ATM: Art, Tiles, Mosaics... an adventure in creativity

Mosaics in Context

Exciting news in the October Getty Conservation Institute Bulletin which I subscribe to: "The GCI, the Getty Foundation, ICCROM (the International Centre for the Study of the Preservation and Restoration of Cultural Property), and ICCM (the International Committee for the Conservation of Mosaics) have launched a new collaborative initiative, MOSAIKON, to improve regional capacity for conservation, maintenance, and preservation of mosaics in museums and in situ."

According to the Getty website "The objectives of MOSAIKON are:
to strengthen the ICCM and the network of professionals concerned with the conservation, restoration, maintenance, and management of the mosaics heritage;
to provide training to a variety of individuals involved in mosaics conservation and, more generally, with the management of archaeological sites and museums with mosaics;
to work with national and international bodies to provide a more favorable legislative, regulatory, and economic environment for the conservation of mosaics in the Mediterranean; and to promote the dissemination and exchange of information."

Mosaics were for a longtime the stepchild of archaeologists and art historians. Often the "interesting" sections such as allegorical figures, animals, or flowers, were removed from the site and placed in the "safety" of museums, losing all context of the rest of the mosaic they belonged to, or to the architectural surroundings they were intended for. Unlike paintings or sculptures, floor mosaics were for the most part installed in particular areas of buildings for a purpose. Removing them from their natural habitat destroys the essence of the mosaic.

I personally have enjoyed seeing many a mosaic improperly hanging on the wall of a museum. I doubt at the time that I even considered it should be viewed any other way. And if I had to travel to see every mosaic in situ I certainly would not have been able to view as many as I have. However, that is hardly the point.

Currently, the thinking among conservationists is to maintain mosaics on site. Obviously, this is not doable in all cases, but wherever possible I embrace the idea of keeping them intact in their original location. Although I have not had the privilege of seeing as many mosaics in situ as I have in museums, there is certainly nothing more exciting than running across a mosaic floor in a ruined villa or temple. On the other hand I don't advocate attempting to return mosaics to their place of origin, even if that was feasible—what's done is done. But it is comforting to know that the consensus of opinion among the guardians of such treasures is to preserve them in their intended locations.

Unfortunately I don't have the qualifications to attend the MOSAIKON conference in Lebanon in May, 2010, but in the meantime I am grateful to the Getty Conservation Institute for being involved in the preservation and conservation of my favorite art form.

(Photo: Overhead view of technicians performing stabilization treatment on mosaics. Photo: Aurora Ortega de Torre. From Getty.edu website.)