Washed It!

“Chefs-d’Oeuvre?”

The question — “Masterpieces?” — posed by the inaugural exhibition at the Centre Pompidou-Metz is a matter of many opinions.

Four months after the quirky museum with a swooping white fiberglass and Teflon roof, designed by Shigeru Ban of Japan and Jean de Gastines of France, opened its doors in this little-known town 175 miles east of Paris, visitors continue to ask if the strikingly modern building near the majestic old train station resembles a Chinese straw hat, a hut for the Smurfs or a manta ray in flight.

The masterpieces query is a weightier matter and it comes with lots of historical baggage. Composed of about 800 works, the sprawling show is a think piece about the ever-changing meaning of a term coined in the Middle Ages to judge the work of craftsmen in the European guild system but often dismissed as quaintly irrelevant these days.

“I have no definitive definition of a masterpiece,” Laurent Le Bon, director of the Metz museum and curator of the exhibition, states in a publication accompanying the show, “but, in my view, it is a work that permits diverse interpretations, indeed contradictions.”

Critical reactions to the show include proclamations that it’s the most impressive assembly of 20th century art in all of Europe and accusations that it’s so confusing and anti-hierarchical as to be meaningless. In art historical circles, the exhibition has revived a debate about the concept of masterpieces. Interviews with curators indicate that there’s hardly a consensus on the subject, with some saying it’s a valuable way of measuring quality and others pointing out the flaws of any such system.

The Pompidou Center, a Parisian cultural powerhouse that houses the French National Museum of Modern Art, built the satellite in Metz to share its 60,000-piece collection with a city of about 200,000 people. But visitors expecting the Pompidou’s greatest hits are in for a surprise. What they get is an eclectic array of paintings, sculptures, photographs, videos, installations, architectural models, furniture and printed material.

An introductory section on the ground floor tracks the evolution of masterpieces “from Middle Ages to revolutionary genius” in works lent by various institutions. But the bulk of the show ending Oct. 25, which continues on three upper floors, is drawn from the Pompidou’s 20th century and 21st century holdings. The final display, “Masterpieces ad infinatum,” grapples with notions of uniqueness in an age of endless reproductions.

As the exhibition unfolds, major works by such stalwarts as Henri Matisse, Joan Miro, Pablo Picasso, Louise Bourgeois and Bruce Nauman share gallery space with examples by relatively little known European figures and a few sculptures from Africa, Asia and Oceana. The works on view rarely conform to conventional ideas about masterpieces as paragons of beauty or tours de force of skill and they aren’t necessarily the best examples of the artists’ output.

But pieces such as Bourgeois’ enormous installation “Precious Liquids” sum up essential themes — in her case, conflict between the artist and her father and bodily liquids that symbolize pleasure and pain. Other works mark zeitgeist moments that have influenced ideas about what a masterpiece might be.

Marcel Duchamp, who famously said that a masterpiece is created by the viewer, not the artist, is represented by his first “readymade,” a bicycle wheel mounted on a wood stool in 1913. Georgio De Chirico’s 1914 painting “Premonitory Portrait of Guillaume Apollinaire” is a Surrealist tribute to a leading avant-garde poet and critic, portrayed as a classical statue wearing sunglasses.

Alain Jacquet’s 1964 painting “Le Dejeuner sur l’Herbe” is part of his “Camouflages” series based on widely distributed reproductions of masterpieces from bygone times. His version of Edouard Manet’s celebrated Impressionist work recasts the luncheon on the grass as a poolside picnic obscured by a silk-screen pattern.

The most recently made pieces have yet to pass the test of time. A stunningly detailed photograph of commercial goods packed into a 99 Cents Only Store is a seminal image by Andreas Gursky. But it was made in 1999 by a German artist whose reputation and work continue to grow.

Experts’ views

Once upon a time, a masterpiece was a creation that met rigid standards of artistry and craftsmanship. These days, the term usually refers to the best work of an artist’s career or an example of outstanding creativity or skill, but there’s little agreement on the meaning and relevance of the term, particularly in modern and contemporary art.

Consider what a few Southern California authorities have to say in interviews and e-mail exchanges:

Douglas Fogle

Chief Curator and Deputy Director of Exhibitions and Public Programs, Hammer Museum

That word has so many heavy connotations with connoisseurship and a certain attitude about art history, that one masterpiece comes after the other. There are great works, absolutely. In contemporary art, there are seminal or building-block works that changed everything. You can point to a Rauschenberg combine painting. “Monogram” is a great work in that way. You can point to Jackson Pollock’s first drip paintings.

It’s a masterpiece, whatever that means

Construction on the long-stalled Grand Avenue hotel, condo and shopping complex may be delayed at least another two years because developers have been unable to secure financing.

The $3-billion Frank Gehry-designed Grand Avenue complex was supposed to be the centerpiece of an elaborate effort to rebuild the blocks stretching from the Walt Disney Concert Hall to City Hall. But while backers of downtown development cheer Eli Broad’s recent decision to build his new art museum on Grand Avenue and a new 16-acre park nearby, the latest delay is a reminder that the fate of the broader reimagining of the Civic Center area is still uncertain.

The project developer, Related Cos., said this week that it plans to request a two-year extension of its current February 2011 deadline to begin construction.

If the new deal is approved by city and county officials, groundbreaking would not have to start until 2013 — six years after work was first slated to begin. Bill Witte, the president of the developer’s California division, said Related may request yet another extension if the economy hasn’t improved by 2013.

“There is no chance of financing a significant project in the near term,” Witte said. “In fact, I’m not sure there’s much of a chance of financing even an insignificant project in the near term.”

Proposed in the early 2000s during the zenith of downtown’s building boom, the project’s plans call for a boutique hotel, thousands of luxury condos and acres of retail space for upscale restaurants, shops and art galleries. A 40- to 50-story Gehry-designed glass tower was to mark the spot as a cultural hub for tourists, shoppers and a new breed of wealthy downtown denizens.

Now it’s likely that Broad’s museum and the planned park — which was conceived as part of the overall development — will open before construction on Gehry’s tower begins.

The project remains popular with downtown boosters, but some concede that the plans may need to be tweaked to take into account the economic downturn.

Eric Richardson, the publisher of blogdowntown.com, praised the Grand Avenue project for “the attention that the idea brought to downtown revitalization.” But he said some residents feel that what the area really needs is more grocery stores, pharmacies and other basic amenities.

“We’ve been very slow to pull in the retail that kind of completes the picture of life downtown,” he said. “Some people are asking, ‘Does downtown really need a mega project at this point?’”

Grand Avenue, which was approved by city and county officials in February 2007, is one of the last of several proposed “mega projects” in downtown that are still alive since the real estate market crashed in 2008.

Paul Novak, the land planning deputy for L.A. County Supervisor Mike Antonovich, a longtime critic of the project, said he doesn’t think there is an appetite downtown for Grand Avenue’s upscale offerings.

“OK, you’ve got very high-end condos and a high-end hotel,” Novak said. “But the condo market is in the dumps downtown, and downtown already has a five-star hotel.”

Officials with Related said they have already secured millions of dollars in equity but have had trouble securing loans to pay the $1.1 billion required to build the first phases of the project.

During the last renegotiation of the construction deadline, Related agreed to pay a penalty of $3 million a year to push construction back. Under the new extension, which Related may ask for in the coming weeks, it must pay the joint city-county authority that controls the land an additional $1 million in penalties. The penalties would be paid once construction begins.

Witte and others say they hope the Broad museum and the new Civic Park will raise the profile of Bunker Hill and make it easier to secure loans for Grand Avenue.

Witte said Related is considering altering its plans for the project, but he would not say what changes are being considered.

Steve Needleman, who owns the Orpheum Theatre and lofts on Broadway, said Grand Avenue’s developer should consider making changes “like building office space or more modestly priced apartments.”

“I think the Grand Avenue project, by the time it gets built, will change again,” Needleman said. “You’re having to reevaluate what makes sense.”

Carol Schatz, the executive director of the downtown-based Central City Assn., also acknowledged that aspects of the development may have to be reconsidered.

“The Grand Avenue project made a great deal of sense at the time that it was approved,” Schatz said. “But things are different now.”

kate.linthicum@latimes.com
Grand Avenue project faces 2-year delay over funding

Some architects reach the point where even a minor or obscure example of their work becomes significant. That may be the case with architect John Lautner, whose underdog individualism has propelled his reputation skyward.

Supporters hope Lautner’s prestige can help save one of his earliest commissions, a 1951 house north of Sunset Boulevard in Beverly Hills known as Shusett House. The current owner, Enrique Mannheim, wants to knock it down and build a new place to live. The demolition could come in the next few days.

Mannheim says he’s tried to make the place work for his family, but after 23 years, he’s reached the end of his patience with the structure – as well as with Lautner fans.