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Oscar Avellaneda-Cruz
In the new Art of the North Galleries, continuous heart pine floors, with a chalk finish and outlines of nails in the recycled wood, offer something more earnest and hardworking than pristine surfaces. The effect is intentional, suggesting at the character of Northerners. In the same galleries that present works reflecting the romantic ideal of Alaska are also works by contemporary artists for whom landscape is a place in transition, at risk and altered by man.
Oscar Avellaneda-Cruz
In the new Art of the North Galleries, continuous heart pine floors, with a chalk finish and outlines of nails in the recycled wood, offer something more earnest and hardworking than pristine surfaces. The effect is intentional, suggesting at the character of Northerners. In the same galleries that present works reflecting the romantic ideal of Alaska are also works by contemporary artists for whom landscape is a place in transition, at risk and altered by man.
Oscar Avellaneda-Cruz
In the new Art of the North Galleries, continuous heart pine floors, with a chalk finish and outlines of nails in the recycled wood, offer something more earnest and hardworking than pristine surfaces. The effect is intentional, suggesting at the character of Northerners. In the same galleries that present works reflecting the romantic ideal of Alaska are also works by contemporary artists for whom landscape is a place in transition, at risk and altered by man.
Kevin G. Smith
The museum’s recent 31,000-square-foot addition is itself a testimony to the distinctiveness of Alaska and the Arctic. Even the materials used in the architecture of a new wing reflect a sense of place – in this case, Anchorage, Alaska, a Northern city within a sub-Arctic landscape. Windowed galleries overlook the city’s urban and natural surroundings, connecting museum content to the environment it references. The façade is clad in zinc and Alaskan Yellow Cedar, pairing contemporary design sensibility with the materials’ durability and the weathering that defines Alaska’s built environment.
Kevin G. Smith
The museum’s recent 31,000-square-foot addition is itself a testimony to the distinctiveness of Alaska and the Arctic. Even the materials used in the architecture of a new wing reflect a sense of place – in this case, Anchorage, Alaska, a Northern city within a sub-Arctic landscape. Windowed galleries overlook the city’s urban and natural surroundings, connecting museum content to the environment it references. The façade is clad in zinc and Alaskan Yellow Cedar, pairing contemporary design sensibility with the materials’ durability and the weathering that defines Alaska’s built environment.
Kevin G. Smith
The museum’s recent 31,000-square-foot addition is itself a testimony to the distinctiveness of Alaska and the Arctic. Even the materials used in the architecture of a new wing reflect a sense of place – in this case, Anchorage, Alaska, a Northern city within a sub-Arctic landscape. Windowed galleries overlook the city’s urban and natural surroundings, connecting museum content to the environment it references. The façade is clad in zinc and Alaskan Yellow Cedar, pairing contemporary design sensibility with the materials’ durability and the weathering that defines Alaska’s built environment.
