C Magazine | 2019 - Volume 8 - Issue 1 by Crystal Bridges Museum of American Art

CRYSTAL BRIDGES Member Magazine

April 2019

VOL VIII ISSUE I

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T YSON SCHOL ARS OF AMERICAN ART ENDOWMENT & DON T YSON PRIZE FOR THE ADVANCEMENT OF AMERICAN ART

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EDUCATION AND PROGR AMMING

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TR AIL S & GROUNDS

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HOWSE Harriet and Warren Stephens, Stephens Inc. Kimberly-Clark Terra Foundation for Marlon Blackwell Architects American Art Mattel Roy and Christine Sturgis Mitchell, Williams, Selig, Gates, Charitable Trust, & Woodyard, P.L.L.C. Bank of America, N.A., Trustee Procter & Gamble Univision Arkansas

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MEMBER MAGAZINE

EXECUTIVE DIRECTOR, CHIEF DIVERSITY + INCLUSION OFFICER

“And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.” F. Scott Fitzgerald, The Great Gatsby

Rod Bigelow

DEPUTY DIRECTOR

Sandy Edwards

CHIEF STRATEGY OFFICER

Jill Wagar

DIRECTOR OF CURATORIAL AFFAIRS + STRATEGIC ART INITIATIVES

Margi Conrads

CHIEF COMMUNICATIONS + MARKETING OFFICER

Diane Carroll EDITOR

Erica Harmon CREATIVE DIRECTOR

Anna Vernon

SENIOR DESIGNER

Olivia Walton

It was the middle of December when I began putting this issue together. And now as the leaves are returning to the trees and the ground is thawing, everything is starting over again. When we were younger, summer was the time for swimming pools, popsicles, riding bikes with friends, and endless days of frolicking with no schedules and no school, punctuated with warm evenings catching fireflies and counting stars. As we grow older and life’s responsibilities pile up, it’s nice to return back to those memories and remember that summer is also the season of vacations and road trips, when folks pack up their families and retreat back into nature. At Crystal Bridges, we’re preparing for the summer of art, nature, color, and more. The galleries and the grounds will be overflowing with art, specifically art that draws out a special connection to nature. In Northwest Arkansas, we are grateful to have an abundance of both, and we are eager to return to the grounds this summer, either by foot or by bike, and reflect on our role in sustaining our planet. Through the creation of this magazine, I was able to: » Chat with the lead architect of the Momentary, a brilliant woman with an Arkansas upbringing and a keen eye for sustainable architecture. » Speak with the Blitzers, a couple from New Hampshire who traveled ~800 miles by bike, reaching Crystal Bridges as one of their final destinations. » Research the area’s booming biking culture, and all the ways in which biking beginners (myself included!) can enter the cycling scene with confidence. » Get a glimpse into the artwork of Nature’s Nation and how artists have been environmental advocates for the past 300 years. As you page through this issue, we hope you take some time to plan your escape back to nature and revel in its beauty this summer, the same as the artists we’re featuring. Erica Harmon Editor

CONTRIBUTORS

Raven Cook Mindy Besaw Allison Glenn Alex Kermes

MARKETING MANAGER

Alison Nation PHOTOGRAPHY

Stephen Ironside Daniel Moody Dero Sanford Zac Milner MEMBERSHIP + DEVELOPMENT

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CRYSTAL BRIDGES Member Magazine APRIL 2019 VOL VIII ISSUE I

Museum News

New on View

Momentary Pause

Summer at Crystal Bridges

Forest Concert Series

Sustainability at Crystal Bridges

Philanthropy

Alexandre Hogue, Crucified Land, 1939

Museum Store

The Bentonville Bike Scene

Cooking in the High South Kitchen

Celebrations

Members

Last Word

45 Claire Ashley, Lumpy Morsels, Hot Rocks, 2016

C magazine is the membership publication for Crystal Bridges Museum of American Art

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NEWS

Traveling Vietnam Memorial Replica Will Be at Crystal Bridges This Memorial Day Weekend During Memorial Day weekend (May 2327), Crystal Bridges, in conjunction with Downtown Bentonville, Inc., will host The Wall That Heals, a three-quarter-scale traveling replica of the Vietnam Veterans Memorial in Washington DC. Like the original memorial, The Wall That Heals is erected in a chevron shape and consists of 58,318 names, allowing visitors to create name rubbings of individual service members. The replica has traveled to over 600 cities. The Wall That Heals also comes with a mobile education center which features a timeline of the Vietnam War and other displays. The replica will be free to the public and available 24 hours daily.

Jazz at Lincoln Center Creates Music Inspired by Crystal Bridges’ Collection This June, the Jazz at Lincoln Center Orchestra with Wynton Marsalis will be performing a new collaboration bridging visual art and jazz composition. The music, titled “Portraits of America: A Jazz Story,” is inspired by artworks in the Crystal Bridges permanent collection. Each musician was asked to select a single work of art as inspiration for a new original composition. Projections of the artworks will accompany each piece to connect the art to the live music. There will be two performances in New York City: June 7 and 8. Tickets may be purchased at Jazz.org. Use promo code PORTRAITS25 for 25% off tickets. We will also be streaming the event live from Crystal Bridges on Friday, June 7 at 7 pm for free. Register online or with Guest Services.

State of the Art II Will Be the First Exhibition On View at the Momentary Crystal Bridges is excited to announce that State of the Art II will debut at the Momentary and at Crystal Bridges in 2020. The first State of the Art: Discovering American Art Now, premiered at Crystal Bridges in 2014-2015, a result of museum curators traveling 100,000 miles and conducting 1,000 artist visits to find 102 artists across the country to feature in this unique exhibition.

PBS will be airing a documentary nationally on the original State of the Art exhibition on April 26. Join us at Crystal Bridges for the watch party, starting at 7 pm. Drinks will be available for purchase.

ELEVEN

Eleven’s New Look Eleven debuted a fresh new look in February, courtesy of Marlon Blackwell Architects. The new serving area, complete with bar space, features walnut cabinetry for a warm and welcoming look. Additional purchase stations and improved ordering circulation at lunch helps service move quickly and smoothly. In the evening, the warm wooden bar adds to the glow in Eleven, creating a unique dining experience. The new menus feature an array of High South appetizers and main courses such as flat iron steak, mushroom and cabbage lasagna, and “rip & dip” pull-apart yeast rolls, complete with family-style sides.

Come eat with us! Wed-Mon, 11 am – 2:30 pm Wed-Fri, 5 – 9 pm Brunch Sun, 11 am – 2:30 pm Lunch

Dinner

Join us for Culture (Happy) Hour every Wednesday-Friday from 5-7 pm and enjoy discounts on select drinks and appetizers!

NEW ON VIEW

Zero Hour Now at Crystal Bridges Raven Cook Museum Educator

Zero Hour by artist Hank Willis Thomas includes six framed photographs of artist Sanford Biggers that takes viewers on a journey of vision and struggle to find contentment with conflict. Biggers’s posture shifts from looking directly in front of him (faced to the side of the viewer) and then slowly turning his gaze inward at his viewer. At a distance, the image appears unified, but upon closer observation, the physical posture of the sitter reflects a deeper conflict. Thomas’s strategic use of materials and history creates a binary effect. Half of Biggers’s face and clothing are painted black and half is painted white. Through the use of Lumisty—a film that scatters light—Thomas obfuscates the viewers’ ability to stand in one physical space and clearly see the figure. As your body moves across the work, a holographic image appears, which is further impacted by the shift of Biggers’s posture. This binary effect calls to mind Double Consciousness, a term coined by Dr. W.E.B. Dubois at the turn of the twentieth century. This term was used to explain an internal conflict that many Black Americans experience with regard to constantly shifting external definitions of what it means to be Black. A great example is minstrelsy, an American form of entertainment during Dubois’s time that began in the mid-nineteenth century, where White performers would put shoe polish on their faces and act out scenes of Black life filled with stereotypes. At the same time of minstrelsy, there was still a contrasting effort for Black Americans to be seen as human beings and citizens. Thomas’s figure is dressed in a top hat and coattails, which is a similar style of dress as minstrel performers. Biggers’s shifting posture can be read as a commentary on these two conflicting positions of representation. As a Black woman, this piece drew me to tears at first sight. Thomas was a witness to my internal conflict. I felt seen. I mattered.

The Architect behind the Momentary Erica Harmon Editor

Meet Calli Verkamp, a graduate of the University of Arkansas Fay Jones School of Architecture and now an architect at Wheeler Kearns Architects (WKA) in Chicago. She is traveling back to her home state to oversee work on a brand new contemporary arts space in Bentonville. Verkamp is the lead architect of the Momentary, and cites Fay Jones and Frank Lloyd Wright as architectural influences.

MOMENTARY PAUSE

If you’re at 8th Street Market in Bentonville, you may notice a towering building sitting in an open lot across the way. The building used to be a Kraft dairy plant where milk and cheese products were unloaded, fermented, and reshipped to the surrounding communities. But it’s about to serve a new purpose. The Momentary, opening in early 2020, will combine performing arts, visual arts, artist studios, and culinary arts in an open and welcoming social space. The new venue will have several interchangeable rooms for varying events, as well as a black box theater, a coffee café, a dining area, and a rooftop bar. The architect leading this charge is Calli Verkamp, an Arkansas native from Charleston, a small town near Fort Smith. It might be a product of studying architecture in Arkansas, but Verkamp states that some of her favorite architects are Fay Jones and Frank Lloyd Wright. When she’s not busy building incredible new spaces, Verkamp enjoys living in Chicago, reading, traveling, and participating in intermural sports. “This project was a really great fit for our firm,” said Verkamp. “We do a lot of adaptive reuse projects and we have experience working with non-profits especially in the cultural realm.” Some of WKA’s recent projects include the Chicago Children’s Theatre, the Alice at Goodman Theatre, the Mylayne Pavilion in Millennium Park, and outdoor art installations at the Indianapolis Museum of Art (now known as Newfields). Verkamp’s involvement also has a personal connection. “I thought it was a great opportunity for me to make an impact in the place where I’m from. It’s a project that my family’s going to be able to benefit from, as well as the whole community.” Adaptive reuse projects utilize an old structure from generations past to create a revitalized framework. Architects use this sustainable design as a way to repurpose standing structures, rather than building completely from scratch. The architectural starting point of the project began with a journey to the past. By researching the building’s history, Verkamp found that “as the plant’s processes changed, they just kept adding on to the buildings over time. It wasn’t really design-focused, it was practical. By looking at the past, we derived a strategy for making new additions to the building. The Momentary represents the next phase in the long life of this building and site, and new additions are carefully placed to support the new purpose of the space.” It was important to make clear what was here as part of the plant and what features were being added. “New additions to the building use contemporary materials and construction methods to differentiate themselves from the existing building,” said Verkamp. Very few parts are being removed, and only because they would be an impediment to the space’s new usage. Lots of artifacts were found in the building, including signage, meters, and dials. Those items were stored during construction and will be replaced in the space to signify and acknowledge the building’s past. The main entrance to the Momentary will be at the back of the building. “It’s more of a casual, welcoming way to enter a space, going in the back door as opposed to a grand front door,” said Verkamp.

The largest interior space of the building is a single, vertical tower that goes all the way up to the 70-foot roof (where the new rooftop bar will be located). “It’s one of the tallest buildings in Bentonville,” said Verkamp. “It’s the space that is, in my opinion, most representative of the Momentary. This will be a place where all the different programmatic elements come together, so whether it’s visual arts, social space, or performing arts, the tower will be the place where those are allowed to co-habitate.” For the black box theater, Verkamp worked with Chicago theater designers to develop a variable acoustic system that artists can manipulate to fit their own performance. Rolls of acoustic drapes can be adjusted higher or lower depending on the level of reverberation that is needed. Another event space features an adjustable flooring system with 10 platforms that can be adjusted to support different seating configurations. In this way, the Momentary’s design allows the artist to have control of the space. Designing the landscape took on another story of nature and connection. Town Branch Creek runs along the north edge of the site, so “we integrated a landscape strategy that would help purify and clean rainwater before it moves into the creek,” said Verkamp. “Most is done with the help of a bioswale (a landscape set-up designed to remove pollution from runoff water) that runs all along the edge of the pavement. In addition to being beautiful, it takes all the rain from the parking lot, courtyards, etc., cleans it, and deposits it back into the creek.” That water eventually trickles down to the ponds at Crystal Bridges.

“Every raindrop that falls on site at the Momentary makes its way down the creek and ends up at Crystal Bridges,” Calli Verkamp

In addition to the water connection, Crystal Bridges and the Momentary will also be connected via bike path, as part of the Razorback Greenway extension, which is already open. The space along the Greenway on the Momentary grounds will be used for outdoor activities such as concerts, festivals, and more.

For more information and updates on the Momentary, follow us on social media. Facebook: The Momentary Twitter/Instagram: @themomentary Sign up for the Crystal Bridges eNewsletter, and select the Momentary as an interest!

Summer at Crystal Bridges Art, Nature, Color & more! As the dogwoods bloom and the leaves return to the trees on Crystal Bridges’ grounds, we are reminded of the impact that nature has on art, and vice versa. Nature has been a majestic muse for artists who have admired its beauty and advocated for its stewardship throughout the centuries. Inside the museum, Nature’s Nation will inspire visitors to see nature through the perspective of artists over the past 300 years. From rolling landscapes of untouched land to conceptual art that evokes ecological thought, Crystal Bridges’ newest exhibition offers fresh perspectives on our natural world, and our role within it. Meanwhile, outside on the grounds, Color Field will take you on a journey of color exploration against a backdrop of Ozark forest.

These exhibitions, plus a slew of insightful and entertaining workshops, speakers, programs, and new artworks invite you to reconnect with nature through art this summer.

Pg 4 Pg 12 Pg 18 Pg 23 Pg 23 Pg 24

The Wall That Heals Natureâ&#x20AC;&#x2122;s Nation Color Field Chihuly The Studio Forest Concert Series

NEWS

Welcome to

May 25 – September 9, 2019

Thomas Moran, Lower Falls, Yellowstone Park, 1893

Nature’s Nation: American Art and Environment has been organized by the Princeton University Art Museum. Leadership support has been provided by Shelly and Tony Malkin; Annette Merle-Smith; Henry Luce Foundation; and the National Endowment for the Arts.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Similar to the mission of Crystal Bridges, Nature’s Nation illuminates the connection between art and nature. Mindy N. Besaw Curator

This summer, Nature’s Nation: American Art and Environment will give visitors a chance to see the influence that American artists have had on shaping environmental understanding and stewardship. The sweeping exhibition shows that artworks of all types and subjects—not just landscape paintings—compel us to consider our relationship to the environment and the human impact on the planet. The exhibition is arranged into three broad sections that reveal how American artists including Albert Bierstadt, Frank Lloyd Wright, Thomas Moran, Dorothea Lange, Jaune Quick-To-See Smith, John James Audubon, Ana Mendieta, Postcommodity, and many more reflected and shaped this understanding over time. Themes and topics in the exhibition include artist responses to preservation, extinction, western expansion, urban landscapes, industrialization, and more. Charles Willson Peale’s The Artist in His Museum is one of the highlights of the exhibition and a masterpiece of American art. In the exhibition, Peale’s painting is poised at a moment when the ideas of a classically-organized hierarchy give way to an understanding of the complexities of nature.

See it first!

Member Preview on Friday, May 24. Check out the calendar for SPONSORED BY

Harriet and Warren Stephens, Stephens Inc., James and Emily Bost, The Harrison and Rhonda French Family, Jim and Susan von Gremp, Galen, Debi, and Alice Havner, and Adam D. Stolpen.

more information and events.

In Nature’s Nation, historic and contemporary artworks are often paired to reflect varying viewpoints on nature and humankind’s effects on it, then and now.

Albert Bierstadt, Bridal Veil Falls, Yosemite, 1871-1873

Valerie Hegarty, Fallen Bierstadt, 2007

Subject to Interpretation: Nature as Romance and Reality

Albert Bierstadt was known for his landscape paintings capturing pristine vistas of the American West and became closely associated with images of Yosemite National Park—here on the left, he emphasized the grandeur of Bridal Veil Falls. In Valerie Hegarty’s version on the right, Bierstadt’s picture seems to be melting and degrading as it literally falls off the wall. Fallen Bierstadt questions the way traditional landscape painting idealizes nature as an untouched wilderness retreat that ignores the complexity and history of a place. Hegarty urges us to imagine nature differently—not as a romantic escape from the world, but as something real, fragile, and subject to interpretation.

SUMMER AT CRYSTAL BRIDGES

Thomas Cole, Home in the Woods, 1847

Alan Michelson, Home in the Wilderness, 2012

Land: Making the Invisible Visible Alan Michelson meticulously reproduced the cabin from Thomas Coleâ&#x20AC;&#x2122;s Home in the Woods using paper printed with the 1809 Treaty of Fort Wayne, a document which removed Indigenous peoples from three million acres of land in Indiana Territory. Michelson, who is a Mohawk member of the Six Nations of the Grand River, seeks to counter the impression Thomas Cole conveys of a vacant territory awaiting settlement and asks viewers to consider the legacy of the many Indigenous nations and communities exiled from the land.

The Reality of Extinction: The Carolina Parakeet

John James Audubon, Carolina Parrot, 1829

Walton Ford, Dying Words, 2005 18

Walton Ford’s depiction of Carolina parrots recalls John James Audubon’s treatment of the same species. Audubon attempted to capture bird behavior in nature, dynamically congregating among the cocklebur bushes. In Ford’s version, the parrots gather around one bird who is wounded and conveying his dying words. Ford’s depiction is humorous, but also poignant in its evocation of death. The Carolina parrots were the only native parrot species in the US, but by the early 1900s the vibrant birds were extinct.

SUMMER AT CRYSTAL BRIDGES

Urban Life: Visualzing Industrialization Although these two artworks were created closer together in time, they represent different interpretations of a changing urban landscape. In the early twentieth century, there was growing concern about urban environmental reform, especially in the poor areas of New York City. Despite obvious overcrowding in his painting of a lower Manhattan immigrant neighborhood, George Bellows celebrated the vitality of the working class in Cliff Dwellers. The circles of light radiating from the saxophone player in Aaron Douglasâ&#x20AC;&#x2122;s Song of the Towers connotes artistic power and freedom, yet troubling signs appear at the bottom of the painting. Pollution pours from the smokestacks and green fumes waft throughout the picture, while a menacing hand clutches at the figure at right. Douglas tells us that although the migration north allowed some African Americans to advance, many injustices remained, including racial discrimination and high levels of pollution in minority neighborhoods.

George Bellows, Cliff Dwellers, 1913

Aaron Douglas, Song of the Towers, 1934 19

Color Field June 1 â&#x20AC;&#x201C; September 30, 2019

An immersive art and nature experience that illustrates the concept of color field painting and provides opportunities to think about the impact of color on our lives. Color Field is an outdoor sculpture exhibition featuring artists that employ lush colors and enlarged forms against a backdrop of Ozark forest. Artists featured in the exhibition include Claire Helen Ashley, Sarah Braman, Jeffie Brewer, Assaf Evron, Sam Falls, Spencer Finch, Odili Donald Odita, Amanda Ross-Ho, and Jessica Stockholder.

Allison Glenn Associate Curator of Contemporary Art

Color field painting is a form of abstraction that relies heavily on color and surfaces devoid of representation. Taking this style of mid-twentiethcentury painting as a point of departure—while pointing to artists in the collection such as Helen Frankenthaler, Morris Louis, Ellsworth Kelly, Alma Thomas, James Turrell, and others in Crystal Bridges’ permanent collection and beyond—visitors will be introduced to the concepts of color theory, made popular by Josef Albers’s book Interaction of Color. Some of these incredible sculptures include Spencer Finch’s Back to Kansas, a billboard-sized grid comprised of 70 blocks of brilliant and subtle color gleaned from the artist’s own repeated viewing of The Wizard of Oz, and Sam Falls’s Untitled (Wind Chimes), a larger than life-sized wind chime that encourages viewers to make music by lightly pushing the multi-colored tubes toward one another until they make a sound. Color Field will also give visitors the opportunity to play and interact with sculptures such as Sam Falls’s Untitled (Maze). Odili Donald Odita will be creating Negative Space, a new outdoor work that continues his ongoing investigation into the historical and sociopolitical implications of color, that visitors will walk underneath.

SUMMER

COLOR FIELD IMAGE

Visitors are allowed to interact with Sam Fallsâ&#x20AC;&#x2122;s Untitled (Wind Chimes) by pushing the cylinders toward the center to make noise. Color Field opens June 1 in the North Forest.

SUMMER

COLOR FIELD IMAGE

Featured in Natureâ&#x20AC;&#x2122;s Nation, this balloon is part of a land art installation called Repellent Fence/Valla Repelente by Postcommodity. 26 balloons were tethered across the USMexico border to symbolically stitch the peoples of the Americas together. See it in our lobby beginning May 25.

Color Field

Collection Connection Crystal Bridges’ permanent collection includes several examples of color field artworks, such as Alma Thomas’s Lunar Rendezvous—Circle of Flowers and Adolph Gottlieb’s Trinity. Learn about them before you visit Color Field. Both works are currently on view in the Contemporary Art Gallery.

Alma Thomas Lunar Rendezvous—Circle of Flowers In the 1960s, Alma Thomas became known as an enthusiastic colorist, painting abstract shapes and patterns from the world around her. She aligned herself with a group of artists in Washington DC known as the Washington Color School and she dedicated her life to teaching art in DC public schools. In this artwork, Thomas responded to the first image of Earth taken from the moon in 1969 using mosaic-like patterns with bright colors, a technique that reflected her long study of color theory.

Adolph Gottlieb Trinity

“I want to express the utmost intensity of the color, bring out the quality, make it expressive.” Adolph Gottlieb

Growing up in the midst of the Depression and the rise of Hitler during World War II, Gottlieb staunchly defended Abstract Expressionism as a way to express authentic feeling in the wake of trauma. Many of his paintings worked toward the goal of providing universal meaning through color and form and understanding their psychological effects. In Trinity, Gottlieb’s combination of gestural markings and geometric shapes indicates his transition from an energetic Abstract Expressionist painting style to the more precise color field style. These translucent, interwoven strokes add more depth to the composition and create a contrast to the opaque flat circles above, stressing the intensity of their color. His orb-like forms on a white background have often been compared to planets floating through infinite space.

SUMMER AT CRYSTAL BRIDGES

What else is happening at Crystal Bridges this summer? Crystal Bridges Acquires Chihuly Artworks Crystal Bridges has acquired five Chihuly artworks that were seen in the popular 2017 exhibition Chihuly: In the Gallery and In the Forest, including Azure Icicle Chandelier, Sole dâ&#x20AC;&#x2122;Oro, Fiori Boat, Niijima Floats, and Turquoise Reeds and Ozark Fiori. All five artworks will be on display throughout the museum and grounds.

Dale Chihuly, Sole dâ&#x20AC;&#x2122;Oro, 2017

Experience Art Studio reopening as the Studio The Experience Art Studio, located off Walker Landing and the North Exhibition Gallery, is getting a brand new look this year! The space, now known as the Studio, will still include popular features such as the puppet theater and tables for artmaking, but the space will be opened up with windows to the adjoining art studio, connecting the space to studio activity. Colorful forest animals will adorn the walls and fixtures, and the space will be open to guests of any age who are interested in artmaking. The Studio will reopen Memorial Day weekend.

Return to the Forest! The Forest Concert Series returns this summer with a lineup of spectacular regional and national bands, musicians, and artists. Spend your Saturdays in the forest this summer with music and dancing!

Arkansauce & Delta Blues Musicians

June 1 Yarn & The Vine Brothers

June 22

The Vine Brothers will kick off the evening with tunes that span the range from folk to hot swing to bluegrass and blues. Then, headliner Yarn, a Brooklyn-based, North Carolina-raised band fusing Americana and Alt-Country music, will awaken the forest with toe-tapping jams.

Arkansauce is a genre-hopping, four-piece string band from Northwest Arkansas, bending the rules and blurring the lines between bluegrass, newgrass, folk, Americana, country, blues, and funk.

June 8 Dawson Hollow

Austinâ&#x20AC;&#x2122;s hottest new band, Black Pumas, plays a mix of soul, folk, and R&B hits to soothe your spirit and keep the rhythm alive in the forest.

June 29 Black Pumas

Missouri native Dawson Hollow is an indie-folk, Americana band based out of the Ozark Mountains that will keep you on your feet in the forest.

July 6 Audiopharmacy June 15 The Werks & Friends of the Phamily

The Spaceberry Festival in Eureka Springs brings popular band, The Werks and Northwest Arkansasâ&#x20AC;&#x2122; Grateful Dead cover band, Friends of the Phamily to the North Forest.

Audiopharmacy, a Bay Area-based ensemble that uses globally infused Indigenous hip-hop to inspire social change, will keep the audience on its feet.

SUMMER AT CRYSTAL BRIDGES

Summer Saturdays at 7 pm $12 ($10 for members, FREE for youth ages 18/under) register online or by calling Guest Services at 479.657.2335

Sponsored by Roy & Christine Sturgis Charitable Trust, Bank of America, N.A., Trustee, Gelmart International, and General Mills. Presented on the Coca-Cola Stage.

July 13 Flor De Toloache

New York City’s first all-women mariachi band and 2017 Latin Grammy winners, Flor de Toloache continue to win the hearts of both mainstream music fans and traditional mariachi fans alike.

Big Chief Juan Pardo

July 20 & the Golden Comanche Mardi Gras Indians

Big Chief Juan Pardo, a Mardi Gras Indian from New Orleans, will bring funk music to the stage. He is a cultural force who proudly carries on one of the country’s most unique and soulful musical traditions. July 27 Fayetteville Roots Festival Showcase

Don’t miss the last concert of the summer! Join us for an evening of roots, indie, and folk music from bands typically seen at the Fayetteville Roots Festival. The evening’s performances will be curated by Brian Hembree, co-founder of the festival.

Crystal Bridgesâ&#x20AC;&#x2122; North Forest explodes with color this summer Find summer offerings in the galleries and out on the trails. Use this to plan your trip and pick up your map at the museum.

Forest Concert Series

High South on a Roll Food truck, tables, and restrooms

Coca-Cola Stage See page 24 for lineup

Color Field Second loop of North Forest Opens June 1

Note: map not to scale

The Wall That Heals Additional parking

May 23–27 See page 4

Upper & lower parking

Nature’s Nation Chihuly First loop of the North Forest

Temporary Exhibition Gallery Opens May 25

Temporary exhibitions are always free for members! See both Nature’s Nation and Color Field this summer (a $16 ticket value) for FREE, as many times as you like. Members also receive free guest passes, so bring your friends and family, too!

8 Ways That Crystal Bridges Stays Sustainable From the museum’s beginnings, preserving the natural landscape was paramount. Since then, Crystal Bridges has taken major steps in ensuring the sustainability of our building, the priceless art inside, and the nature that surrounds and nurtures us every day. Discover eight ways that Crystal Bridges is practicing sustainability, both inside and out.

We Love Trees.

During construction, a narrow six-foot easement (a typical clearing can range from 100-200 feet) was created between the construction zone and the forest to preserve as many trees as possible. The majority of the wood from the cut-down trees was preserved, and has been used to provide benches in the museum’s galleries, as well as frames and turnedwood artworks by local artists, available in the Museum Store. Since then, more than 250,000 native plants or cultivars have been planted throughout the museum’s grounds, including 1,600 trees.

All Trails, No Roads.

As part of the initial construction of the museum, trails and walking paths were built on Crystal Bridges grounds to eliminate roads and reduce air pollution. Bike racks were installed all around the museum and at each entrance—guests are welcome to bring their bikes and park them when visiting.

Crystal-Clean Water.

Part of the construction process involved taking an eight-foot-wide creek and turning it into three ponds. When water reaches the Crystal Bridges ponds, it is settled, aeriated, and turned to decrease algae and make the water cleaner than when it arrived. It then passes through a weir system and continues to flow north.

We Compost!

Crystal Bridges’ composting site in the North Forest allows the museum to make and use compost to fertilize our grounds organically. The fertilizer is composed of leaf litter, grass, and fruit, vegetable, and coffee ground waste from Eleven. We produce over 80 yards of compost a year – about five dump trucks worth!

SUSTAINABILITY AT CRYSTAL BRIDGES

Crystal Bridges Goes to Sleep at Night!

The museum’s variable energy system is set up to recognize carbon dioxide levels and respond to them accordingly. This means that when people leave for the evening and the museum closes, the system shuts down, and when people return the next morning, the system gradually turns itself back on. The museum also recently switched to the entire campus being powered by LED lights, saving thousands of dollars monthly in energy bills.

Prescribed Burns.

At Crystal Bridges, we do our own prescribed burns in the forest surrounding the museum, partnering with the Nature Conservancy to learn how to do it properly. Yearly prescribed burns get rid of the debris layer on the ground which can choke the roots system, and it also gets rid of weeds like poison ivy.

Battery-Powered Maintenance.

The facilities and trails/grounds teams have recently purchased batterypowered trikes and electric golf carts to drive around campus. These vehicles were purchased in an effort to cut down on gas emissions and air pollution and preserve the museum’s forest.

The Magazine You’re Holding Right Now.

C is made from 100% recycled, postconsumer waste paper that is created with renewable energy. Each issue alone saves 17 trees, 16,399 gallons of water, 5,512 lbs of greenhouse gas emissions, and 1,678 lbs of solid waste. The paper is produced using biogas and is 100% PWC – which makes it ancient forest friendly as well.

Since switching to an environmentally friendly process in all printing efforts in 2014 , we’ve saved: 2,006 trees 1,935,082 gallons of water 650,416 lbs of greenhouse gas emissions 198,004 lbs of solid waste

PHILANTHROPY

Working Together, Reducing Waste Crystal Bridges is dedicated to reducing waste and we can’t do it alone. Coca-Cola, a museum supporter since our opening, answered the call to help enhance our recycling efforts. Last year, Coca-Cola announced their “World without Waste” commitment, which includes a goal of recycling one bottle for every bottle sold by the company by 2030. At Crystal Bridges, we have an opportunity to play a role in that effort by encouraging more recycling inside the museum and along our four miles of public trails.

“We all have a responsibility to be good stewards of our environment and resources,” says Dee Neal, facilities manager at Crystal Bridges. “We believe our guests and staff will embrace helping us reduce waste if they are given more opportunities to recycle. Thanks to CocaCola, we can be more intentional with our recycling efforts.” Crystal Bridges is working with Coca-Cola to design and install recycling bins in our dining areas, near restrooms, and in public gathering areas on our grounds such as the Hydration Station shuttle stop and High South on a Roll food truck court, two projects made possible by Coca-Cola. “We are excited to partner with Crystal Bridges to reduce waste and increase recycling access for visitors to the museum,” said Nicole Smith, sustainability manager at Coca-Cola. “Our collective efforts will help support a circular economy in the community of Bentonville and ensure that our bottles and cans have a second life through recycling and reuse.” The new recycling bins will make their debut this summer, aligning with the opening of Nature’s Nation and Color Field, as well as the Forest Concert Series presented on the Coca-Cola Stage. This project is one of many made possible by dedicated friends of the museum, getting us ever closer to creating a museum without waste.

MUSEUM STORE

EMILIO ROBBA FLORAL ART DESIGN BOWL $320 / $288 MEMBERS

JOHN JAMES AUDUBON BIRDERS JOURNAL $16.95 / $15.25 MEMBERS

Take a piece of nature home with you. Visit the Museum Store to find books, home goods, children’s toys, jewelry, and more related to the museum’s natural surroundings. This summer, find a special memento from an artist featured in Nature’s Nation. Members receive a 10% discount off most items in the Museum Store. Visit today!

FOREST ADVENTURE PLAY SET $36.50 / $32.85 MEMBERS

The Bentonville Bike Scene An Introduction to the Area’s Biking Culture, and How to Take Advantage of it This Summer Erica Harmon Editor

Within the course of a few years, Northwest Arkansas has become a desirable destination for bikers of all ages and skill levels. Steuart Walton and Tom Walton, grandsons of Sam Walton, believed trails had the potential to improve the quality of life for locals and attract visitors to the region. Today, that vision is part of the Walton Family Foundation Home Region Program’s effort to help Bentonville and Northwest Arkansas become one of the most desirable places to live in the US. With so many resources, paths, and activities, it may seem overwhelming to know where to start, especially as a beginner. Take in some of the best biking trails, tips, and resources Northwest Arkansas has to offer. May is National Bike Month, a time to recognize the many benefits of bicycling and the power of bicycles to bring people and communities together – but one could argue that in Northwest Arkansas, every month is National Bike Month. Biking (or cycling) culture has become a booming business from Bella Vista to Fayetteville. In total, Northwest Arkansas has more than 400 miles of hard and soft-surface trails and paved paths across the region. “We must build on that momentum and innovative thinking to integrate cycling into everyday life,” said Tom Walton, Home Region Program Chair, Walton Family Foundation. Several groups and non-profits in the area are dedicated to this mission—groups like BikeNWA, based in Bentonville, which

focuses on cycling advocacy and making the area a more inclusive cycling network for all ages and abilities. “Northwest Arkansas has become a friendly destination for all disciplines of cycling,” said Bianca Montoya, marketing and communications manager for BikeNWA. “With this newfound growth, we aim to raise the bar and spread awareness on the importance of creating safer streets.” It’s important to have a bike safety advocate in Bentonville, because biking tourism is skyrocketing in the area, as are the number of people riding bikes for recreation and commuting. Crystal Bridges employees, such as exhibitions coordinator Alex Kermes, utilize the bike trails on the grounds to commute to work. Kermes bikes under two miles round trip every day, an easy commute when the weather is nice, with plenty of green space and minimal hills. The Orchard Trail takes cyclists from Buckyball all the way down to the museum’s entrance where visitors have the option to park their bikes and walk in or continue their ride through the North Forest Trail or the Art Trail to the south. Beyond the Orchard Trail the museum’s backyard is filled with over four miles of biking, hiking, and walking trails. The Razorback Regional Greenway connects downtown Bentonville to the museum making Crystal Bridges easily accessible to bikers already riding on the trail. The museum’s grounds are also adjacent to the Slaughter Pen Trail and the All-American Trail, an adventurous off-road course made from a smorgasbord of natural materials. For beginners, either on bikes or to the area, “the Greenway is the Gateway,” Montoya said. It’s a shared-use paved trail, flat and hilly, and connects from Bella Vista all the way down to

â&#x20AC;&#x153;Cycling is part of the DNA that defines Northwest Arkansas. Over the next 10 years, the region has the potential to become the most bicycle-friendly community in the country. I believe we can achieve that, together, if we all pull in the same direction.â&#x20AC;? Tom Walton

Cyclists enjoy Crystal Bridges Art Trail.

Fayetteville. “That would be my advice to beginners—stick to the Greenway. It’s well marked,” said Kermes. Other great biking beginner’s tools: skills parks and pump tracks. “If you’re looking to start out on mountain biking, skills parks are a great way to go, especially for little ones,” said Montoya. Some of the best skills parks include the Bentonville Bicycle Playground, Pump Track in Blowing Springs (Bella Vista), and The Runway Bike Park at The Jones Center in Springdale. With all of these options and many more for more advanced riders, it may seem intimidating to know where to start. “Something to keep in mind is that the majority of the population started out as beginners,” said Montoya. “New riders should never feel intimidated.” Going forward, The Walton Family Foundation is focused

on expanding cycling opportunities for locals and tourists alike, both on and off-road. “Improvements in technology and accessibility of electric bikes and scooters can redefine what’s possible in active transportation,” said Tom Walton. “When it comes to mountain biking, we will continue building the highest quality trails and capturing the hearts of mountain biking enthusiasts. Our goal to create a ski-town-for-bikes culture in every downtown could help the sport become one of the most popular in the state. It can also create a new economic engine for Northwest Arkansas as more cyclists travel to our cities and towns to experience the trails.Let’s continue breaking barriers and collaborating regionally to achieve these ambitious goals. Onward!”

NWA Biking Events Summer 2019 May 18 & Sept 7

Square to Square Bike Ride Ride the Razorback Greenway from the Bentonville Square to the Fayetteville Square (30 miles one way) and enjoy festive pit stops and post-ride festivities with food, live music, and more.

June 7–9

Innovation Cycles Festival For biking entrepreneurs and innovators: this three-day festival will gather thought leaders together in Bentonville to discuss the future of cycling. The festival will include talks, workshops, culinary outings, and, of course, riding.

July 26–28

Rogers Cycling Festival This three-day festival is for every level of rider. Several road cycling and mountain bike events will be held throughout the weekend in downtown Rogers, from competitive racing to family friendly rides. Even if you’re not racing, this festival is a great opportunity to watch other cyclists and discover new trails. Photo by Zac Milner

Check visitbentonville.com for other events and biking resources.

BENTONVILLE BIKE SCENE

Crystal Bridges: A Cross-Country Biking Destination How many states did you visit during your trip? We visited seven: South Dakota, Iowa, Nebraska, Missouri, Kansas, Oklahoma, and Arkansas.

What kind of bike(s) did you use? Tandem, self-supported.

Was this your first time taking a trip like this? No, we have done a cross-country tour from the Pacific to the Atlantic as well as additional trips in the US and in Europe.

Cyclists travel to Northwest Arkansas from all across the country and beyond. Charles and Sandy Blitzer of Durham, New Hampshire biked between 750-800 miles in the summer of 2018, eventually finding their way to Northwest Arkansas. They decided to spend a day at Crystal Bridges where they enjoyed an afternoon of art, architecture, and nature. C caught up with the pair to ask about their journey.

What did you enjoy about Crystal Bridges? We greatly enjoyed the outdoor exhibits and the architecture. The staff at Crystal Bridges was outstanding, helpful, knowledgeable, and good hosts for a couple of wanderers.

Did you participate in any other biking activities in Northwest Arkansas? We went to Phat Tire Bike Shop in town. We also biked out around Beaver Lake and went through Eureka Springs. What a beautiful area!

Any plans for an upcoming trip? We will definitely be out on the road again this year, but no set plans yet. We look forward to the new venue you are working on (the Momentary).

Best Trails for Beginners and Families Paved Trails and Road Rides 1. Razorback Greenway, 36 miles, Bella Vista to Fayetteville.

2. Lake Fayetteville, 7 miles, Fayetteville. 3. Little Flock Loop, 17 miles, Bentonville. 4. Bentonville Bike Playground, 1 acre, Bentonville.

Crystal Bridges Bike Trails (to enjoy this summer) 1. Orchard Trail, 0.5 miles, gentle slope. 2. Art Trail, 0.6 miles, moderate slope— look around for art or stop at James Turrell’s Skyspace.

3. Discover our North Entrance: Take a detour off the Razorback Greenway, and cycle past the Fly’s Eye Dome.

Off-Road and Mountain Biking 1. Slaughter Pen Hollow, 18 miles, Bentonville.

2. Blowing Springs, 4 miles, Bella Vista. 3. Lake Fayetteville, 6 miles, Fayetteville. 4. Lake Wedington, 8 miles, Fayetteville. 5. Hobbs State Park, 24 miles, east of Rogers next to Beaver Lake.

Friday 3 pm

4 pm

Rent a bike from a local bike shop

Discover art at 21c Hotel

Our local bike shops are the places to ask all your biking questions, especially if you’re new to the area or new to biking in general. Phat Tire Bike Shop and the Downtown Activity Center in Bentonville have several bikes available for hourly or daily rentals including full suspension mountain bikes, road/hybrids, cruisers, and kid trailers. Some bike shops also offer guided day tours and trail maps, so make sure you stop in at the beginning of the weekend to fulfill all your biking needs.

21c Hotel is a unique boutique hotel that features artworks from local and national artists. Rotating exhibitions complement permanent artwork favorites, such as Orange Tree and Making Change. The whimsy of the art galleries inside the hotel are only paralleled by the colorful food and cocktails served at The Hive. The hotel’s restaurant is the perfect place to start your weekend, either with Happy Hour or scrumptious starters.

7 pm

Grab a local craft beer Northwest Arkansas is proud of their craft breweries located in Bentonville, Fayetteville, Rogers, and Springdale, including Bike Rack, Apple Blossom, Columbus House, Fossil Cove, West Mountain, Bentonville Brewing, Ozark Beer, New Province, Core, Saddlebock, and Black Apple Crossing. Try them at one of Bentonville’s local bars or restaurants.

BENTONVILLE BIKE SCENE

Saturday 10 am

Shop the Farmer’s Market The Bentonville Farmer’s Market runs from April to October and is the perfect place to get a taste of the city’s local fare with offerings from farmers, artisans, and shop owners. If you’re around on July 6, the market will be hosting the Kids Bike Parade, giving kids a chance to bring their bikes and ride around the Square. There will be a bike decorating station and free ice cream.

11:30 am

Visit Crystal Bridges The museum is accessible from downtown Bentonville by way of the Razorback Greenway and several other trails. This summer, the grounds and the galleries will be filled with art and nature between Nature’s Nation and Color Field exhibitions. Park your bike at one of the many bike stands on the grounds and take a pit stop at Eleven for lunch before visiting the exhibitions. Then grab a coffee or tea at the Coffee Bar to refuel before spending some time wandering the galleries on foot or hopping back on the bike to view art on the trails.

5 pm

Try out the All-American Trail Located alongside the Crystal Bridges Trail, beginning near Compton Gardens, try your hand at the All-American Mountain Bike Trail, featuring elements such as ladder bridges, small rollers, and berms. The trail has been described as “super fun,” “flowy,” and a “star-spangled intro to the Slaughter Pen trail system.” This trail might be a little advanced in some areas for beginners and children.

7 pm

Have some fun at 8th Street Market Kick off the evening with a beer at Bike Rack Brewing Co. Try a Golden Ale (Urban Trail), Amber Ale (Epic Trail), IPA (Slaughter Pen), and more any time of year, or enjoy one of Bike Rack’s seasonal brews. Local restaurant Yeyo’s delivers Mexican food on demand so you can keep your spot at Bike Rack and order another beer. Play some shuffleboard next door at the Holler while you’re there or grab some delicious chocolate at Markham & Fitz around the corner.

Sunday

11:30 am

1 pm

Have brunch at Crystal Bridges

Ride the Razorback Greenway

Begin the perfect Sunday with a ride back to Crystal Bridges for a High South buffet brunch. Don’t miss the fried chicken, shrimp and grits, or smoked trout with local veggies, homemade pastries, locally sourced coffee, and a makeit-yourself Bloody Mary bar. Make reservations online at crystalbridges.org.

“The Greenway is the gateway,” as they say. After brunch, hop on the trail from Crystal Bridges and take a ride in any direction your heart desires: ~25 miles to Fayetteville, or 13.5 miles to Bella Vista. The Greenway links together dozens of popular community destinations such as parks, local shops, downtown areas, and The University of Arkansas campus.

Cooking in the High South Kitchen Eleven may have opened a new serving area this year, but the restaurant at Crystal Bridges has always specialized in High South cuisine, an in-house culinary concept that elevates Southern home cooking in the Ozarks to a new level. Straight from the kitchen of Eleven Head Chef William McCormick, here are two High South recipes for you to try at home!

Buttermilk Biscuits 1.3 lb unsalted butter, frozen, plus more, melted, for brushing 5 cups all-purpose flour, plus more for dusting 2 tbsp. plus 2 tsp. baking powder 1 tbsp. kosher salt 1 tbsp. sugar 1 tsp. baking soda 2 cups buttermilk, chilled Flaky sea salt

Either working with a box grater over a large bowl or using the large grating blade of a food processor, quickly grate the frozen sticks of butter and then freeze the butter for at least 30 minutes. Meanwhile, in a large bowl, whisk the flour with the baking powder, salt, sugar, and baking soda, and freeze the dry ingredients for the same amount of time as the butter. Scrape the frozen butter into the dry ingredients and toss briefly to combine. Pour in the buttermilk and stir just until it forms a solid dough. Scrape the dough onto a lightly floured work surface and, using your hands, mold the dough into a 10-by-7-inch rectangle. Fold the rectangle in thirds like a letter and then rotate 90 degrees. Using a rolling pin, flatten the dough again into a 10-by-7-inch rectangle. Repeat the folding, turning, and rolling process 3 more times, ending with the dough shaped into a 12-by-10-inch rectangle about 1â &#x201E;2 inch thick. Trim the edges so you have a sharp, clean rectangle and then cut this rectangle into 12 equal squares. Preheat the oven to 425Â°. Brush each biscuit with some melted butter and then sprinkle with sea salt. Bake one sheet of biscuits for 10 minutes. Then reduce the oven temperature to 400Â°, rotate the baking sheet, and bake the biscuits until puffed and golden brown, about 15 minutes. Transfer the biscuits to a rack and repeat to bake the second sheet of biscuits. Let the biscuits cool for 5 minutes before serving.

ELEVEN

Red Onion Jam 2 tbsp olive oil 2 lbs. red onions, halved and thinly sliced 1 cup dry red wine 1/3 cup light brown sugar 1 tbsp chopped fresh thyme 2 tbsp balsamic vinegar 1/2 tsp kosher salt, plus more to taste 1/2 tsp freshly ground black pepper, plus more to taste

Heat olive oil in a medium skillet over medium heat until shimmering. Add onions and cook until softened and just translucent, 8 to 10 minutes, stirring occasionally. Add in wine, sugar, thyme, vinegar, and salt. Bring to a boil, then reduce heat low, and let simmer until liquid thickens and becomes syrupy, about one hour, stirring occasionally. Season with additional salt and pepper to taste. Transfer onion jam to a bowl and let cool, then serve or store in an airtight container in the refrigerator for up to two weeks, letting onion jam return to room temperature before using.

Want to try these before you make them? Come to Sunday Brunch for all-you-can-eat biscuits! Red Onion Jam is served on several dishes at Eleven. Ask about it the next time you visit for dinner or brunch.

Dinner: Wed-Fri, 5-9 pm Brunch: Sun, 11 am-2:30 pm 41

CELEBRATIONS

Noon Year’s Eve and Winter Break Wonders 12.31.18 Noon Year’s Eve is sponsored by Coca-Cola and Mark and Diane Simmons. Winter Break Wonders is sponsored by Nice-Pak Products, Inc.

New 365 12.31.18

CELEBRATIONS

Men of Steel, Women of Wonder Directorâ&#x20AC;&#x2122;s Reception 02.07.19 Sponsored by Stout Executive Search, Arkansas Humanities Council, ConAgra Brands, Rhianon DeLeeuw and Joshua Mahony, Esther Silver-Parker, Tony Waller, Deborah Wright, and Walmart AAOC.

Black Hearts Ball 02.16.19 Sponsored by Ropeswing, JTH Productions, General Mills, Johnson & Johnson Consumer, Inc., The Hershey Company, Leisurlist, Wright Lindsey Jennings, Blue Moon Brewing Company, Greenwood Gearhart Inc., and Saatchi & Saatchi X.

MEMBER BENEFITS

5 Ways to

Use Your Membership This Summer

See it first! Members get first access to all our temporary exhibitions. See Natureâ&#x20AC;&#x2122;s Nation before it opens to the public on May 24, 2019 from 11 am to 9 pm.

Bring your family and friends In addition to visiting the temporary exhibitions for free, members also have guest tickets to bring their family and friends for free as well! Check your membership details to determine how many guest tickets you have available.

Visit as many times as you want Donâ&#x20AC;&#x2122;t have time to see everything in one day? Not a problem. Members know that they get free access to all temporary exhibitions, but as a member, you can keep coming back for free as many times as you want.

Enjoy access to Chihuly artworks Some of the newly acquired Chihuly artworks will be installed in the ticketed North Forest this summer, so members will have free access to see these artworks along with others along the North Forest Trail and Color Field, beginning June 1.

Take advantage of your discounts Members enjoy 20% off all classes, workshops, and events all year round. Check the calendar that came with your magazine for a full list of events happening at the museum from May through August.

MEMBER SPOTLIGHT

A Letter from a Member We received a submission from the Crystal Bridges website from museum member Shannon Roth. She has given permission to share this letter with the museum’s other members about the impact Crystal Bridges has had on her, her family, and their world views.

Dear Crystal Bridges: Thank you! My family loves our visits to Crystal Bridges Museum of American Art! In addition to regular visits to the museum, we have participated in Homeschool Friday Fun sessions, Summer Camps, and the Distinguished Speaker Series (we made it to all but one in the 2018 series). My children, ages 10 and 12, have visited the museum since its opening and have benefited from their exposure to special exhibits like Soul of a Nation, Chihuly: In the Gallery and In the Forest, The Beyond: Georgia O’Keeffe and Contemporary Art, and Art for a New Understanding: Native Voices, 1950s to Now. They will always see art from a different perspective than my husband and me for the simple fact that they spend time at Crystal Bridges. For me, I have many moments of awe! I get it now. The best art is truly an expression of the artist’s soul. Culturally, our family sees things differently now. We have always considered ourselves socially conscious people, however, Soul of a Nation, in combination with the 2018 speaker series, has dramatically changed our understanding of prejudice and opportunity as it relates to our country. The exhibit showed me, through art and artists, how we are still living the history that I thought we had largely walked away from. Heartbreak has come along with this understanding as well as anger that this is happening so deliberately to fellow Americans. I have felt embarrassed that I have lived the many years I have lived in this country without knowing the depths of discrimination African Americans still experience. I question why/how has this perspective not been made openly available to me? And worst of all is the realization that maybe it has been open and available to me, but I did not see or hear. Crystal Bridges was the way I heard, saw, and felt all of these things. What other way would I have come to this? I cannot imagine. I feel I have knowledge that other people within my community do not.

Conceived by artist Cannupa Hanska Luger, Mirror Shield Project, 2016 Featured in Art for a New Understanding: Native Voices, 1950s to Now.

Betye Saar, Rainbow Mojo, 1972 Featured in Soul of a Nation: Art in the Age of Black Power

I live in a different way than I did before, carrying with me a new understanding. Thank you! Shannon Roth—and Tim, Leo, and Adam Roth

CREDITS COVER: Walton Ford, Dying Words (detail), 2005. 6 copper plates,

hardground etching, aquatint, spit bite aquatint, drypoint, scraping and burnishing on white Rives paper. Courtesy of the Artist and Kasmin. ©Walton Ford. Image courtesy of the artist and Kasmin Gallery. TABLE OF CONTENTS, FROM TOP: Alexandre Hogue, Crucified Land, 1939. Oil on canvas. Gift of Thomas Gilcrease Foundation, 1955 Gilcrease Museum, Tulsa Oklahoma. © Estate of Alexandre Hogue. Claire Ashley, Lumpy Morsels, Hot Rocks, 2016, College of DuPage, Cleve Carney Gallery. Puff top left, Bun bottom left, Roll rear right, Slice front center, spray paint, PVC coated canvas tarpaulin, sharpie, fans, grouping approximately 12 x 12 x 12 feet. Photo: Claire Britt. Bicycling photo by Stephen Ironside. PG4 FROM TOP: Photo of The Wall that Heals. Lawrence Sumlong/Jazz at Lincoln Center PG5: Photos by Daniel Moody. PG6-7: Hank Willis Thomas, Zero Hour, 2012, digital chromogenic print and Plexiglas with Lumisty film, 6 panels, each: 27 × 20 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2018.12. © Hank Willis Thomas. Photo By Dero Sanford. PG8: Photo by Daniel Moody PG12-13 FROM LEFT: Thomas Moran, Lower Falls, Yellowstone Park, 1893. Oil on canvas. Gift of Thomas Gilcrease Foundation, 1955 Gilcrease Museum, Tulsa Oklahoma. Charles Willson Peale, The Artist in His Museum, 1822. Oil on canvas. Pennsylvania Academy of the Fine Arts. Gift of Mrs. Sarah Harrison (The Joseph Harrison, Jr. Collection), 1878.1.2 PG14 FROM LEFT: Albert Bierstadt, Bridal Veil Falls, Yosemite, ca. 1871–73. Oil on canvas. North Carolina Museum of Art, Raleigh, Purchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest) and various donors, by exchange. Valerie Hegarty, Fallen Bierstadt, 2007. Foamcore, paint, paper, glue, gel medium, canvas, wire, wood. Brooklyn Museum, Gift of Campari, USA 2008. 9a-b. © Valerie Hegarty. Photo: Brooklyn Museum. PG15 FROM LEFT: Thomas Cole, Home in the Woods, 1847. Oil on canvas. Reynolda House Museum of American Art, Winston-Salem, NC, gift of Barbara B. Millhouse. Reynolda House is an Affiliate of Wake Forest University. Courtesy of Reynolda House Museum of American Art, Affiliated with Wake Forest University. Alan Michelson, Home in the Wilderness, 2012. Handmade paper, archival ink, and archival board. Collection of the Artist. © Alan Michelson. PG16 FROM TOP: John James Audubon, Carolina Parrot, published in The Birds of America, Vol. 1, Pl. 26., London: 1827–38. Hand-colored engraving and aquatint on Whatman wove paper by Robert Havell Jr.. Princeton University Library, Rare Books and Special Collections. Walton Ford, Dying Words, 2005. 6 copper plates, hardground etching, aquatint, spit bite aquatint, drypoint, scraping and burnishing on white Rives paper. Courtesy of the Artist and Kasmin. ©Walton Ford. Image courtesy of the artist and Kasmin Gallery. PG17 FROM TOP: George Wesley Bellows, Cliff Dwellers, 1913. Oil on canvas. Los Angeles County Museum of Art, Los Angeles County Fund. Aaron Douglas, Song of the Towers , 1966. Oil and tempera on canvas. Milwaukee Art Museum, Lent by State of Wisconsin, Executive Residence, Madison, WI. L1.2006. Art © Heirs of Aaron Douglas/Licensed

by VAGA, New York, NY. Photographer credit: John R. Glembin. PG18-19 FROM LEFT: Claire Ashley, Close Encounters: Adam’s Madam, 2018, MOCA Jacksonville Atrium Project, spray paint, acrylic, sharpie, PVC coated rip stop nylon, fans, fake fur, shag rug, approximately 42 x 30 x 25 feet. Photo courtesy of MOCA Jacksonville, FL. Amanda Ross-Ho, The Character and Shape of Illuminated Things (Facial Recognition), 2015, Fiberglass, steel, wood composite panel, acrylic latex, neon, acrylic, electrical components, 110 by 124 by 70 in. Installation view of Public Art Fund at City Hall Park, New York, 2015. Photo: Liz Ligon. © Amanda Ross-Ho. Courtesy of the artist and Mitchell-Innes & Nash, New York PG20: Sam Falls, Untitled (Wind chimes), 2014, powder-coated aluminum, steel base, steel hardware, and marine grade rope, 143 1/4 in. × 48 in. × 48 in. Courtesy of the artist, Gallery 303, New York, and Galerie Eva Presenhuber, Zurich / New York. PG21: Postcommodity, Repellent Fence / Valla Repelente, 2015. © Postcommodity. Courtesy of Peabody Essex Museum. Photo by Kathy Tarantola. PG22 FROM TOP: Alma Thomas, Lunar Rendezvous–Circle of Flowers, 1969. Oil on canvas, 50 × 48 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2015.2. Adolph Gottlieb, Trinity, 1962. Oil on canvas, 80 x 185 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2011.23. PG23: Dale Chihuly, Sole d’Oro (detail), 2017, 13½ x 14 x 14’, Crystal Bridges Museum of American Art, Bentonville, Arkansas, © Chihuly Studio. PG24-25: Photo by Stephen Ironside. PG28-29: Photos by Stephen Ironside and Dero Sanford. PG31: Photos by Daniel Moody. PG33-34: Photos by Zac Milner PG40-41: Photos by Daniel Moody, Dero Sanford, and Stephen Ironside. PG42: Photo by Dero Sanford. PG43 CLOCKWISE FROM LEFT: Photo shared by Shannon Roth. Conceived by artist Cannupa Hanska Luger, Mirror Shield Project, 2016. Oceti Sakowin Camp, North Dakota. Drone Image Still by Rory Wakemup. Betye Saar, Rainbow Mojo, 1972. CREDIT. PG43: Photo by Dero Sanford.

LAST WORD

“Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts. There is something infinitely healing in the repeated refrains of nature—the assurance that dawn comes after night, and spring after winter.” Rachel Carson, Silent Spring

For the past 300 years, and probably more, artists have been advocates for nature. In the early 1800s, Thomas Cole preached about the dangers of too-rapid cultivation and development. Thomas Moran’s watercolor drawings and paintings of geysers, waterfalls, and hot springs were used in Congress to advocate for the establishment of Yellowstone National Park in 1872. Artists in the twentieth century featured in Nature’s Nation, from George Bellows to Walton Ford, examined the impact of industrialization and aftermath of our choices. Our collective societal decisions have steered us toward the pursuit of progress, but sometimes, nature is left behind in that pursuit. At Crystal Bridges, we advocate a mission of “art, architecture, and nature,” not just because our galleries sit on 120 acres of beautiful, natural Ozark forest, but because we see nature as a crucial component of culture and we strive to elevate its presence in our work. Since the creation of Crystal Bridges, nature has always played a role in our decisions, from our sustainability efforts to the preservation of the grounds to the exciting outdoor programs we offer to inspire and educate our visitors about the unique flora and fauna of the area. This summer, Crystal Bridges is providing an opportunity for all of us to return to our roots, literally and figuratively, to spend some time with nature. Whether you’re discovering nature through the art historical perspective in Nature’s Nation or exploring vibrant colors in the North Forest at Color Field, we hope that our offerings bring you closer to nature and perhaps encourage you to be an advocate for an environmental subject you’re passionate about. Being change catalysts means inspiring others to see the benefits of change for themselves. In their way, artists continue to lead this charge while we as an institution continue to amplify their messages to spark conversation, to push boundaries, and to inspire action. We look forward to seeing you at the museum this summer.

Rod Bigelow

Executive Director and Chief Diversity & Inclusion Officer Crystal Bridges Museum of American Art