Terminal 3 Museum Exhibitions
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The Story Continues:
Pueblo Grande Museum at 90
October 12, 2019 through October 11, 2020
Terminal 3, level 2 west end
Founded in 1929, Pueblo Grande Museum and Archaeological Park, is a National Historic Landmark and Phoenix Point of Pride. It is built within a prehistoric site located less than a half mile from Phoenix Sky Harbor Airport. As a facility for archaeological and ethnographic collections, the Museum consults with twenty-two Arizona Native American tribes; sharing responsibility to respectfully preserve the past and bridge the gap of understanding between cultures.
Indigenous peoples have lived in Phoenix and the surrounding desert lands for thousands of years. The Ancestral Sonoran Desert people (called Hohokam by archaeologists) were skilled farmers. They created an irrigation system that was a precursor to present day canals. Today, Pueblo Grande Museum shares stories of their descendants the Pima/Akimel O’odham (the River People) and the Maricopa/Piipaash (People who live toward the water). Their culture speaks to us in the items they have made and continue to create.
This exhibition presents basketry and pottery from the Pueblo Grande Museum that show a connection between past and present people. Prehistoric and modern designs include birds, snakes and frogs as well as geometric elements such as lines and scrolls. The artistry and symbols used reflect their desert environment and represent a continuation of a living culture.
Image Captions: (left) Black-and-red Piipash/Maricopa pottery, mid-20th century, clay and mesquite sap, Courtesy of the Pueblo Grande Museum and Archaeological Park
Inflated Steel Sculpture by Jeremy Thomas
Through May 10, 2020
Terminal 3, level 4 in two locations:
Near the Sky Train portal (pre-security)
How do you make something out of thin air? In the hands of sculptor Jeremy Thomas, air is a major component of his art making process. Inspired by seeing old farm equipment scattered about in fields in the Midwest where he grew up, he uses steel, air and paint to create colorful metal sculptures.
Thomas begins his process by cutting geometric shapes, such as circles or ellipses, from a steel plate. He then creates dimensional forms by folding and welding the shapes together, leaving an internal space that can be filled with air. The structure is heated in a forge to about 2000 degrees, making the metal malleable or elastic-like. The red-hot piece is removed from the forge and injected with pressurized air, causing it to inflate and grow into its final shape. With no top or bottom, completed objects can be viewed from any angle, inviting the viewer to look at all sides.
The resulting sculptures represent chance and contrast. Hard metal forms are altered by the lightness of air. Geometric shapes are transformed to appear soft and organic. The object’s surfaces are painted with vibrant colors gleaned from farm equipment, auto and cosmetic industries, along with natural, velvety rust patinas. The spontaneity of the inflation process creates unexpected creases, bulges and folds. Air gives life to the object – it is Airborne.
Image Captions: (left) B P Green, 2016, forged mild steel and powder coat, Courtesy of artist and Bentley Gallery (Phoenix), Image courtesy of Clutch Photos
Weaving Through Time
Grand Canyon National Park - Celebrating 100 Years
Through March 8, 2020
Terminal 3, level 1 west end
Arizona’s spectacular natural wonder, the Grand Canyon was designated a national park in 1919. Although its history as a national park spans only 100 years, the Canyon is deeply entwined in a broader story of Indigenous people that have lived in the area for thousands of years. Artifacts found in caves tell us people were in the canyon at least 4,000 years ago.
The Grand Canyon is significant to eleven Native American tribes. The Havasupai Tribe – people of the blue-green water, have lived continuously in the canyon for more than 800 years. Their village location, near life-sustaining waters, has allowed them to thrive in a harsh desert landscape deep in the canyon for centuries.
In celebration of Grand Canyon National Park’s centennial, this exhibition features objects created by people that have called the canyon home. On display are Havasupai basketry crafted for everyday use or trade as well as ancient split-twig animal figurines. Using local plant fiber materials, people living in the Grand Canyon have been weaving through time.
(left) Havasupai Woman Carrying a Burden Basket, 1902, photograph, courtesy of the Grand Canyon National Park Museum Collection
Intimate and Expansive
Ceramic art by Tiffany C. Bailey
Through Nov. 17, 2019
Terminal 3, level 4, east arrivals area
Steep bluffs, fields of corn and herds of cows are some of the picturesque features ceramic artist Tiffany C. Bailey remembers about her hometown. Growing up in Southwestern Wisconsin, Bailey was raised in a rural community with an abundance of pastures, farmland and a population of only 300 people.
After moving to Arizona to continue her ceramic studies, she revisited her memories of the architecture and topography near her childhood home. Now, in her artistic practice, she distills those elements into small-scale artworks to interpret
a landscape that is both intimate and expansive.
Bailey uses a slip-cast method to make her ceramic artwork. The process begins with a model that is either hand-sculpted or is a found object. From the model, a plaster mold is produced. Porcelain slip (liquefied clay) is poured into the mold, dried and then fired in a kiln. The plaster mold can be used repeatedly to replicate the form creating artworks in series. She embellishes the art object with ceramic stains, underglazes or graphite drawings, resulting in one-of-a-kind pieces.
(left) Tiffany C. Bailey, Landscapes with Drawings, 2017, porcelain with graphite
Collage Portraits by Sebastiao Pereira
Through Feb. 9, 2020
Terminal 3, level 1, north wall
Ordinary scraps of paper become detailed artworks when in the hands of artist, Sebastiao Pereira. For the past decade, he has been creating large-scale portraits of exceptional people with little more than paper, scissors and glue. From a distance the portraits appear like a large photographic image, but up close they may look like an abstracted blurry arrangement.
His process begins by photographing his subject. Then, using photo editing software, he increases the image contrast, allowing him to see the various tones and values in the image. By drawing a grid on the reference image and the art canvas, he can focus on one square at a time, systematically interpreting the image with scraps of paper. Arranged in a mosaic fashion, the portraits are composed with paper cut and torn from Art in America magazines and color samples from a home improvement store. Using common materials and the process of collage, Pereira is depicting people that are important to him, he is Making Faces.
“They are portraits of people I know. One is a chef and cooks for seniors, another is a care giver in a nursing home. Another is a self-taught engineer. They are University professors, college professors and high school teachers. They are fellow artists and former students. They are my heroes. They are my friends. I love to see them, side by side, sharing the same wall space.” -- S.P.
(left) Richard by Sebastiao Pereira at Terminal 3, level 1, pre-security
At the Airport
Terminal 3, level 1, near ticketing
There is a story behind every person. By observing facial expressions, clothing or belongings, we may gain insight into who they are, where they are from and why they might be traveling - especially at the airport. Some people enjoy using this information to make up stories about the people they see. This exhibition features three artists who have created a unique narrative using the art form of sculpture. Whether we are standing in line, waiting for luggage or dining at a restaurant, people-watching is an interesting way to pass the time - especially at the airport.
(right) Jane Kelsey-Mapel, Gift Giver: Portrait of Lunette, 1995, ceramic