IMA Magazine | Fall 2015

Gustave Baumann Digitizing American Art Know No Stranger Christmas at Lilly House

SEPT – DEC 2015

Contents

Gustave Baumann

02

Susie McKenna Managing Editor

Gustave Baumann (1881–1971) combined the ability of a woodcarver with the sensitivity of a painter to produce an unparalleled body of brilliant color woodblock prints.

Dylan Remes Jensen Editor Matthew Kelm Designer Tascha Mae Horowitz Photo Editor Robin Lawrence Anne M. Young Rights & Reproductions Laurie Gilbert Wood Project Manager Mallory Duncan Marty Krause Rebecca McNamara Annette Schlagenhauff Gregory D. Smith Contributors

Secrets on the Backs of Paintings Digitizing the American Collections Donor Profile: Livia and Steve Russell IMA Preschool Debut Seasonal Gifts from the IMA Greenhouse Growing for the Future Know No Stranger Board of Governors New Members Donor Thank You Christmas at Lilly House Upcoming Donor and Affiliate Events Recent Events

06 08 10 11 12 14 16 18 20 26 27 28

Tascha Mae Horowitz Eric Lubrick Drew Endicott Jordyn Cox Photographers

Cover: Gustave Baumann (American, 1881–1971), Estes Park, Colorado (Mountain Lake) (detail), 1930, tempera over pencil on off-white paper, 10-1/4 x 9-1/4 in. Indianapolis Museum of Art, Gift of Ann Baumann, 2008.60.

Left: Gustave Baumann (American, 1881–1971), The Way of the Year (detail), 1916, color woodblock print, 10-7/8 x 10 in. Indianapolis Museum of Art, John Herron Fund, 19.200.

The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 462083326. Questions or comments may be directed to the staff at 317-923-1331. All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides, or videotapes must be obtained in writing from the Rights & Reproductions office. © 2015 Indianapolis Museum of Art. Gustave Baumann works are protected by copyright.

Contact the IMA for further information.

The IMA Magazine is printed on paper containing FSC® certified paper, is processed chlorine free, and is manufactured using biogas energy. (The FSC® trademark identifies products which contain fiber from well-managed forests certified to Forest Stewardship Council® in accordance with the rules of Chain of Custody.)

From the Director

It was a high-speed summer of concept cars, movies beneath the stars, and outdoor adventures here at the Indianapolis Museum of Art. Now, we are busy preparing for a season of new celebrations, beloved holiday traditions and inspiring experiences across our 152-acre campus.

As the Madeline F. Elder Greenhouse focuses more on horticulture education, you will see more special programming like our upcoming Ornaments from Nature and Mini Tree House workshops. Special plant sales will continue with trees, shrubs, and bulbs being sold at Newfield, adjacent to our main parking lot, on September 19. On October 3, we will celebrate National Public Gardens Day in conjunction with our monthly Family Day event. I hope that you will join us and celebrate with a stroll through our beautiful gardens to enjoy the autumn foliage.

Our biennial fashion show, Project IMA, is right around the corner. The fourth in a series of runway shows organized by the Museum, this year’s installment will feature creations by local and national fashion designers and artists. Later in the month, hop in your DeLorean (don’t forget your flux capacitor!) and join us for Back to the Future Night in honor of the film’s 30th anniversary. Bring your blanket for a special double feature of Back to the Future and Back to the Future II in the IMA parking lot on October 21.

We have some special new additions to the IMA team, such as the new Teen Arts Council launching in September, who will be adding their flair to our upcoming programming. Other special guests include our 2015–2016 performing artist-in-residence, Know No Stranger, who will host their annual Optical Popsicle variety show in October.

Our diverse exhibition lineup this fall includes the stunning woodblock prints in Gustave Baumann, German Craftsman— American Artist, based on our exceptional collection of his works on paper. In conjunction with Pomegranate Communications, the IMA will publish Baumann’s autobiography this fall. It was annotated by our own Marty Krause, who also is responsible for curating the exhibition. Hidden mysteries will be revealed through On the Flip Side: Secrets on the Backs of Paintings, the first exhibition in our new CSI: Conservation Science Indianapolis series. This exhibition will provide you with the rare opportunity to get a 360-degree view of paintings to see what secrets are exposed!

As winter approaches, we will welcome our perennially popular holiday traditions like Holiday Hullabaloo, Christmas at Lilly House, and Winter Solstice, as well as new traditions like Monster Drawing Rally.

2015 has been a year of dramatic growth and change for the IMA, and I want to thank you all for your support. The IMA family has grown dramatically, now with more than 13,000 members, and I look forward to welcoming more new members in 2016. More importantly, we are excited to continue to offer you exceptional experiences that enhance lives through engagement with art and nature.

Best,

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

Gustave Baumann, German Craftsman – American Artist OCTOBER 25, 2015 – FEBRUARY 14, 2016

FOUNDERS DAY DINNER & EXHIBITION PREVIEW

October 22 MEMBER PREVIEW DAYS

October 23– 24 EXHIBITION OPENING PARTY

October 24

TEXT BY

MARTY KRAUSE

CURATOR OF PRINTS, DRAWINGS, AND PHOTOGRAPHS

A century ago, in July 1915, German-born, 34-year-old Gustave Baumann put Brown County, Indiana on the national map. His resplendent images of Brown County’s picturesque hill country, so untouched by the progress of the century and thereby so nostalgically alluring to transplanted urban artists like Baumann, earned him a gold medal at San Francisco’s Panama-Pacific International Exposition. But his Nashville, Indiana neighbors, he remarked, were more impressed with his blue ribbon earned from the Indiana State Fair. Unlike the impressionistic landscapes on canvas by such kindred painters as T.C. Steele, Will Vawter, and Adolph Shulz, Baumann’s works had to be extracted with chisels and gouges from planks of reluctant basswood. One block was carved for each required color, then individually inked and sequentially printed to achieve the desired composition. As was Baumann’s intention, though, none of this intense labor was visible to the viewer. He always reduced to a quip his explanation of his woodblock printmaking process: “Draw directly on the block whatever you want, cut away whatever you don’t want, and print what’s left.”

Baumann turned to the centuries-old tradition of woodblock printmaking in 1905 because it suited his aptitude for craftsmanship and because it showed him a path through the art world that was not already overcrowded.

Baumann’s images had one key advantage over paintings of the same subjects. They could be multiplied 50 or 100 times in the printing, which made them eminently affordable at $5 to $10 a print. His mission was to “produce good pictures at low cost.” From that time until the end of his life in 1971, Baumann’s color woodcuts found their ways into many modest homes, as well as museums. He felt that his prints should be useful to people, and his years as a commercial artist in turn-of-the-century Chicago had taught him to be mindful and respectful of the public’s needs. The multiplicity of his prints did not deny their originality. Baumann assumed sole responsibility for every step from initial design to final editioning on the paper that he imported from Germany. This fact was attested to by the seal he placed on his finished prints—a hand in a heart—guaranteeing that wherever he put his hand, he would also put his heart.

Above: Gustave Baumann (American, 1881–1971), Grand Cañon, 1934, color woodblock print, 12-7/8 x 12-7/8 in. Indianapolis Museum of Art, Gift of Stephen W. Fess and Elaine Ewing Fess, 2002.186.

Left: Gustave Baumann (American, 1881–1971), Madison Square, 1917, color woodblock print, 13-1/4 x 11-1/8 in. Indianapolis Museum of Art, Gift of Stephen W. Fess and Elaine Ewing Fess, 1997.168.

3

PRINTMAKER-IN-RESIDENCE

Above: Gustave Baumann (American, 1881–1971), Mission San Juan Capistrano, 1928, tempera over pencil on brown paper, 10-3/4 x 12-1/8 in. Indianapolis Museum of Art, Gift of Ann Baumann, 2008.62.

Wary of the growing popularity of Brown County, Baumann left Indiana at the end of 1916 to indulge his wanderlust, first eastward, and then westward. The prints he produced across America were steeped in local atmosphere— whether it be the browns and russets of an Indiana autumn, the soft greens of spring in western New York, the misty grays of Cape Cod, the jewel-like colors of the Southern California coast, or the hot reds and oranges of the desert Southwest. The Southwest is where Baumann settled for good in 1918, finding in Santa Fe, New Mexico, a congenial place to both live and work. Each impression of the roughly 200 individual color woodblock prints that Baumann produced was a remarkable and rare amalgamation of craftsmanship and artistry, contradicting Baumann’s self-deprecating assertion that he was a craftsman by choice and an artist by accident. Quality was the unerring constant throughout his 60-year career that persevered largely unaffected by the various evolutions and revolutions in the art world of the 20th century.

Coinciding with the exhibition, Gustave Baumann, German Craftsman— American Artist, the IMA will host its first-ever artist-in-residence program within a major exhibition space. Leslie Dolin, an Indianapolis-based artist and graduate of Herron School of Art and Design, will share her talents as a contemporary woodcut printmaker with exhibition guests.

Midway through the exhibition space, guests will find Dolin working inside a custom-built studio workshop. During the run of the show, she will facilitate demonstrations of the complex woodcut printmaking process. Guests will have the opportunity to speak directly with Dolin.

Demonstrations will occur weekly, Wednesday to Sunday, during regular Museum hours. Additionally, guests are invited to register online for a one-hour woodcut printmaking workshop. During the workshop, Dolin will walk guests through the multicolor printmaking process and participants will create a print of their own to take home. Workshops will occur daily throughout the run of the show and are included with general Museum admission.

Baumann’s position as the dean of American color woodblock printmakers, and as one of the most inventive printmakers of any sort, would have been enough to satisfy any artist except, perhaps, Gustave Baumann, who was beset by “an irresistible urge to keep very busy.” When he was not carving blocks, he was painting or writing. He could also be found designing and building furniture for the house that he designed for himself or for the houses of others, illustrating books, or creating commercial advertising.

He also made sculpture from found objects and fabricated toys, all while crafting an entire marionette theater—the performances of which, scripted and enacted by Baumann, his wife Jane, and friends, enchanted the population of Santa Fe for two decades. He was indeed, as the Santa Fe New Mexican described him in 1923, “an artist to his fingertips.” To Baumann’s mind, his diverse interests and talents guarded against overspecialization, which he believed threw life out of balance. “If a man tried to harp on one string, he’d go flat,” was how he put it—and Baumann never went flat.

Dolin will also create personal work on-site inspired by the work of Gustave Baumann. Once complete, selected edition prints will be available for purchase in the Gallery Shop and will be showcased in the Bret Waller Community Gallery located on Floor 1 from December 2015 through March 2016.

For more information about the printmaking residency, or to register for a workshop, please visit imamuseum.org.

Annotated by curator Marty Krause, the IMA has recently published The Autobiography of Gustave Baumann in conjunction with Pomegranate Communications. This stunning publication includes reproductions of many of the works included in the exhibition and is available in the Museum Store and online at shop.imamuseum.org for $40.

Support for this exhibition is provided by Bob and Tori Bader, Dr. Stephen W. Feiss and Mrs. Elaine Emily Fess, and Frank N. and Patricia L. Owings.

Left: Gustave Baumann completing San Geronimo, Taos, in his Santa Fe studio, 1932. © Ann Baumann Trust.

5

On the Flip Side: Secrets on the Backs of Paintings

TEXT BY

ANNETTE SCHLAGENHAUFF

CURATOR OF SPECIAL PROJECTS

GREGORY D. SMITH

OTTO N. FRENZEL III SENIOR CONSERVATION SCIENTIST

OCTOBER 9, 2015–OCTOBER 30, 2016

The exhibition On the Flip Side: Secrets on the Backs of Paintings aims to give our IMA guests the rare chance to view the backs of paintings from our permanent collection to discover clues and information that have historically been kept hidden from the public eye. Museum curators, conservators, and conservation scientists routinely examine the backs of paintings for important evidence that leads to a better understanding of an artwork. This exhibition will truly give a “behind-the-scenes” look, allowing guests to explore some of the work that is done in the various laboratories and offices at the IMA.

What does the back of a painting on canvas actually look like? How is this different from one that is painted on a wood panel? Aside from differences of appearance based on the material used, what else can the backs of paintings tell us?

Information found on the backs of paintings can give insights into artists’ practices, or about measures that were taken in the conservation of a painting. Artists may make notations there about the process used to make the painting, or the back may reveal that the artist reused a material originally intended for another purpose. For provenance researchers, useful clues about a painting’s former owners or exhibition history can be found in the form of labels, seals, or stamps that serve as tools in better documenting a painting’s path from the artist’s studio to the walls of a museum.

Conservation scientists regularly examine the backs and sides of canvases, called “tacking margins,” to understand an artist’s choice and use of materials. This exploration can also assist with the verification of a painting’s authenticity.

Endowment for the Arts (NEA) to explore the high-tech sleuthing that goes on behind the scenes in the Museum. Subsequent exhibitions, slated for 2016 and 2017, will examine how imaging and analytical technologies can be used to learn more about paintings, and how the history of dyes and pigments is closely linked to the history of chemistry. So if you enjoy art, science, or both, there will be something new for you to discover through our very own CSI series.

After Frans Hals (Dutch, about 1581–1666), Portrait of the Artist, about 1650, Oil on panel, 13-1/2 x 10 in. Courtesy of the Clowes Fund, C10047. recto (left); verso (right).

Five paintings from our permanent collection have been selected for this exhibition because of the interesting things that are revealed on their non-presentation side. For example, did you know that Josef Albers made careful notations on the backs of his paintings, identifying the tubes of paint he used and also the mathematical relationships between his colorful geometric compositions? Or did you know that the IMA’s portrait of the artist Frans Hals in the Clowes Collection (see right) bears a stamp and a notation indicating that it was formerly in the famous Picture Gallery at Dresden, Germany, and was sold at auction in 1860? Come explore these stories, as well as others revealed on the backs of paintings by the 16th-century French painter Corneille de Lyon, and the Indiana painters T.C. Steele and Wayman Adams.

This exhibition is the first in a series of three dedicated to learning about physical attributes of works of art that can be revealed by careful analysis, technology and scientific exploration. This series, called CSI: Conservation Science Indianapolis, is supported in part by an award from the National

This project is supported in part by an award from the National Endowment for the Arts.

6

7

Digitizing the American Arts and Design Collections: Recent Discoveries In October 2014, the IMA, generously supported by a grant from the Henry Luce Foundation, began a major interdepartmental effort to digitize an under-documented portion of its American arts and design collections. The 22-month, $300,000 grant allows four new employees to photograph and catalog approximately 2,200 works of American painting, sculpture, decorative arts, textiles, fashion arts, and Native arts of the Americas, making them available publicly on the collections section of the IMA website (collection.imamuseum.org).

Already, more than 1,000 artworks have been digitized under this grant. Website visitors can explore high-resolution photographs. They can zoom in to examine a painting’s brush strokes, a bronze’s edges, or a Native American pouch’s intricate beadwork. Further, multiple photographs of a single work—offering different angles and details of signatures, hallmarks, and other stamps and inscriptions—allow both casual and scholarly researchers to understand the Museum’s three-dimensional objects in a new, more complete way.

In addition to taking new photography, the IMA is updating and verifying the basic cataloging data recorded for each work of art to ensure that the website provides the most accurate information possible. This data includes the creator names and lifespan dates, artwork title, medium, creation date, and when relevant, technique. New measurements are

TEXT BY

REBECCA MCNAMARA

CURATORIAL COORDINATOR, LUCE DIGITIZATION PROJECT

Left: Leopold G. Seyffert (American, 1887–1956), Blue-Eyed Dutchman, 1912, oil on canvas, 20-1/2 x 24-1/2 in. Indianapolis Museum of Art, Gift of Mrs. William J. Holliday, 80.637 © Leopold Gould Seyffert.

A painting by Leopold G. Seyffert, a prolific American portraitist, was accessioned by the IMA in 1980 with the descriptive title Portrait of a Man with a Pipe. After researching the artist and contacting a descendent, the painting was identified as Blue-Eyed Dutchman, one of Seyffert’s most frequently exhibited early works, completed during a scholarship trip to Holland. This information—combined with Photoshop’s ability to manipulate the lighting and clarity of an image so that inscriptions can be better examined—made the text suddenly clear: “L. G. Seyffert / Volendam 1912,” naming the city and year of the painting’s completion.

taken, and any inscriptions are recorded. Tags like “oil paintings” or “medallions” are also added to the records to improve the collection webpages’ search functionality.

Throughout the process of documenting works held in storage, there have been rediscoveries of forgotten or unknown treasures. Occasionally, with a bit of luck, old exhibition labels or inscriptions are found and reveal an artwork’s history. A label adhered to the canvas stretcher

of Roy H. Brown’s Facades documented its inclusion in the Corcoran Gallery of Art’s 11th Biennial Exhibition of Contemporary American Oil Paintings, held in 1928. Exhibition record books showed that it was also displayed at the Pennsylvania Academy of the Fine Arts in 1928 and the Art Institute of Chicago in 1929. In the 19th and 20th centuries, art institutions around the country held annual painting and sculpture exhibitions featuring artists’ recent work. So, while the small, scribbled date next to the artist’s

8

signature on the canvas itself was inconclusive, the exhibition history allowed for a date of “about 1927.”

Other paintings require more extensive research, such as a portrait of Indianapolis artist Elmer Taflinger that entered the IMA collection in 1982 through Taflinger’s estate. The artist and date were unknown, and initial clues were few. The writing on the canvas’s upper left was challenging to read; transcription attempts from the 1980s proved impossible

On the back of Blanche Stillson’s Reading, a seemingly complete painting of a young man was found. Similarly, a forgotten landscape was found behind Cecil Head’s Still Life. In order not to lose this information again, the records now better reflect the physical objects. Titles were updated to mention these rediscovered works, and images of both front and back were made available online.

to trace. An unknown hand had inscribed into the back of the painting’s board, “McLaughlin,” but the signature on the front undoubtedly began with “O.” Comparing the two, Wood-Pulliam Distinguished Senior Curator Ellen Lee suggested the front signature might read “O’Loughlin.” Further, a notation on the incoming temporary receipt (a form used for artwork under consideration for accession) stated it was painted by one of Taflinger’s students. These hints led to finding a 1945 Outdoor Indiana article describing that magazine’s illustrator: “Tom O’Laughlin [sic]…studied at the John Herron Art Institute…with Elmer Taflinger…and he has exhibited portraits in several states.” Additional research in the Herron Graduate Directory from the IMA’s The Herron Chronicle (2003), ancestry.com records, and Herron alumni archival material provided by IUPUI library staff identified Thomas Gardner O’Loughlin (1923–2007) as the unknown artist.

Above: Blanche Stillson (American, 1889–1977), young man reading, about 1931, oil on canvas, 19-1/2 x 17-1/2 in. Indianapolis Museum of Art, Gift of Dr. Steven Conant in honor of Joan D. Weisenberger, 2002.138 (verso) © Blanche Stillson.

Above: Blanche Stillson (American, 1889–1977), Reading, about 1931, oil on canvas, 19-1/2 x 17-1/2 in. Indianapolis Museum of Art, Gift of Dr. Steven Conant in honor of Joan D. Weisenberger, 2002.138 (recto) © Blanche Stillson.

Native Arts of the Americas, approximately 450 works—baskets, rattles, jewelry, earthenware, projectile points, kachina dolls, and more—have been photographed and their data updated with the help of Mellon Global Curator and Native American

specialist Dr. Christian Feest.

Fourteen Yeibichai figures, representing Navajo people, were determined to be made by the important early 20th-century Native American woodcarver Clitso Dedman. Thirteen of the IMA’s figures are original to the

O’Loughlin received his BFA from Herron in 1948, but eventually left Indianapolis, moved to California, and became a background animation artist; the Internet Movie Database lists 217 film and TV credits to his name.

Previously a portrait by an unknown artist, this painting now tells the story of a midcentury Herron student searching for his artistic niche.

Discoveries have been made in other collections as well. For the

same set of sixteen; two others from the set belong to Indiana University’s Mathers Museum of World Cultures, and research is ongoing to determine the location of the final sixteenth figure. The time and resources from the Henry Luce Foundation allowed for the figures to be photographed individually and together, arranged to represent a particular moment in a Navajo ceremonial dance that helps a patient who has lost harmony with the universe.

The website will contain new high-resolution photographs for more than 2,000 objects, many featuring multiple views, and all with verified cataloging data that illuminates the hidden treasures of the IMA collection.

Above: Clitso D. Dedman (American, 1897–1953), 14 Yeibichai figures, 1934–1936, wood and pigment, dimensions vary. Indianapolis Museum of Art, Gifts of Patricia Noble in memory of her brother John Noble, S4924.83.1-.14 © Clitso D. Dedman.

9

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

Donor Profile: Livia and Steve Russell Turning the corner during a visit to the IMA, a child tries to go slowly, but the quickened pitter-patter of his footsteps indicates otherwise. The object of his interest is a vacuum cleaner. A vacuum in an art museum? “Is this really art?” the young child asks. The query, loud and echoing, provided a teaching moment for Livia and Steve Russell—a moment that could forever change how the child thinks about art.

Due to the generosity of the Russells, many children will be able to decide for themselves what art is and what it means to them.

In partnership with the IMA, the Russells have created the Russell Student Access Program, which will allow students in grades K–12 the opportunity to discover art and continue their education outside of the classroom for free.

Specifically, this program allows K–12 students in Marion County to come to the IMA for free on scheduled school trips, and gives free admission to K–12 students from anywhere in Indiana when they come to the IMA to complete school assignments.

“We want to make the IMA accessible to all,” Livia Russell said. “We want to open [the students’] eyes, minds and hearts.”

The Russells have a strong connection to art, which for them started at an early age. They want to ensure children in Indiana receive that same opportunity.

Long interested in art, Livia Russell has lived in Indianapolis since she was eight. She said she has always been in awe walking around the art-rich city. She continued this passion into college, taking many art and art history classes. Steve has been a longtime art collector and supporter of the IMA, even serving as a past Chairman of the IMA Board of Governors.

They both agree that art is a shared passion, along with helping to educate youth in our community.

These passions intertwine, and as Steve has stated, there is no other investment they can make that returns such important dividends.

“We’re giving [the students] the opportunity to open their world, expand their world, and make them more creative, positive adults,” Livia Russell said.

Having 11 grandchildren themselves, the Russells recognize the need to instill a love for art at an early age, as art can teach children so much.

“We want to make the IMA accessible to all,” Livia Russell said. “We want to open [the students’] eyes, minds and hearts.”

“It’s amazing what art can do,” Livia Russell said. “I love the emotion and squeals of delight.

It’s such a great response!”

The Russells are hoping the Russell Student Access Program will inspire other donors to enable the IMA to expand the program statewide, thus delighting students throughout Indiana.

10

Little Minds, Big Museum: A New Preschool Debuts at the IMA A new chapter in IMA history unfolds this fall. In partnership with St. Mary’s Child Center, the IMA opened a preschool in August—the country’s first at an encyclopedic art museum.

The IMA preschool utilizes the Reggio Emilia teaching philosophy—an inclusive approach that uses art-focused experiences and emphasizes collaboration, critical learning, expression, and immersive experiences. One facet of the teaching philosophy encourages the sense of belonging to a community. The IMA is excited to welcome our youngest guests as they learn and grow into the Museum family. “The children will have a sense of belonging, this is their space,” said Heidi Davis-Soylu, Manager of Teacher

and Adult Programs. “There won’t be an intimidation factor later in life because they grew up in a museum.”

Even though they will have a classroom space inside the Museum, the children and their teachers will have full use of the Museum and the surrounding 152-acre campus for discovery, innovation, learning, and play.

“There are so many resources in a museum, most of which aren’t on display,” said Elizabeth HunterKesling, the lead teacher for the preschool. “There is so much going on behind the scenes. I’m so excited to see the children’s excitement and sense of wonder.”

The preschool can accommodate up to 16 students this school year.

Kesling leads the teaching team and is accompanied by a co-teacher.

This allows a 6 to 1 student-teacher ratio, allowing teachers to spend more time with the students.

Along with their families, the students, ages 3 to 5, will be given a membership to the Museum to continue their learning and exploring outside of preschool.

Children derive many benefits from immersion in a museum environment during their preschool years. “They (the children) don’t come in to the museum with preconceived notions of how a museum should be or shouldn’t be.” Kesling said.

She spoke about the curiosity in young children and how they teach her more about the Museum and show her things she hasn’t thought about before. “For instance, they noticed ropes in front of some paintings, but also noticed how one floor is almost completely open. They wondered why.”

The IMA will be creating lifelong learners and lifelong arts connoisseurs, Soylu hopes. She isn’t worried about the students not understanding the art. “They have a wonderful understanding of the work, sometimes even better than adults,” she said. “They aren’t shy.

They can build on that and explain what they see.”

Support for St. Mary’s Child Center at the Indianapolis Museum of Art is provided by The Indianapolis Foundation, a CICF affiliate.

The preschool runs on the same schedule as Indianapolis Public Schools—five days a week from 9 to 11:30 am. For more information on the preschool, or to register, contact Heidi Davis-Soylu at hdavissoylu@imamuseum.org.

11

NEW TEEN ARTS COUNCIL Ten local high school students will be making their mark on Museum programming as part of the newly formed Teen Arts Council (TAC), kicking off this fall.

During this year-long, highly immersive experience, Council members will attend weekly meetings and brainstorming sessions, advise IMA staff on ways to connect with local teens, and develop two on-site programs for their peers in the community. The capstone event, a teen-centered Community Day to premiere next spring, will be planned, marketed and executed by the Council. This unique opportunity provides students with on-the-job training and an opportunity to expand our programming lineup.

The Council consists of approximately 10 juniors and seniors with diverse artistic interests and a combined curiosity in pursuing a career in the arts. Council members were selected by IMA staff, community educators and programmers to participate in this experiential program. Next year’s Council will be selected by this year’s participants, and students are welcome to reapply. The Council is supported by Bob and Toni Bader and a grant from The Indianapolis Foundation, a CICF affiliate. All funds raised from the 2014 Monster Drawing Rally were also contributed to this program.

CLOCKWISE, FROM TOP: Multicolor Felted Mobile $34.95 NAVA Messenger Bag $195.00 Motawi Charley Harper Headbanger Tile $68.00; Easel $22.00 Alessi Cha Teapot by Naoto Fukasawa $230.00 Alvar Aalto Tray $65.00 Cubebot Puzzle Toy Robots $8.95 Monet’s Palate Cookbook, The Modern Art Cookbook, Modern Art Desserts $25.00–$39.00 Frank Lloyd Wright Silk Tie $45.00 Charley Harper Cardinals Consorting Glass $8.50

12

Iittala Essence Beer Glasses by Alfredo H채berli, set of two $44.00

Multicolor Freeform Tumbled Composite Necklace $95.00

IMA Richard D. Wood Formal Garden 100 Piece Jigsaw Puzzle $16.95

Seasonal Gifts from the IMA Pooley Vase $32.00

Cubebots Puzzle Toy Robots $8.95 each

Photos by Eric Lubrick

Architectural Cement Planter $16.00

13

Table Art Italian Herbs Napkin Rings, set of four $65.00

Ellsworth Kelly Book

by IMA Curator of Contemporary Art Tricia Y. Paik $125.00

GROWING FOR THE FUTURE The Madeline F. Elder Greenhouse is in the heart of the IMA Gardens and is easily accessible for all guests. After entering the gardens through the main Welcome Center, guests can enjoy a short walk or take an eco-friendly tram to the Greenhouse. Daily, the Greenhouse is staffed with extremely knowledgeable horticultural staff and volunteers who are on-hand to share their extensive expertise in plant selection and garden design with all guests.

The Greenhouse staff has been busy developing a robust line-up of classes and workshops to be held throughout the year. Programs include making art from nature, holiday workshops, plant propagation, and more.

This enhanced array of programs is one part of the new strategy for the Greenhouse, an integral part of the IMA Gardens. Plans are underway to significantly develop the Greenhouse’s plant collections, especially the orchids for which it is so well-known. For example, we will stage an orchid exhibition debuting in February 2016, complemented by related lectures and programming, culminating with an opportunity to purchase these intriguing plants.

At key times throughout the year the IMA will continue to offer special plant sales that will feature a wide array of Indiana native plants, herbs, succulents, bonsai, and orchids. These special sales include Autumn Equinox Native Tree and Bulb Sale (September 19), Holiday Hullabaloo (December 3), Winter Solstice (December 17), and mark your calendar now for Perennial Premiere (April 23–24, 2016).

SEPTEMBER 19

Autumn Equinox Native Tree & Bulb Sale

DECEMBER 3

Holiday Hullabaloo

DECEMBER 17

Winter Solstice

APRIL 23–24, 2016 Perennial Premiere

We welcome your comments and have been making additional campus enhancements based on the feedback from guests. If you have suggestions, email us at ima@imamuseum.org or next time you visit campus, fill out a Comment Card at the Guest Services desk.

Plans are underway to significantly develop the Greenhouse’s plant collections, especially the orchids for which it is so well-known.

Punk Rock Meets Sesame Street PHOTO BY ERIC LUBRICK

Know No Stranger is the IMA’s current artistin-residence. They are part of the ARTx series and will be with the IMA through 2016.

The group is always evolving, operating with six core members but using up to 30 people at their largest events. Just like the group, the art they produce evolves as well. Ryan Felton, a core member of the group said they run the gamut of artistic expressions.

This partnership isn’t all about creating art. “We’re hoping that yes, they produce some events for us and do some interesting things in engaging our audience, but also that they grow within this period,” said Scott Stulen, IMA curator of audience experience and performance.

A mix of theater, puppets, music, and videos, you never know what to expect from Know No Stranger.

They do everything from puppet shows to projections and combine all of their skills in their show Optical Popsicle (see sidebar).

“Something we go for is the audience to feel like they’re more than just the audience,” Felton said. “They’re not just people looking at a stage, we pull them into it!”

OPTICAL POPSICLE: ∞ THURSDAY, OCT 15 / 8 pm SATURDAY, OCT 17 / 3 pm & 8 pm The Toby

Know No Stranger is excited not to fit in a single category, one reason they were perfect for a diverse and dynamic institution like the IMA.

A mashup of puppets, video, live music, and dance come together for one unpredictable night of whimsy in this zany variety show!

Optical Popsicle will bring the assorted imaginations of Know No Stranger to life through a series of skits, musical acts, and performance art pieces, each designed to dazzle and engage you!

“There’s a punk rock aesthetic there of wanting to push against things,” Stulen said. “But I think with them it’s more of punk rock meets Sesame Street. So it’s a family-friendly version of that rebellion.”

A MIX OF THEATER, PUPPETS, MUSIC, AND VIDEOS, YOU NEVER KNOW WHAT TO EXPECT FROM KNOW NO STRANGER. IMA’s ARTx Series is made possible by a gift from The Efroymson Family Fund.

16

17

IMA Board of Governors Recent Additions

DAVID BARRETT

SUSANNE MCALISTER

SHIRLEY M. MUELLER, M.D.

ROBIN NELSON-RICE

David Barrett is the President and CEO of Gene B. Glick Company, one of the largest privately held real estate management and development firms in the United States. He is also the President, CEO, and Director of the Glick Family Foundation and an advisor to the Glick Fund of the Central Indiana Community Foundation.

In his role with the Glick Family Foundation, he facilitated a recent gift to the IMA to support the reinstallation of the Glick Glass Collection. He serves on the Board of Directors for the Indy Chamber and was a founding Board member of Indianapolis Cultural Trail, Inc. His other affiliations include the Jewish Federation of Greater Indianapolis, the Indiana University Varsity Club Board of Directors, the Indiana Apartment Association, and the Advisory Board for the Center of Real Estate Studies at the Indiana University Kelley School of Business.

Susanne McAlister has been involved with the IMA since 1995.

She has been an Alliance member since 2007 and has served as the Alliance President since 2013.

Susanne is a 22-year broadcasting veteran, and her work includes programs such as Forethought, Today in Indiana, The Susanne McAlister Show, and Personal Matters. Susanne is currently the executive producer and host of Full Circle airing nationally on the LeSEA Broadcasting Network. She was also the owner and compliance officer of JP Greene & Associates, a fund placement agent that provided advisory services to limited partners, venture capital and leveraged buyout funds.

Holding a master’s degree in counseling and educational psychology from Indiana University, Susanne is the former director of the University’s undergraduate internship program and former Vice President of Corporate Development for WFYI TV 20 and FM 90.1.

Shirley Mueller is the President and CEO of MyMoneyMD, LLC. Through her business, she provides clarification and guidance to individuals who choose to self-invest. She also writes a weekly column for Physician’s Money Digest. Prior to training and working in the investment industry, Shirley was an academic and then practicing neurologist.

At Indiana University, she was Director of Neurology at Wishard Memorial Hospital and first author on more than 50 scientific papers.

She has been steadily involved with the IMA since 1986. She is a member of the Asian Art Society and serves on the Design Arts Society Board and the Collections Committee. As a collector and scholar of Chinese export porcelain, she has authored numerous scholarly articles on this subject plus lectured nationally and internationally.

Highlights from her collection are currently on view at the IMA in the exhibit entitled The Luxury of Tea and Coffee, Chinese Export Porcelain, Highlights from the Shirley M. Mueller Collection.

Robin Nelson-Rice is an Indianapolis native and has been involved with the IMA since 2006. She has worked for AT&T and Eli Lilly in various marketing positions, including several abroad in Toronto and the UK. She earned a BS in Finance and a MBA in Marketing from Indiana University.

She is a member of the Advisory Board for Women’s Fund of Central Indiana and has served on The Board of Trustees at The Orchard School. She has three sons and is an involved parent at North Central High School.

18

In May, the Indianapolis Museum of Art welcomed eight new members to our Board of Governors.

DORIT PAUL

IAN RUPERT

RACHEL SIMON

DANIEL M. SKOVRONSKY, MD, PHD

Dorit Paul has been involved with the IMA for 45 years. She has served as a docent and been a member of IMA’s Founders Society, Collections Committee, Alliance, Contemporary Art Society, Design Arts Society, and Fashion Arts Society. She is also affiliated with numerous organizations throughout the city. These include Herron School of Art and Design, Indianapolis Art Center, The Children’s Museum, Indianapolis Opera Company, Dance Kaleidoscope, Phoenix Theatre, Festival Music Society, Indiana Historical Society, Eiteljorg Museum of American Indians and Western Art, Indianapolis Symphony Orchestra, Jewish Community Center, and Jewish Federation of Greater Indianapolis.

Ian Rupert is a Vice President & Investment Specialist for J.P. Morgan’s Private Bank. He is a part of a three-person team that oversees all investment activity for the Indiana private banking business. He has been a member of the IMA since 2008, and has served on the organizing committee for past New Year’s Eve galas.

He serves on the Board of Directors and Executive Committee for the Indianapolis Animal Care and Control Foundation. Ian and his wife, Jane, live in the MeridianKessler neighborhood with their two daughters.

Rachel Simon is an artist, community leader, philanthropist, and private investor. She is an advocate for causes that promote social justice, education, environmental stewardship, animal welfare, and the arts. She serves on the Board of Directors of the Indiana Pacers Foundation, the Herbert Simon Family Foundation, Global Green USA, the USC Shoah Foundation-Next Generation Council, and on the Advisory Board of several local organizations, including the Indiana Ballet Conservatory. She is a graduate of Herron School of Art and Design with a BFA in painting and a minor in art history. She also studied philosophy and fine art at the University of Southern California.

Daniel M. Skovronsky, MD, PhD is Senior Vice President, Clinical and Product Development at Eli Lilly and Company. He is a leader of Lilly’s Medicines Development Unit (MDU), which is tasked with developing the Lilly pipeline of molecules and speeding innovative medicines to patients. Dr. Skovronsky also serves as Chairman of Avid Radiopharmaceuticals (a wholly owned subsidiary of Eli Lilly and Company), which he founded in late 2004 and served as its CEO prior to acquisition by Lilly in 2010.

19

Thank You. We extend our gratitude to each donor who made a gift to the IMA during our fiscal year, July 1, 2014–June 30, 2015.

Second Century Society and Patron Circle members and Annual Fund contributors provide vital support for the IMA’s daily operations, from art conservation to educational and public programs to the maintenance of the gardens and historic properties.

Donors of works of art foster new understanding of the permanent collection while increasing its quality and scope. As IMA corporate sponsors and grantors address the special project needs of the present, members of the Legacy Circle ensure the future of the IMA as a preeminent art institution by including the Museum in their estate plans.

20

* Indicates that the individual is deceased.

21

22

* Indicates that the individual is deceased.

23

24

25

Christmas at Lilly House NOVEMBER 14, 2015–JANUARY 3, 2016

Step into the past as Lilly House is transported back in time with holiday décor from the 1930s and 1940s during Christmas at Lilly House, from November 14 to January 3. This year the home will be glistening with silver, in honor of Tiffany, Gorham, and the Height of American Silver, 1840-1930, the exhibition currently on view on the second floor of the home.

A National Historic Landmark, Lilly House is a 22-room mansion that was once the home of J.K. Lilly Jr., the late Indianapolis businessman, collector, and philanthropist. Each winter, the home is transformed thanks to the IMA’s horticultural experts and the Engledow Group, a local partner known for horticulture services and seasonal decorations, who work together to create the accents that help keep each year distinctive. Though not every aspect is intended to be precisely historically accurate, the overall atmosphere succeeds in transporting our guests to another time and filling them with holiday cheer.

Christmas at Lilly House is truly a highlight among local holiday traditions and has been voted one of Indianapolis’ top-10 holiday attractions by USA Today. Don’t miss special evening hours during Holiday Hullabaloo on December 3 and Winter Solstice on December 17.

26

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

Annual Founders Day Dinner and Special Preview of Gustave Baumann, German Craftsman– American Artist October 22 / 6 pm / $175 / Director’s Circle and above ($2,500+) Annual Director’s Dinner November 17 / 6–9 pm / Clowes Circle and above ($25,000+) Patron Circle & Second Century Society Holiday Reception November 17 / 6–9 pm / Deer Zink Special Events Pavilion THE ALLIANCE The IMA’s longest established Affiliate group develops and supports activities and projects that stimulate public interest in the Museum, its educational programs, and its collection.

Alliance Museum Insights September 30 Visit to the Lilly Library in Bloomington, IN Open to the public

Artist Studio Tours November 18 / 10:30 am / $10 Alliance & IMA Members, $15 Public & Guests Tour the studio of textile artist Marilyn Price.

Alliance Program and Luncheon: Living Artfully: At Home with Marjorie Merriweather Post October 15 / 11 am / DeBoest Lecture Hall / $20 lecture, $55 lunch Open to the public The IMA Alliance Book Discussion GroupThe Arcanum: The Extraordinary True Story by Janet Gleeson October 15 / 2 pm / Adult Lecture Space B Open to the public Alliance Artful Living Series: Eli Lilly; A Life Well Lived, Dr. James H. Madison November 12 / 10 am / DeBoest Lecture Hall / $20 Open to the public

Public Conversation with artist Richard Wentworth and curator Tricia Y. Paik, followed by CAS Annual Meeting September 24 / 6 pm / The Toby CAS reception to follow in Sutphin Fountain Room ArtPrize in Grand Rapids, MI October 1–3 Meet up with CAS for ArtPrize in Grand Rapids, MI. RSVP to Travis DiNicola, tdinicola@indyreads.org DESIGN ARTS SOCIETY (DAS) DAS works to promote a greater awareness of the central role design plays in our daily lives and also to help establish the IMA as an important center for design arts in the US.

Film: Sign Painters September 3 / 7 pm / DeBoest Lecture Hall / $5M / $9P DAS Lecture: Ayala Serfaty October 8 / 6 pm / DeBoest Lecture Hall / Free

Alliance Gallery Enrichment Lecture and Tour September 22 / 1 pm / IMA

DAS Annual Dinner October 8 / 7 pm / Sutphin Fountain Room

Alliance Holiday Tea December 10 / 1–3 pm / $20 before Dec 3, $30 after / Woodstock Club Exclusively for Alliance members and guests

Love / Hate Event November 12 / 6 pm / Contemporary Design Gallery Three members of the design community will each select two objects in the galleries and offer a critique of the pros and cons of each of the designs.

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.

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.

Burberry Trunk Show September 20 / 10 am–noon / FAS members only

27

Project IMA October 9 / Runway Show / 8 pm / The Toby Ground Floor $15M / $20P Balcony $10M / $15P Behind the Seams After Party 8:30 pm / Pulliam Great Hall / $50M / $75P (includes fashion show ticket) Tour of The Cutting Edge with curator Niloo Paydar November 5 / 6 pm / Paul Textile Gallery 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.

Horticultural Society Marguerite Smith Memorial Lecture Series: SCOTLAND: The South and the Borders September 23 / 7:30 pm / Woodstock Club / Free An illustrated garden journey with Mark Zelonis.

Horticultural Society Marguerite Smith Memorial Lecture Series: The Right-Size Flower Garden: Exceptional Plants and Design Solutions for Time-Pressed and Aging Gardeners November 15 / The Toby / 2 pm / Free Speaker Kerry Mendez will talk about easy downsizing strategies, no-fuss plant material, and design tips for year-round gardens that will be as close to ‘autopilot’ as you can get.

To learn more about these events or how you can join one of these interest groups, contact Christa Thacker at cthacker@imamuseum.org or 317-923-1331.

Recent Events 1

2

1

10

4

1–4

Dream Cars Opening Party Photos by Nathaniel Edmunds Photography

5–9

Family Day Photos by Nathaniel Edmunds Photography

3

10–12 Michelle Grabner: Weaving Art into Life Opening Photos by Eric Lubrick 11

Curator Tricia Y. Paik & artist Michelle Grabner

13–16 Summer Solstice & Classic Car Show at Oldfields-Lilly House Photos by Drew Endicott

1

5

2

6

7

4

3

28

1

11

13

14

3

12

15

8

9

16

Community Day sponsored by The Hagerman Group.

Inaugural Art Swap in partnership with Indy Star on the Dudley & Mary Louise Sutphin Mall.

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

29

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

NON-PROFIT ORG U.S. POSTAGE

PAID

find us. friend us. follow us.

Host your wedding or private event at the IMA Contact a planner for more information yourevent@imamuseum.org 317-923-1331 ext. 236

INDIANAPOLIS, IN PERMIT #2200