“Above all else, it is about leaving a mark that I existed: I was here. I was hungry. I was defeated. I was happy. I was sad. I was in love. I was afraid. I was hopeful. I had an idea and I had a good purpose and that's why I made works of art.” —#FelixGonzalezTorres

Jointly owned by #ArtBridges and @CrystalBridgesMuseum, Gonzalez-Torres' "Untitled" (L.A.) from 1991 is currently on loan to our friends at the @UnLVMuseum and is featured in its just-opened exhibition "I Am Here," which invites viewers to think about what it means to use art as a vehicle for personal narratives.

Photo credit: Emmanuel Muñoz ...

#JosephStella’s most recognizable work is probably his iconic rendering of the Brooklyn Bridge. His painting “Tree of My Life,” however, marks an important moment in the painter’s career and art history.

Stella had an epiphany one morning when he said a new light broke over him and he found himself “in the midst of a joyous singing and delicious scent . . . of birds and flowers ready to celebrate the baptism of my new art.”

His new art moved away (slightly) from the influences of Cubism, Fauvism, and Futurism and embraced an intricate realism that infused forms and colors with symbolic significance. For example, in “Tree of My Life,” there is a gnarled trunk that represents the weathering effect of life’s temptations and flowers and blue patches of sky that symbolize divine protection and spiritual ascendance. Furthermore, the olive tree is a nod to his Mediterranean roots, while the work’s composition still recalls the formal attributes of his Brooklyn Bridge painting.

These are just a few of the details one can learn about and discuss when looking at this large-scale work, which is rich with art history and personal references. If you are interested in bringing this work to your museum, contact us! #ArtBridges

Image: Joseph Stella, Tree of My Life, 1919, oil on canvas, 94 1/2 x 86 1/2 x 2 7/8 in. Art Bridges. ...

#TCCannon: “I am tired of Bambi-like deer paintings reproduced over and over—and I am tired of cartoon paintings of my people.”—The late Kiowa and Caddo artist T.C. Cannon, recounted by @smithsonianmagazine.

Cannon’s 1975 painting “Grandmother Gestating Father and the Washita River Runs Ribbon-Like” is a powerful depiction of multi-generational connection. The work exhibits a joyous regard for the people and places that define the artist’s family heritage. View it and learn more about it on the #ArtBridges website. Contact us if you are interested in having the work tour your museum.

Here: A photo of the T.C. Cannon ca. 1965 from @smithsonianmagazine. Courtesy of the Archives of the Institute of American Indian Arts (@instituteofamericanindianarts). ...

💬 #CynthiaDaignault: “I placed it with #ArtBridges specifically because I wanted that piece to belong to America and I wanted the work to travel much like I have traveled so that it could be seen in those different regions.”—The artist speaking to our partners @hudsonrivermuseum about her immersive installation "Light Atlas."

Featuring 360 paintings of the American landscape that she documented on her solo cross country trip in 2014, the work is a poetic reflection on the diversity of the United States’ landscape and the sense of perpetual hope it carries.

The piece is currently on view at the Hudson River Museum (installation image seen here) as part of the exhibition "Landscape Art & Virtual Travel: Highlights from the Collections of the HRM & Art Bridges," on view through February 6, 2022. #ArtBridges

🎨 Cynthia Daignault, “Light Atlas,” 2016, oil on linen, 360 canvases, each 8 x 10 in (20.3 x 25.4 cm). Art Bridges. ...

🗓️ On October 28 at 7pm (EDT), our partners at the @DenisonMuseum will be hosting an artist talk with #WillWilson. Attendees will learn more about the museum's feature fall exhibition “In Conversation: Will Wilson” and the artist's process working in both wet plate photography and more contemporary practices. We are pleased to offer this traveling show in our Exhibition Marketplace—visit our website to learn more.

#ArtBridges

Pictured: Will Wilson, "Insurgent Hopi Maiden, Melissa Pochoema, Citizen of the Hopi Tribe," 2015, printed 2019, Archival pigment print from wet plate collodion scan, 50 x 40 in. Art Bridges. ...