Word: mosaic
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Dates: during 2000-2009
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...individually visible, reminiscent of an area roughly colored with marker. In “Models” 9, a background composed of fragments of muted yellow, red, and blue is overlaid by circles composed of bright variants of the same colors. The pieces resemble the fragments of a mosaic, and the slices are separated by white lines as in a stained glass composition. The work shows the same kind of motion—a swirling sea of energy—of his early biomorphic work...
...Soul have, over the 12 years of their existence, become something of a hip-hop institution. Since 1989 they have released five albums: 3 Feet High and Rising (1989), De La Soul is Dead (1991), Buhloone Mindstate (1993), Stakes is High (1996) and Art Official Intelligence: Mosaic Thump (2000). Their style has obviously evolved a great deal, but the constant has been their instrumental experimentation, which is furthered on Bionix instruments as diverse as the French Horn, flugelhorn and flute. What is more interesting, though, is the group’s diversification of musical genres, most notably the appearance...
...trilogy, perhaps hip-hop’s most gutsy undertaking yet, began last year with Art Official Intelligence: Mosaic Thump. Backed by the two strong (and commercially popular) singles “Ooooh!” and “All Good,” and the group’s Spitkicker tour (which they repeated this year to receptive audiences around the country), Mosaic Thump was De La Soul’s biggest selling album to date. It also earned them a Grammy nomination. It may not have won, but in any case, De La Soul were definitely back...
...success gave them the springboard to introduce a much wider audience to De La Soul’s characteristic brand of hip-hop. That’s what they were doing with the re-release of 3 Feet High, and it is continued, to an extent, on Bionix. Whereas Mosaic Thump was geared towards atmospheric beats and creating a party vibe, Bionix is much more lyrically focused, much more a return to the intensity of communication that sets albums like 3 Feet High apart...
...greater artist, but it was a real partnership. Thus it was Signac who persuaded Seurat, and not the other way round, to purify his color by banishing earth pigments from his palette. Later Signac would give up on the dot, using larger spots in a sort of mosaic. Under the influence of Turner, whose luminous watercolors and oils he adored, he plunged into fantasies of radiant color that weren't governed by the theoretical system with which Seurat is forever associated. Seurat might have changed too, but he died in 1891 at the sadly early age of 32, after...