WU Crystal Bridges p1

4 WHAT'S UP! COVER STORY Bridging Worlds Crystal Bridges decks the halls in 2010 Crystal Bridges 2010 Acquisitions Acquisitions announced publicly in 2010 were: Walton Ford, “The Island,” 2009 Mary McCleary, “The Falcon Cannot Hear the Falconer,” 2008 Kerry James Marshall, “Our Town,” 1995 Susan Catherine Moore Waters, “Portrait of a Girl and Her Dog in a Grape Arbor,” no date Devorah Sperber, “After The Last Supper,” 2005 Romare Bearden, “Sacrifice,” 1941 John Mix Stanley, “The Buffalo Hunt,” 1855 Karen LaMonte, “Dress Impression with Wrinkled Cowl,” 2007 John Singleton Copley, “Mrs. Theodore Atkinson, Jr.,” 1765 Tom Uttech, “Enassamishhinjijweian,” 2009 Wayne Thiebaud, “Supine Woman,” 1963 Kara Walker, “A Warm Summer Evening in 1863,” 2008 Robert Scott Duncanson, “Landscape,” 1865 Andy Warhol, “Dolly Parton,” 1985 Roy Lichtenstein, “Standing Explosion (Red),” 1966 Marisol, “Portrait of Martha Graham,” 1977 Alison Elizabeth Taylor, “Room,” 2007-2008 — SOURCE: DEDE PETERS, CRYSTAL BRIDGES In 2005, Crystal Bridges Museum of Ameri- can Art announced its first acquisition, Asher B. Durand’s 1849 masterwork “Kindred Spir- its,” a definitive example of the Hudson River School of landscape painting. In 2010, Crystal Bridges acquired a 1985 Warhol, a 1977 Marisol, a 1966 Lichtenstein and the 2007-08 “Room” by Alison Elizabeth Taylor. Sandy Keiser Edwards, the museum’s asso- ciate director, says Crystal Bridges’ mission remains unchanged. “We explore the unfolding story of America by actively collecting, exhibiting, interpreting and preserving outstanding works that illumi- nate our heritage and artistic possibilities,” she says. The museum is scheduled to open on Nov. 11. — BECCA BACON MARTIN [email protected] COURTESY CRYSTAL BRIDGES MUSEUM OF AMERICAN ART; PHOTOGRAPHY BY DWIGHT PRIMIANO “Mrs. Theodore Atkinson, Jr.” (Frances Deering Wentworth), a 1765 oil on canvas by John Singleton Copley. The portrait by Copley, who is considered one of the most influential painters in colonial America, augments an exceptional collection of portraits by Gilbert Stuart, Thomas Eakins and John Singer Sargent. COURTESY CRYSTAL BRIDGES MUSEUM OF AMERICAN ART; INSTALLATION VIEW AT THE BROOKLYN MUSEUM “After the Last Supper,” 20,736 thread spools, hanging apparatus, ball chain, viewing sphere and stand, 2005 by Devorah Sperber. Chains of spools are installed so that the familiar image appears upside down, dissolving into pixilated abstraction. Only when the viewer steps up to a viewing device similar to a crystal ball does the image resolve into Leonardo’s iconic mural. “When you step up to the lens, the whole world opens up to you,” says Don Bacigalupi, Crystal Bridges director. “Sperber is drawing on centuries of research on the science of optics and the phenomenology of perception, and using art history in a very unconventional way.”

Upload
baileyelisemcbride
Category

Documents
view
63
download
3

Embed Size (px):

description

Magazine Spread Design

Transcript of WU Crystal Bridges p1

4 WHAT'S UP!

COVER STORY

Bridging WorldsCrystal Bridges decks the halls in 2010

Crystal Bridges 2010 Acquisitions

Acquisitions announced publicly in 2010 were:

Walton Ford, “The Island,” 2009Mary McCleary, “The Falcon Cannot Hear the Falconer,” 2008Kerry James Marshall, “Our Town,” 1995Susan Catherine Moore Waters, “Portrait of a Girl and Her Dog in a Grape Arbor,” no dateDevorah Sperber, “After The Last Supper,” 2005Romare Bearden, “Sacrifi ce,” 1941John Mix Stanley, “The Buffalo Hunt,” 1855Karen LaMonte, “Dress Impression with Wrinkled Cowl,” 2007John Singleton Copley, “Mrs. Theodore Atkinson, Jr.,” 1765Tom Uttech, “Enassamishhinjijweian,” 2009Wayne Thiebaud, “Supine Woman,” 1963Kara Walker, “A Warm Summer Evening in 1863,” 2008Robert Scott Duncanson, “Landscape,” 1865Andy Warhol, “Dolly Parton,” 1985Roy Lichtenstein, “Standing Explosion (Red),” 1966Marisol, “Portrait of Martha Graham,” 1977Alison Elizabeth Taylor, “Room,” 2007-2008

— SOURCE: DEDE PETERS, CRYSTAL BRIDGES

In 2005, Crystal Bridges Museum of Ameri-can Art announced its fi rst acquisition, Asher B. Durand’s 1849 masterwork “Kindred Spir-its,” a defi nitive example of the Hudson River School of landscape painting.

In 2010, Crystal Bridges acquired a 1985 Warhol, a 1977 Marisol, a 1966 Lichtenstein and the 2007-08 “Room” by Alison Elizabeth Taylor.

Sandy Keiser Edwards, the museum’s asso-ciate director, says Crystal Bridges’ mission

remains unchanged.“We explore the unfolding story of America

by actively collecting, exhibiting, interpreting and preserving outstanding works that illumi-nate our heritage and artistic possibilities,” she says.

The museum is scheduled to open on Nov. 11.

— BECCA BACON MARTIN

[email protected]

COURTESY CRYSTAL BRIDGES MUSEUM OF AMERICAN ART; PHOTOGRAPHY BY DWIGHT PRIMIANO

“Mrs. Theodore Atkinson, Jr.” (Frances Deering Wentworth), a 1765 oil on canvas by John Singleton Copley. The portrait by Copley, who is considered one of the most influential painters in colonial America, augments an exceptional collection of portraits by Gilbert Stuart, Thomas Eakins and John Singer Sargent.

COURTESY CRYSTAL BRIDGES MUSEUM OF AMERICAN ART; INSTALLATION VIEW AT THE BROOKLYN MUSEUM

“After the Last Supper,” 20,736 thread spools, hanging apparatus, ball chain, viewing sphere and stand, 2005 by Devorah Sperber. Chains of spools are installed so that the familiar image appears upside down, dissolving into pixilated abstraction. Only when the viewer steps up to a viewing device similar to a crystal ball does the image resolve into Leonardo’s iconic mural. “When you step up to the lens, the whole world opens up to you,” says Don Bacigalupi, Crystal Bridges director. “Sperber is drawing on centuries of research on the science of optics and the phenomenology of perception, and using art history in a very unconventional way.”