A Letter to Members

A Letter of Thanks to Our Members

Dear Member,

We wanted to take a moment to thank you directly for your support and generosity throughout this tumultuous year. We appreciate you bearing with us as we navigated several months of closure to stop the spread of coronavirus and ensure the safety of our staff, volunteers, and visitors. We were so glad to welcome you back when we reopened this past summer. At a time when everything is unpredictable, you can continue to count on Crystal Bridges and the Momentary as welcoming spaces where you receive benefits all year long.

For Crystal Bridges members, those benefits include free admission to temporary exhibitions (and guest tickets), discounts on events and programs, invitations to special members-only events, a discounted Momentary membership, retail discounts, and much more.

For Momentary members, those benefits include discounts on all events and programs, advance notification and early access to tickets, a discounted Crystal Bridges membership, invitations to special members-only events, and much more. For MO Friend and Insider-level members, this also includes daytime access to the Tower Bar and more.

And to our Crystal Bridges Original Members, what an incredible journey we’ve seen over this decade. You have been with us since the very beginning and you know what we can accomplish when we all move forward together in the same direction.

We hope you have enjoyed this look back at 2020. Now, as we move forward into the new decade, you are helping us do the following:

Offer thought-provoking exhibitions that address current issues Facilitate meaningful conversations with visitors through programming and education Engage Northwest Arkansas with art programs and conversations in the community Celebrate the tenth anniversary of Crystal Bridges in 2021

On behalf of everyone at Crystal Bridges and the Momentary – THANK YOU!

Your Membership Team

FRONT COVER: Robert Indiana, Love, 1966-1999, Cor-Ten steel, 72 x 72 x 36 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2009.4 © 2020 Morgan Art Foundation Ltd / Artists Rights Society (ARS), NY; BACK COVER: Tavares Strachan, You Belong Here, 2020, Blocked-out neon with transformers, 25 1/2 × 78 ft. The Momentary, Crystal Bridges Museum of American Art, Bentonville, Arkansas, MO.2020.1; PG 10-12, FROM LEFT: Pop Chalee (Merina Luhan), Enchanted Forest, ca. 1950, gouache on paper, 20 x 25 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.52. Photography by Edward C. Robison III; Tse Tsan (Pablita Verlarde), Awataba Kiva Mural, 1981, mineral pigments on board, 44 x 36 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.58. Photography by Edward C. Robison III; Sam Gilliam, Mazda, 1970, acrylic on canvas, 135 x 90 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.12; Martine Gutierrez, Queer Rage, Imagine Life-Size, and I’m Tyra, p66-67, 2018, printed 2020, chromogenic color print mounted on Sintra, 42 x 63 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.76; Firelei Báez, Untitled (A Correct Chart of Hispaniola with the Windward Passage), 2020, oil and acrylic on archival printed canvas, 104 ¼ x 122 ¾ in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.16. Courtesy of the artist and James Cohan, New York. Photo: Dan Bradica; Anne Lemanski, Tigris T-1, 2018, copper rod, archival print on paper, artificial sinew, epoxy, and plastic, 64 x 61 x 30 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, Gift of Fleur S. Bresler, 2020.8. Photography by Steve Mann; PG 16, FROM TOP: Kris Pierce, Free Food, 2018, two-channel HD video, duration: 4 minutes, 35 seconds. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.80; Paul Stephen Benjamin, Summer Breeze, 2018, video installation, dimensions variable. Courtesy of Paul Stephen Benjamin; PG 21-22, FROM LEFT: Abelardo Morell, Tent-Camera Image on Ground: View of Mount Moran and the Snake River from Oxbow Bend, Grand Teton National Park, Wyoming, 2011, Photograph, inkjet print, Abelardo Morell | Courtesy of Edwynn Houk Gallery, Courtesy, Museum of Fine Arts, Boston; Catherine Opie, Untitled #1 (Yosemite Valley), 2015, Photograph, pigment print, Museum of Fine Arts, Boston. Stephen D. and Susan W. Paine Acquisition Fund for 20th century and Contemporary Art. (c) Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York and Hong Kong. Courtesy, Museum of Fine Arts, Boston; PG 23-24, FROM LEFT: Ruth Asawa, Untitled (S.028, Hanging Four-Lobed Continuous Form within a Form), 1960, Iron wire, 86 ½ x 32 x 32 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2014.8. Artwork © 2020 Estate of Ruth Asawa / Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner; Jeffrey Gibson, IN NUMBERS TOO BIG TO IGNORE, 2016, Glass beads, artificial sinew, copper jingles, metal studs, repurposed wool army blanket, wood, 60 x 42 in. Collection of Judith and Paul Fried. Photo Credit: Pete Mauney; Maxfield Parrish, The Lantern Bearers, 1908, oil on canvas mounted on board, 40 x 32 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2006.71. Photography by Dwight Primiano; Fitz Henry Lane, Ship Southern Cross in Boston Harbor, 1851, Oil on canvas, Framed: 34 1/4 x 47 x 4 1/2 in. Peabody Essex Museum, Gift of the estate of Stephen Wheatland, 1987, M18639. Courtesy of Peabody Essex Museum. Photography by Mark Sexton; PG 29, CLOCKWISE FROM LEFT: Maria Molteni, Venusian Rosaceae, 2020, paint on cement, 50 ft. diameter; HANNAH, RRRolling Stones 2.0, 2020, 3D printed concrete, steel reinforcement, and paint. Iván Navarro, This Land is Your Land Ladder (Water Tower), BED (Water Tower), ME/WE (Water Tower), 2014, Neon, wood, painted steel, galvanized steel, aluminum, mirror, oneway mirror, and electric energy, each 189 x 105 1/8 x 105 1/8 in. Courtesy Templon, Paris – Brussels; PG 31-34, FROM LEFT: Nick Cave: Until. Courtesy MASS MoCA. Photo by Ironside Photography / Stephen Ironside. PG 35, FROM LEFT: Sarah Cain, i touched a cactus flower, 2019, Frieze LA 2019, curated by Ali Subotnick. Image courtesy of the artist. Derrick Adams, Keep Your Head Down and Your Eyes Open (detail), 2018, wood, acrylic paint, fabric, dimensions variable. Photo by Jenna Bascom. courtesy of the Museum of Art and Design; PG 36, TOP: Diana Al-Hadid, Ash in the Trade Winds, 2020, polymer gypsum, fiberglass, steel, plaster, copper and gold leaf pigment, 58 x 192 x 5.5 in. Courtesy of the artist. Photo credit: Timothy Doyon. PG 53: Gabriel Dawe, Plexus No. 27, 2014, thread and steel hooks, 120 in. 132 in. x 20 ft.