Posts tagged with "Crystal Bridges Museum of American Art":
Migration has an impact on both people and landscape. Presented in English and Spanish, Border Cantos, sheds light on the complexities of immigration and transforms these issues into resonant works of art, inviting us to bridge boundaries and initiate conversations. The artists created works of photography, sculpture, and sound that document and transform artifacts from the border. Misrach’s large-scale photographs, along with inventory-like grids of smaller photographs, highlight issues surrounding immigration and how they have affected regions and people. Responding to these photographs, Galindo fashioned sound-generating sculptures from items Misrach collected from the border, such as water bottles, Border Patrol “drag tires,” spent shotgun shells, ladders, and sections of the border wall itself.Chihuly: In the Gallery and In the Forest June 3 to November 13, 2017. $10.00
Stuart Davis: In Full Swing September 16, 2017 to January 8, 2018. $8.00
Dale Chihuly, an American sculptor, has mastered the translucent and transparent qualities of ice, water, glass and neon, to create works of art that transform the everyday experience. He is globally renowned for his ambitious site-specific installations in public spaces, as well as exhibitions presented in museums and gardens. Crystal Bridges is pleased to present extensive indoor and outdoor installations, featuring new works by the artist, as well as iconic works spanning the breadth of his career.
Chihuly: In the Gallery will be on view in the museum’s temporary exhibition gallery from June 3 to August 14, 2017. Chihuly: In the Forest will be on view in the museum’s north forest from June 3 to November 13, 2017. A special members-only preview will take place May 27 – June 2, 2017. Ticket price: $20 In the Forest and In the Gallery; $10 In the Forest once the gallery portion closes. [Free for Members.]
This major retrospective will focus on three phases of Davis’s work: From 1927 to 1937, in which he applied the forms of Cubism to still-lifes and landscapes; from 1938 to 1943, during which his work increased in both size and abstraction; and from 1944 to Davis’s death in 1964, in which he invented a new abstract language that merged the aesthetics of advertising and jazz with language, and an American-inspired subject matter.For more on the museum's exhibitions, visit their website here.
Marlon Blackwell uses ribbed ceiling to evoke craft while mitigating contemporary challenges at Arkansas museum.The setting for the gift shop at the Crystal Bridges Museum of American Art seems idyllic—a vast glass wall opens onto a entry courtyard that gives way to a placid pond reflecting the Ozarks landscape. But to create a design for the 3,100 square-foot space in Bentonville, Arkansas, architect Marlon Blackwell had to overcome multiple hurdles. The first: a thicket of concrete columns supporting the green roof of the Moshe Safdie-designed building. Next: the west-facing glass wall, which made heat gain an issue. And finally: the very small budget (the total project cost was $644,000). Blackwell’s solution to all three problems was a concept inspired in part by local Arkansas basket weaver Leon Niehues, whose work is now sold in the museum shop. Niehues’ pieces are distinguished by their vertical “ribs.” The wrapper of rib-like forms devised by Blackwell begins at the top of the exterior glass wall, where it acts as a sunscreen, and extends across the ceiling and down the long eastern interior wall where shelving is integrated into the system. Made of locally sourced cherry plywood, the final effect is less wicker-work and more chanterelle—Blackwell’s ribs, which span roughly 30 feet, evoke the gills on the underside of a mushroom cap. But the arc-shaped plan of the building complicated matters. “It was a curved volume, so we couldn’t reference a radius,” said Blackwell. “We used straight lines, which looks great but demanded that each rib had to be slightly different.” Each of the 223 undulating ribs is composed of up to four segments of joined planks 8 inches wide and 3/4-inches thick. Using 3-D modeling and AlphaCAM CAD/CAM software, Blackwell’s team translated the design to CNC routers in the millwork shop of Adam Weaver at UDI Inc, in Rogers, Arkansas. Weaver deployed two routers at once to stay on deadline—an Onsrud CNC and a Northwood CNC—and an optimizer insured that there was as little wasted material as possible. From 480 sheets of plywood emerged the 700 cut pieces for the ribs, each inscribed with a number and with the screw holes and the overlapping joins pre-cut. Once the material was delivered to the site, the contractors used a plum line and a laser to align then suspend components from the ceiling. The ribs gradually took shape one piece at a time. “It was like stacking stone,” said Blackwell, noting that everything snapped into place in under six weeks during construction in 2011. The rib system filters out up to 40 percent of the daylight and not only finesses the existing concrete columns but also conceals sprinklers and the store’s lighting system. Blackwell use of cherry planks for the floor creates a unified and warm space that complements the wares on display for only $200 per square foot.