IMA Magazine | Summer 2014 by Newfields

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

Face to Face Contemporary Glass The IMA’s Honeybees Coming Soon: O’Keeffe

MAY–AUGUST 2014

2014

Contents

Masters of Contemporary Glass Staff Profile: Connie Dyer The IMA’s Honeybees Face to Face

04 06 07 08

Meg Liffick Managing Editor Emily Zoss Editor Matthew Taylor Designer Tascha Mae Horowitz Photo Editor

Face to Face: The Neo-Impressionist Portrait, 1886–1904, a groundbreaking new exhibition organized by the IMA, focuses on the intriguing portraits created by members of the Neo-Impressionist movement.

Robin Lawrence Anne M. Young Rights & Reproductions Laurie Gilbert Project Manager Leslie Anderson-Perkins Ellen W. Lee Dr. Charles L. Venable Contributors Tascha Mae Horowitz Eric Lubrick Photographers Front cover: Théo van Rysselberghe (Belgian, 1862–1926), Three Children in Blue (The Three Guinotte Girls) (detail), 1901, oil on canvas, 61 x 72-7/8 in. Private collection.

An Innovative Business Model Summer Nights Film Series Patron Profile: The Postlethwaits Angel of the Resurrection Horticultural Society Staff Profile: Scott Stulen Coming Soon: Georgia O’Keeffe Calendar Recent Events Upcoming Donor and Affiliate Events

14 15 16 20 23 24 26 30 32 34

Left: Paul Signac (French, 1863–1935), Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Félix Fénéon in 1890, 1890–91, oil on canvas, 29 x 36-1/2 in. The Museum of Modern Art, Fractional gift of Mr. and Mrs. David Rockefeller. Digital image © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY. Pages 18–19: Rapp Family Ravine Garden

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 Forest Stewardship CouncilTM (FSC) label identifies products that come from environmentally and socially responsible sources.

From the Director

Thank you for your commitment to support the IMA. Over the past year, the number of people giving to the IMA has increased by over 40%! While all members know how nice it is to get free tickets to exhibitions like Matisse, Life in Color and The Essential Robert Indiana, as well as discounts in the shop and café, becoming an IMA member is really about investing in Indianapolis. Rather than a simple financial transaction, every member’s gift is just that—a philanthropic donation that ensures our wonderful city and state continue to have one of the world’s best cultural institutions for generations to come. Since the IMA’s founding in 1883, countless individuals like you have done their part in advancing this institution we all know and love. Over the past 130 years, we’ve worked hard to present great exhibitions and programs, as well as to provide meaningful educational opportunities, and we are working hard to make the IMA even more exciting. We also want others to join us in this effort, so ask your friends to become IMA members, too. The bigger the IMA family, the better our museum can be. This issue really demonstrates what great things the IMA is doing right now. Inside are stories on two major upcoming exhibitions, Face to Face: The Neo-Impressionist Portrait, 1886–1904 and Georgia O’Keeffe and the Southwestern Still Life. Organized by the IMA, Face to Face premiered in Europe in the early spring and was a roaring success, and Indianapolis will be the first city to unveil O’Keeffe. These exhibitions are sure to be popular, so join us for the Member Preview Days before the public opening or use the members’ express line when you visit. While at the IMA, be sure to see our new glass gallery, which is featured in an article this month. Masters of Contemporary Glass: Highlights from the Marilyn and Eugene Glick Collection salutes the Glicks as glass enthusiasts and longtime members who generously supported the IMA in many ways, including the donation of their well-known collection of contemporary glass art. We are most grateful to the Glicks, and other steadfast donors like them. Also highlighted in this issue are Kathi and Bob Postlethwait. The Postlethwaits’ long-standing dedication to the IMA and its mission is commendable, and I hope that you are inspired by their story. There is just so much going on at the IMA that I cannot comment on it all here, so do not skip a page of your IMA Magazine. As part of the IMA family you are the first to learn about new exhibitions and staff members, as well as our terrific Affiliate groups and their work. Here you will even read about the happy honeybees in the IMA’s Tanner Orchard! Everyone is welcome at the IMA, even those that buzz around the gardens. See you in the galleries and on the grounds.

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

Masters of Contemporary Glass: Highlights from the Marilyn and Eugene Glick Collection TEXT BY

DR. CHARLES L. VENABLE

THE MELVIN & BREN SIMON DIRECTOR AND CEO

Page 4 left: Harvey K. Littleton (American, 1922–2013), Blue Crown (detail), 1988, hot-worked barium/ potash glass with multiple cased overlays of Kugler colors, H: 20 (max.) in.; W: 16 (max.) in.; D: 13 (max.) in. Indianapolis Museum of Art, Gift of Marilyn and Eugene Glick, 1991.221A–L © Harvey K. Littleton. Page 4 right: Richard Marquis (American, b. 1945), Murrine Teapot, 1984, fused and blown murrine glass, 6 x 6 (diam.) in. Indianapolis Museum of Art, Gift of Marilyn and Eugene Glick, 2001.24 © Richard Marquis.

The philanthropic spirit of Marilyn and Gene Glick is evident in the plethora of civic projects and charitable organizations that they supported throughout their lifetimes. The IMA is honored to be included among the recipients of their extraordinary generosity. As a result of their kindness, the IMA now boasts one of the largest collections of modern studio glass in the United States, featuring many exceptional works by a wide range of well-known artists. Marilyn Glick was always a contemporary art enthusiast, but her love for glass was ignited when she visited the Toledo Museum of Art in 1972 and saw its famed glass collection. From that moment forward, Mrs. Glick dedicated herself to learning more about the material and the contemporary glass movement. Driven by her passion, in the early 1980s the Glicks began to enthusiastically purchase works that they proudly displayed throughout their home. After buying ten pieces in less than a month, Mrs. Glick remarked, “I had become a hopeless addict, hooked on contemporary studio glass art.” In keeping with their renowned spirit of generosity, just a few years

after they launched their collection, the Glicks began to lend and donate works to the IMA and later gave the Museum a 90 percent interest in the entire collection so others could share their passion. With Marilyn’s death in 2012 and Gene’s passing in late 2013, the remaining interest in the collection came to the Museum. To celebrate their connoisseurship, vision, and generosity, the IMA will unveil its new contemporary glass gallery, featuring highlights from the Glick Collection, following the Museum’s Annual Meeting on May 13. In total the Glick Collection contains over 200 pieces. The core of the collection traces the rise of the American Studio Glass movement during the second half of the 20th century. Harvey K. Littleton initially taught ceramics at the University of Wisconsin, but he began experimenting with hot glass in his studio in 1958 and is considered the father of the movement. In 1962 he held a now-famous glassblowing workshop at the Toledo Museum of Art with glass research scientist Dominick Labino, who created an inexpensive furnace in which to melt and work glass. Using this device, artists across the country were able to blow glass in independent studios. Soon Littleton’s students, including Dale Chihuly, and later the students of his students, pushed glassmaking far beyond its traditional, functional boundaries and into the more creative realm of sculpture. The IMA’s new glass gallery reflects this 50-year development through the inclusion of works by most of the seminal artists of the Studio Glass movement. Besides

those by Littleton, Labino, and Chihuly, especially noteworthy are exceptional examples from Howard Ben Tré, Dan Dailey, Richard Jolley, Kreg Kallenberger, Marvin Lipofsky, Richard Marquis, Joel Philip Myers, Tom Patti, Mark Peiser, Paul Stankard, Therman Statom, and Toots Zynsky, as well as important contemporary European and Asian masters like Jaroslava Brychtová, Erwin Eisch, Kyohei Fujita, Stanislav Libenský,

Klaus Moje, and František Vizner. Soon to be installed in its new home on Floor 2 adjacent to Star Studio, the Glick Collection is sure to delight the eye, while inspiring all of us with the exceptional generosity of Marilyn and Gene Glick and their family.

Above left: Eugene and Marilyn Glick. Courtesy of the Glick Family. Above: Stanislav Libenský (Czech, 1921–2002) and Jaroslava Brychtová (Czech, b. 1924), Head VI, 1986, mold-melted (cast) glass, cut and polished, 21 x 11-1/4 x 8 in. Indianapolis Museum of Art, Gift of Marilyn and Eugene Glick, 1991.225 © Stanislav Libenský and Jaroslava Brychtová.

Staff Profile: Connie Dyer In January, Connie Dyer began her new position as the IMA’s deputy director for marketing and external affairs. Dyer is responsible for developing cohesive and targeted strategies for marketing and communications that reflect the IMA’s vision for delivering exceptional visitor experiences, while developing a sustainable business model that includes enhanced earned and donated income. Dyer comes to the IMA from General Growth Properties in Chicago (GGP), where she served as vice president of field marketing for 124 regional shopping centers throughout the US. Dyer oversaw GGP’s extensive communications program, managing a multimillion-dollar annual budget that included consumer research, advertising, public relations, digital/social media, creative services, and special events. A native of England, Dyer moved to the US in 1981. To learn more about Dyer and her new role, we asked her a few questions. What drew you to the IMA and Indianapolis? Opportunity and lifestyle. The IMA is a world-class destination located in a vibrant, thriving, growing city that I have always enjoyed visiting. I was very impressed with the depth and breadth of programming and exhibits that the IMA offers, and particularly how technology is playing a major part in communicating how exciting the arts are to various audiences. I’m living in the heart of downtown and enjoying exploring all that this fantastic city has to offer.

Photo by Eric Lubrick.

What do you hope to accomplish as the deputy director for marketing and external affairs? I want to expose all that the IMA has to offer to varied customer segments—local patrons, regional visitors, and national and international tourists. The world is getting smaller, and people are traveling for leisure purposes more often. There’s also a growing interest in travelers visiting a cultural institution during their trips. 78% of all US leisure travelers participate in cultural and/or heritage

activities while traveling. The vast majority of these travelers say they seek travel experiences where the “destination, its buildings, and surroundings have retained their historic character.” When you consider all that the IMA has to offer—extraordinary art, historic homes, architecturally significant buildings, lush landscaping, and formal gardens—it’s the perfect destination for today’s traveler. What excites you about working in the museum field? As a marketer, it’s exhilarating when the product you’re marketing is a first-class, relevant destination with mass appeal. I’m excited about broadening the reach of the IMA, introducing it to new markets, and developing strategic partnerships to strengthen its presence in the community. The time is right for growth for Indianapolis and the IMA—more than 26 million people visited Indianapolis in 2013, generating more than $4.4 billion in economic impact.

The IMA’s Honeybees Stroll around the Oldfields–Lilly House & Gardens estate and you may find yourself in an idyllic spot just across the drive from the Madeline F. Elder Greenhouse— the Gene and Rosemary Tanner Orchard. Restored in 2009 to its original Country Place Era purpose, the Orchard is filled with fruit trees that bear cherries and apples. In the spring, guests to the Orchard may be surrounded by the colorful blossoms of these trees as well as the buzzing of the creatures that help to make the beauty of the place possible. When the IMA restored the Orchard, it also became the proud keeper of two hives of honeybees that are essential to the pollination of the gardens, including the Orchard’s fruit trees.

Chad Franer, the IMA’s director of horticulture, and horticulturist Gwyn Rager care for these two hives, which are located in an area away from public access. The boxes are secluded for the protection of both the visitor as well as the colonies. As warmer temperatures emerge, so too do the bees, and visitors may witness the hardworking creatures flitting around from flower to flower collecting nectar for honey production. This process also aids in the pollination of the Tanner Orchard’s flowers and trees. In the winter, the bees retreat to the privacy of the hive, where they gather in a giant cluster to protect the queen and each other from cold temperatures. The honey that is produced by the bees in the

warmer months is used as fuel for the hive throughout this time. What is left at the end of the season, the IMA harvests. Last June’s harvest—the largest thus far—yielded nearly five gallons. Most of the honey was given away to select donors and others who have dedicated their time to the support of the Orchard and bees. While 2014’s harvest is expected to be much smaller due to the

FACTS ABOUT HONEYBEES Bees collect 66 pounds of pollen per hive each year. The pollen is consumed as a food source. While queen bees can live for several years, worker bees live for only 6 weeks during the busy summer, or 4–9 months during the rest of the year. When bees cluster together for the winter, the core temperature of the hive is maintained at more than 90 degrees Fahrenheit. Honeybees communicate with each other through odors and chemicals. Honeybees are not native to the United States. They were imported by early European settlers.

extremely cold winter, the IMA will still be able to enjoy the fruits of the honeybees’ labor as the spring blossoms of the Orchard turn into this fall’s fruit harvest.

Photo by Eric Lubrick.

TEXT BY

ELLEN W. LEE

June 15–September 7

THE WOOD-PULLIAM SENIOR CURATOR

Exhibition Preview June 12 Member Preview Days June 13 & 14

The human face is one of the most natural of subjects. From ancient times to the present, artists and their models have engaged in the dynamic interaction that defines the art of the portrait. And what viewer has not considered how a portrait fails or succeeds to capture the physical features, spirit, or personality of the model? With this pioneering international exhibition, the IMA takes a familiar theme and carries it to new territory. Face to Face is the first to explore the intriguing realm of the Neo-Impressionist portrait. The 50 oil paintings and drawings featured in the exhibition reveal the character and remarkable variety of these images.

Paul Signac (French, 1863–1935), Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Félix Fénéon in 1890 (detail), 1890–91, oil on canvas, 29 x 36-1/2 in. The Museum of Modern Art, Fractional gift of Mr. and Mrs. David Rockefeller. Digital image © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY.

Albert Dubois-Pillet (French, 1846–1890), Portrait of Mademoiselle B. or The Lady in the White Dress (detail), 1886–87, oil on canvas, 34-7/16 x 26-3/4 in. Musée d’Art Moderne de Saint-Étienne Métropole. Photo: Yves Bresson.

In May 1886 French painter Georges Seurat first exhibited Sunday on the Grande Jatte, the monumental canvas that exemplified his new approach to painting. Seurat admired the bright palette of the Impressionists, but he wanted to ground his approach in sound principles of structure and color behavior. The young artist turned to recent scientific discoveries in optics and perception as the basis for his art, which became known as Neo-Impressionism. His methods called for the use of dotted brushstrokes applied according to rules of color theory. While Seurat’s novel style confounded viewers, it attracted an enthusiastic band of progressive artists in France, Belgium, and the Netherlands. Scholars have examined the paintings they produced from several perspectives: as the application of science to art, as social commentary, as a reflection of political philosophies, and as a precursor to many concepts of 20th-century aesthetics. Perhaps because Seurat’s great initiative was rooted in the desire to re-create natural light and the sensation of brilliant color, the primary vehicles for analyzing the technique have been landscapes, marines, and scenes of urban life. As a result, Neo-Impressionist portraits have received scant attention. Dr. Jane Block, professor at the University of Illinois and a specialist in Belgian art, was the first to recognize this oversight and conceived the idea of organizing an exhibition to address the subject. Now, many years later, she joins me as co-curator for the exhibition that examines this fascinating material.

Maximilien Luce (French, 1858–1941), Morning, Interior, 1890, oil on canvas, 25-1/2 x 31-7/8 in. The Metropolitan Museum of Art, New York, Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967. Image Copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris.

The first Neo-Impressionist portraits were painted in Paris in the 1880s, decades after the invention of photography had made realistic likenesses widely available. While physical resemblance remained a basic component of portraiture, artists of the era were also free to emphasize their individual techniques, their pursuit of psychological or spiritual identity, and their rapport with their subjects. The portraits featured in the exhibition blend varying degrees of the descriptive, the stylistic, and the expressive, revealing a unique chapter in the rich story of portraiture. While Seurat was the founder of Neo-Impressionism, he was not the first artist to create portraits in the style. That distinction goes to Seurat’s colleague, a self-taught artist and professional soldier, Albert Dubois-Pillet. Alas, the painter never specifically identified Mademoiselle B. (left, above), the subject of the first Neo-Impressionist likeness. Who would not want to know more about this woman with large eyes, Cupid’s bow mouth, and supreme poise, adorned with a violet nosegay? A critic described Dubois-Pillet’s portraits as “effigies,” an apt term for the simplified form and mask-like quality featured here. Critical to the development of Neo-Impressionism was Seurat’s loyal colleague Paul Signac. He also produced the most extraordinary portrait of the entire movement: Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Félix Fénéon in 1890 (see page 9). Its presence in our exhibition marks the first time the canvas has been shown outside New York City in 30 years. This enigmatic image

“THE PORTRAITS FEATURED IN THE

EXHIBITION BLEND VARYING DEGREES OF THE DESCRIPTIVE, THE STYLISTIC, AND THE EXPRESSIVE, REVEALING A UNIQUE CHAPTER IN THE RICH STORY OF PORTRAITURE.

”

Paul Signac (French, 1863–1935), Woman Arranging Her Hair, Opus 227 (Arabesques for a Dressing Room), 1892, encaustic on canvas mounted on canvas, 23-1/4 x 27-1/2 in. Private collection. Photo by Peter Willi / The Bridgeman Art Library.

depicts one of the era’s most intriguing characters and presents many of the methods and ideas that animated the movement. Another key painting in the exhibition is Signac’s highly decorative portrait of his fiancée (below), which teases us with its refusal to offer a full view of the young woman’s face. Vincent van Gogh had moved to Paris in 1886, in time to become familiar with Seurat, Signac, and their approach. Alert and open to new developments in progressive painting, Van Gogh applied the complementary colors and divided brushwork of Neo-Impressionism to his riveting series of self-portraits. His most thoroughly Neo-Impressionist likeness is featured in the exhibition. Some Neo-Impressionist painters went beyond the focus on a single face to make their models part of a larger scene. Lucien Pissarro’s portrait of his brother Georges includes still-life and interior elements that present a broader picture of his family life. Maximilien Luce combined his commitment to Neo-Impressionist technique with his passionate devotion to labor issues, creating a series of portraits of artisan colleagues that also suggest the hardships of their environment (opposite page, below). The work of Achille Laugé should be a pleasant surprise to American audiences, as his paintings have never been exhibited here before. After study in Paris during the birth of Neo-Impressionism, Laugé returned to his home in southwestern France in 1888, often modifying the dotted brushwork in favor of thin crosshatched strokes. This portrait of his wife (see page 12), sitting with all the dignity of a classical goddess against the brilliant hues of their garden,

Right: Georges Lemmen (Belgian, 1865–1916), The Two Sisters or The Serruys Sisters, 1894, oil on canvas, 23-5/8 x 27-1/2 in.; with painted frame 26-3/4 x 31-3/8 in. Indianapolis Museum of Art, The Holliday Collection, 79.317. Below top: Théo van Rysselberghe (Belgian, 1862–1926), Interior, Evening, 1889, conté crayon with touches of gouache on thick paper, 19-1/2 x 25-1/4 in. Private collection. Image courtesy of the Baltimore Museum of Art. Below bottom: Achille Laugé (French, 1861–1944), Against the Light—Portrait of the Artist’s Wife, 1899, oil on canvas, 36-5/8 x 44-1/8 in. Musée d’Orsay, Paris (on deposit at the Musée de Grenoble). Photo: Bulloz. © RMN-Grand Palais / Art Resource, NY © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris.

demonstrates his interest in contrasting the effects of light and shadow. The Neo-Impressionist movement was not confined to France. Brussels, capital city of Belgium, became an active center for Seurat’s ideas, offering exhibition opportunities and a sophisticated coterie of authors and collectors to support the artists’ efforts. Sunday on the Grande Jatte traveled to Brussels for exhibition in February 1887, less than nine months after its controversial debut in Paris. While the picture did provoke the anticipated negative reactions in the public, it was warmly received by the members of the avant-garde Brussels exhibition group Les XX (Les Vingt, or “The Twenty”), many of whom shared progressive French artists’ political sympathies and familiarity with Impressionism. By 1888 several members of Les XX had produced their first Neo-Impressionist paintings, and the next few years brought additional recruits. In 1888 Théo van Rysselberghe created Belgium’s first NeoImpressionist portrait, depicting Alice Sèthe, a young member of a highly cultivated Brussels family. The artist eventually painted Alice’s two sisters, and over the years the canvases entered

museum collections in three different countries. The IMA is delighted to present visitors to the exhibition with a family reunion of all three portraits. Maria Sèthe’s likeness (right) offers a powerful explanation of why Van Rysselberghe is considered Neo-Impressionism’s foremost portraitist. Her striking, unusual profile pose is matched by the vibrant contrast of violet and yellow, key harmonies within the Neo-Impressionist palette. The rectilinear structure of the organ is offset by the curving pattern of the wallpaper, the scroll of the cello, and even the delicate curls of Maria’s hair. More familiar to IMA visitors will be Georges Lemmen’s portrait of Berthe and Jenny Serruys (above), part of the IMA’s collection since W.J. Holliday’s bequest in 1979. Through the exhibition, this canvas can now be viewed in the context of Lemmen’s other great portrait efforts. The artist’s careful work with the complementary colors of Neo-Impressionism is readily seen, as well as his affinity for rendering probing psychological portraits. This emphasis on the sitter’s internal world may well stem from the legacy of Northern Renaissance figure painting so familiar to Lemmen. Neo-Impressionist portraiture is

“AS HOLDER OF ONE OF

THE WORLD’S FINEST NEOIMPRESSIONIST COLLECTIONS, THE IMA IS AN ESPECIALLY APPROPRIATE HOST FOR THIS INITIATIVE.

”

not entirely a story of painting, and Face to Face features works on paper that are among the most expressive images of the exhibition. No artist understood better than Seurat how to control the effects of pushing a crayon against the surface of paper, and, once again, his evocative drawings inspired his followers. Laugé, Lemmen, and Van Rysselberghe (opposite page, center) were adept at manipulating shades of velvety black to create exquisite portrait drawings. And the Belgians seem especially attracted to drawings of their families gathered together under a lamp that breaks the darkness of the night. The heyday of Neo-Impressionism was confined to little more than a decade, from 1886 to the late 1890s. After 1900, Van Rysselberghe was the sole artist painting Neo-Impressionist portraits, and the meticulous brushwork pioneered by Seurat had evolved to longer, broader strokes and colors less dependent on traditional Neo-Impressionist harmonies. The era of this unique contribution to the portrait tradition had come to a close. Face to Face premiered earlier this year at the ING Cultural Centre in Brussels, the city that contributed so strategically to the

Neo-Impressionist movement. The IMA, organizer of the show, is the only American venue. Exhibition visitors will have the rare opportunity to examine these works of unusual beauty and perception. The likenesses also speak to the fascinating context of Europe at the end of the 19th century, providing links to the cultural, social, and political issues of the day—topics that will be explored through a rich summer program of concerts, gallery talks, book discussions, and other activities. As holder of one of the world’s finest Neo-Impressionist collections, the IMA is an especially appropriate host for this initiative, but it could not have been realized without the generosity of the many institutions and private collectors in Europe and the United States who have loaned their works for the exhibition. We invite you to encounter these portraits face to face—and to discover the range of expression offered by the Neo-Impressionists’ treatment of an enduring theme.

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.

EXHIBITION CATALOGUE The exhibition will be accompanied by a 256-page 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. Including more than 100 color illustrations, the book is the first comprehensive survey of Neo-Impressionist portraiture. Available now in the Museum Store. Above: Théo van Rysselberghe (Belgian, 1862–1926), Maria Sèthe at the Harmonium, 1891, oil on canvas, 46-1/2 x 33-1/4 in. Koninklijk Museum voor Schone Kunsten Antwerp. © Lukas-Art in Flanders VZW / Photo: Hugo Maertens / The Bridgeman Art Library.

Developing an Innovative and Sustainable Business Model

order to inform the operations, programming, and marketing of the Museum. Through this process, the IMA will improve the current visitor experience while concurrently expanding its audience through innovative programming and outreach. The IMA will collaborate with Purdue University’s School of Hospitality and Tourism Management as it conducts onsite visitor research and customer service assessments.

Innovative Museum Leaders Speaker Series

In late 2013, the IMA received a $200,000 grant from Lilly Endowment Inc. to develop an innovative and sustainable business model that will serve as the foundation for a new five-year strategic plan. The planning project will explore the evolving role of the art museum in the 21st century through professional consulting, audience research, and public programming. The overarching goal of the project is to help the IMA develop a long-term business model that more healthily balances earned income, philanthropic gifts, and spending from the Museum’s endowment. The Museum also expects that the project will lead to the development of exceptional and interactive experiences for a broad audience across the IMA’s galleries, historic homes, botanical gardens, and The Virginia B. Fairbanks Art & Nature Park. “The IMA has a rich 130-year history in our community, and the generous support we have received through the years from Lilly Endowment has been critical to our development as a great museum. This new planning grant

will greatly advance our efforts to create a financially sustainable business plan and ensure our ability to provide extraordinary experiences for our visitors for the next 130 years,” said Dr. Charles L. Venable, The Melvin & Bren Simon Director and CEO of the IMA. “With an encyclopedic collection of more than 54,000 works of art and 170 acres of land that feature gardens, a park, a lake, three historic homes, and a major museum facility complete with three theaters, a science lab, conservation studios, and numerous educational spaces, the IMA has huge potential to serve a larger audience through innovative programming that combines art, nature, and science. This grant will help us harness our resources in innovative ways so we can reach our full potential in serving our community and region.” With the aid of this grant, the IMA will enhance the museum experience for loyal visitors and long-standing donors, in addition to pursuing the development of new audiences through the creation of more immersive and

interactive experiences related to the IMA’s collection, historic buildings, and expansive grounds. The planning project will guide the IMA through an expansion of its vision for the future through three distinct but interconnected methods:

Professional Consulting As of February 2014, the IMA is employing the consulting services of Innovatrium, an organizational development firm founded by three University of Michigan professors. Innovatrium will guide the IMA’s staff, Board, and key stakeholders as they assess the Museum’s organizational culture and competency and develop a shared culture of innovation, create a common mission, and build a new, sustainable business model for the IMA.

Audience Research Over the course of the next year, the IMA will conduct research both onsite and throughout the community to assess the perceptions, behaviors, and needs of current and potential audiences in

Throughout 2014, the Museum has engaged the IMA Board, staff, and community in a dialogue about the challenges and opportunities that art museums face in the 21st century. Leaders from the museum field have shared their stories of success through an ongoing speaker series. Steven Koblik, president of the Huntington Library, Art Collections, and Botanical Gardens, spoke in January. In March, the IMA hosted Marie McKee, president of the Corning Museum of Glass. On May 6, the Museum welcomes Bonnie Pitman, distinguished scholar in residence at UT Dallas and former director of the Dallas Museum of Art. Ben Cameron, program director for the arts at the Doris Duke Charitable Foundation, will speak on June 26. “The Indianapolis Museum of Art and its diverse array of resources are invaluable assets to our community,” said Ace Yakey, Lilly Endowment’s vice president for community development. “The Endowment is pleased to support the IMA’s efforts to ensure the Museum remains relevant and sustainable for future generations.”

This project is generously supported by a grant from Lilly Endowment Inc.

The National Bank of Indianapolis Summer Nights Film Series The National Bank of Indianapolis Summer Nights Film Series, Indianapolis’ most anticipated summer tradition, returns for its 38th season. Relax under a warm summer night sky with family and friends and be whisked away to faraway lands, captivated in song, filled with laughter, or even given a small dose of fear through hit films from today and yesteryear. FRIDAYS, JUNE 6–AUGUST 29 (excluding July 4) Gates open at 7 pm. All films begin after dusk. $10 Public, $6 IMA Members, Free for children six and under. Show your ATM, debit, or credit card from The National Bank of Indianapolis and receive $1 off admission.

JUNE

JULY

AUGUST

06 13 20 27

04 11 18 25

01 08 15 22 29

Breakfast at Tiffany’s (1961) Friday the 13th (1980) The Jerk (1979) The French Connection (1971)

No Film Vertigo (1958) Hook (1991) Flashdance (1983)

American Graffiti (1973) Clue (1985) The Odd Couple (1968) Mean Girls (2004) The Godfather (1972)

Below, left to right: Friday the 13th, 1980 © Paramount Pictures. Courtesy Photofest. The Jerk, 1979 © Universal Pictures. Courtesy Photofest. Hook, 1991 © TriStar Pictures. The Godfather, 1972 © Paramount Pictures.

FILM FAN? DON’T MISS THIS SUMMER’S INDIANAPOLIS INTERNATIONAL FILM FESTIVAL, JULY 17–26 AT THE INDIANAPOLIS MUSEUM OF ART. Now in its 11th year, Indy Film Fest has quickly grown into one of the Midwest’s most watched film festivals—and one of the most valued annual cultural events in the city. Featuring the best in independent and innovative film from both award-winning professionals and emerging filmmakers, the festival has exhibited films from nearly every state in the country and more than 50 countries around the globe.

Photo by Eric Lubrick.

Patron Profile: Kathi and Bob Postlethwait For more than three decades, Kathi and Bob Postlethwait have been great friends of and contributors to the IMA. With a passion for education and audience engagement, the Postlethwaits have generously supported numerous exhibitions, technology initiatives, and public programs throughout the years. A docent since 1989, Kathi served on the IMA’s Board of Governors from 2004 to 2013 and was Vice Chair of the Board from 2011 to 2013. She recently served as the Trustee Task Force Chair to review the trustee program at the IMA. Both Kathi and Bob completed their undergraduate degrees at Purdue University and their master’s degrees at Butler University. Active in the local community throughout their lives, the Postlethwaits have two adult daughters, Caitlin and Megan. Inspired by their generosity and dedication to the IMA throughout the years, we asked the Postlethwaits about their experiences. How did you become involved with the IMA? Our first involvement with the IMA was in 1989, when I began the docent training. My membership in this very dedicated volunteer arm of the Museum taught us much about the IMA: its collections, its staff, and its Affiliate groups. The support, both in time and treasure, given to the Museum by its many volunteers has contributed greatly to its ongoing success.

Hard Truths: The Art of Thornton Dial. Mr. Dial, at the age of 82, attended the opening of the exhibit; Kathi and I had the pleasure of meeting him and learning about his personal journey. This “raggly” flag has much to offer and is worth a great deal of thought time, in my opinion. The subject, the materials employed, and the connection with the artist’s story make this a very interesting work of art for me.

Why do you support the arts? Art is an integral part of our lives— a language shared by all cultures and societies. The arts give us a meeting place for people of all backgrounds and show us that as much as we are different in many ways, we are fundamentally the same.

What have been the highlights of your involvement with the IMA? Because of our involvement with the IMA, we have met many wonderful people of similar interests. These friends and colleagues have added a dimension to our lives that is beyond measure. Love of learning, travel, public service, and interest in the larger world are characteristics that we share, and these interactions have enriched our lives. What is your favorite piece in the IMA’s collection and why? Bob: Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together, by Thornton Dial. This artwork is one of my favorites at the IMA. For context, the IMA was the organizing museum of the 2011 exhibition

Above: Thornton Dial, Sr. (American, b. 1928), Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together, 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. Indianapolis Museum of Art, James E. Roberts Fund, Deaccessioned Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund, 2008.182 © Thornton Dial. Photo: Steve Pitkin Studio.

TEXT BY

LESLIE ANDERSON-PERKINS

CURATORIAL ASSISTANT, EUROPEAN AND AMERICAN PAINTING, SCULPTURE, AND WORKS ON PAPER

Tiffany Studios’ Angel of the Resurrection Illuminated

Left: Frederick Wilson (American, 1858–1932) (designer); Tiffany Studios (manufacturer), Angel of the Resurrection, 1903–4, stained glass and lead, Indianapolis Museum of Art, Gift of the First Meridian Heights Presbyterian Church, Indianapolis, 72.75. Right: Frederick Wilson (American, 1858–1932), Presentation Sketch for Angel of the Resurrection, 1903, watercolor and pencil on paper. Benjamin Harrison Presidential Site, Indianapolis, Indiana.

The early history of Tiffany Studios’ Angel of the Resurrection (the President Benjamin Harrison Memorial Window), a centerpiece of the IMA’s American galleries, remained unknown until recently. In 1972 the window entered the collection as a gift, when the original owner, the congregation of First Presbyterian Church of Indianapolis, merged with Meridian Heights Presbyterian Church and relocated uptown. Four decades later, new information about Angel of the Resurrection has been brought to light. A temporary installation in the Dr. Ann H. Hunt Rotunda Gallery presents archival documents that situate the window within First Presbyterian Church’s overall design scheme, elucidate the roles of patron Mary Lord Harrison and designer Frederick Wilson in its creation, and measure the work’s impact on neighboring churches. Organized in 1823, First Presbyterian Church of Indianapolis was the second of any denomination in the state capital. Three previous houses of worship, all located downtown, had served the congregation well until a new edifice was commissioned from the Cincinnati architectural firm of Crapsey & Lamm, specialists in Protestant church design. The plan of an impressive complex, known as an institutional church, responded to the city’s rapid population growth at the turn of the 20th century. The stately

building, now occupied by Redeemer Presbyterian Church and the Harrison Center for the Arts, was erected on the corner of North Delaware and East 16th Streets in the city’s affluent Old Northside district. Increasing the profile of the congregation within the community, the space boasted auditorium seating for at least 700 people and a Sunday school capacity of 600 students. On October 4, 1903, the front page of The Daily Sentinel remarked on the impressive size of the sanctuary and highlighted its interior decoration: “light green walls, pews and woodwork of Flemish oak finish, and cathedral glass windows,” the last of which had been supplied by one of the many American glass firms established during the last decades of the 19th century. Correspondence between the office manager of ecclesiastical projects at Tiffany Studios, Edwin Stanton George, and the nearby congregation of Reid Memorial Presbyterian Church in Richmond, Indiana, however, suggests that the critical reception of First Presbyterian’s early decoration, particularly its windows, was mixed. (In a letter to the Reid Memorial Presbyterian building committee, George advised them to consider the “terrible effect” of the original glass at First Presbyterian.) Coinciding with the building’s dedication in 1903, Mary Lord Harrison, Benjamin Harrison’s second wife and widow, consulted Tiffany Studios on the enhancement of the church’s

ANGEL OF THE RESURRECTION ENTERED THE IMA’S COLLECTION IN 1972. FOUR DECADES LATER, NEW INFORMATION ABOUT ITS HISTORY HAS BEEN BROUGHT TO LIGHT.

interior, seeking to commission a grander replacement window. The new piece would simultaneously commemorate President Harrison’s service to the organization. He had been an elected church elder for 40 years, a Sunday school superintendent, and a donor to its building fund. Mrs. Harrison may have selected the popular motif of the Angel of the Resurrection from Tiffany’s promotional booklet, but she stipulated the exclusivity to First Presbyterian of the particular design she was commissioning. The bill of sale states the terms explicitly: “[the] window [is] not to be duplicated.” This special condition bears witness to the significance of the order, as does the copyright obtained for its design. On display in the exhibition is Tiffany’s 1896 Memorial Windows catalogue, which depicts an earlier version of the subject designed by Frederick Wilson. It is enlightening to compare the unique design of the Harrison Memorial Window with the Jackson Memorial Window (1902) at St. Paul’s Episcopal Church in nearby Richmond. Dedicated to a parishioner’s deceased parents, the Jackson Memorial Window was chosen from this publication. The Richmond window’s Angel of the Resurrection, positioned amid a bed of flowers and located under a Gothic canopy, represents a more affordable option for a grieving patron in its use of a stock figure. An initialed sketch for the Harrison Memorial Window, which hangs alongside the finished product, reveals that the identity of its designer is Wilson, whom

Mrs. Harrison likely requested by name. Recruited from his native England by Louis Comfort Tiffany, Wilson fulfilled many high-profile commissions during his 30-year tenure with the company. Wilson executed a presentation sketch in watercolor and sent it to his patron for approval. In this version, the Archangel Michael, the Angel of the Resurrection, calls the dead to rise at the Second Coming of Christ with the trumpet held firmly in his left hand. The angel’s chain mail celebrates his martial role in heaven as a defender of God and may also refer anachronistically to Harrison’s military service during the Civil War. On November 21, 1904, The Indianapolis Morning Star reported its installation, providing the only known documentation of its unveiling. The ceremony took place during the church’s regular morning services, and a telegram confirms that at least one representative of Tiffany Studios, Edwin Stanton George, was in attendance at the event. News of the window spread quickly, and its impact on the interiors of local churches was immediate. Between 1905 and the publication of Tiffany Studios’ A Partial List of Windows in 1910, the firm fulfilled orders for Reid Memorial Presbyterian Church of Richmond as well as Second Presbyterian Church, Meridian Street Methodist Episcopal Church, and the Knight Family Mausoleum in Crown Hill Cemetery, all in Indianapolis. In an October 1909 article published in International Studio, Minna C. Smith named Angel of the Resurrection Wilson’s “most famous work,”

indicating widespread approval of the window. Angel of the Resurrection had realized the lofty goals of First Presbyterian Church’s leaders.

Below: Frederick Wilson (American, 1858–1932) (designer); Tiffany Studios (manufacturer), Angel of the Resurrection, 1902, stained glass and lead. St. Paul’s Episcopal Church, Richmond, Indiana.

The Horticultural Society of the IMA In 1966, brother and sister J.K. Lilly III and Ruth Lilly donated Oldfields, the 52-acre estate that belonged to their parents, to the Indianapolis Museum of Art. With this generous gift of land, the IMA was able to open its doors to the public at its current location at 38th Street and Michigan Road just four years later. Shortly thereafter, in 1972, the Horticultural Society was founded to support the Museum’s extensive grounds and to offer members opportunities to share gardening experiences and expertise. “The IMA is the only cultural institution in the country with a horticultural society as a support group,” said Mark Zelonis, The Ruth Lilly Deputy Director of Environmental & Historic Preservation. “My staff and I are so very fortunate to have these dedicated members recognize and celebrate our gardens and landscape as works of art. The group has contributed countless dollars and hours to aid in our efforts.” Now in its 42nd year, the Horticultural Society is the largest of all of the IMA’s Affiliate groups, boasting nearly 350 members. Throughout the past four decades the Horticultural Society has been integral to the livelihood of the Museum. Members can be seen tirelessly working throughout the year around the expansive campus, planting flowers, working in the Madeline F. Elder Greenhouse, and even pulling weeds. The Society also maintains the Horticultural Society Library. Located in Newfield, a building originally part of the Oldfields estate, the library holds more than 2,000 volumes related to gardening, landscaping, and horticulture. Beyond their volunteer efforts, the men and women of the Horticultural Society have also donated hundreds of thousands of dollars for the preservation and enhancement of the Museum’s gardens, grounds, and greenhouse. Some of the projects funded by the generosity of the Horticultural Society include commissioning a new Diana Robing sculpture for the Richard D. Wood Formal Garden, replacing the limestone coping on the pool and conserving the limestone urns on the Allée, and installing lightning protection for two dozen prominent trees. The group has also given funds to build the Overlook Garden outside Deer Zink Special Events Pavilion and to underwrite seasonal maintenance efforts. This June, the Horticultural Society will host A Garden Affair, an event featuring a dinner, a silent auction and raffle, with proceeds allocated toward the rehabilitation of the Oldfields estate’s border gardens. Passionate about furthering the study of horticulture, the Society underwrites public programs featuring local, national, and international speakers on a wide assortment of topics related to the field. Members also enjoy organized travel opportunities to gardens throughout the US and the world. Most recently, the group traveled to Wisconsin and the Hudson River Valley, and this July, Zelonis will accompany members to Scotland. “The gardens of the IMA provide enjoyment and inspiration for so many people. The members of the Horticultural Society appreciate their beauty and value and take great pride in supporting them,” said David Gorden, president of the Horticultural Society. “Sharing their fondness not only for the richness of the IMA, but for gardens and plants in general, is the bond that unites the Society’s membership. For years I’ve enjoyed its variety of social, educational, and work activities and the opportunities they’ve provided to expand my knowledge and circle of like-minded friends.”

Courtesy of the Indianapolis Star

A GARDEN AFFAIR Saturday, June 7 / 5:30–9:30 pm Dinner, silent auction, and raffle in support of the Oldfields estate’s border gardens. Tickets: $95 RSVP by May 23 to Claire Bailey at cbailey@imamuseum.org

Staff Profile: Scott Stulen In March, Scott Stulen joined the IMA as the Museumâ&#x20AC;&#x2122;s first curator of audience experiences and performanceâ&#x20AC;&#x201D;a brand-new position developed to foster innovative and expanded opportunities for audience engagement. Stulen comes to the IMA from the Walker Art Center in Minneapolis, Minnesota, where he had worked since 2008. At the Walker, which is known for its own groundbreaking programming, Stulen served as the project director of mnartists.org, an online initiative dedicated to supporting Midwest artists, and curated multidisciplinary public programs both in the galleries and on the grounds, including the wildly successful Internet Cat Video Festival. We sat down with Stulen to learn more about him and his new position.

What drew you to the IMA and Indianapolis? I was invited to speak at the inaugural TEDx Indy in 2012. I spoke about Open Field, a program I co-curated at the Walker Art Center in Minneapolis, which turned an empty green space into a platform for social interaction and collaborative experimentation. This was my first visit to the IMA, an institution I had long admired for its reputation for innovation. As I explored the sprawling and beautiful campus I fantasized about the programs I could develop with an amazing platform like the IMA. Two years later, I am thrilled to have the opportunity to execute some of those fantasies. My wife and I are proud Midwesterners and we felt instantly at home in the community. We also wanted to go to a city where we could immediately contribute and help shape the cultural scene. I feel Indianapolis and the IMA are on the rise and we are coming at an opportune moment.

What do you hope to accomplish as the curator of audience experiences and performance? Build the IMA into the primary cultural hub of Indianapolis and a model for smart, engaging, and sometimes challenging programming. Continue to grow the global reputation of the Museum while finding more ways to partner with local artists and cultural organizations, and while sparking delight, spectacle, and awe throughout the IMA campus. The IMA should not only be a site for world-class exhibitions but a regular gathering place for the community; a place to meet friends after work, bring your kids to play, take a first date, or just hang out. I feel museum experiences should invigorate audiences and lead to unexpected associations through a balanced mix of rigor and entertainment. When successful, everything collides to create experiences you are compelled to share with others long after you leave the museum.

What excites you about working in the museum field? I came into the museum field somewhat accidently. I started as a public programs coordinator at a small Midwest contemporary art center. My degree is in studio art, and like many artists I expected to pursue my practice and teach after graduate school. What I didnâ&#x20AC;&#x2122;t expect is finding my creative calling inside the museum, not the studio. The museum provided a perfect platform for my creative pursuits and the ability to reach larger and more diverse audiences. Creating meaningful, relevant, and thoughtful connections with people is what excites and motivates me. I love finding new ways of making these connections and reaching new audiences from traditional lectures, films in the woods, drawing clubs, or concerts for two people in a storage closet. I find joy in sharing my passion for art and a sense of wonder with others. I hope I can spread a bit of joy and wonder throughout the IMA for years to come.

Photo by Eric Lubrick.

November 2, 2014– February 15, 2015 Founder’s Day Dinner & Exhibition Preview October 30 Member Preview Days October 31 & November 1

Georgia O’Keeffe (detail), 1966. Photo by John Loengard. Time & Life Pictures/Getty Images.© John Loengard.

COMING SOON:

Georgia O’Keeffe and the Southwestern Still Life The American Southwest has an undeniable allure. The stark beauty, unusual architecture, and unique light have inspired artists for generations, but Georgia O’Keeffe is undoubtedly the most well-known artist to have worked in the region. In 1917, O’Keeffe traveled to New Mexico in search of new inspiration, and in 1949, captivated by the landscape and culture, she settled there permanently. From that point until her death in 1986 in Santa Fe, the Southwest would be central to O’Keeffe’s work and life. O’Keeffe found inspiration in some of the simplest of subjects, but her depictions of these objects were anything but mundane. Though the very name “still life” suggests the absence of activity— calling to mind the popular notion of “objects on a table,” perhaps— O’Keeffe’s still lifes are dynamic compositions that are charged with the spirit of her Southwestern surroundings. Her stunning enlarged views of flowers, trees, shells, rocks, and crosses are

emblematic of her embrace of the genre; even the sun-bleached bones that she gathered in the New Mexico desert became subjects of some of the most famous icons of the region. (She viewed these dried bones as “strangely more living than the animals walking around.”) The adobe building purchased by O’Keeffe as her home found its way into numerous still lifes focusing on the various angles and patterns of its design, evidencing her fascination with the land’s indigenous architecture. The flowers surrounding her home moved O’Keeffe to create colorful studies of the native plants so fundamental to life in the Southwest. And drawing upon elements of local culture as well as the scenery, she incorporated the Virgin Mary, adobe churches, and Native American pottery in her paintings. O’Keeffe’s iconic works fueled the imaginations of artists for decades to follow and inspired a vibrant artistic scene that began in the early 20th century and still

thrives today. Opening this November, Georgia O’Keeffe and the Southwestern Still Life features approximately 60 paintings by Georgia O’Keeffe and her contemporaries—including Marsden Hartley, Victor Higgins, and Raymond Jonson—similarly drawn to the region. Their evocative still lifes provide fascinating examples of art’s capacity to capture the essence of a place, telling the story of the Southwest as seen through the eyes of the artists that lived there.

Exhibitions

The Essential Robert Indiana Through May 4 / $12 Public, $6 Students and youth ages 7–17, Free for IMA members and children 6 and under / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2 Featuring more than 50 works, the first print retrospective of Robert Indiana’s powerful graphic work in over 40 years is showcased in the state whose name he adopted as his own. Indiana’s vibrantly colored works inspired by road signs are bold in both design and subject, but obscured beneath the simple words, numbers, shapes, and colors are essential memories and symbols of the artist’s life. The prints featured in the exhibition include works from his American Dream series; homages to such painters as Picasso, Charles Demuth, and Marsden Hartley; and two series of Autoportraits, or symbolic self-portraits. The exhibition also includes examples of Indiana’s famed LOVE, which began as a Christmas card design and morphed into one of the most iconic images in the history of American art. An audio guide is included with the cost of admission. Visitors can enhance their experience through interactive iPads available throughout the exhibition. 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 The Alliance of the IMA Silver Supporters Bose McKinney and Evans LLP Cassidy Turley Goldman, Sachs & Co. Indiana Farm Bureau Insurance Indianapolis Power & Light Company

Face to Face: The Neo-Impressionist Portrait, 1886–1904 June 15–September 7 / $12 Public, $6 Students and youth ages 7–17, Free for IMA members and children 6 and under / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2 See page 8. 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.

Indiana by the Numbers Through May 4 / Free / Elma D. and Orville A. Wilkinson Gallery / Floor 4 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.

Julianne Swartz: How Deep Is Your

Sopheap Pich: A Room

Through June 15 / Free / June M. McCormack Forefront Galleries / Floor 4

Through August 24 / Free / Efroymson Family Entrance Pavilion / Floor 1

Julianne Swartz: 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 locations throughout the IMA.

Cambodian artist Sopheap Pich’s A Room fills the Efroymson Family Entrance Pavilion with over 1,100 real and artificial bamboo strips extending 40 feet from the atrium’s ceiling to floor. The 26-foot space inside the bamboo is a place for contemplation, allowing visitors to experience natural light bouncing off of and piercing through the slats to suggest the light within a bamboo forest. Pich creates contrasts between the aluminum, glass, and cement of the Pavilion, the warmth of the bamboo, and the variously bright and subtle colors of the artificial castings.

Julianne Swartz: How Deep Is Your was organized by the deCordova Sculpture Park and Museum, Boston, MA, and the Scottsdale Museum of Contemporary Art, Scottsdale, AZ, and curated by Rachael Arauz. Major support for the exhibition and catalogue was provided by the Andy Warhol Foundation for the Visual Arts and the Elizabeth Firestone Graham Foundation. Local support for Julianne Swartz: How Deep Is Your is generously underwritten by Stephen and Livia Russell.

Fabled Kings Through September 14 / Free / Frances Parker Appel Gallery / Floor 3 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 that uses tales to teach life lessons. They are 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.

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

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

Top left: 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. Middle left: Sopheap Pich (Cambodian, b. 1971), A Room, 2014, bamboo, aluminum, plastic, polyethylene braided line, and Teflon floss. Commissioned by the Indianapolis Museum of Art. © Sopheap Pich. Bottom left: Indian, Panchatantra, Book 1, Verse 76 (detail), late 17th century, opaque watercolor and gold on paper, 9-1/4 x 7-3/4 in. (image) 10-1/4 x 8-3/4 in. (sheet). On loan from Dr. Rukmini and Nisha Garg in memory of Dr. Bhuwan Garg.

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 / 1:30 & 2:30 pm / Meet on Floor 2 at top of escalator Meet Me at the IMA: Alzheimer’s Tours / 2nd Sat, 11 am & 4th Tue, 2 pm / Meet at Welcome Desk / Registration required through Alzheimer’s Association, 1-800-272-3900 Touch & Audio Description Tours / For blind/ low-vision visitors / 1st Sat of the month / 11 am / Meet on Floor 2 at top of escalator Closer Look / 1st Sat & 3rd Tue of the month / 2 pm / Meet on Floor 2 at top of escalator / Registration required ASK ME! / Docents stationed in galleries / Every Sat / 1–3 pm Lilly House Tours / Fri, Sat & Sun / 2 pm / Meet at Lilly House lobby Garden Tours / Sat & Sun / 1 pm / Meet at Lilly House The Virginia B. Fairbanks Art & Nature Park: 100 Acres Tours / Every Sat / 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 May 10, 17, 24, 31 June 7, 14, 28 July 12, 19, 26 August 2, 9, 16, 23

CAMPS YOUTH CAMPS Ages 5–7 / Studio 1 / 9 am–noon & 1–4 pm (supervised lunch) / $105 P, $85 M Ages 8–10 / Studio 2 / 9 am–4 pm / $210 P, $175 M Ages 11–13 / Studio 3 / 9 am–4 pm / $210 P, $175 M Week One: June 16–20 Week Two: June 23–27 Week Three: July 7–11 Week Four: July 14–18 Week Five: July 21–25 TEEN CAMPS Ages 14–16 / Michael K. and Patricia P. McCrory Classroom, Studio 2 / 9 am–4 pm / $210 P, $175 M Week One: June 16–20 Week Two: July 28–August 1 Extended Hours Available weekly / 4–5:30 pm / $10 per week Continue the fun! Campers ages 5–16 are invited to stay late to participate in structured activities, tours, and behind-the-scenes discoveries, play outside, spend time in Star Studio, and much more. Snack is included.

THE NATIONAL BANK OF INDIANAPOLIS SUMMER NIGHTS FILM SERIES Amphitheater / Doors open at 7 pm, film begins at dusk / $10 P, $6 M, Free for children 6 and under, ticket required (Show your National Bank of Indianapolis card and receive $1 off admission.)

FRIDAYS, JUNE–AUGUST See page 15

MAY

EVERY SUN Family Activity / Art in the Park: Wild Things / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: Silly String Sculpture / Star Studio Classroom / 1–4 pm / Free 01 THR Performance / Picture This! / The Toby / 7 pm / $30 P, $28 M & Senior, $22 Student / Presented with Dance Kaleidoscope 02 FRI Performance / Picture This! / The Toby / 8 pm / $42 P, $40 M & Senior, $22 Student / Presented with Dance Kaleidoscope 03 SAT Performance / Picture This! / The Toby / 8 pm / $40 P, $38 M & Senior, $22 Student / Presented with Dance Kaleidoscope Special Event / Last Call: The Essential Robert Indiana / IMA Galleries / 8 pm–midnight / Free 04 SUN Performance / Picture This!/ The Toby / 2:30 pm / $40 P, $38 M & Senior, $22 Student / Presented with Dance Kaleidoscope 06 TUE Talk / Innovative Museum Leaders Speaker Series: Bonnie Pitman / DeBoest Lecture Hall / 6:30 pm / Free 08 THR Special Event / Hats Off—Hat Over Heels! Lecture & Luncheon / The Toby, Deer Zink Special Events Pavilion / 11 am–3 pm / Register through May 2: $75 P, M & FAS, $600 Table of 8, lecture only: Free / Presented by the Fashion Arts Society / See page 34 for more details

EVERY WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $5 M, Free for grown-ups & children under 1 / Registration required

10 SAT Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free Tour / For America: Prints of the American Art-Union / Meet on Floor 2 at top of escalator / 3 pm / Free

EVERY SAT Family Activity / Make & Take: Silly String Sculpture / Star Studio Classroom / 1–4 pm / Free

13 TUE Special Event / Annual Meeting / The Toby / 5:30 pm / Free / Followed by a reception in Pulliam Family Great Hall

15 THR Tour / Julianne Swartz: How Deep Is Your / Meet on Floor 2 at top of escalator / 3 pm / Free Film / Art History on Film: Sol LeWitt /DeBoest Lecture Hall / 7 pm / $9 P, $5 M 22 THR Film / Planet Indy: Watermark / DeBoest Lecture Hall / 7 pm / $9 P, $5 M 24 SAT Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free 29 THR Talk / Modern Landscape Architecture: Transition and Transformation / The Toby / 6 pm / Free / Presented in partnership with the Design Arts Society and Indiana Landmarks

JUNE EVERY WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $5 M, Free for grown-ups & children under 1 / Registration required EVERY SAT FamilySAT Activity / Make & Take: Pointy EVERY PaintingActivity / Star Studio Classroom Family / Make & Take: /Pointy 1–4 pm / /Free Painting Star Studio Classroom / 1–4 pm / Free EVERY SUN Family SUN Activity / Art in the Park: Clay Play / EVERY 100 Acres: Ruth/Lilly Family Activity ArtVisitors in the Park / 100 Acres: Pavilion pm / Free Ruth Lilly/ Noon–4 Visitors Pavili on / Noon–4 pm / Free Family Activity Activity//Make Make&&Take: Take:Pointy PointyPainting / Family Painting / Star Studio Classroom Star Studio Classroom / 1–4 pm //Free 1–4 pm / Free 03 TUE Class / Make Me @ IMA / Studio 2 / 10 am–noon / Free / Register through Alzheimer’s Association, 1-800-272-3900 07 SAT Special Event / A Garden Affair: Horticultural Society Biannual Dinner and Auction / Deer Zink Special Events Pavilion / 5:30–9:30 pm/ See page 23 12 THR Special Event / Face to Face: The Neo-Impressionist Portrait, 1886–1904 Exhibition Preview / 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

13 FRI Special Event / Member Preview Days for Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Allen Whitehill Clowes Special Exhibition Gallery / 11 am–5 pm / Free (Members only) 14 SAT Special Event / Member Preview Days for Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Allen Whitehill Clowes Special Exhibition Gallery / 11 am–5 pm / Free (Members only) Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free Tour / Julianne Swartz: How Deep Is Your / Meet on Floor 2 at top of escalator / 3 pm / Free 15 SUN Special Event / Public Opening of Face to Face: The Neo-Impressionist Portrait, 1886–1904 19 THR Class / Visual Thinking Strategies Workshop for Educators (Day 1) / Meet at Welcome Desk / 12:30–5 pm / $8 P, $5 M / Register by June 9 at hdavis-soylu@imamuseum.org Talk / Face to Face: The Neo-Impressionist Portrait, 1886–1904 / The Toby / 7 pm / Free 20 FRI Class / Visual Thinking Strategies Workshop for Educators (Day 2) / 12:30–5 pm / See 19 THR above 21 SAT Class / Color Me Impressed / Studio 3 / 1–4 pm / $60 P, $40 M / Registration required Special Event / Community Day: Summer Solstice: Celebration and concert featuring Rupa & The April Fishes / 100 Acres / 6:30–9 pm / Free 26 THR Tour / For America: Prints of the American Art-Union / Meet on Floor 2 at top of escalator / 3 pm / Free Talk / Innovative Museum Leaders Speaker Series: Ben Cameron / DeBoest Lecture Hall / 6:30 pm / Free 27 FRI Special Event / Summer Book Club for Educators: Fortune, Power, and Plunder / Empty Mansions: The Mysterious Life of Huguette Clark and the Spending of a Great American Fortune / Meet at Welcome Desk / 3:30–5 pm / $8 P, $5 M / Register by June 9 at hdavis-soylu@imamuseum.org 28 SAT Class / Color Me Impressed / Studio 3 / 1–4 pm / $60 P, $40 M / Registration required Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free Tour / Fabled Kings / Meet on Floor 2 at top of escalator / 3 pm / Free

JULY EVERY WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $5 M, Free for grown-ups & children under 1 / Registration required EVERY SAT Family Activity / Make & Take: Sassy Glassy / Star Studio Classroom / 1–4 pm / Free EVERY SUN Family Activity / Art in the Park : HEAR That?! / 100 Acres: Ruth Lilly Visitors Pavilion / Noon– 4 pm / Free Family Activity / Make & Take: Sassy Glassy / Star Studio Classroom / 1–4 pm / Free 01 TUE Class / Bookbinding Workshop for Educators: Binding with Cambodian Paper, Bamboo, and Other Natural Materials / Meet at Welcome Desk / 1–4 pm / $8 P, $5 M / Register by June 16 at hdavis-soylu@imamuseum.org 05 SAT Special Event / Community Day: Mega Make & Take / IMA Galleries / 1 pm / Free 10 THR Gallery Conversation / Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Meet on Floor 2 at top of escalator / 7 pm / Free with exhibition ticket 12 SAT Film / Indiana Black Expo Film Festival / The Toby / Noon–5 pm / Free Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free Tour / For America: Prints of the American Art-Union / Meet on Floor 2 at top of escalator / 3 pm / Free 13 SUN Film / Indiana Black Expo Film Festival / The Toby / Noon–5 pm / Free 17 THR Special Event / Book Club: Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Meet on Floor 2 at top of escalator / 6:30 pm / Free with exhibition ticket, registration required 24 THR Class / Early Childhood Portrait Techniques and Experiences: A Workshop for Educators / Meet at Welcome Desk / 1–4 pm / $8 P, $ 5 M / Register by July 11 at hdavis-soylu@ imamuseum.org 25 FRI Special Event / Summer Book Club for Educators: Fortune, Power, and Plunder / Chasing Aphrodite: The Hunt for Looted Antiquities at the World’s Richest Museum / Meet at Welcome Desk / 3:30–5 pm / $8 P, $5 M / Register by July 7 at hdavis-soylu@imamuseum.org

26 SAT Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free Tour / Fabled Kings / Meet on Floor 2 at top of escalator / 3 pm / Free 31 THR Gallery Conversation / Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Meet on Floor 2 at top of escalator / 7 pm / Free with exhibition ticket

AUGUST EVERY WED Family Activity / wee Wednesday / Star Studio Classroom / 11 am–noon / $8 P, $5 M, Free for grown-ups & children under 1 / Registration required EVERY SAT Family Activity / Make & Take: Just Sew, Sew / Star Studio Classroom / 1–4 pm / Free EVERY SUN Family Activity / Art in the Park: Fine Feathered Friends / 100 Acres: Ruth Lilly Visitors Pavilion / Noon–4 pm / Free Family Activity / Make & Take: Just Sew, Sew / Star Studio Classroom / 1–4 pm / Free

21 THR Tour / For America: Prints of the American Art-Union / Meet on Floor 2 at top of escalator / 3 pm / Free Gallery Conversation / Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Meet on Floor 2 at top of escalator / 7 pm / Free with exhibition ticket 23 SAT Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free 29 FRI Special Event / Summer Book Club for Educators: Fortune, Power, and Plunder / The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History / Meet at Welcome Desk / 4–5 pm / $8 P, $5 M / Register by August 11 at hdavis-soylu@imamuseum.org 30 SAT Tour / Fabled Kings / Meet on Floor 2 at top of escalator / 3 pm / Free 31 SUN Family Activity / Art in the Park: Fine Feathered Friends, with special guest Mark Booth of Take Flight and his birds of prey / 100 Acres: Ruth Lilly Visitors Pavilion / 1–3 pm / Free

03 SUN Special Event / Animation Day: Ernest & Celestine Film & Workshop / The Toby / 1–4 pm / $5 P, $2 M, Free for children under 6 07 THR Class / Innovative Recycling with Plastics: A Workshop for Educators / Meet at Welcome Desk / 1–4 pm / $8 P, $5 M / Register by July 25 at hdavis-soylu@imamuseum.org 09 SAT Family Activity / Hold It! / Check in at Welcome Desk for location / 1:30–3:30 pm / Free 14 THR Special Event / Book Club: Face to Face: The Neo-Impressionist Portrait, 1886–1904 / Meet on Floor 2 at top of escalator / 6:30 pm / Free with exhibition ticket, registration required 16 SAT Special Event / Hummingbird Banding: Catch & Release / Garden for Everyone / 8:30, 9:30, 10:30 am / Free Special Event / Cricket, Anyone?: Pick-up game, picnic & film / 100 Acres / 6 pm / Free / Presented with Asian Art Society to celebrate the 2014 USACA National Men’s Cricket Championship in Indianapolis 17 SUN Family Activity / Art in the Park: Fine Feathered Friends, with special guest John Schaust conducting bird banding / 100 Acres: Ruth Lilly Visitors Pavilion / 1–3 pm / Free

Tue–Sat 11 am–4 pm, Sun noon–4 pm / Audio Guide desk (on Floor 2 at top of escalator) / Free Get into Shape with the IMA’s new Art Packs! Get a move on through the Museum looking for ways artists have used shapes in works of art. Exercise your imagination while drawing, reading a story, or working a puzzle together in the galleries. Art Packs are designed for families with children ages 4 and up, but all are welcome to give them a try. The IMA would like to thank those who supported Art Packs through power2give.org, an initiative of the Arts Council of Indianapolis. A special thanks to Maureen Donahue, Suzanne Jannetta, and Kathleen Ravestein.

Recent Events

New Yearâ&#x20AC;&#x2122;s Eve at the IMA Photos by Nathaniel Edmunds Photography 1. Leslie and John Rapp 2. Nick Cave (American, b. 1959), Soundsuit, 2013. Partially purchased with funds provided by the New Yearâ&#x20AC;&#x2122;s Eve event. 3. Kay and Damon Davis 4. BJ and Sarah Sullivan

Presenting Partners:

Dr. Martin Luther King Jr. Day (top) Photos by Tascha Mae Horowitz and Eric Lubrick The Essential Robert Indiana Opening (middle) Photos by Nathaniel Edmunds Photography 1. Fran and Roger Hurwitz 2. Vishant Shah and Emily Shortridge Innovative Museum Leaders Speaker Series: Marie McKee (bottom) Photos by Tascha Mae Horowitz and Eric Lubrick 1. Marie McKee 2. Marie McKee and Dr. Charles L. Venable

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

Upcoming Donor Circle and 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

ASIAN ART SOCIETY (AAS)

FASHION ARTS SOCIETY (FAS)

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.

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.

Artist Studio Tours

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.

AAS Annual Picnic June 8 / Olde Mill Clubhouse / Details to follow

Danette Alles—Ceramics June 14 / 1–3 pm / $15 Public, $10 Alliance and IMA members Biagio Azzarelli—Sculpture July 19 / 1–3 pm / $15 Public, $10 Alliance and IMA members

PATRON CIRCLE AND SECOND CENTURY SOCIETY EVENTS Patron Circle and Second Century Society members are at the forefront of annual giving at the IMA. Each year, this important group of donors advances the Museum’s mission through their generous philanthropic leadership. Private Home Reception at John and Leslie Rapps’ July 24 / 6–8:30 pm / Patron Circle and Second Century Society members only Annual Curator’s Choice Evening August 13 / Pulliam Family Great Hall and IMA Galleries / 6 pm / Patron Circle and Second Century Society members only

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.

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. Annual Meeting and Indiana Modern Talk May 29 / All events to be held in The Toby DAS Reception / 4:45 pm DAS Annual Meeting / 5:15 pm Indiana Modern talk featuring Charles Birnbaum, FASLA, FAAR, Founder and President of The Cultural Landscape Foundation / 6 pm The Indiana Modern talk is free and open to the public.

To learn more about these events or how you can join one of these interest groups, contact Claire Bailey at cbailey@imamuseum.org or 317-923-1331, ext. 493.

Hats Off—Hat Over Heels! Lecture and Luncheon May 8 / Tickets: $75 All Attendees, $600 Table of 8 (Late registration through May 2). All but $20 of the ticket price is tax deductible. Proceeds benefit the FAS Acquisition Fund. Talk: Heights of Fashion: A Short History of the High Heel by Elizabeth Semmelhack, Senior Curator of the Bata Shoe Museum, Toronto / The Toby / 11–11:45 am / Free Luncheon with book signing by Elizabeth Semmelhack to follow / Deer Zink Special Events Pavilion / 11:45 am–1:30 pm

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. A Garden Affair: Horticultural Society Dinner and Auction June 7 / Deer Zink Special Events Pavilion / 5:30–9:30 pm

About the IMA ADMISSION

HOURS

General admission is free.

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

Featured Exhibitions: Through May 4: The Essential Robert Indiana ($12 Public, $6 Students and youth ages 7–17, Free for members and children 6 and under) June 15–September 7: Face to Face: The Neo-Impressionist Portrait, 1886–1904 ($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 Location The IMA is located at 4000 Michigan Road in Indianapolis. The main entrance is approximately one block north of 38th Street and Michigan Road. Note that south of 38th Street, Michigan Road becomes Martin Luther King Jr. Street. The IMA is accessible off the Central Canal Towpath (an Indy Greenways trail). Bike racks are available on campus, including in the parking garage. 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

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

DINING

FACILITY RENTAL 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.

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

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

Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day.

SHOPPING

MEMBERSHIP

Museum Store Books, jewelry, and Museuminspired merchandise. 317-923-1331, ext. 281

Membership helps support free general admission at the IMA.

The Virginia B. Fairbanks Art & Nature Park, Gardens, and Grounds Open daily from dawn to dusk.

TOURS 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.

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.

ACCESSIBILITY 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.

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 By appointment only.

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.

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

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 Tue, Wed, Sat: noon–3 pm

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.

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

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SHOPPING IN BLOOM! This spring at the IMA Museum Store and the Madeline F. Elder Greenhouse, youâ&#x20AC;&#x2122;ll see an expanded line of merchandise highlighting our magnificent gardens. Choose from glass paperweights, coasters, journals, puzzles, and more. Available in early May.

NON-PROFIT ORG U.S. POSTAGE

PAID

INDIANAPOLIS, IN PERMIT #2200