to purchase. So, we set odo all those things – in print. Here is how th
transpired:
Step One: Attract submissions from m
artists. A prize for Best in Show was determ
We created an on-line submittal process.
opportunity to submit work was announce
mosaic circles around the world. Press release
fliers went to museums and schools. And we cro
our fingers. By deadline, 301 artists from 26 coun
had submitted 528 mosaics for consideration.
Step Two: Secure the services of an
professional with high-quality credentials in jud
and curating. We approached Dr. Shields, C
Curator of the Crocker Art Museum in Sacram
California. The exhibition was explained. Dr. Sh
found the opportunity intriguing. A profession
for his service was agreed upon. We had our cu
Step Three: Execute a fair jurying process
jurying process was designed to meet the stand
of Dr. Shields and the expectations of submiartists. Each work was assigned a random nu
for blind identification purposes. Dr. Shields
three different media in his multiple reviews of
mosaic: prints, digital images, and large-sc
projections. When he had narrowed his candi
down to a manageable number, Dr. Shields u
table and the prints to create an “exhibition”
was both cohesive and representative of the va
genres within the art form. He then selected
Best in Show mosaic.
Step Four: “Hang” the exhibit. As you
see on the following pages, we created two-
layouts for each work with multiple, high-resol
photographs. Artists were offered edi
assistance with their statements and photogr
Finally, we put together the Artist Information/P
Sheet you see at the end of the exhibit. We wi
replicating the sheet online. Our hope is that
there will be “red dots” next to all available mo
We hope you enjoy the Exhibition in Print hmuch we enjoyed putting it together. In the pro
we discovered several marvelous new artists
some interesting conversations about the natu
mosaics, and were able to go behind the scene
jurying process conducted by a professional.
And to all the artists who submitted w
grazie mille.
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Mosaic Art NOW No. 3 201092
Geology
36 h x 32 w 25 d centimeters. Yellow travertine, cement.
My work is inspired by geological forms. This sculpture describes a cross section of the earth’s layers leading downinto the core. Using one material in subtle ways allows me to recreate the minute changes in texture that indicate
the differences between each layer. The overall shape of the work is an upward, thrusting motion — energy comingfrom the earth’s core up and out. This shape also feels decidedly spiritual to me for I see within it an abstract angelrising towards the heavens.
Photographer: Elad H. Friedman
Nirit Keren (Israel)
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All photographs in this publication were taken by the artist unlessspecified in the Photo Credit line and are presented here with thepermission of the artist. All mosaic designs are the copyrightedproperty of the respective artist and cannot be reproduced withoutthe permission of the artist. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system, ortransmitted in any form or by any means, electronic, mechanical,photocopying, recording, or otherwise without the permission of thecopyright owner.
Photos (above) from left to right: One Day by Ann Gardner, LaurelTrue with students at the Steiner School,Clay End by Emma Biggs,Nightshirt by Julie Richey, Solar Flare by Yulia Hanansen, andMeredith by Ellen Blakeley.
Mosaic Art NOW No 3 2010 EditionISBN 13: 978-0-9814905-4- 0 ISBN 10: 0-9814905-4 -9© 2010 Mosaic Rocks, LLC. All rights reserved, Written consent isrequired for any reproduction. Printed in the USA.Mosaic Rocks PO Box 2146, Wakefield, MA 01880, 781-213-3487
Editors: Bill Buckingham, Nancie Mills Pipgras, Michael WelchSpecial Assistance: Jennifer Blakebrough-Raeburn and Julie Richey
Email: [email protected]
Website: http://www.MosaicArtNow.com
Blog: http://MosaicArtNow.blogspot.com
Facebook Page: Mosaic Art Now
Twitter: MosaicArtNow
Contents of the 2010 Edition
• Editors’ Welcome by Bill Buckingham and Nancie Mills Pipgras
• Discoveries
• Guest Commentary - The State of the Art: Fine Art Mosaic by Sonia King
• A Body of Work: Ann Gardner
• Creative Capital: Laurel True
• Five Sisters: Vitae Summa Brevis by Jennifer Blakebrough-Raeburn
• Orsoni Prize 2009: International Award for Mosaic Fine Art by JoAnn Locktov
• To Work Without Fear: Yakov and Yulia Hanansen by Paul Anater
• 2010 Exhibition in Print
• Curator’s Statemet by Scott Shields, Ph.D., Chief Curator, Crocker Art Museum, Sacramento, California
• Exhibitor Information • Mosaic Marketplace: Artists, Learning Opportunities
• The Lighter Side of Mosaics by Bill Buckingham
MOSAIC ART NOW2010 Edition
Mission
Mosaic Art Now promotes the international understanding and appreciation of contemporary mosaics
through high-quality publications and a lively online presence. We deliver provocative and inspirational
content for artists, curators, architects, designers, collectors and educators.