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A message from Paul Provost, CEO and the Art Bridges staff

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We provide financial and strategic support to get art out of storage and into communities.

Norman Wilfred Lewis Untitled Subway Station 1945

Norman Wilfred Lewis, Untitled (Subway Station), 1945

Twilight in the Adirondacks Sanford Robinson Gifford

Sanford Robinson Gifford, Twilight in the Adirondacks, 1862

Art Bridges funds the borrowing and lending of artworks and exhibitions.

We believe this is the best way to share high quality American art with people across the country.

3 Years

2.4 Million People Reached

#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).
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💬 #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.
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🗓️ 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.
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At Art Bridges, we are thrilled to work with interns from Northwest Arkansas and all over the country each academic year and summer. Interns receive hands-on experience with guidance and mentorship from Art Bridges staff across departments, from Collection Loans & Exhibitions to Marketing & Communications to Awards & Cohorts, Evaluation and Learning & Engagement.

We are now accepting applications for our Spring 2022 Internship Program. Visit the link in our bio to learn more + apply. We can't wait to hear from you! #ArtBridges
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#DavidDriskell: “We don’t go around saying ‘white art,’ but I think it’s very important for us to keep saying ‘black art’ until it becomes recognized as American art.”

Few people have been as influential to the history of African-American art curation, scholarship, and creation as artist, curator, and historian David Driskell. His groundbreaking 1976 exhibition “Two Centuries of Black American Art” at the Los Angeles County Museum of Art put a spotlight on 200 African-American artists who had long been overlooked by curators and scholars. His show proved these artists were central to the development of American art.

Driskell amassed an important collection of African-American art of his own and created art throughout his life as well. You can read more about his oil and collage work “Woman with Flowers” in the #ArtBridges collection on our website. Like many of his works, “Woman with Flowers” is an homage to Driskell’s personal history and cultural identity, evoking memories of his mother’s domestic activities, African art traditions, and religious motifs.
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During the last decade and a half of her life, #NellieMaeRowe (1900-1982) lived on a busy thoroughfare just outside of Atlanta, Georgia and welcomed visitors to her “Playhouse,” which she decorated with found-object installations, handmade dolls, chewing-gum sculptures, and hundreds of drawings.

To introduce new audiences to Rowe, the @HighMuseumofArt has organized “Really Free: The Radical Art of Nellie Mae Rowe,” the first major exhibition of the artist in more than 20 years. “Really Free” offers an unprecedented view of how Rowe cultivated her drawing practice late in life, starting with colorful, at times simple sketches on found materials in the 1960s and moving toward her most celebrated highly complex compositions on paper of the late 1970s and early 1980s.

Also, through photographs and scenes from an experimental documentary on her life, visitors will experience the lively art environment she created in and around her home.

📍 The exhibition is on view at the High Museum now through January 9 (installation image seen here). Contact us if you are interested in learning about how to travel this show to your institution in the coming year(s).
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Art Bridges' support has enabled us to experiment with using touchscreen technology to deliver information and engage visitors in the gallery.

Adam Thomas, Curator of American Art

Palmer Museum of Art

Art Bridges wants you to become our next great partner.