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Location: Crystal Bridges Museum of American Art

Yasuo Kuniyoshi, Little Joe with Cow, 1923, oil on canvas, 71.1 x 106.7 cm (Crystal Bridges Museum of American Art) — A magical landscape

Yasuo Kuniyoshi, Little Joe with Cow

by Dr. Jennifer Padgett, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Elsie Driggs, Blast Furnaces, 1927, oil on canvas, 83.8 x 99.1 cm (Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2017.1) — Finding beauty in American industry

Elsie Driggs, Blast Furnaces

by Dr. Jennifer Padgett, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Gerardus Duyckinck I (attributed), six portraits of the Levy-Franks family (Franks Children with Bird, Franks Children with Lamb, Jacob Franks, Moses Levy, Mrs. Jacob Franks (Abigaill Levy), and Ricka Franks), c. 1735, oil on canvas (Crystal Bridges Museum of American Art) — A Jewish family in early New York

Gerardus Duyckinck I (attributed), Six portraits of ...

by Dr. Mindy Besaw, Crystal Bridges Museum of American Art and Dr. Beth Harris

Hock E Aye VI Edgar Heap of Birds, Native Hosts (Arkansas), 2018, aluminum sign, series of seven, 46.7 x 92.5 cm (Crystal Bridges Museum of American Art, ©Hock E Aye VI Edgar Heap of Birds) — Signs to guide historical understanding

Hock E Aye Vi Edgar Heap of ...

by Dr. Mindy Besaw, Crystal Bridges Museum of American Art and Dr. Beth Harris

James Wooldridge, Indians of Virginia, c. 1675, oil on linen, 75.6 x 108.6 cm (Crystal Bridges Museum of American Art), a Seeing America video Speakers: Dr. Mindy Besaw, Curator of American Art, Crystal Bridges Museum of American Art and Dr. Steven Zucker — Europe's earliest views of America

Wooldridge, Indians of Virginia

by Dr. Mindy Besaw, Crystal Bridges Museum of American Art and Dr. Steven Zucker

George Bellows, Return of the Useless (detail), 1918, oil on canvas, 149.9 x 167.6 cm (Crystal Bridges Museum of American Art) — The New York based ashcan artist George Bellows tackles the horrors of the First World War

Bellows, Return of the Useless

by Dr. Jennifer Padgett, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Maya Lin SilverUWRGrid — The river's brilliant reflections gave shape to this enormous sculpture of silver

Maya Lin’s Silver Upper White River

by Alejo Benedetti, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Jacob Lawrence, Ambulance Call, 1948, tempera on board, 61 x 50.8 cm (Crystal Bridges Museum of American Art) — Lawrence captures the vitality of Harlem and highlights the advancements in medical care for and by people of color.

A Harlem street scene by Jacob Lawrence, ...

by Dr. Jennifer Padgett, Crystal Bridges Museum of American Art and Dr. Beth Harris

James Turrell, Skyscape, The Way of Color — A viewing station for sunrise and sunset, Turrell’s work manipulates light, time, and perception.

James Turrell, Skyspace, the way of color

by Dr. Beth Harris and Dr. Steven Zucker

Carrie Mae Weems, Untitled (Woman Feeding Bird) — Weems sets her series around the kitchen table, a metaphor for the intimate spaces of home.

Carrie Mae Weems, Untitled (Woman Feeding Bird), ...

by Lauren Haynes, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Titus Kaphar, The Cost of Removal — Kaphar takes a violent history and renders it visible in this modified portrait of Andrew Jackson.

Titus Kaphar, The Cost of Removal

by Lauren Haynes, Crystal Bridges Museum of American Art and Dr. Beth Harris

Ruth Asawa, Untitled, c. 1958, iron wire, 219.7 × 81.3 × 81.3 cm Crystal Bridges Museum of American Art. — Taking cues from Mexican basket-weaving, Asawa creates diaphanous abstract forms from woven wire.

Ruth Asawa, Untitled

by Allison Glenn, Crystal Bridges Museum of American Art, and Dr. Beth Harris

Nari Ward, We the People (black version) — Ward refuses to let viewers take the idea of “We the People” for granted.

Nari Ward, We the People (black version)

by Dr. Mindy Besaw, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Andy Warhol, Coca-Cola [3] (detail), 1962, casein on canvas, 176.2 x 137.2 cm (Crystal Bridges Museum of American Art, © The Andy Warhol Foundation for the Visual Arts) — With this canvas, Coca-Cola [3], Warhol becomes Warhol.

Warhol, Coca-Cola [3]

by Alejo Benedetti, Crystal Bridges Museum of American Art and Dr. Steven Zucker

Mark Rothko, No. 210/No. 211 (Orange), 1960, oil on canvas, 175.3 x 160 cm (Crystal Bridges Museum of American Art). — Just because a painting isn’t full of angels doesn’t mean it isn’t spiritual and transcendent.

Mark Rothko, No. 210/No. 211 (Orange), 1960

by Dr. Margaret C. Conrads and Dr. Steven Zucker

Newspaper (detail), Richard Caton Woodville, War News from Mexico, 1848, oil on canvas, 68.6 × 63.5 cm (Crystal Bridges Museum of American Art, Bentonville, Arkansas) — Painted for a divided US, people from North and South could identify with this image—others remain marginalized.

Richard Caton Woodville, War News from Mexico

by Dr. Thomas Folland

Francis Guy, Winter Scene in Brooklyn — This snowy image of a bygone Brooklyn is sprinkled with farm animals, townspeople... and casual racism.

Francis Guy, Winter Scene in Brooklyn

by Dr. Margaret C. Conrads and Dr. Beth Harris

James Turrell, Skyscape, The Way of Color — A viewing station for sunrise and sunset, Turrell’s work manipulates light, time, and perception.

James Turrell, Skyspace, The Way of Color

by Dr. Beth Harris and Dr. Steven Zucker

Norman Rockwell, Rosie the Riveter, 1943, oil on canvas, 52 x 40 inches (Crystal Bridges Museum of American Art) — Representing women who entered the workforce during WWII, Rosie is strong, determined, and eating a ham sandwich.

Norman Rockwell, Rosie the Riveter

by Dr. Margaret C. Conrads and Dr. Beth Harris

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