IMA Magazine | Spring 2014

The Essential Robert Indiana Profile: June McCormack Portrait of a Man Coming Soon: Face to Face JAN–APR

2014

Contents

Contemporary Spring Patron Profile: June McCormack Provenance: Portrait of a Man

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Meg Liffick Managing Editor Emily Zoss Editor Matthew Taylor Designer

Recent research into the northern European Renaissance painter Rogier van der Weyden demonstrates that the IMA’s Portrait of a Man is likely by the hand of a follower. Investigations yielded a number of interesting results allowing speculation about the identity of the sitter and revealing specifics about the later provenance of the painting that were previously unknown to the Museum.

Tascha Mae Horowitz Photo Editor Anne M. Young Rights & Reproductions Front cover: Robert Indiana (American, b. 1928), Decade: Autoportrait 1961 (detail), 2001. Screenprint, 30-1/8 x 30-1/8 in. (image) 37-1/4 x 36-1/4 in. (sheet). Collection of Morgan Art Foundation, courtesy of Marc Salama-Caro. © 2014 Morgan Art Foundation / Artists Rights Society (ARS), New York.

Left: Follower of Rogier van der Weyden (Flemish, 1399/1400–1464), Portrait of a Man (detail), about 1450. Oil on canvas transferred from wood, 14 x 10 in. Indianapolis Museum of Art, Courtesy of The Clowes Fund, C10085.

Pages 18–19: Robert Indiana (American, b. 1928), ART, 1970.

Screenprint, 34-3/4 x 25 in. Indianapolis Museum of Art, Museum Accession, 71.85. © 2014 Morgan Art Foundation / Artists Rights Society (ARS), New York.

Partnering with Google The Essential Robert Indiana Staff Profile: Rebecca Long The Alliance of the IMA Corporate Sponsor: JPMorgan Chase Coming Soon: Face to Face Art Inspiring Art Closer Look Exhibitions Calendar Recent Events Upcoming Affiliate Events About the IMA

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Laurie Gilbert Project Manager Paul Hansen Martin Krause Haohao Lu Kristin Mohlman Chris Parker Annette Schlagenhauff Jennifer J. Todd Anne M. Young Contributors Tascha Mae Horowitz Eric Lubrick Photographers 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. © 2014 Indianapolis Museum of Art The IMA Magazine is printed on paper containing FSC-certified 100% post-consumer fiber, is processed chlorine free, and is manufactured using biogas energy. (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.)

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From the Director

As winter melts into spring, much is happening at the IMA. Most recently filled with the vibrant colors of Matisse, the Allen Whitehill Clowes Special Exhibition Gallery will soon host the opening of our major exhibition on Indiana’s most famous living artist. As our cover story explains, The Essential Robert Indiana is the result of IMA-supported scholarship and reflects an especially close relationship with the artist, for whom we gave his first one-man museum show in 1968. From the painting, print, and sculpture of Indiana’s world-famous LOVE to bold works you may not know, this exhibition will delight your eyes and challenge your mind.

The IMA will feature two other important contemporary art exhibitions this winter and spring. In February, Sopheap Pich’s monumental work A Room will be unveiled in the Efroymson Family Entrance Pavilion.

Bamboo and bamboo-shaped rods will hang 40 feet from the ceiling, inviting you to enter the cylindrical inner space by parting them like a beaded curtain. In March, Julianne Swartz’s solo show in our McCormack Forefront Galleries will draw you in with its wide array of engaging works. Swartz is acclaimed for mixing media like sculpture, photography, and sound to create art interactions that are simple yet surprising.

While you enjoy these exhibitions and a wide variety of other exciting programming, the IMA staff and volunteer leadership are busy behind the scenes planning for the future. As I have mentioned in the past, the Museum needs to increase its levels of earned income and donations to protect our endowment over time. This requires developing a business model that is both sustainable and still capable of delivering exceptional art and nature experiences to our visitors. Thanks to a grant from the Lilly Endowment, the IMA is confronting this task in two ways. Our first initiative is the Innovative Museum Leaders Speaker Series. In the coming months, we will welcome leaders from The Huntington Library, Art Collections, and Botanical Gardens in California; The Corning Museum of Glass in upstate New York; and the former director of the Dallas Museum of Art. Each of these institutions is very similar to the IMA in important aspects, and thus, we can likely learn a great deal from their directors and presidents. Please plan to attend these presentations, as they will undoubtedly be fascinating.

The second action we are taking to reshape our business model is to work with the Innovatrium at the University of Michigan. This idea lab, beyond acting as a launch pad for pioneering projects, is dedicated to developing experts who can make innovation happen every day in their workplaces. In recent years the Innovatrium has worked with sister museums in Atlanta, Kansas City, Minneapolis, and Toledo to help these organizations forge more creative business models and missions. The IMA must continue to advance the field in order to deliver extraordinary experiences to the public and do so in a sustainable way. Our current work will ensure our leadership position.

Thank you for supporting all the exciting things that are happening at the IMA. See you in the galleries and on the grounds.

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

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INNOVATIVE MUSEUM LEADERS SPEAKER SERIES January 29 / 6:30 pm / Free Steven Koblik, President The Huntington Library, Art Collections, and Botanical Gardens March 6 / 6:30 pm / Free Marie McKee, President The Corning Museum of Glass May 6 / 6:30 pm / Free Bonnie Pitman, former Eugene McDermott Director Dallas Museum of Art

A Contemporary Spring at the IMA Efroymson Family Entrance Pavilion Series Sopheap Pich: A Room February 27–August 24 This February, Cambodian artist Sopheap Pich will create a newly commissioned installation as part of the IMA’s Efroymson Family Entrance Pavilion series. Pich’s project, A Room, will occupy an approximately 13 × 26–foot oval space in the pavilion and will consist of nearly 1,200 real and artificial bamboo strips, extending 40 feet in height from ceiling to floor.

Pich’s sculptural work uses forms and materials that are readily available near his studio in Cambodia and metaphorically loaded with significance to Cambodian national identity, history, and industry. In his expansive installations, Pich transforms these materials—primarily bamboo and rattan—into architectural, hollow-latticed sculptures that are reminiscent of utilitarian objects, such as baskets and fish traps, that have been used in Cambodia for generations. For his project at the IMA, Pich, inspired by the abundance of natural light in the pavilion, has decided to create a minimal space of contemplation that will foster the experience of seeing light through a forest of closely grown trees.

A Room will consist of four walls spanning the entire height of the pavilion, each made up of one-inch-wide strips of real bamboo or artificial pieces cast from plastic, bronze, aluminum, and brass. The strips will each be approximately 13 feet in length, joined together to hang freely from the pavilion’s ceiling—allowing visitors to part them like a curtain and enter the meditative space housed within. Once inside the space, the phenomenon

of natural light bouncing off of and piercing the slats is intended to evoke the sense of light within Cambodia’s bamboo forests, where Pich will have gathered much of the installation’s materials. By devising A Room out of bamboo, Pich will create a contrast between the aluminum, glass, and cement structure of the pavilion and the warmth of bamboo, as well as the variously bright and subtle colors of the different bamboo castings.

The installation’s simple geometric form punctuated by bold variations in color also references the mid20th-century painters that have long inspired Pich’s work, such as Barnett Newman, Mark Rothko, and Morris Louis.

A Room is part of the Efroymson Family Entrance Pavilion series.

This endowed fund was established in 2006 by the Efroymson Family Fund to support work by emerging and established local, national, and international contemporary visual artists through a rotating installation program in the Efroymson Family Entrance Pavilion. Past artists and collectives whose work has been supported by the Fund include Allora & Calzadilla, Ball-Nogues Studio, Tony Feher, Spencer Finch, Friends with You, Orly Genger, William Lamson, Judith G. Levy, Mary Miss, Julian Opie, Heather Rowe, Alyson Shotz, Julianne Swartz, and Spencer Finch.

Made possible by the Efroymson Contemporary Art Fund, an endowed fund at the IMA.

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McCormack Forefront Galleries Julianne Swartz: How Deep Is Your March 14–June 15 Acclaimed for her unique blend of high- and low-tech materials, Julianne Swartz makes the presence of the viewer fundamental to her work. Her architecturally sensitive installations employ lenses that transform mundane objects and hidden locations into magical moving pictures; mirrors that disorient a viewer’s spatial perception and self-awareness; and PVC tubing that allows buildings to communicate with their inhabitants. How Deep Is Your features Swartz’s work in photography, sculpture, installation, and sound and gathers together for the first time a significant group of her large-scale installations— reconceived for the McCormack Forefront Galleries as well as other select areas scattered throughout the IMA. How Deep Is Your introduces Swartz’s work to a new audience and demonstrates her unique contributions to interactive and participatory art, sound art, and installation art. The way in which ideas take material form in Swartz’s work eludes easy definitions and labels. Swartz describes her work as “confronting institutional and patriarchal ideas of what is valued as efficient, evident, and independent” and seeking to foreground undervalued qualities such as “the perceptual, the experiential, the introspective, the emotional, and interdependence within a community.” A refreshing current of sincerity and hopefulness informs all of Swartz’s practice,

and her deceptively simple arrangements of materials often result in profound observations about society, power, or human nature. Offering visitors the thrill of a conceptual scavenger hunt for the senses, as well as a thorough introduction to this groundbreaking contemporary artist, How Deep Is Your engages audiences of all ages.

The exhibition is curated by independent curator Rachael Arauz and co-organized by deCordova and the Scottsdale Museum of Contemporary Art, Arizona.

Livia and Steve Russell Gallery Nick Cave Opening February 12

Lower Left: Sopheap Pich (Cambodian, b. 1971), Concept model for A Room (detail), 2014. Indianapolis Museum of Art, Commission. Image courtesy of the artist.

Above: Nick Cave (American, b. 1959), Soundsuit, 2013. Mixed media including mannequin, fabric, ceramic birds, metal flowers, and antique gramophone. Photo by James Prinz. Courtesy of the artist and Jack Shainman Gallery, New York.

Upper Right: Julianne Swartz (American, b. 1967), How Deep Is Your, 2012. Plastic tubing, Plexiglas tubing, PVC tubing, CD player, funnel, mirror, LED lights, and 2-channel soundtrack, site-specific. Courtesy of the artist. Originally commissioned by MoMA PS1, Queens, New York, 2003. Photograph by Clements Photography and Design, Boston. Artwork © Julianne Swartz.

A portion of each ticket bought for this year’s New Year’s Eve at the IMA event was dedicated to the acquisition of a Soundsuit by internationally renowned contemporary artist and fashion designer Nick Cave. Celebrated for blurring the lines between performance, sculpture, and costume, Cave’s Soundsuits—of which he has created more than 500—can be found in museum collections around the world.

The pieces, eclectic in material and composition, are all designed

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to make noise as the wearer moves and serve as a metaphor for our ability to change, or as Cave puts it, “to step out of ourselves.” Built from an accumulation of objects found in flea markets and thrift stores, the suits also become a mirror of our culture’s excess.

The Soundsuit acquired by the IMA will be on display in the Livia and Steve Russell Gallery on Floor 4 beginning February 12. The work will be accompanied by a video contextualizing Cave’s larger-thanlife pieces and providing a glimpse into the variety of his categorybending artworks.

Nick Cave grew up in a large family in St. Louis, Missouri, and credits his single mother for encouraging his creativity. The artist studied textiles and sewing at the Kansas City Art Institute and also studied with the famed Alvin Ailey American Dance Theater, known for its contemporary choreography. Cave obtained a master’s degree at the Cranbrook Academy of Art in Michigan and teaches fashion at the School of the Art Institute of Chicago.

Patron Profile: June McCormack Chair of the IMA’s Board of Governors PHOTOGRAPHY BY ERIC LUBRICK

Since her arrival in Indianapolis in 1997, June McCormack has been a dedicated supporter of the IMA. An East Coast native, McCormack received her MBA from the University of Virginia. She currently serves as the Executive Vice President and President of the Online Division of ITT Educational Services, Inc. McCormack’s passion and generosity is evident throughout the Museum. In 2004, McCormack pledged to name all three Forefront Galleries—exhibition spaces dedicated to early and mid-career contemporary artists—and in 2012 she helped underwrite the contemporary design galleries reinstallation project. McCormack has served on the Board of Governors since 2004 and her participation has included roles as the Secretary of the Collections Committee (2003–2007), Chair of the Greening Task Force (2009–2010), Secretary of the Executive Committee (2008–2010), Chair of the Strategic Planning Task Force (2010), and Vice Chair of the Board (2010–2012). McCormack became Chair of the Indianapolis Museum of Art’s Board of Governors in June 2012 and has helped to lead the IMA during a time of immense change and development.

As her two-year term as Chair draws to an end, we asked McCormack to reflect on her experiences at the IMA.

How did you get involved with the IMA? I am passionate about supporting the visual arts, so in every city I’ve moved to during my career, I’ve sought out and participated in the arts scene, often through board involvement. When I came to Indianapolis in December 1997, the IMA was quickly in my sights as a place to volunteer as well as enjoy and gain knowledge about art of all eras. I was particularly interested in learning more about contemporary art and artists, which I now collect. I joined the Board of Governors of the IMA in 2004 after serving as a trustee. It was a very exciting time at the IMA. The building expansion was getting underway, The Virginia B. Fairbanks Art & Nature Park: 100 Acres was on the drawing boards, and there was a great buzz in the community regarding the transformation of the IMA to make it more welcoming to visitors. After the opening, the IMA became known nationally and internationally for its innovations in many areas. As I travel the country and the world visiting other art institutions, I am always amazed at the depth, breadth, and beauty of the IMA by comparison.

The past several years have brought different types of opportunities for the IMA, as they have for many institutions. Change is in the air, as we work to create a sound and sustainable business model that allows the IMA to

continue its tradition of excellence in scholarship and in creating memorable art experiences for our audiences in a changed economic environment. Given our incredible resources in the form of our renowned permanent collection and our 152 acres of gardens and grounds, I feel confident that under the leadership of The Melvin & Bren Simon Director and CEO, Dr. Charles Venable, we will achieve this goal.

We are already making great strides in audience engagement. If you haven’t been to the Museum recently, you will enjoy seeing the interactive family activities in Star Studio, the Eiteljorg Suite of African and Oceanic Art, the Davis Lab, and in other spaces around the Museum. It is a very lively place for young people as well as adults.

As a result, membership and contributed support is growing.

What have been the highlights of your involvement with the IMA? I have participated in a number of committees and task forces, but for me two of the most enjoyable and impactful were chairing both the last Strategic Planning Task Force and the Greening Task Force of the IMA. In both cases, I had the opportunity to get to know and work with many of the very talented members of the IMA team across most departments as well as many members of our Board of Governors. These committee involvements helped

me understand that it takes a variety of different skill sets to run an encyclopedic museum with botanical gardens, historic properties, and an art and nature park. It is the diverse collective talents of these individuals that make the Museum exciting for our visitors on a day-to-day basis.

I have also enjoyed immensely working with the IMA contemporary curators on acquiring art from living artists that I can donate to the Museum. It is particularly exciting to get to meet the artists and learn what motivates them to create objects of beauty and intrigue that challenge our thinking. My move to Indianapolis awakened in me a strong interest in contemporary design and architecture as well, so the opening of the IMA’s amazing new contemporary design galleries is a thrilling new addition to our permanent collection.

There are so many exciting things happening at the IMA each week that it is hard to decide what to do when and how best to support the Museum! It is also heartwarming to me to see how many people in the community contribute their time, talent, and treasure to supporting the mission of the IMA. I can’t thank everyone enough for all you do for the IMA.

What is your favorite piece from the IMA’s collection and why?

As the IMA team knows, I love to slip into the Museum on a Sunday afternoon to view parts of the collection all by myself. I am always intrigued to see the reactions of our visitors to their experiences at the IMA. There are many objects I love at the IMA, but a favorite has to be Floor by Do-Ho Suh. I love the way it is integrated into the architecture of the building and how surprising it is when you actually get up close to it and walk on it. To me it represents a positive social commentary about how it takes thousands of people to make something remarkable happen. I love the excitement of children when they see this piece for the first time and walk on it and suddenly realize many, many tiny people are holding up the “floor.”

Why do you support the arts?

It took me some time to realize that volunteer activities are most fulfilling if you are passionate about the mission. I support the visual arts because it brings me joy to do so and because I hope we can awaken that joy in thousands and thousands of other people in Indianapolis and beyond.

TEXT BY

HAOHAO LU

CLOWES FELLOW

ANNETTE SCHLAGENHAUFF

ASSOCIATE CURATOR FOR RESEARCH

Provenance:

Follower of Rogier van der Weyden’s Portrait of a Man

In this issue we resume our series of articles on provenance, or the history of ownership, of works of art in the IMA’s collection. This close examination of a painting in the Clowes Collection demonstrates the benefits of collaborative research between the current Clowes Fellow and the IMA’s Associate Curator for Research.

Among the earliest acquisitions for the collection of Dr. and Mrs. G.H.A. Clowes was Portrait of a Man, then thought to have been painted by the Flemish master Rogier van der Weyden (1399/1400–1464). A pivotal figure in the northern European Renaissance and extraordinarily popular among early 20th-century collectors, Van der Weyden is praised for injecting tenderness into his portraits and other compositions. Out of admiration for this portrait’s noble tranquility, two respected Austrian art historians issued certificates extolling it as a characteristic work of Van der Weyden. More recent research into the technique of this Flemish master demonstrates, however, that the IMA painting is more likely by the hand of a follower; its systematically traced underdrawing is a preparatory method unseen in authenticated portraits by Van der Weyden. Nonetheless, recent research yielded a number of interesting results in the case of Portrait of a Man, allowing speculation about the identity of the sitter and revealing specifics about the later provenance of the painting that were previously unknown to the Museum.

Gathering all documentation

associated with a particular work of art is the first step in provenance research. This documentation includes correspondence with dealers and noted experts, bibliographic citations, information on the exhibition history of the painting, and relevant unpublished materials. A particularly useful source about Portrait of a Man, for example, was a very thorough technical study of the painting completed in 1983 at Indiana University Bloomington by Patricia Bennett, now an IMA docent.

Next, the process of verification begins—only pieces of information that can be corroborated can be considered factual. In the case of Portrait of a Man this proved challenging, since two other versions of this portrait are known from catalogue and archival sources, which meant that avoiding confusion between the versions was paramount to the task at hand.

Max Jakob Friedländer, one of the finest connoisseurs of early Netherlandish art, documented a Portrait of a Young Man in his multivolume, monumental publication, Early Netherlandish Painting, in 1924. Known to him as having formerly been owned by a collector in Brussels, Charles-Léon Cardon, this painting appeared at a

Page 8: Follower of Rogier van der Weyden (Flemish, 1399/1400–1464), Portrait of a Man (detail), about 1450. Oil on canvas transferred from wood, 14 x 10 in. Indianapolis Museum of Art, Courtesy of The Clowes Fund, C10085.

Left: Follower of Rogier van der Weyden (Flemish, 1399/1400–1464), Portrait of a Young Man. Oil on panel, 14-1/2 x 10-1/2 in. Current location unknown, last seen at Christie’s London in 2002.

Image courtesy of Christie’s.

Follower of Rogier van der Weyden (Flemish, 1399/ 1400–1464), Portrait of a Man. Current location unknown. Image courtesy of The Netherlandish Institute for Art History (RKD), The Hague.

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Fragment of a paper label bearing the stamp GALERIE WEBER HAMBURG from back of Portrait of a Man.

Christie’s auction held in London in 2002. It is virtually identical to the IMA portrait, except for the man’s sleeve and his hands.

Friedländer was also in possession of a photograph of another version that had belonged to a Berlin collector, Carl von Hollitscher.

The whereabouts of this version are unknown today, but the extant photograph reveals a tantalizing clue to identifying the sitter: a coat of arms belonging to the Brugesbased Van Themseke family.

First proposed by the Scottish art historian Lorne Campbell, the Van Themseke connection is corroborated by a matching description found in an 1851 registry of families in Bruges. There it states that this family was represented by a crest, executed in gold, that depicted three heads and necks of horses in silver bridles, which matches the coat of arms found on the painting in the Friedländer photo. The earliest record of this noble family dates to the mid-13th century. During the 15th century, the family supported the campaigns of Philip the Good of Burgundy, the famous duke and patron of the arts. Given the unusual survival of three versions of a portrait, the sitter might well have been

among its most prominent members; replicas were sometimes made as gifts or to adorn multiple family residences.

For any painting of such an age—the IMA’s portrait is now more than 550 years old—a seamless provenance that lists each and every owner is a rarity.

When Dr. and Mrs. Clowes acquired it from the E. and A. Silberman Galleries in New York in 1934, the only previous owner known to the buyers and the sellers was an Austrian noble, Count Vetter von der Lilie. Because the brothers Elkan and Abris Silberman concurrently had galleries in Budapest and Vienna, it is likely that they obtained Portrait of a Man directly from the Vetter von der Lilie family. Another owner is known from Friedländer’s notes on the back of another photograph: in 1930 the IMA’s Portrait of a Man was in the collection of Marczell von Nemes, the legendary and world-renowned collector of Old Masters and French 19th-century art. (The IMA’s Still Life with Profile of Laval, by Paul Gauguin, was also once in the Von Nemes collection.)

Now, two additional 19th- and early 20th-century owners of Portrait of a Man have been

Red wax seal reading GALERIE SEDELMEYER PARIS on stretcher of Portrait of a Man.

discovered thanks to examination of the back of its canvas.

A surviving fragment of a paper label was at first difficult to decipher.

The title, attribution, and dimensions of the painting are handwritten in ink, along with what appears to be a date—1897—visible at bottom left. To the right of this is a weak impression of a round stamp with only one word clearly legible, GALERIE, with a handwritten number, 969, at its center.

Perusal of late 19th-century sources turned up a promising possibility. Could the stamp read GALERIE WEBER and HAMBURG? An important collection of Old Masters was owned by Eduard Friedrich Weber, a collector from Hamburg who was known to have referred to his collection as the “Galerie Weber.” Correspondence with German art historian Carla Schmincke, who has written about the Weber collection, provided additional answers: number 969 of the Weber collection had, in all likelihood, been purchased from the Parisian dealer Charles Sedelmeyer. A prominent dealer at the turn of the last century, Sedelmeyer had left Vienna to start a gallery in Paris, where he sold old and modern masters to prominent

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clients around the world—among them wealthy American industrialists like Henry Clay Frick and J.P. Morgan. Portrait of a Man was also once in Sedelmeyer’s stock of paintings. What had previously appeared as an indecipherable red wax seal on the back of the painting was reexamined and, under raking light, revealed three words: GALERIE SEDELMEYER PARIS. Two more pieces of the puzzle had been found.

The provenance of this painting still has many gaps, causing our file to remain open. However, this recent research has now added several additional names to Portrait of a Man’s history of ownership.

Partnering with Google Launched in 2011 with works from 17 international museums, including the Metropolitan Museum of Art, the Tate Gallery, and the Uffizi Gallery, Google Art Project is an online platform initiated and managed by Google through which visitors can view images of artworks from collections around the world. In 2012, Google invited the IMA to be part of the second phase of the project, which included more than 150 additional museums. On April 3, 2012, images of 209 works from the IMA’s collection were added to the site. Since that time, the IMA has continually expanded its involvement with Google Art Project, and just last month, the Museum launched an online virtual tour of its galleries. For the first time ever, visitors from around the globe can explore the IMA’s galleries 24 hours a day, 7 days a week, without leaving the comfort of home. The process of creating a virtual tour of a museum is complicated. In order to provide more insight into what it’s like to work with Google, we asked Anne Young, the IMA’s manager of rights and reproductions, to provide a narrative of her experience.

Google onsite in IMA’s European galleries.

Prior to Google’s arrival, I walked the Museum with gallery maps, marking the locations of works with potential restrictions—such as lender or copyright limitations— that could prohibit their inclusion.

Input from curatorial and registration staff helped determine what works would be filmed. Temporary exhibitions were not included unless it meant a collection was not represented. For example, we did film the temporary Textile and Fashion Arts exhibition, but chose not to film all the print exhibitions, as prints were on view in several galleries.

Any reproduction of a work in our collection may require securing permission from copyright holders, unless the work is already in the public domain. For this project, we decided to clear permissions for several copyrighted artists, as this was a major opportunity to increase access to our collection.

An easier tactic would have been not filming any copyrighted works, or blurring them, but this would have meant excluding all of the contemporary art galleries.

Happily, almost all of the artists contacted approved of having their works included. We went to special lengths to clear rights for Robert Irwin’s Light and Space III. This work is integrally tied to our building’s architecture, ultimately appearing in almost half of the captures.

Armed with my annotated gallery maps, Google’s capture team spent two days in October 2012 filming our galleries. I had the opportunity to spend these days with them, during which time I observed their process. Interestingly, they do not refer to the equipment as a camera; rather, it is an “imaging device for indoors.”

The entire device is contained on a trolley operated by a car battery, with no cords, no track to lay down, and no external lights. No one could be in the galleries while the captures were done, which meant I spent a lot of time hiding around corners. As one of their operators told me when I poked my head around a corner to check on the

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process, “Get back. . . . If you can see it, it can see you!”

Once complete, Google spent the next 10 months processing the captures. In August 2013 the IMA received 998 images to review, only 30 of which were rejected for less-than-optimal image quality.

I then reviewed each image for works that could not be included due to lender or copyright restrictions and blurred those works in every image they appeared in, which ultimately resulted in over 2,100 individual blurs. The final step was to connect these photographs of works in their physical locations in the galleries with the 209 high-resolution collection images we shared with Google in 2012, during the earlier part of the project.

Overall, the IMA’s partnership with Google has increased our visibility with a variety of audiences, and we’re excited to think about new opportunities for future collaborations. In the meantime, log onto the Google Art Project and take a virtual tour of our galleries.

IN THE NEWS: IMA AWARDED NATIONAL LEADERSHIP GRANT The IMA was recently selected to receive a National Leadership Grant of $165,000, awarded by the Institute of Museum and Library Services, which will allow the Museum to create and copublish, in conjunction with the American Alliance of Museums, The Rights and Reproductions Handbook for Cultural Institutions.

This innovative digital publication is set to serve as the definitive resource for professionals charged with overseeing rights clearances, permissions and intellectual property matters for cultural institutions. Expert contributors will include partners from museums, libraries, and universities such as the J. Paul Getty Museum, the Solomon R. Guggenheim Museum, and Columbia University Libraries.

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

February 16 through May 4 Opening Talk & Preview February 13 Member Preview Days February 14 & 15

We call him “Bob.” If that seems a bit informal for Robert Indiana, inter-

nationally known as one of the deans of Pop Art, it should be remembered that institutionally, we have been acquainted with him for more than 65 years. Then called the Herron Art Institute, the IMA was the first museum the artist came to know, long before he adopted his nom de brush in 1958. As a high schooler and budding artist at Arsenal Tech in Indianapolis, Robert Clark attended Saturday school at Herron in 1945. And while he left to enter the Army Air Corps following graduation the next year, never to return to reside in the city, we renewed our acquaintance in 1967 with the purchase of his seminal LOVE painting. This was followed by his monumental Cor-ten steel LOVE, which was first shown in our inaugural exhibition on the 38th Street campus in 1970, Seven Outside, and then acquired. The IMA has hosted monographic exhibitions devoted to Robert Indiana’s paintings in 1968, 1977, and 1995 and included his sculpture among those of other noted Hoosiers in Crossroads of American Sculpture in 2000, but the one facet of Indiana’s career that has not been featured here is his graphic work, which has been an integral part of his output since the early 1960s.

The notion for a retrospective of 50 years of Indiana’s prints came from John Wilmerding, professor emeritus at Princeton University, former curator of American art at the Metropolitan Museum of Art, and former senior curator and deputy director of the National Gallery of Art. Of late, his interest has turned from 19th-century American painting to Pop Art, and in late 2009 he broached the idea of a print show at the IMA to then-director Maxwell Anderson, Wilmerding’s former pupil at Dartmouth. Indiana himself was enthusiastic about the project and The Essential Robert Indiana was born.

TEXT BY MARTIN KRAUSE CURATOR OF PRINTS, DRAWINGS, AND PHOTOGRAPHS

THE ESSENTIAL

ROBERT INDIANA 13

He worked, he said, “by the magic of coincidences.”

Page 12: William John Kennedy, Profile of Robert Indiana at his Coenties Slip Studio with “Year of Meteors” (1961) in background (detail), 1963 (printed 2010). Silver gelatin fiber print, 16 x 20 in. Cat. No. 5-A. © 2010 William John Kennedy, kiwiartsgroup.com.

Below: Robert Indiana (American, b. 1928), EAT/DIE, 1990. Screenprint on two sheets, 11 x 9-3/16 in. (image, each) 17-7/8 x 13-3/4 in. (sheet, each). Collection of the artist. © 2014 Morgan Art Foundation / Artists Rights Society (ARS), New York.

Right: Robert Indiana (American, b. 1928), KvF I from The Hartley Elegies: The Berlin Series, 1990. Screenprint, 75-7/8 x 53-1/4 in. (image) 79-7/8 x 55-1/2 in. (sheet). Indianapolis Museum of Art, Martha Delzell Memorial Fund, 2010.120. © 2014 Morgan Art Foundation / Artists Rights Society (ARS), New York.

It was high time for such an exhibition. There had not been a museum show of this sort since 1969, and most of Indiana’s prints had been created following that date. Undoubtedly, part of the oversight was due to Indiana’s absence from the public eye, particularly after his self-imposed exile from New York to the island of Vinalhaven off Rockland, Maine, in 1978. Part is also due to the frequently one-to-one relationships between Indiana’s paintings and prints that have relegated the prints, in critical terms, to secondhand status. Indiana himself does not feel that way, however, and a number of his prints are displayed proudly in Star of Hope, his Victorian studio-home in the village of Vinalhaven. To the populist in him, his prints are the most democratic expression of his images, multiplying many times a singular painting. And rather than repetitions, he sees them as variations on a theme, a process that he has always found motivational. Any given image, such as LOVE, may reappear in different

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colors, sizes, and multiples, and in two or three dimensions. Claude Monet and Pablo Picasso did much the same, Indiana notes. In a true sense, screenprinting, which Indiana has recognized since 1965 as the perfect print medium for his work, offers the ultimate refinement of his images—themselves distillations of concepts down to their essential words, numbers, colors, and shapes. The very nature of screenprinting, with its use of stencils to produce hard-edged designs in fields of flat, glossy colors, seemed invented for the style of painting that Indiana adopted in 1960.

The premise of The Essential Robert Indiana is not only to exhibit works that are unfamiliar to the public, but also to uncover that which lies beneath the slick, anonymous surfaces of his work.

New York critics in the 1960s, when confronted by Indiana’s EAT, DIE, or ERR, sensed that there was something troubling beneath the outward simplicity and directness of his paintings; something more profound than the signs along

“He who changes his name is wearing a mask.�

Robert Indiana

America’s roads that Indiana took for inspiration. That something was palpable, but not obvious.

Only in the 1970s did Indiana reveal that most of his work was autobiographical, rooted in his memories of a bleak boyhood during the Depression in Indiana, the only child of vagabonding parents who uprooted him 21 times before the age of 17. EAT and DIE, for instance, have nothing to do with American overconsumption, as many believed; rather, “eat” was the last word that Indiana’s mother spoke to him before she died in 1949, fusing these words together in Indiana’s mind. The familiar red, green, and blue palette of LOVE came from a vivid recollection of the logo for the company for which his father worked, Phillips 66, whose red lettering on a green disc was ubiquitous at gas stations along the country’s highways. When the LOVE paintings appeared in 1966 they reflected that red and green silhouetted against the blue Indiana sky, an homage to his father who had died in December 1965. None of this is knowable until Indiana reveals it, which he has done over the years in various writings and interviews, including four at his studio with the organizers of this exhibition.

Equally in need of deciphering are the cryptic words that Indiana inserts into his “autoportraits”— compilations of words, numbers, and shapes that are symbolic to each year in his life from 1960 to 1979. These symbolic portraits had their antecedents in nonfigurative portraits by such pioneering Modernists as Pablo Picasso, Charles Sheeler, and Marsden Hartley.

Indiana’s magisterial series of oversized prints, The Hartley Elegies, is based on a 1914 series of such “portraits” painted by Hartley in Berlin to memorialize his friend, the German officer Karl von Freyburg, who had just been killed in the first days of World War I. While there was a natural kinship between the styles of Hartley and Indiana, circumstances dictated the undertaking of this series— specifically, Indiana’s move to Maine. Hartley had been born and died in Maine and actually had spent one summer on Vinalhaven in a building Indiana later owned.

Indiana found this connection to Hartley inspirational, just as he has always considered coincidences between himself, places, people, and events as instrumental to his work. He worked, he said, “by the magic of coincidences.” For this information, one is again reliant on the only source: Robert Indiana.

The pursuit of this arcane and indispensible information inevitably concedes the narrative to the artist, and he seizes the opportunity to shape it. A question he chooses not to answer is steered instead in a direction of his choice.

The artist’s welcome contributions help this exhibition succeed in deciphering much that is essential to the understanding of Indiana’s work. However, it is only as revelatory as the artist allows, and one is mindful of the observation that Indiana made of Pablo Picasso: “He who changes his name is wearing a mask.”

This exhibition is made possible by generous support from Barnes & Thornburg LLP and the Morgan Art Foundation.

Robert Indiana Education Supporters underwrite all public programs, educational outreach, and gallery experiences related to The Essential Robert Indiana.

Gold Supporter

EXHIBITION CATALOGUE The exhibition will be accompanied by a 152-page, fully illustrated catalogue that presents individual decodings of Indiana’s prints by exhibition curator Martin Krause as revealed to him through continuing conversations with the artist. Also included is an extended essay by noted scholar John Wilmerding. A special feature of the book, copublished with DelMonico Prestel, is a series of 1960s portraits of Robert Indiana taken by photographer William John Kennedy, including some images published here for the first time.

Left: William John Kennedy, Robert Indiana holding an ampersand stencil at his Coenties Slip Studio (detail), 1963 (printed 2010). Silver gelatin fiber print, 16 x 20 in. Cat. No. 73-A. © 2010 William John Kennedy, kiwiartsgroup.com.

Right: Robert Indiana (American, b. 1928), PICASSO, 1974. Screenprint, 24 x 20 in. (image) 30 x 22 in. (sheet). Collection of Morgan Art Foundation, courtesy of Marc Salama-Caro. © 2014 Morgan Art Foundation / Artists Rights Society (ARS), New York.

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Staff Profile: Rebecca Long Recently appointed to the position of Associate Curator, European Painting and Sculpture before 1800, Rebecca Long has been at the IMA for nearly six years. In 2008 she joined the curatorial staff as the Allen Whitehill Clowes Fellow before becoming a curatorial assistant in 2009 and later, the Assistant Curator of European Painting and Sculpture. Long holds a master’s degree from the Institute of Fine Arts at New York University and is currently completing her doctorate in art history specializing in Spanish and Italian baroque art. Since joining the IMA, Long has worked on numerous projects and exhibitions, including Sacred Spain: Art and Belief in the Spanish World (2009).

Most recently, she served as curator for Matisse, Life in Color: Masterworks from The Baltimore Museum of Art. In her new role, Long is responsible for research, collection development, exhibition development, and the presentation and interpretation of works from the IMA’s robust early European collection. Long also serves as the liaison for the Clowes Collection and its research, care, and interpretation.

What drew you to the study of European art?

I wasn’t really exposed to art growing up. I accidentally enrolled in an art history class in college, and I was hooked. I can credit amazing professors who first introduced me to European art, in particular art of the Italian Renaissance. I found it fascinating to engage with objects by thinking about the historical context in which they were created. The physical beauty of objects is the first layer in considering a work of art, but it’s the social, political, religious, and intellectual background of why works of art were created in the first place that really makes the study of art engaging.

I’m particularly drawn to Italy and Spain in the late 16th and early 17th centuries because it was a period of political and social upheaval that caused interesting ripples in the artistic world.

What are the rewards of being a curator?

For me, it’s direct contact with artworks. I am all for technology and digital engagement, but there is no replacing the experience of looking closely at a painting in person. Google Images just can’t convey the same experience. I love to spend time looking at artwork together with conservators above all. They can really explain how to interpret the physical features of a painting or sculpture—by looking closely at it, what does the object tell us about how it was made and about its history?

Do you have a favorite work in the IMA’s collection?

Two that are near the top of my list are Jusepe de Ribera’s Aristotle, and the anonymous Mexican Virgin of Guadalupe. The Ribera is an astonishingly beautiful painting— in the way the paint is handled, the subtle color palette, the incredible treatment of light and shadow. It’s also an interesting commission from a fascinating artist. It was one of a series of imaginary portraits of ancient philosophers painted for the Prince of Liechtenstein in which these great intellects are depicted as if they are poor, bedraggled beggars.

The Virgin of Guadalupe is special to me because it represents a new collecting area for the IMA, in colonial Latin American art. The subject is such an important image in Latin American culture, and it’s an impressively monumental painting. The fact that it eventually ended up in a Spanish collection is a fascinating side note that reveals the flow of art back and forth between Latin America and Spain in the years in which devotion to the Virgin of Guadalupe was spreading across the globe.

Left: Jusepe de Ribera (Spanish, 1590–1652), Aristotle (detail), 1637. Oil on canvas, 49 x 39 in. Indianapolis Museum of Art, The Clowes Collection, 2000.345.

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The Alliance of the IMA

Alliance members display examples of the 800 Children’s Creative Art Kits assembled by the organization to support the education efforts of the Herron Museum (detail). From left are Louise McIntyre, Dorothy Maxwell, Susan Shields, and Mary Masters. Photography by William A. Oates, Indianapolis Star, October 9, 1966; courtesy of the Indianapolis Star.

From left: Tom Vriesman, Janet Barb (past Alliance president), Marika Klemm, Michael Graves, and Susanne McAlister (current Alliance president) at Michael Graves: A Grand Tour, a lecture and reception sponsored by the Alliance of the IMA.

For more than half a century, The Alliance of the Indianapolis Museum of Art has supported the Museum through the generous efforts of its membership. Founded in 1958 by former director Wilbur Peat and thirteen members of the Art Association of Indianapolis, the predecessor to the IMA, the Alliance was formed to focus on organizing events and projects that would “stimulate interest in the [Museum’s] collections, exhibitions, and programs.”

Over the course of the past 55 years, the Alliance has launched numerous efforts to advance the IMA’s mission. Through events such as black-tie balls and champagne auctions, and business endeavors including a craft shop, a rental gallery, the IMA’s first restaurant, and the long-standing Better Than New Shop, the hardworking members of the Alliance have raised funds for a multitude of important projects.

Particularly crucial support has been directed toward the general operating fund and the purchase of works of art for the collection— in total, the Alliance has helped the IMA purchase more than 300 works of art. Works gifted to the IMA by the Alliance include Towards One by Lee Krasner, The Finding of Moses by Giovanni Francesco Romanelli, and a Yoruba Egungun Masquerade Costume on display in the Eiteljorg Suite of African and Oceanic Art. Perhaps one of the most significant contributions from the Alliance was a $2.1 million gift for the acquisition of 75 masterpieces of Japanese Edo-period painting.

Beyond their extraordinary fundraising efforts, Alliance members have also contributed thousands of hours of their time through volunteering. With enthusiasm and grace, members have served the Museum throughout the years in numerous capacities including managing multiple retail venues, hosting educational events and programs, and guiding tours.

The IMA and its visitors have benefited profoundly from this group’s talents and efforts.

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“With our rich heritage of service to the Museum, the Alliance is poised to continue its mission and strengthen its relationship with the IMA,” states Alliance President Susanne McAlister. “Through our annual financial grants, along with the involvement of our dedicated membership, the Alliance is committed to supporting the overall goals of the IMA now and well into the future.”

Today, the Alliance of the IMA comprises nearly 200 members and remains dedicated to its founding mission of supporting the Museum. This fiscal year, the Alliance has donated funds in direct support of the new contemporary design galleries, the exhibition Matisse, Life in Color: Masterworks from The Baltimore Museum of Art, educational programs and visitor experiences related to The Essential Robert Indiana, and the purchase of materials and labor to produce historically appropriate curtains for the Great Hall at Lilly House.

As the Museum continues to grow and change, the Alliance serves as a steadfast factor in the IMA’s sustained success. The generosity and support of this extraordinary group will continue to be an important part of the fabric of the organization.

Become a member of the Alliance today! There are three easy ways to join: CALL 317-920-2651 VISIT the IMA Welcome Desk LOG ON to imamuseum.org/join

Corporate Donor Profile: JPMorgan Chase & Co. money to help local charities by supporting affordable housing, economic growth, workforce readiness, and financial capability in the communities where we do business.

As a lead supporter of Matisse, Life in Color: Masterworks from The Baltimore Museum of Art and sponsor of the IMA Founders Day celebration, JPMorgan Chase & Co. understands that rich cultural resources make for a more vibrant place to live and work, and that arts organizations can be key drivers of economic renewal.

Dennis Bassett, the recently retired Chief Executive Officer (Indiana, Ohio, and Kentucky Region), took a moment to discuss the company’s philanthropic efforts and why the bank supports the IMA.

Describe JPMorgan Chase & Co.’s areas of interest and the types of projects it typically supports.

JPMorgan Chase & Co. is one of the oldest, largest, and best-known financial institutions in the world.

The firm’s legacy dates back to 1799, when its earliest predecessor was chartered in New York City.

At JPMorgan Chase & Co., we believe we have a unique and fundamental responsibility to help our clients and communities navigate a complex global economy and address their economic and social challenges.

We use our strength, global reach, expertise, relationships, and our access to capital to make a positive impact in cities around the world.

And every year, JPMorgan Chase & Co. and our employees donate significant amounts of time and

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Why did you decide to partner with the IMA on Matisse, Life in Color: Masterworks from The Baltimore Museum of Art? JPMorgan Chase & Co. has a long history of supporting the arts community in Indianapolis and throughout Indiana. It is our philosophy to support significant art exhibits, such as Matisse, Life in Color, that are special and unique to our community. Not only will the exhibit attract many local visitors, but it will also be viewed by people from around the country as a world-class collection of his works. The IMA is a great partner for such programs that allow the JPMorgan Chase Foundation to support the efforts to bring such an illustrious exhibit to our city.

For a corporation like JPMorgan Chase & Co., why is supporting arts and culture important?

JPMorgan Chase & Co. believes that arts and culture are the lifeblood of vibrant communities. We support a range of programs and events that foster creativity, provide access to the arts to underserved audiences, promote self-expression, and celebrate diversity.

COMING SOON:

Face to Face: The Neo-Impressionist Portrait, 1886–1904

Left: Vincent van Gogh (Dutch, 1853–1890), Self-Portrait, 1887. Oil on artist’s board, mounted on cradled panel, 16 1/8 x 13 1/4 in. (41 x 32.5 cm). The Art Institute of Chicago. Joseph Winterbotham Collection.

Photography © The Art Institute of Chicago.

June 15 through September 7 Opening Talk and Preview June 12 Member Preview Days June 13 & 14

Organized by the Indianapolis Museum of Art, Face to Face: The Neo-Impressionist Portrait, 1886– 1904 is the first major museum exhibition to examine this significant facet of the NeoImpressionist movement. The exhibition will feature more than 30 paintings and 20 works on paper by artists including Paul Signac, Henri-Edmond Cross, Théo van Rysselberghe, and Vincent van Gogh.

Rooted in the era’s recent discoveries in optics and perception, Neo-Impressionism was developed in late 19th-century Paris by French painter Georges Seurat. While his use of brilliant color and pointillist brushwork is largely associated with landscapes, seascapes, and scenes of modern life, the approach also produced arresting portraits of unusual beauty and perception.

“Perhaps because Neo-Impressionism is so linked to the pursuit of natural light and brilliant color, the primary vehicles for analyzing the technique have been landscapes and other outdoor scenes,” said Ellen W. Lee, The Wood-Pulliam Senior Curator at the IMA. “This exhibition reveals the Neo-Impressionists’ ability to invest psychological intensity

and vivid expression into that most natural of subjects—the human face.”

Neo-Impressionism was developed decades after photography made realistic images widely available. While physical resemblance remained an important aspect of portraiture, artists of the era were also free to emphasize individual technique, their pursuit of psychological or spiritual identity, and their own emotional connection with their subjects.

These subjects were often drawn from the circles of the artists’ families and friends, and their portraits record in vivid color some of the era’s most intriguing and influential personalities. Exquisite drawings also play a prominent role in the exhibition, demonstrating the expressive potential of black-and-white pencil and crayon portraits.

Drawn from museums such as the Musée d’Orsay, the Metropolitan Museum of Art, and the Art Institute of Chicago, as well as libraries and private collections throughout Europe and the United States, the exhibition offers fresh insight into the aesthetics and character of one of the Post-Impressionist era’s most fascinating chapters.

Face to Face features 15 painters from France, Belgium, and the Netherlands, including Seurat’s most renowned early followers.

The exhibition also will introduce under-recognized figures to American audiences.

Exhibition curators for Face to Face: The Neo-Impressionist Portrait, 1886–1904 are Ellen W. Lee, The Wood-Pulliam Senior Curator at the IMA, and Professor Jane Block, PhD, of the University of Illinois, a specialist on turn-of-the-century Belgian art and culture. Before coming to the IMA, the exhibition will premiere at the ING Cultural Centre in Brussels, a city whose artists made significant contributions to Neo-Impressionism. The exhibition will be presented there from February 19 to May 18, under the title To The Point: The NeoImpressionist Portrait, 1886–1904.

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EXHIBITION CATALOGUE The exhibition is accompanied by a fully illustrated catalogue, The Neo-Impressionist Portrait, 1886–1904, published by Yale University Press in association with the Indianapolis Museum of Art. The authors are exhibition curators Jane Block and Ellen W. Lee, with contributions by French scholars Marina Ferretti Bocquillon and Nicole Tamburini. The book will appear in the spring of 2014 and will be the first comprehensive survey of NeoImpressionist portraiture.

This exhibition is made possible through the generosity of the Allen Whitehill Clowes Charitable Foundation, with additional support provided by an award from the National Endowment for the Arts.

Art Inspiring Art TEXT BY PAUL HANSEN MARKETING DIRECTOR FOR DANCE KALEIDOSCOPE

Picture your favorite work of art coming to life. How would it move? Where would its flight of imagination take you?

Using two paintings currently on display at the IMA as inspiration, Dance Kaleidoscope Artistic Director David Hochoy created two vibrant dance pieces that will help you answer these questions.

Dance Kaleidoscope will perform these two painting-inspired works at The Toby, May 1–4, in a concert aptly called Picture This.

GIRL AT THE PIANO: RECORDING SOUND The first dance piece is based on Theodore Roszak’s painting Girl at the Piano: Recording Sound.

“I was attracted to the enigmatic and mysterious expression of the girl depicted in the painting.

She presented a mystery to me that I felt compelled to solve,” says Hochoy.

For the music, Hochoy chose Rachmaninoff’s Rhapsody on a Theme of Paganini. “The episodic nature of the music allowed me to invent several vignettes of the girl interacting with various family members and friends,” he explains.

“We meet her dominating father, her mother, brother, teacher, and an artist friend.”

By creating an entire world for the girl in the painting, Hochoy allows the audience to understand her passion for her music and how it plays a key role in her life. “I also love that the dance piece ends with a look to the future and to the unknown,” says Hochoy. Costumes for this piece, designed by New York City designer Barry Doss, are inspired by characters in other Roszak paintings.

JIMSON WEED The second piece is based on Georgia O’Keeffe’s largest and most ambitious floral work, Jimson Weed.

“The movement, flow, and color in this magnificent painting overwhelmed me,” Hochoy says.

“I wanted to do abstract rather than narrative choreography that did not necessarily represent the

painting, but was inspired by it.”

In selecting music for the piece, Hochoy considered both the painting and O’Keeffe’s artistic roots and chose modern American composers. The first section is danced to a score for percussion by Christopher Rouse. “It’s all about vibrancy and excitement created by groups of dancers constantly unfolding movement motifs,” he explains.

The second section is set to music

by John Adams, paying more literal homage to the painting. The “flower petals” are revealed and twirled about the stage along with the dancers in costumes designed by Cheryl Sparks that are works of art themselves.

This May, consider viewing O’Keeffe’s Jimson Weed and Roszak’s Girl at the Piano: Recording Sound in the IMA’s galleries before making

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your way downstairs to The Toby to see how Hochoy interpreted them on his flight of imagination.

Tickets to Dance Kaleidoscope’s Picture This range from $30 to $42.

Call the IMA Ticket Line at 317-955-2339 to purchase.

Georgia O’Keeffe (American, 1887–1986), Jimson Weed, 1936. Oil on linen, 70 x 83-1/2 in. 71-1/2 x 85 in. (framed). Indianapolis Museum of Art, Gift of Eli Lilly and Company, 1997.131 © 2014 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York.

Bringing People and Artworks Together through Dialogue

TEXT BY JENNIFER J. TODD MANAGER OF DOCENT PROGRAMS

KRISTIN MOHLMAN DOCENT CHAIR

“Closer Look is an innovative and rewarding new way to experience the Museum. The IMA should offer these more often—this session was both fun and informative.”

A Closer Look participant

Closer Look is an invigorating new way to view art in the IMA’s galleries. Visitors are invited to share in the unfolding, unraveling, and translation of the meaning of artworks through these interactive sessions.

Participants in Closer Look observe, question, and think more deeply about art in an hour-long session that focuses on a single work. A Museum educator serves as a facilitator for each encounter to enhance interactive dialogue and may provide additional information about the art or artist if the group discussion calls for interpretation. Visitors are encouraged to use their own thoughts, emotions, and voices to participate in this open-ended dialogue in order to develop enhanced understanding and share unique viewpoints.

“General impressions yield to specific observations, then to conjectures, and at last, we hope, to insight and understanding.” —Rika Burnham and Elliott Kai-Kee, Teaching in the Art Museum The Closer Look format is based on interactive art-focused dialogues used at the Frick Collection in New York and the J. Paul Getty Museum in Los Angeles. Rika Burnham

(Frick) and Elliott Kai-Kee (Getty), coauthors of Teaching in the Art Museum: Interpretation as Experience, visited the IMA in November 2012 to speak about their techniques. During that visit, they discussed their research, shared their experiences, and trained a dozen specialty educators in the facilitation techniques. After months of study and practice, the first public session of Closer Look was held in the IMA galleries in July 2013.

Understandings of works of art are never complete. The understanding of the artwork grows and evolves as group members share more about what they notice, what it means to each of them, and request information from the facilitator. Participants in these interactive dialogues have been excited by the opportunities to spend time with a work of art, focus on their impressions, and share ideas with others. It is often said that the experience moves so quickly, participants are surprised to reach the end of an hour.

“Visitors redefine themselves from information seekers to seekers of experience, of reflections, and of imagination.”

Rika Burnham and Elliott Kai-Kee, Teaching in the Art Museum Closer Look sessions are free, but advance online reservations are required. Seating is provided for the discussion. Register by e-mail: docentsignup@imamuseum.org Join a session and experience how artworks can come alive.

January 4 / 2 pm: “City Life in the 1930s” January 21 / 2 pm: “The Gritty City” February 1 / 2 pm: “Look Closely at a Beloved American Painter” February 18 / 2 pm: “An Isolated Landscape” March 1 / 2 pm: “Stretch Your Mind with an Exciting 3-D Contemporary Work” March 18 / 2 pm: “A Dizzying Panorama” April 5 / 2 pm: “The Shape of a Modern Couple” April 15 / 2 pm: “Figures and Patterns”

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Exhibitions

Matisse, Life in Color: Masterworks from The Baltimore Museum of Art Through January 12 / $18 Public, $10 Students and youth ages 7–17, Free for IMA members and children 6 and under / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2 Matisse, Life in Color: Masterworks from The Baltimore Museum of Art features more than 100 works by the great French artist Henri Matisse, including paintings, sculptures, drawings, and prints. Drawn almost entirely from The Cone Collection of The Baltimore Museum of Art—one of the most renowned collections of Matisse’s art in the world—this must-see exhibition includes an extraordinary array of works from throughout the artist’s career.

An audio guide is included with the cost of admission. Visitors can enhance their experience through interactive iPads available throughout the exhibition.

Matisse, Life in Color is organized by The Baltimore Museum of Art, in association with the Indianapolis Museum of Art. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Presented by the Eli Lilly and Company Foundation with additional support provided by JPMorgan Chase and the Alliance of the IMA.

The Essential Robert Indiana February 16–May 4 / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2 See page 12 This exhibition is made possible by generous support from Barnes & Thornburg LLP and the Morgan Art Foundation.

Robert Indiana Education Supporters underwrite all public programs, educational outreach, and gallery experiences related to The Essential Robert Indiana.

Gabor Peterdi Through January 5 / Free / Susan and Charles Golden Gallery / Floor 2 This exhibition of 31 prints from the permanent collection features the work of master printmaker Gabor Peterdi (1915–2001). After beginning his career at Stanley William Hayter’s trendsetting Atelier 17 in Paris in 1934, he immigrated to New York at the onset of World War II and settled in the US permanently, teaching first at Brooklyn Museum School of Art and then, until the end of his active life, at Yale. His independent prints are known for his mastery of complex intaglio techniques to create images that lie between abstraction and a surrealist investigation of the inner forces of nature. The Museum’s collection spans most of Peterdi’s career, and while the first prints were collected in the 1960s, most of the rest have been given over the past 20 years

by Dr. Steven Conant.

Top: Iwami Reika 石見禮花 (Japanese, b. 1927), New Moon and Sea (detail), 1989. Woodblock print, 23 1/4 x 34 1/2 in. (sheet). Indianapolis Museum of Art, Carl H. Lieber Memorial Fund, 2003.83 © Iwami Reika. Middle: Thomas Doney (American, 1814–1879) after George Caleb Bingham (American, 1811–1879), American Art Union (publisher), The Jolly Flat Boat Men (detail), 1847. Hand-colored mezzotint, 18-5/8 x 24 in. (image) 23 x 27 in. (sheet). Indianapolis Museum of Art, Gift of Jerry M. Wright, 1983.199. Bottom: Indian, Matsya Avatar of Vishnu: The Slaying of Sankh Asura (detail), 1730–1740. Gouache and gold leaf on paper, 8-1/4 x 5-15/16 in. (image) 8-3/8 x 6-1/8 in. (sheet) 10-1/2 x 7-1/2 in. (mount). Indianapolis Museum of Art, Julius F. Pratt Fund, 53.27.

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Impressed: Modern Japanese Prints Through January 26 / Free / Frances Parker Appel Gallery / Floor 3 Impressed: Modern Japanese Prints includes sōsaku hanga, or “creative prints,” from Japanese printmakers Tajima Hiroyuki, Iwami Reika, Saitō Kiyoshi, and Maki Haku. Sōsaku hanga were born from an art movement in early 20th-century Japan. Whereas traditional Japanese woodblock prints were collaboratively produced by a team of skilled artisans directed by a publisher, the sōsaku hanga movement advocated that a single artist controlled every aspect of the creation of a work.

In sōsaku hanga, the artist designed, carved, and printed their creations.

The works in the exhibition all share the impression of having highly textured surfaces. The results are remarkably individual and stress the importance of the artist as a sole creator.

Majestic African Textiles Through March 2 / Free / Gerald and Dorit Paul Galleries / Floor 3 Majestic African Textiles presents a spectacular array of royal and prestige cloths, masking and ritual garments, and superbly beaded and embellished objects. Featuring more than 60 pieces drawn from the IMA’s collection and augmented with a few major loans, the show highlights a diverse group of richly patterned and elaborately decorated textiles from North and sub-Saharan Africa. Organized geographically and representing various African ethnic groups, Majestic African Textiles is the first exhibition at the IMA to gather together a large number of these prized pieces to showcase their splendor and significance.

Indiana by the Numbers

Sopheap Pich: A Room

Fabled Kings

Through May 4 / Free / Elma D. and Orville A. Wilkinson Gallery / Floor 4

February 27–August 24 / Free / Efroymson Family Entrance Pavilion / Floor 1

February 21–August 24 / Free / Frances Parker Appel Gallery / Floor 3

Commissioned in 1980 for the 20th anniversary of Melvin Simon & Associates (now Simon Property Group), Robert Indiana’s eight-foottall polychrome Numbers are iconic works from one of America’s most recognizable artists. Indiana by the Numbers traces the history of their design and fabrication, tells the story of their display before they were donated to the IMA in 1989, and provides a glimpse into their recent restoration and repainting by the IMA conservation department.

See page 4 Made possible by the Efroymson Contemporary Art Fund, an endowed fund at the IMA.

For America: Prints of the American Art-Union January 31–September 28 / Free / Susan and Charles Golden Gallery / Floor 2

Featuring 16 Indian paintings dating from the late 17th to the 18th centuries, this exhibition highlights works from the IMA’s Asian collection and a selection of paintings from a Panchatantra series painted at Udaipur, on loan from a private collection. The Panchatantra is based on an ancient Indian oral tradition featuring tales to teach life lessons often illustrated by anthropomorphized animals similar to Aesop’s Fables. Shown for the first time together, the works in Fabled Kings represent the vivid and varied tradition of Indian narrative painting.

FEATURED EVENT Madeline F. Elder Greenhouse

Between 1840 and 1851, the American Art-Union promoted American art by distributing engravings of the best American paintings of the day to its nationwide membership through annual lotteries. These engravings, by the most skilled American engravers, reproduced major paintings by such artists as Thomas Cole, Asher B. Durand, George Caleb Bingham, and William Sidney Mount that were in the possession of the Art-Union.

Public Sale Saturday, April 26, 11 am–5 pm Sunday, April 27, noon–5 pm Members-Only Preview and Sale Saturday, April 26, 9–11 am (Members receive a 20% discount April 26–May 4)

Julianne Swartz: How Deep Is Your March 14–June 15 / Free / June M. McCormack Forefront Galleries / Floor 4

Celebrate the coming of spring at the 2014 Perennial Premiere sale.

The Greenhouse Shop will have plants certain to appeal to everyone’s garden style, and the IMA’s skilled staff of horticulturists will be on hand to help shoppers choose the exact plants for their sites, lifestyles, and budget.

See page 4

More information about this event can be found at imamuseum.org/perennialpremiere

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Calendar of Events For detailed information on events, to RSVP, or to purchase tickets, please visit imamuseum.org or call 317-923-1331.

Assistive listening devices are available for all Toby events and public tours. ASL interpretation available at Toby events where noted, and upon request by calling 317-923-1331, ext. 213.

P: Public / M: IMA Members / S: Students

TOURS Collection & Exhibition Tours / Offered daily.

Visit imamuseum.org for full schedule.

Family Tours / 2nd and 4th Sat of the month / Meet on Floor 2 at top of escalator Alzheimer’s Tours / 4th Tue of the month / 2–4 pm / Meet on Floor 2 at top of escalator Audio Description Tours / 1st Sat, 11 am and 3rd Tue, 2 pm / Meet on Floor 2 at top of escalator Closer Look / 1st Sat & 2nd Tues of the month / 2 pm / Meet on Floor 2 at top of escalator / Registration required Lilly House Tours / Fri, Sat & Sun beginning April 1 / 2–3 pm / Meet at Lilly House lobby Meditation Hikes / Fridays / 5:30 pm / Meet at Efroymson Family Entrance Pavilion Garden Walks / Sat & Sun beginning April 1 / 1 pm / Meet at Lilly House The Virginia B. Fairbanks Art & Nature Park: 100 Acres / Sat beginning April 1 / Noon / Meet at Lake Terrace

YOGA IN THE GALLERIES Saturdays / 10–11 am / Meet in Efroymson Family Entrance Pavilion / $13 P, $10 M (price per session), Registration required January 4, 18, 25 February 1, 8, 15, 22 March 8, 15, 22, 29 April 5, 12, 19

JANUARY 03 FRI Film / Winter Nights: The Thin Man / The Toby / 7 pm / $9 P, $5 M 04 SAT Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free Performance / Music in the Galleries / Pulliam Family Great Hall / 1–3 pm / Free / Presented with Indy Jazz Fest

05 SUN Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free Talk / Kathy Rothkopf: Henri Matisse: Searching for the New / The Toby / 2 pm / Free 08 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 10 FRI Film / Winter Nights: Some Like It Hot / The Toby / 7 pm / $9 P, $5 M 11 SAT Special Event / Story Pirates: Tell a Story on Stage / The Toby / 2–3 pm / $10 P, $7 M, $5 Children 7–18, Free Children 6 and under Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free Special Event / Last Call: Matisse, Life in Color / IMA Galleries / 8 pm–midnight / Free 12 SUN Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free 15 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 16 THR Film / How to Marry a Millionaire / The Toby / 7 pm / $9 P, $5 M, Free FAS 17 FRI Film / Winter Nights: Father Goose / The Toby / 7 pm / $9 P, $5 M 18 SAT Class / Bonsai for Beginners / Greenhouse Atrium / 10–11:30 am / $70 P, $50 M / Min 5, Max 10 Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free Tour / Impressed: Modern Japanese Prints / 3–4 pm / Meet on Floor 2 at top of escalator / Free

20 MON Special Event / IMA Community Day: Dr. Martin Luther King Jr. Day—One and All / Various Locations / 11 am–4 pm / Free 22 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 23 THR Film / The Genius of Marian / The Toby / 7 pm / $9 P, $5 M / Presented with the Heartland Film Festival 24 FRI Film / Winter Nights: Manhattan / The Toby / 7 pm / $9 P, $5 M 25 SAT Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free Family Activity / Hold It! / Check in at the Welcome Desk for location / 1:30–3:30 pm / Free 29 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required Talk / Innovative Museum Leaders Speaker Series: Steven Koblik, President of The Huntington Library, Art Collections, and Botanical Gardens / DeBoest Lecture Hall / 6:30 pm / Free 31 FRI Special Event / Public Opening of For America: Prints of the American Art-Union Film / Winter Nights: Raising Arizona / The Toby / 7 pm / $9 P, $5 M

FEBRUARY 01 SAT Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free 02 SUN Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free

19 SUN Family Activity / Make & Take: Food for Thought / Star Studio Classroom / 1–4 pm / Free

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05 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon /$8 P, $3 M, Free for grown-ups & children under 1, Registration required 06 THR Special Event / Emily N. Daniels Horticulture Symposium: Smaller Garden—Bigger Impact / The Toby / 7:30 am–4:30 pm / $100 P, $90 HortSoc Members, $75 S 07 FRI Film / Winter Nights: Dr. Jack / The Toby / 7 pm / $9 P, $5 M 08 SAT Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free Family Activity / Hold It! / Check in at the Welcome Desk for location / 1:30–3:30 pm / Free 09 SUN Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free 12 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 13 THR Special Event / The Essential Robert Indiana Exhibition Preview and Talk / The Toby, Pulliam Family Great Hall, and Allen Whitehill Clowes Special Exhibition Gallery / 6:30 pm / $35 P, $25 M, Free for Patron Circle and above 14 FRI Special Event / Member Preview Days for The Essential Robert Indiana / Allen Whitehill Clowes Special Exhibition Gallery / 11 am–5 pm / Free (Members only) Film / Winter Nights: The Strong Man / The Toby / 7 pm / $30 P, $25 M, $12 (17 and under) / Presented with the Indianapolis Chamber Orchestra 15 SAT Special Event / Member Preview Days for The Essential Robert Indiana / Allen Whitehill Clowes Special Exhibition Gallery / 11 am–5 pm / Free (Members only)

15 SAT (CON’T) Adult Class / Propagation for Beginners / Greenhouse Atrium / 10–11:30 am / $10 P, $5 M / Min 5, Max 10 Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free 16 SUN Special Event / Public Opening of The Essential Robert Indiana Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free 19 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 20 THR Talk / What Is Good Design? / DeBoest Lecture Hall / 7 pm / Free / Presented by the Design Arts Society 21 FRI Film / Winter Nights: Tillie’s Punctured Romance / The Toby / 7 pm / $9 P, $5 M 22 SAT Special Event / Story Time / Meet at Welcome Desk / 2 pm / Exhibition Prices Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free Family Activity / Hold It! / Check in at the Welcome Desk for location / 1:30–3:30 pm / Free 23 SUN Family Activity / Make & Take: Love Song / Star Studio Classroom / 1–4 pm / Free 26 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 27 THR Tour / STEM to STEAM Program: Teacher Talks, Sharing Lesson Ideas / Meet on Floor 1 at Welcome Desk / 4–5:30 pm / Free 28 FRI Film / Winter Nights: Steamboat Bill, Jr. / The Toby / 7 pm / $9 P, $5 M

MARCH 01 SAT Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free 02 SUN Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free 05 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required

06 THR Adult Class / A Printer’s Buffet / Studio 3 / 6–8 pm / $70 P, $50 M, Registration required Talk / Innovative Museum Leaders Speaker Series: Marie McKee, President of The Corning Museum of Glass / DeBoest Lecture Hall / 6:30 pm / Free 08 SAT Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free Family Activity / Hold It! / Check in at the Welcome Desk for location / 1:30–3:30 pm / Free 09 SUN Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free Talk / American Home Landscapes: Creating Period Garden Styles with Denise Adams / The Toby / 2 pm / Free 12 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 13 THR Special Event / Exhibition Opening Reception: Julianne Swartz: How Deep Is Your / The Toby / 7 pm / Free 15 SAT Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free Film / Animated Film Double Feature / DeBoest Lecture Hall / 2 & 4 pm / $9 P, $5 M, Free for Asian Art Society / Presented with the IMA Asian Art Society

25 TUE Family Activity / Fam-tastic Days: Spring Break at the IMA / Studios 1 & 2 / 11 am–4 pm / $5 P, $3 M, Free for children under 1 26 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required Family Activity / Fam-tastic Days: Spring Break at the IMA / Studios 1 & 2 / 11 am–4 pm / $5 P, $3 M, Free for children under 1 27 THR Family Activity / Fam-tastic Days: Spring Break at the IMA / Studios 1 & 2 / 11 am–4 pm / $5 P, $3 M, Free for children under 1 Adult Class / A Printer’s Buffet / Studio 3 / 6–8 pm / $70 P, $50 M, Registration required Film / Art History on Film: Herb and Dorothy 50x50 / The Toby / 7 pm / $9 P, $5 M 28 FRI Family Activity / Fam-tastic Days: Spring Break at the IMA / Studios 1 & 2 / 11 am–4 pm / $5 P, $3 M, Free for children under 1 29 SAT Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free 30 SUN Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free

APRIL

16 SUN Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free

02 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required

19 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required

05 SAT Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free

20 THR Adult Class / A Printer’s Buffet / Studio 3 / 6–8 pm / $70 P, $50 M, Registration required Talk / LARGESCALE: Jonathan Lippincott of Lippincott, Inc / The Toby / 7 pm / Free 22 SAT Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free Performance / Spring Equinox: Project in Motion—The Palace at Night / 100 Acres: Park of the Laments / 1 & 2:30 pm / $10 P, $7 M, $5 Children 7–18, Free for children 6 and under 23 SUN Family Activity / Make & Take: A-B-C is easy as 1-2-3 / Star Studio Classroom / 1–4 pm / Free Performance / Spring Equinox: Project in Motion—The Palace at Night / 100 Acres: Park of the Laments / 1 & 2:30 pm / $10 P, $7 M, $5 Children 7–18, Free for children 6 and under

06 SUN Family Activity / Art in the Park / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 09 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 10 THR Talk / Eero Saarinen: Shaping the Future / The Toby / 7 pm / Free / Presented by the Design Arts Society

12 SAT Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free Family Activity / Hold It! / Check in at the Welcome Desk for location / 1:30–3:30 pm / Free 13 SUN Family Activity / Art in the Park / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 16 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 17 THR Talk / Planet Indy: More than Honey / The Toby / 7 pm / $9 P, $5 M 19 SAT Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 20 SUN Family Activity / Art in the Park / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 23 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required 26 SAT Special Event / Member Preview: Perennial Premiere / IMA Greenhouse / 9–11 am / Free Special Event / Perennial Premiere / IMA Greenhouse / 11 am–5 pm / Free Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 27 SUN Special Event / Perennial Premiere / IMA Greenhouse / Noon–5 pm / Free Family Activity / Art in the Park / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: April Showers / Star Studio Classroom / 1–4 pm / Free 30 WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $3 M, Free for grown-ups & children under 1, Registration required

Summer Camp registration begins Monday, February 17.

To learn more, visit: imamuseum.org/summercamp2014

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Recent Events

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Founders Day Dinner (opposite top) Photography by Nathaniel Edmunds. Top Middle: Richard and Helen Dickinson / Top Right: June McCormack Top Center: Sergio Aguilera, Lori Efroymson-Aguilera, Martin Webb Autumn Equinox Celebration (opposite bottom) Photography by Nathaniel Edmunds.

Contemporary Design Galleries Opening (this page top) Photography by Nathaniel Edmunds. Left: James Zemaitis / Middle: Mark Zelonis, Pat Lacrosse, Jim Lacrosse Lilly House 100th Anniversary (this page bottom) Photography by Eric Lubrick. Bottom left: Ann Merkel, John Kite, Christina Kite / Bottom right: William McCutchen III, Tracy McCutchen, Eli Lilly II, Deborah Lilly, Jennifer Lilly, William McCutchen II, Irene McCutchen, Rebecca Brooks, Charles Venable To see more images of programs at the IMA, visit flickr.com/imaitsmyart

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Upcoming Affiliate Group Events Art, Design, and Nature Interest Groups IMA 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 tours of the IMA’s permanent collection and special events related to the mission of each group.

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.

Artist Studio Tours Alexander Hotel February 27 / 1 pm / $10 Alliance and IMA members; $15 Public Allison Ford—Jewelry at the Harrison Center March 21 / 1 pm / $10 Alliance and IMA members; $15 Public Phil O’Malley—Contemporary Artist April 25 / 1 pm / $10 Alliance and IMA members; $15 Public

ASIAN ART SOCIETY (AAS) AAS offers its members the opportunity to learn more about Asian art, history, and cultural traditions, and socialize with others who share a deep interest in Asian art.

Asian Art Society film festival: My Neighbor Totoro & Ghost in the Shell

CONTEMPORARY ART SOCIETY (CAS) 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.

Julianne Swartz Artist Talk March 13 / 7 pm / The Toby / Free

DESIGN ARTS SOCIETY (DAS) DAS works to promote a greater awareness of the central role design plays in our daily lives and also to help establish the IMA as an important center for design arts in the US. What Is Good Design?

February 20 / 7 pm / DeBoest Lecture Hall / Free Saarinen Lecture April 10 / 7 pm / The Toby / Free

FASHION ARTS SOCIETY (FAS) 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.

Film: How to Marry a Millionaire January 16 / 7 pm / The Toby / Free FAS members; $5 IMA members, $9 Public

HORTICULTURAL SOCIETY (HORT SOC) 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. The Society also maintains an extensive horticultural library on the IMA campus.

Denise Adams, American Home Landscapes: Creating Period Garden Styles March 9 / 2 pm / The Toby / Free

March 15 / 1:30 pm & 3:30 pm / Free AAS members, $5 IMA members, $9 Public

To learn more about these events or how you can join one of these interest groups, contact Jessica Borgo, affiliate group associate, at jborgo@imamuseum.org or 317-923-1331, ext. 434.

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About the IMA ADMISSION

HOURS

DINING

FACILITY RENTAL

General admission is free.

Museum Tue, Wed, Fri, Sat: 11 am–5 pm Thur: 11 am–9 pm Sun: noon–5 pm

IMA Café IMA Café offers delicious snacks and inexpensive meals set in a chic cafeteria setting.

The IMA offers a variety of spaces to rent—perfect for any occasion from cocktail parties to weddings to business conferences.

Lilly House Open April through December, all Museum hours except closes Thur at 5 pm.

SHOPPING

For more information: imamuseum.org/special-events or 317-923-1331, ext. 419

Featured Exhibitions: Matisse, Life in Color: Masterworks from The Baltimore Museum of Art ($18 Public, $10 Students and youth ages 7–17, Free for members and children 6 and under) The Essential Robert Indiana ($12 Public, $6 Students and youth ages 7–17, Free for members and children 6 and under) The IMA also offers complimentary Wi-Fi, coat check, wheelchairs, rollators, strollers, public phone, and lockers.

GETTING HERE

Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day. The Virginia B. Fairbanks Art & Nature Park, Gardens, and Grounds Open daily from dawn to dusk.

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.

TOURS

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

ACCESSIBILITY

By IndyGo Bus From downtown Indianapolis: #38 Lafayette Square From Michigan Road: #34 North or South Visit indygo.net/tripplanner to plan your trip.

Parking Main lot and Garage: $5 Public, Free for members; Outlots: Free

The IMA offers free public tours of its galleries, The Virginia B. Fairbanks Art & Nature Park, Lilly House, and gardens.

For a complete schedule, including tour themes, visit imamuseum.org.

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 for all public tours and Toby events.

• 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.

Museum Store Books, jewelry, and Museuminspired merchandise.

317-923-1331, ext. 281 Madeline F. Elder Greenhouse Rare and choice plants, gardening supplies, and gifts. Museum hours except January–March closes Thur at 5 pm, April–December closes Thur at 8 pm.

317-920-2652 Shop online 24 hours a day at imamuseum.org/shop.

IMA LIBRARIES Eleanor Evans Stout and Erwin Cory Stout Reference Library A non-circulating research library that consists of thousands of resources on the visual arts. 317-920-2647

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

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

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

By appointment only.

Horticultural Society Library A non-circulating collection of books and videos on gardening and related topics, open to the public. Located at Newfield.

317-923-1331, ext. 429

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

Tue, Wed, Sat: noon–3 pm

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

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.

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

NON-PROFIT ORG U.S. POSTAGE

PAID

INDIANAPOLIS, IN PERMIT #2200

2014

Winter Nights Film Series

Friday Nights in January and February / 7 pm January 03 January 10 January 17 January 24 January 31 February 07 February 14 February 21 February 28

The Thin Man (1934) Some Like It Hot (1959) Father Goose (1964) Manhattan (1979) Raising Arizona (1987) Dr. Jack (1922) The Strong Man* (1926) with the Indianapolis Chamber Orchestra Tillie’s Punctured Romance (1914) Steamboat Bill, Jr. (1928)

$9 Public / $5 IMA members / $5 Students Purchase tickets at the Welcome Desk, online at imamuseum.org, or call 317-955-2339. Tickets are non-refundable. *Begins at 7:30 pm Raising Arizona, 1987 © Twentieth Century Fox. Courtesy Photofest.