Phoenix Art Museum's Latest Show Is Not What You Might Expect -- in a Good Way

If your idea of Latin American art is limited to quaint portraits of indigenous women clutching calla lilies or balancing water jugs on their heads, you might have a hard time wrapping your head around "Order, Chaos, and the Space Between: Contemporary Latin American Art from the Diane and Bruce Halle Collection" at Phoenix Art Museum.

Carefully culled work from the formidable Halle collection, permanently housed right here in the Valley, takes up the entirety of PAM's main Steele Gallery, which has been transformed into a starkly minimalist, church-like space with vaulted center ceiling and mazes of what would be considered side chapels sheltering various artworks.

But unlike the typical, centuries-old churches of Latin America, adorned with gilded santos and all-too-lifelike crucified Christs, this holy of holies contains select, often purely conceptual, contemporary work from the 1930s to the present from any and all places touched by 16th-century Spanish and Portuguese New World colonization. That includes Mexico, Central and South America, and islands in the Caribbean, like Cuba and Puerto Rico.

Black Cloud by Carlos Amorales of Mexico
Courtesy of Phoenix Art Museum
Black Cloud by Carlos Amorales of Mexico
Black Cloud by Carlos Amorales of Mexico
Black Cloud by Carlos Amorales of Mexico

Location Info

Map

Phoenix Art Museum

1625 N. Central Ave.
Phoenix, AZ 85004

Category: Museums

Region: Central Phoenix

Details

"Order, Chaos, and the Space Between" runs through May 5 at Phoenix Art Museum, 1625 N. Central Ave. Call 602-257-1222.

Bruce and Diane Halle have been collecting Latin American art since 1995, when Diane was introduced to it by Clayton Kirking, Phoenix Art Museum's librarian at the time. Since then, the collection has snowballed into one of the finest of its type anywhere in the world. Why a comprehensive exhibition of this major body of acquisitions hasn't occurred in Phoenix until now remains a mystery. Why, back in 1997, was the Fine Arts Museum in Houston chosen over PAM to be the first institution to mount a curated show of Halle-collected work (the exhibit was titled "Constructing a Poetic Universe: the Diane and Bruce Halle Collection of Latin American Art")?

Only The Shadow seems to know, and he's not talking.

In any event, we finally get to see a major exhibition based on the collection right here in its hometown. Because the Halle collection is so all-encompassing, trying to give an overall art historical context to the show would be akin to herding cats. General hemisphere of origin is about the only thing that pieces in this ever-morphing group of acquisitions have in common — that and the extreme aesthetic sophistication of the artists who have produced the work. Many of these artists just happen to have lived and made art away from the hallowed bastions of contemporary art in Europe, New York, Chicago, and Los Angeles.

Co-curators Vanessa K. Davidson, the museum's current curator of Latin American Art, and Beverly Adams, formerly the curator of Latin American Art at PAM and now the Halles' private collection curator, have done an admirable job in ordering the chaos inherent in a private art collection, especially one as ridiculously extensive as the Halles'. Davidson and Adams were smart to have made three-dimensional works the focus of the show, utilizing every bit of gallery space — including air space — while somehow managing to maintain a sense of openness. And, for once, a PAM exhibit doesn't funnel you into a theme-related gift shop at its end.

All in all, "Order/Chaos" is a butt-kicking show that includes not just sculpture but installation and video work, as well. A considerable portion of the work celebrates pure form and material. If you break out in hives at the mere thought of unfathomable 1960s and '70s conceptual and minimalist art (not to mention perceptual geometric abstraction), don't worry; there's enough variety in this far-reaching show to send you away without nasty welts. Even the most obtuse work included happens to be heart-stoppingly beautiful or cerebrally engaging.

For example, it's impossible to resist Mexican artist Carlos Amorales' Black Cloud (2007), which creates an ominous gauntlet of 25,000 individually placed black paper moths attached to walls and ceilings leading to Steele Gallery from the museum entrance. The piece conjures Alfred Hitchcock's The Birds, as well as plagues straight out of the Old Testament. The installation is a knockout, simultaneously sublime and sinister. I'm told that the Amorales installation is a promised gift to Phoenix Art Museum from the Halles, so I'm hoping it never comes down.

Even before you hit the main gallery, your senses of scale, proportion, and perception will be seriously thrown off balance when you approach Shanghai 2009 by Jota Castro of Peru. It's a disheveled pile of gigantic wooden "mikado" sticks, each measuring over 151/2 feet in length. Mikado sticks, basically a form of pickup sticks, were imported to the United States from Hungary in the 1930s, though in China, these sticks (called kau cim sticks) have been used since ancient times to foretell the future — a far cry from the our Western recreational pastime. One can only imagine the Brobdingnagian beings who, in Castro's world, toss these massive missiles around to predict future events or what those future events might be.

Not to be outdone in the supersized department, Chevelure (2002-03) by Tunga of Brazil is nothing short of stunning. Made from brass wire, a pile of luminous gold curls with a bronze haircomb takes up a large chunk of floor space in the gallery's main aisle. To me, it's definitely Rapunzel's locks after she makes a quick escape from the tower — or maybe hair extensions carelessly left behind by Alice in Wonderland.

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1 comments
Notanangryoldlady
Notanangryoldlady

22. Continue discrediting American culture by degrading all form of artistic expression. An American Communist cell was told to "eliminate all good sculpture from parks and buildings," substituting shapeless, awkward and meaningless forms.

23. Control art critics and directors of art museums. " Our plan is to promote ugliness, repulsive, meaningless art."

http://www.tldm.org/news7/CommunismInAmerica.htm

 Plenty of "repulsive, meaningless art" in Phoenix - and I'm not even counting the apparent (and ridiculous) outdated trend of inking up one's arms, especially a favorite of tubby, unpopular white girls. 

 
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