MAM to PAMM, From Humble Beginnings to 100% Ego

This past weekend, I was invited to be present for the Friends and Family preview of the newly erected Perez Art Museum Miami (PAMM) and the museum park mud pit. I visit this museum with much trepidation, of course because I feel that no complete collection of worldly acclaim should have some real estate guy's name on it. That's just me.

The walk into the museum was indeed a muddy one, as the scaffolding still surrounds the entire building and no concrete has been poured yet for walkways from the street, despite the fact that their scheduled opening date is just 2 weeks away. Frankly, I do not think they are anywhere near ready to open to the critical public or any person who does not enjoy a walk in the mud.

For Those in Peril on the Sea, Hew Locke (2011)

Upon entering the building, my friend Pam and I had to traverse an obstacle course of construction materials, winding wooden ramps and waft through skunk-y plumes of pot smoke, with water dripping from the dozens of dirt filled tubes that will no doubt become the hanging gardens. It was seemingly a dangerous trek, so I was very happy to be wearing flats and not heels.

Once we finally entered what I think is the front, heavy wooden doors greeted us and we were invited in by the smell of fresh and new wood, as the wooden floors were not even finished, (and I hope they consider not varnishing them, as they were beautiful as is). A hanging garden-like art installation of boats welcomes us in, drizzling the space with wonderful color and flora and fauna dangling from the boats. I was glad to know this pivotal installation was from Britain/Scotland Artist, Hew Locke, and that it symbolizes the diaspora of people to Miami in boats. Major props to you, Hew!

The Galleries were well cooled, and I was happy to have brought a sweater, being so wet and cold the whole time. The A/C ran through the wooden slatted floor vents placed in front of the art, (inviting a Marilyn-style pose with a skirt eventually), the scent of moisture was throughout the halls and the roof leaked in tiny drops all throughout. It even dripped on us in the little alcove facing the sunset through the scaffolding, which despite the water, was indeed a beautiful sight. 

The space was really, really unfinished and I write this critique with that in mind, and with anxiety for the ones responsible for such a tight deadline. I did enjoy the galleries though. I  especially enjoyed the fiber art and text art spaces, which show a wide representation of the last two centuries, but seem ahead of their time, as if the work was done yesterday. It lent to the newness and freshness that is this museum. 

The museum is being touted as a premiere event space, and that shows in the ego of the design. No bad to Herzog & de Meuron, but this space screams "ego" and "real estate". The hanging gardens, the wide expanses of grey open patio and the sterility of straight lines says "event space". This is no surprise to Miami, whose Art Scene is nothing but a big party anyway. I haven't been to an opening yet that doesn't have people placing wine glasses on pedestals next the art, and that scares me a bit about this collection and the future reputation of Miami Art.

I am looking forward to attending seminars, workshops and lectures, as their lecture hall and its wide expansion is inviting and leads you upward into the buena vista of the bay and the cruise ships entering the port. Beyond this is Weiwei's bicycle installation, which is temporary, but seems as if it was designed for the space and permanently part of it, drawing art into the beautiful view and making it the reason why we are here.

My review is mixed, as I don't think they should open so soon and I fear for the proper preservation of a $40+ million collection.  I am happy to see that some of the museum staff has stuck around from the humble days of MAM, and they seem optimistic, even after describing their work conditions as "prison-like" for the past year.

I also think that with the Miami Voters contributing $100 million in public funds, and Mr. Perez only $40 million, that the name should respectfully reflect that and due to that, I will not contribute any further in membership or donations and have heard that from others.  Its just tacky, and if this museum does not want to be reputed as such on an international level of esteem, they should bring a more sophisticated name to it. I think the names of the galleries should be displayed in sight and not 20 feet high, there shouldn't be drips in the ceiling, and there should be a clear and visible driveway before they even consider bringing in Art Collectors and the like. I see some criticism in the future, but I will be back for more to see how, and if they pull this off.