Leaving family in Missouri we head to Bentonville, Arkansas for an overnight. Yes, this is the home of Walmart and Jay wants to visit their flagship store, Sam’s Club, where they are practicing state of the art sustainability.
We have no trouble getting a room at the Hilton Garden Inn in Bentonville. A friendly young man checks us in and makes a few suggestions for dining in the historic downtown area of town. Today is Labor Day so the area feels like a ghost town with few places open.
Three restaurants are recommended: Table Mesa Bistro, which offers multicultural dishes featuring seasonal ingredients (fire grilled lamb pita), Tavola Trattoria where they serve excellent Italian food (Kobe meatballs) and is the sister restaurant of Table Mesa, and Tusk & Trotter American Brasserie.
We locate all three in a drive around town and find only Tusk & Trotter open. They have a limited menu in the bar because of the holiday but we have a delicious and satisfying meal. Jay starts with a draft Guinness and then we both decide on the grilled romaine salad and ribs with truffle fries. Jay declares the grilled salad the best he has ever had – light smokey flavor permeating the greens. The ribs are meaty and the fries are wickedly good. And all are gluten-free.
Clueless about the Crystal Bridges Museum of American Art until our waiter at Tusk & Trotter fills us in, we drive over to the park to take a walk and peer through the fence into the museum construction area. A 120 acres of forests, gardens, and long hiking trails connect the museum with downtown Bentonville. Its patron, Alice Walton, is the descendant of the Ozarks’ first family: her father, Sam Walton, opened a discount store called Wal-Mart in nearby Rogers, Arkansas, in 1962. Today Walmart is America’s largest private employer. The Walton Family Foundation gave the museum a $1.2 billion endowment and Ms Walton and the museum have amassed an enviable collection of treasures spanning most of American history.
I learn more from an article in The Economist:
Crystal Bridges takes its name from Crystal Spring, which flows on the grounds, and from the multiple bridges around which the museum is designed. The architect is Moshe Safdie, best known for his half-brutalist, half-playful Habitat 67 complex in Montreal. Crystal Bridges comprises several discrete but linked structures that meander around and above two spring-fed reflecting ponds, a design that Mr Safdie says is meant to echo the surrounding topography. Much of the museum’s roofing is copper, which currently has the umbral hue of the foliage around it—the leaves dying in autumn, the copper brand new—but which will of course gradually darken, turning a deep rust red and then dark brown before taking on the familiar light green patina in years to come.
And just as the buildings nestle into and hug their surroundings, with few right angles, so the roofs arch and swoop and fall, mimicking the region’s mountains. Trees surround the museum; as they grow they will enshroud it with leaves in full summer and expose it in winter. Crystal Bridges does not look like a traditional Japanese structure, but something of the Japanese aesthetic—simplicity and cleanness of design, reverence for nature, the impulse to build in harmony with rather than atop the natural world—pervades it.
The museum’s collection manages to be both thorough and surprising. Those who wish to see works by major American artists such as Winslow Homer, Thomas Hart Benton and Robert Rauschenberg will not be disappointed. But Don Bacigalupi, the museum director, says that in building a collection at this late date he looked at “identifying new scholarship and new research that led us toward artists and moments less well discovered”. That has inspired a particularly strong focus on women in American art—as patrons, subjects and creators. Janet Sobel, who made drip paintings several years before Jackson Pollock, gets her due. Among the museum’s first-rate collection of portraits, nothing exceeds Dennis Miller Bunker’s sombre, haunting image of Anne Page; and in its contemporary galleries Alison Elizabeth Taylor’s marquetry “Room” is, like the museum itself, a chamber of wonders in an unexpected place.
When the museum opens Nov. 11, many of the paintings will be on public display for the first time because Alice Walton bought them from private collections.