Vision Comes to Past
Photographs courtesy of Crystal Bridges
Since the announcement of Crystal Bridges Museum of American Art in 2005, the art world — and the world in general — has been abuzz with anticipation.
The museum is an impressive 201,000 square feet and is comprised of 12 galleries in four buildings with more than 400 pieces of art that span five centuries. Crystal Bridges, which takes its name from nearby Crystal Spring, features a community showcase, which is a temporary exhibit featuring works from partner museums, including the University of Arkansas at Fayetteville, the Museum of Native American History in Bentonville and the Rogers Historical Museum; a Great Hall, which will be used for receptions and is available for rental; a library; a museum store; and a restaurant.
Though an impressive structure, Moshe Safdie, architect, designed the museum as unobtrusive to its surroundings. Not visible from the entrance along J Street, the museum seems to have been cradled by Mother Earth. One of the first indications of its greatness is its well-tended trails, surrounded by flowers and greenery — a good number of volunteers have planted, weeded and watered along this space. “Yield,” a 47-foot stainless steel sculpture by Roxy Paine, is right at home near the upper entrance. A clue to the majesty of the museum: Paine’s “Graft,” a piece similar in concept to “Yield,” was installed in the National Gallery of Art Sculpture Garden in 2009.
The mission of Crystal Bridges, founded by philanthropist Alice Walton, daughter of late Sam Walton, founder of Walmart, is one of patriotism and pride and is founded in a love for art and education: to welcome all to celebrate the American spirit in a setting that unites the power of art with the beauty of landscape … to explore the unfolding of America by actively collecting, exhibiting, interpreting and preserving outstanding works that illuminate our heritage and artistic possibilities.
Enlightenment
Forget the monotone library, lifeless librarian and conventional ideas about Arkansas. Now, enter the Crystal Bridges Museum of American Art Library.
“The old ‘shh’ has gone out the door; the old stereotypical librarian has gone out the door,” said Catherine Peterson, library director. “A library can be really interesting and really welcoming. It doesn’t have to be intimidating, which sometimes it is.”
The only possibly-intimidating aspect of this library is the stunning view of the Crystal Bridges property. Expansive windows from floor to ceiling showcase the breathtaking grounds and the impressive Moshe Safdie architecture.
But the focus of this space, with gorgeous Arkansan rustic pine beams overhead framing its shelves, is the more than 55,000 items complementing the museum’s art collection.
“If there’s a work of art, every publication or periodical that mentions that work of art we want to get,” Peterson said. “We want to know the exact prominence of each work of art.”
This exuberance to continuously grow the collection is one of Peterson’s biggest aspirations for the library. At present the library appears only 50 percent full, but to Peterson it’s like a blank canvas. “We’ll continually collect books,” she said. “We will have a budget to make sure we develop the collection as a whole and there’s not a gap from one exhibition to the next.”
The most prominent of the current selection in the library is the Art Reference Collection, which includes general art reference books and ephemera, such as artist monographs, exhibition and auction catalogs, periodicals and museum bulletins. While the works mostly focus on American art, there’s a variety in the collection showcasing the influence of non-American artwork on pieces in the museum gallery.
“French impressionism very much influenced California and American impressionism,” Peterson said. “There are many examples of romanticism in Europe that are related directly to the American art in our collection.”
Aside from the customary anthology, the library also contains Special Collections and Archives, including artists’ books, rare manuscripts and rare book collections. While the Reference Collection is open for visitors to peruse, these books are in a more confined atmosphere and are brought out for special appointments or with a member-only behind the scenes look.
Though there are exceptions, it’s the ease and availability to research the museum’s art collections that is so unique. The patron’s vision for the entirety of Crystal Bridges is exemplified through the library’s accessibility — specifically by allowing students to see the library’s collection through the University of Arkansas’ Mullins Library catalog.
“I know that we’ll do a lot with students in Arkansas and other places as well,” Peterson said. “This is such an amazing museum that we’ll have young people from everywhere studying art. That’s a vision that began with our patron — a vision of access.”
Eventually the library will digitize some of the rare books for online exhibitions, similar to an art exhibition with images of books rather thanreading page to page. The library will also host exhibitions directly influenced by the galleries with books and ephemera highlighted specifically to correlate with works of art. “It’s exciting that the whole world is getting excited about this new concept of bringing behind-the-scenes things in the library and the archives, into the gallery as well,” Peterson said.
“We’re here to tell that story of American art.”
Education
“Educational outreach is a huge component for Crystal Bridges,” said Niki Ciccotelli Stewart, director of education. “Education at the museum works over three areas: programs for schools, programs for the public and interpretation.”
Interpretation, Ciccotelli Stewart said, is the visitors’ link to the artwork. The goal being to help the viewer understand what the artist is trying to say, the significance of the piece and the context in which the work was created. “For instance, a display
next to the work will have information about an upcoming informational tour as well as a book or catalog with more information.”
The programs for the schools offer a number of options. “Teachers have a lot to accomplish. We want to help them add excitement and interest to their curriculum, and it’s not just about art. We have resources that can help connect concepts being taught in the classroom. For instance, we have artwork dating back to the 1600s. The works illustrate the progress across the centuries. Illustrations that are in textbooks — iconic images — can be viewed in the museum as a way to help students connect those images to what they’re learning. Also, there’s a direct connection between science and math. Artists have to understand the science of color; our exhibit SkySpace, on the art trail, illustrates the use of color and how the brain interprets it, connecting science and art. Even color theory can be brought to life and conceptualized in the museum. We aspire to connect art to any subject. This comes directly from Ms. Walton’s desire to connect with students.”
Ciccotelli Stewart came to the museum in 2008; she was once an educator and works with an advisory board of teachers to design the programs. “The school program will focus on the use of artwork and connecting it to the classroom, but we’ll also use the web and make visits to schools,” she said.
Crystal Bridges’ programs for the public will focus on two groups, families and adults. As families consist of multiple ages, outreach is aimed as such. “These programs will include gallery talks, films, workshops and classes and hands-on workshops. We open, as you know, Nov. 11; our first classes will be held just a few weeks later,” Ciccotelli Stewart said. “We’ll include something for everyone. For instance, we know people have a great interest in American history, we’ll structure our programs to meet this interest in a way that is fun and engaging, and we’ll adjust our programs as we receive feedback from visitors. Our desire is to give our visitors as much information as possible, in an educational and entertaining way in this wonderful atmosphere.”
Eleven
Crave (v): to long for; want greatly; desire eagerly … if there was one goal of Jacob Harr, executive chef, and Case Dighero, culinary director, for the Crystal Bridges Museum of American Art restaurant, Eleven, it would be to invoke this feeling in their customers.
“All the great restaurants have something on the menu that you crave, that you want, that you have to have,” Dighero said. “I can tell you [Jacob] has created some things that I’ve already started craving.”
Harr hopes Eleven will astound customers with “modern American comfort food” that combines Arkansas influences with a unique twist. “We’re calling our culinary region the ‘high South, low Midwest,’ and we really want to showcase what northwest Arkansas has to offer,” he said. “I’ve been working closely with a lot of local iconic places, like War Eagle Mill and the farmers markets.”
Though it’s his distinctive fare he wants to be memorable, he also hopes to draw people in based on familiarity by products from local vendors. A vision Herr and Dighero strive towards is a culture of “edible responsibility” — something even reaching as far as Guatemala.
Coffee at Eleven, the museum’s coffee shop, sells a Guatemalan blend paired with a unique backstory. The beans are bought from local roaster Airship Coffee, founded by a University of Arkansas horticulture student who found the beans on the same property as an orphanage.
“Everything we buy is helping this orphanage in Guatemala; it falls into edible responsibility,” Dighero said. “It’s a way to self-evaluate, to really see what we’re doing to promote sustainability. Specifically we want to celebrate and promote the local food culture in northwest Arkansas.” It’s a unique food culture Dighero and Herr hope to encourage, not simply dishing out traditional southern cooking like meatloaf and mashed potatoes.
“We’re creating something familiar, but we’re going to make a paradigm shift — we’ll take a fried green tomato, an archetype you’ve seen in the South, but we’re going to prepare it a way that you’ve never eaten it before, and you’re going crave it,” Dighero said.
It’s this “cravability” that will distinguish Eleven as a dinner or lunch alternative in northwest Arkansas, rather than a conjoined restaurant simply for museum guests. “I see Eleven as a destination, in addition to being a place to dine when people come to tour the galleries,” Herr said.
Dighero feels there’s a new spirit enticing people to northwest Arkansas, and the collaborative efforts of Crystal Bridges is a major part of the appeal. “Fayetteville had this really good vibe, synergy, in the early to mid ‘90s,” he said. “Now, because of Crystal Bridges and Hotel 21C, the same energy is here in Bentonville.”
The restaurant name’s name Eleven, Dighero said, came from the opening date: 11/11/11. “I think it has great relevance now as we get closer to the opening. Such a huge part of what Alice Walton has designed is that the museum be a part of the next generation — my children, their children. Fifty years from now the museum and the restaurant will still have great relevance.”
Elevate
Award-winning architect Marlon Blackwell designed the Crystal Bridges Museum store; it’s inspired by the museum’s overall design. This green space has, according to Barbara Lenhardt, retail operations manager, a very organic feel. “Marlon used a mushroom as the inspiration for the space. The ‘ribbons’ on the underside of the ‘cap,’ the ceiling, is constructed of cherry wood. The fabrics used in the 3,000 square feet, which includes carpeted areas, lend it a very organic feel.”
Lenhardt brings her more than 20 years of experience to Crystal Bridges; she serves as director at large for the board of directors of the Museum Store Association.
“All of the products we’ll sell in the museum relate to the collection and many have an educational component,” Lenhardt said. Retail items include: kids games; art supplies, books and artwork for children; books; paper products, such as note and post cards, journals; writing utensils; men’s gifts, such as cuff links, watches and pins; women’s jewelry; and more. “We’ll also carry some costume items at lower price points.”
“Many of our items will relate directly to or be pieces that are artist-driven; for instance, we’ll sell reproductions of works as well as bookmarks, key rings and great family puzzles related to artwork found in the collection,” Lenhardt said. “We’ll also carry regional crafts, jewelry, two-dimensional artwork, photography and other items.” Local artists submitted works and a number were selected by a committee to be retailed in the store.
“One of the more unique aspects of the Museum Store is that we’ll also carry clothing and accessories from all around the world; for instance, we’ll sell cashmere scarves from England.” Lenhardt points out that while an item, such as the cashmere scarf will retail for about $50, the store will include items that costs as little as 50 cents and items that sell for up to $700.
“One of the more interesting projects we’re working on is an art-on-demand program that will allow patrons to use touchscreen computers to order giclees. Eventually, we hope to have the entire collection available in this format. Of course, we’ll have on-hand giclees of the most popular works; we’ll determine which as we go along.”
The store, like the gallery, will feature sitting areas to allow adults to sit and look at items prior to purchase, and a kids’ area — complete with “stones” to sit upon and tables — will be available.
“The store will also host monthly trunk shows, book signings with book lectures in the museum and eventually author talks,” Lenhardt said. These elements will elevate the Crystal Bridges experience.
.jpg)
Enrollment
“We really did not anticipate such an overwhelming response. That 3,000 people joined the museum as members in six days of our membership launch is a wonderful sign of interest and anticipation and excitement of people, locally and regionally,” Kathryn J. Roberts said. Roberts is the director of member and guest services. “Many who joined fall in the ‘family/duo’ category; that’s really exciting. This means parents will bring their children to view artwork and participate in the educational programs we have available.”
So what are the privileges of membership? One, according to Roberts, is the membership card itself, which has an image of the famous painting “Kindred Spirits.” “Members will also have the opportunity to attend special events and activities; have access to the curators, scholars and artists; get complimentary admission to special exhibits; enjoy a discount in the Museum Store; and more.”
Memberships are valid for one year and range in cost from a student membership for $35 to a benefactor circle membership for $5,000; two Guild Membership Levels — Leadership, for $10,000 and Director’s, for $20,000 are also available. One of the more exciting membership benefits is that from the associate level, which cost $250 annually, members enjoy reciprocal membership benefits at 450 other North American museums, Roberts said.
She said there is no maximum goal for membership, as the museum’s buildings, grounds and trails can accommodate a large number of people. Members hail from a number of other states including Vermont, Florida and as far away as California.
“We anticipate thousands of people will visit during our opening weeks.” Members will enjoy a grand, 24-hour opening event. “The entire museum will be open. There will be special programs, events and activities,” Roberts said.
Admission to Crystal Bridges is free, thanks to a $20 million donation from Wal-Mart, which will be dispersed over the next five years. However, museum officials anticipate large crowds the first months of the opening and recommend visitors reserve timed tickets; log onto crystalbridges.org for more information.
“Our biggest challenge is that we’re planning for the unknown. As we’re planning activities, we’ll also learn how we can best accommodate our guests. Northwest Arkansas is so excited about what’s going on here — it’s not typical. You may not see this type of energy in a large metropolitan area even. So we welcome the challenge with excitement and joy,” Roberts said.
Environment
Crystal Bridges’ 120 acres include 3.5 miles of trails; the trails fall in three categories, according to Scott Eccleston, director of Trails and Grounds: multi-use for pedestrians 
and bikers; soft surface, which look like sidewalks; and hiking and easy nature walks, all of which wind through the grounds.
Eccleston joined the staff at Crystal Bridges in 2008 with, he said, the basic responsibility of building the art trail, including SkySpace, a circular, native stone structure featuring a viewing room and a spectacular LED light display.
“I thought the art trail would be the ‘trail of all trails,’ but since then we’ve built five additional trails,” Eccleston said. “The second part of my job is the landscape construction of Crystal Bridges. The work I’ve done here has required all 25 years of my experience.”
Eccleston previously worked for the National Park Service. “This site has so much beauty. I immediately felt pressure to make it better. There are four important aspects of the museum: the art, the architecture, the education and the landscape. When you’re charged with one of the four, it’s a big task. You know, the Waltons grew up here, and I was asked to ‘please take care of the land.’ So as we’ve gone along, we’ve been very careful not to destroy history. Each trail as its own story — the spring dates back from the 1890s,” he said.
Eccleston felt a true degree of pressure when Safdie, the museum’s architect, made note that because the building is nestled in a ravine, the landscaping is key until visitors enter the building. However, he felt a true degree of pride when benefactor Alice Walton and Safdie have said “they had no idea the trails and grounds were going to be this beautiful.”
“A visit to Crystal Bridges will not be complete without experiencing the trails and all they have to offer,” Eccleston said, his pride and respect for the area evident. “The architecture of forest has something different to offer during each of the seasons. For instance, in the winter when the trees are bare, you can see the bark and the true structure of the trees and appreciate the age of the forest. When it’s that peaceful, you hear water running, and you can see the beauty of the plants that shine in the winter. There are
natural rock bridges, lots of birds … a walk on the trails truly gives visitors a chance to get a glimpse of and closely interact with nature.”
Eccleston said the site, especially the Crystal Springs area, will awe visitors. “The springs have lasted through time. The people who lived here relied on the water. As visitors view the waterscapes around the museum, they’ll really see why it’s so special.”
Exhibition
Kevin Murphy, curator of American Art, is a native of southern California. His passion for art in general and Crystal Bridges specifically is apparent.
“Crystal Bridges represents a real opportunity to build something,” Murphy said. “The art community has been abuzz with speculation since it was announced. The next, most impressive museum of its kind is The Huntington, which was built at the turn of the century by railroad tycoon Henry E. Huntington. Crystal Bridges is the first museum of this magnitude to be formed since. By being here, I have the opportunity to help build a great collection. The fact that the library will ‘interact’ with the exhibits is another thing that attracted me.”
The museum’s collection is divided into four collections: Colonial, 19th Century, Modern and Contemporary. Murphy feels this adds interest to the college. “The artwork has been divided chronologically with themes so that the earliest works and materials connect to the most recent. The works address the artists’ images … as we work themes will emerge. The way art was created in 1776 differs from the technique in 1976 and 2006, but there are way to ‘connect the dots,’ to show that though the work was created by different people with different points of view, it all tells a story.”
Murphy said that while only a small number of objects have been announced — about 100 — the collection will include about 450. “They are pieces that people are going to be ‘wowed’ by. I knew of some of the acquisitions prior to joining Crystal Bridges, but I was shocked and surprised by the quality of depth of the collections,” Murphy said.
The collection consists of more paintings than sculptures and three-dimensional works, however, he said, the museum has a number of ‘key’ pieces. One of the oldest works is a painting copied from an engraving done 75 years prior; the painting dates back to 1675, the engraving from 1600 or before. The library, however, will have books that go back further than that. The newest art will be “up to the minute,” such as Pat Musick and Jerry Carr’s outdoor installation “A Place Where They Cried” and Nick Cave’s “Soundsuit.”
Murphy said he is most drawn to “the last half of the 19th century. One of the things that interest me is focusing on how artists got paid. Another thing that excites me is the artists’ self portraits. It’s during this period that art became viewed as labor. Artists were no longer viewed as mad geniuses, but as a part of the economy.”
Murphy also pointed out the interactive aspect of Crystal Bridges. “For instance, we are developing three ‘chill out’ spaces, where patrons may ‘rest’ complete with couches, coffee tables and chairs; they can view books about art, and there will be iPads with information about the collection. The setting and the building are a part of the entire experience. It will take time to visit all the galleries, and with the rotating exhibits, amazing trails and grounds, we hope the community will visit often and use the museum frequently.”
Edwards
Sandy Edwards is enthusiastic and energetic, and it’s clear to see that when she says she “feels honored and privileged to be a part of this enterprise,” she means it. Edwards serves as the deputy director of Crystal Bridges and leads this team of art-loving employees who hail from as far away as California and from as close as Bentonville. “In growing this organization, it’s healthy to have a balance of native Arkansans who understand the area’s vibe and outsiders who have experience in large ‘art’ cities. We simply looked for the best people for the jobs.”
Edwards joined Crystal Bridges in September 2007. “We lived with a model-size Crystal Bridges for so many years. We could only imagine its size and beauty. Seeing the building come into being has been an incredible journey for the architect, the board and the staff,” she said.
“From the start, Ms. Walton’s interest lied in having this cultural institution become a part of nature. So while we could have a large, grand entrance, we don’t. In fact, I think the fact that you cannot see the building from 100 feet away lends the museum a great sense of discovery.” The structure was designed so that each building is within six feet of its natural surroundings.
While Edwards will not speculate on how the advent of the museum will affect the area economically, she said they are ready to adapt and respond to visitors’ requests and demands. “We know the museum will impact this area socially and academically. That is one of Ms. Walton’s goals to make art accessible to everyone; to create an intersection of art and nature and to provide education for people of all ages. These tenants are easy to espouse.”
She points to the overwhelming response to the call for membership — 3,000 memberships were sold in six days — as a sure sign that the public has embraced the idea of ownership.
Edwards said, “Crystal Bridges Museum of American Art is a grand gift. Alice Walton and the Walton Family as benefactors can feel a great sense of pride in it. The museum is a magnanimous gift” … one that the art lovers the world over will enjoy for generations to come.
Crystal Bridges Museum of American Art, 600 Museum Way, Bentonville, AR 72712, crystalbridges.org, hours: Monday, Thursday, Saturday, and Sunday, 11 a.m. to 6 p.m., Wednesday and Friday, 11 a.m. to 9 p.m.; Trails are open daily, from sunrise to sunset.
