IMA Magazine | Spring 2015

Dream Cars Erwin Wurm ARTx Destination IMA

JAN–APR 2015

Contents

Destination IMA Profile: Thomas Hiatt ARTx Dream Cars Erwin Wurm IMA Docents Engaging through Participation American Silver, 1840–1930

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Dylan Remes Jensen Editor Tascha Mae Horowitz Photo Editor Robin Lawrence Anne M. Young Rights & Reproductions Laurie Gilbert Project Manager Dr. Jacquelyn N. Coutré Chad Franer Dr. Tricia Y. Paik Dr. Charles L. Venable Linda Witkowski Contributors

Tiffany, Gorham, and the Height of American Silver, 1840–1930 features some of the finest examples of American silver from the 19th and 20th centuries. Discover the advancements made by Tiffany & Co. and Gorham Manufacturing that led the way for America to become the foremost creator of silverware in the world.

Jordyn Cox Tascha Mae Horowitz Eric Lubrick Photographers

Cover: Chrysler (Ghia) Streamline X “Gilda,” 1955.

Designed by Giovanni Savonuzzi and Virgil Exner. Courtesy of Scott Grundfor and Kathleen Redmond. Photo by Michael Furman.

Left: Edward C. Moore (American, 1827–1891) (designer and maker) for Tiffany & Co. (American, est. 1837) (retailer), beer pitcher (detail), about 1857, silver, Promised Gift of Martin K. Webb and Charles L. Venable.

IMA Asian Art Society Dam Square in Amsterdam Profile: Kim Gattle New Funding / Bret Waller Gallery Tanner Orchard Mulch to Munchies Exhibitions / Calendar Recent Events Upcoming Donor and Affiliate Events

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Pages 20–21: Tiffany & Co. (American, est. 1837), pair of candelabra, about 1879, silver, copper and gold, Anonymous Lender.

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The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 46208-3326.

Questions or comments may be directed to the staff at 317-923-1331. All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides, or videotapes must be obtained in writing from the Rights & Reproductions office. © 2015 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 to Forest Stewardship Council® in accordance with the rules of Chain of Custody.)

From the Director

2015 is here and exciting things are in the air at the IMA! Thanks to a generous grant from the Efroymson Family Fund at the Central Indiana Community Foundation, our ARTx series of innovative programs has begun and will continue throughout the year. Staged inside and out, highlights include Winter Nights, MLK Community Day, Okee Dokee Brothers Family Day, ART x FIT, and an expanded Perennial Premiere.

Art and nature truly meet at the IMA! While we unveil in our galleries the transformative work of conservators, partner with The Henry Luce Foundation to digitally photograph thousands of pieces of American art for inclusion on our website, and make final plans for our amazing summer exhibition, Dream Cars: Innovative Design, Visionary Ideas, we are busy outdoors too. Planning for spring in the Gene and Rosemary Tanner Orchard is happening now. We will continue to educate visitors about cultivating fruits and vegetables, and to provide hundreds of pounds of produce to food pantries. A new partnership with the Indianapolis Zoo will now allow hungry elephants to enjoy the IMA’s bounty as well. You will also have to take a pleasurable stroll in the gardens to visit the Lilly House and our new exhibition Tiffany, Gorham, and the Height of American Silver, 1840–1930, featuring masterpieces from some of the world’s best silver makers.

As you enjoy all these opportunities, you will also notice work being done around the campus to improve your experience at the IMA. For example, since people often do not enter the Museum building before walking out into the gardens, we have difficulty greeting our visitors and making sure they know about all the wonderful things they can do on our campus each day. Having learned from other great public gardens, we are going to correct this problem by guiding visitors to our front door to improve their IMA stay. A new “Garden Path” from the Efroymson Family Entrance Pavilion will then guide you out into nature while informing you of the adventures that lay ahead. By spring, improved signage will make your perambulations on the grounds easier, while a trip on our new garden tram will add an extra level of excitement to your exploration of our vast campus.

So despite a chill in the air, you will not want to miss a thing at the IMA this winter as we all await the other exciting features that will appear at the IMA this spring.

Thank you.

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

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Below: Photo courtesy of Specialty Vehicles

Destination IMA

Campus Enhancement Program Designed to Improve Visitor Experience

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“The Efroymson Family Entrance Pavilion will become the gateway to the Museum and gardens as it was originally intended.”

—Dr. Charles L. Venable, The Melvin & Bren Simon Director and CEO

You might have already noticed, but change is in the air at the IMA. Strolling through the gardens of the IMA, as well as inside the museum building, you’ll notice some new and exciting improvements to the campus, all designed to enhance the visitor and member experience. “We want to be able to welcome all our visitors to the IMA by greeting them appropriately, and providing them with the information they need to enjoy their time here,” said Dr. Charles L. Venable, The Melvin & Bren Simon Director and CEO. “The Efroymson Family Entrance Pavilion will become the gateway to the Museum and gardens as it was originally intended.”

Visitors will enter the campus primarily from 38th Street to access the grounds and enter the facility.

To provide easier access for pedestrians using public transportation, sidewalks are being added at both the Michigan Road and 38th Street entrances. Customer service representatives will be on hand at the Welcome Desk to greet all visitors and to provide maps, information on galleries, and a daily listing of special events and programs. From there, visitors can choose to visit the galleries, and explore the campus, shop at the Museum Store, or enjoy a meal at the Café.

An additional Customer Service Desk will be located near the Showalter Pavilion to direct visitors outside to the gardens.

Large scale murals and images on the walls of the Museum’s first floor will offer a glimpse of what to expect when roaming and enjoying the campus.

Outside, the gardens will continue to flourish with new plants, trees, flowers, and shrubs bursting with vibrant colors as seasons change and the landscaping matures. Beautiful estate fencing will surround Garden Terrace, where many weddings and special events are held throughout the year. New sidewalks will enable pedestrians to easily access the Dudley and Mary Louise Sutphin Mall and Fountain to enjoy Roy Lichtenstein’s Five Brushstrokes and the iconic Robert Indiana LOVE sculpture. New, easy-to-read wayfinding signage will make it easier to navigate the stunning 152 acres of the IMA.

NEW TRAM SERVICE Beginning in April, visitors will be able to take guided tours of the campus on a sparkling new tram service, which will stop at various areas of interest, including Newfield, the Garden Terrace, the Madeline F. Elder Greenhouse, and Lilly House. Along the way, riders will learn about the history of the IMA, the town of Woodstock, and the families who occupied the historic homes on the property,

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as well as hearing little-known details about the outdoor sculptures and other areas of interest.

“As we continue to enhance our visitor offerings through special exhibitions, stunning gardens, and programming and events for all ages, we hope to solidify the IMA as a major cultural attraction for locals and visitors alike,” said Venable.

Board Member Profile: Thomas Hiatt

PHOTO BY ERIC LUBRICK

Thomas Hiatt’s personal tastes in art reflect his eclectic aesthetic interests. The home he shares with his wife, Nora, is decorated with contemporary canvases, antique and contemporary furniture, as well as wooden, bronze and stone pieces collected when he lived in Asia. Perhaps his favorite item is a carved, weathered, teak screen salvaged from a house being dismantled in Pakistan’s Sindh province. Hiatt, who describes art as “a common language which binds people together,” explains that the craftsmanship and beauty of the object, as well as its cultural history, captivate him.

For Hiatt, there’s no better place to experience this common language than at the Indianapolis Museum of Art. For years he and his wife have enjoyed bringing family members and friends to the IMA to explore what he calls “a great island of aesthetic wonder.”

Hiatt’s deep interest in the IMA reflects his interest in art as well as his work building and strengthening both for-profit and nonprofit organizations. As a founding partner of Centerfield Capital, one of the largest Indiana-based private equity firms, Hiatt has worked closely with his colleagues to help

the management teams of firms achieve their growth objectives. In addition to serving on the boards of a number of private and publicly held corporations, Hiatt has also played a leadership role in establishing two nonprofit organizations: Friends of Holliday Park and Grameen Indianapolis, a “bank” which provides micro loans to women living below the poverty line.

Since 2010, Hiatt has also been a member of the IMA’s Board of Governors. He previously served as Vice Chair of the Executive Committee, Chair of the Development Committee and as a member of the strategic planning and “visioning” task forces. In 2012, at the request of Board Chair Stephen Russell, Hiatt assembled and led the search committee that selected Dr. Charles L. Venable as The Melvin & Bren Simon Director and CEO, whom Hiatt describes as “an intelligent and visionary leader who is always one step ahead.”

Hiatt was elected Chair of the IMA’s Board of Governors in June, a position he describes as an opportunity to both guide and serve an institution he has long admired.

Hiatt’s goals as Chair are closely aligned with those of Dr. Venable, the Museum’s senior leadership team, and the Museum’s new strategic plan. These goals include engaging new audiences, continuing to offer cutting-edge exhibitions reflecting the encyclopedic nature of the collection, strengthening the IMA’s ability to recruit and retain the best talent, enhancing visitors’ experiences in the gardens, and increasing membership and earned income to reduce the IMA’s dependence on its endowment.

Hiatt hopes that the IMA will continue to find creative ways to encourage visitors to experience and be inspired by art, while staying accessible and relevant to their everyday lives.

“The IMA is both unique and fortunate,” says Hiatt. “There are only a few institutions in our region devoted to one objective— capturing and appreciating beauty—and there are only a handful of museums in the country that can match the resources of the IMA, both in the breadth of its collection and the size of its campus. Thanks to the vision and generosity of the many men and women who have worked

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for, loved, and supported the IMA for more than 130 years, we are a strong and vibrant organization. It is a singular privilege for me to work alongside Charles, the other members of the Board, the staff, docents and many other volunteers who also serve this institution.

Rarely have I seen such a remarkable array of talent. It is because of this talent that the IMA has a brilliant future.”

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IMA’s ARTx Series is made possible by a gift from The Efroymson Family Fund.

ARTx Redefines the Museum Experience Clockwise from opposite top right: Avant Brunch, 2014; Summer Solstice in 100 Acres, 2012; IMA Block Party, 2014.

When you walk into the Sutphin Fountain Room of the IMA Café, it will be obvious that things are changing at the Museum. In stark contrast to the wintery landscape outside, the café dining room will be blissfully transformed into a Pop-Up Park, complete with lush turf, turntables, a deck, Adirondack chairs, picnic tables and places to lounge on cozy couches. Debuting on New Year’s Eve, the indoor park will be the setting for several newly minted programs, such as an acoustic campfire concert series, ART x FIT classes, Trivia Nights, and Drawing Clubs. The Pop-Up park, brainchild of Scott Stulen, the recently appointed Curator of Audience Experiences and Performance, is one of many platforms designed to alter the way visitors engage with the IMA. The lineup of programs, classes, and events hopes to entice new

audiences—particularly younger generations and families—to engage in the entire IMA campus in playful and unexpected ways.

And this means changing the way the IMA works too.

From the moment Stulen joined the IMA staff in March 2014, a programming renaissance was afoot. He immediately infused existing programs with a new energy and established dozens of new programs and events.

Assembled around a wooden picnic table in their basement office, the newly formed Audience Experience and Performance team holds weekly meetings and brainstorming sessions. Ideas are recorded on chalk walls and erasable white boards that allow change at a moment’s notice. The ideas are built upon, altered, and tweaked to achieve the right balance of rigor and play. They span topics from

kite flying days and canoe rentals in the lake, to art Olympics and tours by preschoolers. The best ideas are collaborative efforts, often sparked from unexpected juxtapositions. In less than a year, the department has added two new staff members and a robust intern program to work with Stulen to transform these rough ideas into reality.

Like Open Field and the Internet Cat Video Festival that mark Stulen’s success during his tenure at the Walker Art Center in Minneapolis, this new slate of programs adapts popular platforms and social experiences. Concerts, games, and films transform these platforms to fit the context of the IMA without losing cachet or appeal to younger audiences. His programming vision for the IMA was given a major kick start this past November through a generous $1 million gift from the Efroymson Family Fund, a fund of Central Indiana Community Foundation (CICF). The gift establishes the ARTx series to transform the visitor experience at the IMA, create new connections to the campus and collection, and establish an ongoing lineup of interactive programming directed by Stulen. ARTx will

provide an experimental wing of the IMA, and the core of the programming will provide a space where new ideas can be tested on the fly and integrated into the museum. With this support, his team has planned a full and diverse lineup of programs and events in 2015.

A reinvented monthly Family Day series will launch on the first Saturday in January, with a live performance by Grammy-winning bluegrass band The Okee Dokee Brothers, banjo and clogging workshops, and tours of key “firsts” from the IMA collection.

The Saturday Morning matinee series will also debut in partnership with Indy Film Fest, and will feature kids’ films and cartoons from the 1970s and 80s, complete with a cold cereal bar. Subsequent Family Day themes include The Year of the Sheep (February), Hip Hop U (March), Museum Madness (April), and The Great Outdoors (May).

Art Trivia and PowerPoint Karaoke will challenge teams to compete against one another while testing their knowledge of art and pop culture. Teams will be comprised of members of the public with “experts” available to be recruited into teams for each night’s

competition. Topics include playful categories like “Art or Building Supplies,” “Name That Font,” “Art Criticism or Amazon Review,” and “Dead or Alive.”

Avant Brunch riffs on the popularity of both listening parties and dining with friends through a series of tasting brunches by top local chefs, paired with exclusive listening parties of not-yet-released albums. The program debuted with a sold out event last July, featuring music by My Brightest Diamond and a menu by Libertine chef Erin Till. The quarterly series returns this winter on January 17 with Cerulean Restaurant and musical guest Palmbomen in the Pop-Up Park.

Popular mainstays like Winter Nights and Spring Equinox remain, but will be enhanced with added interactive experiences and programming. For example, Winter Nights, the cozy, indoor film series is turned inside-out on January 23 with a screening of the Cohen brothers classic Fargo (1996) OUTSIDE in the IMA amphitheater.

For an added twist, moviegoers who can prove a connection—with documentation—to Stulen’s home state of Minnesota or to the Dakotas, will receive VIP seating with heat and other northland perks. But for those of you hailing from the Hoosier state (or any other, for that matter), it’s best to come equipped with parkas and blankets. Prizes will be given for the best costume and Minnesota accent. Other highlights include partnering with the Indianapolis Chamber Orchestra to commission and perform a new score for the silent

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film Peter Pan (1926), and making Monty Python-inspired crafts for the screening of Monty Python and the Holy Grail (1975). The IMA will participate in Butler’s ArtsFest this year by programming a series of films and performances inspired by the theme of “Outlaws and Outsiders” including a spaghetti Western night, Bonnie and Clyde performance and poetry reading, and pirate radio-themed event in the IMA parking garage.

Traditional lectures and classes are also getting a facelift. ART x FIT is an intensive four-week immersion course that addresses a general theme and explores aspects, theories, and practices within that theme. A diverse set of instructors and “assignments” will be featured. Like an athletic crossfit workout, this course will shock you with its radical shift in approach and content to encourage new connections and insights on topics ranging from action painting to cell phone journalism. Grown Up Summer Camp will create an exclusive weekend adventure for adults to work with artists, learn new skills, and camp out on the grounds of the IMA. Stulen’s approach to programming is about changing the way visitors engage with a museum, giving them the chance to take a second look, and to connect to art work and ideas that can often seem esoteric and out of reach. Stulen states, “My goal is to make art relevant to our daily lives and use art as means of connecting with one another…and have some fun along the way.”

May 3–August 23, 2015

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A new type of motor spectacle arrives in Indianapolis in May, but it won’t be located where you might imagine. Dream Cars: Innovative Design, Visionary Ideas rolls into the Indianapolis Museum of Art on May 3, and will feature an unprecedented collection of rare concept cars from the early 1930s to the 21st century.

Dream Cars: Innovative Design, Visionary Ideas

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Pages 10-11: General Motors Firebird I XP-21, 1953.

Designed by Harley J. Earl, Robert F. “Bob” McLean, and GM Styling Section staff. Courtesy General Motors Heritage Center. Photo by Michael Furman.

Below: General Motors Firebird I XP-21 (detail), 1953. Designed by Harley J. Earl, Robert F. “Bob” McLean, and GM Styling Section staff. Courtesy General Motors Heritage Center. Photo by Michael Furman.

Right middle: Chrysler Thunderbolt, 1941.

Designed by Ralph Roberts and Alex Tremulis.

Courtesy of Roger Willbanks, Denver, Colorado.

Photo by Michael Furman.

Right bottom: L’Oeuf électrique, 1942. Designed and fabricated by Paul Arzens. Courtesy Musée des Arts et Métiers, Paris, France. Photo by Michel Zumbrunn and Urs Schmid.

In its only US appearance in 2015, the exhibition brings together a unique collection of the most imaginative concept cars drawn from both private and public collections around the world.

Dream Cars showcases some of the most unique vehicles ever created by top names in the automotive field, including General Motors, Chrysler, BMW, Ferrari, Cadillac, and Ford. Along with conceptual drawings and scale models, the exhibition explores the evolution of revolutionary automobile design that pushed the limits of the imagination and shaped the future of the industry. Imagine an egg-shaped electric car, an exterior surface made of fabric, or a jet fighter rolling down the highway—all of these were among the ideas dreamed up by designers and featured in this exhibition. Visitors will learn about the technical features of the cars, their designers and makers, and the inspiration behind them. Additionally, the exhibition will help visitors understand the context in which these cars were created, and how the vision of the future represented by these cars has changed over time.

Highlights of the exhibit include: William Stout’s Scarab (1936) The genesis of the contemporary minivan. (opposite, top)

Ralph Roberts’s and Alex Tremulis’s Chrysler Thunderbolt (1941) Touted as “The Car of the Future,” it was built to educate the public about aerodynamics and streamlining. (opposite, middle)

Paul Arzens’s L’Oeuf électrique (1942) An electric bubble car designed by Arzens for his personal use in Paris during the German occupation, which has never before traveled to the US. (opposite, bottom) Exhibition catalogue available in the Museum Store.

“As ‘racing capital of the world,’ Indianapolis is a natural fit for this exhibition,’ said Dr. Charles L. Venable, The Melvin & Bren Simon Director and CEO. “The IMA is recognized as a leading museum in the field of industrial design and we are thrilled to pay tribute to Indianapolis’s rich automotive history by bringing these legendary vehicles to the city at exactly the time when all auto eyes are on us. Over a quarter of a million people from all over the globe arrive in Indianapolis each May to watch the Indy 500. In addition, hundreds of thousands of sporting enthusiasts, families, and tourists travel to Indianapolis to enjoy a month-long celebration of auto racing held in and around the city, including the nation’s third largest festival parade, the nation’s largest half marathon, and a large selection of family programming, sporting and musical events, and community activities.”

General Motors coined the term “dream car” in 1953 as a reference to concept cars—experimental vehicles that challenged the status quo with their radical designs. As testing grounds for innovation, concept cars are a platform for automakers and independent designers to experiment with technology and explore cuttingedge styling and design aesthetics.

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Most concept cars are never intended for mass production, but instead are unique glimpses into the future possibilities of automotive design.

The exhibition will feature video footage and images, as well as a Car Design Studio where visitors can explore the process of automobile design through engaging, hands-on activities. An iPad app will also accompany the exhibit and include information about the cars’ hidden features and interiors, historic footage, and interviews with leading automobile designers. Audio guides for both adults and children ages 6 to 12 will also be available.

This exhibition is supported by the Eli Lilly and Company Foundation.

Interpretation materials and content were created with the support of an award from the National Endowment for the Arts.

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Erwin Wurm: Euclidean Exercises

TEXT BY DR. TRICIA Y. PAIK CURATOR OF CONTEMPORARY ART Below right, below left (detail): Erwin Wurm, One Minute Sculpture, Organization of Love, 2014.

Installation View, Staedel Museum, Frankfurt, Germany. Photo by Wolfgang Guenzel. Courtesy the artist, Staedel Museum and Lehmann Maupin, New York and Hong Kong. Image © Staedel Museum.

January 16 through June 21 Conversation with Artist and Special Live Performance January 15

From January 16 through June 21, 2015, IMA visitors will have the chance to literally become a work of art—one minute at a time! Internationally known Austrian artist Erwin Wurm (b. 1954) will invite the public to perform his popular One Minute Sculptures in the Efroymson Family Entrance Pavilion.

An artist who challenges what sculpture can be, Wurm has presented these intriguing ephemeral “sculptures” to art-going audiences since the late 1980s.

Except for the use of a pedestal, Wurm throws out all tradition—for example, that sculpture be a static object made of a certain material, such as bronze, marble, or wood. Instead, he requires the participation of the viewer to complete the work, and provides an instructional drawing along with selected props. The viewer is invited to step onto the pedestal and imitate the pose captured in Wurm’s drawing with the chosen props— common items like cleaning bottles, pens, and shoes. Depending on each scenario and the visitor’s ability, the pose can be challenging or easy to hold for sixty seconds at a time. These One Minute Sculptures then become living works of art.

The results can be comical, uncomfortable, embarrassing, even absurd.

Through these transient “sculptures,” Wurm transforms the everyday into something that is new and unknown, even disturbing and subversive, as a way to question and critique our everyday existence and experience. Each One Minute Sculpture as enacted by a different visitor becomes an entirely distinct and fleeting portrait of the individual holding the specific pose.

Smaller installations of other works by Wurm will fan out to various spaces in the Museum inviting the public to experience contemporary art in different contexts. In the courtyard of the Clowes Pavilion, Wurm will debut a new One Minute Sculpture made especially for this exhibition. In nearby galleries featuring the European collection before 1800, visitors will come upon other works by Wurm, this time more traditional “static” sculptures inspired by the human form. Offering an engaging juxtaposition with the historical works on display, these works will spark a dialogue across the centuries, and also remind audiences that all art was once contemporary.

Two Contemporary galleries on Floor 4 will feature other works by Wurm, such as photographs, video, more sculpture, and even a collaboration between Wurm and the American funk rock band, the Red Hot Chili Peppers—a video for their 2003 hit, “Can’t Stop,” in which the musicians enact various One Minute Sculptures throughout the song.

As visitors will learn, the notion of performance is integral to Wurm’s original and irreverent artistic practice. On the opening night of his exhibition, Thursday, January 15, 2015, Wurm will present a special live performance free to the public in the Efroymson Family Entrance Pavilion at 7:15 pm. But not to worry for those who cannot attend—the performance will be filmed and shown subsequently in his exhibition.

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IMA Docents are Committed to Sharing Art with Everyone The IMA’s docents have a long history of providing tours for visitors of all ages and stages of life—from preschoolers to seniors and everyone in between. We are committed to sharing art experiences with everyone, including visitors who may need special accommodations. What we’ve found in the process of planning and leading our tours is that art is a great connector and a great equalizer. Anyone who enters a museum is hoping for a memorable experience. They want to be inspired by art and—if docents do their jobs—learn a little something along the way. So, if the goal is the same for everyone, what’s different about some of our offerings?

Docents have received additional training to help break down barriers that might stand in the way of experiencing art firsthand.

The internet allows people to visit museums all over the world from the comfort of their homes. But if you ask a docent, nothing compares to being in front of an original work of art and talking about it.

We are committed to making the experience of visiting the Museum a positive and rewarding one. Hard-of-hearing visitors may always request an assistive listening device from our Welcome Desk upon their arrival. In addition, there is a regular public tour each month which is accompanied by an ASL interpreter. For visitors who are blind or visually impaired, the IMA offers monthly tours that incorporate a combination of touch and audio descriptions. IMA docents have received training in both interactive methods. The first offers visitors the opportunity to experience select original works of

art through their sense of touch.

Visitors wear special gloves and are guided as they touch works made of marble, rope or bronze. The audio description offers visitors— along with their families, companions, or caregivers—an opportunity to learn and share ideas about a work of art through use of descriptive narration. Finally, our garden guides assist visitors who use wheelchairs or may have mobility needs to see and experience the beauty of our Garden for Everyone and Overlook Garden. All of these touring options are also available for groups who may want to schedule a tour at a date and time that works for them.

For the past year, docents, in partnership with the Alzheimer’s Association, have also been offering monthly tours for visitors with early-stage Alzheimer’s or dementia in a program called Meet Me at IMA. Docent training was provided by the Alzheimer’s Association as well as educators from the Museum of Modern Art in New York, and was generously underwritten by the Klapper Family Foundation through the Alzheimer’s Association. These facilitated conversations help nurture self-esteem, elevate overall mood (of everyone involved), and help participants continue to share in a positive and affirming way. Our tours have taken place in the permanent collection galleries, in special exhibitions, and even outside in the gardens. Reservations for these tours are made through the Alzheimer’s Association, and their staff or volunteers are present on site to provide support and resources. Our Meet Me offering was recently expanded to include

Make Me @ IMA, a separate day each quarter that provides handson art making activities in a community setting.

If you or someone you know are looking for an opportunity to connect with art, we invite you to join us. We are ready to welcome you, interact with you, and inspire you! Information about our free tours can be found on our website at imamuseum.org/visit/accessibility .

“I wanted to thank you for having us yesterday for the touchable tour at IMA! Our students and staff really enjoyed the art in a very special way! Thank you again!”

Teacher from Indiana School for the Blind and Visually Impaired

“First of all I would like to say that my father had a wonderful time and he is so looking forward to coming back in the summer/fall to do an outside tour as well. He was impressed with [our docent] and the IMA! Cannot say enough wonderful things about our experience.”

Touchable Tour Participant

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Engaging Our Visitors through Participation In response to the ongoing changes in our society brought about by the success of social media, the IMA has recently developed a number of online and on-site participatory experiences that offer a platform for visitors to create and share their own content. By providing opportunities to include visitors’ voices in the museum experience, participatory projects offer means to engage members of our community—younger audiences in particular—in more innovative ways, in the hope of strengthening the perception of the museum as an inclusive environment.

Numerous examples of participatory experiences are currently available at the IMA for visitors to try out, while others are currently in development. In the Damon C. and Kay D. Davis Lab, for instance, visitors can express their creativity with the Inspired by Nature drawing competition (through March 2015). This competition encourages visitors to create drawings inspired by works from the IMA’s permanent collection depicting nature, as well as by the gardens. Using an iPad app available in the Davis Lab, visitors can first create and then submit their drawing to the competition website (imamuseum.org/inspiredbynature) where people can view entries, vote for their favorites, and comment. Drawings can also be submitted from home using the form on the website. Winners and finalists in various age groups are selected monthly and exhibited in digital format inside the Lab.

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The Indianapolis Star Family Studio also offers a number of analog and digital participatory experiences that support a better understanding of the IMA permanent collection, especially amongst younger visitors. Inspired

by Pop artist Robert Indiana’s Autoportrait series, visitors can use the Create your Autoportrait iPad app to create their own self-portrait using numbers, words, and colors that are significant to them. Once created, these self-portraits can be emailed and are shown in the Studio for other visitors to see.

The app is also available online at imamuseum.org/autoportrait.

Pointillize Yourself is an iPad app that allows visitors to take a photo of themselves and turn it into a Neo-Impressionist style painting.

By interacting with the iPad’s interface, visitors can first apply a pointillist filter to their “selfie,” select the thickness of the dots, apply a color gradient, add a digital signature, and then email the finished self-portrait. Originally developed for the Face to Face: The Neo-Impressionist Portrait, 1886-1904 exhibition, given its overwhelming success, the app was recently moved to Star Studio where it will remain until May 2015.

For the Georgia O’Keeffe and the Southwestern Still Life exhibition (through February 2015), we have developed two participatory activities that encourage visitors to create work inspired by the exhibition and their own surroundings. In Draw a Still Life, visitors are invited to draw their own Southwestern still life using props and artworks available in the exhibition for inspiration.

Visitors can choose to take their creations home or share them with other visitors by posting their drawings on the Inspired by the Southwest wall inside the exhibition.

Teaching artists are available to offer basic drawing tips on weekends from noon to 4 pm. In connection with the exhibition, we have also launched the My Indiana Still Life photo competition, which encourages visitors to take still-life photos that capture the essence of Indiana. Like the artists in the exhibition who were able to express the spirit of the Southwest through still-life painting, this activity encourages visitors to explore their surroundings, take a photo of a still-life composition evocative of Indiana, and submit it to the competition website (imamuseum.org/myindiana).

Submitted photos are displayed outside of the exhibition, while monthly winners are featured in our eNewsletter and social media channels.

For the Dream Cars: Innovative Design, Visionary Ideas exhibition opening in May 2015, we will turn

the Davis Lab into a Car Design Studio supported by an award from the National Endowment for the Arts. Visitors will learn about the car design process through videos, images, sketches, and a number of participatory activities. These include the possibility for visitors to design their own dream car using an iPad app that was developed in cooperation with the Indiana University School of Informatics and Computing. The app will guide children and adults through a number of steps, such as selecting fuel and engine types, the car silhouette, various accessories, and colors. At each step, visitors will be able to see how their design and engineering choices affect a number of variables including cost, fuel efficiency, and speed. The car designs created with the app will be shared via email and projected on the wall in the Davis Lab. We invite you to bring your family and friends to try out these activities and become co-creators of your museum experience.

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Splendid Silver Graces Lilly House

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

For millennia silver has captivated human beings. Ancient civilizations across the globe prized the metal for its bright, reflective surface, its malleability, and its relative rarity, and it was often used as currency fueling local and international trade. By the 19th century, the fascination with silver had reached a point where even middle-class families spent their incomes on an unbelievable array of silver vessels, flatware, and decorative objects.

Americans were certainly not immune to silver fever!

On April 1, the IMA will open the exhibition Tiffany, Gorham, and the Height of American Silver, 1840–1930.

Presenting more than sixty exceptional pieces from the IMA’s and private collections, the show explores how art and history came together as the United States emerged as an international power on the world stage.

The story that Tiffany, Gorham, and the Height of American Silver, 1840–1930 tells about the development of a major silverware industry in the US in the century following 1840 is indeed one worth telling.

The Tariff of 1842 effectively drove foreign silverware from the American marketplace, thus encouraging domestic production.

With a secure market for their products, entrepreneurs took advantage of the situation by applying machine technology and the division of labor to the production of silverware. Master craftsmen were brought from Europe to train native apprentices, who in Left: Edward C. Moore (American, 1827–1891) (designer and maker) for Tiffany & Co. (American, est. 1837) (retailer), beer pitcher, about 1857, Promised Gift of Martin K. Webb and Charles L. Venable.

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PHOTOS BY ERIC LUBRICK

turn dominated the industry. The result was amazing. By the 1870s, leading firms like Tiffany and Company in New York City and the Gorham Manufacturing Company in Providence, RI, employed hundreds of highly skilled workers.

Professional designers first entered the industry between 1840 and 1875. While originally wedded to European antecedents in a taste for realism (left) and Gothic and Rococo revival styles, some designers had brought great originality to American silver by the 1860s and ‘70s using a simplified aesthetic derived from ancient Greek and Roman art (right). Buoyed by a vibrant economy stimulated in the North by the Civil War, American consumers not only accepted these new designs, but came to view silver as a necessity in their dining and family rituals. Simultaneously, inexpensive immigrant and African American labor enabled many households to maintain servants to do the tasks of setting elaborate tables and polishing silverware. As the market grew, producers expanded their distribution network and experimented with advertising.

The years between 1875 and World War I saw the US silverware industry and market mature.

Production was expanded by constructing extensive and better-organized factories, such as Gorham’s Elmwood plant (1890) and Tiffany’s Forest Hill works (1894), both of which had over 2,000 employees. Although such facilities were periodically rocked by labor unrest and strikes, the

Left and above: George Wilkinson (American, 1819–1894) (designer), Gorham Mfg. Co. (American, est. 1831) (maker), hot water urn, about 1871, silver, Anonymous Lender.

Below: Charles Osborne (American, 1848–1920) (designer), Tiffany & Co. (American, est. 1837) (maker), Goelet Racing Cup for Schooners, 1885, silver, Anonymous Lender.

production and quality of silver pouring from them generally rose throughout the period.

To sell their wares, producers intensified advertising efforts.

Through trade catalogues and journals, world’s fairs, elaborate showrooms, and the popular press, Americans were enticed to purchase

silver in huge quantities. By the late 19th century the US led the world in the production and consumption of silverware. Silver was made in almost every form imaginable, from ice bowls (page 22) to sporting trophies (right).

Fueling this rise were ever more elaborate etiquette rituals for

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Above: Gorham Mfg. Co. (American, est. 1831), salad servers, about 1883, silver and gilt silver, Anonymous Lender.

Right: Gorham Mfg. Co (American, est. 1831), ice bowl, 1872, silver, Anonymous Lender.

dining. These created the perceived need for specialized serving and eating utensils to go with the growing abundance of exotic foods available, like grapefruits, oysters and ice. By the end of the century, a silver place-setting of expensive flatware could contain as many as 17 pieces. Because of the constant decline in the price of silver bullion between 1870 and 1915 and fierce competition, even lower-middleclass households could afford some silverware by the 1890s.

Along with leading in the production and consumption of silverware, US firms were arguably the most innovative in terms of design. Tiffany’s triumph with

Japanese-inspired objects at the 1878 Paris World’s Fair first brought international acclaim to American work (pages 20–21) as did similar work by Gorham (above left). Producing extraordinary wares in a wide variety of styles—including “Hindu,” Russian, Classical, Baroque, and Art Nouveau—US makers remained in the forefront into the early 20th century. In fact, the quality of their best work was so high that it came to be seen as “fine” art by consumers. However, the reformist movements that gained momentum after 1895 brought an appreciation for simplified design and emphasis

on handwork. Certainly some examples in the Arts and Crafts, Colonial Revival, and Art Deco tastes that dominated between 1910 and 1940 were handmade, as the finest silverware had always been. Most were not, however. The simple, unornamented shapes that characterized these styles were ideal for mechanical production.

Nevertheless, manufacturers found it difficult to make a profit no matter how much they advertised. With the onset of the Great Depression, Americans curtailed their silver purchases.

America’s entry into World War II saw precious metals like silver diverted to the war effort, and

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silverware production was halted almost totally by 1944. The great age of American silver had come to an end.

This exhibition is presented by The Alliance of the Indianapolis Museum of Art.

The Asian Art Society of the IMA

Tanomura Chokunyū, (Japanese, 1814–1907), White-Robed Avalokiteśvara, Flanked by Two Landscapes, 1882, ink and colors on satin, 54 × 13-5/8 in. (painting) each 80-1/2 × 20-1/2 × 1-1/2 in. (mount and rolling bar) each 1-1/2 in. (hanging cord). Indianapolis Museum of Art, Gift of the Asian Art Society of the Indianapolis Museum of Art, 2014.50.1

The Indianapolis Museum of Art boasts one of the strongest Asian art departments in the nation in terms of focus, scope, and quality. Building on the encyclopedic, 177-piece Chinese art collection gifted to the Museum by Eli Lilly over several decades, IMA curators have amassed one of the largest and most significant collections in the United States including important holdings of Chinese jade, Ming and Qing dynasty Chinese paintings, and rare hanging scrolls and screens from Japan’s Edo period.

The Asian Art Society (AAS) was founded in 1975 to cultivate greater interest in the IMA by promoting its renowned Asian art collection. With nearly 100 active members, AAS is a tight-knit, active group dedicated to supporting the growth of the IMA’s collection, as well as encouraging interest in Asian art, history, and cultural traditions with a variety of programmatic offerings.

“The Asian Art Society’s academic, educational, and social programs and activities have contributed greatly to the understanding and appreciation of Asian art in America’s heartland throughout the years,” says IMA’s Curator of Asian Art, John Teramoto. The group regularly presents public lectures, receptions, and films to complement the Museum’s public program line up. In September, AAS hosted a talk by Curator Emeritus James Robinson, humorously titled “The Good, the Bad, and the Ugly: Stories behind the IMA’s Asian Art Collection,” which provided a fascinating glimpse into curatorial practices and the changing art market throughout the years. This winter, the group will partner with the IMA to present the Winter Nights series film Spirited Away (2001) by Hayao Miyazaki. They will also sponsor the “Year of the Sheep” Community Day in February, and will host Dr. Kendall Brown on April 23 for a talk on shin hanga, a modern Japanese style of woodblock print.

Social interaction plays a big part in AAS activities. “We try to include ‘meet and greet’ opportu-

Michael and Janice Baughan, William and Carolyn Greer, John and Jean Teramoto

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nities in everything we do,” says AAS president Nancy Inui. “We also offer more socially focused events like our Lunar New Year dinner and annual picnic in the summer.” Some of these social events include educational aspects. The group recently arranged a dinner and presentation by visiting scholar Karen Mack, who is here at the museum studying summer kimonos.

Members brought their own kimonos and obis for a fun and informal show and tell.

AAS members also support the IMA‘s collections by assisting in the selection and acquisition of new works of art for the Asian Art Department. The Japanese Print Group, a subset of the Asian Art Society, studies groupings of prints with curator John Teramoto, and afterward selects one or more prints for the Museum’s collection.

Throughout the years, the AAS has purchased numerous items for the Museum, including the recently acquired hanging scroll triptych, White-Robed Avalokiteśvara, Flanked

by Two Landscapes, by Tanomura Chokunyū (1814–1907) currently on display in the Francine and Roger Hurwitz Gallery. AAS members also recently raised $100,000 to help purchase an important collection of Edo period paintings.

2015 marks the 40th anniversary of the Asian Art Society. See future issues for information about celebratory programs, events, and acquisitions.

Interested in joining AAS? There are 3 easy ways to join: LOG ON to imamuseum.org/join CALL 317-920-2651 VISIT the IMA Welcome desk

New Light on Gerrit Berckheyde’s Dam Square in Amsterdam

TEXT BY

DR. JACQUELYN N. COUTRÉ

ALLEN WHITEHILL CLOWES CURATORIAL FELLOW

LINDA WITKOWSKI IMA SENIOR PAINTINGS CONSERVATOR

Gerrit Berckheyde (Dutch, 1638–1698), Dam Square in Amsterdam, 1668, oil on canvas, 27-9/16 × 43-1/8 in. Royal Museum of Fine Arts Antwerp.

Above right: During treatment—dirt, varnish, and discolored retouch partially removed.

One of the most accomplished painters of the Dutch cityscape, Gerrit Berckheyde (1638–1698) specialized in highly-detailed “portraits” of churches, country manors, and city gates. His works depicting the new Amsterdam Town Hall and the surrounding Dam square—one of his most beloved subjects—testify to not only the grandeur of the square’s classicizing and Renaissance architecture but also to the economic and political prosperity of the citizens who enjoyed the space on a daily basis. As part of a long-term loan agreement with Antwerp’s Royal Museum of Fine Arts, Berckheyde’s Dam Square in Amsterdam of 1668, one of the artist’s earliest explorations of the subject, was treated in the IMA’s Conservation Lab. The valuable

data that resulted from its analysis has also assisted in the art historical contextualization of this captivating painting.

Assessing Materials and Proposing a Treatment The conservation of Dam Square in Amsterdam began with an assessment of the condition of the painting, which resulted in a complete examination of the artwork and a proposal for conservation. As part of the examination process, the painting was viewed under normal, raking, infrared, and ultraviolet light from which digital images were taken.

In addition to this, an x-radiograph was made of the entire painting.

The results of the infrared and ultraviolet imaging were very

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informative. The infrared image shows that the artist rethought the elevation of the buildings along the horizon line: he ultimately lowered the height of the buildings from that articulated in a lower layer of paint. The infrared image also reveals areas of old damage and loss, particularly in the sky, as old fills and areas of damage to the paint layer appear lighter than the surrounding area. When the painting was photographed in ultraviolet light, later intervention via retouch also became visible in the sky as areas of dark purple.

Another facet of the examination process was to view the painting under high magnification as a means of assessing structural integrity as well as the presence of paint abrasion and areas of retouch from previous restoration campaigns.

Below top: Before treatment: Front—infrared Below bottom: Before treatment: Front— ultraviolet light Below right: Detail: Changes in architecture— infrared reflectography

In conjunction with this, small cleaning tests were performed on the surface of the painting.

The first step in the conservation treatment involved stabilizing structurally weak areas between the original paint, ground and canvas layers using an aqueous adhesive applied to the area with a small brush. Following this, so as to not damage the original colors used in the painting, subsequent layers of surface dirt, yellowed dirt-embedded varnish, and several campaigns of discolored retouch were carefully removed using both aqueous and solvent-based cleaning mixtures of varying strengths.

With the surface of the painting cleaned and in its “actual state” (i.e., grime layer, varnish and retouch removed), a non-yellowing isolating varnish layer was

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Top: Before treatment: Front—normal light

Page 27, top: Detail: Blue robe analyzed for use of the rich blue pigment lapis lazuli

Bottom: After treatment: Front—normal light

Page 27, bottom: Detail: Signature at lower left

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applied on top of which localized areas of loss were filled. Remnants of discolored retouch that could not be removed and areas of abrasion, as well as darkened craquelure were then locally in-painted with easily reversible colors using a small red sable brush. Finally, to appropriately saturate the colors as well as protect the surface of the painting, a final non-yellowing varnish layer was applied on the surface of the painting. The IMA’s treatment of the painting has revealed a greater sense of recession in the square and the sky, and the upper layer of varnish causes the scene to glisten with activity.

Additionally, based on the sumptuousness of the hues in the rich blue robe worn by the woman in the center of the painting and in the darker blue areas of the sky, there was a strong interest from both the IMA and Royal Museum curators and conservators as to whether Berckheyde had used lapis lazuli—a natural ultramarine blue pigment. The use of this pigment would be extremely illuminating, for, in that period, it was more expensive than gold! Bearing this in mind, specialized instrumentation and analysis in the IMA’s Conservation Science Lab would prove useful in determining the presence of the expensive blue pigment in the painting. With special permission from the Royal Museum, the woman’s blue robe and a small sample area in the sky were analyzed using a variety of scientific techniques including X-ray fluorescence, Raman microscopy, Fourier transform infrared (FTIR) microspectroscopy, as well as visible and UV-induced visible Fluorescence microscopy.

The comparative analysis yielded results that were positive for Berckheyde’s use of natural lapis lazuli in the woman’s cloak and, to a lesser extent, in portions of the sky. The use of the most expensive blue pigment to draw attention to this foreground figure, and, less overtly, to the sky has interesting implications for the painting’s origins.

From Materials to the Market: Thoughts on the Painting’s Origins The cornerstone of the new Town Hall of Amsterdam was laid on October 20, 1648, in celebration of the Dutch Republic’s official independence from Spain, thereby making it a monument to peace and a dazzling site for the celebration of the visual arts. The program of the building’s exterior is crafted, in fact, to speak to this newly gained freedom. The carved sculpture on the east façade overlooking the square displays the enthroned maid of Amsterdam surrounded by water creatures, who offer her crowns of laurel, while three free-standing sculpted figures of Prudence, Justice, and Peace crown the tympanum. Peace stands atop a cornucopia, evoking abundance, and holds aloft an olive branch and the caduceus of Mercury, the latter an allusion to wisdom and trade. Even the classicism of the architecture is meant to recall the style of that exemplary model of republicanism, Rome.

Inherent to sustaining the Dutch Republic’s freedom was the economic and civic activity that we see depicted in a variety of

forms in Berckheyde’s painting.

The Weigh House, where imported cargo of more than 50 pounds was weighed upon entrance to the city, is the locus around which men roll barrels of wine, horses pull heavy loads, and money changes hands.

In front of it, a small fruit market marks the morning, while the buildings on the square’s south side (at the left of the painting) bear signs indicating a printseller and a notary. Even the pockets of magistrates chatting before heading into their chambers in the Town Hall suggest a thriving society. Berckheyde, who has animated the square here with more citizens than in almost all of his other paintings, demonstrates the Dam to be a vibrant, essential location in the city. No wonder he portrayed this square more than 30 times during his career!

While most of Berckheyde’s paintings were likely executed for the open market, several factors suggest that the Antwerp painting may have been a commission. The sizable dimensions of the canvas— about three times larger than the average size of the other versions of this subject— and the use of the imported pigment lapis lazuli indicate a costly product ordered by a well-paying patron. Similarly, the signature gerrit Berck Heijde f. / Haerlem 1668 (Gerrit Berckheyde made this / Haarlem 1668), an inscription unique in the artist’s body of work, emphasizes the location of Berckheyde’s studio in the nearby city of Haarlem.

Clearly, he felt the need to clarify his work circumstances for his intended audience, and he may have even sought to emphasize his participation in the Haarlem tradition of architectural painting.

The question of who could have commissioned such a sumptuous painting remains open, though Berckheyde’s work was clearly appreciated by affluent collectors.

In 1740, less than fifty years after the artist’s death, a view of the City Hall on the Dam is listed in the collection of the widow of Lodewijk de Bas, Lord of Horster-

meer, Ossenburgh, and Heinoordt, who resided on the prestigious Herengracht in Amsterdam.1 A smaller version of the Antwerp painting was listed in the possession of Elector Augustus III (1696–1763) in Dresden by 1750.2 The unusual inscription that specifies the city in which Berckheyde worked suggests that the first owner of the Antwerp painting may have been a foreigner to Holland. The earliest provenance of the painting extends back only to 1791, when the painting was sold at the auction of the collection of Emmanuel Augustin Joseph van den Meersche, lord of Berlaere, in Ghent.3 One possibility is someone of the caliber of the Elector Palatine Karl Ludwig (1617–1680), a known admirer of Berckheyde’s work. Arnold Houbraken (1660–1719), an early biographer of Gerrit Berckheyde and his brother Job, notes that the brothers spent some time at the Elector’s Heidelberg court in the 1650s. So pleased was Karl Ludwig with their work that he rewarded them with portraits of the royal family made out of gold.4 An unpublished inventory of 1686 mentions one view of Heidelberg

that has been associated with a painting by Gerrit Berckheyde dated 1670, as well as a painting of “The Heidelberg market with the Church of the Holy Spirit,” which resembles the Antwerp painting in subject matter.5 The presence of the 1670 painting in the Elector’s collection demonstrates that the Berckheydes had connections to powerful international collectors during their mature careers.

Perhaps someone in a position similar to that of the Elector Palatine was the intended recipient of the Antwerp masterpiece.

Berckheyde’s Dam Square in Amsterdam, now as radiant as the morning light that it depicts, inaugurates the recently reinstalled Dutch and Flemish paintings gallery after more than a year and a half of conservation treatment. The study of this painting at the IMA has brought us to a new understanding of the painter’s creative process while also delighting our senses with a view into the city’s seventeenthcentury history.

1 See item 18 in inventory number N-1119 in the Getty Provenance Index Databases. The couple owned no less than four cityscapes

by Gerrit, as well as five paintings by his brother Job (1630-1693). 2 See Ariane van Suchtelen and Arthur K. Wheelock Jr., Dutch Cityscapes of the Golden Age, exh. cat. Royal Picture Gallery Mauritshuis, The Hague; National Gallery of Art, Washington (Washington: National Gallery of Art, 2008), p. 216. 3 Number 139. I would like to thank Nanny Schrijvers of the Koninklijk Museum voor Schone Kunsten Antwerpen for sharing this information with me. 4 Houbraken cites verses by Franciscus Snellinx in his biography.

See Arnold Houbraken, De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen, vol. 3 (facsimile edition of ‘s-Gravenhage 1753; Amsterdam 1976), p. 196. 5 Personal communication with Dr. Hanns Hubach, 3 July 2014. I am grateful to Dr. Hubach for his assistance with this unpublished inventory.

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Staff Profile: Kim Gattle

PHOTO BY ERIC LUBRICK

Deputy Director for Institutional Advancement

For the Southern-born, waterloving Kim Gattle, moving to the Midwest was initially a rough transition. In an effort to survive the sometimes harsh Indiana winters, Gattle discovered a love for gardening and visiting the Indianapolis Museum of Art’s sprawling gardens and green space, which she calls a true “urban oasis.”

“The IMA is a place that refreshes and restores you with each visit,” says Gattle. “You leave rejuvenated and able to experience life more fully.”

Now 20 years after first visiting its campus, the IMA has become an integral part of Gattle’s life. She and her husband, newly retired Indianapolis Arts Center CEO Carter Wolf, are longtime members of the IMA, and now Gattle has taken her passion for the institution to the next level as the Museum’s first-ever deputy director for institutional advancement.

The institutional advancement position is a new one for the IMA, building upon the duties of the former position of chief development officer and taking more of an institution-wide approach to fundraising. In her role, Gattle will help to build a more secure financial foundation for the Museum by cultivating fulfilling, long-lasting relationships with members and donors.

“Fundraising is more than soliciting gifts,” says Gattle. “It is the process of mutual discovery through which we work together to pinpoint the intersection between a donor’s deepest passion for art, beauty and nature, and the IMA’s greatest needs. The discovery process requires that we continue to create ways for donors to

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become engaged with the IMA in ways that are meaningful to them.”

Gattle’s experience in advancement spans more than two decades. She was a member of the inaugural class of the Center on Philanthropy at Indiana University, now the Lilly Family School of Philanthropy, and later served as its director of fundraising and institutional advancement. Her career also includes leadership positions with the Indiana University School of Medicine, Walther Cancer Institute and her family’s Florida-based company, Gattle’s Inc. When it comes to strengthening the advancement efforts of the IMA, Gattle only sees immense opportunity. She describes the Museum as a “multifaceted jewel” with world-class art, stunning gardens, innovative programming and more that has been made possible by the farsighted philanthropy of past and current donors.

“The IMA offers something for everyone,” says Gattle. “It gives you the opportunity to experience the full sensation of art in a sanctuary of natural beauty in the middle of a bustling metropolis. I want to help the IMA continue to serve as a central and vibrant part of the community.”

New Foundation Funding Supports Digital The IMA is grateful to generous funders, such as The Henry Luce Foundation and the Getty Foundation, who provide grant support to allow the Museum to undertake digital initiatives that benefit not only the IMA’s audiences, but the museum field as a whole.

AMERICAN ART COLLECTION DIGITIZATION PROJECT

ONLINE SCHOLARLY CATALOGUE INITIATIVE TOOLKIT: PHASE II

Throughout the IMA’s history, the American collection has played a prominent role in the life of the Museum. American works were among the Museum’s first acquisitions, and the steady commitment of IMA donors and curators over the years has produced holdings of great range and depth.

The IMA’s collection of American art is comprised of more than 13,000 works in a variety of media, including painting, sculpture, fashion arts, textiles, decorative arts, prints, drawings, and photographs.

Through a $300,000 grant awarded by The Henry Luce Foundation in March 2014, the Museum is digitizing approximately 2,100 of these works over the next two years in order to make this collection available online to the public. The project focuses on four important areas of the Museum’s American holdings: paintings and sculptures, textiles and coverlets, Native American objects, and decorative arts. In jumpstarting the IMA’s efforts to digitize its American collection, this project enhances the Museum’s capacity to advance scholarship around these works and ensures the collection’s accessibility to a broader audience.

The IMA Lab, the technology development arm of the IMA, is a dynamic group of designers, developers, and digital strategists. As a recognized leader in the application of technology for museums, the IMA Lab is dedicated to advancing the field of museum technology and promoting the production and sharing of open content and scholarship.

With the support of a $237,000 grant awarded in October 2011 from the Getty Foundation as part of its Online Scholarly Catalogue Initiative (OSCI), the IMA Lab created an open-source online publishing toolkit that museums can utilize to create and publish scholarly catalogues online.

This OSCI Toolkit allows museums to reach users on new platforms, including e-reader tablets, as well as to provide innovative ways to interact with online catalogues. In June 2014, The Getty Foundation awarded the IMA a 16-month, $300,000 grant to fund Phase II of the OSCI Toolkit project. The IMA Lab will work to refine the Toolkit and to provide specialized training, outreach, and promotion to developers, publishers, editors, technologists, and other museum professionals in order to improve the Toolkit’s accessibility and awareness among a wider audience in the museum field.

This project is generously supported by a grant from The Henry Luce Foundation.

This project is made possible by a grant from the Getty Foundation. Chicago Codex, which serves as the basis for the OSCI Toolkit, was conceived, managed, and developed by the Art Institute of Chicago.

The Getty Foundation

Bret Waller Gallery Opening On October 12, 2014, The Watercolor Society of Indiana opened its 32nd annual juried exhibition of paintings at the dedication of The Bret Waller Gallery. As its inaugural exhibition, The Bret Waller Gallery will host these varied works through December 7. The Watercolor Society of Indiana is made up of more than 300 artist, student, and patron members statewide who produce high-quality watercolor paintings and seek to educate the public about this beautiful, transparent medium.

Made possible by a most generous anonymous donor, this bright, welcoming gallery was named in honor of past IMA CEO Bret Waller as a tribute to his steadfast service to the Museum for over a decade.

This exhibition space will continue to offer a varied cycle of exhibitions inviting visitors to expand their ideas of art.

Right: Bret and Mary Lou Waller. Photo courtesy of Steve Griffith

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Gene and Rosemary Tanner Orchard Educates, Informs, and Serves the Community Have you had the pleasure of tasting a fresh fruit or vegetable straight from a garden? Unfortunately, many people today have not, and only experience their food coming from a grocery store shelf.

Through the Gene and Rosemary Tanner Orchard, we have been able to educate people about where fruits and vegetables come from as well as how they are grown. The Orchard first opened in 2009 as a demonstration garden, and was subsequently restored to show its original purpose of providing fruits and vegetables for the historic estate of Oldfields.

While working with school children, we have learned that some students lack an understanding of certain basic food facts, such as what a beet is or that a potato grows underground. The simple activity of planting a seed and seeing it develop into a plant that provides food for your plate is a powerful concept for both children and adults. The Orchard has also helped those in need here in Indianapolis. Last year, over 1,500 pounds of fresh produce was donated to Second Helpings, an Indianapolis-based nonprofit that provides meals for thousands of hungry children and adults every day.

The IMA horticulture staff has broadened the Orchard’s purpose by promoting the role of pollinating insects, which are vital to all fruit and vegetable production. We are currently replanting a section of the Orchard devoted to plants that provide a beneficial insect habitat.

We also maintain two honeybee hives and an orchard bee population. By allowing bees, flies,

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TEXT BY CHAD FRANER DIRECTOR OF HORTICULTURE

moths, and butterflies a place to complete their life cycle, they in turn pollinate our fruits and vegetables.

The next time you bite into that juicy tomato, think about the process it takes to get it in your hands and try growing some of your own this season.

Please go to the IMA website for additional information on educational programming in the Orchard at Perennial Premiere on April 18 and 19.

Mulch to Munchies: New Collaboration between IMA and Indianapolis Zoo Partnership provides a healthy and safe food source for the Zoo’s elephants.

The Virginia B. Fairbanks Art & Nature Park: 100 Acres has an excess of environmentally undesirable leafy trees that require thinning or culling. This will allow light and space for the introduction of a greater diversity of native trees. To this end, an opportunity was seen when the IMA Horticulture team was approached by the Indianapolis Zoo’s staff about the availability of certain species of edible browse for feeding Zoo animals. Not only does it provide the Zoo with a new harvest supply, it allows them to recycle mulberry and box elder trees right down to the branches and twigs. This means elephants and other animals receive a nutrient-packed snack that would otherwise end up on the mulch pile.

100 Acres provides a classic example of a highly disturbed site colonized with opportunistic and invasive plants. For example, there

is an overabundance of non-native white mulberry (Morus alba) in the Park. Yet mulberry happens to be a favorite source of browse for many exotic animals. While not all of the plants that are targeted for removal in 100 Acres are appropriate for a Zoo animal’s diet, there are several natives, such as weak-wooded box elder (Acer negundo), which frequently drop large limbs or trunks during storms and make good selections for Zoo browse.

If you are roaming the woods of 100 Acres and notice trees that are marked with blue tape, you could be looking at the next salad selection for the African elephant exhibit. To the benefit of both, where an IMA Horticulturist sees a bane and disturbance to the landscape, a Zoo Horticulturist sees an opportunity for a sweet and crunchy treat!

Photos courtesy of the Indianapolis Zoo

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Exhibitions

Up for a limited time only! Explore hundreds of years of art from around the world in these exhibitions. Tours occur daily.

For full tour schedule, visit imamuseum.org/programs/tours. For detailed information on exhibitions, please visit imamuseum.org

Organized by Joseph S. Czestochowski, Produced by International Arts®. Curated by Charles C. Eldredge.

Georgia O’Keeffe and the Southwestern Still Life

Dream Cars: Innovative Design, Visionary Ideas

Through February 15 / $15 Tue–Thur, $20 Fri–Sun, $12 for youth ages 7 to 17, free for IMA members and children 6 and under / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2

May 3–August 23 / Allen Whitehill Clowes Special Exhibition Gallery / Floor 2

Surround yourself with the ancient land and rich cultural traditions of the American Southwest through the evocative still life paintings of early 20th century artists like Georgia O’Keeffe. The works produced by these artists provide fascinating examples of art’s capacity to capture the essence of a particular place.

Organized by Joseph S. Czestochowski, Produced by International Arts®. Curated

by Charles C. Eldredge.

This exhibition is presented by The Alliance of the IMA, with additional support provided

by Barnes & Thornburg LLP.

O’Keeffe Education Supporters underwrite all public programs, educational outreach, and gallery experiences related to Georgia O’Keeffe and the Southwestern Still Life.

Platinum Supporter

Silver Supporters

Buckingham Foundation The Lacy Foundation Callot Soeurs (French), Evening Dress, 1920s, silk velvet, metallic threads, faux pearls; length: 50 in. (sheath), 94 in. (train); Indianapolis Museum of Art, Gift of Amy Curtiss Davidoff, 2007.71

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See page 10 This exhibition is supported by the Eli Lilly and Company Foundation.Interpretation materials and content were created with the support of an award from the National Endowment for the Arts.

Erwin Wurm: Euclidean Exercises January 16–June 21 / Free / Efroymson Family Entrance Pavilion; Clowes Courtyard; William C. Griffith, Jr. and Carolyn C. Griffith Gallery; Charles O. McGaughey Gallery; Lori Efroymson Aguilera and Sergio Aguilera Gallery, and Livia and Steve Russell Gallery Become a work of art! Through his well-loved One Minute Sculptures, Austrian artist Erwin Wurm invites the public to perform his unique and ephemeral “sculptures” with drawn instructions and the use of props.

Installations will be presented in multiple galleries along with other works by the artist.

The Onya La Tour Collection: Modernism in Indiana Through April 12 / Free / IMA Alliance Gallery / Floor 2 Discover early Modernist paintings, drawings and prints from the unconventional collection of Indiana native Onya LaTour (1896–1976).

This exhibition marks the first time much of LaTour’s collection has been displayed since the heyday of her Brown County farmhouse, dubbed the “Indiana Museum for Modern Art.”

The Rise of American Modernism Through July 26 / Free / Susan and Charles Golden Gallery / Floor 2 See European masters’ influence on the American Modernist movement in this exhibition of prints, drawings, watercolors, and photographs from the IMA’s collection. Included are works by Henri Matisse, Pablo Picasso, and Paul Cézanne, as well as Marsden Hartley, John Marin, Katherine Dreier, Marcel Duchamp, Man Ray and others.

This exhibition is generously supported by June McCormack

Revved Up: Cars in Art April 30, 2015–January 31, 2016 / Free / IMA Alliance Gallery / Floor 2 Learn how cars have fired the imagination of artists since their invention. An icon of modern American life, the automobile sparks strong cultural associations, from freedom, progress, mobility, speed, and adventure to danger, and sometimes even decay.

The Luxury of Tea and Coffee, Chinese Export Porcelain, Highlights from the Shirley M. Mueller Collection Through December 31, 2016 / Free / Patrick O’Riley and Elizabeth Gilbert Fortune Gallery / Floor 2 Take in tea and coffee wares from the Shirley M. Mueller Collection, one of the premier private holdings in the United States. This installation of Chinese porcelain made exclusively for foreign markets in the 17th and 18th centuries illustrates the dynamic and prolific interaction between Asia and the West.

Inspired by Nature

understanding of an object’s history through a recently acquired Uzbek coat.

Elegant Vision: Chinese and Japanese Paintings from the collection of Francine and Roger Hurwitz January 23, 2015–July 19, 2015 / Free / Richard M. Fairbanks Suite of Asian Art / Floor 3 Explore precious Chinese and Japanese paintings from the 16th through 20th centuries collected over several decades by local Indianapolis Asian art aficionados Francine and Roger Hurwitz.

Cutting-Edge Fashion: Recent Acquisitions

Through March 31/ Free / Damon C. and Kay D. Davis Lab / Floor 2

April 17, 2015–January 3, 2016 / Free / Gerald and Dorit Paul Galleries / Floor 3

See your own artwork displayed at the IMA. This juried competition and exhibition of visitors’ work honors the role that nature plays as a source of inspiration for artists. Pull up a chair and create your own drawing on the iPads available then submit it to the competition.

Featuring works by Rudi Gernreich, Vivienne Westwood, Alexander McQueen, Issey Miyake, Franco Moschino and others, this exhibition showcases pieces by fashion designers who constantly push the envelope and present collections that are ground breaking and artistic in nature.

Fabled Kings

On Stage!

Through January 4 / Free / Frances Parker Appel Gallery / Floor 3

March 13–July 12 / Free / Frances Parker Appel Gallery / Floor 3

Immerse yourself in the vivid and varied tradition of Indian narrative painting in this exhibition featuring paintings dating from late 17th and 18th century India. Included are works from the IMA’s Asian collection and a selection of paintings from a Panchatantra series on loan from a private collection.

Explore the dramatic facial expressions of Japanese Kabuki Theater and the ethereal spirituality of the Noh mask through prints from the 18th through 20th centuries.

Coat of Many Colors Through March 1 / Free / Gerald and Dorit Paul Galleries / Floor 3 Discover how the IMA’s conservation science laboratory contributes to our

Continuing the Work of the Monuments Men Through September 6 / Free / Steven Conant Galleries in Memory of Mrs. H.L. Conant, Clowes Pavilion / Floor 2 Channel the Allied soldiers in the 2014 film The Monuments Men as we examine one work from the IMA’s European collection revealing the complexities of provenance research,

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and the difficulties sometimes involved in reconstructing a painting’s history of ownership.

Bill Viola: Capturing Spectacle and Passion Through January 20 / Free / June M. McCormack Forefront Galleries / Floor 4 Be mesmerized by acclaimed video artist Bill Viola’s The Crossing (1996) and The Quintet of the Silent (2000).

The striking video installations chart the extremes of human emotion and reflect Viola’s efforts to, in his own words, “represent the unrepresentable.”

Christmas at Lilly House 2014 November 15, 2014–January 4, 2015 / Free / Lilly House / Floor 1 Celebrate the holidays and get some decorative ideas of your own in this annual exhibition that features 1930s- and 1940s-era holiday décor including familiar favorites such as trees, wreaths, and greenery as well as more unusual elements sure to delight.

Tiffany, Gorham, and the Height of American Silver, 1840–1930 April 1, 2015–January 4, 2016 / Free / Lilly House / Floor 2 Be dazzled by the sparkling wonder of some of the finest examples of American silver from the 19th and 20th centuries. Discover the advancements made by Tiffany & Co. and Gorham Manufacturing that led the way for America to become the foremost creator of silverware in the world.

This exhibition is presented by The Alliance of the Indianapolis Museum of Art.

Calendar

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

03 SAT Family Activity / Family Day: Kickoff / Various Locations / 10 am–3 pm / Free

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.

09 FRI Film / Winter Nights: Wizard of Oz / The Toby / 8 pm / $9 P, $5 M Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free

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

TOURS Collection & Exhibition Tours / Offered daily.

Visit imamuseum.org for full schedule.

Family Tours / 1st Sat of the month / 11:30 am & 12:15 pm / Meet on Floor 2 at top of escalator Meet Me at IMA: Alzheimer’s Tours / 4th Tues, 2 pm/Meet at Welcome Desk/ Registration Required 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 / 2nd Sat & 3rd 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 Garden Tours / Sat & Sun beginning April 1 / 1 pm / Meet at Lilly House

RECURRING EVENTS 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 / Star Studio Classroom / 1–4 pm / Free ASK ME! / Docent stationed in galleries / 1–3 pm / Free EVERY SUN Family Activity / Make & Take / Star Studio Classroom / 1–4 pm / Free

JANUARY 02 FRI Film / Winter Nights: O, Brother Where Art Thou / The Toby / 8 pm / $9 P, $5 M Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free

10 SAT Special Exhibition Tour / The Onya La Tour Collection: Modernism in Indiana / Meet on Floor 2 at top of escalator / 1 pm / Free Special Event / Closer Look / Somewhere Over the Rainbow / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required 15 THU Special Event / Talk & Performance by Erwin Wurm / 6:30 pm / The Toby / Free 16 FRI Film / Winter Nights: Spirited Away / The Toby / 8 pm / $9 P, $5 M / Presented with Asian Art Society Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 17 SAT Special Event / Avant Brunch with Cerulean Restaurant and Palmbomen / Pop-Up Park / 10 am / $35 M, $50 P Class / Beginning Bonsai / 10–11:30 am or 1–2:30 pm / $85 P, $60 M / Registration required 18 SUN ASL Interpreted Public Tour / Time in Art / Meet on Floor 2 at top of escalator / 1 pm / Free 20 TUE Special Event / Closer Look / Paris to a Point / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required 23 FRI Film / Winter Nights: Fargo / The Toby / 8 pm / $9 P, $5 M Special Exhibition Tour / The Rise of American Modernism / Meet on Floor 2 at top of escalator / 1 pm / Free 30 FRI Special Event / Trivia Night / Pop-Up Park / 6 pm / Free Film / Winter Nights: Help! / The Toby / 8 pm / $9 P, $5 M

31 SAT Special Exhibition Tour / The Rise of American Modernism / Meet on Floor 2 at top of escalator / 1 pm / Free

FEBRUARY 03 TUE Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 05 THU Class / ART x Fit / Meets in the Pop-Up Park / 6:30–8:30 pm /$85 P, $60 M, Registration required 06 FRI Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free Special Event / Trivia Night / Pop-Up Park / 6 pm / Free Film / Winter Nights: Bringing Up Baby / The Toby / 8 pm / $9 P, $5 M 07 SAT Family Activity / Family Day: Year of the Sheep / Various Locations / 10 am–3 pm / Free / Presented with Asian Art Society 12 THU Class / ART x FIT / Meets in the Pop-Up Park / 6:30–8:30 pm /$85 P, $60 M, Registration required 13 FRI Film / Winter Nights: An Affair to Remember / The Toby / 8 pm / $9 P, $5 M

19 THU Class / ART x FIT / Meets in the Pop-Up Park / 6:30–8:30 pm /$85 P, $60 M, Registration required 20 FRI Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free Film / Winter Nights: Peter Pan / The Toby / 8 pm / $9 P, $5 M / Presented with the Indianapolis Chamber Orchestra 21 SAT Special Event / IMA Horticultural Symposium: The Living Landscape—Designing for Beauty and Biodiversity in the Home Garden / The Toby / 8 am–4:30 pm / register at imamuseum.org/talk/horticulture-symposium 26 THU Class / ART x FIT / Meets in the Pop-Up Park / 6:30–8:30 pm /$85 P, $60 M, Registration required 27 FRI Special Exhibition Tour / The Onya La Tour Collection: Modernism in Indiana / Meet on Floor 2 at top of escalator / 1 pm / Free Film / Winter Nights: Monty Python and the Holy Grail / The Toby / 8 pm / $9 P, $5 M

MARCH 03 TUE Special Event / Make Me@ IMA / Studio 2 / 10a-noon / Free, Registration required / Presented with the Alzheimer’s Association

14 SAT Special Exhibition Tour / The Rise of American Modernism / Meet on Floor 2 at top of escalator / 1 pm / Free Special Event / Closer Look / Trading Places / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required

06 FRI Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free

15 SUN ASL Interpreted Public Tour / The Art of France / Meet on Floor 2 at top of escalator / 1 pm / Free

08 SUN Special Event / Horticultural Society Lecture: Garden Notes from China / Speaker– Paul Meyer of the Morris Arboretum / 2 pm / Free / The Toby Special Event / Horticultural Society Tea / 3 pm / Garden Terrace / Free IMA HortSoc members, $5 P / No RSVP required / Supported by the IMA Horticultural Society

17 TUE Special Event / Closer Look / More than a Trio / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required

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07 SAT Family Activity / Family Day: Hip Hop U / Various Locations / 10am-3pm / Free

13 FRI Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 14 SAT Special Exhibition Tour / The Onya La Tour Collection: Modernism in Indiana / Meet on Floor 2 at top of escalator / 1 pm / Free Special Event / Closer Look / A Simple Scene– Or Is It? / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required 15 SUN ASL Interpreted Public Tour / Ancient Art of the Mediterranean / Meet on Floor 2 at top of escalator / 1 pm / Free 17 TUE Special Event / Closer Look / Take a Seat / Meet on Floor 2 at top of escalator / 2 pm / Free / Registration required 19 THU Special Event / Ensemble Music Society Performance / The Toby / 7:30 pm / $30 P, $25 M Special Event / Discussion with Ensemble Music Society Performers / Sutphin Fountain Room / Included with performance ticket 21 SAT Special Event / Spring Equinox / Location TBA / Time TBA / Free 26 THU Talk / Artist & Curator Chris Kallmyer / 7 pm / The Toby / Free 27 FRI Special Exhibition Tour / The Rise of American Modernism / Meet on Floor 2 at top of escalator / 1 pm / Free

APRIL 03 FRI Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 04 SAT Family Activity / Family Day: Museum Madness / Various Locations / 10 am–3 pm / Free 05 SUN Special Event /Art in the Park / Ruth Lilly Visitors Pavilion / noon-4pm / Free 07 TUE Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 09 THU Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 2 pm / Free Talk / Peter L. Schaudt, FASLA: Dan Kiley and the Design of the Miller Garden / 7pm / The Toby / Free

10 FRI Special Event /Music and Movies: The Good, the Bad & the Ugly / The Toby / 7 pm / $10 P, $ 5 M/ Presented as part of Butler Arts Fest: Outlaws & Outsiders

IMA Horticultural Symposium: The Living Landscape—Designing for Beauty and Biodiversity in the Home Garden February 21, 2015 / 8 am–4:30 pm / The Toby

11 SAT Special Exhibition Tour / The Onya La Tour Collection: Modernism in Indiana / Meet on Floor 2 at top of escalator / 1 pm / Free Special Event /Music and Movies: Bonnie & Clyde with Brian Laidlaw / The Toby / 7 pm / $10 P, $5 M / Presented as part of Butler Arts Fest: Outlaws & Outsiders 12 SUN Special Event / Art in the Park / Ruth Lilly Visitors Pavilion / noon–4 pm / Free 14 TUE Special Exhibition Tour / Monuments Men and More / Meet on Floor 2 at top of escalator / 1 pm / Free 17 FRI Special Event /Music and Movies: Pump Up the Volume / Parking Garage / 7 pm / $10 P, $5 M/ Presented as part of Butler Arts Fest: Outlaws & Outsiders 18 SAT Special Event / Perennial Premiere / Madeline F. Elder Greenhouse and Shop / 9 am–noon (IMA members), noon–5 pm (public) Special Event / Bonsai Exhibition / 11 am–5 pm / Garden Terrace / Free 19 SUN Special Event / Perennial Premiere / Madeline F. Elder Greenhouse and Shop / noon–4 pm Special Event /Art in the Park / Ruth Lilly Visitors Pavilion / noon–4 pm / Free ASL Interpreted Public Tour / Into Africa / Meet on Floor 2 at top of escalator / 1 pm / Free 23 THU Talk /Mellon Curator, Dr. Christian Feest / Eiteljorg Museum of American Indians and Western Art / 7 pm / Free Talk / Dr. Kendall Brown / DeBoest Lecture Hall / 7 pm / Free / Presented by the Asian Art Society 26 SUN Special Event /Art in the Park / Ruth Lilly Visitors Pavilion / noon–4 pm / Free 30 THU Special Event / Dream Cars Exhibition Opening / Pulliam Family Great Hall and Galleries / 7–11 pm

Event organized by the IMA’s Division of Environmental & Historic Preservation with additional support from the IMA Horticultural Society.

Suitable for the novice gardener as well as the professional designer and conservationist, topics will include: woody and herbaceous native plant selection to support desirable populations of birds, pollinators, and other wildlife, and to help manage storm water; the use of native plant selections; and special design considerations and recommendations for using native plants in the home landscape. A wide selection of relevant gardening books will be available for purchase, as well as ample opportunity for one-on-one conversation with the speakers and IMA Horticulture staff.

FEATURED SPEAKERS WILL BE: Dr. Douglas W. Tallamy Professor and Chair, Dept. of Entomology and Wildlife Ecology, University of Delaware.

Kevin M. Tungesvick Restoration Ecologist, Spence Restoration Nursery, Anderson, Indiana.

Jim McCormac Avian Education Specialist, Biologist, and Naturalist for the Ohio Division of Wildlife.

Irvin Etienne Horticultural Display Coordinator, Indianapolis Museum of Art.

Registration fee includes morning break refreshments and buffet lunch.

To learn more and register online, visit imamuseum.org/talk/horticulture-symposium

Les Belles Fleurs CIRQUE, a GCA Flower Show Saturday, April 25 / 11 am–5 pm Sunday, April 26 / noon–5 pm The Indianapolis Garden Club in collaboration with the Indianapolis Museum of Art Horticultural Society present Les Belles Fleurs CIRQUE, a Garden Club of America flower show. The show will feature elements both French and circus-related, and have four major divisions including Floral Design, Horticulture, Photography, and Conservation.

Awards will be presented by judges from around the country. Entries are open to all IGC club members and members of the Indianapolis Museum of Art Horticultural Society.

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Recent Events

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Top: Founders Day Dinner Photos by Tyler Hromadka of 505 Photo Studio 1. Charles Venable, Rebecca and Michael Kubacki 2. Dan and Kim Fitzpatrick, L.H. Bayley, Kathleen Rapp, Nicole Berry 3. Tricia Paik, Dan and Katy Cantor, Jim and Anna White Above: IMA Block Party and Lichtenstein Reveal: 1. Ersal and Izabela Ozdemir, Leslie Snyder and Norris Groves, Dorothy Lichtenstein (President of the Lichtenstein Foundation), Jack Cowart (Executive Director of the Lichtenstein Foundation), Charles Venable, First Lady Karen Pence, Thomas Hiatt 2. Izabela Ozdemir, First Lady Karen Pence, Ersal Ozdemir 3. Dave Lawrence (President & CEO of the Arts Council of Indianapolis), Charles Venable, Thomas Hiatt 4. Dorothy Lichtenstein

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Top: Stutz Dream Cars Announcement 1. Tamara Justus, Charlie Mullen 2. Charles Venable, Constance Edwards Scopelitis, Cathy Kightlinger, Jeryl Mitsch, Turner and Diann Woodard 3. Ken Gross, Mark Salma 4. Mark Miles, Matt Gutwein, Charles Venable Middle: Summer Solstice Bottom: Pumpkin Carving and The Blair Witch Project in Park of the Laments Photos by Nathaniel Edmunds Photography

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

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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.

PATRON CIRCLE AND SECOND CENTURY SOCIETY Patron Circle and Second Century Society members are at the forefront of annual giving at the IMA. Each year, this important group of donors advances the Museum’s mission through their generous philanthropic leadership.

Georgia O’Keefe and the Southwestern Still Life Curatorial Tour with Harriet Warkel, IMA guest curator Thursday / February 4 / 6 pm Exclusively for Patron Circle and Second Century Society members Tiffany, Gorham, and the Height of American Silver, 1840-1930 Exhibit Opening Wednesday / April 1 / 6 pm Exclusively for Patron Circle and Second Century Society members

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 Tour Kathleen Rice March 21 / 1–3 pm / $15 P, $10 M / Please call Leah Leifer at 317-253-6319 for more information.

ASIAN ART SOCIETY (AAS)

DESIGN ARTS SOCIETY (DAS)

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.

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.

Winter Nights Film: Spirited Away January 16 / The Toby / 8 pm / $9 P, $6 M

Talk: Peter L. Schaudt, FASLA: Dan Kiley and the Design of the Miller Garden April 9/ The Toby / 6:30 pm / Free

Family Day: Year of the Sheep February 7 / Various locations / 10 am–3 pm / Free Talk: Dr. Kendall Brown: The Shin Hanga Movement in America: The Pivotal Role of Indianapolis April 23 / 7 pm / The Toby / Free

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.

Public Conversation with artist Erwin Wurm and curator Tricia Y. Paik January 15 / 6:30 pm / The Toby / Free Public Live Performance by Wurm January 15 / 7:15 pm / Efroymson Family Entrance Pavilion / Free Private CAS Reception with Wurm January 15 / 7:30 pm / Sutphin Fountain Room

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.

Cutting-Edge Fashion: Recent Acquisitions 5th Anniversary and Opening Celebration / May 5 / Gerald and Dorit Paul Galleries / 6 pm / Contact Lauren Lucchesi for more information: LLucchesi@imamuseum.org

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.

Lecture and Tea Garden Notes from China Paul Meyer of the Morris Arboretum March 8 / The Toby / 2 pm / Free Tea Garden Terrace / 3 pm / Free IMA HortSoc members, $5 P

To learn more about these events or how you can join one of these interest groups, contact Grace Meils at gmeils@imamuseum.org or 317-923-1331, ext. 295.

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About the IMA GETTING HERE

TOURS

SHOPPING

MEMBERSHIP

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 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.

Museum Store Books, jewelry, and Museuminspired merchandise.

317-923-1331, ext. 281

Membership helps support free general admission at the IMA.

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

HOURS Museum Tue, Wed, Fri, Sat: 11 am–5 pm Thur: 11 am–9 pm Sun: noon–5 pm Lilly House Open April through December, all Museum hours except closes Thur at 5 pm.

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.

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.

The IMA also offers complimentary Wi-Fi, coat check, wheelchairs, rollators, strollers, public phone, and lockers.

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

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

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 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

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

Tue, Wed, Sat: noon–3 pm

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

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

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

find us. follow us.

Perennial Premiere

Saturday & Sunday, April 18–19 Madeline F. Elder Greenhouse, Gene and Rosemary Tanner Orchard, Lilly House Allée, Garden Terrace Shake off the winter weather at Perennial Premiere, the IMA’s annual salute to spring.

Listen to live music, bring the kids to participate in a gardening activity, hear from experts on topics ranging from urban gardening and installing a bat house, and grab some grub and coffee at onsite food trucks. Regional vendors will also be on hand, selling nature and gardening-related merchandise. A large variety of plants, shrubs, and trees will be available for purchase at the Madeline F. Elder Greenhouse. IMA horticulturists will be on hand to answer any questions, and visitors are invited to take a guided garden walk, and view a Bonsai exhibition.

Saturday, April 18 Members-Only Preview Shopping / 9 am–noon Not a member? Not a problem! You can join before shopping and immediately become eligible for the 20% member discount on all IMA plants and merchandise.

Public Shopping Hours / noon–5 pm Soon-to-be members can purchase plants, including perennials, natives, shrubs, annuals, herbs and orchids.

Activities and Programs / noon–3 pm

Sunday, April 19 Public Shopping Hours / noon–4 pm Activities and Programs / noon–3 pm

Come and stay for the day.

For more information, visit imamuseum.org/special-event/perennial-premiere

NON-PROFIT ORG U.S. POSTAGE

PAID

INDIANAPOLIS, IN PERMIT #2200