Crystal Bridges Museum of American Art

Joan Mitchell was a prolific Abstract Expressionist artist, showing creative prowess in a time when female artists were often overlooked. 🎨 Her adept artistic skill was attributed to more than just her training and accomplishments. Mitchell (1925–1992) had synesthesia, allowing her to register sounds and emotions as different colors. As she overcame the difficulties she experienced as a neurodivergent artist, she embraced her characteristics as her own “secret magic.” Her iconic artistic identity paved the way for the welcoming of neurodiversity into the art world. Tap the link to read more about her unique perceptions and thought-provoking works and visit the galleries to see her artwork up close: https://bit.ly/4dFKHpr 👀 💡Joan Mitchell, "Untitled", 1952-1953, oil on canvas, 77 1/2 x 71 1/2 in. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas. Photography by Edward C. Robison III.

How do you perceive the West? 🌄 Explore untold narratives with "Knowing the West," a landmark exhibition that challenges stereotypes and showcases the diverse voices that shaped this iconic region. From Hollywood’s legendary portrayals to personal experiences, each perspective weaves a unique thread into the fabric of the American West. Opening in just one month, this exhibition highlights stories of innovation, resistance, and transformation through the compelling works of Dorothy Brett, Grafton Tyler Brown, Chiura Obata, Nellie Two Bear Gates, and many more artists who have been historically underrepresented. Secure your tickets in advance today 🎟 : https://bit.ly/3L0LpRH 🎨 Eda Sterchi, "A Pueblo (Taos)", 1919. Oil on canvas, 30 1/8 in. x 25 1/4 in. Denver Art Museum, Funds from the DAM Westerners. Photography © Denver Art Museum.

Trillium Salon Series returns to the galleries of Crystal Bridges to kick off a third season of art and music. Inspired by works in the collection, immerse yourself in sound during this afternoon of art and music performances that occur on the Second Sunday each month through October. 🎶

We are delighted to announce that Susan Peacock has joined Crystal Bridges and The Momentary as our new Chief Impact Officer. This critical role further supports the momentum of institutional growth locally in Arkansas, as well as nationally and around the globe. As we look forward to opening the expansion in 2026, the institution continues to evolve as the community grows, which means adding new roles to help with that growth. “Crystal Bridges is more than a museum; it serves as a platform for important, inclusive conversations and a catalyst for positive change in our state, region and world,” said Peacock. “I am honored to join the dynamic and well-respected team at Crystal Bridges and the Momentary and excited to play a pivotal role in advancing the museum’s mission and building upon its robust partnerships.” Read more here: https://bit.ly/46tOpjx

Coming this September to Crystal Bridges - “Time Loop by Klip Collective: A Forest Light Experience” 💡 Inspired by the museum’s natural landscape, and designed exclusively for the North Forest, the acclaimed visual arts group will present a site-responsive light and sound experience that leans into the passage of time and changing environment, taking guests on a mesmerizing journey. Witness the natural rhythms of the earth, see yourself fractured across the surface of a broken time machine, marvel at the movements of the lit-up forest, and more. Learn more: https://bit.ly/4fmxGD1 🎨 Klip Collective, “Infinite Wave,” 2022. Video, lighton aluminiumsculpture, and audio17ft.8in.x 17ft.x18ft. “Be Seeing You,” 2021. Site-specific video, light, and audio installation in theMaple Alléeat Grounds for Sculpture. “Password Regret,” 2021. Video, light, and audio © KlipCollective.

Join us in wishing a happy birthday to Crystal Bridges’ architect, Moshe Safdie! 🥳 Safdie Architects commitment to architecture supports and enhances each project’s program by designing with a deep understanding of the geographic, social, and cultural elements that define a place, always responding to human needs and aspirations. Safdie has returned to #CrystalBridges to create a seamlessly integrated expansion, adding over 110,000 square feet to the museum. Tap each photo to see a sneak peek of the progress 👉 and visit us to experience the architecture that brings people, art, and nature together. 💙

Would you believe us if we told you this intricate design is a painting? In “She Gives (Quiet Strength V)” (2019), artist Dyani White Hawk of Sičangu Lakota ancestry uses acrylic on canvas to honor the continuing practice of Lakota quillwork, a form of embroidery created from the weaving of porcupine quills into beautiful designs. She also references abstract hide painting with the inclusion of copper, black, and white diamonds. The artist utilizes these art forms traditionally practiced by women to combine Indigenous artistry and visual heritage with modernist painting and abstraction. Find this piece in “Space Makers: Indigenous Expression and a New American Art,” a focus exhibition found in our Early American galleries: https://bit.ly/3xiNzIV 🎨 Dyani White Hawk, She Gives (Quiet Strength V), 2019, acrylic on canvas, 60 in. x 48 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.4. Photography by Edward C. Robison III.

When guests step into the galleries at Crystal Bridges, they’re greeted by Nari Ward’s “We the People,” a colorful installation made of shoelaces that spell out the first words of the U.S. Constitution. ✍️ A quick turn reveals a series of paintings in the Early American Gallery that weren't necessarily created in America's early days. Rather than telling a chronological story of American history, this wall was curated to reflect the wide range of American perspectives and experiences that make up the fabric of our nation. 🇺🇸 This #IndependenceDay, explore five centuries of American art at your museum. 🎨 Nari Ward, “We the People (black version),” 2015. Shoelaces.

Coming to Crystal Bridges Fall: "Knowing the West" 🌟 The first major traveling exhibition to embrace the American West as more inclusive, complex, and reflective of the diverse peoples who contributed to art and life there. Curated by Mindy Besaw, Crystal Bridges’ curator of American art, and Jami Powell (Osage), associate director for curatorial affairs and curator of Indigenous art at the @Hood Museum of Art, Dartmouth, “Knowing the West” features over 120 historic works by Native American and non-Native American artists, including textiles, baskets, paintings, pottery, sculpture, beadwork, saddles, and prints. "Knowing the West" breaks down traditional hierarchies in American art by presenting a variety of media and voices, offering a fresh perspective. Learn more: https://bit.ly/3L0LpRH 🖼️ Dorothy Brett, “Desert Indian”, 1932/1937. Oil on canvas, 40 in. x 40 in. Tia Collection, Santa Fe, NM.

Back on view: “The Dinner Party” (2019) 🍽 In this piece, artist Hannah McBroom illustrates a scene from a recent experience at a family wedding. Highlighting the familiar, uncomfortable tension felt in social settings when her gender identity becomes something needing explanation, the figures in the piece produce a sense of alienation and discomfort. McBroom centers most of her work around the idea of belonging - understanding how her body and those of other transgender people fit into a predominantly gender normative culture. See this piece in “Vantage Points”, a new installation in the Contemporary Art Gallery. 🎨 Hannah McBroom, The Dinner Party, 2019, oil on canvas, 36 in. x 31 1/2 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2020.26. Image courtesy of the artist.