the new Modern
Art Museum of Fort Worth: News
To us snotty east coast
aesthetes, the designation “Texas’s oldest art
museum” might have a ring equivalent to “Montana’s
premiere mime troupe.” But hold on; the Modern Art Museum of Fort Worth (also
known by the unfortunate acronym MAMFW, or “mam-fwuh”)
was founded as the Fort Worth Public Library and Art Gallery
way back in 1892, decades before many larger cities got their own robber-baron
palaces turned public showplaces. A mere dozen years later, the institution
made its first purchase for the permanent collection: Approaching Storm,
1875, by George Inness. Not bad. By 1954, the museum (by then called the Fort Worth Art Center)
had relocated to a Herbert Bayer–designed building in the city’s official
Cultural District. Again not bad, especially for a city doubly cursed with the
epithet “Cowtown” and the lingering, not so
subliminal oppression wreaked by the glamorous televised existence of a
metropolis a mere thirty-five miles to the east.
Come December 14—on a
Cultural District site opposite Louis Kahn’s perfect little Kimbell Art Museum,
near an Amon Carter Museum of western art that Philip Johnson can’t quite seem
to get right no matter how many times he rejiggers it, and not too far from (we
kid you not) the National Cowgirl Museum and Hall of Fame—a grand new MAMFW
will open to the public. The building is the result of a competition launched
in 1996 that brought six international architects and their proposals to Fort Worth. (It’s a given
these days that no new museum of any consequence can be designed by an
architect who lives within five hundred miles of it.) What MAMFW wanted, says
chief curator Michael Auping—whose art history master’s degree is in
architecture, albeit the ancient Mexican variety—was definitely not an “explosive
icon as an advertising signifier from the outside, and then on the inside all
pop-pop-fizz-fizz where your eyes aren’t allowed to rest.”
So in 1997 Japan’s
Pritzker Prize winner Tadao Ando, 61, known for his quietly elegant, understated
edifices, was chosen as the architect. Ando purportedly discovered his vocation
when, as a teenager, he saw a volume on Le Corbusier for sale in a used-book
shop in Osaka and saved up for weeks to buy it. But he decided to apprentice
with a carpenter instead of an architect, and a sensitive austerity—perhaps
derived from his hands-on experience with wood—has been the trademark of his
work. Ando has said that his solution to the architect’s perennial task of
reconciling the fixed space of a building, what goes on inside it, and the
building’s social context is “my independent architectural theory ordered on
the basis of a geometry of simple forms, my own ideas of life, and my emotions
as a Japanese.”
Construction of the new
MAMFW began three years ago, on eleven landscaped acres, where the plan is to
house the museum’s 2,400 works of “significant” modern and contemporary art in
53,000 square feet of exhibition space (making MAMFW number two in the country
for twentieth-century art, behind the Museum of Modern Art in New York, now
closed for tripling its space). Perhaps typical of the current crop of
new museums, auditorium and café seating capacity will be about equal (250) in Fort Worth. As for the
galleries, Auping says, “A lot of architects think that the big ‘boat’ gallery
at the Guggenheim Bilbao is the model. But we don’t want a gallery that makes a
huge Richard Serra look like a little ribbon. We’ve tried to get out of that
horse race.” Indeed, from the model and (for this writer) a mid-project visit
to the construction site, the exhibition spaces look like they’ll be
cruiserweight rather than heavyweight: large but still somewhat intimate,
suitable for object art if perhaps a bit inadequate for the kind of vast video
installations today’s artists go in for. “Well, we are a painting and
sculpture museum,” says Auping.
The primary feature of
the new MAMFW—its version of Bilbao’s twisting
titanium or Milwaukee’s
pterodactyl-like brise-soleil by Santiago Calatrava—is, however, Ando’s handling of concrete
throughout. Ando, who numbers Kahn among his idols, is famous for getting the
material to look precisely like finished stone or steel. He’s been known to
have his form molds varnished to get wall surfaces suitably silky. When it
works, it’s wonderful, able (as one critic remarked about Ando’s boutique
Pulitzer Foundation museum in St. Louis, which opened last year) to “soften the
defensive posture of the outer walls.” There was, however, some question as to
whether Texas
concrete craftsmen were up to Japanese standards. MAMFW officials, setting the
bar high, demolished and recast one slightly imperfect wall with no prompting
from the architect and at a cost of $90,000, and there’s a story going around
that Ando (a former amateur boxer) had to clobber one worker who stubbed out a
cigarette on a freshly minted surface. It’s not just the forty-foot-high
concrete exterior walls on simply configured units (two long blocks, two short
blocks, all parallel and justified at one end), however, that have to do all
the beautification labor. The building’s concrete perimeter will soon be
sheathed in glass walls. At night its glowing edifice will be mirrored in a
vast reflecting pool. If everything goes according to design, Texas’s oldest art museum will have turned itself
into the most elegant museum in the entire country. Nope, not
bad at all.
Peter Plagens is a contributing editor of Artforum.