WORKS - Summer 2020

ARKANSAS ARTS CENTER SUMMER 2020

Dear Member,
You may notice something different about your Works magazine this quarter.
Namely, that we are delivering it in a digital format.
In mid-March, as closures began sweeping across the city of Little Rock, the
Arkansas Arts Center closed its temporary Riverdale location, and most staff began
working from home. The very next week, we launched “Arkansas Arts Center
Amplified,” a Facebook group designed to connect our community to art and
inspiration. Within just a few weeks, AAC Amplified had grown to more than 1,000
people and expanded into an innovative slate of online programming.
We have also moved two of our most popular exhibition programs online – the 59th
Young Arkansas Artists and the 62nd Annual Delta (read more beginning on page
5). While these exhibitions are not happening as we had planned, they have the
potential to expand the Arts Center’s reach in new and exciting ways. For example,
Young Arkansas Artists has always served the talented youth of the entire state.
Now, Arkansans from Jonesboro to Texarkana and Fayetteville to Monticello can
experience this exhibition without making the drive to Little Rock. And Delta artists
now have an international platform to showcase their work.
Your membership is a vital part of sustaining the Arts Center at this critical time. Our
talented staff is working on new and creative ways to provide you with engaging
member experiences, including a virtual 62nd Annual Delta member lecture event.
Please watch your email for your exclusive invitation.
On a global scale, what we are experiencing right now is unprecedented. Our arts
community is facing historic challenges. And none of us know what comes next.
What I do know is this: Our connection to the arts is the very thing that reminds us of
our humanity and our resilience. While many things in the world still feel uncertain,
I am so proud of the hard work of the Arts Center staff as we strive to remain
connected to you, our valued member.
We will emerge from this moment together, but it will take your continued support. As
we prepare to open a reimagined Arkansas Arts Center in 2022, we look forward to
you being with us every step of the way.
FY 19–20 TRUSTEES
Merritt Dyke – President
Van Tilbury – Vice-President
Robert Burnett – Treasurer
Dale Ronnel – Secretary
Dr. Laurence Alexander
Isabel Anthony
Dr. Loren Bartole
John Bethel
Del Boyette
Gary Cooper
Amanda Wilson Denton
Maribeth Frazer
Marion Fulk
Diane Gilliland
Stan Hastings
Kaki Hockersmith
Jim Hugg
Diane Jonsson
Ashley Merriman
Patrick O’Sullivan
Paul Parnell
Gordon Silaski
Terri Snowden
LaRand Thomas
Pat Wilson
HONORARY TRUSTEE
Jeane Hamilton
EX-OFFICIO TRUSTEES
Frank D. Scott, Jr., Mayor
City of Little Rock
Joe Smith, Mayor
City of North Little Rock
Kenya Eddings
Junior League of Little Rock
Shantea Nelson
Junior League of North Little Rock
Jim Gorman
Docents
Donnell Williams
Friends of Contemporary Craft
Heather Wardle
Contemporaries
FY 19–20 FOUNDATION DIRECTORS
Warren Stephens – Chair
Ben Hussman – Vice-Chair
George O’Connor – Treasurer
Victoria Ramirez – Secretary
John Ed Anthony
Claiborne P. Deming
Terri Erwin
Michael Mayton
Robert W. Tucker
James T. Dyke – Director Emeritus
Stay well,
Dr. Victoria Ramirez
Executive Director
Cover: Aaron Bleidt’s Drawn to the Moon is featured in the 62nd Annual Delta Exhibition.
Aaron Bleidt, Drawn to the Moon, 2019, freehand digital drawing and archival pigment ink
print on paper, 36 x 24 inches
Arkansas Arts Center programs are
supported in part by: Arkansas Arts
Center Foundation; Arkansas Arts
Center Board of Trustees; City of Little
Rock; City of North Little Rock; Little
Rock Convention and Visitors Bureau;
and the Arkansas Arts Council, a
division of Arkansas Heritage, and the
National Endowment for the Arts.

Happenings
Here’s how we’re keeping you connected to the arts this summer.
ARKANSAS ARTS CENTER AMPLIFIED
While the Arkansas Arts Center’s in-person programs
are postponed, the center is offering creative and
engaging arts experiences online through Arkansas Arts
Center Amplified. Read more on page 5.
62ND ANNUAL DELTA EXHIBITION
The 62nd Annual Delta Exhibition is also going digital
this year. Learn more about the prestigious regional
exhibition on pages 6–7.
59TH YOUNG ARKANSAS ARTISTS EXHIBITION
The 59th Young Arkansas Artists Exhibition is on view
– virtually. Read more about the legacy of the annual
youth art exhibition on pages 8–9.
ARKANSAS ARTS CENTER COLLECTION HIGHLIGHTS
Explore highlights from the Arkansas Arts Center
Foundation Collection – including Judy Onofrio’s Just
Pretending, Patti Warashina’s Coupling and Sir Peter
Paul Rubens’ Hygeia Goddess of Health, Feeding the
Serpent – beginning on page 10.
1

A Reimagined Arts Experience
Construction continues on the Arkansas Arts Center’s
MacArthur Park building
Gallery Image: View of the Arkansas Arts Center’s expansion, which connects improved spaces for exhibition with new community gathering spaces
such as the Cultural Living Room and a double-height public Atrium. State-of-the-art Galleries showcase the Arkansas Arts Center’s world-class
permanent collection of local, national, and international art, and house special exhibitions. The Cultural Living Room is a community space for casual
gatherings and elevated events. Image courtesy of Studio Gang.
The reimagined Arkansas Arts Center, scheduled to
open in 2022, is in progress. At the MacArthur Park
construction site, foundations for the new additions
have been installed, and construction on the steel
structure for the second-floor gallery space and the
curved walls of the building’s central axis – a key
element of the project’s architecture – are in progress.
The new Arkansas Arts Center will welcome all with
exhibitions, art classes, performances, lectures,
programs and more. Building on the Arts Center’s
legacy, the reimagined space will be a creative,
educational, and civic beacon for future generations.
Designed by world-renowned architect firm, Studio
Gang, the stunning new Arkansas Arts Center is located
in Little Rock’s MacArthur Park and surrounded by
historic homes in the Quapaw Quarter neighborhood.
Notably, the north entrance features a new entrance
that reveals the original 1937 Museum of Fine Arts
façade. The glass entrance to the south is surrounded
by 6-acres of beautiful landscaping, walking paths
and an event lawn, designed by the noted landscape
architecture firm, SCAPE.
The transformation of the Arkansas Arts Center into a
state-of-the-art facility is being realized through a $128
million special fundraising campaign, Reimagining the
Arkansas Arts Center: Campaign for Our Cultural Future.
The campaign will also provide transition and opening
support, while also strengthening the Arkansas Arts
Center Foundation’s endowment, yielding support for
operations, exhibitions, acquisitions, and education and
outreach programming in the new building. In October
2019, capital campaign co-chairs Harriet and Warren
Stephens announced that the campaign has raised
more than $122.7 million of its $128 million goal.
2

Workers walk along a concrete form for an interior wall.
A crane lowers a steel beam to a waiting steelworker.
A view of a pumper truck and a crane from inside the original 1937 building.
Workers ensure preparations for steel and concrete.
FOLLOW OUR PROGRESS
See project updates, construction progress and more:
reimagining.arkansasartscenter.org
3

C O M M U N I T Y
Perspectives
While our MacArthur Park building is under construction, our partners throughout the community are
crucial to making our work continue – and they’ll continue to be critical to our mission when the reimagined
Arkansas Arts Center opens in 2022. Here, our partners for the digital 62nd Annual Delta Exhibition told us
a little bit about what they’re most excited to see in the reimagined Arkansas Arts Center.
DONNA UPTIGROVE
Assistant Director
Historic Arkansas Museum
The Arkansas Arts Center is well
deserving of a world class facility
that matches its quality curatorial,
educational, and theatrical
programming. The reimagined
Arkansas Arts Center will be a
beacon of fine art and culture in our
city; bringing tourism, boosting the
economy, and improving access to
the arts for all Arkansans.
NICK LEOPOULOS
Executive Director
Thea Foundation
As a cultural cornerstone in Central
Arkansas, the Arkansas Arts Center
is perfectly positioned to serve as a
hub for other creative organizations
and artists in the city. I look forward to
seeing this transformation's impact in
many ways, specifically how schools
will respond to and be enriched by
this incredible resource. Developing
a new generation of cultural icons
and consumers starts with access,
and Arkansas schools will have that
at their fingertips. The state-of-theart
facility is sure to only enhance
the annual Delta Exhibition, further
strengthening the connections
made between Southern artists and
those who seek to learn from and be
inspired by their works.
JOHN GAUDIN
Argenta Arts District
Advocate
Over the last 20 years I've rarely
missed an exhibition at the
Arkansas Arts Center. It's exciting
to imagine how future exhibitions
will be expressed in the newly
designed museum. I look forward
to experiencing the physical space
and the integration with outdoor
opportunities. I believe the Arkansas
Arts Center's programming is the
best in the state. Having a vibrant
and exciting art museum in close
proximity to the Argenta Arts District
is very important to the arts culture
of Central Arkansas.
4

Shortly after closures swept through the country – and
hit Little Rock – in mid-March due to Covid-19, the
Arkansas Arts Center swiftly adjusted all their plans in an
effort to keep the community connected to the arts.
“Arkansas Arts Center Amplified” began as a Facebook
group to feature artist demonstrations, highlights of
artworks from the Arkansas Arts Center Foundation
Collection, Children’s Theatre performances and
episodes of “Our Work Continues,” an original web
series. Within a few weeks, more than 1,000 people
joined the group, and “Arkansas Arts Center Amplified”
expanded into an innovative slate of online programming.
As part of Arkansas Arts Center Amplified, the 59th
Young Arkansas Artists and the 62nd Annual Delta –
two of the Arts Center’s popular exhibitions – will move
to an online format, expanding the exhibitions’ reach
in new and exciting ways. Across the state, Arkansans
can experience the talent and creativity of these Young
Arkansas Artists from their homes. Moving the Delta
Exhibition online offers regional artists an international
platform to showcase their work.
Art instructors designed Museum School classes to be
taught via Zoom, and class offerings include ceramics,
painting, drawing, color theory, sculpture and the
business of art along with theatre classes for both youth
and adults. More than 200 students enrolled in the first
session of online classes, including students joining the
class from out of state.
Through “Arkansas Arts Center Amplified,” the Arts
Center will continue to offer engaging arts experiences
online while the Centers for Disease Control and
Prevention and local public health authorities
recommend social distancing.
AAC Amplified is supported by Nucor Divisions – Arkansas
5

62nd Annual
Delta Exhibition
goes digital
VIRTUAL EXHIBITION TO FEATURE WORK BY
63 EXCEPTIONAL REGIONAL ARTISTS
In a creative reimagining, the Arkansas Arts Center’s
62nd Annual Delta Exhibition will be hosted in a
digital format this summer. The exhibition, organized
in collaboration with Historic Arkansas Museum, Thea
Foundation, ACANSA Gallery and the Argenta Branch
of the William F. Laman Library, will be open for online
viewing beginning June 19.
The Delta Exhibition is now part of the Arts Center’s
new digital engagement initiative “Arkansas Arts Center
Amplified’ through which the center is offering engaging
art experiences where many people are now spending
much of their time – online. In addition to the center’s
popular Young Arkansas Artists digital exhibition,
the new digital format for Delta also offers increased
accessibility to an exhibition that represents the entire
Mississippi Delta region.
As one of the longest-running and most prestigious
juried art exhibitions in the region, the Annual Delta
Exhibition represents the Arts Center’s commitment
to artists living and working in our community today –
and to continuing to grow artistic talent in the region.
Ensuring the exhibition’s continuity is part of the Arts
Center’s mission to remain vibrant, accessible and
Elizabeth Weber, Social Distancing, 2019, leaf skeletons, honey locust
thorns, wool roving, and dandelion wishes, 9 ½ x 12 x 12 inches
Leah Grant, Notice, 2019, cyanotype and screenprint on BFK
printmaking paper, 30 x 22 inches
community-oriented while the MacArthur Park building
is under construction.
“The Delta Exhibition is an integral piece of the
Arkansas Arts Center’s legacy. We are proud to
present an innovative solution to continue the
exhibition during this time,” Executive Director
Victoria Ramirez said. “Along with our creative arts
partners, we look forward to showcasing art that will
educate and inspire, especially amid challenging
circumstances.”
With the Arts Center’s galleries under construction, the
center partnered with Historic Arkansas Museum, Thea
Foundation, ACANSA Gallery and the Argenta Branch
of the William F. Laman Library to host the exhibition
across the community. While the exhibition moves
online, these community partners remain integral to
continued community outreach and engagement with
the exhibition.
“Historic Arkansas Museum is delighted to partner
with the Arkansas Arts Center for the 62nd Annual
Delta Exhibition,” said Swannee Bennett, Historic
Arkansas Museum Director and Chief Curator. “This
collaboration is a marvelous example of what the
Arkansas arts community can accomplish by working
together to elevate the work of the most talented
artists working in the region today.”
6

“Enriching our community with thought-provoking,
contemporary art is a top priority for Thea Foundation,
and we’re deeply honored to be a part of this team
offering what we know will be an impactful showcase of
Southern talent,” Thea Foundation Executive Director
Nick Leopoulos said.
"The Argenta Arts District is thrilled to be a partner
for the Arkansas Arts Center's signature event, the
Delta Exhibition,” arts promoter John Gaudin said. “The
creative and community-oriented team that has come
together around this exhibition is uniquely suited to
build a valuable exhibition experience during this time."
Showcasing artists born in or living in Arkansas and
its border states, the Annual Delta Exhibition presents
a vision of contemporary art in the American South.
Founded in 1958, the exhibition provides a unique
snapshot of the Delta region and features work in
all media. The exhibition reflects the region’s strong
traditions of craftsmanship and observation, combined
with an innovative use of materials and an experimental
approach to subject matter.
Stefanie Fedor, Executive Director of the Visual Arts
Center of Richmond, served as juror for the Arkansas
Arts Center’s 62nd Annual Delta Exhibition. Fedor
selected 63 works to be featured in the exhibition
from 772 entries by 348 artists. Fedor will also name a
Grand Award winner and two Delta Award winners. The
Contemporaries, an auxiliary membership group of the
Arkansas Arts Center, will also select a Contemporaries
Award winner. Fedor will announce the award winners
in a virtual event on June 18.
Barbara Satterfield, Buckeye Seed Pods Presented, 2020, coil-built
earthenware, oil paint, and encaustic with press molds of buckeye
seed pods, 16 x 19 x 15 inches
62nd Annual Delta Exhibition Partners
The 62nd Annual Delta Exhibition is organized
by the Arkansas Arts Center in collaboration with
community partners.
The 62nd Annual Delta Exhibition is supported by
(at time of printing):
Mrs. Lisenne Rockefeller
Terri and Chuck Erwin
Judy Fletcher, In Memory of John R. Fletcher
Friday, Eldredge & Clark, LLP
JC Thompson Trust
Dianne and Bobby Tucker
AAC Contemporaries
Bank OZK
Phyllis and Michael Barrier
East Harding Construction
Marion W. Fulk
Barbara House
Don Tilton
Grand Award supported by:
The John William Linn Endowment Fund
Anton Hoeger, Woman with Red Shoes, 2019, oil on canvas, 43 1/3 x
43 1/3 inches
Exhibition supported by the Andre Simon Memorial
Trust in memory of everyone who has died of acquired
immune deficiency syndrome (AIDS)
7

A Continuing
Legacy
ARTISTS AND EDUCATORS REFLECT ON THE
INFLUENCE OF THE STATEWIDE YOUTH ART
EXHIBITION – AND HOW THEY’RE PASSING
IT ON TO THEIR STUDENTS
The creativity of Arkansas students will be on view in the
Arkansas Arts Center’s Young Arkansas Artists Exhibition
beginning May 9. Established in 1961, the annual youth art
exhibition features works by kindergarten through 12th
grade students from across the state, inspiring creativity
and encouraging a life-long passion for the arts.
In honor of its 59th year, we spoke with Arkansas artists
and teachers who were featured in past YAA exhibitions
– and those who have continued to encourage their
students to continue creating art.
For Little Rock artist Jason McCann, being accepted to YAA
as a high school freshman was a remarkable experience.
“I was very aware that I would have work hanging in the
same museum that housed works by masters like Monet
and Picasso,” McCann said. “It was the 9th grade art kid
equivalent of being a rock star.”
Kylie M., Hopeless Manic, Batik, 18 x 24 inches, 10th Grade, Norfork
High School
McCann also teaches art at Little Rock Central High School,
and his students have been featured in the exhibition –
and for those students it can be an important source of
inspiration and motivation to continue making art.
“Of the dozens of my students that have been included
[in YAA], I can’t think of a single one that wasn’t at least a
little reshaped by the experience,” McCann said. “I find
that they are usually re-energized and more excited when
they come back to school the next year. For those that are
seniors, it gives them a boost as they head off to college,
especially those majoring in art.”
Dr. Danny Fletcher, Director of Fine Arts for the Little Rock
School District, also has fond memories of the Young
Arkansas Artists Exhibition. In 1967, a 6th-grade Fletcher’s
drawing of a lamp post covered in flowering vines was
featured in Young Arkansas Artists. His work won 2nd
place – and the experience helped him recognize the
value of his art.
“It helped confirm that my art was good,” Fletcher said. “It
was a great feeling to win at something that I loved to do.”
Dalton C., Mr. Ostrich, Acrylic, 18 x 24 inches, Kindergarten, Miss
Selma’s Schools
But the young artists whose work is featured in the
exhibition aren’t the only ones who benefit. For young
people, viewing artwork created by other students on
8

INNOVATING IN CHALLENGING
TIMES, EXHIBITION OF YOUTH
ARTWORK MOVES ONLINE
Young Arkansas Artists, the popular
annual exhibition of youth art, is on view
now as a digital exhibition at
yaa.arkansasartscenter.org.
Ruth R., Go-Go Juice, White Charcoal, 8 x 12 inches, 11th Grade, Greene
County Tech
view in a museum alongside a renowned collection of
international art can be an inspiring creative experience.
For Jamie Freyaldenhoven, an art teacher at Lakewood
Elementary, the exhibition helps inspire lifelong creativity.
Students at the North Little Rock elementary school often
tell Freyaldenhoven that they want to be artists when they
grow up – but programs like YAA allow her to offer an
answer that students might not expect.
Young Arkansas Artists has been a staple
of Arkansas Arts Center’s exhibition
calendar since 1961, and the Arts Center
remains committed to its continuity
– especially in these challenging and
uncertain times. Moving Young Arkansas
Artists to a digital format is part of
Arkansas Arts Center Amplified, the Arts
Center’s ongoing commitment to bringing
engaging art experiences where many
people are now spending much of their
time – online. As a virtual exhibition,
Young Arkansas Artists will join a host
of other Arts Center initiatives that have
migrated online during this time.
“They can be an artist right now! They do not have to grow
up to be this,” Freyaldenhoven said. “It truly blows their
mind. They say with pride, ‘I am an artist!’”
When art made by her students is featured in the
exhibition, Freyaldenhoven takes the class on a field trip
to visit the Arts Center and view the exhibition. “They
are generally blown away to see their art hanging in a
museum,” Freyaldenhoven said.
The Young Arkansas Artists new digital
format also offers increased accessibility
to the exhibition – to families and art
lovers as well as educators.
As a student, Little Rock artist Michael Shaeffer had
artwork featured in the exhibition for three years running
in the late 1990s. Shaeffer, who also teaches youth art
classes in the Museum School at the Arkansas Arts Center,
served as a grand juror for a past Young Arkansas Artists.
“It was really neat to be able to talk with these young
artists from the beautifully creative kindergarten to
the refined yet also experimental high school seniors,”
Shaeffer said. “I could see that this was not just a group
show; this was something they and their parents were
proud of.”
The 59th Young Arkansas Artists Exhibition features 65
works by students from across the state. These works
were selected from 478 entries. The three winning entries
in every grade receive monetary awards for their school’s
art department.
The 59th Young Arkansas Artists Exhibition
is supported by (at time of printing):
Isabel and John Ed Anthony
Ces and Drew Kelso
JC Thompson Trust
Trinity Foundation
Barbara House
Mitchell, Williams, Selig, Gates & Woodyard, P.L.L.C.
Dale and Lee Ronnel
Pat Wilson
Awards are supported by:
Arkansas Children's Hospital
Mid-Southern Watercolorists
– Lindsey Knight, ArtsReach Coordinator
9

The
Storied
Collections
Judy
of
Onofrio
AS A CHILD, JUDY ONOFRIO COLLECTED ODDS AND ENDS FROM THE BEACHES
AND BOARDWALKS. AS AN ADULT, HER FASCINATION WITH OBJECTS
TRANSFORMED HER ARTISTIC PRACTICE.
10
JUST PRETENDING
BY JUDY ONOFRIO
On view at Hillary
Rodham Clinton
Children’s Library
and Learning Center
4800 W 10th Street
Judy Onofrio’s
monumental
assemblage – fondly
referred to as “The
Mermaid” – is on
view now at the Hillary
Rodham Clinton
Children’s Library and
Learning Center.
Find Judy Onofrio
catalogs in the
Museum Shop.
Judy Onofrio is always finding things.
On the beaches and boardwalks of her
childhood. At flea markets and garage
sales and auctions.
“I get a lot of power from objects,” she said.
Onofrio’s penchant for collecting began at
a very young age.
“Most of my youth was on a beach, and
beach combing and finding things and
doing drawings in the sand,” Onofrio said.
“The whole thing of discovery just teaches
very much about how – it’s like returning,
it’s a memory thing – it’s like returning to
something that was a wonderful creative
time in my life growing up.”
While she was learning to collect, Onofrio
was also learning to make art with her
great aunt. Aunt Trude was an outsider
artist – she was never trained, she never
went to art school – but she made art
using an array of non-traditional materials.
Onofrio remembers Aunt Trude’s
remarkable garden, where together they
would make art with whatever objects
they pleased. With Trude, it was “anything
goes. That’s something incredible to learn
when you’re young.”
“She gave me the ability to recognize that
I was an artist,” Onofrio said. “It just was
the beginning of everything for me.”
Onofrio began her artistic career working
in clay. For 15 years, she made ceramic
sculpture in her basement studio. But
eventually, clay just wasn’t big enough
for her anymore – it couldn’t contain all
the things Onofrio was looking to include
in her work. She moved to site-specific
installations and fire performances
(in which she built large sculptures
specifically to be set on fire). Still
searching for a new direction, Onofrio
built an 800-square-foot studio onto
the back of her Rochester, Minn. house.
There, she experimented in a variety of

Judy Onofrio, American (New London, Connecticut, 1939 - ), Just Pretending, 1995, mixed media, assembled found objects, 86 x 50 x 32
inches, Arkansas Arts Center Foundation Collection: Purchased with a gift from the Roy and Christine Sturgis Charitable and Educational
Trust, Barry B. Findley and Katie Speer, Trustees. 1996.024
11

12
media while she got used to the new space. But while
Onofrio worked in the studio, the garden, just beyond the
back door, was beckoning.
For Onofrio, it was a harkening back to Aunt Trude’s
garden. She began to work outside, creating Judyland,
a lush garden filled with oddball sculptures, colorful
treasures and flea-market finds. Then it clicked – she
decided to bring what she was doing with her garden into
her studio.
The things she’d been stockpiling and collecting for
years – the garage sale finds, the auction acquisitions,
the stuff picked up on the beach
and boardwalk – suddenly made
sense. She began to work.
With all these collected objects,
Onofrio and her studio assistants
built fantastical figures – enormous
sea creatures and mermaids and
acrobats – and painted them with
a mosaic of collected objects.
These works – Onofrio’s “mosaic
works” – are instinctual, imagined
conceptually, then crafted
meticulously according to the
whims of the artist.
To attempt to name every
“It doesn’t start until I walk in the studio,” Onofrio said.
“And then it could completely change because thinking is
not doing – it just isn’t.”
Onofrio and her assistants worked on Just Pretending
for more than eight months, carving the base and figure
in wood before embellishing it in a mosaic of glass and
mirrors and beads and buttons and bottle caps and
marbles and chain links and ceramic figurines. To attempt
to name every object on the sculpture is both irresistible
object on the sculpture is both
irresistible and impossible –
but it pulls the viewer in as
they contemplate the parts
and then the whole.
and impossible – but it pulls the viewer in as they
contemplate the parts and then the whole.
Just Pretending is remarkably intricate. With layeredchain
hair, cherry red lips and bright golden eyes, the
mermaid gazes up at a mosaic snake. The snake wraps
around her shoulder and across her back as her bottlecap
scaled tailfin flips in the air. She sits atop a pedestal
of marbles and broken mirror bits and miniscule porcelain
animals and an endless litany of trinkets and curios and
tchotchkes. Basswood-carved figurines – fish and snakes
and birds – hang from the sculpture like ornaments.
With endless symbolism to be
found in the sculpture, Just
Pretending rewards close
observation. If you look long
enough, the stories you could
tell about this mermaid and her
cadre of animals and flowers and
figurines and mirrors and marbles
are nearly infinite. If one man’s
trash is another man’s treasure,
that man’s treasure is but a piece of
Onofrio’s collection of stories.
“Judy has the innate ability to
see the infinite possibilities that exist in other people’s
seemingly mundane toss-aways,” McKnight Foundation
chair Erika Binger wrote about Onofrio’s work in 2005.
When Onofrio was a child in Virginia Beach, wandering
the sand and boardwalk for treasures to collect,
she stumbled upon something that stuck with her. A
hurricane had left a shifting hole in the sand. The young
Onofrio climbed down into the hole and found the ruins
of an old beach club – palm trees painted on plaster
walls, old tickets littering the floor. Slivers of sunlight
shone into the room through the dunes.

That’s Just Pretending. It’s memory and nostalgia. A beachside
discovery shimmering with summer afternoon sunlight. “In looking at
it, it really takes me back to a happy place of discovery,” Onofrio said.
Just Pretending’s sense of storytelling and nostalgia makes it
a perfect fit at the Hillary Rodham Clinton Children’s Library &
Learning Center. Onofrio has written that she “...constructs a world
of memory, humor and stories,” in her work. And what else is the
role of a library – and especially a children’s library – if not to help
build worlds of imagination?
In 2005, 10 years after she finished Just Pretending, Onofrio was
named a McKnight Distinguished Artist. In 2008, she received a
diagnosis that prompted her to reconsider her artistic practice – the
ways she’d been working beyond her physical capabilities. The
mosaic pieces represented a utopia where she could be all the things
she wasn’t in real life. In this fantasy, trapeze artists and mermaids
and airborne acrobats ruled the world.
For a while, Onofrio had also been collecting bones. Much as with
her earlier collecting, she was fascinated by them – but unsure how
to use them. She stashed her new collection under the porch. She
sent some off to her artist daughter – maybe Jennifer could find a use
for them.
While she was sick, Onofrio began to work with bones. After a few
transitional works that included mosaic materials and bones, she
stripped the color away entirely. She got rid of the collections of stuff
that made up the colorful mosaics, still stockpiled in her warehouse.
She went searching for more bones, digging them up, eventually
collecting, she estimates, nearly 1,000 pounds of bones. She cleaned
them, painted them, and cast copies of ones she couldn’t find enough
of out in the world.
Out of bones, Onofrio built large baskets and wall-hangings and freestanding
sculptures. Stripping away the mosaic elements, Onofrio
was working with pure form. With bones as the found materials
making up her work, the symbolism of an art of collected objects
became more stark. But just as the mosaic work had, these new
works pointed to her own physical vulnerability.
“I think about the bones as a celebration of life and transformation,”
Onofrio said “It was just a whole new start.”
Onofrio takes what is left behind – the remains of life and living and
allows them to contain something new and more than they ever
before. She assembles new worlds – both utopian and stark, hopeful
and reminding us of our own mortality.
That’s what Onofrio has always done with her art. She takes the things
we leave behind and allows them to be part of a new story – and with
all these new stories, she gives herself and her viewers new life.
– Maria Davison, Communications Manager and
Katie Hall, Collections Manager and Head Registrar
A Closer Look
Judy Onofrio created Just Pretending
through an additive process using objects
she found and collected over many years.
Here, we take a closer look at a few
intriguing details from the sculpture.
THREE WISE
MONKEYS
The hear-no-evil,
see-no-evil, speakno-evil
monkeys
appear throughout
many of Onofrio’s
mosaic works. She
has said that she
thinks of the three
wise monkeys as
companions.
FEATHERED
BIRDS
Onofrio has said
that she “uses birds
for movement, for
suggesting the very
feeling of motion.”
SLITHERING
SERPENTS
In Onofrio’s eyes,
“snakes are
neither good nor
evil but rather the
embodiment of the
unknowable, of
mystery.”
MIRRORS,
MARBLES AND
MORE
Throughout the
sculpture, Onofrio
combines broken
bits of glass, tiny
porcelain figurines,
colored marbles
and more to
create texture.
13

The Master’s Model
A master drawing from the Arkansas Arts Center Foundation Collection
served as a study for a painting at the Detroit Institute of Arts
How does an artist create an image of a voluptuous Greek
goddess? If the artist in question is Peter Paul Rubens
(1577 – 1640), Flemish master painter, the answer is: he
started with drawings. These drawings were made to
be used in the studio by the master and his students
and assistants, rather than for public viewing. But now,
centuries after Rubens’ death, many of his drawings
belong to museums where they are
widely viewed and studied – and offer
insights into the working life of this
great old master painter.
When Rubens made the Arkansas
Arts Center’s drawing, he was living in
Antwerp and working as court painter
for Archduke Albert and Archduchess
Isabella, the monarchs of the Spanishruled
Southern Netherlands (now
Belgium and Luxembourg). The
drawing was a figure study for the
painting made in about 1615, Hygeia,
Goddess of Health. Where the final
painting shows an idealized goddess,
the drawing depicts an ordinary
young woman. The model, perhaps a
household servant or a friend, posed in
Ruben’s studio.
Rubens made significant changes from
drawing to painting – the addition of
a stormy sky behind the goddess and
a large pearl earring, among others.
He could make all the adjustments he pleased between
paper and panel, since his patrons would not see the
drawing. These large chalk drawings allowed him to
study the poses he envisioned for his subjects in real life.
In this drawing he investigated how to show his model
convincingly holding a snake.
Peter Paul Rubens, Flemish (Siegen, Westphalia
[now Germany], 1577 – 1640, Antwerp, Flanders
[now Belgium]), Hygeia, Goddess of Health,
Feeding the Serpent, circa 1615-1615, black, red,
and white chalk with traces of later green wash
on paper, 16 x 11 inches, Arkansas Arts Center
Foundation Collection: Purchase, 1989.044.
her) – that would let him see how her hand would grasp
the snake’s coils. In the drawing, the artist drew its head
as he had seen snakes in classical sculptures and did not
complete the snake’s tail. The loops around the goddess’s
arm in the final painting are suggested in the drawing by
light chalk lines.
In the Arts Center’s drawing, Rubens
depicted a round-faced young woman
with her hair pulled back into a bun.
The model for the drawing, with her
smiling face, is a real and specific
person we might meet in the street.
The goddess in the painting, however,
is a classical ideal that appeared in
many paintings by the master. The artist
gave his goddess an aquiline nose and
the elaborately twisted hair he had
seen in classical Greek and Roman
sculptures in Italy when he worked
there from 1600 to 1608. Rubens often
drew from classical and renaissance
artworks, including the figures of
prophets and sybils in Michelangelo’s
famous murals on the ceiling of the
Sistine Chapel. His collection of
drawings after Michelangelo’s works
helped to inspire Rubens’s art for the
rest of his career. But Rubens’s art was
always rooted in his observations of
nature – and the lofty beauty of the
goddess of health Rubens eventually
painted was inspired by the down-to-earth beauty of a real
woman revealed to us by this drawing.
The drawing will soon be conserved and archivally housed
in preparation for exhibition in the new version of the
Arkansas Arts Center.
For this drawing, Rubens gave his model a prop – perhaps
a wooden spoon (or something else that wouldn’t bite
– Ann Prentice Wagner, Ph.D., Jackye and Curtis Finch,
Jr., Curator of Drawings
Who is Hygeia? Hygeia (whose name is sometimes spelled Hygieia or Hygiea) is the Greek goddess of health – we get
the English word “hygiene” from her name. In art, she is traditionally depicted feeding a snake from a dish. Snakes were often associated
with healing in ancient Greece. The snake-entwined staff of Asclepios, Greek god of healing (and Hygeia’s father), is often used as a symbol
for medical organizations.
14

Peter Paul Rubens, Flemish (Siegen, Westphalia (now Germany), 1577 – 1640, Antwerp, Flanders (now Belgium)), Hygeia, Goddess of Health, circa
1615, oil on oak panel, 41 13/16 x 29 ¼ inches. Detroit Institute of Arts, Gift of Mr. and Mrs. Henry Reichhold
15

The Figure in
Monumental
Ceramic
PATTI WARASHINA’S CERAMIC SCULPTURES REFLECT
DIVERSE INFLUENCES – AN APPROACH CLEARLY ON
DISPLAY IN COUPLING, ON VIEW AT THE CENTRAL
ARKANSAS LIBRARY SYSTEM’S ROOKER LIBRARY.
Artist Patti Warashina’s ceramic career has been ever
evolving – in both form and scale. Her output ranges
from wheel-thrown functional vessels made during
her graduate school years in the early 1960s, to the
stark-white, slip-cast figural groups of the 1980s, to
the monumental and boldly colorful ceramics of the
1990s. “She sought color when only brown was easily
available,” noted Vicki Halper, curator of Warashina’s
1992 retrospective exhibition. “She embraced painting
when the rough clay surfaces and surprises of firing
were obstacles in that path; she forced herself to
produce mountains of molds with which to create her
figurines; then she demanded scale though her kiln and
studio are small and her sculptures too heavy to lift;
above all she required the illusion of movement when
stasis is safer and more congenial to a fragile medium
lacking in tensile strength.”
Born Masae Patricia Warashina in 1940 in Spokane,
Wash., to Japanese parents, Warashina grew up
during the height of World War II. Because they lived
inland, Warashina’s family was not forced to relocate to
internment camps established for Japanese Americans;
however, her maternal aunt and maternal grandmother,
both of whom lived in Tacoma, were relocated to the
Rohwer camp in Arkansas. Pride in her Japanese
heritage would have a profound and lasting effect on
her career. “I have always been aware of my Japanese
heritage,” Warashina said, “because of my parents’
mantra, ‘to study hard,’ and ‘to not bring shame to
your family name,’ words I have always found very
hard to live by." Following her education in Spokane,
Warashina traveled west to Seattle. There, she attended
the University of Washington, which she felt “was an
outlet for me to get out of that whole thing [Spokane]
– the social pressures had been so huge.” Liberated
from family constraints placed on her to become welleducated
and economically independent, Warashina
gravitated to the art school. Reflecting on her decision
to pursue an artistic career, Warashina recalled, “If I
thought I had to support myself, I probably never would
have tried art.”
While at the University of Washington, Warashina studied
with ceramic artist Harold Myers. Myers had studied with
pioneering ceramic artist Peter Voulkos, who challenged
the technical and aesthetic properties of the medium.
“When Voulkos came along, no one had to deal with the
past anymore,” Warashina later recalled. Throughout her
career, Warashina has consistently challenged herself
to see how far she could take her human figures in both
scale and subject. “I wanted them not just standing still;
I wanted to see if I could make them running, because
when you’re doing ceramics, your limitation is gravity.
And when you have a figure running in space that is
kind of the opposite of what you’re supposed to do.
So I always kind of buck – I always did things I wasn’t
supposed to do.”
Nowhere is the full panoply of Warashina’s artistic
conventions better illustrated than in her monumental
sculpture Coupling (1991), on view now at Oley E.
Rooker Library. Made up of eight distinct pieces, the
eight-foot sculpture towers over the main reading
room. It is a conjoined figure – half coded masculine
and half feminine. Both sides are professionally attired:
on one side a black suit, red bow tie, and black shoes;
on the other, a cream dress and high-heeled shoes.
The masculine figure points in one direction, while the
feminine figure embraces the other half with one arm.
They run through a cloudy, grassy landscape painted
en grisaille. Are they coming? Are they going? It’s not
clear, leaving us to our own imagination to create the
narrative. With its disjointed presentation, the sculpture
recalls the Cubist works of Pablo Picasso, Juan Gris, or
Georges Braque. The enigmatic narrative also alludes to
Warashina’s reverence for the art of Rene Magritte, Frida
Kahlo, and other Surrealists, as well as the dream-like
landscapes of Hieronymus Bosch. Other artists who had
a profound effect on Warashina include Arshile Gorky,
Joan Miro, and Paul Klee, as well as the artists of the
Chicago-based group, the Hairy Who, who embraced use
of the human figure and a bold use of color.
Warashina is nationally recognized for her work, both for
her academic career teaching ceramics at the University
of Washington, and for her artistic endeavors. This
year, Warashina will be honored with the Smithsonian
Visionary Award, which is given annually to an artist who
has demonstrated distinction, creativity, exceptional
artistry and vision in their respective medium.
– Brian J. Lang, Chief Curator and Windgate Foundation
Curator of Contemporary Craft
16

COUPLING
PATTI WARASHINA
On view at Oley E.
Rooker Library
11 Otter Creek Court
Patti Warashina’s
monumental ceramic
sculpture, Coupling,
is currently on view
at Rooker Library
as part of Art in the
Stacks, a collaboration
between the Arkansas
Arts Center and the
Central Arkansas
Library System.
Patti Warashina, American (Spokane, Washington, 1940 - ), Coupling, 1991, low-fire clay, underglaze acrylic, glaze, 93 x 67 1/2 x 24 inches, Arkansas
Arts Center Foundation Collection: Purchased with gifts from Art-In-Bloom / Forum 1993 and Edward R. Roberts. 1992.073.a-.h.
17

| FROM THE ARCHIVE:
Standing
Red
18

The monumental Tal Streeter sculpture
was acquired in 1970 in honor of
Jeannette Edris Rockefeller
Tal Streeter’s Standing Red, a 25-foot-tall red steel
sculpture, has lived outside the south entrance of
the Arkansas Arts Center since 1970, when it was
commissioned by longtime Arkansas Arts Center Director
Townsend Wolfe in honor of Jeannette Edris Rockefeller.
“The monumental primary sculpture Standing Red is in
appreciation of Mrs. Jeannette Edris Rockefeller for her
dedication to the arts and for her outstanding leadership
as president of the Arkansas Arts Center Board of
Trustees from 1960 to 1970,” reads the dedication plaque
on the sculpture.
Standing Red was moved last winter to accommodate
the expanded footprint of the reimagined Arkansas Arts
Center. The 3,975-pound sculpture was skillfully moved
out of the building’s construction zone by a team from
Nabholz Construction in collaboration with the Arkansas
Arts Center collections team. When the MacArthur Park
campus reopens in 2022, the sculpture will be in a
place of prominence on the reimagined Arkansas
Arts Center grounds.
In its new location on a slight hill southeast of the Arts
Center, Standing Red is better sited according to the
artist’s intent, drawing the viewer’s eyes to the open
Tal Streeter, American (Oklahoma City, Oklahoma, 1934 - 2014, Santa
Fe, New Mexico), Standing Red, 1970, painted steel, 324 x 648 inches,
Arkansas Arts Center Foundation Collection: Gift of the artist and the
Board of Trustees in honor of Jeannette Edris Rockefeller. 1970.002
sky from near and far. It will also create a dramatic vista
from the restaurant space in the new building, and better
engage with visitors throughout MacArthur Park.
The sculpture will also undergo conservation while
the Arts Center’s MacArthur Park building is under
construction. When the Arkansas Arts Center reopens
in 2022, the newly conserved Standing Red will be a
centerpiece of the updated MacArthur Park landscape
designed by SCAPE Studio.
19

MEMBERSHIP MATTERS
Melanie Buchanan
Art has always been an important part of my life. Even
from a young age, my art and the art of others was the
way I responded and understood the world around me.
As an artist, I love the opportunities provided by the
Arkansas Arts Center. The AAC expands and connects
the artistic community of Little Rock, Arkansas, and the
Midsouth.
As a parent, I appreciate the opportunities the Arkansas
Arts Center provides for my whole family to exercise
our creativity. The Arkansas Arts Center has given us
the opportunity to watch our favorite children’s books
come alive on stage, practice our art skills as a family
through maker-space and class opportunities, and every
trip inspires us to come home and continue practicing
creativity.
As a high school art teacher, the Arkansas Arts Center
is an invaluable resource. When my students enter
the AAC, they step outside of themselves. As they
view exhibits they learn to interpret, evaluate, but
most importantly appreciate art they might not initially
understand. The world around my students expands
when they engage with art in this way. When I took a
group to view Will Counts: The Central High School
Photographs history came alive in front of them. They
study the Civil Rights Movement in depth, but when
they saw the images they suddenly understood in a new
way. Many of them were deeply moved. They walked
away with a greater understanding of our city’s past and
a passion for our city’s future.
This is an exciting time to be a part of the Arkansas Arts
Center. We have the opportunity to watch the future
unfold with a new building, a new executive director,
and new opportunities to shape the engagement and
connectivity of our city. The arts and the Arkansas Arts
Center reach out across the barriers that divide us –
that’s the biggest reason why I support the AAC, and
why I’m a pART.
20

‘22&YOU
CONNECTED:
STAY
‘22&You is the best way to stay connected with the
Arkansas Arts Center – and keep your membership
current – throughout our renovation process. Don’t miss
a beat! Commit to renew your membership through
2022 and receive special ‘22&You-only perks.
It’s easy! Monthly payments? Yes! Auto drafts? Yes!
’22&YOU OFFERS ALL OF THE MEMBER BENEFITS
YOU ALREADY LOVE – AND MORE!
These benefits include:
• The satisfaction of helping the Arts Center remain
vibrant during the renovation process
• The ability to maintain your member rate through
the first year in the new building
• A special ’22&You membership card »
• An exclusive ’22&You email newsletter with
updates on the building project, Arts Center
happenings and behind-the-scenes info
• ’22&You-only member openings, hard-hat tours,
and events
MEMBER
‘22&You | (501) 372-4000 | arkansasartscenter.org
Join ’22&You today and help build the Arkansas Arts Center’s future!
Visit arkansasartscenter.org/become-a-member or call (501) 396-0337 to learn more.
21

Melissa Orsini
METALS INSTRUCTOR
Melissa teaches students to make jewelry using metal
clay. In its raw state, metal clay is pliable, but transforms
into solid metal in the kiln. In her classes, students can
explore different metal clays and techniques to create
handcrafted works of jewelry art.
What is your favorite thing about teaching in the
Museum School?
My favorite thing about teaching at the Arts Center is
the look of joy in a student’s eye when they “get it.” It’s a
sense of accomplishment that says “I can do this!”
How has teaching art changed the way you approach
your own work?
Teaching challenges me to be constantly on the hunt for
new and exciting ways to use metal clay. It allows me to
bring new and fresh looks when applying them to my
own pieces.
What do you hope students learn in your classes?
I hope my students learn that, when we’re talking about
handmade jewelry, perfect is not the goal. There is a
rich, unique look in a piece that’s been created by hand.
It reflects the joy in the process of working with a piece
until it makes you happy.
Why should people who like art – but don’t
necessarily consider themselves artists – take a
Museum School class?
Part of the fun of taking a class at the Arts Center is the
camaraderie with the students. I have people tell me all
the time that they are not ‘artistic.” But Museum School
classes are a great way to relax and do something just
for yourself. You’ll make friends along the way – and who
knows, maybe you’ll find a hidden talent!
Learn more about the Museum School’s upcoming class offerings at arkansasartscenter.org/museumschool.
The Museum School is supported by
The Dorothea Lawrence Gilbert Fund for Art Enrichment and Outreach; and LaRand Thomas.
22

Art in the Stacks
NEW DIGITAL EXPERIENCE EXPLORES THE
CONTEMPORARY CRAFT OBJECTS FROM THE
AAC COLLECTION
Visits to the library may be off the table for the moment
– but soon you’ll be able to explore selections from
the Arkansas Arts Center’s CALS contemporary craft
installations through a new mobile app.
Over the last year, the Arkansas Arts Center installed
more than 100 works at 15 Central Arkansas Library
System locations. With the Art in the Stacks piece of the
Arkansas Arts Center Amplified app, visitors will be able
to explore these works through photos, videos, artist
information and inspiring reading recommendations.
The partnership between the Arkansas Arts Center and
the Central Arkansas Library System, designed to build
creative connections between two Central Arkansas
cultural organizations, is one of many ways the Arts
Center is working to remain vibrant, accessible and
community-oriented while the MacArthur Park building
undergoes a transformational renovation.
Carefully selected for their community relevance, the
craft installation at each CALS location includes works
that reference the environment, history and mission of
the library branch, illustrating the incredible diversity
of the Arts Center’s collection of contemporary
craft objects.
The partnership between the Arts Center and CALS is
anticipated to continue even after the Arkansas Arts
Center’s MacArthur Park campus reopens in 2022.
Art in the Stacks is supported by the Central Arkansas
Library System. This project is also supported in part by
a grant from the Arkansas Humanities Council and the
National Endowment for the Humanities.
Clockwise from top left:
At Williams Library: Andrea Gill, American (Newark, New
Jersey, 1948 - ), Marie's Madonna, 1991, tin oxide glazed
earthenware (majolica), 28 x 10 1/2 x 8 1/2 inches, Arkansas
Arts Center Foundation Collection: Purchased with a
gift from Juan Buono in memory of Raida Cohn Pfeiffer.
2001.028
At Milam Library: Peter Grieve, British (Kent, England, 1936
- ), Sancho (Donkey With Rider), 1990, lithographed tin,
wooden armature, 29 x 8 x 25 inches, Arkansas Arts Center
Foundation Collection: Purchase, Tabriz Fund. 1993.008
At Fletcher Library: Frances Taylor, American (Fayetteville,
Tennessee, 1946 - ), Traildust Theater Bank, 1974, glazed
clay with lusters, 20 x 15 1/4 x 12 1/4 inches, Arkansas Arts
Center Foundation Collection: Gift of Cranford Johnson
Robinson Associates. 1984.062
23

Honorary &
Memorial Gifts
Gifts made between
JANUARY 1 TO MARCH 31, 2020
– Honorariums –
In honor of Olivia Erbach’s Graduation
Kaki Hockersmith and Max Mehlburger
In honor of Sharon Howell
Dale and Lee Ronnel
In honor of Lance Hockersmith’s Graduation
Kaki Hockersmith and Max Mehlburger
In honor of Sara Lynn's Birthday
Susan Davis
Spencer R. Jansen
– Memorial Gifts –
In memory of Ben Auburn
Mary Elizabeth Auburn
Nan Ellen and Jack East
Terri and Chuck Erwin
Kelly Fleming
In memory of Phyllis Brandon
Kathy and Jim Johnson
Nancy and Craig Wood
Kaki Hockersmith and Max Mehlburger
Barbara R. Hoover
Mimi and Joe Hurst, Jr.
Danette P. Lawrie
In memory of J. Wayne Cranford
Paul Bash and Tony Owens
Susan and Robin Borné
Scott Carter
Julie and Lynn Marshall
Joann and Garth Martin
Blanche Moore
Leslie Peacock
24

Nancy and Tad Phillips
Cindy and Tom Pugh
Harryette Shue
Harriet and Warren Stephens
Elizabeth (Betty) Terry
Dianne and Bobby Tucker
In memory of Joanne Dobson
Nancy and Craig Wood
In memory of Dana Green
Kaki Hockersmith and Max Mehlburger
In memory of Gay Hathaway
Nancy and Tad Phillips
Dale and Lee Ronnel
In memory of Shirley Heffington
John Marshall and Sandy Middleton Marshall
In memory of Cathie Matthews
Kelly Fleming
Martha and French Hill
Cherry H. Light
Dianne and Bobby Tucker
In memory of Betty Ruth Dortch Russell McMath
Nancy and Craig Wood
In memory of Beadle Moore
Barbara R. Hoover
Kathy and Jim Johnson
Nancy and Tad Phillips
Nancy and Craig Wood
In memory of Carolyn Scaufele
Nancy and Tad Phillips
In memory of Tom Schueck
Kaki Hockersmith and Max Mehlburger
In memory of Ellen Fletcher Terry
Ellon and Rogers Cockrill
In memory of Carmen Alexandra "Allie" Thompson
The Argue Class, Pulaski Heights United
Methodist Church
Neal Beaton and Janet Udouj
Cynthia and Hank Buehling
Jennifer and Randy Coleman
Anne and Nathan Evers
Michelle and Mark Mann
Joann and Garth Martin
Ashley and Kevin McAnulty
Ruanda McFerren
Mary Jo and Kenneth Oliver
Gale and Tom Scott
Dorothy and Paul Young
In memory of Gordon G. Wittenberg
Irene and George Davis
Nan Ellen and Jack East
Kelly Fleming
Helen and Fred Harrison
Martha and French Hill
Jay F. Hill
Hyden, Miron & Foster, PLLC
Kathy and Jim Johnson
Janet and Bud Jones
Mary Lowe Kennedy
Rebecca and Floyd Martin
Cissie Paddie
Nancy and Tad Phillips
Polk Stanley Wilcox
Rice University School of Architecture
Dianne and Bobby Tucker

Crafted with Creativity
The Arkansas Arts Center Museum Shop’s online store
offers inspired gifts made by local artists, including
jewelry by Museum School instructor Melissa Orsini.
Read more about this Little Rock native’s passion for
metal clay on page 22.
shop.arkansasartscenter.org
@arkartsshop
Members receive a 10% discount on
all Museum Shop purchases.
Above, top to bottom: Arrowhead pendant necklace by
Melissa Orsini, floral pendant necklace by Melissa Orsini,
and leaf-imprinted pendant necklace by Melissa Orsini.
2510 Cantrell Road
Little Rock, AR 72202