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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



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)



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.

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