Archive | Visual Arts

21c Bentonville is named one of The Best New Hotels 2013 by Travel + Leisure

Posted on 04 May 2013 by admin

21c Bentonville makes it on the It List: The Best New Hotels 2013  in the June issue of Travel + Leisure

In 2011, the Crystal Bridges Museum of American Art put sleepy Bentonville, Arkansas, on the world art map. And the opening of the 21c, part of a growing brand of hotels known for their contemporary art collections in second-tier cities (Louisville; Cincinnati), is reinforcing that position.


Crystal Bridges is a great getaway…Texas edition.

Posted on 04 May 2012 by admin

Mike Norman writing in the Fort Worth Star-Telegram calls Crystal Bridges a great quick getaway for those in north Texas:

My wife, Sandy, and I have seen Arkansas tourism ads for years, maybe decades, and we’ve even talked about going to see the lakes, the Ozarks and other things those ads tout. But for us, Arkansas has always fallen short when we came down to comparing opportunities for our limited getaway time.

Crystal Bridges changed that. The museum, built by Wal-Mart heiress and Parker County resident Alice Walton, opened in November, and we finally got a chance to go there last weekend.


NY Times Looks at the Move to Arkansas for Crystal Bridges Director

Posted on 27 March 2012 by admin

The New York Times again writes about Crystal Bridges in Bentonville, this time taking a look at the move from Ohio to Arkansas for museum director
Don Bacigalupi, Dan Feder and their son:

There’s one house in Bentonville, Ark., that looks nothing like the others. It was designed in 1954 by Cecil Stanfield, a Modernist architect who helped give Oral Roberts University in Tulsa, Okla., (two hours west) its “Jetsons”-esque appearance. The house’s large windows are the kind that people in small towns tend to associate with storefronts. That meant the lives of its owners would be displayed as surely as the merchandise in Sam Walton’s first five-and-dime, just a few blocks away. Which made it, paradoxically, the right house for Don Bacigalupi, Dan Feder and their 6-year-old son, Guston. “We live our lives very openly,” says Feder, a graphic designer and stay-at-home dad, who has been with Bacigalupi, a respected museum director, since the early 1990s.


Crystal Bridges GenArt Group Hosts Valentine’s Day Event

Posted on 09 February 2012 by Courtney

GenArt, the young patrons group affiliated with Crystal Bridges, is having an event in honor of Valentine’s Day. ‘After the Love’ attendees will have a chance to visit with curator David Houston about artwork with love and romance themes. A reception and social hour will follow.

The event is from 7 to 9 pm on February 16th, and members are encouraged to wear festive red attire.

Pre-registration is required for the event.


Breaking Ground…21c Museum Hotel in Bentonville

Posted on 29 January 2012 by Courtney

Crystal Bridges Museum of American Art, in addition to bringing world-famous art to Northwest Arkansas Continue Reading


NY Times: Crystal Bridges, the Art Museum Walmart Money Built, Opens

Posted on 26 December 2011 by admin

The New York Times on Crystal Bridges:

Much more than just a demonstration of what money can buy or an attempt to burnish a rich family’s name, Crystal Bridges is poised to make a genuine cultural contribution, and possibly to become a place of pilgrimage for art lovers from around the world.


Arkansas Business: As Opening Draws Near, Alice Walton Relishes Public Reaction To Crystal Bridges

Posted on 25 October 2011 by admin

From Arkansas Business: 

Even as earth movers huffed and hard-hatted men worked to put the finishing touches on the exterior of Crystal Bridges Museum of American Art, Alice Walton said Monday that her greatest surprise in the journey toward completion of the museum had been the public reaction to her brainchild.


Bloomberg: Wal-Mart Heiress Puts Warhol Dolly Parton in $1.2 Billion Crystal Bridges

Posted on 25 October 2011 by admin

James Russell writes for Bloomberg:

Passing a stainless-steel tree sculpture by artist Roxy Paine, I cross a bridge to an elevator tower and descend three floors, where one of the bridges that give the museum its name opens up in front of me.

It’s a tour de force. Deep beams of yellow Arkansas pine vault overhead, rising and swelling outward like the belly of a particularly elegant whale. Light filters in from slots overhead. Outwardly slanting glass walls held together by elegant pipes, ball-joint fittings and cables pick up reflections from the wind-riffled surface of the ponds.


Washington Post: Crystal Bridges art museum wows — and also confuses

Posted on 22 October 2011 by admin

From the Washington Post:

“There is a substantial “wow” factor to the building, but no one would ever call it refined, or meticulous or perfectly wrought. Safdie’s design is often sloppy, with elements that feel provisional, afterthoughts or improvisations.”

“But there are compensating elements. The building has been set into a bowl blasted out of a forested basin. Care was taken to nestle the building tightly into the space, without damaging the surrounding forest, which is held back by enormous retaining walls that were still partly visible during a visit in late September. When the ponds are full and the retaining walls hidden from view (by dirt fill and vegetation), the “river runs through it” effect could be stunning.”


Architectural Record: A First Look at Crystal Bridges Museum

Posted on 22 October 2011 by admin

From the Architectural Record: 

“Ambitious as it is, the museum is never overbearing. It contains some of the loveliest galleries since Safdie’s Peabody-Essex Museum opened in Salem, Massachusetts, in 2003. At Crystal Bridges, the two main exhibition spaces parallel the stream, in long, gently curved rooms that seem to hold back the surrounding hillsides. Their roofs, supported by the timber beams, curve gently downward toward the river, mimicking the shape of the valley and giving the curators a variety of wall and ceiling heights to work with. They have used the low walls for paintings by the likes of Frederic Church, Thomas Eakins, and Winslow Homer, and the high walls for monumental pieces by Louise Nevelson, Joan Mitchell, and others.”