If you missed Jerry Saltz’s utterly on-point Facebook rant about museum starchitecture, which was prompted by Steven Holl Architects’ acclaimed — though not by Saltz — 2007 addition to the shockingly wonderful Nelson-Atkins Museum of Art (he loves the museum but hates the addition), read it, especially if you care what happens when Holl and crew design the Museum of Fine Arts, Houston’s new modern-and-contemporary art building. And be sure to click on the pictures he took of the interior of the Bloch Building, like this one:
There’s a reason Google Image searches on “Steven Holl Nelson Atkins” overwhelmingly turn up renderings of the building’s exterior, which has rightly been praised for the unassuming manner in which it connects to the Nelson-Atkins’s 1933 classical temple-of-art building. The problem, as Saltz notes, is that once you get inside, the “Bloch is all lobbies, ramps, ridiculous angles, emptiness, atria, and almost no art. I walked more than two football fields to reach the art. And this space is three floors tall. …”
As with Renzo Piano’s giant lovely atrium-filled addition to Chicago’s great Art Institute – a space fit only for pharaohs, trustees, architects, and parties, a space all but empty of art for thousands of square feet of three vertical floors – at the handsome Bloch we get white spaces, corridors, construction details, slivers of window here and there, but NO art in sight. It’s more like an airport or a mall. There should be 50 to 60 works here – even if the space isn’t built for art.
And let’s face it, it really isn’t built for art. The most important painting in this gallery, for example, Willem de Kooning’s knockout Woman IV (1953), gets swallowed by the space (it’s on the back wall):
… and for some reason hangs adjacent to a small staircase leading up to a window that looks into the airport/mall you thought you’d finally escaped.
Granted, the de Kooning is large but not monumental — but that’s just another way of saying that it made more of an impact in the old building. In fact, since the MFAH abandoned the clusterfuckery that used to characterize its Ab-Ex-and-friends gallery, its abstract expressionist presentation is more powerful than the Nelson-Atkins’s, even if some minor-work creep has returned to the MFAH gallery since I wrote this article hailing the welcome changes to the space. (One hopes that’s because a chunk of the MFAH’s American holdings are currently traveling across South Korea.) And the MFAH’s big, dark Rothko makes the Nelson-Atkins’s Rothko look like a non-entity.
But for me, the best thing about the Bloch Building — and a key factor distinguishing it from whatever Holl comes up with for the MFAH — is that, in addition to allowing the Nelson-Atkins to show works that would otherwise sit in storage, it frees up at least some room in the old building to show even more art from its incredible collections (I’ve got tons of photos on Facebook). In the Nelson-Atkins’s main building, you run into fantastic art no matter where you turn, including this great red marble sculpture on loan from Rome’s Musei Capitolini through Sept. 29:
Standing in the presence of this red marble satyr, all peeves about the Bloch Building and starchitecture just melt away. That said, here’s hoping Holl’s approach for the MFAH, which hasn’t had the greatest luck with buildings, is to let grand architectural statements play second fiddle to the art instead of the other way around.