Summer 2010 Magazine by Newfields

100 Acres Grand Opening Jeppe Hein Body Unbound Honor Roll of Contributors Remembering Ruth Lilly Conservation Science

MAY/AUGUST 2010

04 100 ACRES Grand Opening

10 VOICES Jeppe Hein

12 IN THE GALLERIES: PHOTOGRAPHY Shots in the Dark

14 PROVENANCE Monet’s Charing Cross Bridge

16 IN THE GALLERIES: FASHION ARTS Body Unbound

18 On June 19, The IMA will celebrate Tea Mäkipää’s work,

NOTES News, On View, Program Highlights, Calendars, Events

Eden II, and seven other installations created specifically for

100 Acres: The Virginia B. Fairbanks Art & Nature Park. The

COMMUNITY Ruth Lilly Tribute

100 Acres Campaign has raised over $24.3 million of the

$25 million goal thanks to the benevolent support of the

VOICES Interview with Kareem Dale

Richard M. Fairbanks Foundation and many other generous

28 DIGITAL INNOVATION Web site Launch

donors. The IMA is pleased to recognize our annual donors in the 2009 Honor Roll of Contributors in a special section of this issue.

30 BEHIND THE SCENES Where Art Meets Science On the cover » A view of 100 Acres: The Virginia B. Fairbanks Art & Nature Park. Above » Artist Tea Mäkipää works on her 100 Acres installation, Eden II.

Many years in the making, it’s here at last. 100 Acres: The Virginia B. Fairbanks Art & Nature Park opens in June as a place of respite, a source of challenging ideas, and a free-wheeling tangle of urban ideas, environmental politics, and timeless sentiments.

The generosity of so many donors has made this oasis of art and nature a new and noteworthy part of the identity of our city, one wedded to the avant-garde and making reference to the agricultural, industrial, and information ages of Indianapolis. We continue our series of provenance research, this time on one of our works by Claude Monet. The story unfolds from the published history of the work Charing Cross Bridge (1899–1901) to the evaluation of persuasive circumstantial evidence suggesting that it will not likely be the subject of a claim by a victim of the Holocaust. Conservation science makes its debut at the IMA this summer, a time of intense preparation for the fall opening of the Museum’s new Conservation Science Laboratory. Ably led by Dr. Greg D. Smith, the IMA’s lab takes its place as one of the best equipped in any museum internationally. Smith is already building relationships with academic and industry researchers within Indiana and around the world. The IMA’s new Web site made its debut in February and has already elicited a great response. With new features, easier navigation, and a light-hearted tone, it speaks to the over one million online unique users who are turning to our online resources annually. Among the additions to our IMA Dashboard is a graph showing real-time calibration of temperature and relative humidity in the Allen Whitehill Clowes Special Exhibition Gallery, where treasures from dozens of cities converge. It’s our belief that lenders to the IMA have a right to see how well we are caring for their artworks—and our ongoing commitment to transparency will continue to bear fruit online and on site. We pay tribute in this issue to the late Ruth Lilly, whose generous support of the IMA totaled over $30 million during her lifetime. We mourn her passing and will be honored to recognize her generosity with a yet-to-be-announced commemoration on the IMA’s grounds. In closing, it is with great pride that we welcome to the IMA the 200-member Association of Art Museum Directors to Indianapolis for the 133rd meeting of the Association, which represents the largest art museums in the U.S., Canada, and Mexico. The last Indianapolis meeting of the Association was held in January 1974, and Jean Sutherland Boggs, then director of the National Gallery of Canada, was AAMD’s president. Many of the topics discussed in that meeting—from federal funding, to the ethics of collecting antiquities, to the code of ethics—are still very much in the forefront of our Association’s concerns. What my colleagues will converge to find is a very different Indianapolis, one fostering plans for greening, advanced research, public transportation, and cultural tourism. We will make sure that upon departing they fan out across the continent with a fresh sense of the vitality and vision of America’s 13th-largest city.

Maxwell L. Anderson, The Melvin & Bren Simon Director and CEO

Rachel Huizinga General Editor Jane Graham Copy Editor Matthew Taylor Designer S.L. Berry Gabrielle Benson Linda Duke Sarah Urist Green Marty Krause Anne Laker Meg Liffick Erica Marchetti Annette Schlagenhauff Petra Slinkard Gregory Smith Mark Zelonis Contributors Tad Fruits Tascha Mae Horowitz Mike Rippy Aaron Steele Photographers Tascha Mae Horowitz Photo Editor Ruth Roberts Rights and Reproductions The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, IN 46208-3326. Questions or comments may be directed to the staff at 317-923-1331. All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides or videotapes must be obtained in writing from the Rights & Reproductions office, 317-923-1331, ext. 171. © 2010 Indianapolis Museum of Art

The IMA Magazine is printed on FSC-certified paper manufactured with electricity in the form of renewable energy (wind, hydro, and biogas), and includes a minimum of 20% post-consumer recovered fiber.(The FSC trademark identifies products which contain fiber from well managed forests certified by SmartWood in accordance with the rules of the Forest Stewardship Council.)

In 1907, Hugh McKennan Landon and Linneas C. Boyd began buying up land for what would eventually become the community of Woodstock, situating it on the 52 acres now comprising the IMAâ&#x20AC;&#x2122;s main campus. They did so knowing that the nearly 100 acres west of their property would serve as a buffer against any future development. They were right. That land, owned by the Indianapolis Water Company and sandwiched between the Central Canal and the White River, was in a floodplain, making it undesirable for any projects. Until now.

Each of the eight sculptural works installed throughout the Park was created using materials that will either deteriorate naturally or have no adverse effects on the surrounding land and waterways.

On Saturday, June 19, and Sunday, June 20, the IMA formally unveils the results of nearly a decade of research, planning, and development for 100 acres: The Virginia B. Fairbanks Art & Nature Park. Featuring a LEED-certified visitor center designed by renowned Fayetteville, Arkansas architect Marlon Blackwell and landscape design by Edward L. Blake Jr., founding principal of the Landscape Studio in Hattiesburg, Mississippi, the Park blends nature and eight site-responsive works of art. The Museum has owned the land for nearly 40 years. The Water Company eventually sold it to local construction company Huber, Hunt & Nichols, which excavated sand and gravel on the site to help build a portion of nearby Interstate 65, creating a 30-acre lake in the process. Then, in 1972, Huber, Hunt & Nichols donated the 100-acre parcel, lake and all, to the IMA. Though intentions at the time were to develop a park, the land lay fallow for 30 years before Museum officials began seriously considering what to do with it. 06

What they decided to do was create one of the largest museum-run art parks in the country. The Park is the result of careful planning to maximize the natural surroundings—trails wind throughout the Park’s woods and meadows and around the lake—and minimize environmental impact. For example, the visitor center, which houses restrooms and emergency telephones, is very low-profile, designed to blend in with its surroundings. And each of the eight sculptural works installed throughout the Park was created using materials that will either deteriorate naturally or have no adverse effects on the surrounding land and waterways. Future installations—a new work will be added to the Park every year or two—will adhere to the same standards. One of the challenges of such a large-scale, multifaceted project was coordinating everyone involved. According to project manager Dave Hunt, who oversaw the many stages of planning and construction, it was imperative to make sure that the artists and curators involved in the

development of the Park’s works of art understood the technical and practical elements involved in engineering, constructing, and installing those works. At the same time, said Hunt, the engineers and construction contractors needed to understand the artistic visions and principles behind the art. “We had to walk the line between creative thinking and practical implementation.” Lisa Freiman, the chair of the IMA’s contemporary art department, was heavily involved in that process. The intention, she said, was to create a place that offers visitors a highly sensory experience, combining art and nature in imaginative, provocative ways. That will be highlighted during a June 19 ticketed opening ceremony, which will feature live music from around the world at each of the art installation sites. “We wanted to create an opening that would provide visitors with

a sense of wonder,” said Freiman, “an event that would be a work of art in and of itself. It’s going to be a magical wonderland of art and music on a beautiful summer night.” On June 20, 100 Acres officially opens to the public, in a family-oriented free celebration designed to introduce visitors to an innovative art park. While the 100-acre site has been open to the public for a long time—people have hiked and fished there for years—Freiman said it will now offer something more. “We’ve tried to give it a focus by making its infrastructure art. That differentiates it from other green spaces in the city.” The Museum will monitor the effects of weather and other environmental factors on the art, said Sarah Urist Green, associate curator of contemporary art. “All of the works are meant to be temporary, so we

want to track them and see what their life spans will be.” The art won’t be the only thing that changes over time. The Park’s landscape will, too. “In some ways, the opening of the Park is only its starting point,” said Hunt. “It’s going to change as all of the trees and other plantings we’ve added begin to grow and mature. I hope people will keep coming back to watch the Park evolve.” The opening weekend festivities, said Freiman, are a chance to recognize the Park’s long, careful development and celebrate its debut. “This will be different than a normal exhibition opening. It will be about community, about people coming together and embracing the Park, then releasing it out into the world.”

The eight inaugural works of art in the park include: 1. Funky Bones, a group of 20 bone-shaped benches that form the shape of an enormous stylized human skeleton, created by Dutch artist Joep van Lieshout and his studio Atelier Van Lieshout. It’s located in a shady grove of trees adjacent to the Park’s central meadow. 2. Stratum Pier, a raised platform suggestive of a topographical map, by American sculptor Kendall Buster. It extends into the lake.

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3. Park of the Laments, consisting of a tunnel that leads into a square meditative space composed of limestone and plantings, by Chilean artist Alfredo Jaar. Nestled in the woods, it is intended to be a refuge where visitors can lament the atrocities in the world.

4. Bench around the Lake, a playful and serpentine bench that emerges from the ground, twists, submerges, and then re-emerges in various places around the park’s lake, by Danish artist Jeppe Hein. (Hein’s kinetic sculptural installation titled Distance will be exhibited in the IMA’s Forefront Galleries to coincide with the opening of 100 Acres.)

5. Free Basket, a Surrealist-inspired sculpture that draws on the form of the basketball court, by Los Carpinteros, a Cuban artist collective. Located at the W. 38th Street loop entrance to the park, it’s intended as both a work of art and an interactive space for creative play.

6. Eden II, a sculpture of a large, dark ship emerging from the lake, with a guard shack on the shore, by Finnish artist Tea Mäkipää. The shack will offer visitors views of the ship and video footage of its passengers, refugees from the effects of worldwide climate change.

7. Team Building (Align), a sculptural work consisting of two 30-foot-wide metal rings suspended from telephone poles and trees, by Type A, a two-person American artist collaborative. The rings are oriented so their shadows will become one during the annual summer solstice. The project also generated photographs, blogs and videos from workshops Type A did with Museum staff, which can be seen on the IMA’s Web site. 8. Island, a 20-foot-diameter island located in the lake, by American sculptor Andrea Zittel. The island will be occupied by specially selected students from Herron School of Art & Design who will use a PDA to share pictures, blog, and Twitter about the life on the island and about the park itself. Right » 1. Prototype of Funky Bones, Atelier van Lieshout, 2008; 2.Image courtesy of Wheeler Kearns Architects, Chicago; 3. The artist, on site during construction; 4. Conceptual rendering courtesy of the artist and 303 Gallery, New York; 5. The artists and several IMA staff discuss installation plans on site; 6. Eden II, after launch; 7. Conceptual rendering courtesy of the artists and Nicholas Fraser/Type A Studios 2009; 8. The glow of light from within Island on a cold day.

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OPENING WEEKEND In celebration of the opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park, the IMA will host an entire weekend of activities on June 19 and 20, 2010.

Saturday, June 19, 2010 » Special Preview Day

Artists Panel » 11 am–2 pm An opening discussion featuring 100 Acres artists, architects, curators and Maxwell Anderson, The Melvin & Bren Simon Director and CEO. VIP Reception » 6 pm A ticketed private event and preview with the artists, architects, major contributors to 100 Acres, and local, national and international VIPs. Celebration » 7 pm A ticketed public event hosted in the Park with special performances, live music, food and drink.

Sunday, June 20, 2010 » 100 Acres Grand Opening Day at the Park » noon–5 pm A free, public celebration for all ages. The community is invited to spend the day at the Park, exploring, picnicking, and enjoying various scheduled activities: Tip Off A very special event hosted on Los Carpinteros’ Free Basket signifying the official opening of the park. Public Tours Art Within Nature: highlighting the art installations in the Park Art of Appreciating Nature: highlighting the site’s natural elements.

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100 Acres Happenings Events that will showcase works of art or areas of the Park and provide opportunities for public engagement throughout the day. Musical Performances All ages, free performances in the Park Refreshments Box picnic lunches and drinks will be available for purchase.

Opening Weekend Sponsor

Voices

Jeppe Hein You are creating two installations at the IMA, one inside in the Forefront Galleries and one outside in 100 Acres. How did you approach these two very different spaces? Generally, my artistic approach is to challenge the role of art in different places and social contexts, in the museum as well as in public space. I try to open up new possibilities for the viewer to lose his timidity and respect towards art, changing people’s expectations of what an art work can be. My focus is on the attempt to integrate art into everyday life, by embedding it into the area. Moreover, I want to create a structure of association between space, object, and observer. Consequently, my projects are site-specific, influenced by the local characteristics, the context of the area, its ambience and environment as well as its occupants. My intention for the exhibition at the IMA was to enable the visitor to experience the galleries differently. Distance, a roller coaster that will run through the entire exhibition space, will lend the space a dynamic character. Visitors will perceive the spatial conditions as well as the exhibited art works of the permanent collection from a different angle. The open character of the 100 Acres project offered the opportunity to work in a very conceptual way. My attempt was to create a lively space for visitors, a place where people like to spend time. Therefore, I placed a bench around the lake that borrows its basic form from normal park or garden benches seen everywhere, but is altered in various degrees to make the act of sitting a conscious physical endeavor. With its modification, the spaces it inhabits become active rather than places of rest and solitude; the bench fosters exchange between the users and the passers-by, thus lending the work a social quality. Just as the roller coaster winds through the Museum, the bench meanders through the landscape of the Art & Nature Park. Playfulness and elements of surprise play a role in many of your artworks. How do you hope visitors will respond to your projects at the IMA? Instead of passive perception and theoretical reflection, the visitor’s direct and physical experiences are important to me. Thus, interaction is a distinctive element of my art works that is intended to establish a dialogue between work and viewer as well as between other visitors and to support the social aspect of art. Though I like it when my works amuse people, my intention is not to entertain people and my works are based on serious principles. Playfulness and participation make it easier for people—especially for those who normally are not in touch with art—to approach art works. Thus, I try to open up new possibilities for viewers to lose their timidity and respect towards art, offering them a challenging aesthetic experience with unexpected inspirations and sensations. Which artists have been the most influential for you throughout your career? Asger Jorn, Dan Graham, Ernesto Neto, Tino Sehgal, Ulrik Weck and Douglas Gordon, because they are all working with communication and experience. Their works are always physically present and perceptible; people can not only look at them but also feel them. You recently completed a residency at Atelier Calder in Saché, France. What did you work on while you were there? I realized the project CIRCUS HEIN, inspired by Alexander Calder’s own circus project from the 1920s. Referring to the Latin meaning of the word circus, I invited 35 international artists to circle under a big top organizing a series of acts in an open artistic arena culminating in a group show at the Atelier Calder and FRAC Orleans. All projects dealt with the theme “art & circus” and focused on magic, illusion, performance, participation, humor, sensations, suspense, and amusement. Works have been created alluding to traditional circus acts like acrobatics, aerial acts with trapeze, juggling, daredevil stunts like the human cannonball, fire eating and magic shows, the performance of strongmen, tightrope walkers, animal tamers, stilt walkers, clowns, unicyclists, and pantomimes. Moreover, different forms of circus architecture and circus sculptures with all kinds of materials have been designed. The show is still on display at the FRAC Orleans until April 2010 and will the travel to Cologne and other stations. One of your art works is titled Why are you here and not somewhere else? So why will you be here in Indianapolis, Jeppe, and not somewhere else? ’Cause you are here!

Left » Portrait of Jeppe Hein, 2007. Photo by Anne Mie Dreves

IN THE GALLERIES: PHoTOGRAPHY

Shots in the Dark

Photos by Weegee the Famous

Murder was his business; Weegee was his moniker. That was Usher (Arthur) Fellig’s nickname at Acme Newspictures, given to him for his psychic sense of knowing when and where good photographs could be made as if divined from a Ouija board. He liked the nickname (the phonetic spelling was his own) and it had become his photo credit by 1940. Fellig came to the United States in 1910 from Ukraine and lived in the tenements of Manhattan’s Lower East Side. Four years later, at age 15, he quit school to work and, at 18, left his oversized family’s undersized cold water flat. He survived independently with part-time jobs and day labor, sleeping on park benches when he could not afford a flophouse. He came to know the daily and nightly rhythms of the New York streets better than those with a normal home life, and these streets and their populace became the milieu for his career as a candid photographer. Hired as a darkroom assistant by Acme in 1924, Fellig mastered printing, learned to handle the standard press photographer’s camera, the 4x5 Speed Graphic, and willingly accepted unpopular dead-of-night assignments to photograph accidents, fires, and murders for the city’s dailies. Going freelance in 1935, he patrolled the post-midnight streets in a Chevy coupe equipped with a police shortwave radio and a trunk full of darkroom equipment to beat the police to the crime scene and his competitors to the offices of the morning tabloids. He became Weegee, the prototypical brash, disheveled, cigar-chomping New York press photographer, and he became famous through profiles in national periodicals, museum exhibits of his work, and the publication in 1945 of his highly successful photo book Naked City. Included were the requisite crime photographs (which Weegee vowed never again to take), but far more scenes of life—New Yorkers watching the news of D-Day flashed above Times Square, reveling in Harlem jazz clubs, rapturizing at a Sinatra concert, escaping in a darkened movie theater, and massing on

Coney Island—average New Yorkers caught unaware, reacting in fascinatingly average ways. Naked City inspired a classic film noir in 1947, drawing Weegee to Hollywood, where he was intent on reinventing himself as a creative photographer. He acted a little, served as a technical consultant, made experimental shorts, and created wicked caricatures of movie stars shot through distorting lenses of his own invention, which he thought appropriate for the artifice of Tinseltown. He was more comfortable, however, in New York and returned in 1952 to find new material in Greenwich Village, where a new generation was gathering to be different, or just themselves among kindred spirits. Weegee continued to publish books of photographs, but none as successful as the first. He died in 1968, always hopeful of new success, but never able to overcome the first critical embrace of “Weegee the Famous,” the larger-than-life, self-promoted persona of his early career. The 47 photographs in the exhibition Shots in the Dark: Photos by Weegee the Famous represent one-fifth of the Weegee photographs that the IMA acquired last year and that were formerly in the possession of Wilma Wilcox, Weegee’s longtime companion. This exhibition is the first view of this major holding and the beginning of the IMA’s partnership with the Weegee archives in the International Center of Photography. The selections present an overview of Weegee’s 30-year career as an unconventional and creative photographer and reveal his eye for the incongruous in life, whether among the downtrodden residents of Harlem or the upscale of Park Avenue. “They are good,” commented Weegee’s friend, the photographer Ralph Steiner, “because Weegee adds a little of himself, and a little of Weegee is really something.”

Left » Weegee (Arthur Fellig), American (b. Ukraine), “Harry Kaltman who owns this dairy store at 125 Delancy Street had his whole family behind the counter yesterday afternoon,” 1943 (detail), gelatin silver print, 9 7/8 x 13 3/8 in. (25.1 x 34 cm.) Caroline Marmon Fesler Fund, Gift of the Alliance of the Indianapolis Museum of Art, Roger G. Wolcott Fund, Nancy Foxwell Neuberger Acquisition Endowment Fund, Mr. and Mrs. Theodore P. Van Vorhees Art Fund, Cecil F. Head Art Fund, James V. Sweetser Fund, 2009.289. © Weegee/ International Center of Photography/Getty Images

Provenance

Charing Cross Bridge by Claude Monet

In this issue we continue the series of articles on the provenance, or history of ownership, of works of art in the IMA’s collection. Charing Cross Bridge is one of a series of more than 30 views of the famous bridge painted by Claude Monet on several trips to London between 1899 and 1901. With its loose, ribbon-like brushwork, it appears less “finished” than other paintings in the series. Nevertheless, it beautifully captures the atmospheric and tonal qualities of the winter fog that repeatedly drew Monet to the city on the Thames. As one of the art world’s most popular artists, Monet has been the subject of a great deal of scholarly attention, evidenced by the production of a five-volume publication, released serially from 1971 to 1991, that documents nearly three thousand paintings, pastels, and drawings by the artist. Known as a catalogue raisonné (or systematic catalogue), such publications attempt to document the complete corpus of an artist’s work, classified chronologically and numbered consecutively. Traditionally a catalogue raisonné contains provenance information on each work of art, although the standards for recording ownership information are less strict than those required of World War II-era provenance researchers today. Dealers’ names, the means of transfer of an artwork—by inheritance or by auction, for instance—and the date and place of transfer are often missing. Nevertheless, if a catalogue raisonné exists for the work of an 14

artist, it is a good starting point for research. The provenance researcher must make a diligent attempt to corroborate the succession of owners listed there to produce a seamless chain of ownership, particularly for the years 1933 to 1945. The IMA’s Charing Cross Bridge appears as number 1530, that is, the 1530th painting listed in the Monet catalogue raisonné. The entry for the IMA’s painting is augmented with the following provenance information: “Michel Monet, Giverny—Paul Pétridès, Paris—Denys Sutton, London—The New Gallery, New York, c. 1959—Findlay, Chicago—Indianapolis Museum of Art in 1965.” No conclusive information about the painting’s whereabouts during the Nazi era is recorded. Moreover, Paul Pétridès, an art dealer who opened a gallery in Paris in 1934, has been identified as a “red-flag” name in the publication that is every provenance researcher’s “bible,” The AAM Guide to Provenance Research, published in 2001. There it is noted that Pétridès was “one of the most active collaborationist dealers.” He was indicted for his collaborationist activities after the war. This assertion about Pétridès is based on a report submitted by the Office of Strategic Services (OSS) in August 1945. Aware of the massive scope of looting committed by the Nazis, and to fa-

It was the growing acceptance of highly abstract painting in the 1950s—the “Jackson Pollock phenomenon” —that would have created a market for such a loosely painted Monet. paintings. (The back of the canvas bears a Monet estate stamp, making the early part of the provenance firm.) Before his death in a car crash in 1966, Michel Monet is known to have sometimes sold paintings by his father to dealers to finance his own passion for African safari adventures and fast cars. Could we determine to whom he sold it and when?

cilitate the process of restitution of stolen items to their pre-war owners, the Art Looting Investigation Unit (ALIU) of the OSS sought to gather information immediately after the war from prominent Nazi figures and others involved in the movement of spoliated art. In Detailed Interrogation Report #4 (DIR #4) a major collaborationist dealer (Gustav Rochlitz, a German who resided in Paris and had close ties to the upper echelons of the Third Reich) noted that he had sold and dispersed looted art to other dealers, including Paul Pétridès. The important issue was to determine if Pétridès had obtained Charing Cross Bridge before, during, or after the war, when he continued his business. The hunt was on, and a number of avenues required pursuing. Although Pétridès died in 1993, the gallery still exists in Paris, and is now run by his son, Gilbert, as the Galerie Gilbert & Paul Pétridès. Correspondence with the son in 2003 yielded nothing definitive, beyond Gilbert Pétridès’ implication that few of his father’s records had survived. Another tack required complete immersion in the large body of Monet scholarship in an effort to determine how and when Michel Monet, the painter’s only surviving son and only legitimate heir, had dispersed his father’s

Often it is necessary for provenance researchers to seek the guidance of noted scholars in the field who have studied a particular artist’s work extensively. When it comes to Monet, there is none better qualified than Dr. John House, a professor of art history at the Courtauld Institute of Art, London. House has authored many publications on the artist and has helped organize numerous exhibitions devoted to Monet’s works. Although House knew little about Pétridès’ checkered past, he gave a most interesting reply to the question of when Michel Monet might have sold Charing Cross Bridge. Because of his deep knowledge of how Monet’s paintings were received both during the artist’s lifetime and after his death, he suspected that the IMA’s Monet would not have been saleable until the 1950s. House further explained that it was the growing acceptance of highly abstract painting in the 1950s—the “Jackson Pollock phenomenon” —that would have created a market for such a loosely painted Monet. “If this is right,” he wrote, “it would have been in a dark corner at Giverny through all the difficult years.” So, although the file remains open because hard proof has not yet been found, House’s speculation provides us with a significant and valuable “educated guess” by one of the foremost scholars of Claude Monet.

Annette Schlagenhauff Associate Curator for Research

Above » Claude Monet, French, Charing Cross Bridge, about 1900 (detail), oil on canvas, 26 x 36 1/2 in. (66.04 x 92.71 cm.) Gift of Several Friends of the Museum, 65.15

IN THE GALLERIES: FASHION ARTS

Body Unbound Contemporary Couture from the IMA’s Collection

The body is essential to the materialization of dress. Typically, without it, an article of clothing will wilt. In the 1950s, however, designers such as Christian Dior and Christóbal Balenciaga produced garments that required the wearer to conform to the shapes of their designs, commandeering fashion as they did so. These artists were relentless in their use of stays, corseting, and stiff underlining, which provided the superstructures of their designs. When a woman stepped into such a garment, she molded her body to fit the shape of the dress, and when such a dress was taken off, it could literally stand on its own. After the sudden death of Dior in 1957, and empowered by a bubbling cultural revolution, young, street-savvy designers began to shake the foundation of this well-established haute couture institution. The emergent and dominant style of the 1960s changed the look of fashion forever. The new approach to fashion was conceptual and contemporary, endorsing the idea of dressing for the body, rather than contorting it. Pioneering this fashion movement was one of America’s great futurists, Rudi Gernreich. Perhaps most famous for his groundbreaking monokini (1964), a topless bathing suit, Gernreich channeled his energy into designing pieces that not only freed women of all constraints, but also blurred the divisions of gender. Gernreich designed to allow ease of movement; he used stretchy knits, removed linings, and experimented with materials such as plastic. Gernreich and his peers embraced the youth and feminist movements that took hold in the 1960s and 1970s, designing for average people, rather than the wealthy elite. By utilizing unconventional materials and embracing androgyny in their designs, these revolutionary designers further rejected the “couture set agenda.” The exhibition Body Unbound: Contemporary Couture from the IMA’s Collection examines the varied approaches designers use to present, manipulate, and transform the clothed female body. On exhibit are 40 works by avant-garde fashion designers such as Rudi Gernreich, Jean-Paul Gaultier, Thierry Mugler, Gianni Versace, Issey Miyake, and Franco Moschino. The exhibition is divided into seven sections, focusing on different designers’ views and methods. While each worked within his or her own theoretical confines, the pieces illustrate similarities that exist between their provocative and experimental clothing.

Above » Miyake, Issey, Japanese, dress (Rhythm pleats), 1990, polyester, heat and pressure set. Deaccessioned Textiles Fund, 2009.294. Right » Gaultier, Jean-Paul, French, Dress, 1996, rayon, jersey James V. Sweetser Fund, Lucille Stewart Endowed Art Fund, Mr. and Mrs. Richard Crane Fund, Mr. and Mrs. William B. Ansted, Jr. Art fund, TR11067/2.

For example, one section, Underwear as Outerwear, discusses how these designers recontextualized underwear, transforming it into outerwear designs. Gernreich, Gaultier, Versace, and Moschino presented pieces that not only addressed traditional taboos, but

also redefined how we view underwear. The corset is typically viewed as a mechanism for confining women in uncomfortable and even hazardous ways. By choosing to highlight this garment of “bodily oppression,” the designers not only flouted customs but also were forced to explore modern materials and advanced methods of construction to ensure ease of movement. Another section of the exhibition refers to what is termed the “Japanese Phenomenon.” Led by Issey Miyake, designers Yohji Yamamoto and Rei Kawakubo brought about a “changing of the guard” in Paris in the 1980s. Inspired by the cultural revolt that was unfolding around them, these designers questioned fashion and rejected the standards set in place by the traditional houses. In contrast to Western ideals of form, the Japanese designers offered a new definition of “universal beauty,” one greatly influenced by the kimono and other traditional Japanese clothing. They draped and wrapped the body, thus concealing its contours. Other featured designers, such as Alaïa, Mugler, and Versace, countered this Japanese aesthetic with seductive designs that expressed eroticism and body-consciousness. While Gianni Versace and Yohji Yamamoto represent opposing design philosophies, each designer freed the female form and encouraged the wearer to experiment and take ownership of her body. Versace did so by revisiting the classics and presenting women as sexy, vivacious, and sensual, while Yamamoto wrapped them intricately in layers of cloth, endorsing modesty and serene beauty. The execution of each piece in the exhibition is flawless. All the designers in Body Unbound couple exquisite workmanship with principles that confront and, in turn, adjust notions of what is fashionable.

After the sudden death of Dior in 1957, and empowered by a bubbling cultural revolution, young, street-savvy designers began to shake the foundation of this wellestablished haute couture institution. The exhibition features a range of works, most of which are recent additions to the IMA’s growing fashion arts collection. Organized by the Indianapolis Museum of Art, Body Unbound: Contemporary Couture from the IMA’s Collection will be on view in the Paul Textile and Fashion Arts galleries through January 31, 2011.

COUNCIL MEMBERSHIP The IMA Council represents the highest levels of membership at the IMA. Annual Council membership gifts provide nearly $1,000,000 to support the IMA’s goals of welcoming and engaging the community and visitors. We offer sincere gratitude to this important and committed group of members.

Clowes Council ($25,000 and Above)

Honor roll of contributors

Thank You.

Each year the IMA acknowledges its donors—individuals who have given art or the funds to purchase works of art for the Museum; those who support the growth of the IMA through their contributions to special projects; and those who support the operations of the institution through the Annual Fund and the Council in addition to thousands of annual IMA Members. The IMA is grateful for its corporate sponsors and for the foundations and government agencies that provide muchneeded support for exhibitions, educational programs, and operations. They are recognized in the section that follows, for their commitment to the IMA and for their leadership in the arts community. Gifts acknowledged in this list include those recorded from January 1, 2009, through December 31, 2009.

Kay F. Koch Mr. and Mrs. Eli Lilly II Myrta Pulliam Bren and Mel (*) Simon Billie Lou and Richard D. Wood

Chairman’s Council ($10,000 to $24,999)

Maxwell L. and Jacqueline Buckingham Anderson Dan and Kate Appel Ms. Christel DeHaan The Efroymson Family Mr. and Mrs. Russell Fortune III Michelle and Perry Griffith Carmen and Mark Holeman James E. and Patricia J. LaCrosse Andrew and Jane Paine Kathi and Bob Postlethwait Livia and Steve Russell Charles and Peggy Sutphin Mrs. Samuel R. Sutphin Kathy and Sidney Taurel Dr. and Mrs. Eugene D. Van Hove

President’s Council ($5,000 to $9,999)

Daniel and Kathryn Cantor Mr. and Mrs. Bryce D. Carmine Mr. and Mrs. Bradley B. Chambers Mr. and Mrs. Don B. Earnhart Edgar and Dorothy Fehnel Mr. William L. Fortune Jr. and Mr. Joseph D. Blakley Betty and David W. Givens Mr. and Mrs. Charles E. Golden Dr. Howard Harris and Mrs. Anita Harris Betty and Jim Huffer

Dr. and Mrs. George F. Rapp Dr. and Mrs. John G. Rapp Rev. and Mrs. C. Davies Reed Dr. and Mrs. Kenneth L. Renkens Mr. and Mrs. N. Clay Robbins Jack and Jeanne Scofield Dr. and Mrs. Edward L. Smithwick Mrs. Carole Stark Dr. Pamela A. Steed and Dr. Peter Furno Mr. and Mrs. Robert Stein Horst and Margaret Winkler Mr. William J. Witchger Walter and Joan Wolf Mr. and Mrs. Mark Zelonis Karl and Barbara Zimmer Mr. and Mrs. W. Paul Zimmerman Jr. Mr. and Mrs. Gene Zink

Curator’s Council ($1,500 to $2,499)

Dr. Ann H. Hunt Mr. and Mrs. Rick L. Johnson Jr. Mr. and Mrs. John Kite Dr. and Mrs. John C. Lechleiter Ellen W. Lee and Stephen J. Dutton Dr. and Mrs. Carlos Lopez June Michel McCormack Michael K. and Patricia P. McCrory Alice and Kirk McKinney Lawrence and Ann O’Connor Mr. Ben A. Pecar and Ms. Leslie D. Thompson Mr. and Mrs. Derica W. Rice Michael Robertson and Christopher Slapak Phyllis and Gary Schahet Jack and Susanne Sogard Ann M. and Chris Stack Dr. and Mrs. Daniel J. Stout Gay Sutphin and Tony Barclay Gene and Rosemary Tanner Dr. and Mrs. Charles E. Test Mr. and Mrs. John Watts Jr. Anna S. and James P. White

Director’s Council ($2,500 to $4,999)

Joe and Charlene Barnette Sarah C. Barney Robert A. and Patricia M. Bennett Leonard and Alice Berkowitz Mr. and Mrs. Leonard J. Betley George and Mary Clare Broadbent Mrs. Ruth A. Burns Eddy and Kathy Cabello Mr. and Mrs. Eurelio M. Cavalier Dr. and Mrs. Gilbert S. Daniels Richard A. and Helen J. Dickinson Mr. Fred Duncan and Mr. James Luce Mrs. Jack Dustman Mr. Theodore M. Englehart and Mrs. Dorothy H. Schulz Mrs. Marni R. Fechtman Drs. Rose S. and Kenneth H. Fife Dr. Lisa Freiman and Mr. Ed Coleman

Jody and Tim Garrigus Eugene and Marilyn Glick Mrs. C. P. Griffith Mr. Kent Hawryluk Ms. Ginny H. Hodowal and Mr. Thomas L. Arnold Francine and Roger Hurwitz Ms. Ronda Kasl David Kleiman John L. Krauss Mr. and Mrs. Jack Leicht Mrs. Catharine D. Lichtenauer Dr. Shelley Lloyd-Hankinson and Dr. Holbrook Hankinson Kurt and Linda Mahrdt Dr. and Mrs. William W. McCutchen Jr. Ms. Marni F. McKinney and Mr. Richard D. Waterfield Boris and Marian Meditch Sharon R. Merriman Mr. R. Craig Miller Ms. Anne M. Munsch Mr. and Mrs. John M. Mutz Mr. F. Timothy Nagler Ms. Sue Ellen Paxson

Anonymous (2) Mr. and Mrs. James F. Ackerman Dorothy and Lee Alig Bob and Patricia Anker Mr. and Mrs. Don B. Ansel Dr. and Mrs. Ronald L. Banta Mr. and Mrs. Frank M. Basile Dr. and Mrs. Steven C. Beering Ted and Peggy Boehm Mr. and Mrs. C. Harvey Bradley Lorene Burkhart Mark Cahoon and Robyn McMahon Amy and Greg Chappell William and Elizabeth Coffey Mr. and Mrs. Alan H. Cohen Mr. and Mrs. Daniel P. Corrigan Standiford H. Cox Albert and Louise Crandall Damon and Kay Davis Susie Dewey Jeremy Efroymson Mrs. Joyce B. Enkema

Mr. and Mrs. Stephen A. Enkema Mr. and Mrs. John E. Fazli Elaine Ewing Fess and Stephen W. Fess Pamela Fortune-Werbe and Daniel Werbe Dr. and Mrs. Alan S. Freemond Mr. and Mrs. David Garrett Richard and Sharon Gilmor Mr. and Mrs. William J. Greer Frank and Barbara Grunwald Dr. Carol Hagans and Mr. Tom Wroblewski Mr. and Mrs. George W. Hamilton Jr. Dr. Charles H. Helmen Cran and Joan Henderson Frank and Patsy Hiatt Mr. and Mrs. John D. Hoover Mr. and Mrs. Allan B. Hubbard Bill and Nancy Hunt Mrs. Nancy C. Irsay Ms. Harriet M. Ivey and Dr. Richard E. Brashear Mrs. Susan M. Jacobs Mrs. Ernest A. Jacques Mr. and Mrs. Jim James Mr. and Mrs. Russell H. Jeffrey Mr. Craig W. Johnson Dr. and Mrs. Walter W. Jolly Ms. Susan R. Jones-Huffine and Mr. Matthew Huffine David F. and Joan D. Kahn Dana and Marc Katz Dr. and Mrs. Jerry L. Kight Mrs. Elizabeth Kraft Meek Mrs. Jack (Audrey) Larman Terren B. Magid and Julie Manning Magid The Marmon Family Drs. William G. and Rose M. Mays Mr. and Mrs. William J. Mead Jane R. Nolan Dr. and Mrs. John G. Pantzer Jr. Dorit and Gerald Paul Mr. and Mrs. John E. D. Peacock 20

Mrs. Sally M. Peck Miss Terri L. Pekinpaugh Dr. Marian and John* Pettengill Jane E. Prather Dr. and Mrs. Charles H. Redish Mr. and Mrs. David Resley Mrs. Evaline H. Rhodehamel Mr. Timothy J. Riffle and Ms. Sarah M. McConnell Mr. and Mrs. Alvin H. Ritz Mr. and Mrs. William E. Roberts Mrs. John R. Roesch Mr. and Mrs. Richard A. Ruddell Nancy and Frank Russell Ms. Mary Ryder-Taylor Deborah J. Simon Mr. and Mrs. J. Albert Smith Jr. Mr. and Mrs. William E. Smith III Ms. Patsy Solinger Mr. and Mrs. James G. Spahn Ms. Rosemary Steinmetz Mrs. Alfred J. Stokely Mr. (*) and Mrs. Donald G. Sutherland Mr. and Mrs. Jeffrey H. Thomasson Phyllis and Victor Vernick Dr. and Mrs. Robert D. Walton Emily and Courtenay Weldon Emily A. West Mrs. William A. Wick Mr. and Mrs. Gene E. Wilkins Ms. Laura A. Wittenauer Katherine and Jonathon Zarich (*) denotes deceased donor

ANNUAL FUND The Annual Fund is the most comprehensive way to support the IMA, impacting everything from the conservation and protection of our permanent collection and maintenance of our beautiful gardens and grounds, to providing public and educational programs, and ensuring general admission remains free to all. Gifts to the

Annual Fund support all that you see and experience at the IMA.

$2,000 and Above Barth Foundation, a fund of Central Indiana Community Foundation Dr. and Mrs. Thomas A. Broadie Jerry L. and Barbara J. Burris Foundation Mr. and Mrs. James M. Cornelius Dr. and Mrs. John C. Lechleiter Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation Myrta Pulliam

Randall L. Tobias Foundation Mr. and Mrs. Richard A. Ruddell and Nancy Ruddell Duck, Ruddell Trust Fund State Street Corporation W.C. Griffith Foundation Trust

$1,000 to $1,999 Mr. and Mrs. Charles B. Beard Ms. Julie E. Coles Mr. William L. Fortune Jr. and Mr. Joseph D. Blakley Mr. Gregory A. Huffman John L. Krauss Mr. (*) and Mrs. James E. Miller Ms. Jennie Peterson Kathi and Bob Postlethwait

Livia and Steve Russell Don and Karen Lake Buttrey, The Saltsburg Fund Robert and Alice Schloss Mr. and Mrs. Richard Shevitz Nancy C. and James W. Smith Mrs. William A. Wick Mr. and Mrs. Robert M. Witt

$500 to $999 ABC of Indiana Ms. Olevia B. Cascadden Dr. and Mrs. John J. Coleman Mr. and Mrs. Ted Engel Ms. Carol J. Feeney Drs. Richard and Rebecca P. Feldman Mr. Maurice Grant Cran and Joan Henderson Mr. and Mrs. Richard Hennessey Carmen and Mark Holeman Mr. and Mrs. John H. Holliday Mrs. Linda A. Huber Bill and Nancy Hunt Mr. and Mrs. Kyle E. Jackson Mr. Craig W. Johnson Dr. and Mrs. Charles E. Jordan Mr. and Mrs. Robert P. Kassing Martin & Natalie Kroot Donor Advised Philanthropic Fund Martin, Barry, Greg Kroot Families Donor Advised Philanthropic Fund Mr. Ignacio M. Larrinua and Ms. Mary T. Wolf Mr. and Mrs. Stephen A. Lathrop Dr. J. D. Marhenke Mr. Stephen M. Martin and Ms. Mary Lou Mayer Robert H. McKinney Family Endowment, a fund of the Central Indiana Community Foundation Mrs. Virginia R. Melin

Dr. Arthur and Dr. Patricia S. Mirsky Blake Lee and Carolyn Neubauer Ms. Margaret E. Piety and Mr. Josef M. Laposa Gary David Rosenberg Dr. and Mrs. Peter I. Sallay Mr. and Mrs. Robert Smith Sommer Family Foundation, a fund of Central Indiana Community Foundation Ann M. and Chris Stack Mr. and Mrs. James A. Strain Mr. and Mrs. Norman G. Tabler Jr. Mr. and Mrs. Donald W. Tanselle Diane L. Williams Mr. Christian Wolf and Mrs. Elaine Holden

$250 to $499 Anonymous (1) Mrs. Suzanne B. Blakeman Mr. James R. Bonke Ms. Mauvene G. Borton Ms. Barbara J. Briggs Mr. and Mrs. P. Lawrence Butt Mr. and Mrs. Mark P. Cain Dr. and Mrs. David W. Crabb Mr. and Mrs. Alan J. Dansker Mrs. John L. Davis Mr. and Mrs. Will J. Elsner Dr. and Mrs. William G. Enright Elaine Ewing Fess and Stephen W. Fess Mr. Richard L. Funkhouser Mr. and Mrs. Robert E. Gould Michelle and Perry Griffith Mr. and Mrs. David J. Hamernik Ms. Angela J. Hauck Mr. Henry Havel and Ms. Mary Stickelmeyer Mr. and Mrs. Eugene E. Henn

Mr. and Mrs. Thomas S. Hollett Mr. and Mrs. Kenneth H. Inskeep Mr. and Mrs. Mike Jackson Mr. and Mrs. John C. Jenkins Mr. Robert A. Johnson Mrs. Ethel Mae King Dr. and Mrs. Kevin J. Lavelle Ms. Elizabeth L. Lawson Ms. Florence L. Leviton Mrs. Barbara C. Levy Dr. and Mrs. Carlos Lopez Mr. and Mrs. Robert L. Muller Mr. and Mrs. Byron L. Myers Mr. and Mrs. John D. Pardee Mr. and Mrs. James E. Pauloski Miss Terri L. Pekinpaugh Mr. Neal D. Prince Mr. Martin J. Radecki and Dr. Deborah Radecki Ms. Rachel Y. Reams Rev. and Mrs. C. Davies Reed Mrs. Jane Rothbaum Mr. and Mrs. Roderick J. Scheele Mr. William L. Scott Dr. and Mrs. (*) Robert Q. Thompson Mrs. Edna W. Van Riper Mr. and Mrs. William Van Voorhies Mr. and Mrs. J. Frederic Wiese Jr. Mrs. Mary Jane Witz Anna S. and James P. White Dr. Robert D. Yee and Mrs. Linda M. Yee Karl and Barbara Zimmer Mr. and Mrs. John D. Zinser (*) Denotes deceased donor

DONORS TO THE COLLECTION Asian Art Society Ms. Gayle Atkins Mr. and Mrs. Leonard J. Betley Jonas Bohlin

Estate of Judge Paul H. Buchanan Jr. Märten Claesson, Eero Koivisto and Ola Rune The Clowes Fund, Inc. Steven Conant, MD Ms. Murph Damron and Mrs. Rebecca J. Savill Ms. Amy C. Davidoff Mrs. Holliday T. Day Sir James Dyson Thomas Eriksson Martin Filler and Rosemarie Bletter Mr. Helmut Fortense Mr. and Mrs. David Garrett Jody and Tim Garrigus Mr. and Mrs. James A. Gaume Mrs. Anne M. Greenleaf Michelle and Perry Griffith Mr. David A. Hanks Dr. Howard Harris and Mrs. Anita Harris Mr. Kent Hawryluk Carmen and Mark Holeman Mr. Daniel Hsieh Richard Hutten Ms. Niloo Imami-Paydar and Mr. Nasser Paydar Indianapolis Chapter of Links Mrs. Susan M. Jacobs Ms. Marilynn Johnson Dr. and Mrs. Walter W. Jolly Mrs. Teresa E. Jones Dr. and Mrs. Charles E. Jordan Mr. Samuel Josefowitz Richard Kautzman Robert and Lisa Kessler Ms. Kathleen Kiefer Kay F. Koch Mrs. Elizabeth Kraft Meek Mr. and Mrs. Frederick Krieger Dr. Thomas W. Kuebler James E. and Patricia J. LaCrosse Ellen W. Lee and Stephen J. Dutton

Page 19 » Sergio Aguilera, Lori Efroymson-Aguilera, June McCormack, and Fred Feldeverd at the IMA’s Sacred Spain Gala. Left » Master of Badia a Isola, Italian, Madonna and Child, about 1320 (detail), tempera on wood, 24 1/2 x 20 1/2 in. (62.3 x 52.1 cm.) The Clowes Fund Collection, 2009.52.

In memory of Dr. William Fechtman Dr. and Mrs. Robert L. Rudesill Mr. and Mrs. David Savage

In memory of Frances M. Girdwood Ms. Winifred G. DeShon Mrs. Samuel R. Sutphin

In honor of Pam H. Hicks Mrs. Ginger S. Hoyt

In memory of Benjamin Hitz Jr. Mrs. Anne M. Greenleaf

In honor of Ruth Hudson Mrs. Ginger S. Hoyt

In memory of Elsa M. Iverson Mr. and Mrs. Ernie Kobets

In memory of M.K. Jacobsen Horticultural Society of the IMA Mrs. Catharine D. Lichtenauer Mrs. Lena D. Lo Mr. and Mrs. Leigh Marsh Mr. and Mrs. Tom McGrew Mr. and Mrs. Frederick W. McKee George McKee Mr. R. Craig Miller Ms. Aga Morgan Mr. F. Timothy Nagler Mr. and Mrs. Scott C. Norris Frieda and Eldon (*) Nyhart Olafur Thórdarson Dorit and Gerald Paul Mr. and Mrs. John E. D. Peacock Mr. Ronald C. Reeve Rolf Sachs Rug & Textile Society of Indiana Mrs. Cecil G. Sands Dr. Kenneth R. Shaffer (*) Mr. Gene Silver Ms. Petra Slinkard and Mr. Heath Byers

Ann M. and Chris Stack Mr. and Mrs. David M. Stewart Dr. Michael Sze Ms. Kathryn T. Van Sciver and Mr. James Croop Harvey and Ruth Wagner Mr. Charles W. Welliver Anna A. and James P. White Dr. Margaret Wiley Mrs. William A. Wick Walter and Joan Wolf Mr. Edward Wright

TRIBUTES AND MEMORIALS In memory of Elizabeth & Victor Amend

Ms. Wanda L. Shafer

In honor of Robyn Caponi Ms. Kristen Caponi Darmody

In honor of Marilyn J. Dapper The Ladies of Alpha Tau Latreian

In honor of Candace C. David Mrs. Ginger S. Hoyt

In memory of Leigh O’Connor De Paepe Carmen and Mark Holeman James E. and Patricia J. LaCrosse Anna S. and James P. White

Cran and Joan Henderson Ms. Natalie Meisler

In honor of Ione L. DeBolt

In honor of Mary Kay Anthony

For the birthday of Randolph H. Deer

Mrs. Ginger S. Hoyt

In honor of Janet Barb Mrs. Ginger S. Hoyt

In memory of Herschel & Helen Beagle

Mrs. Ginger S. Hoyt

Katherine C. Nagler

In honor of Anita Johnson Mrs. Ginger S. Hoyt

In memory of Mark John Joseph Carmen and Mark Holeman Mr. Daniel Hsieh Ms. Niloo Imami-Paydar and Mr. Nasser Paydar Ms. Kathleen Kiefer Rug & Textile Society of Indiana Ms. Kathryn T. Van Sciver and Mr. James Croop Dr. Margaret Wiley

For the anniversary of John and Gail Juerling Ms. Martha M. Samuels

In honor of Kathleen Kiefer Ms. Kaarta Nemeth

For the birthday of David Kleiman Phyllis and Victor Vernick

In honor of Carol A. Edgar Mrs. Ginger S. Hoyt

In memory of Ursula Kolmstetter Carmen and Mark Holeman Mr. and Mrs. Thomas J. Mathiesen

In honor of Elizabeth Kraft Meek Mr. Fred Duncan and Mr. James Luce

In honor of Meme Kramer Mrs. Ginger S. Hoyt

In honor of Eleanor “Nonie” Krauss Anonymous (1) Mr. and Mrs. Bob E. Cross Mr. and Mrs. John D. Hoover Indiana University-School of Public & Environmental Affairs John L. Krauss Dr. and Mrs. E. H. Lamkin Jr. Ms. Leslie A. Landefeld and Mr. Geoffrey G. Snow Mr. and Mrs. Greg Lindsey Mr. and Mrs. William J. Mead Mothershead Foundation Mr. and Mrs. Charles D. Preston Mr. and Mrs. Gregory K. Silver Charles and Peggy Sutphin Turner John Management

Mr. and Mrs. Richard J. Darko Mr. and Mrs. Edwin H. Dawson Elaine Ewing Fess and Stephen W. Fess Ms. Wendy M. Fortune and Mr. Thomas R. Neal Dr. and Mrs. Richard Graffis Carmen and Mark Holeman Mr. and Mrs. John H. Holliday The Joseph M. Ivcevich Family Mr. and Mrs. Robert P. Johnstone Mr. James L. Kalleen III Ms. Laura Jean King James E. and Patricia J. LaCrosse Dr. and Mrs. Richard Lautzenheiser Mr. and Mrs. James B. Lootens Mr. and Mrs. Albert O. Louer Mr. and Mrs. Thomas D. Mantel Ms. Nancy M. Meek

Mr. and Mrs. Marvin Mitchell Mr. and Mrs. Gerald L. Moss Katherine C. Nagler Mr. and Mrs. Philip A. Nicely Mr. and Mrs. William L. Nie Andrew and Jane Paine Dorit and Gerald Paul Mr. and Mrs. Randall D. Rogers Mr. and Mrs. Pearson Smith Ms. Patsy Solinger Mr. and Mrs. James F. Sturman The McLain Family Foundation Inc. Mr. and Mrs. G. William Tolbert Mr. and Mrs. Michael P. Tolley Mr. and Mrs. Thomas M. Tuttle Ms. Patricia Veloff Bret and Mary Lou Waller Anna S. and James P. White Ms. Patty Haddock Whitehouse Mr. and Mrs. Robert T.

Wildman Mrs. Lynn C. Wilson Mr. and Mrs. Wallace “Ace” R. Yakey Mr. and Mrs. Gene Zink

In honor of Leah K. Leifer Mrs. Ginger S. Hoyt

In memory of Dr. Edward C. Lidikay Mr. and Mrs. Robert Ryder

In memory of Clarence W. Long Carmen and Mark Holeman

In honor of Ellen R. Lorch James E. and Patricia J. LaCrosse

In honor of Isabel Martin Mrs. Ginger S. Hoyt

In memory of Berna Lee Mays Diane L. Williams

In honor of Shirley M. Kulwin Mrs. Ginger S. Hoyt

In memory of Carolyn La Vanchy Mr. and Mrs. Edward L. Frazier Ms. Ann Ruth Loth Ms. Cynthia Press Mrs. Mary Jane Witz Mr. Steve Miller Witz

In memory of Rosemary W. Lee Dorothy and Lee Alig Ms. Gayle Atkins Mr. and Mrs. Jonathan L. Birge Mrs. Suzanne B. Blakeman Mrs. Mary P. Bowen George and Mary Clare Broadbent Mr. and Mrs. Daniel P. Byron Dr. and Mrs. James R. Cumming

Left » George Winter, American, Scene on the Wabash, about 1848, oil on canvas, 29 x 36 in. (73.7 x 91.4 cm). Bequest of Judge Paul H. Buchanan, Jr., 2009.290. Above » The Gene and Rosemary Tanner Orchard.

In honor of Gail E. McDermottBowler Mrs. Ginger S. Hoyt

In honor of David A. Miller Gary David Rosenberg

In honor of Dorothy L. Miller Mrs. Ginger S. Hoyt

In honor of Judy Naaman Mrs. Ginger S. Hoyt

In honor of Davine Nolcox Mrs. Ginger S. Hoyt

In memory of Robert L. Ochs Ms. Rebecca L. Gregory-Chifos

In honor of Sharon Paskins Mrs. Ginger S. Hoyt

In honor of Dorit Paul Mrs. Ginger S. Hoyt

In memory of Robert “Bob” Perry

Ms. Paula Barbour Alice and Rick Beckman Ms. Sara Compton Dr. and Mrs. Chad J. Davis Becky and Lowell Denbo Dr. and Mrs. Fred L. Ficklin Mr. Chad Franer Mr. and Mrs. Timothy Gallagher Mrs. Jean Guernsey Dr. and Mrs. Jerry R. Holifield Ms. Betty T. Howard IMA Gardens and Grounds Committee Mr. and Mrs. James H. Ingle Mr. and Mrs. Vasco Kirby Karen and Karey Kirkpatrick Mr. and Mrs. Rik Lineback Mrs. Theresa G. Loudermilk Mr. and Mrs. Brian C. McLane Mr. and Mrs. John McLaughlin Mr. and Mrs. Scott Morlock Mr. and Mrs. John T. O’Connor Charles and Vada Platt Ms. Joan M. Rocap

Mr. John T. Noll and Ms. Clare M. Skevington Mr. and Mrs. James R. Slater Mr. and Mrs. J. W. Torke Donna and Glenn Weiser Mr. and Mrs. David L. Wills Mr. and Mrs. James W. Winkelmann Ms. Kimberly L. Wundrum Mr. and Mrs. Mark Zelonis

In memory of Annetta H. Weinhardt

In honor of Carol C. Rogers Reed Rev. C. Davies Reed

Rug & Textile Society of Indiana

In honor of Patricia Ritz

In honor of Wayne P. Zink

Mrs. Ginger S. Hoyt

Mr. Fred Duncan and Mr. James Luce

In memory of Lenore T. Rochford Mr. and Mrs. John B. Bridge

In honor of Anne B. Rudy Mrs. Ginger S. Hoyt

In memory of Jean K. Rugg Mrs. Richard T. Hill

In honor of Stephen Russell Mr. and Mrs. Richard Shevitz

In honor of David Russick Gary David Rosenberg

In honor of Valri Sandoe Mrs. Ginger S. Hoyt

In honor of Maeg W. Shackleton Mrs. Ginger S. Hoyt

In memory of Josephine Shonkwiler Mr. and Mrs. William B. Whitaker

In memory of Dr. Harris B. Shumacker Jr. Carmen and Mark Holeman Indianapolis Medical Society Mr. and Mrs. Earl C. Larsen

In honor of Dorothy Van Hove Mrs. Ginger S. Hoyt

Mrs. Anne M. Greenleaf Carmen and Mark Holeman Ms. Helen K. Langone Mr. and Mrs. George H. Maley Mr. and Mrs. Howard R. Meeker Jr.

In memory of Mrs. Warman Welliver

Foundations and Government Funders The Andrew W. Mellon Foundation Art Mentor Foundation Lucerne Arts Council of Indianapolis, Inc. Chambers Family Foundation Christel DeHaan Family Foundation The Clowes Fund, Inc. Consulate General of Switzerland Consulate General of the Federal Republic of Germany Consulate General of the Netherlands Cummins Foundation The Efroymson Family Fund, a CICF Fund Eli Lilly and Company Foundation Indiana Arts Commission Indiana Humanities Council Institute of Museum and Library Services Irwin-Sweeney-Miller Foundation John J. Medveckis Foundation Lilly Endowment, Inc. MET Foundation, Inc.

Mondriaan Foundation, Amsterdam National Endowment for the Arts Nicholas H. Noyes, Jr., Memorial Foundation, Inc. Pro Helvetia Swiss Arts Council Pulliam Charities Fund, a fund of the Central Indiana Community Foundation Randall L. Tobias Foundation Richard M. Fairbanks Foundation, Inc. Sociedad Estatal para la Acción Cultural Exterior (SEACEX)

Restricted Gifts Anonymous (1) Harriett Ames Charitable Trust Mrs. Ruth Lilly (*) Melvin and Bren Simon Charitable Foundation Number One The Tangeman Charitable Trust

LEGACY CIRCLE The IMA recognizes the distinguished members of the Legacy Circle, who ensure the future of the IMA as a preeminent art institution. Membership in the Legacy Circle is designated for persons who elect to leave a legacy to the IMA with a planned gift. Anonymous (2) Mr. Edward N. Ballard Mr. and Mrs. Frank M. Basile Mrs. Claire R. Bennett Leonard and Alice Berkowitz Mr. and Mrs. Robert R. Bowman Dorothy Callahan Keith Uhl Clary Steven Conant, MD Chris W. and Lesley J. Conrad Phyllis Crum Mrs. Becky Curtis Stevens Damon and Kay Davis

Richard A. and Helen J. Dickinson Mr. and Mrs. Don B. Earnhart The Efroymson Family Edgar and Dorothy Fehnel Drs. Richard and Rebecca P. Feldman Mr. and Mrs. Otto N. Frenzel III Mr. and Mrs. David Garrett Betty and David W. Givens David and Julie Goodrich Mr. and Mrs. John R. Hayes Mr. and Mrs. John H. Holliday Francine and Roger Hurwitz Mr. and Mrs. Rick L. Johnson Jr. Dana and Marc Katz Mr. and Mrs. David W. Knall John L. Krauss Mr. Charles E. Lanham Mrs. Margaret S. Lautzenheiser (*) Mr. and Mrs. Richard L. Ledman Mrs. Catharine D. Lichtenauer Mrs. Ruth Lilly (*) Mr. Robert L. Mann

June Michel McCormack Michael K. and Patricia P. McCrory Alice and Kirk McKinney Mr. and Mrs. H. Roll McLaughlin Boris and Marian Meditch Ina M. Mohlman Katherine C. Nagler Dr. Louis W. Nie Perry Holliday O’Neal Andrew and Jane Paine Dorit and Gerald Paul Mr. and Mrs. R. Stephen Radcliffe Dr. and Mrs. George F. Rapp Mr. James D. Rapp and Dr. Patricia W. Rapp Dr. and Mrs. John G. Rapp Rev. and Mrs. C. Davies Reed Carolyn Schaefer and John Gray Jack and Susanne Sogard Charles and Peggy Sutphin Marianne W. Tobias Ambassador Randall L. Tobias Anna S. and James P. White Billie Lou and Richard D. Wood Mr. and Mrs. Timothy T. Wright Mr. and Mrs. James W. Yee Kwang Fei Young Mr. and Mrs. W. Paul Zimmerman Jr.

Left » Suzuki Sansei, Japanese, Celedon Globular Jar, about 1990-1995, stoneware with crackled powder blue celadon glaze, h: 14 1/2; d: 15 5/8 in. (36.8 x 39.7 cm).Purchased with funds provided by Leonard and Kathryn Betley, 2009.291.

Community

In Memory of Ruth Lilly Ruth Lilly’s passing on December 30 marked the end of an era for the IMA. She was the last remaining member of the illustrious Lilly family to have lived at Oldfields, a property purchased by her parents in 1932 from Hugh McKennan Landon, the estate’s original owner. She lived there as a young woman until her marriage to Guernsey Van Riper, no doubt enjoying the magnificent beauty and serenity Oldfields still offers. Throughout her life Ruth Lilly demonstrated unparalleled generosity to the Indianapolis Museum of Art. Without her vision, the Museum would not be where it is today, neither literally, at its physical location, nor figuratively, at its place of prominence as a major American art museum. Following the death of her parents in the mid-1960s, Ruth and her brother, J. K. Lilly III, generously gave the Oldfields estate, along with an adjacent 26 acres, to the Art Association of Indianapolis, with the express purpose of providing a site for a new museum building. Though there were many skeptical Indianapolis residents questioning the motives of such a glorious bequest, the organization did accept the gift and began plans for a much-needed larger facility. The new Indianapolis Museum of Art was born. The gift of the Oldfields estate, together with Ruth Lilly’s extraordinary financial generosity totaling more than $30 million, made it possible for the Indianapolis Museum of Art to establish its roots at the intersection of 38th Street and Michigan Road as a key resource for the Indianapolis community. The designation of Oldfields as a National Historic Landmark in 2003 is evidence of the site’s historic and architectural significance. On a personal level, it was a pleasure to accompany Ruth Lilly on her many visits to Oldfields, and it is a genuine honor to carry her name as part of my title and responsibilities. We are most grateful for the legacy she left the IMA, one of many organizations that she touched with her giving spirit. And though one era has ended, a new one has begun, one with a bright and glorious future.

Above » Ruth Lilly in the 1930s, during the time she lived at Oldfields.

Mark Zelonis The Ruth Lilly Deputy Director of Environmental & Historic Preservation

VOICES: An Interview with Kareem Dale

Envisioning Access to the Arts Chicago attorney and arts advocate Kareem Dale was appointed last year as Special Assistant to the President on Disability Policy. In June 2008 he hosted a White House meeting that brought together a small group of representatives from arts organizations around the U.S. to discuss improving access to the arts for people with disabilities and all Americans. For some of the attendees, including the IMA’s director of education Linda Duke, the meeting served as both confirmation and inspiration. Duke thought about the strong commitment the IMA has made to the design arts. “Universal design” is sometimes described as design that makes experiences better for everyone. Instead of focusing on modifications for people with special needs, universal design focuses on design excellence that serves a wide range of needs from the outset. From the White House discussion, Duke saw opportunities to incorporate universal design into the Museum’s design practices and educational mission. The IMA has made steady progress in incorporating principles of universal access into the design of both programs and spaces. The Education and Community Affairs Committee of the Museum’s Board of Governors and the staff-led Accessibility Task Force are two bodies that advise and provide momentum for this progress. Recently, Duke interviewed Kareem Dale about his perspectives on access to the arts. You have an unusual job. Could you briefly describe what the President has asked you to do? The President has asked me to help lead our efforts for outreach to the disability community and developing and implementing disability policy. I work in the Office of Public Engagement, which is like the front door to the White House. Our office is responsible for engaging with the public and ensuring that the disability community, in my case, is integrated into the President’s agenda and plans. I also work in the Domestic Policy Council, where we implement the President’s policy priorities for Americans with disabilities. As you talk with arts institutions and organizations around the country, what are you learning about their efforts to become more accessible? I’ve learned that arts institutions want to be inclusive and have people with disabilities involved in their programs and initiatives. However, many of them are not quite sure how to proceed and/or they have misperceptions of what it would take to be inclusive. That is one of the main reasons the White House hosted the meeting with arts institutions last year, so that people could come together and discuss these important ideas. Many good results have come from that meeting. Thus, these institutions can learn how to be more accessible and welcoming for

all Americans. What is “universal design” and why is it important? I view Universal Design as including accessibility and people with disabilities from the beginning. That way, you don’t have to backtrack or try to insert accessibility concerns after plans already have been made. We’re trying to do this at the White House and throughout the administration with our initiatives. It must be very exciting to have an opportunity to work at the national level. Any reflections on your time in Washington so far? It’s been a wonderful experience. It’s extraordinarily gratifying as we continue to fulfill the President’s campaign promises. For example, the President promised that we would sign the U.N. Convention on the Rights of Persons with Disabilities and he did it. There are other similar accomplishments. I marvel at the change I believe we have made for people with disabilities. And, we are continuing to strive for more change. Above » Kareem Dale, photo courtesy of the White House Office of Public Engagement

DIGITAL INNOVATION

A Clean Start

Lauching the new IMA Web site What makes a Web site useful? According to an informal survey of visitors to the IMA’s site, engaging content, a clean design, and intuitive links from page to page. It was just such feedback that drove a six-month-long redesign of the Museum’s site, with a newly retooled site being launched earlier this year. The redesign came less than four years after the previous design, said Robert Stein, the IMA’s chief information officer. Of course, in Web years, 2006 was generations ago. Visitors have become more sophisticated about their use of sites, and more demanding in terms of what they want and expect. And according to the annual surveys the Museum’s IT team had been conducting, many of the old site’s 400,000-plus visitors wanted and expected a site that provided a lot of information, images, and links while still being simple and easy to use. “We’ve learned a lot in the past four years,” said Stein, “about how users respond to different features online. The new site is cleaner and more structured from a design standpoint. We’re making better use of visual presentations—catching your attention with an image and telling you what it’s about, then driving you deeper into the site by offering you access to more information.” The biggest complaint from users was that the old site was difficult to navigate. At the top of each page of the new site is a single navigation bar with the main categories listed on it, said Stein. Roll over a category and a menu of choices appears. The redesigned site provides a visually rich way for visitors to the site to explore not only images and information from the exhibitions on display, but also every work of art and artist in the IMA’s collection. “We have a really powerful search interface that indexes everything,” said Stein. “So you can call up an artist’s page and see images of each of the works the IMA has by that person.”

Above » Page layouts posted for review. Right » An interdepartmental team of IMA staff work on the development of the site. Pictured: Charlie Moad, Ed Bachta, Meg Liffick, and Kris Arnold.

Visitors have become more sophisticated about their use of sites, and more demanding in terms of what they want and expect. The new site also makes it easier to access the Museum’s new media efforts. As various formats—from social networks such as Facebook and Twitter to video portals such as YouTube and Art Babble— have emerged, the IMA’s new media department has used them to help promote the Museum and its exhibitions and events. On the new site, these activities are integrated with the Museum’s content in many ways and encourage visitors to interact and to share their views. Now, users can click on a “More Like This” column on the right side of the new site’s pages and access related content such as video clips, blog postings and podcasts. There is also a page on the new site that serves as a central clearinghouse for links to the IMA’s presence on sites throughout the Web. “It’s a way to

provide highlights of all of the Museum’s new media efforts,” said Kate Franzman, the IMA’s new media manager. Another new development on the site is the streamlined purchasing of tickets and memberships, said Stein. “On the old site, it wasn’t as easy as our visitors wanted it to be. So we worked hard to create a simplified experience. On the new site, all you have to do is click on one link to buy a ticket or become a member.” The redesign team also took a look at the calendar of events, which is a notoriously difficult area for many museums. The old site used a block-style calendar and event listing that sometimes jammed too many events into a single small block or page. The new calendar features a timeline that users can scroll through, and it uses different color blocks to differentiate

activities: blue for classes, yellow for performances, orange for talks, red for films, green for special events, purple for tours, and black for exhibitions. “You can click on a single day and it will show you everything that’s going on that day,” said Stein. “Then you can click on one of the color blocks and get details about that activity.” “We believe the redesigned site achieves two things,” said Stein. “It’s easier to use, while also providing the kind of in-depth information that people are hungry for, whether it’s getting directions to the Museum, searching the collection or engaging with the array of art, nature, and design elements throughout the campus.”

Behind the Scenes

Where Art and Science Meet The IMA Conservation Science Lab

Conserving art is a science. Never more so than in a museum like the IMA, where the collection spans more than 5,000 years, the objects range from charcoal on paper to neon lights, and materials cover the gamut from ancient ceramics to contemporary plastics. The IMA’s conservation laboratory has long been among the most respected in the country, providing hands-on training for students from university conservation programs as well as services to other institutions. With expertise in everything from paintings and photographs to fabrics and metals, the Museum’s conservators work with curators to ensure that both the works in the permanent collection and those on loan from other museums are handled, displayed, and stored correctly. In August, the Museum will boost its conservation capabilities further, opening a conservation science laboratory. Headed by Dr. Gregory Dale Smith, formerly the Andrew W. Mellon Assistant Professor of Conservation Science at Buffalo State College, the new $2.6 million lab is being funded through a grant from the Lilly Endowment. It will give IMA conservators access to chemical analyses of the materials used to create works of art, allowing them to determine how best to maintain, repair, and protect those works. Chemical analysis is also a good way to determine the likelihood that a piece of art was or was not created by a specific artist or during a specific time period. “Conservation science is a fascinating area where art and science come together,” said Smith in January, shortly after assuming his new position at the IMA. “It’s a true interface where the two disciplines meet.” Smith, who holds a Ph. D. in physical/analytical chemistry from Duke University, became interested in that interface while in college. “I started out wanting to be a chemical engineer,” he said. “Then I got interested in archeology and anthropology, so I ended up taking classes in that area while doing undergraduate and graduate work in chemistry. That led me to do postdoctoral work in the chemical analysis of ancient artifacts.” After conducting research at the National Gallery of Art in Washington, D.C., the National Synchrotron Light Source at Brookhaven National Laboratory in New York, and University College in London, he settled at Buffalo State College, home of one of the country’s three graduate programs for comprehensive art conservation training.

His position there was funded by the Andrew W. Mellon Foundation, which is also funding his newly created position as the IMA’s senior conservation scientist.

Spectrometers, Fadeometers and More

The IMA must match the Mellon Foundation’s grant by raising $1.5 million within three years, said David Miller, the Museum’s conservator in charge and senior conservator of paintings. “The IMA’s stature has increased nationally and internationally,” said Miller, “so the Mellon Foundation recognized that establishing a lab like this one with someone with Greg’s level of expertise was the next logical step for our conservation efforts.”

Museum scientists utilize many of the same analytical techniques used by their mainstream science colleagues. It’s just that the samples are quite different. The new science facility at the IMA will house state-ofthe-art research and analytical instrumentation, such as electron and optical microscopes, infrared and X-ray spectrometers, portable colorimeters, chromatographs, and mass spectrometers. Specialized climatic chambers and intense light “fadeometers’” will also allow the scientists to test the stability of artists’ materials by exposing them to accelerated aging conditions. All of this equipment will further the Museum’s goal of supporting its conservation staff and understanding better its own collection while also providing new information on the proper care of artwork through its research program.

Once the new lab is fully staffed and operational, the new resources it will add to IMA’s conservation department will expand the Museum’s nationally respected conservation capabilities and enhance its reputation as one of the leaders in the field of art conservation. It also will support the research and publication efforts of the Museum’s conservators and curators. For Smith, the fact that central Indiana, through its focus on the life sciences, is attracting researchers and scientists from around the country bodes well for the future of the lab, which will be the only one of its type in the Midwest outside of the Art Institute of Chicago. “It means we will have good partners in our efforts here,” he said. “Not only do we anticipate collaborating with other museums around the country, but with local industry as well.” Once outfitted, the IMA’s lab will resemble those of other leading art institutions in the United States, including the Art Institute of Chicago, Museum of Fine Arts, Boston, National Gallery of Art, Metropolitan Museum of Art, and Getty Conservation Institute. To ensure that this ambitious project can move forward, the IMA has an immediate need to raise an additional $1.5 million within the next two years to secure the $1.5 million matching grant from The Andrew W. Mellon Foundation. An additional $1,000,000 is needed to reconfigure the current conservation footprint.

For information on how to contribute to this important initiative, please contact Kathy Nagler, at 317-923-1331 ext. 217.

Left » IMA Conservation Scientist, Gregory D. Smith in the former office space that will soon become the Museum’s Conservation Science Laboratory

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$100 for 100 Acres: Celebrate this significant moment in the IMAâ&#x20AC;&#x2122;s history with a $100 donation that supports art, design and nature. Give today by visiting imamuseum.org/100Acres/support or call 317-920-2684.

Notes: May–August 2010

NEWS » EXHIBITIONS » CALENDAR » EVENTS » PROGRAMMING » $100 for 100 Acres Coming this June—The opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park. Celebrate this significant moment in IMA history with a $100 donation that supports art, nature, and design. Your generosity helps to ensure the conservation and protection of our permanent collection, the presentation of dynamic public and educational programs, the maintenance of our beautiful gardens and grounds, and free general admission for more than 400,000 visitors a year. Give online at imamuseum.org/100Acres/support.

Get Involved at the IMA Now is your chance to experience the IMA from the inside. New volunteers are needed to assist visitors from around the city, the state, and even the world. Volunteers work throughout the Museum, where they greet visitors, support programs and much more. To get involved or learn more about other volunteer opportunities, contact Norma Jean Snyder at 317-923-1331, ext. 263, or njsnyder@imamuseum.org.

News Sacred Spain Exhibition Recap More than 69,000 visitors toured the exhibition Sacred Spain: Art and Belief in the Spanish World (October 11, 2009–January 3, 2010), exceeding Museum attendance goals by nearly 20,000. Sacred Spain brought together more than 70 works of art from 17th-century Spain and Latin America, many of which had never before been seen in the United States. “This groundbreaking exhibition strengthened the IMA’s position on the international art scene, offering a new perspective on the sacred art of the Spanish world during the baroque period—a perspective examined in further detail through a 400-page catalogue and a two-day international symposium which brought together some of the world’s leading experts in baroque art,” said Maxwell L. Anderson, The Melvin & Bren Simon Director and CEO of the IMA. The IMA offered free docent-led tours of Sacred Spain for school groups and the general public, serving more than 3,500 schoolchildren and another 5,000 visitors. Additionally, more than 4,000 visitors experienced “TAP: Sacred Spain,” an interactive iPod Touch tour created by the IMA to enhance the gallery experience through video, music, and more. Among the highlights of the exhibition was a wooden crucifix presented to King Philip IV of Spain by Juan Carreño de Miranda, which the IMA has acquired for its permanent collection. The crucifix, probably made in an attempt to cultivate royal favor, is an exceptional work for this painter of altarpieces and portraits and further strengthens the Museum’s collection of baroque artwork.

A Garden Affair: Horticultural Society Auction Sunday, June 13 » 5–9 pm » $75 Deer Zink Events Pavilion Join the Horticultural Society of the IMA for its biennial benefit, “A Garden Affair” in support of the grounds and gardens of the IMA. The event features dinner and an auction. Premier sponsor of the event is Mark M. Holeman, Inc.–Landscape Architects and Contractors. Registration information is available at www.imahortsoc.org or by calling Noel Heymann 317-726-1962.

AAMD Annual Meeting to be Held at the IMA For the first time in more than 30 years, the Indianapolis Museum of Art will host the Association of Art Museum Directors (AAMD) for its summer meeting, June 6–9. AAMD membership consists of nearly 200 art museum directors from throughout the United States, Canada, and Mexico. AAMD establishes and maintains the highest standards of professional practice; serves as a forum for the exchange of information and ideas; acts as an advocate for its member art museums; and is a leader in shaping public discourse about the arts community and the role of art in society.

Jennifer Bartenbach Promoted to Acting Director of Finance Jennifer Bartenbach has been promoted to acting director of finance. She replaces Anne Munsch, who left the IMA to become chief financial officer at the Peabody Essex Museum in Salem, Massachusetts. Bartenbach has served as controller at the IMA since 2005. Before joining the IMA, Bartenbach served in various capacities at Sigma Micro Corporation and at BKD, LLP. She has a bachelor’s degree from the University of Evansville and a master’s degree in business administration from Ball State University.

Museum Store selections inspired by

100 Acres

THE ViRGiNiA B.FAiRBANKS ART & NA TuRE PARK

IMA Magazine Reduces Carbon Footprint

You may have noticed these logos inside recent issues of IMA Magazine. This magazine is printed on paper certified by the Forest Stewardship Council, which is manufactured with electricity in the form of renewable energy and includes a minimum of 20 percent post-consumer recovered fiber. It’s just one of the many ways the IMA strives to integrate sustainable practices into all of its operations. By being printed on recycled paper made with alternative energy, the magazine you’re reading represents the following environmental savings: 20 trees, 4.3 million BTUs of energy, more than 1,165.5 kWh of electricity, more than 4,700 pounds of carbon dioxide, more than 10,520 gallons of water, and 1,185 pounds of solid waste.

IMA Mourns the Loss of Longtime Colleague The IMA mourns the loss of our Rights and Reproductions Coordinator, Ruth Roberts, who passed away on March 11, 2010. Ruth’s twenty year dedication to artist’s rights, museum patronage, and creative expression personifies the essence of our continued commitment to the mission of the IMA, and we celebrate her collaborative spirit and community service.

The Art of Participation: 1950 to Now is the first fully illustrated survey of participatory art and it key practitioners from early “happenings” and performances to current practices that demand audience interaction. ($39.95)

One Place After Another: Site-Specific Art and Locational Identity offers a critical history of site-specific art since the late 1960s. ($19.95) Participation demonstrates the desire to move viewers out of the role of passive observers and into the role of contributors. ($24.95)

Shop our entire selection of 100 Acres merchandise and publications in the Museum Store.

On View Jeppe Hein: Distance and Bench Around the Lake May 7–September 5 » Free » Forefront Gallery » Gallery Level 3 This exhibition of work by Copenhagen- and Berlin-based artist Jeppe Hein consists of two installations that engage the architectural, spatial, and navigational experiences of interior and exterior sites. Hein’s 4,000-square-foot indoor installation Distance consists of a dynamic indoor rollercoaster track for a series of white plastic balls. When a visitor enters the space, a sensor reacts and releases a ball that is set in motion and runs the length of more than 1,000 feet of track, passing between walls and navigating through loops, sharp curves, and spirals. Hein’s outdoor experiential artwork Bench Around the Lake, which was commissioned for 100 Acres: The Virginia B. Fairbanks Art & Nature Park, imagines a playful and serpentine bench that emerges from the ground, twists, turns, and submerges again in numerous locations around the Park’s 35-acre lake. The benches will provide visitors with opportunities to sit, look, listen, interact, wonder, and play.

The Thirty-Six Views of Mt. Fuji May 8–September 5 » Free » Appel Gallery » Gallery Level 2 Rising majestically with a near-perfect cone shape, Mount Fuji has been a favorite subject of Japanese artists from the earliest times. Mount Fuji was a daily presence in the lives of the citizens of the shogun’s capital of Edo, and it was also visible from many points along the great Tokaido Highway that linked Edo with the ancient capital of Kyoto. This second exhibition in a twopart series features 18 of the prints that make up Utagawa Hiroshige’s ThirtySix Views of Mt. Fuji. The series was completed just before his death and published the following year.

Drawings to Prints July 3, 2010–January 2, 2011 » Free » Conant Galleries » Clowes Pavilion Level 2 The similarity between prints and drawings suggests the close and often complex relationship between these two branches of the graphic arts that dates to the 15th century. The earliest engravings were line drawings transferred to the printing plate for reproduction. Later, many artists continued to work out their compositions as drawings before committing them to the permanence of the printed line. Noted artists provided professional printmakers with drawings or watercolors as models to be followed; other draftsmen found inspiration in printed images. In the 20th century, original prints were apt to be extensions of the painter-printmakers’ personal drawing styles. This 400year alliance between unique and multiple works on paper is explored through 30 drawings from the IMA’s permanent collection and 30 engravings, etchings, woodcuts and lithographs, which relate to them.

Top » Jeppe Hein, Danish, Distance, 2004 (detail), iron, electrical motor, PVC balls, sensors, technical apparatus. Exhibited at Dunkers Kulturhus, Helsingborg, Sweden, 2005. Image courtesy Johann König, Berlin and 303 Gallery, New York. Photo Credit: Simon Ladefoged.

On View Indiana Artists’ Club Annual Exhibition Through June 6 » Free » North Hall Gallery, Gallery Level 1 The Indiana Artists’ Club, Inc. was organized as the Indiana Art Club in 1917 by a group of 46 artists and patrons including such notables as T.C. Steele, William Forsyth, Otto Stark, Carl Graf, Wayman Adams, Simon Baus, Marie Goth, Frederick Polley, Clifton Wheeler, Randolph Coats, Carl Lieber, and Alex Holiday. This is the 78th annual juried exhibition of the club.

Heather Rowe : TENUOUS ARRANGEMENTS Through August 1 » Free » Efroymson Family Entrance Pavilion In the site-specific installation Tenuous Arrangements, New York-based artist Heather Rowe has created a unique sculpture out of what appear to be slices of interior spaces. These slivers of plywood walls are filled with fragments of domestic furnishings, which are suddenly made unfamiliar and even unsettling as one glimpses them through narrow openings. The shards of mirror also complicate the space, and reflect a fragmented image of the viewer within the sculpture itself.

Support provided by a grant from The Efroymson Family Fund, A CICF Fund.

Tara Donovan: Untitled Through August 1 » $8 public, Free for members » Allen Whitehill Clowes Gallery in Wood Pavilion, Gallery Level 1 Tara Donovan dramatically transforms everyday materials—such as pencils, Elmer’s glue and electrical cable—into sublime abstract environments. The exhibition will feature a selection of Donovan’s sculptural installations and drawings, including a new work commissioned by the IMA that will fill an entire room of the gallery. This will be the first major museum exhibition to present Donovan’s sculptures and drawings together, offering the most complete view of her artistic practices to date.

Tara Donovan: Untitled is made possible by a grant from Eli Lilly and Company Foundation.

Previous page bottom » Félix Bracquemond, French, Le Vieux Coq (The Old Rooster), 1882 (detail), etching, 11 1/8 x 9 3/4 in. (28.26 x 24.76 cm.) McKee Fine Arts Purchase Fund, 1991.141 T op » Heather Rowe, Tenuous Arrangements, 2010 (detail), wood, metal, glass, mirror, paint, wallpaper, fabric and carpet. Courtesy of the artist, pictured. Bottom » Tara Donovan, Colony, 2004, pencils. 3” x 11’ 1” x 78” (7.6 cm x 337.8 cm x 198.1 cm) Photo by: Kerry Ryan McFate/ Courtesy PaceWildenstein, New York © Tara Donovan

On View JOShua Mosley: American International Through August 29 » Free » Carmen and Mark Holeman Video Gallery This exhibition brings together two video and sculpture installations by Philadelphia-based artist Joshua Mosley: A Vue (2004) and the museum premiere of his newest work, International. Each work is composed of a video that uses computer and stop-motion animation and bronze sculptures of the figures that populate the works. A Vue and International pose nuanced questions about American ideology and contemporary life.

This exhibition is made possible through the generosity of the Chamber’s Family Foundation.

Shots in the Dark: Photos by Weegee the Famous Through January 31, 2011 » Free » Golden Gallery, Gallery Level 1 See page 12.

Body Unbound: Contemporary Couture from the IMA’s Collection Through January 30, 2011 » Free » Paul Textile and Fashion Arts Gallery , Gallery Level 2 This exhibition examines the varied approaches designers use to present, manipulate, and transform the female body. Approximately 25 pieces by avant-garde fashion designers such as Gernreich, Gaultier, Mugler, Versace, Miyake, and Moschino, dating from the 1960s to 2007, are featured.

The Viewing Project Ongoing » Free » Alliance Gallery, Gallery Level 1 The Viewing Project is a three-year series of small-scale installations designed to offer visitors creative and enjoyable experiences with objects from the IMA’s permanent collection. Although themes vary, the main goals of all Viewing Project installations remain constant: to encourage active looking, to support visitor creativity and engagement, and to present objects from the permanent collection in new ways. The Viewing Project is supported by a generous grant from ART MENTOR FOUNDATION LUCERNE

Top » Joshua Mosely, animation still from International (detail), 2010, mixed media animation and three bronze sculptures, animation running time 5 minutes, 30 seconds. Courtesy of the Artist and Donald Young Gallery, Chicago. Middle » Weegee (Arthur Fellig), American (b. Ukraine), Picasso distortion, ca. 1960, gelatin silver print, 10 x 8 1/8 in. (25.3 x 20.6 cm.). © Weegee/International Center of Photography/Getty Images. Caroline Marmon Fesler Fund, Gift of the Alliance of the Indianapolis Museum of Art, Roger G. Wolcott Fund, Nancy Foxwell Neuberger Acquisition Endowment Fund, Mr. and Mrs. Theodore P. Van Vorhees Art Fund, Cecil F. Head Art Fund, James V. Sweetser Fund, 2009.94

On View COMING SOON: Ball-Nogues Studio September 3, 2010–March 6, 2011 » Free » Efroymson Entrance Pavilion Los Angeles-based design team Ball-Nogues Studio will create an immersive, site-specific installation of multicolored strings configured in catenary curves for the IMA’s Efroymson Family Entrance Pavilion. Trained as architects, Benjamin Ball and Gaston Nogues are working with the pavilion’s architecture to develop an installation related to the function of the space as a thoroughfare and meeting point for visitors. The studio’s practice fuses the disciplines of art, architecture, and design, bringing aspects of each world to the others to create technologically innovative and visually spectacular built environments.

Support provided by a grant from The Efroymson Family Fund, A CICF Fund.

Andy Warhol Enterprises October 10, 2010–January 2, 2011 » Allen Whitehill Clowes Gallery in Wood Pavilion, Gallery Level 1 To help manage his highly successful career as a commercial illustrator, Warhol formed Andy Warhol Enterprises, Inc. in 1957. The aesthetic approach, techniques, and business acumen he developed during that time informed his artistic production from the early 1960s until his death in 1987. Throughout his career as an artist, filmmaker, “Factory” director, band manager, magazine publisher, and television entrepreneur, Warhol intentionally blurred the line between art and commerce, slyly calling into question the very values of art itself in such statements as, “Good business is the best art.” The exhibition will examine works from each of the major decades of Warhol’s artistic career, from his commercial illustrations and shop window designs of the 1950s to his groundbreaking paintings and sculptures of consumer products and stars of the 1960s, and to his commissioned portraiture and entrepreneurial ventures into various media, such as magazines, film, and TV in the 1970s and 1980s. Andy Warhol Enterprises is proudly sponsored by PNC Bank.

Visit imamuseum.org for FULL exhibition descriptions. Previous page bottom » Gaultier, Jean-Paul, French, Dress (detail) ,1996, rayon, jersey James V. Sweetser Fund, Lucille Stewart Endowed Art Fund, Mr. and Mrs. Richard Crane Fund, Mr. and Mrs. William B. Ansted, Jr. Art fund, TR11067/2.

Program Highlights FILM

Summer Nights Fridays, June 4–August 27 Doors open at 6 pm for members, 6:30 pm for general public. (except July 16 & 23, when doors open at 10 pm for members, 10:30 pm for general public) Films begin at sunset IMA Concert Terrace (In the event of inclement weather, films will be screened in The Toby.) $9 Public, $5 Members, Free Children 6 and younger No outside alcoholic beverages permitted. An IMA annual summer favorite. Enjoy classic films outdoors in the IMA’s amphitheater, overlooking 100 Acres: The Virginia B. Fairbanks Art & Nature Park.

Tickets and full schedule at imamuseum.org

July 30 The Muppets Take Manhattan (1984, dir. Frank Oz, 94 mins., G) August 6 A Fish Called Wanda (1988, dir. Charles Crichton, 108 mins., R) August 13 Stand by Me (1986, dir. Rob Reiner, 89 mins., R) August 20 L.A. Confidential (1997, dir. Curtis Hanson, 138 mins., R) August 27 O Brother, Where Art Thou? (2000, Joel Coen, 106 mins., PG)

June 4 Across the Universe (2007, dir. Julie Taymor, 133 mins., PG-13) June 11 Rebel Without A Cause (1955, dir. Nicholas Ray, 111 mins., PG-13) June 18 The Usual Suspects (1995, Bryan Singer, 106 mins., R) June 25 Pee-wee’s Big Adventure (1985, dir. Tim Burton, 90 mins., PG)

Summer Nights sunset barbecues Fridays, June 4–August 27 » 6–8 pm IMA Amphitheater Adult: $30 Public, $25 Members Ages 7–10: $19 Public, $15 Members Ages 4–6: $10 Ages 0–3: Free

July 2 Stella Dallas (1937, dir. King Vidor, 106 mins., PG) July 9 North by Northwest (1959, dir. Alfred Hitchcock, 131 mins., PG)

Call 317-923-1331, ext. 235 for reservations Price includes Summer Nights ticket. Tickets can be purchased online or night of event.

July 16 (midnight showing) The Rocky Horror Picture Show (1975, dir. Jim Sharman, 100 mins., R) July 23 (midnight showing) Monty Python and the Holy Grail (1975, dirs. Terry Gilliam & Terry Jones, 91 mins., PG) Above » Pee Wee’s Big Adventure, Warner Bros./Photofest. © Warner Bros. Right Top » North by Northwest, MGM/ Photofest. © MGM. Right Bottom » Rebel Without a Cause, Warner Bros./Photofest. © Warner Bros.

Enjoy a buffet with cash bar before the Summer Nights films start. The menu includes freshly grilled burgers, hot dogs, black-bean burgers, a variety of summer salads and treats. Get first choice of seating for your favorite film. No barbecues July 16 and July 23 due to midnight film showings.

Indianapolis International Film Festival

PERFORMANCE

Generations of Animation

July 15–25 » Times vary The Toby & DeBoest Lecture Hall Full schedule, ticket pricing, and packages announced in May at www.indyfilmfest.org

Nick Hennies: Psalms

Sunday, August 22 » noon–4 pm The Toby and Art Labs » Free workshop registration required

The 2010 Indy Film Fest is back with another world-class selection of independent films, actors, and directors from around the globe. This year’s line-up includes films from both award-winning professionals and emerging filmmakers, ranging from short-subject documentaries to full-length feature films. For a complete schedule and ticket pricing, including details about filmmaker Q&A sessions and special event parties, visit indyfilmfest.org

Enjoy the sounds of percussionist and composer Nick Hennies as he performs music from his forthcoming album, Psalms, the debut of Objects, a new work dedicated to the exhibition Tara Donovan: Untitled and composed especially for this installation. Drawing connections to Donovan’s work, Hennies’ piece makes seemingly familiar sounds become strange and new.

Saturday, July 31 » 2 & 4 pm In Tara Donovan: Untitled on Gallery Level 1 » Included with exhibition admission

CLASSes

Gallery Conversations:

TALK

Planet Indy: The Not So Big House with Sarah Susanka Thursday, May 20 » 7 pm The Toby » $7 Public, $4 Members, Free Students with ID How do the size, scale, and design of our homes affect our well-being, our family relationships, and our planet? In this talk, Sarah Susanka, architect and author, illustrates the connection between smart design, domestic pleasure, and smaller carbon footprints. Presented with promotional support from AIA Indianapolis and Residential Green Builders of Indianapolis.

Promotional support for the 2010 Planet Indy series provided by IndyGo and WFYI. Additional support from USGBC Indiana.

Spend an afternoon enjoying animation from across generations at this all-ages program. Participants will learn how technology has shaped children’s film, and film in general, over the decades. Then, get a more in-depth look at current technologies through additional demonstrations. Visit imamuseum.org for a detailed schedule of the day’s activities.

SPECIAL EVENTS

Barbizon & Impressionism: 19th-Century European Art

Member Appreciation Week

Thursday, May 13 » 5:30–6:30 pm OR Tuesday, May 18 » 2–3 pm $10 Public » $5 Members per session; registration required Meet in Pulliam Family Great Hall in front of Sol LeWitt’s Wall Drawing No. 652.

All week long, enjoy exclusive programming just for IMA members. Enjoy behind-the-scenes tours, gallery talks, and more. A complete list of events is available online.

You Call This Art?: Contemporary Art

Artists’ Forum in The Toby

Thursday, June 10 » 5:30–6:30 pm OR Tuesday, June 15 » 2–3 pm $10 Public » $5 Members per session; registration required Meet in Pulliam Family Great Hall in front of Sol LeWitt’s Wall Drawing No. 652. Gallery Conversations are shared adventures in looking at art. Join IMA docents in discussions of topics designed to introduce adults to the IMA collection and ideas beyond. No previous experience with art required. Maximum of 20 participants for each session.

May 10–16

Saturday, June 19 » 11 am–3 pm Adult Lecture Room A $60 Public, $42 Members Register by March 29 Featuring the artists and architects of 100 Acres: The Virginia B. Fairbanks Art & Nature Park, as well as Lisa Freiman, Sarah Green, and Maxwell L. Anderson, The Melvin & Bren Simon Director and CEO of the IMA. Lunch available in Nourish.

IMA Affiliates

Art, Design, and Nature Interest Groups IMA affiliates offer members unique opportunities to become more involved in the life of the Museum by exploring their own interests. Affiliate members look at art from a behind-the-scenes point of view with exclusive tours of the IMA permanent collection and programs and special events related to the mission of each group. Each IMA affiliate group has its own board and programming, which supports the Museum’s collection and operations.

THE Alliance Founded in 1958 The Alliance of the Indianapolis Museum of Art, the longest established IMA affiliate, develops and supports activities and projects that will stimulate public interest in the Museum, its educational programs and collections. Members of the Alliance plan and participate in art-related classes, study groups, lectures, tours, and special events. Annual traditions include the Alliance Holiday Tea and seasonal luncheons. “My favorite part of being a member of the IMA Alliance is the opportunity to participate in the monthly Artist Studio Tours because we get to see current Indiana artists in their creative space.” –Susan Toevs

Asian Art Society (AAS) Founded in 1975 The IMA showcases one of the nation’s largest and most significant collections of Asian art. Through the years, that collection has expanded through donations of several works of art from the AAS. The AAS offers its members the opportunity to learn more about Asian art, history, and cultural traditions through exclusive previews of exhibitions as well as lectures and class participation. Attending the receptions and dinners scheduled in conjunction with programs enables members to get acquainted with others who share a deep interest in Asian art. AAS members often participate in other Asian cultural events in Indianapolis and surrounding areas.

Contemporary Art Society (CAS) Founded in 1962 CAS is a dynamic group which promotes the understanding of and appreciation for contemporary art through educational programs, social events, and community collaborations. For over 50 years, the generous support of CAS members has improved both the quality and scope of the Museum’s permanent contemporary art collection. Now is an exciting time to be involved with the IMA’s Contemporary Art department—as the IMA celebrates the

opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park, one of the largest contemporary sculpture parks in the country and the only one to feature ongoing temporary commissions of site-specific art works.

Design Art Society (DAS) Founded in 2007 Formerly known as the Decorative Arts Society (founded in 1970), the Design Arts Society was renamed and restructured in 2007 to promote a greater awareness of the central role that design plays in our daily lives and to also help establish the IMA as an important center for the design arts in the United States. A new focus of this vibrant group is the promotion and support of IMA’s recently acquired historic property, Miller House and Garden. Located in Columbus, Indiana, the house is one of the nation’s most highly regarded examples of mid 20th-century Modern design.

Horticultural Society Founded in 1972 The Horticultural Society celebrates the art of gardening at the IMA by helping to develop, enhance, and maintain the gardens, grounds, and greenhouse through volunteer and financial support. Beginning last year, the Horticultural Society offered its members the opportunity to visit hundreds of public gardens throughout North America at little or no cost. Members of the Horticultural Society also enjoy local and national speakers; educational sessions about plants, gardens, and landscape design; travel programs; and special events. The Horticultural Society also maintains an extensive horticultural library on the IMA campus.

To learn more about how you can join one or more of these interest groups, contact Jessica Bussell, Board and Affiliate Relations Coordinator, at jbussell@imamuseum.org or 317-923-2331, ext. 434.

May DAILY

Tour » Permanent Collection » 1 pm » Free (assistive listening devices available) Other tours and times available. See listings below or visit imamuseum.org for complete schedule Tour » Tara Donovan: Untitled » Times vary; visit imamuseum.org for schedule » Included with exhibition admission Member Appreciation Week » May 10–16 » Details at imamuseum.org

01 SAT

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

02 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free

06 THR

07 FRI 08 SAT

09 SUN

11 TUE

12 WED

13 THR

Special Event » Chef’s Table: Celebration of Spring » 6:30 pm » $60 per person

Tour » Lilly House » 2 pm » Free Special Event » National Public Gardens Day » Tours at 9 & 11 am, 1 & pm » Free

Family Tour » Animals in Art » 1:30 & 2:30 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Special Event » Mother’s Day Brunch » 11 am–3 pm » $35 adult; $16 ages 4–10 Talk » Member Appreciation Tour: An Introduction to the IMA’s World War II-era Provenance Research Project » 2 pm » Adult Lecture Space B » Free

Tour » Member Appreciation Tour: Art Storage » 3 pm » Free

Special Event » Member Night » 5:30 pm » Free Class » Gallery Conversation: Barbizon & Impressionism: 19th-century European Art » 5:30–6:30 pm » $10 Public, $5 Members; registration required. Talk » Art, Gardens and Life » 7:30 pm » Free, ticket required. Co-Sponsored by Horticulture Society Tour » Member Appreciation Tour: Ancient Art of the Mediterranean » 2 pm » Free

Assistive listening devices available for all toby events, Public Tours at 1 pm, 2:30 pm and 7 pm. ASL INTERPRETATION AVAILABLE AT TOBY EVENTS WHERE NOTED.

14 FRI

Tour » Lilly House » 2 pm » Free Tour » Permanent Collection Tour » 7 pm » Free Tour » Member Appreciation Tour: Conservation » 2 pm » Free

15 SAT

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Member Appreciation Tour: Tanner Orchard » 3 pm » Free

16 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » Member Appreciation Tour: What’s in Bloom » 3 pm » Free

18 TUE

Class » Gallery Conversation: Barbizon & Impressionism: 19th-century European Art » 5:30–6:30 pm » $10 Public, $5 Members; registration required. Special Event » Chef’s Taste: Flavors of Spring » 6:30 pm » $35 per person

20 THR

21 FRI 22 SAT

23 SUN 27 FRI

29 SAT 30 SUN

Special Event » Chef’s Taste: Flavors of Spring » 6:30 pm » $35 per person Talk » Planet Indy: The Not So Big House with Sarah Susanka » 7 pm » $7 Public, $4 Members, Free Students with ID

Tour » Lilly House » 2 pm » Free

Family Tour » Animals in Art » 1:30 & 2:30 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » Permanent Collection Tour » 2:30 pm » Free Tour » Lilly House » 2 pm » Free

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free

Visit imamuseum.org for FULL program descriptions, TICKETS, and more.

June DAILY

03 THR

Talk » Evans Woollen: To Build in Context » 6 pm » Free, ticket required. Co-Sponsored by Design Arts Society Special Event » Chef’s Table: Garden to Table » 6:30 pm » $60 per person

04 FRI

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: Across the Universe » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members

05 SAT

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

06 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free

10 THR

11 FRI

Tour » Alliance Artist Studio Tour: Denise Frazier Pettee » 1–3 pm » $20 Public, $15 Alliance & IMA Members Class » Gallery Conversation: You Call This Art?: Contemporary Art » 5:30–6:30 pm » $10 Public, $5 Members; registration required Special Event » IMA Member Night » 5:30 pm / Free Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: Rebel Without a Cause » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Tour » Permanent Collection Tour » 7 pm » Free

12 SAT

Family Tour » Flags and Fathers » 1:30 & 2:30 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

13 SUN

Special Event » “A Garden Affair” Horticultural Society Auction » 5–9 pm » $75 Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free

15 TUE

Class » Gallery Conversation: You Call This Art?: Contemporary Art » 2–3 pm » $10 Public, $5 Members; registration required

Assistive listening devices available for all toby events, Public Tours at 1 pm, 2:30 pm and 7 pm. ASL INTERPRETATION AVAILABLE AT TOBY EVENTS WHERE NOTED.

17 THR 18 FRI

Special Event » Chef’s Taste: Garden to Table » 6:30 pm » $35 per person

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: The Usual Suspects » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members

19 SAT

Talk » 100 Acres Artists Panel » 11 am–2 pm » Free, ticket required Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Special Event » 100 Acres Opening Reception » 6–7 pm VIP Hour; 7–10 pm Opening Reception » $40 Members, $60 Public

20 SUN

Special Event » 100 Acres Grand Opening: A Day at the Park » noon–5 pm / Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » Permanent Collection Tour » 2:30 pm » Free

25 FRI

26 SAT

28 SUN

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: Pee-wee’s Big Adventure » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Family Tour » Flags and Fathers » 1:30 & 2:30 pm / Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free

Visit imamuseum.org for FULL program descriptions, TICKETS, and more.

July DAILY

01 THR

Tour » Permanent Collection » 1 pm » Free (assistive listening devices available) Other tours and times available. See listings below or visit imamuseum.org for complete schedule Tour » Tara Donovan: Untitled » Times vary; visit imamuseum.org for schedule » Included with exhibition admission Film Festival » Indianapolis International Film Festival, July 15–25 » Times vary » Tickets required Special Event » Chef’s Table: Summer Flavors » 6:30 pm » $60 per person

02 FRI

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: Stella Dallas » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members

03 SAT

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

04 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free

08 THR 09 FRI

Special Event » IMA Member Night » 5:30 pm » Free

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: North by Northwest » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Tour » Permanent Collection Tour » 7 pm » Free

10 SAT

Film Festival» Indiana Black Expo Film Festival » Times vary / Ticket required Family Tour » Vacations and Recreations » 1:30 & 2:30 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

11 SUN

Film Festival» Indiana Black Expo Film Festival » Times vary / Ticket required Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free

Assistive listening devices available for all toby events, Public Tours at 1 pm, 2:30 pm and 7 pm. ASL INTERPRETATION AVAILABLE AT TOBY EVENTS WHERE NOTED.

15 THR

Special Event » Chef’s Taste: Summer Flavors » 6:30 pm » $35 per person

16 FRI

Tour » Lilly House » 2 pm » Free Film » Summer Nights: Rocky Horror Picture Show » Gates open at 10 pm members, 10:30 public; film starts at Midnight » $9 Public, $5 Members

17 SAT

18 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Tour » Permanent Collection Tour » 2:30 pm » Free

23 FRI

24 SAT

25 SUN 30 FRI

31 SAT

Tour » Lilly House » 2 pm » Free Film » Summer Nights: Monty Python and the Holy Grail » Gates open at 10 pm members, 10:30 public; film starts at Midnight » $9 Public, $5 Members Family Tour » Vacations and Recreations » 1:30 & 2:30 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: The Muppets Take Manhattan » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Performance » Nick Hennies: Psalms » 2 & 4 pm / Included with Tara Donovan: Untitled exhibition admission Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

Visit imamuseum.org for FULL program descriptions, TICKETS, and more.

August DAILY

Tour » Permanent Collection » 1 pm » Free (assistive listening devices available) Other tours and times available. See listings below or visit imamuseum.org for complete schedule

01 SUN

Film » 48 Hour Film Project » 4 pm, 6 pm, 8 pm » $10 for each screening, $15 for two, $20 for three Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free

05 THR

Special Event » Chef’s Table: Summer Harvest » 6:30 pm » $60 per person

06 FRI

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: A Fish Called Wanda » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members

07 SAT

08 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free

12 THR

Special Event » IMA Member Night » 5:30 pm » Free Tour » Alliance Artist Studio Tour: Southside Art League Gallery » 1–3 pm » $20 Public, $15 Alliance & IMA Members

13 FRI

14 SAT

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: Stand by Me » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Tour » Permanent Collection Tour » 7 pm » Free Special Event » Meteor Shower » 11:30 pm » Free Family Tour » Shapes in Art » 1:30 & 2:30 » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

Assistive listening devices available for all toby events, Public Tours at 1 pm, 2:30 pm and 7 pm. ASL INTERPRETATION AVAILABLE AT TOBY EVENTS WHERE NOTED.

15 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free

19 THR

Special Event » Chef’s Taste: Summer Harvest » 6:30 pm » $35 per person

20 FRI

Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: L.A. Confidential » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members

21 SAT

Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Art-Making » Drop-In Art-Making » noon–4 pm » Free

22 SUN

27 FRI

28 SAT

29 SUN

Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free Class » Generations of Animation » noon–4 pm » Free; registration required Tour » Permanent Collection Tour » 2:30 pm » Free Tour » Lilly House » 2 pm » Free Special Event » Summer Nights Sunset Barbecues » 6 pm » For more information see program highlights section Film » Summer Nights: O Brother, Where Art Thou? » Gates open at 6 pm members, 6:30 pm public; film starts at sunset » $9 Public, $5 Members Family Tour » Shapes in Art » 1:30 & 2:30 » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walk » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am / Free Art-Making » Drop-In Art-Making » noon–4 pm » Free Tour » Lilly House » 2 pm » Free Tour » Garden Walks » 1 pm » Free Tour » 100 Acres: The Virginia B. Fairbanks Art & Nature Park » 11 am » Free

Visit imamuseum.org for FULL program descriptions, TICKETS, and more.

Events

Over 3,000 visitors of all ages enjoyed MLK Day at the IMA. The day ended with a screening in the Toby of The Rosa Parks Story with filmmaker Julie Dash.

Events at the Toby: Chris Paine discusses the electric car, Peter Bogdanovich greets his fans.

Visitors at the opening reception for Heather Rowe: Tenuous Arrangements, the artist viewed through her installation, Marian Pettengill and Zora Dunn at the Asian Art Societyâ&#x20AC;&#x2122;s Lunar New Year Celebration.

4000 Michigan Road Indianapolis, IN 46208 317-923-1331 imamuseum.org

General support of the IMA is provided by the Arts Council of Indianapolis and the City of Indianapolis; and by the Indiana Arts Commission, a state agency, the National Endowment for the Arts, a federal agency, and the Lilly Endowment, Inc.

Viewfinders is made possible by a grant from the U.S. Institute of Museum and Library Services.

ADMISSION

TOURS

IMA LIBRARIES

General admission is FREE. Special exhibitions may have a fee. In those instances, exhibition is FREE to children 6 and younger and IMA Members. Depending on membership level, members receive one or more complimentary tickets for guests to charged exhibitions. School groups are also FREE (must book through IMA Education Division at education@imamuseum.org).

The IMA offers free public tours of its galleries, Lilly House, and gardens. For a complete schedule, including tour themes, visit imamuseum.org.

Stout Reference Library A non-circulating research library that consists of thousands of resources on the visual arts. 317-920-2647

ACCESSIBILITY

Tue, Wed, Fri » 2–5 pm Thur » 2–8 pm and by appointment

The IMA also offers free parking, Wi-Fi, coat check, wheelchairs, rollators, strollers, public phone, and lockers. GETTING HERE Location The IMA is located at 4000 Michigan Road in Indianapolis. The main entrance is approximately one block north of 38th Street and Michigan Road. Note that south of 38th Street, Michigan Road becomes Martin Luther King Jr. Street.

The IMA strives to be accessible to all visitors. » The Museum building and

Lilly House are accessible for wheelchair users » Open captioning is available on in-gallery videos; Closed captioning available with select public programs » Assistive listening devices are available on all public tours and Toby programs » ASL interpretations during select public programs and tours or by request. Call 317-923-1331 at least three weeks prior to event. » Service animals welcome » Family restrooms and nursing mothers room available

Horticultural Society Library Non-circulating collection of books and videos on gardening and related topics, open to the public. Located at Newfield. 317-923-1331 ext. 429 Tue, Wed, Sat » Noon–3 pm FACILITY RENTAL The IMA offers a variety of spaces to rent—perfect for any occasion from cocktail parties to weddings to business conferences. For more information: imamuseum.org/special-events or 317-923-1331, ext. 250 MEMBERSHIP

The IMA is accessible off the Central Canal Towpath (an Indy Greenways trail). Bike racks are available on campus, including in parking garage.

For more information: imamuseum.org/connect/accessibility or 317-923-1331.

By Indy Go Bus » From downtown Indianapolis, take #38 Lafayette Square » From Michigan Road, take #34 North or South » Visit indygo.net/tripplanner to plan your trip.

Nourish Café Nourish Café offers delicious snacks and inexpensive meals set in a chic cafeteria setting. Happy Hour Thur & Fri » 5–9 pm

For more information about IMA art interest groups and clubs, contact affiliates@imamuseum.org.

Hours

shopping

VOLUNTEER

Museum Tue, Wed, Sat » 11 am–5 pm Thur, Fri » 11 am–9 pm Sun » Noon–5 pm

Museum Store Books, jewelry, and museuminspired merchandise

For more information about how you can get involved contact volunteer@imamuseum.org or 317-923-1331, ext. 263

Lilly House Open April through December, all Museum hours except on Thur and Fri; closes at 5 pm. Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day. 100 Acres, Gardens and Grounds Open daily from dawn to dusk

DINING

Design Center Design objects, furniture, and more Madeline F. Elder Greenhouse Rare and choice plants, gardening supplies, and gifts. Closes Thur & Fri at 8 pm.

Membership helps support free general admission at the IMA. For questions concerning membership, call 317-920-2651 or visit imamuseum.org/membership Affiliates

CONTACT THE IMA 317-923-1331 (Main) 317-920-2660 (24-Hour Info Line) imamuseum.org magazine@imamuseum.org