Whatsa Matta?

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Visiting the exhibit of Chilean Roberto Matta's work at the Organization of American States' Art Museum of the Americas is almost as confusing as deciphering the meaning of this vanguard surrealist's work.

The museum organized the show as a tribute to Matta (1911-2002) when he died two years ago, but unfortunately, it's not as successful as it could be.

Titled "An Architect of Surrealism," the exhibit confronts visitors solely with its name and not the customary introductory text. To my frustration, the lack of descriptive information continues throughout the show, though short quotes from his writings and those of his contemporaries are mounted sporadically.

One such quote, from Octavio Paz, is telling: "Matta is the dancer of the imaginary: he knows how to jump and how to fall. As soon as his days in New York are over, he goes back to his figurative painting: grotesque and terrible beings evoke science fiction characters as well as the Mexican pre-Columbian manuscripts." (Paris, 1985). More of these writings should have been mounted as wall labels.

After all, Matta (this is what he called himself and how he's known) is considered one of the greatest of the surrealists and an important bridge from surrealism in France to abstract expressionism in New York during the 1940s. Any discussion of his art and life is both challenging and rewarding, with the complexity of his styles, his travels and long life. Such an exchange is sadly missing here.

Although "Roberto Matta," a small booklet on the exhibit, is available at the sales desk for $5, the text and illustrations are hardly elucidating.

Gone are the days when a museum could mount the work of a major artist and not illuminate that art with wall and text labels, a video, brochure or catalog.

Nevertheless, Matta admirers will find the show well worth visiting with its 30 fine paintings, drawings and prints. Washingtonians last saw major Matta paintings in 1992 at the Hirshhorn Museum and Sculpture Garden's "Crosscurrents of Modernism: Four Latin American Pioneers." It's about time Matta's art visits this city again.

Exhibit curator and museum Director Ana Maria Escallon presents the show chronologically and opens it with "Hermala II" (1948), one of the museum's signature Mattas.