We’ve noticed you have JavaScript disabled on your browser. This will result in some features being disabled for you. Please enable JavaScript for the best experience. Click here for more information.
No results were found.
Claim the naming rights for the Artists & Inspiration building.
This 5,800-square-foot exhibition will provide the first permanent home for the most acclaimed items from the Adirondack Experience's fine and decorative arts collection in four spacious galleries along with an expansive creative space for a hands-on experience.
Naming opportunity claimed!
Boquet Valley, 1864.William Trost Richards (1833-1905)Oil on canvas22 x 31 inches 2012.041.001
Sponsor this painting!
In the Adirondacks, 1857.William Trost Richards (1833-1905)Oil on canvas29 x 44 inches1969.053.0001
Self Portrait (Man Looking), 1927.Harold Weston (1894-1972)Oil on canvas22 x 13.5 inches 2003.005.0002
Claim this naming opportunity!
This 16-foot-long guideboat, one of at least 100 boats Willard Hanmer is known to have made, was built in 1950 for a client to use in the Saranac Lake area.
Guideboat, 1945-1950.Willard Hanmer (1902-1962)Wood16 feet by 44 inches1969.195.001
Ceramic artist Natasha Smoke Santiago pays tribute to the victims and survivors of the residential school system in the US and Canada with her contemporary twist on traditional Mohawk pottery design.
Stolen/Broken Connections, 2021.Natasha Smoke SantiagoCeramic/clay 15 x 13 x 13 inches2021.082.0002East Coast to West Coast Survivors, 2021.Natasha Smoke Santiago Clay/ceramic/plastic/mother of pearl/feather/thread/glass11.5 x 11.5 x 11.5 inches2021.082.0001
Claim the naming rights to this gallery!
Artists' stories provide an introduction to what lies ahead throughout the galleries. An assemblage of signature paintings, rustic furniture, and sculptures sets the tone for the exhibition's overarching themes.
A large-scale looping video installment features interviews with artists, views into their studios, and select materials from the ADKX collection to orient visitors to the signature characteristics of Adirondack style.
Going Out: Deer Hunting in the Adirondacks, 1862.Arthur Fitzwilliam Tait (1819-1905)Oil on canvas20 x 30 inches 1973.036.0001
Sponsor this piece of rustic furniture!
Seth Pierce incorporated a flower basket pattern, a popular quilt motif, into the mosaic twig work design of this cupboard, which includes ten varieties of Adirondack wood on a pine cabinet.
Corner Cupboard, 1880-1890.Seth Pierce (1829-1911)Wood/metal77.5 x 44 x 26 inches1957.161.0001
Claim the naming opportunity for this exhibition element!
The museum's exceptional collection of textile arts will be featured throughout Artists & Inspiration in the Wild. Your donation will fund the exhibition of these light-sensitive materials on a rotating basis, beginning with this example from an Akwesasne Mohawk artist:
On Fire, 2018.Iakonikonriiotsa with Richard Skidders, Ienonhkwa'tsheriiotsa and Robynne DorionCotton 89 x 83 inches2019.067.0001
The museum's exceptional collection of more than 80,000 photographs will be featured throughout Artists & Inspiration in the Wild. Your donation will fund the exhibition of these light-sensitive materials on a rotating basis, beginning with this example from world-renowned photographer Margaret Bourke-White:
Camp Cedars, 1933.Margaret Bourke-White(1904-1971)Gelatin silver printP010981
Claim the naming rights for this exhibition element!
The museum's exceptional collection of Mohawk and Abenaki baskets will be featured throughout Artists & Inspiration in the Wild. Your donation will fund the exhibition of these light-sensitive materials on a rotating basis, beginning with this example from an award-winning maker:
Packbasket, 1997-1998.Henry Jake Atsienhanonne ArquetteAsh splint22.25 x 16 x 15 inches1998.004.0001
The Road to Ausable, ca. 1893.Roswell Morse Shurtleff (1838-1915)Oil on canvas40 x 30 inches1973.091.0001
Sponsor this guitar!
Musician and instrument maker Glenn Hill built this hollow body guitar during the COVID-19 pandemic with designs that pay tribute to his Mohawk heritage.
A'no'wa:ra O'no':wa, 2021.Glenn Hill Jr. Maple and Walnut38.5 x 13 x 3 inches2021.062.0001
Sponsor this sculpture!
Sculptor Benjamin Benedict captured the intelligence of ravens in Smart Birds (Raven), carved from a single piece of black walnut.
Smart Birds, 2019.Benjamin BenedictWood/Black Walnut21.5 x 12 x 18.5 inches2019.063.0001
Cool blues and patterned floors evoke the waterways and snow paths of the Adirondacks. Guideboats and glass, maps and photographs all reflect how ice and water have shaped the region's landscape.
Lake Saranac, 1934.Dale Nichols (1904-1995)Oil on canvas24.125 x 30.25 inches 2003.026.0001
Rich sounds, lush colors, and burled woods give shape to an immersive gallery capturing the paradigm for Adirondack art and design - the forests.
Claim the naming rights to this exhibition element!
Which comes first, the picture or the frame? Visitors see how different frames fully transform how a painting looks. Which is the best frame in a visitor's eye; something simple and subtle or ornate with gilding and flourish?
An exploratory table invites visitors to touch the woods, rocks, and leaves, the paints, brushes, and canvas - the full range of materials from which a finished work is inspired and constructed. This table invites groups to get a feel for art together and compare the differences among the many tools artists employ.
After watching a bear rummage through the garbage dump at her family's camp, Brandreth Park, Madeleine Vanderpool spent six summers carving this piece from a single block of marble
Bear with Cub, 1980.Madeline McAlpin Vanderpool (1913-2006)Marble18.25 x 8.25 x 24.5 inches 2000.037.0001
Snowed In, 1877.Arthur Fitzwilliam Tait (1819-1905)Oil on canvas36 x 28 inches1960.077.0001
Long Lake, ca. 1855James Cameron (1817-1882)Oil on canvas26 x 42 inches1969.091.0001
First Christmas at Home, ca. 1960
(collection of folk paintings)Edna West Teall (1881-1968)Acrylic paint on canvas board2018.013.0012
This interactive brings Teall's work to life, allowing visitors to see three-dimensional views of her art.
A Twilight in the Adirondacks, 1864. Sanford Robinson Gifford (1823-1880)Oil on canvas 24 x 36 inches 1963.124.0002
The Great Adirondack Pass, Painted on the Spot, 1837.Charles Cromwell Ingham (1796-1863)Oil on canvas48 x 40 inches 1966.114.0001
The characteristics of light -from firelight in a Great Camp to sunlight-dappled forest floors-are reflected in the luminous art featured in this first gallery.
The museum's exceptional collection of drawings, prints, and watercolors will be featured throughout Artists and Inspiration in the Wild. Your donation will fund the exhibition of these light-sensitive materials on a rotating basis, beginning with this example from Winslow Homer, one of the foremost painters in American art:
Casting 'A Rise', 1889.Winslow Homer (1836-1910)Watercolor 20.5 x 30.5 inches 1967.058.0001
A Good Time Coming, 1862Arthur Fitzwilliam Tait (1819-1905) Oil on canvas20 x 30 inches 1963.037.0001
A lawyer, artist, writer, and humanitarian (he was Chair of the United Nations Genocide Convention), Rosenberg retreated to the Adirondacks to find peace and paint at his home, Shanty Brook, in Essex County.
Hurricane Mountain, 1956James Naumburg Rosenberg (1874-1970)Oil on canvas26.75 x 33 inches2011.063.0001Gift of Anthony Zagoreos
Mountain View on the Saranac, 1868.Homer Dodge Martin (1836-1897)Oil on canvas30 x 56 inches 1971.046.0001
Still Hunting on the First Snow: A Second Shot, 1855Arthur Fitzwilliam Tait (1819-1905) Oil on canvas54 x 76 inches 1965.036.0001
Claim the rights to this exhibition element!
Fashioned in collaboration with treasured artist Barney Bellinger, the makerspace gives visitors an opportunity to create pieces inspired by artwork within the exhibition and the beauty of the Adirondacks.
"Inspiration is derived through my lifestyle of exploring backwoods ponds, lakes and mountain trails. Foraging for raw materials is always an opportunity to study natural forms and color." -Barney Bellinger, 2017.
Artist Barney Bellinger virtually welcomes visitors to the makerspace through a life-sized projection sharing his creative vision. His commitment to conservation and supporting young artists is evident through his creations and the partnerships he has fostered as a renowned and accomplished artist.
Arthur Parton depicts the mist rising on Boreas Ponds, with a view of Allen Mountain in the background.
In the Adirondacks, ca. 1866Arthur Parton (1842-1914)Oil on canvas33.25 x 41.25 inches1968.169.0001Gift of Harold K. Hochschild
Untitled: Adirondack Camping Scene, n.d. George Lafayette Clough (1824-1901)Oil on canvas24 x 36 inches1973.019.0001
Schroon Lake, 1846.Thomas Cole (1801-1848)Oil on canvas 33 x 32 inches 1965.003.0002
Mountain Road, 1960.Rockwell Kent (1882-1971)Oil on canvas28 x 44 inches1974.068.0001
Untitled: Asgaard Farm, 1961Rockwell Kent (1882-1971)Oil on canvas28 x 42 inches1961.056.0001
An Anxious Moment, 1880Arthur Fitzwilliam Tait (1819-1905)Oil on canvas20 x 30 inches1957.206.0001
Untitled: Ausable River, ca. 1869.Samuel Colman (1832-1920)Oil on canvas30 x 40 inches1972.160.0003
Johnstown native Jonathan Swartwout, a self-taught furniture maker, uses wood and natural materials he gathers from the Adirondack forest to create cabinets like this one.
Cupboard, n.d.Jonathon SwartwoutWood/Bark/Paint86.25 x 8.25 x 17.5 inches 2021.068.0001
Maurice Freedman took great joy in manipulating paint, using bold colors and contrast to create energetic, animated views of nature.
Adirondack Falls, 1945Maurice Freedman (1904-1985)Oil on canvas36.5 x 24.25 inches2006.069.0001
The "great mad genius" Ralph Albert Blakelock painted this peaceful view of an Adirondack cabin framed by a tangled frenzy of trees after poverty and mental illness drove him to an asylum and conservatorship.
Untitled: The Log Cabin, ca. 1890Ralph Albert Blakelock (1847-1919) Oil on canvas 18 x 16 inches 1973.125.0001 Gift of Harold K. Hochschild
Camp owner Francis P. Garvan commissioned a series of paintings of Kamp Kill Kare from Jonas Lie in 1928, including this rare view of the main building in winter.
Main Camp, Kamp Kill Kare, February 1930Jonas Lie (1880-1940)Oil on canvas45.5 x 55.5 inches1996.025.0001Gift of Bea Garvan
George Wilson is thought to be the builder of this rustic settee, finished with maple twigs, for the owners of Great Camp Uncas.
Settee, 1893.George Wilson Wood41.5 x 58.75 x 18 inches 1970.092.0051
Cedric Gates, 1975.Donald James Wynn Oil on canvas90.5 x 78 inches2003.025.0001
To enhance the immersive feel of the exhibition, each of the main galleries will be bathed with subtle and evocative soundscapes that complement the gallery theme. Sound is a powerful feature; it creates a more accessible experience and is proven to strengthen visitor engagement and enjoyment.
Ernest Stowe's furniture is characterized by his use of white birch bark and yellow birch rounds and his rustic adaptation of traditional, high style furniture design.
Sideboard, 1900-1911Ernest Stowe (1865-1940)White birch, yellow birch86.75 x 56.75 x 28 inches1983.077.0012
The Adirondacks are defined by the patterns of high peaks and low valleys, seen in works that capture the boundless views and vast scale.
Claim the naming rights to these exhibition elements!
Visitors put themselves in the shoes of Adirondack artists to explore scale and the rugged landscapes that have long lured creative visionaries. They can take a deeper look at paintings to build understanding of scale and depth, zooming out from the small details to the monumentalism of mountain peaks. To build empathy with artists of the past, families can "pack a packbasket" - selecting the art, materials, food, water, and other essentials needed for a productive undertaking.
Fort William Henry Hotel, 1870.James E. Buttersworth (1817-1894)Oil on board1967.220.0001
Satisfying the most wanted experience in a traditional art exhibition, a large-scale, three-dimensional rendering of Tait's "Fishing Through the Ice" gives visitors the opportunity to explore art through the sense of touch.
Fishing Through The Ice, 1854.Arthur Fitzwilliam Tait (1819-1905)Oil on canvas28 x 35.5 inches 2006.008.0001
Autumn Morning, Racquette Lake, 1872Arthur Fitzwilliam Tait (1819-1905) Oil on canvas 36 x 72 inches1963.037.0002
A Natural Fisherman, 1875.Arthur Fitzwilliam Tait (1819-1905)Oil on canvas14 x 22 inches 1974.101.0001
Wayne Ignatuk built this extraordinary piece with cherry and maple, using mortise and tenon joinery, hand hammered copper accents, and live edge in a nod to both the arts and crafts and rustic traditions.
Sideboard, 2004.Wayne Ignatuk.Cherry/walunut/butternut/copper/birchbark37.5 x 63..5 x 22 inches2021.086.0001
Hands-on interactives invite families to play with shade and shadow, colors, shapes, and materials. Visitors can work together to manipulate a variety of materials - some opaque, others transparent - in front of light sources to gain insights into artists' choices in creating their compositions.
Visitors digitally transform William Richardson Tyler's painting "West Mountain, Raquette Lake" by adjusting light and color. Learning by doing, visitors will see how the quality of light an artist selects creates mood in the finished work.
Lake George, 1856.John Frederick Kensett (1816-1872)Oil on canvas26 x 42 inches1965.079.0001
A Hunting Party in the Woods, 1856.Frederic Rondel (1826-1892)Oil on canvas22 x 30 inches1965.015.0001
Joseph O. A. Bryere, constructed this clock case from a wooden shipping crate for his home, Brightside-on-Raquette.
Tall Clock Case, 1887.Joseph O.A. BryereWood/Birchbark102 x 21.5 x 14 inches 2006.044.0001
Giant, 1922.Harold Weston (1894-1972)Oil on canvas18 x 22 inches2005.024.0001
Claim the naming rights to this interactive element!
Enchanting with an element of whimsy for younger visitors, the four main galleries will feature strategically-located, playful collection objects and props for visitors to "find." These objects will connect with the exhibition themes and messages, but are designed especially for the engagement of family audiences.
Visitors will get an intimate look at contemporary Adirondack artists at work in their studios and out in the wild. Through their personal narratives, the artists connect with visitors at each of the six looping videos placed throughout the exhibition.
This contemporary take on a traditional Adirondack chair combines leather and wood to create a comfortable seat that would be equally at home in an urban loft or Adirondack cabin.
Adirondack Chair, 2013. Jonathon Neal Sweet.Wood/leather 32 x 28.5 x 35 inches2013.024.0001
In 1940 artist Julius Delbos stayed in Tupper Lake during his only trip to the Adirondack Mountains. A friend taught him to drive on the road between Tupper Lake and Saranac Lake.
The Road from Tupper Lake to Saranac Lake, 1941Julius Delbos (1879-1970)Oil on canvas36.25 x 46.25 inches2003.005.0001
Autumn on Black Brook, 1876.Kate W. Newhall (1840-1917)Oil on canvas6 x 10 inches2020.044.0001
Timothy Fortune worked with friend and woodworker David Vana to bring his vision to life, seemingly capturing the moment a chair emerges from a tangle of tree roots at the base, arms swinging as it moves into its new form.
Metamorphosis, 2004.Timothy Fortune Wood/Metal83 x 38 x 56 inches 2004.035.0001
Untitled: Wolf Jaw Mountain, 1863.Horace Wolcott Robbins (1842-1904)Oil on canvas23 x 32.5 inches 1974.292.0001
Scroon [sic] Lake, 1871.Samuel Griggs (1827-1898)Oil on canvas14 x 24 inches1959.001.0001
Near Saranac Lake, Adirondacks (1874).Levi Wells Prentice (1851-1935)Oil on canvas40.25 x 58 inches2017.011.0001
St. Regis Reservation, 1937Amy White JonesOil on Masonite28 x 53 inches1986.065.001
A Pleasant Day at Lake George, ca. 1883William Bliss Baker (1859-1886)Oil on canvas20 x 36 inches 1966.114.0002
Don't have an account yet? Register Now
