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

Thirty-three men stuck a half mile underground are now the longest-trapped miners in recent history as a huge drill is the early stages of digging a planned escape route.

The men were trapped Aug. 5 when a landslide blocked the shaft down into the San Jose copper and gold mine in northern Chile’s Atacama Desert. Last year, three miners survived 25 days trapped in a flooded mine in southern China, and the Chileans surpassed that mark Tuesday.

While doubts and extreme challenges remain, experts said the rescuers have the tools to get the job done — though the government still says it will take three to four months to reach the miners.

“The drill operators have the best equipment available internationally,” said Dave Feickert, director of KiaOra, a mine safety consulting firm in New Zealand that has worked extensively with China’s government to improve dangerous mines there.

“This doesn’t mean it will be easy,” he added. “They are likely to run into some technical problems that may slow them down.”

The 31-ton drill made a shallow, preliminary test hole Tuesday in the solid rock it must bore through, the first step in the weeklong digging of a “pilot hole” to guide the way for the rescue. Later the drill will be outfitted with larger bits to gradually expand the hole and make it big enough so the men can be pulled out one by one.

Before rescuers dug small bore holes down to the miners’ emergency shelter, the men survived 17 days without contact with the outside world by rationing a 48-hour supply of food and digging for water in the ground.

Aside from their rescue, a union leader has expressed concern for the men’s livelihoods.

San Esteban, the company that operates the mine, has said it has no money to pay their wages and absorb lawsuits, and is not even participating in the rescue. State-run mining company Codelco has taken over.

Union leader Evelyn Olmos called on the government to pay the workers’ wages starting in September, plus cover the roughly 100 other people at the mine who are now out of work and 170 more who work elsewhere for San Esteban. Its license has been suspended by the government.

“We want the government to pay our salaries in full until our comrades are freed and then pay our severances,” said Olmos.

Mining Minister Laurence Golborne said the government was prohibited by labor laws from assuming responsibility for the salaries. He said it was up to the mining company and would have to be worked out in Chilean courts.

Golborne noted the extraordinary circumstances of the mine collapse but pointed out there are many other Chileans who lack a job and said the government cannot be responsible for all of them.

Union leaders and others blame the government in part for the San Jose accident because the mine had been cited for safety violations in the past but was allowed to continue operating.

In 2007, executives were charged with involuntary manslaughter in the death of a miner. The worker’s family settled and the mine was closed until it could comply with safety rules, said Sen. Baldo Prokurica, who has long called for tougher regulations.

The next year, the mine reopened even though the company apparently had not complied with all the regulations, he said, adding that the circumstances surrounding the reopening are being investigated.

Workers at the current rescue operation are using the three existing bore holes to deliver food, water, air and medicine to the 33 miners, who are trapped about 2,300 feet underground in a shelter large enough to walk around in.

In an eight-minute video released by the government, the second made by the trapped miners, about a dozen of the men send greetings to their families and say they are feeling better since receiving the sustenance and supplies, including special clothes to keep them dry in the hot, humid mine.

The government last week said that five of the miners were suffering from depression, but Golborne said Sunday from the mine site that those men were doing better, had received antidepressants and were getting counseling.

Helping raise their spirits, the men spoke for about three minutes each to a family member on Sunday after a telephone line was lowered down one of the three existing 6-inch bore holes.

The men, while showing courage that has inspired people throughout Chile and the world, could not help but break down when speaking about their loved ones on the latest video.

“I’m sending my greetings to Angelica. I love you so much, darling,” said 30-year-old Osman Araya, as his voice choked and he began to cry. “Tell my mother, I love you guys so much. I’ll never leave you. I will fight to the end to be with you.”

The video showed the men mostly upbeat, joking on camera and talking about their absolute certainty that they would get out alive.

Experts say maintaining high morale among the men is essential. They will play a key role in winning their own rescue: The drilling technique that must be used means that up to 4,000 tons of rock and debris will fall down into a large mine shaft near the shelter — but far enough away from the men that they will not be in any danger.

Officials have said that it is essential the men be at their best physically and mentally because their own work clearing the rocks will be vital to keeping their eventual escape route from becoming plugged.
Drilling begins as Chile miners become longest-trapped in recent history

Authorities said eight people were killed and 10 injured when a driver racing in the California 200 desert race in Lucerne Valley lost control of his off-roader, which went airborne and landed on top of spectators. The driver, who was uninjured, and seven of the eight people killed were identified Sunday by officials.

The driver “got airborne and, when he landed, rolled over straight into the spectators,” said Officer Joaquin Zubieta of the California Highway Patrol, the agency investigating the deadly crash. “People didn’t have much of a chance … to get out of the way.”

Six spectators died at the scene. Nine others were airlifted to local hospitals, two of whom died later in the evening, Zubieta said. Of those hurt, five sustained major injuries and five had minor injuries, officials said. Brett M. Sloppy, of San Marcos, was the driver of the truck, according to Zubieta.