IMA Magazine | Summer 2016 by Newfields

19 Stars of Indiana Art Jacco Olivier Mini Golf at the IMA Summer Nights Films

MAYâ&#x20AC;&#x201C;AUG 2016

Contents

19 Stars of Indiana Art Hoosier History Through Archives Jacco Olivier

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Susie McKenna Managing Editor Dylan Remes Jensen Editor Matthew Kelm Designer

Jacco Olivier: Liquid Painting, Liquid Time features a selection of lush, vibrantly colored video animations by Dutch artist Jacco Olivier.

Tascha Mae Horowitz Photo Editor Anne M. Young Rights & Reproductions Laurie Gilbert Wood Project Manager Tricia Y. Paik Samantha Norling Annette Schlagenhauff Erica Schuler Charles L. Venable Contributors Tascha Mae Horowitz Eric Lubrick Drew Endicott Jordyn Cox Nathaniel Edmunds Photography Photographers

Conservation in Clowes Returns Artist-Designed Mini Golf Specialty Docent-Led Tours Strategic Plan Staff Profile: Jonathan Wright Family Fun in the Gardens Summer Nights Film Series IMA Joins FRAME Upcoming Affiliate Group Events Recent Events

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Cover: Photo by denistorm / Getty Images Left: Jacco Olivier (Dutch, b. 1972), Pav de Flore (still, detail), 2014. HD animation. Duration: 3 min. Courtesy of the artist and Marianne Boesky Gallery, New York. Back Cover: Roy Lichtenstein (American, 1923–1997), Five Brushstrokes, designed 1983–1984, fabricated 2012, painted aluminum. Indianapolis Museum of Art, Robert L. and Marjorie J. Mann Fund, Partial Gift of the Roy Lichtenstein Foundation, 2013.443A-E.4, © Roy Lichtenstein Foundation. Robert Indiana (American, b. 1928), LOVE, 1970, Cor-ten steel. Gift of the Friends of the Indianapolis Museum of Art in memory of Henry F. DeBoest. Restoration was made possible by Patricia J. and James E. LaCrosse, 75.174 © 2016 Morgan Art Foundation/Artists Rights Society (ARS), New York.

The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 462083326. 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. © 2016 Indianapolis Museum of Art. Green IMA: The IMA Magazine is printed on paper containing FSC® certified paper, is processed chlorine free, and is manufactured using biogas energy. (The FSC® trademark identifies products which contain fiber from well-managed forests certified to Forest Stewardship Council® in accordance with the rules of Chain of Custody.)

General support of the IMA is provided by the Arts Council and the City of Indianapolis; by the Indiana Arts Commission and the National Endowment for the Arts, a federal agency; Lilly Endowment Inc.; and The Nicholas H. Noyes, Jr., Memorial Foundation.

From the Director

In this issue—one filled with “firsts,” from mini golf to our membership in the French Regional American Museum Exchange—we inaugurate a new series of articles designed to help you follow the trajectory of the Museum’s strategic plan. As a Museum member, you are the foundation of our community. I hope you will take notice that we have worked to place people first. The IMA exists to enrich the lives of those who live in, work in, and visit Indianapolis. Through our extraordinary exhibitions and world-class permanent collection, we provide experiences with art that are unparalleled elsewhere in the area. However, as you will increasingly see, it is through experiences with art and nature that the IMA truly distinguishes itself. One of these experiences is the debut of Mini Golf at the IMA. Teeing off this summer, the course, located on the IMA’s Alliance Sculpture Court, features 18 holes designed by local and regional artists. In honor of Indiana’s 2016 bicentennial, each hole is inspired by the state’s history, heritage, and landmarks. Our commemoration of the bicentennial continues with the opening of 19 Stars of Indiana Art: A Bicentennial Celebration on May 15. This exhibition will feature selections from our permanent collection and celebrate the artistic achievements of men and women who lived or worked in Indiana. For the past 40 years, summer has meant one thing at the IMA—that it’s time to screen the stars under the stars at the National Bank of Indianapolis Summer Nights Film Series. In one of our new favorite traditions, our final four films were picked via online voting in the spring. Summer also means our gardens are in full bloom. We’ve recently welcomed a new director to spearhead our efforts outside. In this issue you’ll meet Jonathan Wright, Ruth Lilly Deputy Director for Horticulture and Natural Resources, and learn about his vision for the future. You, our valued members, are at the center of that vision. Our mission statement is “to enrich lives through exceptional experiences with art and nature.” We invite you to learn how we are carrying out that mission at our 133rd Annual Meeting on May 18. Hear how our strategic plan has come to life and what you can expect to see in the future. All members are welcome as we celebrate the bicentennial of our state, elect our Board of Governors, and maybe even play a round of Mini Golf at the IMA.

CHARLES L. VENABLE, PhD THE MELVIN & BREN SIMON DIRECTOR AND CEO

19 Stars of Indiana Art: Past and Present MAY 15–JANUARY 8, 2017 MEMBER PREVIEW DAYS MAY 14 & 15 EXHIBITION OPENING CELEBRATION MAY 15, 1–5 PM

The IMA will mark our state’s 200th birthday in grand style, with 19 Stars of Indiana Art: A Bicentennial Celebration, opening on May 15. This mixedmedia exhibition features artwork by 19 remarkable men and women who were born, were raised, or worked in Indiana. With an eye toward presenting a broad range of artists who left their marks in a wide range of media, the show celebrates creativity from all angles, including fashion design, metalsmithing, pottery, painting, sculpture, printmaking, design arts, and photography. Nineteen artists were chosen since Indiana was the 19th state and our state flag boasts 19 stars. Some of the 19 artists featured are recognizable household names like Robert Indiana (born 1928), whose iconic LOVE sculpture graces the Dudley and Mary Louise Sutphin Mall, or Michael Graves (1934–2015), who achieved international fame as an architect and product designer, well-known for his line of household goods designed for Target. Others, like Wilhelmina Seegmiller (1866–1913) or Felrath Hines (1913–1993) are less widely known, but have made significant contributions to their respective fields in the art world. Presenting these 19 diverse artists side-by-side provides a unique perspective on the connection these artists had with not only the state, but also each other.

Above: Robert Indiana (American, b. 1928), LOVE, 1966, oil on canvas, 71-7/8 × 71-7/8 × 2-1/2 in. Indianapolis Museum of Art, James E. Roberts Fund, 1967.8 © 2016 Morgan Art Foundation / Artists Rights Society (ARS), New York. Left: Frank M. Hohenberger (American, 1876–1963), The Liars’ Bench (detail), 1923, gelatin silver print, 10-1/2 × 12-3/4 in. (image) 12-1/2 × 13-1/2 in. (mount). Indianapolis Museum of Art, Museum Accession, 71.90.2. © Frank M. Hohenberger.

TEXT BY

ANNETTE SCHLAGENHAUFF, PhD CURATOR OF SPECIAL PROJECTS

In the exhibition, these stars of Indiana art are grouped in five distinct sections, rather than being presented in chronological fashion from 1816 to the present. Each of the categories reflects what could be considered characteristics that define the Hoosier spirit. First are the “Pioneers and Innovators,” artists emblematic of the great originality and diversity of Indiana’s contributions to the visual arts. Next are the “Entrepreneurs,” who have strong, creative roots in Indiana. The “Nature Lovers” section showcases some of the notable artists who have responded to the natural beauty of the state by capturing its rivers, creeks, lakes, and hills in paint or with a camera. Then there are the “Teachers and Trainers,” who have inspired a legacy of striving for excellence in art education in Indiana. Finally, there are the “Visionaries and Dreamers” who encourage us to follow them on journeys to other planes of thought and understanding. Curious to know what group you align with? A short, fun profile quiz will reveal which category you fall into. Take the quiz either on the iPads in the exhibition or on our website and share your results on social media with the hashtag #IMA19stars.

Left to Right: T.C. Steele (American, 1847–1926), Pleasant Run (detail), 1885, oil on canvas, 19-1/4 × 32-1/4 in. Indianapolis Museum of Art, Gift of Carl B. Shafer, 58.30.1. Vija Celmins. Photograph by Sidney B. Felsen © 1984. Courtesy of Gemini G.E.L. Portrait of Michael Graves, 2000. Photo by Chris Felver / Getty Images. Michael Graves, Designer (American, 1934–2015), Alessi S.p.A., Manufacturer (Italian), Tea & Coffee Piazza, designed 1980-1983, made 2010, sterling silver, lacquered aluminum, polyamide, Bakelite and crystal, 9-11/16 × 16-1/8 (diam.) in. (overall). Indianapolis Museum of Art, Gift in honor of Joyce A. Sommers with funds provided by V. 2/5Simon Abraham, Cornelius M. and Dorothy Alig, Ruthelen Burns, William J. and Vicki Cafaro, Robert M. Davis, Scott Evenbeck, Russell and Penny B. Fortune, William L. Fortune Jr. and Joseph D. Blakely, Mark M. and Carmen S. Holeman, John David Hoover, Frederick M. King, Kay F. Koch, James E. and Patricia J. LaCrosse, Catherine D. Lichtenauer, Katherine C. Nagler, Nancy J. Ramsey, George J. Seybert, Trent Spence, James A. and Cheryl S. Strain, James P. and Anna S. White, Design Arts Society Fund, Left to Right: Vija Celmins (American, b. 1938), Union Station (detail), 1962, lithograph, 18-1/8 × 15-1/8 in. Indianapolis Museum of Art, Gift of Garo Zareh Antreasian, 1994.649.1. © Vija Celmins. Halston, New York City, 1988. © Lesley Frowick.

In addition to the Hoosier profile quiz, there are a number of interactive activities throughout the exhibition for guests to participate in. A hands-on art making space will allow kids of all ages to contribute to a larger-than-life community landscape. After adding your creation to the landscape, snap a photo and share it with your friends online. You can also explore places across the state associated with the 19 artists through a giant touchscreen map, designed by our own IMA Lab. 19 Stars of Indiana Art: A Bicentennial Celebration is one of four Bicentennial Commission approved exhibitions that mark this momentous occasion. Don’t miss A Gentleman Collector from Indiana: Portraits from the Collection of Booth Tarkington; A Joy Forever: Marie Webster Quilts; and A Land Enchanted: The Golden Age of Indiana Art, 1877–1902, all open until the end of this celebratory year!

This exhibition is presented by the Eli Lilly and Company Foundation, with contributing support provided by Barnes & Thornburg LLP. Additional support is provided by Gary and Hannah Hirschberg, Goldman Sachs & Co. This activity is a signature project of the Indiana Bicentennial Commission, and is made possible, in part, with support from the Indiana Arts Commission.

Above: Bill Blass, designer (American, 1922–2002), evening dress, 1980s, silk chiffon, L: 31-1/2 in. Indianapolis Museum of Art, Gift of Lorraine DeAngelis, 1985.148A-B © Bill Blass.

Left to Right: William J. Forsyth (American, 1854–1935), The Painter Man (detail), 1923, oil on canvas, 23-3/4 × 20 in. Indianapolis Museum of Art, Gift of Mrs. James W. Fesler to the Art School of Indianapolis, 26.195. Bill Blass with original sketches on display at the Indianapolis Museum of Art, February 1979. Photography Archives (PHO001), IMA Archives. Hohenberger and camera at Snodgrass home, May 19, 1933. Courtesy the Frank M. Hohenberger Photograph Collection, The Lilly Library, Indiana University, Bloomington, Indiana.

DID

YOU KNOW?

INDIANA’S STATE BANNER was created by Indiana artist Paul Hadley (1880–1971), whose winning design for the banner featured 18 stars encircling a large torch crowned with an additional large star, the 19th, which symbolized Indiana. His gold torch-and-stars design, one of several that Hadley and others submitted, won the competition in 1916, allowing Hadley to pocket a prize of a whopping $100. In 1955, legislation was passed to make Hadley’s design Indiana’s official state flag.

A native of Indianapolis, FELRATH HINES studied painting and textile design, later earning his living as a paintings conservator. In his own work, he was one of only a handful of African American artists to move away from realism in order to embrace pure abstraction. His paintings reveal a sensational feeling for color and for the subtle interplay of tones. On several occasions Hines refused to be included in exhibitions that featured only the work of African American artists because he firmly believed that art transcended race.

WILHELMINA SEEGMILLER, though born in Canada, spent most of her career in the Indianapolis Public School system as a director of art instruction. She befriended fellow Hoosier artists, and with their assistance produced practical workbooks for art classes in elementary schools. Her Applied Arts Drawing Books for grades 3–8 were sold nationally, and are a testimony to her unwavering belief that exposure to art at a young age honed the mind and led to a lifelong appreciation of beauty. Above: Portrait of Wilhelmina Seegmiller in Sing a Song of Seasons, 1914. Courtesy of the University of California Berkeley Libraries.

Above: Felrath Hines, New Lots Avenue IRT, Brooklyn, 1947. Photo by N. Jay Jaffee. Exhibition Records (EXH001), IMA Archives.

“This year, one star in the flag of our nation shines more brightly than all the rest. The other stars turn towards it, and mingle their light with its glow. It is a bright star—it is called INDIANA!” –adapted from a “Tribute to Indiana” by a Shortridge High School student for Indiana’s centennial in 1916

Hoosier History Revealed through the Archives The IMA’s celebration of Indiana’s bicentennial has gone digital with new additions to the Museum’s Digital Archives Portal. Launched in summer 2015, the Archives Portal is an ongoing collaboration between the IMA Archives and IMA Lab teams to make rare items from the Archives easily accessible online for public viewing and research. IMA Archives staff has digitized thousands of historic documents and photographs that offer a unique glimpse into the lives and work of Hoosier artists, some dating back to before Indiana became a state. Visitors to the Digital Archives Portal are also able to explore the rich cultural and artistic history of communities located around the state, with an emphasis on the arts in Indianapolis. Founded in 1883 as the Art Association of Indianapolis, the IMA has had a long history in Indiana’s capital city, including over six decades of partnership with the Herron Art School to form the John Herron Art Institute (1906–1969). New additions to the Digital Archives Portal will illustrate the important role that the IMA has played in local and national art, gardens, and historic preservation communities since its founding. Highlights related to Indiana’s history include: MARIE WEBSTER STUDY COLLECTION Born and raised in Indiana, Marie Daugherty Webster is one of the leading designers of early 20th-century quilts. The IMA counts among its collection more than two dozen Webster quilts in addition to a one-of-akind collection of archival material documenting Webster’s life and career. In preparation for the current exhibition, A Joy Forever: Marie Webster Quilts, on view through January 8, 2017, the entire Marie Webster

Study Collection was digitized. This digital collection includes quilt patterns, design templates, photographs of Webster and her family, press clippings, correspondence, and Webster’s personal scrapbook. While the physical scrapbook is currently on display in the exhibition, the fullydigitized scrapbook on view will be available on the Digital Archives Portal after the exhibition closes. PIONEER PAINTERS OF INDIANA—THE WILBUR D. PEAT RESEARCH PAPERS Wilbur Peat is the longest-serving director in IMA history, having led the John Herron Art Museum for 36 years from 1929 to 1965. A prolific scholar, Peat was one of the first historians to research and publish about Indiana art. In addition to his numerous articles and books on art and architecture, Peat was also an artist and taught numerous classes and workshops. Peat’s collection of art research files are housed in the IMA Archives. The portion related to his publication Pioneer Painters of Indiana (1954) was digitized in 2013 in partnership with the IUPUI University Library. More than 3,500 digital records are available and include notes and index cards on Indiana artists and collectors, article clippings, bibliographies, exhibition catalogs, photographs of artworks, and correspondence with art collectors, curators and artists’ families. PERCIVAL GALLAGHER PAPERS The Percival Gallagher Papers document the personal and professional life of prominent landscape architect and partner of the Olmsted Brothers firm Percival Gallagher (1874–1934). During his career, Gallagher worked on a variety of projects for state parks, universities, and private residenc-

TEXT BY

SAMANTHA NORLING ARCHIVIST

es—including the Landon/Lilly estate, Oldfields, that is now an integral part of the our campus. The nearly 1,400 digital records that make up this collection include Gallagher’s professional correspondence, scrapbooks and sketchbooks, and thousands of photographs taken by Gallagher during his travels to study iconic European gardens and estates at the turn of the 20th century. IMA HISTORICAL RECORDS AND PHOTOGRAPHS The IMA Archives is home to over 130 years of institutional records, including three large collections: Exhibition Records (1883 to present), IMA Historic Photographs (1906 to 1970), and IMA Photography Archives (1970 to present). In order to increase access to these important collections, items from each are being digitized and added to the Digital Archives Portal on a rolling basis. Digitized exhibition records include installation photographs, checklists, correspondence, and publicity. Over the past 130 years, the Museum has formed close relationships with many Indiana artists, and those relationships are reflected in these records and photographs. For more information about the IMA Archives, visit imamuseum.org/research/archives or the Digital Archives Portal located at archive.imamuseum.org.

Above: Photograph of Onya La Tour, founder of the Indiana Museum for Modern Art, no date, Onya La Tour Collection (M005), IMA Archives. Left to Right: Advertisement for 30th Annual Exhibition of Work by Indiana Artists, 1937, IMA Exhibition Records (EXH001), IMA Archives. Sketch of the fortified city of Carcassonne, France by Percival Gallagher, 1924, Percival Gallagher Papers (M006), IMA Archives. Letter from Percival to Elizabeth Gallagher on board the Roussillon, June 23, 1924, Percival Gallagher Papers (M006), IMA Archives. This photograph of the gardens at the Palace of Versailles in France was taken by Percival Gallagher while on his European Tour in 1924. It is likely that Gallagher took inspiration from this landscape for his design of the Allée and Border Gardens in the landscaping of the Oldfields estate. Percival Gallagher Collection (M006), IMA Archives.

Jacco Olivier: Liquid Painting, Liquid Time NOW–FEBRUARY 12, 2017

Contemporary Dutch artist Jacco Olivier creates vibrantly painted animations that offer new worlds to experience, whether representational or abstract, small or colossal. Jacco Olivier: Liquid Painting, Liquid Time, presented in the June M. McCormack Forefront Galleries, features nine of the artist’s videos that depict a variety of subject matter ranging from intimate scenes of daily life to captivating landscapes and abstract visions. In Revolution (2010), the largest video projection in the exhibition, Olivier has transformed colorful brushstrokes and daubs of paint into a night sky filled with planets, shooting stars, and distant galaxies. Lasting 24 minutes, with each minute representing an hour, the video moves through the cycle of an entire day. In great contrast, Rabbit Hole (2011) features an abstract and much smaller world that propels the viewer into a dizzying tunnel of swirling color and shapes. Installed on the floor, the physical experience of looking downward to watch the video emphasizes the visual parallel of falling deep into the proverbial rabbit hole.

ABOUT THE ARTIST Born in The Netherlands in 1972, Olivier studied at the Rijksakademie van beeldende kunsten, Amsterdam, and Hogeschool voor Kunst en Vormgeving, Den Bosch, The Netherlands. Olivier has been featured in recent solo exhibitions at GEM, The Hague, The Netherlands (2014); Madison Square Park, New York (2011–12); Nederlands Instituut voor Mediakunst, Amsterdam, The Netherlands (2012); Centro de Arte de Caja de Burgos, Spain (2010–11); and Blaffer Art Museum, University of Houston, TX (2010), among others. He has been included in group exhibitions at various institutions, including Virginia Museum of Fine Arts, Richmond, VA (2015); Rijksmuseum Twenthe, Enschede, The Netherlands (2015); 56th Venice Biennale, Italy (2015); Villa Mondriaan, Winterswijk, The Netherlands (2014–15); 8th SITE Santa Fe Biennial, NM (2010); and MCA Denver, CO (2006). The artist lives and works in Amsterdam and is represented by Marianne Boesky Gallery, New York, Galerie Ron Mandos, Amsterdam, and Victoria Miro Gallery, London.

An unusual and exciting aspect of this exhibition is the inclusion of a late nineteenth-century painting from the IMA’s collection by Dutch artist Jan Verkade. Through a collaboration with Ellen Lee, the IMA’s Wood-Pulliam Distinguished Senior Curator, Verkade’s Farmyard at Le Pouldu (about 1892) is presented in juxtaposition with Olivier’s videos. Making such artistic connections across the centuries is a meaningful benefit of presenting contemporary art at an encyclopedic museum. While the art of Verkade did not directly influence Olivier, this comparison between the old and the new reveals an intriguing historical art continuum—the Dutch appreciation for the painted landscape. Remarkably, both artists share a similar sensibility towards color and semi-abstraction. Although Olivier works in the medium of video, the artist views himself first and foremost as a painter. However, instead of being content with paintings that are static and unchanging—the conditions of a traditionally “finished” painting—Olivier takes his work several steps further. Through the use of video animation, he produces works that literally move and change. As part of his process for creating many of his videos, he photographs his actual paintings, documenting his changes or additions, sometimes while the paint is still wet. Afterward, he sequences the resulting digital photographs into seamless animations, which as time passes, create a mesmerizing flow before our eyes.

TEXT BY

TRICIA Y. PAIK, PhD

CURATOR OF CONTEMPORARY ART

Above: Jacco Olivier (Dutch, b. 1972), Revolution (detail), 2010. HD animation. Duration: 24 min.Photos by Tyler Hromadka/Lumatic Imagery

Conservation in Clowes Returns

TEXT BY

ERICA SCHULER

SAMUEL H. KRESS CONSERVATION FELLOW

NOW–JUNE 30, 2016

Conservation requires great skill, patience, and attention to detail. Once again IMA guests can witness firsthand what it takes to preserve one of our masterpieces. Now through June, Erica Schuler, our Samuel H. Kress conservation fellow, will be completing the final stages of restoration treatment on Neroccio de’ Landi’s Madonna and Child with St. John the Baptist and St. Mary Magdalene in public view in the Italian gallery of the Clowes Pavilion.

Left: Neroccio di Bartolommeo de’ Landi (Italian, 1447–1500), Madonna and Child with St. John the Baptist and St. Mary Magdalene, about 1495, tempera on wood, 28 x 20-1/8 in., Indianapolis Museum of Art, The Clowes Collection, 2004.161.

Neroccio de’ Landi is a well-known fifteenth-century Sienese artist, recognized for the considerable number of devotional paintings and sculptures depicting the Virgin Mary and Christ Child that he produced throughout his career. In this particular painting, which is part of the Clowes Collection at the IMA, the artist has centrally positioned the Madonna and infant Christ between John the Baptist, identified by his hair shirt and a scroll proclaiming the coming of Christ, and Mary Magdalene, shown wearing her customary red mantle and holding the jar of oil with which she anointed the feet of Jesus. Unfortunately, the painting’s appearance has been disrupted by centuries of damage and previous restoration efforts, which led to the need to perform treatment to return visual continuity to the image.

condition, as well as in formulating and implementing an appropriate treatment plan. The Madonna has sustained damage related to natural aging, environment, and human intervention. Wood identification confirmed that the painting’s support is composed of poplar, a species that is particularly susceptible to the destructive infestation of wood-boring insects. Unfortunately, both the panel and paint show damage related to past infestations. Neroccio, as a final step in the completion of his panel, added gold decoration to embellish both the halos and the decorative designs on the garments worn by the Madonna and Mary Magdalene. Interestingly, all of the gold has been lost, leaving exposed areas where decoration once was. Research is ongoing in the hope that further technical analysis will provide an explanation for this phenomenon.

Before treatment of a painting begins, conservators need to understand the artist’s materials and techniques. This is essential in investigating the painting’s

The initial stages of treatment were performed in the IMA’s Conservation Laboratory, since these steps involved the use of special solvents and chemicals that

could not be safely employed in the galleries. To begin, after thorough testing, the existing varnish coating on the painting was removed. Then old, disfiguring restorations were carefully reduced to reveal the painting’s original colors, which allowed conservation to properly assess past damage. In preparation for “inpainting,” a new varnish layer was then applied as a barrier to separate the restorer’s inpainting from the original material. The inpainting process, otherwise known as “retouching,” is what will take place in the public view. During this delicate process the conservator will employ a combination of color theory and understanding of the artist’s original palette and technique to achieve the visual reintegration of losses with the surrounding original colors. This will be done by using a fine sable brush and select conservation materials chosen for their proven stability and reversibility. The conservator’s paint is applied solely to areas of loss. This final step will return Neroccio de’ Landi’s Madonna to its former glory.

See the conservation process in action now through June 30. Regular hours are Wednesdays from 10 am–1 pm and Thursdays from 2–4 pm. Conservation in action can also been seen on the first Thursday of the month from 5–7 pm, and the first Saturday of the month from noon–3 pm. This project is supported by a grant from the Samuel H. Kress Foundation, administered by the Foundation of the American Institute for Conservation. The preservation, study, presentation and interpretation of works in the Clowes Collection is supported by a generous grant from The Clowes Fund.

MINI GOLF AT THE IMA. SORT OF LIKE A SPORT. BUT EASY.

IT’S TEE TIME!

Artist-Designed Mini Golf Open May through October MAY 10–OCTOBER 30 MEMBER PREVIEW DAYS MAY 6–8

Remember the fun of playing miniature golf as a kid? Now the IMA welcomes guests to grab their clubs and enjoy the simple pleasures of putt-putt all summer long during Mini Golf at the IMA. This new family-friendly installation may surprise many who visit the IMA. It’s just one exciting part of the IMA’s yearlong celebration of Indiana’s bicentennial. Located on the Alliance Sculpture Court on Floor 2, the course features original holes themed around Hoosier landmarks and created by artists, designers, and architects from Indiana and beyond. Mini Golf at the IMA blends art, architecture, and family fun into a playful 18-hole mini golf course set within the beauty of the IMA campus. Mini Golf at the IMA is the result of months of planning and development with the help of consultants Robin Schwartzman and Tom Loftus, authors of the blog A Couple of Putts. With a shared passion for mini golf, the couple has played, reviewed and consulted on mini golf courses around the globe. When they’re not putting around, Loftus co-manages the Twin Citiesbased indie record label Modern Radio and Schwartzman is an independent artist with a specialty in designing themed environments. Their combined expertise was invaluable in bringing Mini Golf at the IMA to life. Members get priority access to mini golf and can play free daily. In addition, opening weekend, May 6-8, the course is reserved for members only. Beginning on May 10, the course opens to the public. Mini golf is included with general admission during regular operating hours. For special events, like The National Bank of Indianapolis Summer Nights Film Series, the course will be open for a cost of $8, but members still play free. The course is also available to rent for private parties and events outside of Museum hours. Munchies from King David Dogs and libations Sun King Brewing Co. will keep you refreshed all summer long. So why not make a date to try your hand at acing a hole on the course? Read on for a sneak peek of what you can expect and how each hole commemorates Indiana’s bicentennial:

BURNSIDE’S SIDEBURNS honors the legacy of Ambrose Burnside, a Civil War era colonel from Indiana and inventor of the Burnside Carbine, a rifle widely used in the army. Burnside was known for his unusual facial hair, which joined patches of hair from the sides of his face to his mustache—a style known as “The Burnsides,” later referred to as “sideburns.” Designed by Alan Goffinski, a founding member of Know No Stranger and a creative placemaker with Big Car Collaborative, the hole entices golfers to navigate Burnside’s military coat, dodging its buttons, then over Col. Burnside’s shoulders. Golfers must aim across Col. Burnside’s face and around Burnside’s sideburns in order to reach the hole—Burnside’s monocle. DICK THE BRUISER invites golfers to putt their golf balls right into his teeth. Honoring Hoosier wrestling legend William Fritz Afflis, otherwise known as Dick the Bruiser, this hole displays a larger-than-life Dick the Bruiser in a typical wrestling pose. Golfers will start at his feet with a choice of either leg. A hole-in-one shot requires a line between raised pectoral muscles. When the ball goes into the hole, a sensor triggers a speaker that makes the sound of Dick yelling for Rio, his wife—the love of his life. The hole is designed by Jim Walker, founder and executive director for Big Car Collaborative, and Brent Lehker, artist and Big Car founding member. WELCOME TO WONDERLAND pays homage to the former Indianapolis amusement park called Wonderland that tragically burned down in 1911. The hole is the result of a creative collaboration by Brandon Schaaf, illustrator, performer and founding member of Know No Stranger, and Megan Hart, a local artist known for her monochromatic black ink works. This hole cleverly incorporates elements from the original amusement park including its Shoot-The-Chutes ride, Bump-the-Bumps slide, and signature 125-ft Electric Tower. VONNEGUT DOODLES celebrates the little-known visual talents of Indianapolis author Kurt Vonnegut. With Vonnegut’s illustrations as the sculptural landscape, putters are invited to sit at Vonnegut’s writing chair and table to play. The tabletop pivots, challenging the player to attempt to control the ball by manipulating the table, then move the ball to bump/hop over and around the drawing relief towards the cup. This unique hole is the creation of interdisciplinary sculptor Brian McCutcheon, whose works often find poetic resonance in common objects, and creative agency Athletics NYC.

Left: Burnside’s Sideburns design by Alan Goffinski. Dick the Bruiser (Right in the Teeth) design by Jim Walker Brent Lehker. Below: Shadow-Tailed Scourge design by Chad and Beth Eby. The Bruce Where-Are-They-Nauman? Monument to the Sons of Indiana (Metal Gods) design by Colin Nesbit.

THE DUNGEON MASTERS pays tribute to Dungeons & Dragons, a tabletop role-playing game with strong ties to Indiana. Gary Gygax, one of the original creators of Dungeons & Dragons, started Gen Con, an annual gaming convention now held in Indianapolis. Designed by Josh DeBonis and Nikita Mikros of BumbleBear Games, LLC, this hole includes a labyrinthine dungeon filled with secret doors, traps, and treasure. Golfers must collaboratively get their balls past a scary array of classic dungeon dwellers. SHADOW-TAILED SCOURGE highlights the “Great Squirrel Invasion” of 1822 when a westward migration of squirrels across Indiana decimated crops causing immeasurable damage to farmland. This hole pits golfers against oversized squirrel invaders terrorizing an Indiana farm. Players can take a standard stroke, or sacrifice a stroke to change the position of one of the fluffy-tailed squirrels to gain a better approach to the hole or to frustrate an opponent. The design of the hole is the brainchild of Chad and Beth Eby. Chad is an assistant professor at the Department of Visual Communications at IUPUI, and Beth is an architect and former exhibitions manager for the KTH Royal Institute of Technology in Kista, Sweden. THE BRUCE WHERE-ARE-THEY-NAUMAN? MONUMENT TO THE SONS OF INDIANA (METAL GODS) reimagines Hoosier-born artist Bruce Nauman’s seminal 1970 work, Green Light Corridor while immortalizing four of Indiana’s famous heavy metal musicians: Mötley Crüe’s Mick Mars from Terre Haute, Van Halen’s David Lee Roth from Bloomington, and Guns N’ Roses’ Axl Rose and Izzy Stradlin, both from Lafayette. Golfers have to maneuver their golf balls through a narrow green corridor, then past the “Metal Gods Monument” featuring guitars painted with the famed guitarists’ names and hometowns. The hole’s unique design comes to us from Colin Nesbit, local artist and curator. ENIGMATOLOGY honors the celebrated puzzle master, New York Times crossword puzzle editor and Indiana native, Will Shortz. He holds a bachelor’s degree in enigmatology, the study of puzzles, from Indiana University — the only known recipient of such a degree. Here, golfers will wind their way through a course replicating the form of a crossword while simultaneously solving a posted crossword puzzle. Enigmatology was created by Hannah Barnes, an associate professor of painting at Ball State University and Suzanne Dittenber, an assistant professor of art at Taylor University.

POPLAR MECHANICS is inspired by Indiana’s forests and woodlands, focusing on the Tulip Poplar, Indiana’s state tree, and the verdant forests of Brown County. Poplar Mechanics pays artistic homage to the evocative organic shapes and natural materials of contemporary artist Martin Puryear, the stacked repetition of contemporary artist Tara Donovan and the tiered structure of contemporary artist Kendall Buster’s Stratum Pier from the our Virginia B. Fairbanks Art & Nature Park: 100 Acres. Designed by Gautam Rao, associate professor of art at Butler University, this mini golf hole features abstract trees that recreate Indiana’s landscape in a subtle, artistic manner. BACK HOME AGAIN is a musically interactive mini golf hole celebrating Indiana’s bicentennial through the use of the state’s iconic song, “(Back Home Again in) Indiana” by James Hanley and Ballard MacDonald. The hole is designed by Quincy Owens and Luke Crawley of Owens + Crawley LLC, Indianapolis, whose sculptures have been featured locally as well as across the country. Golfers to move their golf balls past chimes tuned to the melody of “Back Home Again”, summoning past echoes of the great Jim Nabors at the Indianapolis 500, which is celebrating its 100th running in 2016. BENJAMIN HARRISON honors the 23rd president of the United States and an Indianapolis home-town hero. This hole presents golfing challenges with a humorous looking Harrison, the number 23, and a replica of the Benjamin Harrison Home. Players putt their golf balls up one of two ramps and into a hole that directs them out of Harrison’s mouth toward the hole. The Benjamin Harrison hole is designed by Martin Kuntz of Creative Works, Inc. of Mooresville, Indiana—a company that has directed mini golf installations for clients such as Great Wolf Lodge, Main Event Family Entertainment, and Brunswick Bowling & Family Entertainment Centers. WILLIE THE WHALE was a well-loved iconic structure at the former location of the Indianapolis Zoo. When the Zoo moved to its current site years ago, Willie was put out to pasture. Now Willie is back in all his former glory in this playful hole, thanks to the passion and dedication of local artist Quincy Owens. The IMA welcomes golfers of all ages to play this hole that commemorates a beloved Indianapolis landmark. THE GRID is a true slice of Indiana landscape, celebrating the state’s longstanding importance in agriculture, as well as its recent commitment to renewable energy. The Grid is designed to delight golfers with its challenging play and iconic imagery of Indiana’s rural landscape. Golfers must navigate around miniature wind turbines as they make their way across the farm-like grid putting ground. The hole’s designers are Quinn Kummer, David Corns, and John Stoughton of Team B from Cincinnati, Ohio, a design collective that seeks critical design at the intersection of delight and absurdity.

COVERED BRIDGES OF INDIANA spotlights Indiana’s heritage of covered bridges. Although covered bridges are not unique to Indiana, they are plentiful. Using a variety of materials to re-create grass, rocks, river streams, shingles, and wood, the hole invites golfers to move their balls across the terrain and through two covered bridges toward the cup. Take a closer look and you may even see a river otter, muskrat, or deer making his way near the river. This imaginative hole is the brainchild of Scott Shoemaker who began his career as a designer, then moved to the graphics signage industry where he now makes his living. Scott has been responsible for many large signage projects at the IMA and around Indianapolis. LIL GOLF takes golfers on a magical journey with Indiana’s international celebrity feline sensation, Lil BUB. Golfers are invited to follow the rainbow into her welcoming paws as she assists their golf balls to the finish. Lil Golf is designed by Tom Loftus and Robin Schwartzman, consultants for Mini Golf at the IMA IMA. Their passion for the game has led them to design and consult on mini golf for a number of institutions including the Walker Art Center, the Tasmeem Festival in Doha, Qatar and Hub Bub in Spartanburg, South Carolina, under the name A Couple of Putts. CARDINAL 200 features a totem-like cardinal that is also part Indy car. The cardinal wears a corn crown that hints to the phrase “There’s more than corn in Indiana,” while the wheels of the car indicate the year 1816, the year Indiana became state. This whimsical hole invites golfers to putt their balls up a ramp, through a tunnel in the cardinal, then bank off a small barn into the hole. Cardinal 200 was brought to reality by William Denton Ray, a Herron School of Art & Design graduate and professional graphic designer with ExpoDesign in Indianapolis. Two Herron Holes finish out the list of mini golf holes that celebrate Indiana’s bicentennial. The holes were originally part of the 2016 Herron Open: Mini Golf Mega Art fundraiser this past April. Bringing together mini golf and the visual arts, the Herron Open is the signature fundraiser for the Herron School of Art & Design in Indianapolis and features the creativity of Herron artists and designers. The Museum is pleased to have the Herron Holes as part of Mini Golf at the IMA IMA. Top: Photo by Larry George/Indianapolis News.

This program is part of the IMA ARTx series, made possible by a gift from the Efroymson Family Fund. Support provided by Gregory & Appel Insurance, Lake City Bank, and CSI Signs.

Above: Cardinal 200 design by William Denton Ray.

Docents Educate and Entertain Through Unique Tours They act as personal guides through the IMA’s extensive galleries and exhibitions, helping guests make personal connections to the artwork and discover both its historical and cultural contexts. They exude enthusiasm while inspiring curiosity and demonstrating their love of art and lifelong learning. These are the docents of the IMA, a group of nearly 150 volunteers dedicated to expanding and deepening guests’ interaction with our collection. And this year, we were proud to welcome 33 new docents into our over 40-year-old docent program. Ever assumed you had to be from the city’s arts community or a former art teacher to be a docent? Not so. While some of the IMA

docents are former teachers, the IMA docent program welcomes individuals from all walks of life. As trained volunteers, they become ambassadors of the rich permanent collection and featured exhibitions both indoors and out, as their knowledge also extends to Oldfields–Lilly House & Gardens. WHAT IT TAKES TO BE A DOCENT Becoming an IMA docent requires an appreciation of art, dedication to complete a year-long training program, and the commitment to volunteer one day a week. “The love of learning personifies a docent—not only learning about art, but also history,” explains Jennifer Todd, IMA manager of docent programs. “Docents are usually avid readers and travelers—people who want to take the

next step in talking to other people about art, and are eager to share their excitement of discovery.” The most recent class of docents started the process in the summer, first being invited for an informational session, then starting training in November. Docent recruits meet one day a week from 9 am to noon, attending art history lectures by IMA curators, experienced docents, and outside specialists. Like the docents who graduated before them, the class was immersed in the historical and cultural context of artworks. Its members studied visual thinking strategies and practiced various touring techniques to hone their docent skills. No prior education

or experience in art is required to attend the docent class. However, docents must commit to 30+ touring hours per year for the next three years. “As a comprehensive and multifaceted program, the IMA docent program prepares docents to be the best they can be,” says Jennifer Todd. “It’s never a static program. Once docents have graduated, their work has just begun.” Particularly for special exhibits, docents learn the study materials but will often delve deeper to discover more fascinating facts on their own. DISCOVER THE IMA IN NEW WAYS THROUGH SPECIALTY TOURS Docents typically lead daily public tours, school tours, and other guided adult group tours through-

For more information, visit imamuseum.org/grouptours or contact Jennifer Todd, jtodd@imamuseum.org or 317-923-1331, ext. 229.

out the campus. However, they can also sign up to lead specialty tours, such as the “Meet Me at the IMA” tour, offered in partnership with the Alzheimer’s Association, or “Closer Look” tours, which spend an hour with one work of art. In 2016, the docents were instrumental in the development of the IMA’s new specialty tours, some of which partner with other popular entertainment and historical venues in Indianapolis. These tours were designed for motorcoach groups, but can be enjoyed by locals as well.

“The IMA is all about the community. So we’ve developed new tours to get people into the Museum who have never been before,” explains Megan Oldfather, tourism sales coordinator. “Also, we’re seeing tour groups moving away from traditional museum tours. So we’ve developed our specialty tours to be fun and entertaining.”

Specialty tours include: CHEERS! TOUR AND BEER TASTING With great partners, Indy Brew Bus and Sun King Brewery, this tour begins with a docent-led tour that points out artworks focused on beer, alcohol, and food through the ages. After the tour, there is a tasting in the IMA Café followed by two additional tastings at local microbreweries. CROWN HILL CONNECTIONS TOUR Through a partnership with Crown Hill Cemetery, participants will tour the cemetery learning about famous Indiana poets, artists, and art patrons, then come across the street to explore artworks with connections to individuals buried at Crown Hill Cemetery. OLDFIELDS–LILLY HOUSE TOUR Guests will tour the Lilly House and surrounding estate to take in the spectacular beauty of the Gardens. This year more than three times the usual number of bulbs were planted to provide a dazzling display of color

GHOSTLY ENCOUNTERS TOUR Gathered from staff stories and folklore, tour the IMA with Indy Fun Tours and learn about the ghosts who allegedly make their home amongst the artworks. LADIES’ NIGHT TOUR Grab a group of girlfriends for a tour complete with games and selfies that encourages discovery and conversation. BACHELORETTE PARTY TOUR Future brides take note! Now you can host your bachelorette party at the IMA. The docents will have you and your bridesmaids in stitches before your big day. STEAM TOURS You’ve heard of STEM in education, now insert art in the equation. These tours offer young learners a glimpse of how science, art, and design connect.

This Page, Left: Artwork: Richard Wentworth: False Ceiling— Indianapolis, September 25, 2015-June 5, 2016 at the Indianapolis Museum of Art.

IMA’s 10-Year Strategic Plan

TEXT BY

CHARLES L. VENABLE, PhD THE MELVIN & BREN SIMON DIRECTOR AND CEO

FIRST IN A SERIES OF ARTICLES

One year ago, at our Annual Meeting, we shared our vision for the next 10 years at the IMA and a strategic plan for bringing that vision to life. Our first year with the strategic plan has been both foundational and exciting—a launch pad for innovative new projects that tightly align with our newly sharpened mission. To guide our vision, we focused the language of our mission and kept the institution firmly rooted in service to our community. The new mission of the IMA is “to enrich lives through exceptional experiences with art and nature.” As a member I hope you will take notice that we have placed people first in the new mission statement. The IMA exists to enrich the lives of those who live in,

work in, and visit the Indianapolis area, and our members are the very heart of this community. The second half of the mission statement explains the how: through exceptional experiences with art and nature. Our extraordinary exhibition program and world-class collection provide experiences with art from around the globe and across time that are second to none in the Indianapolis area. However, as you will increasingly see, it is through experiences with art and nature that the IMA truly differentiates itself. Very few places have our strengths—or our potential—to engage with the important issues of the age through the work of the world’s greatest artists and the best that nature has to offer.

The mission drives the three core objectives of the 10-year plan: to leverage all of the institution’s strengths, including the galleries, Gardens, Park and historic homes; to attract and develop exceptional talent; and to ensure that the IMA thrives on an endowment draw rate of 5.0% or less. WHY IS THIS SO IMPORTANT? The desired outcomes of these efforts are to increase the IMA’s impact on our community, to broaden our audience, and to set the course for a financially sustainable future for the organization. I’d like to share with you some recent examples of how we have focused our efforts to drive these three outcomes and bring the IMA’s mission to life. To truly set the stage for our ability to improve lives in the community, the IMA became the first encyclopedic art museum in the US to provide an on-site preschool. This exciting effort to expand academic programming is a partnership with St. Mary’s Child Center, known as a provider of the highest-quality early-childhood education in the Indianapolis area. Students aged three to five participate in interest-driven experiential learning and self-expression. Anchored in

Reggio Emilia-inspired teaching, the preschool program allows children to experience original works of art, explore the Gardens, and work on projects inspired by the Park. Support for St. Mary’s Child Center at the Indianapolis Museum of Art is provided by The Indianapolis Foundation, a CICF affiliate and the Jerry L. Burris and Barbara J. Burris Foundation. The school is also the first museum preschool to commit to a goal of supporting half of its students with full scholarships. To ensure all young people in our community have access to the IMA, we joined the statewide Access Pass program. Through the support of Steve and Livia Russell, we also continue to provide free access for Marion County public school tours, and have extended free memberships to students at Marion County four year colleges. Members like you made history and helped us along the path toward our second desired outcome: to broaden the audience for the IMA. Membership now stands at an all-time high of 15,000 households. Members also

become a new Earth Day tradition and is a piece that seeks to raise awareness of environmental change and the extinction of species.

drove attendance to Dream Cars: Innovative Design, Visionary Ideas, which became the third-highest attended ticketed exhibition in IMA history. That exhibition featured a number of innovative audience participation elements that enabled guests to fully engage during and after their visits, including a magnet wall where families could design their own “dream car,” an iPad app, and a kids’ audio tour. Over the past 12 months, we initiated ongoing experiments in the Gardens and galleries that are intended to inspire generations of visitors with new ways to encounter color, beauty, and light and to engage with the critical issues of our time. Our inaugural orchid exhibition, Color Me Orchid, drew crowds to the Madeline F. Elder Greenhouse to bask in the bright colors and sweet fragrance of orchids during the coldest months of the year. I look forward

When I think about the third outcome—a financially stable future for the organization—I understand how important a role our members play. You are the final piece of an ever-renewing virtuous cycle. Season after season, the IMA exists to enrich the lives of the community. And yet, it is our community of extraordinary members that ensures that the IMA’s programs are sustained for years to come. I’d like to share with you the story of

to building on that success for years to come. Color Me Orchid coincided with our new permanent installation of Spencer Finch’s glorious work of art, Following Nature, which recreates the light and color of Monet’s famous garden at Giverny and provides an especially moving transition between the Gardens and galleries. Other new acquisitions to the Museum’s collection challenge the way guests engage with art and nature, including Alfredo Jaar’s Park of the Laments, a popular destination in The Virginia B. Fairbanks Art & Nature Park: 100 Acres. Mark Dion’s Above: Spencer Finch (American, b. 1962), Following Nature, 2013, Harbingers of the Fifth Season—now on view on glass, hardware, filters, glass panel: 23-1/8 × 23-1/4 × 1/4 in. (each). Indianapolis Museum of Art, Contemporary Art Society the fourth floor—has Fund, Anonymous IV Art Fund, 2013. 263 © Spencer Finch.

Bob and Toni Bader, long-time IMA supporters and Founders Society members. The Baders provided lead individual support for the beautiful exhibition Gustave Baumann, German Craftsman–American Artist that powerfully told the story of this important printmaker and the Museum’s extraordinary collection of his work. Baumann, who lived for many years in Indiana, inspired young and old alike with the saying, “whatsoever the hand finds to do, the heart should go forth in unison.” The Baders’ support funded the installation of the artist’s marionettes in the exhibition and made possible performances by the Teatro Duende puppeteers. The Baders also provided lead individual support of the IMA’s inaugural Teen Arts Council, an inspiring youth initiative currently wrapping up its first year. I hope you will join me for a very special Family Day on Mother’s Day weekend hosted by the Teen Arts Council in Fairbanks Park to see their work in action. Throughout the month of August, we will also hold a special month-long member appreciation celebration. If you are interested in learning about our strategic plan in greater depth, please join me at the 133rd Annual Meeting of the Indianapolis Museum of Art on May 18 at 5:30 pm. All members are welcome and after the business portion of the meeting enjoy a special tour of 19 Stars of Indiana Art. I look forward to sharing more with you as the year unfolds.

Staff Profile: Jonathan M. Wright NEW RUTH LILLY DEPUTY DIRECTOR FOR HORTICULTURE AND NATURAL RESOURCES

Jonathan Wright has had a love of gardening for as long as he can remember. Growing up in the shadow of Longwood Gardens in Pennsylvania provided the perfect setting to cultivate his passion. His first horticulture job was at a family-owned garden center at the age of 13, but he had been giving his expert advice to customers long before he was a paid staff member. The garden center had a Lord & Burnham greenhouse, the same style as the Madeline F. Elder Greenhouse. From the moment Wright saw the Elder Greenhouse, he felt like he was home. Wright comes to the IMA with a wealth of knowledge that complements his long-time love of horticulture. He holds a bachelor’s degree from Temple University where he graduated magna cum laude in ornamental horticulture. He also completed Longwood Gardens’ Professional Gardener Program and the Getty Leadership Institute’s Museum Leaders: The Next Generation Program. Prior to arriving at the IMA, Wright was a horticulturist for nearly 12 years at The Chanticleer Foundation in Wayne, Pennsylvania, a suburb of Philadelphia. Since opening to the public in 1993, Chanticleer has become internationally renowned as a training ground for great horticulturalists and for exceptional plant displays. Wright has extensive experience at gardens around the United States and England including Ganna Walska Lotusland, Montecito, California.; Denver Botanic Gardens, Denver, Colorado; National Tropical Botanical Garden, Kauai, Hawaii; Great Dixter, Sussex, England; The Harland Hand Memorial Garden, El Cerrito, California; and Peckerwood Garden,

Hempstead, Texas. He has studied garden design and plants around the globe including in Belize, Canada, Costa Rica, France, Ireland, Italy, Mexico, South Africa, Thailand, and Turkey. His creativity and extensive knowledge of plants and international garden design are the foundation for his vision for the IMA Gardens. As the seasons change, look forward to seeing fields of flowers that will create stunning carpets of color. Wright is also actively working on identifying opportunities to plant and nurture rare or lesser-known plants and trees, especially in the Virginia B. Fairbanks Art & Nature Park: 100 Acres. This helps protect species that are endangered and will provide a safe place to foster them. These ideas are part of a master plan process intended to ensure that all changes are strategic and align with the direction of the Museum. “I look forward to advancing the goals laid out in the strategic plan to develop and enhance the Gardens and Fairbanks Park campus-wide. I am also eager to collaborate with my fellow staff members to weave nature and horticulture into the fabric of the IMA through exhibitions, events, and programming,” shared Wright. When he’s not in his office, you can find Wright outdoors with his sleeves rolled up, planting and pruning alongside his staff and volunteers. Welcome, Jonathan!

Get outside and

See the Stars under the Stars at The National Bank of Indianapolis Summer Nights Film Series

Looking for something fun to do outside on a beautiful summer evening? Grab a blanket, pack a picnic, and join us for The National Bank of Indianapolis Summer Nights Film Series. Presented on Friday nights in the IMA’s spectacular outdoor amphitheater, this well-loved series is celebrating its 40th-anniversary season, brought to the community of Indianapolis through a well-established partnership between the IMA and The National Bank of Indianapolis. At The National Bank of Indianapolis, all employees are empowered to elevate the concept of personal service to an art form. Likewise, the IMA appreciates its long-standing sponsors who help the IMA in bringing high-quality artistic programming to residents from Indianapolis and surrounding areas. In this way, the film series exemplifies the two institutions’ strong dedication to the arts and our community. The IMA is very pleased to have The National Bank of Indianapolis as its title sponsor of this anchor event. The bank first sponsored the series in 2013 as part of its ongoing commitment to the community. Ann Merkel, senior vice president and chief market development officer at The National Bank of Indianapolis, explains: “Through our partnership with

the IMA, The National Bank of Indianapolis demonstrates its commitment to supporting organizations that strengthen the fabric of our community. We recognize how critical strong nonprofit organizations are to the wellbeing of the broader community. Our employees, officers and directors are all dedicated to supporting our city through participation in a broad array of arts and cultural, education, healthcare, religious, and social service organizations.” This year’s National Bank of Indianapolis Summer Nights Film Series will present 15 movies, including such classic films as Rebel Without a Cause, The Great Escape, and Roman Holiday. As in previous years, four of the movies have been determined through a “Movie Bracket,” which coincided with basketball mania in Indianapolis this spring. Participants voted for movies across different eras: 1940s/’50s, 1960s/’70s, 1980s, and 1990s/2000s. Throughout the summer, moviegoers can look forward not only to some fun flicks, but also to some pre-movie entertainment from local musicians and performers. Local favorite Sun King Brewing Company will also be on hand to provide their ever-popular frosty libations.

“I have season tickets for The National Bank of Indianapolis Summer Nights Film Series. I really like it because it provides the opportunity for my daughter and me to spend quality time together and see films we probably have not seen before on the big screen.” —Nelson S., IMA member, film attendee for the past decade

INTERESTED? BOOK NOW!

JUNE 3

Bad Boys (1995, 118 mins., R )

Because of the series’ huge popularity, purchase your tickets early. Tickets are just $6 for members and $12 for the public, and season passes are available. Banking customers of The National Bank of Indianapolis have an added incentive: show your NBI ATM, debit, or credit card, and you can receive $1 off admission. Discount is valid for on-site purchases only, though cardholders may call the ticket line at 317-955-2339 in advance to reserve tickets.

JUNE 10

80s Double Feature Adventures in Babysitting (1987, 102 mins., PG-13) Bill and Ted’s Excellent Adventure (1989, 90 mins., PG-13)

JUNE 17

Rebel without a Cause (1955, 111 mins., PG-13)

JUNE 24

Army of Darkness (1992, 82 mins., R)

JULY 1

Remember the Titans (2000, 113 mins., PG)

JULY 8

The Iron Giant (1999, 88 mins., PG)

JULY 15

Roman Holiday (1953, 118 mins., NR)

JULY 22

“Crazy for Swayze” Double Feature Road House (1989, 114 mins., R) Dirty Dancing (1987, 100 mins., PG-13)

JULY 29

Close Encounters of the Third Kind (1977, 137 mins., PG)

AUGUST 5

Audience Vote—Winner of 90s/00s Moulin Rouge! (2001, 127 mins, PG-13)

AUGUST 12

Audience Vote—Winner of 40s/50s Casablanca (1942, 102 mins., PG)

AUGUST 19

Audience Vote—Winner of 60s/70s West Side Story (1961, 152 mins., NR)

AUGUST 26

Audience Vote—Winner of 80s The Princess Bride (1987, 98 mins., PG)

The IMA Joins FRAME, Enhancing the Reputation of Indianapolis

Earlier this year, the IMA accepted the invitation to become a member of the French American Museum Exchange (FRAME), an elite consortium of 30 leading museums in France, the United States, and Canada that promotes international cultural exchange. FRAME was founded in 1999 by the Director of the Musées de France, Françoise Cachin, and Elizabeth Rohatyn, wife of the former US Ambassador to France, Felix G.Rohatyn. The FRAME network includes top North American institutions such as The Cleveland Museum of Art, Dallas Museum of Art, Detroit Institute of Arts, Museum of Fine Arts, Houston, de Young Museum, Los

Angeles County Museum of Art, Montreal Museum of Fine Arts, St. Louis Art Museum, and Virginia Museum of Fine Arts. Among the French member institutions are the Musée des Beaux-Arts de Bordeaux, Musées de la ville de Rouen, Musée des Beaux-Arts de Dijon, Musée de Grenoble, and the Petit Palais in Paris.

Wood-Pulliam Distinguished Senior Curator Ellen W. Lee. “We are very excited to explore possibilities for the exchange of ideas, personnel, and works of art.” Through membership in this association, the IMA aspires to enhance the international reputation of the Museum and the city of Indianapolis.

FRAME fosters lasting partnerships among its member museums to develop innovative exhibitions and public programs on both sides of the Atlantic. “The IMA’s invitation to join FRAME is a clear sign that the quality of our collections and programs is recognized internationally,” said

So what does this mean for the IMA and for our guests? It means that we have an increased ability to exchange ideas, information, and resources—including works of art—with sister institutions across France and North America. The result? World class artworks, never before displayed in Indianapolis,

coming to the IMA because of these new partnerships. We can also share our artworks with these museums, so visitors to sister institutions can view works from the IMA collection, enhancing the international reputation of both the IMA and the city of Indianapolis. Last year, for example, FRAME toured Working among Flowers: Floral Still-Life Painting in Nineteenth-Century France, a major exhibition highlighting floral still lifes by artists such as Van Gogh, Manet, and Matisse. The exhibition toured to several FRAME member museums, including the Dallas Museum of Art, Virginia Museum of Fine Arts, and Denver Art Museum. To learn more about FRAME, visit framemuseums.org/en/.

Upcoming Affiliate Group Events Art and Nature Interest Groups Affiliate groups offer members unique opportunities to become more involved with the IMA by exploring their own interests. Affiliate group members can participate in exclusive programs, tours, and special events related to the mission of each group. PATRON CIRCLE & SECOND CENTURY SOCIETY Patron Circle and Second Century Society members are at the forefront of annual giving at the IMA. Each year, this important group of donors advances the Museum’s mission through their generous philanthropic leadership. For more information on 2016 Patron Circle and Second Century Society events, please contact Andra Walters, Director of Major Gifts, at 317-9202669 or awalters@imamuseum.org. THE ALLIANCE The IMA’s longest established affiliate group develops and supports activities and projects that stimulate public interest in the Museum, its educational programs, and its collection. Alliance Program, Luncheon and Annual Meeting: Grand and Glorious: The History and Heritage of Stained Glass May 12 / 11 am / The Montage / $55 Hear from art historian Rolf Achilles, a professor at the Art Institute of Chicago and former director and curator of the Smith Museum of Stained Glass and Driehaus Museum at Navy Pier. Lecture followed by luncheon and election of officers. RSVP to Anne Throop 317-669-2135 or throophus@sbcglobal. net. Open to the public.

The IMA Alliance Book Discussion Group May 19 / 1 pm / Location given when RSVP received / Free Join us for a lively discussion of The Hare with Amber Eyes: A Hidden Inheritance by Edmund de Waal, a true story of discovery of the story of the netsuke he inherited and his family. RSVP to Ann McKenzie, anntm@me. com or 401-397-7446 or Susan Smithburn, 317-298-9531 or suhughes@aol.com. Alliance Bus Trip: The Tiffany Stained Glass Trail June 9 / 9 am / Depart from IMA parking lot for Richmond, IN Visit the Tiffany Stained Glass Trail at Reid Memorial Presbyterian Church in Richmond, IN, and stop along the Chocolate Trail with a Dutch treat lunch at Ghyslain. RSVP to Kathy Pierce, 317-859-9474 or kpierce723@aol.com. ASIAN ART SOCIETY (AAS) AAS offers our members the opportunity to learn more about Asian art, history, and cultural traditions and to socialize with others that share a deep appreciation of Asian art. AAS Annual Picnic June 26 / 4:30–7:30 pm / $40 AAS celebrates summer with its annual picnic featuring a specially catered Asian themed meal.

CONTEMPORARY ART SOCIETY (CAS)

FASHION ARTS SOCIETY (FAS)

CAS is a dynamic group that promotes the understanding of and appreciation for contemporary art through educational programs, social events, and community collaborations. CAS support has improved the quality and scope of the IMA’s contemporary art collection.

FAS seeks to promote awareness and appreciation of textile and fashion arts through the study of haute couture and cloth. Members also help facilitate the expansion and enrichment of the IMA’s fashion and textile arts collection.

Curator Talk: Tricia Y. Paik on Ellsworth Kelly June 2 / 7 pm / William Glanton Irwin Gallery (K406) / Free, CAS members only Join IMA’s curator of contemporary art, Tricia Y. Paik, as she discusses the art and legacy of Ellsworth Kelly. Followed by a book signing of her new monograph on the late American master. RSVP to cas@imamuseum.org. CAS-DAS Mini Golf Challenge July 20 / 6 pm / Alliance Sculpture Court

Hats Off! Lecture and Luncheon May 3 / 11 am Lecture; 12:30 Luncheon / The Toby & Deer Zink Special Events Pavilion Join us for FAS’s 5th annual Hats Off! Lectures and Luncheon. Shelly Zegart, noted expert on antique & contemporary quilts will present a talk, entitled ‘Why Quilts Matter: History, Art & Politics.’ Lunch, including a silent auction & raffle drawing, will follow with proceeds benefiting the FAS Acquisitions Fund. HORTICULTURAL SOCIETY (HORT SOC)

Join Contemporary Art Society (CAS) and Design Arts Society (DAS) for a picnic, beverages, and mini golf! Participating local artists and designers will also be present to talk about the process and their experience designing golf holes for the course. RSVP to cas@imamuseum.org.

The Horticultural Society celebrates the art of gardening at the IMA by helping to develop, enhance, and maintain the gardens and greenhouse through volunteer and financial support. The Society also maintains an extensive horticultural library within the Stout Reference Library.

DESIGN ARTS SOCIETY (DAS)

A Garden Affair June 12 / 5 pm / Deer Zink Special Events Pavilion / $79

DAS works to promote a greater awareness of the central role design plays in our daily lives and also to support the IMA as an important center for design arts in the US. DAS Annual Meeting / Indiana Modern Lecture June 2 / 6 pm / The Toby / Free Join DAS in celebrating the past year in Design at the IMA. Following the business meeting, Indiana Modern will host their annual lecture on modern architecture. DAS members invited to the business meeting. Lecture open to the public.

Show your love of our IMA Gardens by joining us for “A Garden Affair,” the Horticultural Society’s biennial dinner and fundraiser. The evening includes live entertainment, delicious meal, silent auction and an opportunity to socialize with fellow garden enthusiasts! All proceeds support the IMA Gardens. Open to the public. To learn more about these events or how you can join one of these interest groups, contact Christa Thacker at cthacker@imamuseum.org or 317-923-1331.

Recent Events 1

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College Night Series Photos by Tyler Hromadka and Tascha Horowitz

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Marie Webster Quilts Opening Photos by Tascha Horowitz

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Volunteer Appreciation Event Photos by Tyler Hromadka

12–14 Horticulture Symposium 2016 Color in the Garden: Bloom and Beyond Photos by Nathaniel Edmunds Photography.

To see more images of programs at the IMA, visit flickr.com/imaitsmyart

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

We LOVE our members! August is Member Appreciation Month! Your membership supports everything that happens here—from presenting world-class exhibitions, to delivering innovative programming, to keeping our lush campus in top form. Members are part of our IMA family—and we appreciate you as our biggest fans and our greatest advocates! STAY TUNED FOR SPECIAL OFFERS AND ADDITIONAL BENEFITS THROUGHOUT THE MONTH OF AUGUST INCLUDING: • Special, members-only mini golf evening session • Surprises at Family Day and National Bank of Indianapolis Summer Nights Film Series events • Members-only Yoga in the Galleries • Special discounts at the Museum Store, rotating throughout the month • A 20% discount on gift memberships for friends and family (so you can share the LOVE) Find more details at www.imamuseum.org Not a member? Join today and feel the LOVE year round!

INDIANAPOLIS, IN PERMIT #2200