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Thompson Center |
That would explain why Gov. Rauner's announcement last week that the bulbous salmon-and-blue monstrosity of the Thompson Center would be disposed of and, please God, torn down, will be followed so closely by Rahm Emanuel's pet City Council approving — next week, take it to the bank, after the Bears's last few qualms are mollified — the eye-scalding white hillock of the Lucas Museum of Narrative Art, which some are calling Jabba the Hutt's Palace, but I think of as "Space Mountain."
One step forward, one step back.
While I'm no knee-jerk preservationist, I do think the Thompson Center should be preserved, for a while, because it's a crime scene. It should be kept vacant, as evidence, until Helmut Jahn's show trial for crimes against architecture can be held in its vast cavernous belly. Only then, upon the inevitable conviction, can it be imploded upon him, a fitting punishment for him and an apt end to his 30-year blot on the city.
But I am not here to criticize. Too much of that. Too much negativity. I'm here to offer a ray of hope regarding our newest civic asset, on two fronts.
First, regarding the utter aesthetic failure of the Lucas Museum's design, a thought: How many now-beloved world icons were despised initially? France's great minds jostled each other like piglets at a sow to condemn the Eiffel Tower while it was being built in 1887. "This belfry skeleton" Paul Verlaine sniffed. "This high-and-skinny pyramid of iron ladders, this giant, ungainly skeleton upon a base that looks built to carry a colossal monument of Cyclops, but which just peters out into a ridiculous, thin shape like a factory chimney" wrote Guy de Maupassant.
Time soothes. While I sincerely believe Ma Yansong's design resembles nothing so much as an enormous glob of pigeon poop, maybe we'll get used to it. Other, heretofore, reviled structures won't seem so bad. "The Bears should support the Lucas Museum," quipped an editor on the city desk, "because it makes Soldier Field look good by comparison." That's true. The lopsided spaceship that landed in Soldier Field's colonnaded glory looks like the Parthenon compared to the Lucas Museum.
There is the inside to consider. Yes, last May I suggested it was the "Buck Rodgers" museum, hinting that Star Wars will someday (again, please God) be as forgotten as the once popular Saturday afternoon movie serial.
But Lucas insists it won't just be a shrine to Luke Skywalker. It's the Lucas Museum of Narrative Art, remember. He has a trove of Norman Rockwell paintings. When I was in Boston earlier this month, I made the drive out to Stockbridge, Massachusetts, to visit the Norman Rockwell Museum.
The art world dismissed Rockwell, but I've loved him since I was a child, savored his deeply human, richly detailed paintings. A visit to the museum confirmed his genius. You put your eye 3 inches from a pencil sketch of his and swear the man was Michelangelo. Any accusations of sentimentality are deflated by his powerful paintings for Look magazine on the civic rights struggle of the early 1960s.
The was a special exhibit hall showing the excellent New Yorker cartoonist Roz Chast, and her book on her parents' decline into dementia, a reminder that "narrative art" can be a very big tent.
I learned much during my visit. The museum highlights Rockwell's Four Freedoms paintings, based on FDR's famous speech. You're familiar with "Freedom from Want," a much-copied image of a family around a Thanksgiving table being presented with an enormous turkey.
But it was "Freedom of Speech" that taught me something, or rather the docent lecturing nearby. The painting shows a workman at one of New England's town meetings, standing up, having his say.
"Notice the ears of the listeners," the docent said. "Rockwell made them slightly bigger."
He certainly did. And I realized, looking at those ears, something important about the trouble in America today. Nowadays, everyone's talking, but nobody's listening. And if nobody's listening, freedom of speech loses its value.
A lesson worth driving to Stockbridge to learn. I hope Lucas makes a museum that isn't just a tourist trap for Star Wars fans, but somewhere that visitors can go to discover similar truths hidden in art. And if he doesn't, the 99 years will pass, and the mistake will be corrected.
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Proposed Lucas Museum of Narrative Art |
One step forward, one step back.
While I'm no knee-jerk preservationist, I do think the Thompson Center should be preserved, for a while, because it's a crime scene. It should be kept vacant, as evidence, until Helmut Jahn's show trial for crimes against architecture can be held in its vast cavernous belly. Only then, upon the inevitable conviction, can it be imploded upon him, a fitting punishment for him and an apt end to his 30-year blot on the city.
But I am not here to criticize. Too much of that. Too much negativity. I'm here to offer a ray of hope regarding our newest civic asset, on two fronts.
First, regarding the utter aesthetic failure of the Lucas Museum's design, a thought: How many now-beloved world icons were despised initially? France's great minds jostled each other like piglets at a sow to condemn the Eiffel Tower while it was being built in 1887. "This belfry skeleton" Paul Verlaine sniffed. "This high-and-skinny pyramid of iron ladders, this giant, ungainly skeleton upon a base that looks built to carry a colossal monument of Cyclops, but which just peters out into a ridiculous, thin shape like a factory chimney" wrote Guy de Maupassant.
Time soothes. While I sincerely believe Ma Yansong's design resembles nothing so much as an enormous glob of pigeon poop, maybe we'll get used to it. Other, heretofore, reviled structures won't seem so bad. "The Bears should support the Lucas Museum," quipped an editor on the city desk, "because it makes Soldier Field look good by comparison." That's true. The lopsided spaceship that landed in Soldier Field's colonnaded glory looks like the Parthenon compared to the Lucas Museum.
There is the inside to consider. Yes, last May I suggested it was the "Buck Rodgers" museum, hinting that Star Wars will someday (again, please God) be as forgotten as the once popular Saturday afternoon movie serial.
But Lucas insists it won't just be a shrine to Luke Skywalker. It's the Lucas Museum of Narrative Art, remember. He has a trove of Norman Rockwell paintings. When I was in Boston earlier this month, I made the drive out to Stockbridge, Massachusetts, to visit the Norman Rockwell Museum.
The art world dismissed Rockwell, but I've loved him since I was a child, savored his deeply human, richly detailed paintings. A visit to the museum confirmed his genius. You put your eye 3 inches from a pencil sketch of his and swear the man was Michelangelo. Any accusations of sentimentality are deflated by his powerful paintings for Look magazine on the civic rights struggle of the early 1960s.
The was a special exhibit hall showing the excellent New Yorker cartoonist Roz Chast, and her book on her parents' decline into dementia, a reminder that "narrative art" can be a very big tent.
I learned much during my visit. The museum highlights Rockwell's Four Freedoms paintings, based on FDR's famous speech. You're familiar with "Freedom from Want," a much-copied image of a family around a Thanksgiving table being presented with an enormous turkey.
Norman Rockwell's "Freedom of Speech" |
"Notice the ears of the listeners," the docent said. "Rockwell made them slightly bigger."
He certainly did. And I realized, looking at those ears, something important about the trouble in America today. Nowadays, everyone's talking, but nobody's listening. And if nobody's listening, freedom of speech loses its value.
A lesson worth driving to Stockbridge to learn. I hope Lucas makes a museum that isn't just a tourist trap for Star Wars fans, but somewhere that visitors can go to discover similar truths hidden in art. And if he doesn't, the 99 years will pass, and the mistake will be corrected.