Crystal Bridges Announces 2017 Lineup

In 2017, the world-class Crystal Bridges Museum of American Art in Bentonville will showcase a roster of exciting temporary exhibitions celebrating a diverse group of artists and media.

The exhibitions highlight complex issues at the U.S.-Mexico border, showcase transformative glass installations inside the museum and outside on museum grounds, and feature more than 100 artworks from a preeminent figure in American Modernism.

Border Cantos: Sight & Sounds Explorations from the Mexican-American BorderFeb. 18 thru April 24 — Border Cantos, a unique collaboration between American photographer Richard Misrach and Mexican composer Guillermo Galindo, harnesses the power of art to explore, share, and humanize the complex issues surrounding the borderlands between the United States and Mexico. The artists created works of photography, sculpture, and sound that document and transform artifacts from the border.


Dale Chihuly, Drawing Wall, 2009

Chihuly: In the Gallery and In the Forest, June 3 thru August 14; Chihuly: In the Forest, August 16 thru Nov. 13 — Dale Chihuly, an American sculptor, has mastered the translucent and transparent qualities of ice, water, glass and neon, to create works of art that transform the everyday experience. He is globally renowned for his ambitious site-specific installations in public spaces, as well as exhibitions presented in museums and gardens. Crystal Bridges will present extensive indoor and outdoor installations, featuring new works by the artist, as well as iconic works spanning the breadth of his career.

Stuart Davis: In Full Swing, Sept. 16 through Jan. 8. Stuart Davis began as an illustrator of the urban life around New York, and after a year in Paris was one of the first American artists to bring the lessons of French avant garde art into American painting. This exhibition will focus on three phases of his work: from 1927 to 1937, in which he applied the forms of Cubism to still-lifes and landscapes; from 1938 to 1943, during which his work increased in both size and abstraction; and from 1944 to Davis’ death in 1964, in which he invented a new abstract language that merged the aesthetics of advertising and jazz with language, and an American-inspired subject matter.

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