1 - Society of American Mosaic Artists
Transcription
1 - Society of American Mosaic Artists
•••••• Quarterly Newsletter Vol. 1 No.2 Summer 2000 i•• lil.lil.li.i •••••• Quarterly Newsletter of the Society of American Mosaic Artists ••••••••••••••••• i.i ••••••••••• , ••••••• i •• lililililil •••••••••••••• II Sll))ll OFF((~EUS Al"VD IIOAlu) Ii Janet Kozachek, President Allyson Way Hank, Vice-President Nathaniel Wallace, Secretary Lia Catalano, Treasurer Advisory Board: George Fishman Sonia King Sven Warner •••••• Contributors: Jeri Burdick is a ceramic and mixedmedia artist who operates her studio, Radcliffe Street, in Eutawville, South Carolina. •••••••••••• i.i.i.il N )11~~IIII~ll I~'VS Ililililililil.I Officers: i.i.i.i.i ••••••••••••••• i.i.ililililil.I •••••••• i ••••••••••••••••••••••••••••• II Costante Crovatto, a master mosaicist II with fifty years of experience creating II art in public places, is currently at work lion a mosaic for the Holy Cross mausoIleum in Arlington, New Jersey. Also, he will soon install a mosaic at the Orlando National Airport in Florida. Before emigrating to the United States in 1947, Mr. Crovatto trained at the Scuola Mo- saicisti in Spilimbergo, Italy. After recruiting mosaic artists from Spilimbergo, he founded Venetian Art Mosaics in New York City and completed largescale mosaics in the 1950's and 60's. II Now known as Crovatto Mosaics, Mr. II Crovatto's team has worked in collaboII ration with artists and designers to create II such notable works as the mosaic medalII II lions in the Washington National Airport, II and a mosaic mural based on artist II II Howardena Pindell's design at the Sky II Harbor International Airport in Phoenix, II Arizona. 1••••••••••••••••••••••••••••••••••••••••••••••• i •• lilililil.I ••••••••••••••••••••••••••• 1•••••••••••••••••••••••••••••••••••••••••••••• George Fishman is a mosaic muralist in Miami Shores, Florida. Robert Schick was the Islamic Studies Fellow at the WE Albright Institute of Archaeological Research in Jerusalem and is currently pursuing research in the Himalayas. Erika Hochberg has a masters degree in Art History and currently works in New York. Janet Kozachek is an artist/educator residing in Orangeburg, South Carolina. I~.;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.~ 'I II II I I I I •••••••••••••••••••••••••••••••• 1 II II II I I I I I I II II •••••••••••••••••••••••••••• 1 II II II I! ~~.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!.!!J. II II Pictured: Howardena Pindell's "Memory". ~!.~.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.~ 'I1- International Airport, Phoenix, Arizona. i.ii.ii.ii.ii.ii.ii.ii.ii ••• ii.ii.ii.ii.ii.ii••• ii.... - 1 II SAMA is now 140 members strong and II growing. Below is a geographic breakdown of our members' location by state and country. California leads us all. The sites of future exhibitions and conferences, along with board representation may be based on where most of our members reside. Do you have a small or a large SAMA State? Encourage colleagues to join for a good showing in your state. II II Alabama 1, Arizona 2, California 15, ConII necticutt 2, Colorado 3, Florida 10, Georgia II 5, illinois 9, Iowa 1, Kansas 1, Maryland 5, II Michigan 3, Minnisota 1, Mississippi 2, I Montana 1, New Hampshire 1, New Jersey 5, New Mexico 1, New York 9, North Carolina 7, North Dakota 1, Ohio 1, Pennsylvania 8, South Carolina 11, Tennessee 5, Texas 10, Vermont 1, Virginia 1, Washington 5, Wisconsin 2. I II II Australia 1, Canada 4, France 1, Italy 1, II Puerto Rico 1, Scotland 1. Glass mosaic, 10 x 14 feet. Sky Harbor 1 "j N )11~~IIII~llS I~"TScont. llsK U. r"DI~ PUOI~I~SSION1~1. How do I shade faces in my mosaics? A. Closely copy Byzantine and Roman-style mosaic portraits, .Isaiah Zagar conducted two mosaic mural classes this spring in Philadelphia, one on April 29-30 and the second one over Memorial Day Weekend. Mr. Zagar has devoted thirty years to the art of mosaic and recently published a handsome monograph celebrating his mosaic murals in Philadelphia. Philadelphia's Magic Gardens features twelve color illustrations of Mr. Zagar's public works along with a map of the sites. Intensely visionary, some of them are a walk on the wild side of mosaics. Philadelphia's Magic Gardens is available from Open Eyes Press, 402 South Street Philadelphia, PA 19147. Isaiah Zagar is currently represented by the Snyderman Gallery in Philadelphia. paying particular attention to color matching. Then, create new portraits, first using the "classic" palettes, then inventing your own. U. Should plywood be sealed before adhesive is applied when making a mosaic tabletop? J\. Traditionalists are skeptical about the long-term stability of any mosaic substrates other than those that are cement based. However, many mosaics ARE adhered to wood, plywood and composition boards with success. To minimize the possibility that moisture will penetrate a plywood table base and cause it to warp, a good sealer is essential. Mosaicists' preferences for sealing products range from shellac, white glue/water mixtures, to paint primers and epoxy. U. Am I correct in saying that the only tiles specifically produced for use in mosaic work are smalti? Isn't vitreous glass really produced for architectural applications? 1\. Smalti is "the" material manufactured since antiquity for handmade mosaics. Contemporary artists use all manner of materials (stone, vitreous glass, ceramic tile, etc.), but those of uniform size, such as vitreous glass and unglazed porcelains, must be recut by the mosaicist to create interest. U. In making a tabletop, should grout or caulk be applied between the edge of the tile and the inside of the frame? A. Caulk offers the virtue-of-flexibility in any joint that is susceptible to movement. Sanded caulk gives a better visual match to the nearby grout joints than does ordinary caulk. U. Can small sizes of porcelain tile be obtained without the adhesive or other backing materials that normally are used to hold the tiles in sheets? Isaiah Zagar - Philadelphia, '98 A. Dal- Tile, American Olean, and Lonestar all sometimes offer sale of UN-mounted porcelains. Purchasing the material in this condition saves much labor and allows the tesserae to be placed either side up. U. What precautions need to be taken for mosaic installations in cold climates? J\. Thinset cannot be applied in near-freezing conditions; contact the manufacturer for details. Mosaic installations that need to withstand freeze cycles must be well sealed, so that water cannot penetrate the grout (or porous mosaic materials either) and later freeze. Penetrating sealers are sold for this purpose . •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• I~XDIIJI'I·ION OI·I·OU'I'(JNI'I'II~S i.i.i.i.i.i.~ ilil;lililil;.;.;.;.;.;.;.;.;.;.;.;.;.;.;.i.;.i.;.i.;. •..................................................... ········'1 I I•••••••••••••••••••••••••••••••••••••••• 'i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i.i ~••••••••••••••••• II JI JI ••• i.i.i ••• i.i.i ••~ - Prix Picassiette 2000 in Chartres, France. Deadline for entries: October 15,2000. For a prospectus contact: Centre SocialS rue des Hauts de Chartres 28000 Chartres. Tel: 0237349596 Fax: 0237300861 1 "T OIUiSII OI·S l~n(J(~1-\.I.ION1\l~ OI.I.OU'I'IJNI'I'I1~SI~OU)IOS1-\l(~J\U'I'IS'I'S: ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• )IOS1-\U~ ~ ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Title: 'I'DI, iluT 01' }IOSAU;S Instructor: Melanie Strybos Location: Southwest School of Art and Craft 300 Augusta, San Antonio, TX 78205 Time and Date: June 23 & 24; July 22 & 23 10:00 - 4:00 p.m. Subject: Basic Introduction Class Class size limit: 12 Cost: $130 For More Information contact: SSAC (210) 224-1848 1 )IOSj-\u~ (~I.J-\SSI~SJ\nU01-\l) For information on Mosaic courses offered outside the United States, contact: Mosaic Matters: www.uscrs.dircon.co.uk/-asm ••• •• • Nina Liu and Friends A Gallery of Contemporary Art Objects 24 State Street Charleston, South Carolina 29401 Title: 'I'lil, ilu'!' 01' ~IOSAU;S Instructor: Melanie Strybos Location: Austin Museum of Art - The Art School 3809 West 35th si., Austin, TX 78763 Time and Date: August 19 & 20 10:00 - 4:00 p.m. Subject: Basic Introduction Class Class size limit: 15 Cost: $1l5 For More Information contact: AMOA (512) 323-6380 Odalisque 1638 Abbot Kinney Venice, California 90291 •• •• •• )IOS1-\U~ )ll-\'I'I~UI1-\1~ SOUIU~I~S SmaltilVitreous Glass/Assorted Mountaintop Mosaics P. O. Box 653 Castleton, VT 05735 1-800-564-4980 www.mountaintopmosaics.corn Title: (~AS'!'(~I'~II'N'l'AN)) }IOSAU; Instructor: Dmitry Grudsky Location: Dmitry Grudsky Studio 38799 Jonovill Drive, Newark, CA 94560 Time and Date: August 20 - 25, 2000 Subjects: Introduction to Byzantine, Roman, Florentine and contemporary mosaic. Techniques of design, molding, embedding, framing, casting and grouting. Class size limit: 8 Cost: $330 (5 days) For More Information Call: Tile Heritage Foundation Fax: (707) 431-8455 Evmail: [email protected] SmaltilVitreous Glass/Ceramic Tiles/Mosaic Molds: Delphi Stained Glass 3380 East Jolly Road, Lansing, MI 48910 1-800-968-4420 Fax: 1-800-748-0374 Virtreous Glass/Mosaic Molds: Ed Hoy's International 27625 Diehl Road, Warrenville, IL 60555 1-800-323-5668 Wholesalers to the Trade Only. Encyclopedia Big Book available for $9.95 Vitreous Glass/Ceramic Title: ~IOSAU;"TounslloP Instructor: Phillip Danzig Location: Get Crackin Studio 70 E. 10th Street, New York, NY 10003 Time and Date: September 9 & 10 Subjects: Mosaics as architectural statement, graphic images. Tile cutting, cementing and grouting, technical advice on permanent installations. Class size limit: 12 Cost: $330 (5 days) For More Information contact: Tile Heritage Foundation. Fax: (707) 431-8455 E-mail: foundationrs'tileheritage.org Mosaic Tools: Tile: Michele Petno Wits End Mosaic 5224 W State Road 46 Suite 134, Sanford, Florida 32771 407-323-9122 Fax: 407-322-8552 [email protected] www.mosaic-witsend.corn (coming soon: unglazed porcelain tile, smalti) SmaIti/Pre-cut - Marble Tesserae/Mosaic Tools: Tabularasa Viale Scalo di San Lorenzo 40 Roma, Italy 39-06-4450070 Fax: 39-06-4456760 E-mail: [email protected] www.tabvlarasa.com l~l~l'\'·I'(JIU~S rrDI~ II1-ll~J)~11U)J~ rrl~SSI~Ul.\. The ease and convenience of commercially manufactured mosaic tesserae are taken for granted by most contemporary mosaic artists. Deadlines, large-scale projects, and economic constraints make their use expedient. For a more hand-crafted look, however, many mosaicists create their own tesserae. For small works in particular, tesserae, which are art works in themselves, compose a mosaic that intensely reflects the artist's touch. Sometimes, tesserae are cut by hand from traditional materials - stone, smalti, cut tiles. At other times, they serve as occasional accents blossoming spontaneously out of a homogeneous stratum. t",..~'tU~e will feature artists who create their own tesserae and will share with readers their tools and techniques for creating these one~of-a-kind building blocks. We anticipate that by sharing our expertise, resources, and experimentation, we will enhance each other's work and provide inspiration to do something out of the ordinary. (~IU~l'\'·I'INC. (~I~Ul'\'~IU:~ rrl~SSI~U1U~IIY II1.\.NJ) by Jeri Burdick I have always mixed materials in my art work. I have felt a need to unify these materials using outlines, and small ceramic tesserae seemed ideal for this purpose. Creating my own tiles was natural to me as a ceramic artist. My working method enables me to have a large supply of tesserae in an extensive color range. I find that creating a system of work in the studio is essential if you are going to produce a lot of one thing. First, decide on the thickness you want your tesserae to be. (Mine are 1/4 to 3/8 inch thickness as a general rule.) Roll out your slab of clay accordingly. Be certain to roll out your slab of clay on a piece of canvas, masonite, or other material that will facilitate flipping it over. After rolling the slab, work it down by taking a rubber, wooden, or flexible metal rib and running it over the front and back surface of your slab. This will keep the slab from warping. Let the slab sit overnight or for several hours. A lot depends upon the humidity. The more moisture in the air, the longer it will take for the water to evaporate from the slab. Flip the slab over, making certain that the edges are flat. Run your hands over it several times during the day until the slab becomes stiffer (not hard and dry). Using a T-square and an exacto knife, mark your tesserae to the desired size - I use 3/4" by 1/2" for rectangles and 112" by 1/2" for squares. The sky is the limit; you may want to try triangles. Score your slab half-way through. (Scoring the slab too early may result in distorted shapes. But some artists may like the distortion.) Once the scored slab has dried, you can glaze. Glazing the greenware requires a bone dry surface. (You will need to make glaze tests before you commit to a glaze. Some glazes pinhole and craze if fired too quickly). Brush the glaze onto the scored slab and let dry. Gently break the tesserae off along the score marks - first one row, then breaking off the individual tesserae. If the edges seem slightly rough, run your fingers over the edges to smooth out the glaze. Place each tessera on a kiln shelf coated with kiln wash. Be sure the underside of each tessera is free of glaze. Fire to the appropriate temperature. By making a large quantity of tesserae in varied palettes and a variety of sizes, you have an extended artistic vocabulary with which to work. This vocabulary of tesserae makes each work of art unique and personal. ~~~~~ 3) Once the scored slab has dried, you can glaze. 2) Score your slab half-way through. •• 5) The finished mosaic ....• ~ 'rUI~ Ii)IJ\'(.I~J)I~S'I'UOYI~USby Robert Schick Reprinted and condensed with permission from Archeology Odyssey NovemberlDecember Society, 4710 41st Street NW, Washington, DC 20016. [email protected]. A curious episode in the history of iconoclasm - the destruction of sacred images - took place in eighth century Palestine (present-day Israel and Jordan). The region's Byzantine churches were often decorated with colorful mosaic pavements, including depictions of plants, animals, ordinary human beings and holy figures such as Jesus, the Virgin Mary, the disciples and saints. Some time during the eighth century, however, in almost everyone of these churches, the human and animal images were deliberately annihilated. But it was a gentle destruction: Those who obliterated the images typically removed the tiles with great care, scrambled them up, and reinserted them into the pavement - preserving the mosaic while erasing the images. Equally curious: The obliterated images in Christian churches in Palestine were of ordinary people and animals, not holy figures. Thus the destruction of images in Palestine differs markedly from the Christian iconoclasm of the Byzantine Empire in the eighth and early ninth centuries - where only sacred icons were destroyed while other images of humans and animals were left intact. Surprisingly, a closer look at the nature of the damage, and when it was done, suggests that it was the work of Christians themselves. Typically, individual tesserae were carefully plucked out of the offending images, leaving the surrounding pavement intact. Most of the damaged floors were repaired, sometimes crudely by using cement, plaster or pieces of broken stones, but more often carefully by reusing the mosaic tesserae. If the floors were to remain in use, the damaged images had to be repaired in some way; any gap would have quickly widened as people knocked out other cubes while stepping along the edges of the break. In many cases, repairs were done in an artistic manner that clearly reflects concern for the aesthetic appearance of the mosaic. At Farah al-Hashimiyah, simple geometric shapes fill the space where the images once were. The most humorous example is the church at Ma'in, where the image-destroyers transformed a bull into a tree but left the animal's hooves intact. When was the damage done? A number of churches also contain inscriptions telling us when the churches, or their mosaic floors were dedicated. An inscription at Khildah dates its mosaic floor to 685; the lower church at alQuwaysmah was dedicated in 7l7-718; the Church of Saint Stephen at Umm alRasas was dedicated in October 718; and the acropolis church at Ma'in was dedicated in 719-720. Clearly, much effort was put into defacing the images. It could have been different: One can imagine vandals smashing up the floors, or angry iconoclasts plastering over the offensive images. Instead, the tesserae were often carefully removed and scrambled. The people who did the damage, and who made the repairs, wanted to keep the mosaic floors intact and in use, and they were willing to invest the time and effort &W 1999. Journal of the Biblical Archaeology needed to keep the floors attracti ve. This means that the repairs - and the damage - were done by the local Christian congregations, who wanted to preserve their houses of worship. That the Christians did the repairs is clearly demonstrated in the mosaic at Massuh, where a cross and a church building were added to the mosaic as part of the repairs. Why would Christians damage their own churches? The Arabs conquered Jerusalem in 638, so by the eighth century Palestine had for some time been under Muslim control. Reports of the rulings and actions of the prophet Muhammad (c. 570 - 632) show that Muslims were opposed to the depiction of all living beings, on the grounds that the depiction of a living being that possessed the "breath of life" was a blasphemous imitation of the creative act of God. The issue first began to be raised towards the end of the seventh century, and the prohibition on depictions of people and animals had been generally agreed upon by the early years of the eighth century. This Muslim form of opposition to images corresponds better to the physical evidence from the mosaic floors in the churches of Palestine than does Byzantine iconoclasm. But there is little literary evidence to point to Muslim action against images. Probably, Muslim officials demanded that images be destroyed, and the Christians then camouflaged the images themselves to do as little damage as possible. Although almost every church was affected, the damage in no case was very thorough. Some images were simply scrambled, while other images were left intact. This suggests that the Muslims themselves were not very ardent imagedestroyers. It looks as though both communities, Muslim ~nd Christian, wanted to cause as little resentment as possible while remaining faithful to their religous precepts - the Muslims by making minimal demands, the Christians by getting rid of offensive images. ·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=·=~I ._._._._._._._._._._._._._---_._._._., II I II II I ,.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.~~ l JI '''DJ~ )IOSIU(~ SOIJlU~J~nOOK: l)uo.JJ~el'S, ))J~SJ(.NS, )Io'l'u"s by Paul Siggins and Paul Cooper Trafalgar Square Publishing, 1997 The Mosaic Sourcebook is a solid educational text for newcomers to the craft. Tools and materials are explained in a clear and organized fashion and are accompanied by helpful photos. The book flows nicely from introducing the field and describing the basics, to inspiring the reader to incorporate new motifs into eight simple projects. Each project is outlined with a description of the object, a list of tools and materials required, and four-step instructions. The projects encompass a variety of mosaic types: indoor and outdoor, flat and three-dimensional, direct and indirect. Even better, the authors consistently demonstrate how to break down the design into smaller, more manageable segments. This allows the beginner to work in a neat and logical fashion. A wonderful feature in the book is its inclusion of alternative designs, templates, and motifs. Two different patterns are provided for each project to show the user other ways of approaching the same object. Each project is accompanied by a full-page template, which can be copied and enlarged for use in the design process and clearly shows how tiles should be cut and laid. These tools are invaluable. Also included are additional motifs, which will inspire beginners and experts alike. One caveat is that the authors oversimplify the difficulty of cutting glass tiles precisely with nippers, a task that requires much practice and patience. Overall, however, The Mosaic Sourcebook offers novices an excellent foundation in the basics of mosaic art. Erika Hochberg ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• )IOSAI(~ "TOUKSIIOl-: 1 1\ (;IJIJ)I~ '1'0 ))J~SJ(.NIN(. l-\.NJ) (~UI~l-\.'I'IN(. )IOS1-\'I(~S by Emma Biggs and Tessa Hunkin Trafalgar Square Publishing, 1999 Wow. With exquisite photographs and tempting projects, Mosaic Workshop offers both eye-candy and satisfying substance for more advanced mosaicists. Aimed at experienced students and established artists, the book is organized a little differently than texts for novices. Rather than beginning with materials and techniques, the authors first describe what they call "Principles of design", including color, laying, surface, and pattern. These principles elucidate the general design and execution of a work and are chock full of useful tips. For example, the section on color includes an illustrated description of how grout color affects the overall look of a piece. The section on laying includes tips, also illustrated, for fine-tuning andamenti. * For this reason, it may be worthwhile to read the book in its entirety before delving into any single project. While the historical overview presented in the brief introduction is questionable, the chapter on the use of historical sources in modern work is particularly instructive. From here the authors choose works to duplicate, presently three projects modeled on Roman and Byzantine works. The authors save for last their discussion of materials and techniques. They describe the direct and indirect methods as well as those for mesh, casting, and working with three-dimensional objects. Of particular interest are the charts which demonstrate how to select the proper adhesives, backings, and materials based on where a completed mosaic will reside. From principles to practice, the authors of Mosaic Workshop display unquestionable expertise in the art and design of mosaics, making the book a worthy purchase that will challenge and inspire even experienced artists. Erika Hochberg * Editor's Note: "Andarnento" (plural: andamenti) is the "movement or coursing of tesserae, also the flow of the grout lines." Source: The Art of Decorative Mosaics by Elaine M. Goodwin (Ramsbury: Crowood Press, 1999), p. 123. i••• ;.;.;.;.;.;.;.:.; ••••• ;.; ••• :.:.:.:.:.: ••• :.:.:.: •• 1.1:1:.:.:.;.:.:.;.;.:.;.;.;.;.;.;.;.;.;.;.:.;.;.:.:.:1:1:1;1:1:1;1.1;1.1;1;1.1.1.1.1.1 '1'0., N.,w ~I()SAICS by D.T. Dawson Lark/Sterling Books, 1999 The New Mosaics, now in its second printing, features an extraordinary array of mosaics using both traditional and unconventional mosaic materials. The obligatory "how to" section offers tips on making forty different projects using glass, metal, paper, beans, buttons, felt, and found objects. A compendium of curiosities, the gallery section reads like a Ripley's Believe it or Not of the mosaic world. Automobiles covered with various and sundry items such as grass, found objects, and even used cameras, roll past our unbelieving eyes. What makes some of the inclusions curious within the context of this book, is a definition of mosaic submitted to readers on page six of The New Mosaics. We read that a mosaic is "a surface decoration made by inlaying small pieces of variously colored material to form pictures or patterns." How, then, is a hershey bar wrapper folded into the shape of a female torso a mosaic? American origami, maybe. Many other examples of mosaics in this book would be more accurately described as collage. For those who think of mosaics as permanent art, The New Mosaics offers a challenge. The use of highly acidic corrugated cardboard, for instance, and other equally unstable substances, may rattle the nerves of the archivally conscious. Yet reading this text, one realizes that at.times the ephemeral is an intentional theme in the mosaics of several of the artists. Some artists are actively pursuing mutable mosaic art. John Salvest's mosaic made of business cards which spell out the words "Nothing Endures" brings home this point quite clearly. Even more amazing for its massive scale is the Mitchell Com Palace in South Dakota, which annually changes its earthy corn cob mosaic murals. Richly illustrated, The New Mosaics is worth a purchase - if for no other reason than to satisfy one's curiosity. Janet Kozachek One of New Jersey's best kept secrets is the Princeton University Art Museum and its stunning collection of Roman pavement mosaics. These twelve excellent examples of first - through fourth - century tesselatum and vermiculatum* mosaics were excavated from Antioch by Princeton University in the 1930's and installed at the museum entrance and in the gallery of classical antiquities. Of particular interest in this collection is a large floor mosaic of Herakles and Dionysos with a Dancing Maenad, a Head of Medusa from the House of the Red Pavement, and a large reconstructed fountain with a mosaic basin depicting Erotes riding dolphins. The gallery of classical antiquities is dominated by the large pavement mosaic of Herakles and Dionysos engaged in a drinking contest. The characters in this drama recline in an architectural inset with Corinthian columns supporting an arch that appears sculpted with an image, perhaps of Poseidon. The tesserae composing this mosaic are fine cubes of variegated marble and vitreous glass paste. Although the central pictorial scene of the mosiac is appropiately cordoned off, visitors can still walk over the exterior geometric design. The positioning of the mosaic in the center of the room allows the viewer to examine it in close detail from all angles. The second-century Head of Medusa is a superb example of a Roman vermiculatum mosaic. The central face of the Medusa is composed of tiny tesserae with tight interstices resulting in the gradual modulation of tones that is characteristic of the finer mosaics of this period. Notable in this mosaic is the subtle juxtaposition of tesserae of various sizes in the border design to create a perspectival decoration. With technical virtuosity, the mosaicist created several globe-like areas, each with an inner circle composed of large, palecolored tesserae. Around each inner circle, there is a single line of dark red tesserae, and then another line of a lighter red. The overall effect is of a protruberant jewel and its cast shadow. Each globe-like composite is surrounded by a triangular area of tightly packed, medium-red tesserae. A reconstructed, working fountain with the original mosaic interior runs the length of the back wall of the classical antiquities room. The mosaic in the fountain depicts cherubs riding dolphins surrounded by various marine creatures. The pastel marble tesserae underneath the water and the lovely rippling sounds recreate the quiet ambiance of a Roman viridarium.** A visitor can rest here comfortably and easily touch the stones underneath the water. I see students, artists, and scholars doing so while pausing here to review their notes and reflectupon the wonders of this small but exquisite collection. For anyone with a passion for classical mosaics, the Princeton University Art Museum is a must on your mosaic travel itinerary. *Editor's Note: "Tesselatum" refers to the use of "cube-shaped tesserare, all the same size but different colors. Motifs are represented by laying black tesserae against a white background, while the outline is white on black." The term "vermiculatum" indicates mosaics in which the tesserae are usually "extremely small ... allowing highly detailed motifs to be drawn and laid." Source: The Art of Mosaics by Joaquim Chavarria (New York: Watson/Guptill Publications, no date), p. 55. **Editor's Note: A "viridarium" was typically a garden area that included statuary and fountains. a.ili.i ••• i.i ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• NI~"TSAN)) i•••••••••••••• l'Il'I'J(~I~I~S: Can it be true. that your Editors were in a pinch to find enough material to publish in this issue of ~f'olflltU.e? We welcome more membership news and images, as well as articles. We are looking for: a balance of abstract, decorative, and pictorial images and accompanying stories about works that were commissioned or won entry into juried exhibitions. Please include a self-addressed stamped envelope if you would like your photographs returned. News about members' publications and research is also encouraged - as is information about a mosaic Website to visit in the U.S. or abroad. Sonia King, one of SAMA's founders and an Advisory Board Member, plans to attend the British Association for Modem Mosaic's General Meeting in October. She will deliver a short talk/slide show on current mosaic art in America. If you'd like to sumbit slides for possible inclusion, please send them to the address below. Send up to three slides labeled with slide number, your name and the title of the piece. Include a slide list with your name, phone number, a short bio (if you like) and the following info about each mosaic: slide number, title, dimensions, materials, date, and location. Enclose a SASE with sufficient postage if you want your slides returned at the end of October. The deadline for receipt of slides is August 31. Send to: Sonia King WhateverWerks Mosaic Studio 1023 Sarasota Circle Dallas, Texas 75223 USA Fax: 1-214-824-5864 [email protected] - 111~~lIn~1l S(JllVI~Y I would like to serve on the following committees: Please detach and return by August 1 to: SAMA P. O. Box 428 Orangeburg, SC 29116 Newsletter: Publicity: __ Fundraising: __ How you can help and how we can help you better: Name: Wherever Needed: --------------------------------------- Address: _ Phone: _ E-mail: Website: I can contribute the following skills / services / equipment Editing: __ _ Graphic Design: __ Technical Advice: ------------------------------------- Legal Services: __ I would __ would not __ like my address/e-rnail/phone information published in a membership directory. Fax Machine: Other: I would like the following contact information published in a directory: ( i.e. phone only, no address, e-mail only, etc.): _ _ In Calendar year 2000, I have completed or obtained the following significant commissions / exhibitions / awards / and would like I would would not __ to be included in Member News: like to have my Website published in rfogtli~e. Include a photo if available and SASE for return. I would would not like to have a link with the SAMA Website (currently under construction). I will teach the following mosaic classes / seminars: !.~.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!.!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I!I& $25.00 for individual membership $50.00 for business membership. Slllill _ Date: _ Place:. _ 111~~lIn~IlSIIIl· Please detach and send with payment to: SAMA, P. O. Box 428, Orangeburg, SC 29116 Name: Mr.( ) Mrs.( ) Ms.( ) Address: _ Subject _ Phone: Fax: e-mail: _ Professional Artist ( ) Business ( ) Academic ( ) Other ( ) lililililililililililililil.I.I.li Time: _ Contact Inforrnation: _ I 'i'i'i'i'i'i'i'i'i'i'i'i'i'i'i'i'i'i'i'il~'i'i'i'i'i'ililililililililililililililililili •••• lililililililili SiUI1' P. O. Box 428 Orangeburg, SC 29116 Postage Stamp ••