John Portman: Hand of the genius?

Photo courtesy the High Museum

The High Museum recently opened a major exhibition highlighting the local, national, and international achievements of John Portman, Atlanta’s architectural golden boy. John Portman: Art and Architecture offers visitors a comprehensive survey of one man’s triumphs, from his innovative role as architect/developer in the reconstruction of downtown Atlanta, through his monumental interventions in other American cities, to his more recent, exceptionally outsized work in East Asia. The main gallery spaces showcase Portman’s architectural feats and are flanked by smaller rooms filled with abstract paintings and sculptures from his personal collection of his own work.

A quote on one prominent gallery wall (unseen until the end of the show, if you entered from the ground floor like we did) cites Portman: “Architecture and Art are all connected …. It is like the yin and yang—if split, each loses value.” That suggestion brings us to the first reason the show falls short for us: the overt curatorial disconnection between his architecture and the purportedly integral works of art. The organization of galleries does not enable visitors to see both media at the same time, much less make meaningful connections between them.

The second major shortfall: In making the decision to regionally and temporally compartmentalize the architectural work between rooms and across floors, the High Museum has missed opportunities for comparative juxtapositions. For instance, the exhibition could have made useful comparisons between Atlanta’s Westin Peachtree Plaza and Detroit’s Renaissance Center, between our Peachtree Center and San Francisco’s Embarcadero Plaza, or between the architecturally groundbreaking Hyatt Regency in Atlanta and the culturally groundbreaking Shanghai Centre and Portman Ritz-Carlton in China. (Oh, wait—they left the latter out of the show altogether!)

However, we do not claim that the show isn’t impressive. The model of downtown Atlanta on the second floor, which specifically renders the Portman projects while leaving other buildings as mere undefined masses, bluntly illustrates the near single-handed impact John Portman had on our city’s skyline: He designed and developed most of it. In fact, all of the show’s architectural examples are triumphantly represented by oversized glossy photographs and interesting (albeit unequivocally promotional) project summaries.

And the contemporary models on the top floor? Take for example the Incheon 151 building for South Korea: Its scaled likeness is so stunning, it prompted one visitor to exclaim, “Oh, my cats!”

John Portman, Untitled, 1995. Acrylic on canvas. Image/Plate: 23 x 18 in. (58.4 x 45.7cm) Collection of the artist. Photo courtesy the High Museum

So what about the art? One might think that including works of art alongside works of architecture would present a perfect opportunity to showcase Portman’s range of styles and techniques while offering a more intimate look into the artist’s mind. However, the artwork on display is almost consistently disappointing. The paintings, clearly Abstract Expressionist in style, seem overly mechanical and without spirit. However, some of the small sculptures and acrylic paintings on paper are compellingly gestural and could arguably approach Portman’s stated desire to arrive at “abstract meditations on universal truths about human nature, life, nature, or the cosmos.”

All told, the show looks pretty good, especially the architectural representations. But we found ourselves left with some serious questions that should not have gone unanswered, much less unaddressed.

Where’s the process? A successful architecture retrospective would help viewers transcend time by arranging formative works and early sketches of building projects next to mature examples, in order to bring the subject’s development full circle on a single wall. With one inconsequential exception, this show contains no such process work, effectively discouraging a deeper understanding of a fascinating career.

Where’s the criticism? Most city planners and architects in Atlanta share one major beef with John Portman: His megastructures internalized downtown life to the point that there was little left to enliven the streets (a trend epitomized by his trademark “aerial sidewalks”). And great streets, not great malls, are what make a good city great. But this is yesterday’s talking point. The fact is—and we heard it from the man himself during a lecture at Georgia Tech last year—Portman did not intend to kill the streets. His work responded to specific urban conditions of the time. Portman gave us some amazing buildings that are undeniably successful in many ways (read: hotel atria). Since we can’t wastefully tear them down, we must do the more responsible thing and deal with their unfortunate consequences with serious creativity and Portman-esque vigor.

Ultimately, the show leaves out any ounce of criticism that could engage visitors in this constructive discussion. The exhibition’s only critical mention came with regard to San Francisco’s Embarcadero Center, admitting that “this type of architecture would have its critics in ensuing years ….” But the writing quickly changes gears by proceeding to pronounce Portman the critical link between Frank Lloyd Wright and Frank Gehry.

While we don’t expect the High Museum to rebuke the man of the hour, it is disheartening to witness such an unapologetically one-sided presentation from a purportedly serious art and design institution. If you’re looking for an accessible survey of one of Atlanta’s most influential figures, this show will satisfy. But if you really want to engage the material, walk a bit further south down Peachtree and experience Portman’s best, and worst, work for yourself.

John Portman: Art and Architecture continues at the High Museum of Art through April 18, 2010.

Please welcome our new architecture guest writers! Jeff Sauser and Josh LeFrancois are graduate students at the Georgia Tech College of Architecture.

Tags: abstract expressionism, architecture review, atria atrium, Detroit Renaissance Center, Embarcadero Plaza San Francisco, Frank Gehry, Frank Lloyd Wright, High Museum of Art, Hyatt Regency Hotel, Incheon 151 towers, John Portman, Marriot Marquis, museological techniques, Shanghai Centre and Portman Ritz-Carlton, urban planning, Westin Peachtree Plaza