Gasp From the Past

The third-floor exhibition offerings only deteriorate further. Dildo/Daedalus, a gargantuan, neon-pink wall drawing by Valley artist Bob Adams, visually infects the entire area. Starting with the words "dildo" and "Daedalus," Adams circles them (in Greek mythology, Daedalus was the overly clever artist-inventor who created the Labyrinth, of which he ultimately became a prisoner, and who came up with the bright idea of creating wax wings for his high-flying son Icarus). The artist then draws wandering lines to whatever word pops into his mind next. This yawn-inducing gambit is the stuff of '70s Conceptual art that wasn't very profound then and certainly hasn't gotten any more so with age.

In another Adams series, the artist pastes together collages from colored foil, glittery decals and rainbow-hued holographic stickers so wildly popular among prepubescent females these days. Again, retro reigns supreme as we pick out overdone happy faces, hippie daisies, butterflies and grinning, slant-eyed aliens. Adams' use of tried-and-true pop-cultural materials -- vaguely reminiscent of contemporary Japanese art that disconcertingly twists Hello Kitty and other teenybopper-style cartoon imagery -- fails to engage the viewer on any serious level. Only Spiritual Meat, an unexpected slab of sirloin fashioned from glittery red and magenta decal material, rates a second look or thought.

Vying for attention in the same area with all that flash, Phoenix artist-photographer Craig Smith dishes up large-scale, black-and-white silver gelatin prints of Icelandic icebergs he shot some years ago, together with a panoramic image of a wave. Smith's National Geographic-worthy images are what they are: passionless landscapes of an exotic environment. They have none of the chilling presence of Smith's later Physical Evidence Iris prints, in which he photographed crime-scene weapons and other forensic evidence of actual crimes committed in Phoenix -- or the almost religious overtones of his American baseball memorabilia series.

The true nadir of "No Absolutes," however, is reached after turning a corner and stumbling upon two more installations that look like bad theme-park dioramas. The first is an African-American barbershop setup by Joe Willie Smith of Phoenix (during the exhibition's opening, haircuts were actually performed on any willing takers). Like one of those maudlin Knott's Berry Farm scenarios of the Old West, Smith's barbershop crystallizes a moment in cultural history with black-and-white checkered floors, barber chairs, magazines strewn on a period coffee table and background audio of idle barbershop chatter against an undercurrent of music from a radio.

Smith attempts to rescue the piece from straight anthropological re-creation by hanging African masks on the walls among old civil rights and politics-related posters, including one, dated 1972, of a gun-toting "Black Pantheress" with a large Afro (its model is probably now some respectable soccer mom who drives a Suburban). A badly crafted wooden stick sculpture slathered with red, white and blue paint and pasted-on photos of black celebrities was also plunked into the scene -- apparently Smith's idea of some totemic tribute to Mother Africa. The three-legged sculpture, surrounded by mounds of hair clippings, sticks out, so to speak, like a bad haircut.

From there, the hapless viewer proceeds to Zafra: Pulso Dos Mil (roughly translated: Sugar Harvest: Pulse 2000) by Texas artist Luis Gutierrez, which might as well be named Cubalandia. Riding the crest of the craze for all things Cuban, Gutierrez has constructed an ofrenda, a shrinelike offering table commonly used in Mexico for honoring one's ancestors on the Day of the Dead. Gutierrez's ofrenda, however, is filled with haphazardly spray-painted plaster of Paris Santería effigies of orishas, popular Afro-Cuban deities masquerading as Catholic saints, to commemorate a felled sugar cane worker the artist has never met. On the floor of a room lined with sepia-toned documentary photos recently taken by Gutierrez of Cuba's antiquated sugar industry and sprinkled liberally with frayed references to Marxism, the artist has constructed a sand painting out of -- no surprise here -- granulated sugar. The resulting effort looks far too much like an earthwork by deceased Cuban artist Ana Mendieta for my taste. And we never really get any satisfying answer to the question of why the artist feels so compelled to honor someone he never knew; because of this, the piece ultimately comes off as straightforwardly opportunistic rather than sincerely commemorative.

Maybe I've gotten spoiled. I'm used to ASU Art Museum organizing well-selected, world-class exhibitions that have put Arizona on the international art-world map. Unfortunately, "No Absolutes" doesn't even begin to live up to its own very high standards. Perhaps the bald failure of this regional exhibition can be chalked up to joint curatorial effort. Curating by committee, a risky venture at best, can often lead to splintered vision, anemic selections and compromised quality, as seems to have been the case with this show.

Whatever the cause, ASU Art Museum, until now, has had a well-deserved reputation for being a groundbreaking cultural institution known for constantly raising the aesthetic bar. In the case of "No Absolutes," it unexpectedly limboed under it.