Crystal Bridges closing some galleries; art ‘takes a break' during expansion
A news release from the museum said the Contemporary and Modern galleries are now inaccessible while Yayoi Kusama's Infinity Mirrored Room, as well as other works, are 'taking at rest'. The experience will reopen in 2026 with the expanded museum.
USA Today: Silver Dollar City nominated for 4 national awards
Crystal Bridges said almost every piece of art will be relocated as the museum expands by another 114,000 square feet.
The museum said it will begin issuing bi-weekly press briefs on the expansion and that visitors can go to the Crystal Bridges' expansion landing page for more information.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Geek Tyrant
a day ago
- Geek Tyrant
New Teaser Trailer for Leonardo DiCaprio's ONE BATTLE AFTER ANOTHER from Director Paul Thomas Anderson — GeekTyrant
Warner Bros has released a new teaser trailer for Leonardo DiCaprio's wild looking new film One Battle After Another , which was written and directed by Paul Thomas Anderson ( There Will Be Blood, Licorice Pizza ). The film is inspired by Thomas Pynchon's postmodern 1990 novel Vineland. The story centers on a father who has left behind his radical past and is now living a quiet life on the lam with his daughter. But, when Sean Penn's white supremacist Colonel character returns from the past to track them down, they have to go on the run. The movie looks like it going to give us a bonkers movie-going experience. The novel was set during the President Regan era, but this film is set in modern times to reflect what is happening now. The cast also features Regina Hall, Sean Penn, Alana Haim, Teyana Taylor, Wood Harris, Benicio del Toro, as well as Shayna McHayle. The movie is set to be released on September 26th. Are you looking forward to this movie?
New York Times
6 days ago
- New York Times
The Artist Who Bends Photography Into Many Shapes
When Kunié Sugiura set out to make life-size photograms of human subjects, she put a new spin on what it means to be 'an artist's artist.' A photogram is a direct image that is made on photosensitive paper without the use of a camera. Typically, small objects are displayed. Sugiura went larger and bolder. She asked other artists to pose, including Joan Jonas, Bill T. Jones, Takashi Murakami, Yayoi Kusama and Jasper Johns. Beginning in 1999, working in enclosures that she sheathed in black plastic to reduce reflections, she made some photograms into full-length portraits, in four-panel composites that measured over six feet high. 'I happened to know Jasper, so I called and asked him, and he said, 'Next spring,'' Sugiura recalled in March, when I visited her apartment and studio in New York's Chinatown. She was preparing to ship a few laggard works to the San Francisco Museum of Modern Art for her first American retrospective exhibition, 'Kunié Sugiura: Photopainting,' on view through Sept. 14. An elegant white-haired woman with gracefully erect posture and a dry wit, Sugiura, 82, cloaks an indomitable drive beneath a soft-spoken manner. 'At the end of spring, I called Jasper again and said, 'Can you do it?'' she continued. 'He said, 'Yes, if you come to Connecticut.'' She traveled to his home in Sharon, where he supplied her with a small shed and two assistants. He asked how many photogram papers she intended to expose. 'I had eight, but I didn't want to seem greedy,' she recalled with a laugh. She used four, and he approved two. In a collaborative effort, for a portrait included in the SFMOMA show, he sat in profile and plunked his hand and arm on the same paper. To anyone familiar with Johns's work, the silhouette of his face and the trademark hand motif are instantly recognizable. Want all of The Times? Subscribe.
New York Times
21-06-2025
- New York Times
When the New York Avant-Garde Started a Revolution
EVERYTHING IS NOW: The 1960s New York Avant-Garde — Primal Happenings, Underground Movies, Radical Pop, by J. Hoberman Yayoi Kusama. Andy Warhol. Amiri Baraka. Allen Ginsberg. Jack Smith. The Velvet Underground. Edie Sedgwick. The Last Poets. Ornette Coleman. Abbie Hoffman. Rip Torn. Judith Malina. Richard Foreman. Taylor Mead. Lenny Bruce. Jackie Curtis. Barbara Rubin. Charlotte Moorman. A dizzying roll call of sometimes famous, often infamous characters populates 'Everything Is Now,' a completist guide to arguably the most inventive scene of a tumultuous decade. Its densely packed pages offer vivid and timely anecdotal lessons on the impact, suppression and self-obliteration of radical art. The book unfolds chronologically, starting in the late 1950s with the popularization of Beat poetry and folk music, the rise of underground movies and the birth of happenings, and ending in the early '70s with Weathermen detonations, underground porn and Yoko Ono (the author praises her album 'Yoko Ono/Plastic Ono Band' as 'the past decade's quintessential artwork'). A child of the '60s himself, J. Hoberman writes authoritatively on harmolodic jazz, censored comedians, the Fluxus art movement, experimental film, immersive theater, political protest and the birth of rap. Some of these stories — the emergence of Bob Dylan, for instance — are oft told. But our guide through this subterranean blues knows all the craziest, twisted tales, and where the bodies are buried: The underground newspaper taken over by its female staffers. The midnight screenings shut down by the police. The jazz pioneer found drowned in a river. 'Everything Is Now' draws on published accounts in the press of the time, both underground and mainstream — particularly from The Village Voice, and its writers Jill Johnston and Jonas Mekas (themselves also creative characters). Hoberman himself began writing about movies for The Voice in 1972 and continued until 2012, a stunning run that made him one of the most important critics of the time. (I worked at The Voice as a contributor and editor from 1988 to 1996. I knew the author then as a colleague but not socially.) Along with the interviews he conducted for this book he draws extensively on memoirs, biographies and other books, including his own: He has previously written about the filmmaker Jack Smith, performance art and underground cinema. 'Everything' has everyone — Hoberman is encyclopedic in his recounting of the breakthroughs, breakdowns and bombings. It's a performer- and performance-driven narrative, vividly told. Kenneth Bernard's play 'The Moke-Eater,' the author informs us, was a 'malicious spectacle of an obnoxious all-American glad-hander trapped in a nightmare all-American town, tortured by a gibbering band of garishly made-up cannibal ghouls led by a mercurial dominatrix.' Ah, the '60s! But one key figure is elusive. Every now and then Hoberman breaks the fourth wall with a wry parenthetical or a confessional memory, but overall the author remains doggedly offstage: a historian who was occasionally a witness. It's a strangely objective, master-narrator stance for a milieu that was about dismantling barriers, prosceniums and structures, and centering collaboration. When he does interject, Hoberman conveys paragraphs in just a few words. Quoting a Sun Ra Arkestra review wherein the critic Michael Zwerin describes the 'polka-dot shirts,' 'African robes' and 'air of raunchiness,' then observes, 'They stared at us without enthusiasm,' Hoberman deadpans, 'One wonders why.' Unfortunately, though, the forest often gets lost for the trees. Without a strong narrative providing critical context, it's hard to keep track of all the players and their acts. As compelling as the tales are, sometimes I reeled from information overload. The wildly visual subjects also beg for photos, which are minimal. Actually, 'Everything Is Now' begs for a multimedia exhibition, where you could watch the films, view the artwork, hear the music and maybe even participate in the bacchanalia of 'Paradise Now,' a Living Theater production where the cast and audience mixed in 'an orgy of animal madness.' Want all of The Times? Subscribe.
