In all three shots of the new addition you can see the beauty of the city reflected on the glass wall. An added, serendipity effect. Upper left is Telfair Square in front of the new addition.

When not sneaking about gardens taking pictures of and writing about blooms, I've had several other interesting days lately. Most recently the opening of the new addition to Savannah's Telfair Art Museum. The architect and the other man it was named "for" were in town for the much hyped event. The architecture was controversial from the beginning as it was conceived as and is an ultra modern structure in the midst of our Historic District. The architect was Moshe Safdie whom we were assured we were fortunate to have stoop to do anything for our undeserving city. And so the design made it by a hair's breadth through the various committees that exist to keep us Historic. The building is quite beautiful and impressive but two comparisons came immediately to mind: Margaret Mitchell and Guilford Dudley (...not THAT Guilford Dudley).
The Mitchell influence was obvious in the overall image of a gigantic white staircase that the building mimics, intentionally or not. It was not unlike the grandeur of the fine stairway in Scarlet O'Hara's new, Atlanta, post-war mansion that Rhet Butler built for her in Gone With the Wind. Safdie's rendering though, of course, is ultra modern. The second reference mentioned was that often said by male Vanderbilt University students about the president of Life and Casualty regarding Nashville's L & C tower in the mid 50s. It was his greatest erection (as a "mature southern lady" now I keep the same stoic expression that indicates I couldn't possibly understand what they mean just as I did as a coed then.) Aside from those observations I found the Museum to be the neutral, non-intrusive building that should display works of Art. The show featured many electronic screens interactive with the viewer yielding interesting time and movement concepts. Nationally and internationally known, more traditional art was also on display. My use of the word traditional should not be interpreted as pre 1990, however.
The centerpiece of sculpture that the visitor ascending the grand stairway is greeted with is a large mother and son. (I almost never read titles or artists when in a Museum unless I come upon one I really like but am not familiar with. It's more serendipitous that way. Sometimes I'll know the work or artist just by sight, however.) The nude pair were somewhat heavy, weighted, dark but with rapt affection. They were not unlike Rodin in their coloring and media but more primitive in style. The mother's foot tucked under her buttock I found particularly Picasso like. Overall it had a Gauguin primitive sophistication. In retrospect I would have titled it Native Nativity. As a woman I found the piece offensive since the prime attraction, in spite of (or because) the son being front and center to the mother, was an unattractive crotch the visitor was forced to face for half the distance of the stairs. It was obviously disproportionate with an illusion of suction within. The boy was too large signifying this to be more than a mere mother-son moment. Any "such ases" escape me. No doubt an analyst (or gynecologist) could propose numerous possibilities but the message, if one other than a suitably shocking piece for a grand opening meant to cause chatter, was lost on me. The thought that it might be an excellent birth control device for viewers did occur to me.
The collection of Savannah Art was disappointing. The Ray Ellis piece was typical and impressive. The works of an unfamiliar artist, Clark, I found warm and commendable. Since Ann Osteen, the city's most talented artist, had nothing on exhibit I was disappointed and afterwards to the present, puzzled.
Descending the stairs I came face to face through the all-glass front with the beauty of Savannah bursting with all the signs of Spring, flora and fauna included. Telfair Square with its flowers and trees was displayed beautifully…more so than the new edifice or anything in it.