Critiques Pt.2

Part of my imput to a discussion on FB called What’s Up with Fine Art Mosaic:

Why call a critique something it’s not- does it soften the blow? Will it make an artist more receptive to hear feedback if it is called a ‘review’ or ‘constructive evaluation’ ? I think not.

If one wants to be a part of the professional arts field, you are going to have to play with the big boys, which means putting your work out there. Exhibiting artists cannot control who reviews or critiques their work; growing a thicker skin; being open to all kinds of points of view can be extraordinarily helpful to an artist. You can take what you need and discard the rest. If the public sees something in your work that you don’t, would you care? I do. I am always interested in knowing if I am telling my story clearly. I have often become enlightened seeing my work through others’ eyes. It helps me discover more about my work and my process.

As we began discussing here, many artists are coming to mosaics first, then they study the rules of art. One of the most important skills and concepts for an art student is to learn how to look at and talk about work, including your own. This can be tough at first- especially if ALL anyone has ever told you about your work is that it is nice, or pretty colors, or oooh, I love that smalti. Hearing that the composition may or may not work and why – this can help move you FORWARD. Can you separate yourself from your work (its not personal-its business)? That is NOT to say art is impersonal- I would be the last to say that.

Detaching oneself from the work to analyze what occurred during the process of creating it may help the artist become more aware of the aesthetic decisions that may have been made unconsciously in the studio.

At CMS, we have learned that many artists are not ready and may never be open to hearing what others see in their work. This is why we organized the critical panel for the SAMA Conference. Accepted artists could ‘opt in’ for the critique. Less than 1/3 accepted. The panel consisted of 3 art professors, all familiar with mosaic. They had completely different perspectives, which was the point. It was not dissimilar to any jury panel (you never know what you are going to get with any combination). The three panelists gave their perspectives on the work; impressions on compositions, color, perspective and titles. It was very gentle yet constructive- it allowed the audience to hear viewpoints and see things in the selected works they may not have agreed with or thought about. It was instructional and a great introduction to a critique. I heard afterwards many artists were furious the panelists had “attacked” certain works and there was a lot of discussion afterwards. There is the victory. The audience was talking about art in a new way- does it matter if they were mad? No, not if they could explain why they disagreed- which was new for many of the artists in the audience.

SAMA is taking the critique approach slowly. Next year SAMA will do this again, reaching a little deeper into aesthetic debate and discussion. Yes there are guidelines to participating in critiques, and it is something many are yearning to learn. The best way to start is with a few artists in a studio, a bottle of wine, a little cheese, and an open mind. Critiques are best served in person, live, among peers that you trust and respect. It can be direct route to artistic growth not only for you, but for the others that participate

Those that can, do.

This one goes out to the generous and selfless hearts that make up the board of The Society of American Mosaic Artists. This remarkable group of people volunteer to create opportunities for others. They give their time to a dream for the community instead of just themselves. Their service and generosity is kind and compassionate.

I am honored to be among this group that sees the power of serving the greater good. Thank you for the work you do the rest of the year, in the quiet of your offices, building the mosaic community without accolades.

It is this kind of service that inspires others to act and participate in the world. We can make a difference.

Just try it.

“And in the end, the love we take will be equal to the love we make.” -from “The End” by The Beatles

Verdiano Marzi

Lots of folks being called masters of mosaic these days. I have finally met one. Humble, profound, passionate as well as a giving teacher, V.Marzi is a true contemporary mosaic master.

Here lies a purity of expression, unencumbered by arrogance or pretension; creations that exude love for expression through material. His works evoke a pleasing simplicity with the first impression, inviting the viewer to come closer and look within.

In recent years, I have rarely been moved by visual art. I have appreciated certain works indeed, but none have struck me in my heart. I thought it was because I had become hardened by looking at art, jaded by age, and had become emotionally distant looking at contemporary work in general.

When I saw Verdiano Marzi’s “Icaro”, I began to sob.

For me, this extraordinary triptych expresses the rise and fall of the human spirit. The first panel soars to the blues skies with hopeful wings riding the winds. The second panel is the sun , calmly inviting you to fly closer although there is a hint of danger or passion lurking within. The third panel describes a burning descent, a charred falling flame; optimism and naivete have given way to hopelessness and regret. The clarity of Verdianos telling of this story, the story of dreaming and falling back into reality is part of the journey of life. We are not alone making this journey from hope to despair, and back again.

Those lucky enough to meet him at The Chicago Mosaic School or at the SAMA Conference have been transformed by his gentle nature, his love for the art, his generous heart.

Thank you Verdiano. Thank you. I miss you already, my beloved friend.

The Art of Installation

Hanging and installing an art exhibition well means that spectators will have no idea of the logistics, procedures, diplomacy and toil that went on behind the scenes. They will see the work, enhanced by the environment and setting, but it should be all about the work. But…… there are lots of steps before that work gets on the wall.

I have been curating shows since 1989 and each one has a different set of challenges and problems to solve. I am always interested in the way artists pack, ship, and present their work. First, accepting the work can be mayhem as can be uncrating, one is never sure how the work will arrive and will be packed. I think there are several personalities that arise when artwork is transported:

1. The Overpacker: This is the artist that thinks they will take no risks for damage by sending a 12”x 12” piece in a 4 ft x 4 ft box, wrapped with bubble wrap, popcorn (the bane of any curators existance!), newspaper and more bubble wrap, all layered like some beautiful synthetic lasagna. The piece still arrives damaged. Why? Because it was wrapped so tightly it loosened some of the pieces- probably during the packing phase.
2. The Optimist: The artist that assumes that no one will toss, bump, drop-kick, or step on their lightly protected package. Writing fragile on the box usually invites mayhem. Damage usually occurs from edges not being protected well.
3. The Careful Handoff: This artist trusts no one and is overprotective of the work. There is definite separation anxiety upon leaving work behind. Note: the handoff may also have characteristics of either the overpacker or optimist.
4. The Professional: This artist has experience not only with shippers, but also understands the construction and possible weaknesses within the work. The work arrives intact, neatly packed with unpacking and repacking directions, and return shipping clearly visible.

The crates and boxes are labled, repacked neatly without the art, and stored away. Once the artwork has been checked for damage, then it is time to make sure all the papers are in order; loan agreements, Pricing info, returning shipping. Not a big deal but a real pain in the ass when the proper papers aren’t there and the curator needs to chase the artist and track the paper trail.

If minor repairs can be made by the curatorial staff, those are done immediately. If the damage is extensive, the curator must assess the work and if it can be fixed in-house. If not, the work is photographed and the artist is notified so they can arrange to repair the work personally, arrange for the work to be returned so they can make the repairs, and also so the artist can notify the shipper for insurance purposes.

When a show is planned, the curator usually has some idea of what the works are. There are always some surprises, in the sizes, the framing, and the color as descriptions and photos may be misleading. The show may be plotted before the work arrives but I have found there is no substitute for seeing one physical piece next to another. This can be one of the most challenging phases of the installation- the arrangement. What goes with what. What looks good next to what. How will this piece be enhanced by the one next to it?

In a group exhibition where there is little consistency among the pieces, it can be a struggle to hang smaller work and subtly colored work among bold and large exhuberant pieces. The trick is for the audience to move through the show and give attention to every piece. It is much like composing a work of art- you want your eye to move across the canvas, from one side to another.

The hanging. In the best of times, all artists abide by weight restrictions and have the proper hanging devices. Elation ensues when this occurs, which is damn near never. Clean, simple, easy to use, streamlined hanging systems are best not only for those hanging the work in an exhibition, but also for those that may want to buy the work after the exhibit. So, depending on what an artists has jerry-rigged on the back of the artwork, hanging a 50 lb mosaic on a wall might call for a creative solution.

Finally, all work is correctly labeled, dusted, leveled and checked. Walls are touched up or cases are cleaned.

Now, the work can speak for itself.