Spring 2008 Previews

Spring 2008

PREVIEWS News and Events for Members of the IMA

Opening March 16

Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art

From the Director

Americans spend so much time being productive but rarely enough being creative. Driving kids to school, tapping on keyboards, sitting through meetings, replying to emails, making dinner, tidying up, turning in. In his 1956 novel The Fall, Albert Camus distilled modern life into two primary activities, one involving physical intimacy and the other reading the paper. With the pace of contemporary life, even reading the paper can seem like a luxury today.

The creative deficit in today’s America, brought about by increasing demands we make of ourselves, explains in part why the Indianapolis Museum of Art has hit the restart button on a commitment to the design arts. Back to the days of our founding in 1883, we focused on applied arts as a way of integrating art and life.

After millennia of unbounded creativity, the separation of art from life began in the 17th century with the emergence of academies extricating the ‘fine arts’ from the ‘minor arts.’ With this artificial divide came a range of successive misfortunes, from downgrading craft to the adoration of the art market to the eventual demise of connoisseurship.

This year we have rekindled our original efforts to bring art and life together, with the creation of a curatorial department for Design Arts. With acquisitions already rolling in, we hope in a few short years to provide our audiences with a solid grounding in the great achievements of designers making both massproduced and one-off solutions to life’s myriad challenges, from what to sit on to how best to cook.

From the fashion arts exhibition Breaking the Mode, to portable art in On Procession, the ingenuity of Web design in the new IMA Dashboard, fresh landscape design initiatives and the celebration of origami, we are opening up the debate of what belongs in an art museum and retrieving some of IMA’s founding intent 125 years ago as an incubator of creativity from across ages, places and media.

Maxwell L. Anderson The Melvin & Bren Simon Director and CEO Keep an eye out for fun facts from the IMA throughout Previews as we begin our 125th Anniversary year of celebration and commemoration!

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B r e a k i n g t h e M o d e : C o n t em p o r a r y

F a s h i o n f r om t h e P e rm a n e n t C o l l ec t i o n , L o s A n g e l e s C o u n t y M u s e um of A r t

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O n P ro c e ss i o n A r t Pa r a d e

J u l i a n n e S wa r t z ’s T e r r a i n

S q u a r e s - F o l d s -L i fe : C o n t e mp o r a r y O r i g am i b y Ro b e r t J . La n g

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T o Li v e F o r e v e r : E g y p t i a n T r e a s u r e s f r om t h e B r o o k l y n M u s e um

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E x h i b i t i o ns

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T e c h n o l o g y : Dash b oar d

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B e h i n d t h e S c e n es

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ON THE COVER: Issey Miyake “Minaret” dress, spring/summer 1995 Polyester plain weave; pleated and heat-and pressure-set; plastic hoops LACMA, Gift of Miyake Design Studio © 2007 LACMA

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I n t h e Gar d e n s

A f f i l iat e E v e n t s

Giving

I M A E v e n ts­

17 I n f o rmat i o n

In 1905, William Henry Fox was hired as the first professional director of the Museum. He left five years later to become the director of the Brooklyn Museum of Art until 1933.

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Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art

March 16–June 1 clowes gallery in the wood pavilion

Fashion is more than hanger-thin models and celebrity-studded runway shows. It’s as much about talent and technique as any other form of artistic expression. And like artists working in other media, fashion designers love to challenge the status quo.

That’s the point of Breaking the Mode: Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art, on display in the Allen Whitehill Clowes Gallery from March 16 to June 1. Organized by the Los Angeles County Museum of Art (LACMA) and based on its extensive holdings of costumes and textiles, the exhibition features nearly 100 garments from the 1980s through 2006, created by international designers whose work defied fashion conventions.

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From form-fitting dresses and underwear-as-outerwear to asymmetrical garments and dresses modeled after Japanese lanterns, the garments on display exemplify the creativity and innovative spirit that have altered both haute couture and mass market fashions. “This exhibition contains great examples of contemporary fashion,” said Niloo Paydar, the IMA’s curator of textile and fashion arts. “It shows the revolution that has happened in the fashion world over the past 25 years.”

Contributing to that revolution were such designers as Azzedine Alaïa, Hussein Chalayan, James Galanos, Rei Kawakubo, Christian Lacroix, Hervé Léger, Martin Margiela, Alexander McQueen, Issey Miyake, Franco Moschino, Thierry Mugler, Junya Watanabe, Vivienne Westwood and Yohji Yamamoto, who are among the 50 designers represented in Breaking the Mode. “This is not your conventional fashion exhibition,” said Paydar.

Much like a dress pattern, Breaking the Mode is divided into sections—construction, materials, concept and form. When stitched together, they reveal just how radical— and artistic—the garments on display actually are.

Construction …or Deconstruction Like a piece of sculpture, a garment is constructed according to fundamental guidelines. In the case of clothing, designers traditionally have considered durability, mobility, comfort and aesthetics.

From the first 1947 Christian Dior collection that became known as the “New Look”—which updated the long-held view of a woman’s body as an hour­ glass, shaped by layers of understructure—the show jumps to a radical shift, a body-hugging knit dress by avant-garde designer Rudi Gernreich. With no under-layers to give it form, it was shaped by the figure of the woman who wore it.

Gernreich opened a door that later designers like Issey Miyake tore off its hinges with an even more radical approach to silhouette and construction.

In the 1980s, Miyake and other Japanese designers began designing garments that were draped and wrapped in a modern twist on traditional Japanese clothing, concealing rather than revealing the body’s contours. “It was a sculptural approach to garment design, with the body as a support system, but not as the focus. Miyake lets the materials make the shape,” said Paydar.

Opposite: Issey Miyake and Dai Fujiwara For A-POC Queen, spring/summer 1999 Nylon and cotton knit LACMA, Costume Council Fund © 2007 LACMA

Above left and right: Dolce & Gabbana blouse, autumn/winter 2003–2004 Cotton plain weave LACMA, Gift of Janet Francine Cobert © 2007 LACMA

This section of the exhibition also includes pieces by Yohji Yamamoto and other designers who exposed the tailoring details—stitching patterns, shoulder pads, linings—that were usually tucked away inside a piece of clothing, creating coats and dresses that were essentially turned inside-out. It was deconstruction as construction, something that painters, for example, have been exploring for decades.

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Materials Above left: Lachasse Ltd. England two-piece suit, 1954 Wool plain weave LACMA, Gift of Mrs. Harry Lenart © 2007 LACMA Above right: Franco Moschino “Dinner Jacket” Ensemble, autumn/winter 1989–1990 Wool, wool and acetate, linen, and metal flatware LACMA, Gift of Leslie Prince Salzman © 2007 LACMA

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Form

Paper or Plastic?

from Hourglass to Outrageous

In recent times, fabrics that have been used for millennia—cotton, wool, silk—have given way to (or at least been combined with) newer materials that allow designers to manipulate form, texture and fit.

One piece on display in this section of the show is a dramatic coat by Miyake that features multiple pleats, made of folded and heat-set thermo­plastic fabric. It’s very sculptural, said Paydar, yet very comfortable.

Depending on the fashion of the moment, clothes can be form-fitting, form-enhancing or form-disguising. But in each case, the emphasis is usually on creating a relationship between the garment and the person wearing it.

Azzedine Alaïa used a fabric that molds to a wearer’s body to create the “Butterfly Dress” featured in the show. Thierry Mugler created a two-piece suit that features computerized grid lines as a decorative pattern. Other designers combined incongruous materials—velvet and plastic, for instance—or adorned garments with metallic laminates, or made dresses and coats from recycled materials.

Yamamoto, Miyake and others deviated from that approach by creating clothing that was asymmetrical.

A trench coat featured in this section has one sleeve that’s too long and another that’s missing entirely.

There is also a pair of pants with one leg split up the side and so long it drags on the floor.

“For many designers interested in exploring form,” said Paydar, “the aim wasn’t to create garments that were meant to be worn but to challenge people to think about clothing design from an artistic point of view and to come up with new ways of manipulating fabric to make statements.” In this section of the exhibition, visitors get an intriguing glimpse into the creative process. “There’s a questioning of what’s acceptable and what beauty is,” said Paydar.

Concept “Fashion Do’s” and “Fashion Don’ts”…

How about a “Fashion Why Not?” Every creative act begins with a concept—that inspirational bit of wonder that makes an artist ask “What if?” The concepts on display in Breaking the Mode were inspired in a variety of ways— historical costumes, collaboration with other artists or social conditions.

The results range from a series by Vivienne Westwood inspired by 19th-century petticoats to a jacket and skirt by Junya Watanabe inspired by a World War I officer’s trench­coat. Miyake asked artists to create images that were silk-screened onto the fabric he used for some of his pleated pieces. This section of the show—on its own and in combination with the other three—indicates how blurred the line between fashion and art has become.

Though the work on display is made of fabric, said Paydar, the concepts being explored are the same as those being addressed by artists working in other media. “Hopefully,” she said, “this exhibition will open people’s eyes to see fashion as an art form and to bring another level to the understanding of contemporary art.”

Junya Watanabe for Comme des Garçons dress, autumn/winter Cotton denim LACMA, Gift of Ricki and Marvin Ring © 2007 LACMA

Sponsored by Saks Fifth Avenue

RELATED PROGRAM

Project IMA Join us for a one-of-a-kind fashion show, celebrating the exhibition, Breaking the Mode: Contemporary Fashion from the Permanent Collection, Los Angles County Museum of Art. The IMA will present a show of avant-garde styles by local fashion designers.

April 4 / 7:00 pm Pulliam Great Hall

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Everyone loves a parade. Especially artists, said Rebecca Uchill, the IMA’s assistant curator of contemporary art. “It’s amazing when you start talking to people,” Uchill noted, “how many of them actually have secret parade aspirations tucked away.”

Parade: Saturday, April 26 noon Fountain Square, indianapolis

Exhibition: May 2–August 10 forefront galleries

The deadline for registering a project in order to be included in the art parade’s brochure is March 17. For more information about participating and to submit your proposal, go to onprocession.org.

With the Support of the Arts Council of Indianapolis and the Indianapolis Cultural Development Commission

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It’s those aspirations—and the works of artists who have acted upon them—that are the basis for On Procession, an exhibi­tion about parades opening in the Museum’s Forefront Galleries on May 2. In lieu of an opening party, however, the IMA plans something a little more spectacular—an art parade through the streets of downtown Indianapolis on April 26, a week prior to the exhibition opening.

Think of it as public art on the move, Uchill said.

In the mode of such artists as Francis Alÿs, who organized a quasi-religious procession in New York in 2002 featuring artist Kiki Smith in a hand-carriage and repro­ductions of artworks from the Museum of Modern Art, and Amy O’Neill, who collects and recreates parade float decor­ations, Uchill is currently working with artists, parade professionals and area cultural institutions to develop the exhibition-onparade. Los Angeles-based artist Fritz Haeg will act as the artistic director of the parade. He will challenge the conventionally linear parade by dividing the parade brigades in two. Both sections will march toward each other along the same route, concluding with the Eastern group meeting the Western in the middle. Haeg’s piece is titled East Meets West Interchange Overpass Parade.

A parade-cum-street pageant, the event will feature artists, performers and members of the general public. Winding its way through the downtown neighborhood of Fountain Square, the parade will be a mobile exhibition, complete with floats, costumed marchers and street theater from the likes of puppeteer Alison Heimstead.

To encourage widespread participation, the Museum is hosting workshops to assist with the development of parade projects. The program schedule, as well as information about taking part in the parade, is available online at onprocession.org.

The On Procession exhibition will contain video from Alÿs’ parade, as well as documentary from other processions conducted by artists Jeremy Deller in San Sebastian, Spain and Paul McCarthy in Munich, Germany. There will also be works from O’Neill and artist Allison Smith, who will create a pair of larger-than-life pull-toy donkeys for the Indianapolis parade in residence at Herron School of Art, as well as works from the annual New Yorkbased Art Parade. Though the parade takes place a week before the show opens, Uchill said, all participants will be invited to come to the IMA on April 26 after the event to see what has been installed at that point.

Pairing an exhibition on parades with the real thing seemed natural, Uchill said. “Rather than just having a gallery show about parades that you weren’t at, we wanted people to have the chance to really take part in an event.”

...in certain moments visitors will be able to make out whispered intimacies.

Julianne Swartz’s

Terrain February 8–May 4, 2008

New York-based artist Julianne Swartz has been selected to create a rare terrain at the IMA, the second site-specific commission in the Museum’s Efroymson Family Entrance Pavilion series. Using commercially available materials such as PVC piping, magnets, wire, clock motors and conduit, Swartz creates sculpture and installation that visually and aurally transform everyday spaces.

For her commissioned project at the IMA, Swartz has created an installation entitled Terrain that comprises a loose web of speakers and multi-colored wire suspended from the pavilion’s support columns. This delicate net interweaves speakers in zones of colored wire that resemble a map or quilt.

Each of the hundreds of speakers will emit a whispering voice, producing what Swartz describes as “a landscape of gentle sound.”

The installation will follow the contours of the room—slanting or ballooning down at points—allowing visitors to experience different intensities of sound as they move about the space. The murmuring mass of voices is largely indiscernible, however in certain moments visitors will be able to make out whispered intimacies.

While composed of commonplace materials motored by technology, Swartz’s perceptual environments mimic processes of human interaction. For the Whitney Biennial in 2004, Swartz created Somewhere Harmony, spanning the museum’s six-story stairwell.

This network of speakers and clear plastic tubing emanated recorded voices singing and speaking versions of the song “Over the Rainbow.”

In a more recent work, Body (2007), Swartz hung a web of interconnected wires and speakers, which whispered “Don’t worry” and “You don’t have to be afraid,” from the ceiling of Josée Bienvenu Gallery.

Born in Phoenix, AZ, Swartz lives and works in Kingston, NY. Her work has been shown in numerous exhibition spaces nationally and internationally, including the Tate Liverpool; the New Museum of Contemporary Art, New York; P.S.1.

Contemporary Art Center, New York; the Aldrich Museum of Contemporary Art, Ridgefield, CT; and Josée Bienvenu Gallery, New York. Scientist, magician and artist alike, Swartz creates work that connects to the rhythm of modern life.

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Creatures of Custom

Squares-Folds-Life: Contemporary Origami by Robert J. Lang Visitors will be able to watch Robert Lang as he creates the five Great Blue Heron paper sculptures to be featured in the exhibition.

Folding will take place: Friday, Saturday & Sunday, February 15, 16 and 17 11:00 am-noon and 1:30–4:00 pm

Amazing creatures are born in the studio of Dr. Robert J. Lang, a former physicist and engineer who is regarded as one of the most important Origami artists working today. Five Great Blue Herons, each folded from a single six foot square sheet of paper, will inhabit Lang’s installation in the Star Studio from February 17–July 20.

Dr. Lang will create these large birds as monumental paper sculptures featured in Squares-Folds-Life: Contemporary Origami by Robert J. Lang. The exhibition will include examples of his innovative compositions depicting birds, mammals, fish, insects and even an American flag. The exhibition will also give visitors an opportunity to fold their own simple Origami birds by following the artist’s directions via video. They can take their creations home or add them to a flock of visitor-created birds hanging from the studio’s ceiling.

The artist’s approach to the Japanese art of paper folding combines tradition and science with a modern flair. By studying the mathematics of Origami, he has developed a computer program that can be used as a tool to design complex folding patterns called Treemaker. Dr. Lang has also worked with the art in popular TV commercials by producing a series of paper people for a McDonald’s ad and crafting a red dragon seen in the 2006 Mitsubishi Endeavor spot. He is the author of eight influential books on Origami and has diagrammed more than 400 original designs, including some of the most complex and realistic ever created. Dr. Lang’s exhibition at the IMA will prompt visitors to ask: is this possible from a single sheet of paper?

See more of the artist’s work at langorigami.com.

The IMA’s Star Studio was made possible thanks to a generous capital gift from The Indianapolis Star. This interactive, hands-on gallery engages visitors of all ages in the world of art by offering direct access to working artists, in the spirit of experimentation and fun.

Exhibitions

Coming soon!

To Live Forever: Egyptian Treasures from the Brooklyn Museum July 13–September 7

“To Live Forever features ancient Egyptian objects from the Brooklyn Museum, which has one of the finest collections of this material in the United States. This is an exceptional opportunity to see Egyptian art since there are no significant collections in Indiana,” said Theodore Celenko, the IMA’s hosting curator and curator of Art of Africa, the South Pacific, and the Americas.

The national tour of ancient Egyptian art from the Brooklyn Museum will make its first stop at the Indianapolis Museum of Art this summer. With more than 100 objects covering a 4,000 year period beginning in 3,650 B.C., To Live Forever: Egyptian Treasures from the Brooklyn Museum showcases works that represent the beliefs ancient Egyptians held about death, funeral preparation and the afterlife.

A central tenet of the Egyptian faith spanning thousands of years of Egyptian civilization is that death was an enemy that could be vanquished if proper procedures were followed. The exhibition explores the ritual of mummification and other death defying customs performed in the tomb as efforts to comply with those procedures. It reveals the economic differences between rich and poor and efforts to imitate the costly appearance of the grave goods of the wealthy to ensure a better place in the afterlife.

Among the works in To Live Forever will be the vividly painted coffin of a Mayor of Thebes; the mummy and mummy portrait of a wealthy citizen of Hawara named Demetrios; important stone sculpture; protective gold jewelry made for nobility; faience amulets; and granite and clay vessels.

Edward Bleiberg, curator of Egyptian, Classical, and Ancient Middle Eastern Art at the Brooklyn Museum, organized the exhibition and has coauthored a cata­logue that will accompany the show. Dr. Bleiberg earned his M.A. and Ph.D. in Egyptology from the University of Toronto.

After its premiere at the IMA, To Live Forever will travel to other U.S. venues through fall 2011. They include the John and Mable Ringling Museum, Sarasota, FL; the Columbus Museum of Art; the Chrysler Museum of Art, Norfolk, VA; the Norton Museum of Art, West Palm Beach, FL; and the Frist Center for Visual Arts, Nashville, TN. Additional venues will be announced.

Amulet Representing the Soul as a Human-Head Falcon Late Period, 664 - 332 B.C. Gold 7/8 x 1 5/8 x 1/4 in.

(2.2 x 4.2 x 0.6 cm) place found: Saqqara, Egypt, Africa Charles Edwin Wilbour Fund 37.805E Anthropoid Coffin of the Servant of the Great Place, Teti New Kingdom, Dynasty 18, ca. 1339 B.C. –1307 B.C., Wood, painted 33 1/4 x 18 13/16 x 81 1/2 in.

(84.5 x 47.8 x 207 cm) place purchased: Thebes, Egypt, Africa Charles Edwin Wilbour Fund

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Opening Manufacturing Material Effects

Lida Abdul

EFROY M S ON ENTRANCE PAVILION

Squares-Folds-Life: Contemporary Origami

by Robert J. Lang

March 28–July 1

CAR M EN & M AR K HOLE M AN

See page 9.

February 17–July 20

DIGITAL AGE GALLERY

VIDEO GALLERY

S TAR S TUDIO

This interactive installation will showcase work from ­international architects and designers who participated in the April 2007 Manufacturing Material Effects Symposium organized by Ball State University’s Institute for Digital Fabrication and held at the IMA.

Afghan artist Lida Abdul creates artwork in a variety of media that attempts to understand the destruction and political unrest that has ravaged her country for the past several decades. Born in Kabul, Afghanistan in 1973, Abdul was forced to flee her country after the former-Soviet invasion in the late 1970s. She lived as a refugee in India and Germany before moving to the United States. It was not until 2004 that Abdul returned to Afghanistan, where she has since staged video-based works that explore the intercon­nection between architecture and identity.

Julianne Swartz: Terrain February 8–May 4

British Qualities: Works on Paper, 1875–1930 February 16–July 13 CONANT GALLERIE S

Nearly 50 prints, drawings and watercolors by two dozen British artists will follow the developments in the graphic arts during the Victorian and Edwardian eras. Noticeably absent are the revolutionary trends that wrenched French and German art toward modernism in this same period.

The British evolved, rather, from their home-grown land­ scape traditions of Turner and Constable and from the crystalline figurative style of the Pre-Raphaelites. The results were insular, independent and united only by common devo­tion to excellence in craft.

Led in the early period by supremely talented American expatriates, James McNeill Whistler and John Singer Sargent, England nurtured the idiosyncratic talents of Frank Short, Muirhead Bone, Frank Brangwyn, David Young Cameron and William Russell Flint whose contributions to English art were recognized with eventual knighthoods.

Lida Abdul exhibition photo: Lida Abdul, White House, 2005, video still.

Image courtesy of the artist and Giorgio Persano Gallery.

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See page 10.

Breaking the Mode: Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art March 16–June 1 Clowes Special Exhibition Gallery

See page 4.

In 1962, the Contemporary Art Society was formed to bring “work of current times” to the Museum.

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April 11–September 28

Continuing On Procession Art Parade

Omer Fast: Godville

April 26 / noon

HOLE M AN VIDEO GALLERY

FOUNTAIN S QUARE , indianapolis

Godville (2004) is a twochannel video installation based on interviews with ten 18th century character interpreters in Colonial Williamsburg, a livinghistory museum in Virginia.

Artist Omer Fast interviewed period actors from Colonial Williamsburg both in historic character and in their modernday actual personas. Through a vigorous editing process, inter­views with historic inter­preters conducted in and out of character are spliced together. The new narratives tell the story of people who are floating in America somewhere between past and present, fiction and real life.

Through March 2

Processionals are distinguished from parades in that they are interactive marches, rather than displays strictly performed for an audience. As an opening for the upcoming On Proces­ sion exhibition at the IMA, comes the accompanying Art Parade procession. The one day event invites broad community participation for this festive affair which will include floats, music and danc­ing. A call for participation invites local artists to create a project for the parade.

Visit onprocession.org.

Roy Halston Frowick 1932-1990 evening ensemble, 1980 Silk chiffon, bugle beads, sequins Gift of Elizabeth Weymouth 1986.336ab

With the Support of the Arts Council of Indianapolis and the Indianapolis Cultural Development Commission

Indiana Artists’ Club Annual Exhibition April 20–June 1 NORTH HALL GALLERY

The 74th annual exhibition of the Indiana Artists’ Club will feature works in a variety of media and styles.

Simply Halston April 12–November 2 PAUL FA S HION ART S GALLERY

Roy Halston Frowick (1932–1990) was born in Iowa and grew up in Indiana. He began his career as a milliner and later designed the hat Jacqueline Kennedy wore at her husband’s inauguration in 1961. A master of cut, he was a favorite of many celebrities and designed clothes for Elizabeth Taylor, Liza Minnelli, Anjelica Houston and Lauren Bacall.

Most of the approximately 18 designs in this exhibition will be drawn from the IMA’s fashion arts collection.

In 1966, the board explored plans to move the Museum to Holliday Park or the proposed IUPUI campus, two of more than eight schemes considered when moving from its downtown Indianapolis location on 16th and Pennsylvania Streets.

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Ingrid Calame: Traces of the Indianapolis Motor Speedway

Off the Wall: Adrian Schiess

Paris Posters: The Art of the Streets

Auguste Rodin: The Gates of Hell

Through April 27

Through August 24

Through December 31

Through March 16

VARIOU S LOCATION S

PULLIA M GREAT HALL

M CCOR M AC K FOREFRONT GALLERIE S

For his project at the IMA, Adrian Schiess has created a site-sensitive exhibition of his flat panels that are located throughout the entire campus, including galleries, hallways and Oldfields–Lilly House & Gardens. Their glossy surfaces are intended to reflect the pass­age of time, light and people as engagements in the environment. Visit imamuseum.org/adrianschiess to plan your visit.

S U S AN AND CHARLE S GOLDEN GALLERY

Calame, a Los Angeles-based artist, is best known for her large-scale works that trace and mimic the stains and patterns found on paved urban surfaces. Her exhibition at the IMA is based on the tire marks and other patterns that pepper the asphalt surface of the Indianapolis Motor Speedway.

The end result is large-scale colored pencil drawings and enamel-on-aluminum paintings created over the course of 18 months. This marks the first time that all of the artist’s works in the series have been exhibited in one venue.

Kenneth Tyler: Tamarind, Gemini G.E.L. and Tyler Graphics, Ltd. Through May 24 Milliken Gallery

Twenty-three prints by some of the most important painters and sculptors of the late 20th century—including Vija Celmins, Mark di Suvero, David Hockney, Roy Lichten­ stein, Robert Motherwell, Robert Rauschenberg and Frank Stella—are featured in this exhibition, which is the fourth in a series of exhibitions at the IMA on the major American print workshops of the same period.

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The posters in this exhibition, about 20 in all by Henri de Toulouse-Lautrec, Alfons Mucha, Jules Chéret, Pierre Bonnard, Félix Vallotton, Paul Berthon and others, document the early history of a thoroughly modern art form. Created in Paris during the Belle Epoque— the period including the last decade of the 19th century and the years leading up to World War I—posters had to be simple, dynamic, eyecatching and distinctive.

Hats of Africa: From Asante to Zulu Through September 28 EITEL J ORG GALLERY FOR S PECIAL EXHIBITION S

More than 50 traditional head coverings representing 30 ethnic groups from across Africa show the great cultural diversity of the continent. The hats are made for a variety of purposes and are fashioned from a variety of materials, including cloth, leather, feathers, shells and hair.

Rodin’s massive Gates of Hell project was arguably the most important European sculpture commission of the 19th cen­ tury. Intended to mark the entrance to a new museum in Paris, the Gates were conceived as monumental doors, adorned with the writhing forms and dramatic gestures of the con­ demned. This exhibition features nine bronze casts of works originally created as preparatory studies or individual elements of the project. Acquired by the world’s leading collectors of sculpture by Rodin, the works are on loan from the Iris and B. Gerald Cantor Foundation and the Iris and B. Gerald Cantor Collection.­

Technology

New Web Feature: IMA Dashboard Debuts Ever wonder how much electricity the IMA uses?

Or the number of new plantings in the gardens and grounds? How about the new artworks on view?

Or how many visitors are at the IMA today?

As of October 2007, it is now possible to get to know the IMA from the inside with the Museum’s Dashboard Web site. The Dashboard offers online visitors access to real-time statistics about attendance, art collections, finances and other areas important to the daily operation of the IMA. A team of dashboard contributors keeps the information current by updat­ing statistics unique to their department.

Visitors to the site, dashboard.imamuseum.org, can use these changing facts and figures to satisfy their curiosities and to better understand how the Museum operates as a public institution with a responsibility to its community. The Dashboard may be of particular interest to museum studies specialists, colleagues and patrons. The resource also serves as a management tool to measure how effectively the Museum is pursuing its mission.

“Our Web site is one of the most important tools we have to communicate with visitors and to keep them excited about programming and engaged with the Museum,” said Maxwell Anderson, The Melvin & Bren Simon Director and CEO of the IMA. “We hope that this innovative approach will serve as a model for other museums in communicating with their constituencies.”

As the Web continues to become a universal tool for exchanging information, it is possible that museums around the world will join the IMA’s innovative approach to presenting data. “It’s an extraordinary

service to provide such data online for the world to see,” said Andrew Taylor, director for the Bolz Center for Arts Administration at the UW-Madison School of Business, on his local arts and culture blog the Artful Manager. The Dashboard is just another way that the IMA has asserted itself as a leader on the Web and in its field.

The IMA launched its first Web site in 1995 with ima-art.org, later renamed imamuseum.org.

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A team of dashboard contributors keeps the information current by updat­ing statistics unique to their department.

Behind the Scenes

Textile Conservator Kathleen Kiefer IMA Textile Conservator Kathleen Kiefer examines a new acquisition.

Jeanne Lanvin French, 1867-1946 evening dress, 1926-1927 silk taffeta, bugle beads, faux pearls and rhinestones Gift of Amy Curtiss Davidoff 2007.70

For most of us, clothing provokes one of two basic reactions: “That’s great!” or “I wouldn’t be caught dead in that.” But when Kathleen Kiefer sees a piece of clothing, she’s more likely to think, “I wonder how they made that?”

Of course, Kiefer, the IMA’s textile conservator, is paid to think like that. But she was doing so long before she even knew that textile conservation was a profession.

“My whole life, I’ve been interested in fabrics and sewing,” said Kiefer, who joined the IMA staff in August 2007, after seven years as a conservator on the staff of the Winterthur Museum, in Winterthur, Delaware. “I grew up in the 1970s, when women still made their own dresses. I loved any kind of art or craft that involved fibers.”

But it wasn’t until she’d studied printmaking at the Pratt Institute in Brooklyn, New York and gotten a degree in textiles and clothing from the University of

Texas, that she discovered conservation. After volunteering and then working for two years in the paper conservation lab at the university’s Harry Ransom Center, which houses some of the finest rare books and manuscripts in the world, Kiefer was accepted into the Masters degree program in art conservation at the University of Delaware.

It was a perfect fit.

In Delaware, she developed the foundation necessary to care for a wide variety of artworks and artifacts— and finally focused on her lifelong love. While all objects have specific conservation requirements, said Kiefer, fabrics are especially demanding. “Textiles are less forgiving than other objects. Sometimes fabrics are so degraded and fragile that we can’t stitch through them.” In those cases, it becomes a matter of figuring out how to stabilize a garment or other fabric piece so it can be displayed or stored safely.

“Conservation is about compromise,” said Kiefer, sitting amid tables and racks of garments in the IMA’s textile conservation lab. “It’s a dance. You have to find out what everyone else wants to do with an object, then you have to act as an advocate for the piece. Our job is to create an environment that slows down deterioration.”

What she likes best about her job is having the chance to learn something new with every object she conserves. For the special exhibition, Breaking the Mode (March 16–June 1), which is focused on fashions from the 1980s and ’90s, Kiefer said she studied the work of designers whose clothing she hadn’t appreciated previously. “This is a show that you can enjoy just by looking at what’s on display,” she said, “but you can enjoy it even more if you take the time to learn about the designers and what they were doing.”

It’s a treat to have access to an ever-changing array of garments and other textiles, said Kiefer, to be able to study how they were made, and to explore who made and used them. “That’s the most fundamental thing.

That’s what brought me to this profession in the first place. I love what I do, and I love doing it here.”

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in the gardens

Striking Designs for Spring From planning to planting, IMA Gardens Supervisor Chad Franer shares how striking spring gardens are realized at the Indianapolis Museum of Art. Do you follow a timeline in planning for spring?

Which plants/bulbs do you choose for spring annuals?

What is the most enjoyable part of the design process?

The Horticulture department starts planning the IMA gardens for spring the previous July when we place bulb orders.

Certain bulbs last multiple years such as daffodils and crocus while others are changed or added to annually like tulips and hyacinths. Spring annuals must be ordered as well to achieve early season glory.

When we talk about spring annuals we are referring to plants such as pansies, violas and stock that can take light frosts and will last until around May 15—the projected date that frost will end for the season.

The most exciting part of this process is finding plants that work together as a group with compli­menting textures and colors. This must be combined with the plants’ cultural requirements for soil type, light exposure and moisture needs. When all this comes together and holds your attention we have achieved our goal.

In March, both our seasonal gardeners and our spring annuals arrive. Because of space and staff limitations we buy most of our plant material from within the region rather than growing it ourselves.

Sometimes it’s necessary to order by mail from around the country to get the right plant.

How are the gardens planned?

Each horticulturist is responsible for specific gardens. This includes the design, selection and sourcing of all plant material for the area. Each garden will have certain color schemes based on the woody plants and/or the perennials. Some gardens have restrictions due to historic accuracy, such as the Rapp Family Ravine Garden, but others are open to interpretation. Before anything is planted, Irvin Etienne, the IMA’s Display Coordinator, reviews all designs to ensure that historic attributes are honored and that color combinations are effective.

To submit your own “In the Gardens” questions, email previews@imamuseum.org.

Do the gardens ever turn out differently in the spring than you expected?

Many times at the end of this process we are thrown some curve balls. Our supplier might have had crop failure and substituted a different color, size or quantity of plant. We have to rethink and redesign on the fly. We try to have backup plants for those situations. As difficult as suppliers can be, nothing is more unpredictable than nature. We are reminded constantly that we can only plan and hope for the best when it comes to natural cycles of climate.

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Affiliate Events IMA Alliance IMA Alliance Art Lectures and Artist Studio Tours Join Alliance members and guests for art lectures and studio tours. Space is limited, so make your reservations as soon as possible. For pricing and more information, please call Leah Leifer at 317-253-6319 or Carol Edgar at 317-889-8129.

Asian Art Society

Lecture: Ron Crain

Japan-America Society of Indiana Talk and Book Signing for Hello Kitty: The Global Brand with Nine Lives Featuring The New York Times Business Reporter Ken Belson

Crain is a graduate of Herron School of Art and Design, and a collector of fine art, rare books and art pottery. He has done art restoration, framing, art investment consultation and lecturing. He is a past president of the Herron Alumni Associ­ation and The Portfolio Club, former arts director of the Indiana State Fair and a charter member of the Brandywine River Museum, Chads Ford, Pennsylvania. Among other topics, he will share his knowledge of the artists who illustrated the books of James Whitcomb Riley.

The Asian Art Society and the Japan-America Society of Indiana invite you to attend “Hello Kitty: The Global Brand with Nine Lives,” a talk and book-signing with author and The New York Times Business Reporter Ken Belson. Hello Kitty was Japan’s bril­liant answer to Walt Disney’s Mickey Mouse. As author of “Hello Kitty; The Remarkable Story of Sanrio and the Billion Dollar Feline Phenomenon,” Belson will discuss how Japan’s most famous cartoon kitten and other Sanrio characters have become a global cultural phenomenon, beginning in the 1970s with the Japanese concept of “kawaii” or cute. Belson will also talk about the inner workings of Sanrio, the company that created Hello Kitty, and how it succeeded in positioning products to appeal to consumers of all ages. Sanrio characters are now found not only on toys, notebooks and backpacks, but also on mobile phones, toasters and even cars!

Thursday, March 27 6:30–7:30 pm Lecture 7:30–8:30 pm Book-signing and raffle of Sanrio character items IMA DeBoest Lecture Hall

Friday, February 29 6:00–7:00 pm Meet in Pulliam Great Hall (Cash bar and hors d’oeuvres available for purchase)

7:00–8:00 pm Adult Lecture A

In 1883, May Wright Sewall and 17 other people founded the Art Association of Indianapolis, which became the John Herron Art Institute in 1906 and, in 1969, was renamed as the Indianapolis Museum of Art. REVERSE

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Studio Tour: Amy Cannady Cannady earned a B.F.A. degree at Southern Methodist University, where she also completed post-graduate studies in art. In her artwork, tensions and serenities coexist, inviting the viewer to consider life’s mysteries and ambiguities.

Through a reduction and layering process, she allows line and form to emerge and then disappear again into obscurity.

Her work has been exhibited in Dallas, Texas; Santa Fe, New Mexico; and Indianapolis.

Wednesday, March 19 2:00–4:00 pm The Stutz Art Gallery on Capitol Avenue

Studio Tour: AMACO An 87 year old local company, AMACO is one of the oldest craft materials manufacturers in the United States. It produced the first lead-free ceramic glazes in 1951 and the first potter’s wheel for the disabled in 1982. The company’s art gallery has a permanent Art Deco exhibit, while the manufacturing plant holds a special exhibition of a prominent ceramist. Founder of AMACO, Ted O. Philpott, was known for bringing live animals from South Africa and India to the state which were donated to the Indianapolis Zoo upon his death in 1966.

Date TBA For more information, please call 317-253-6319.

Horticultural Society The Garden in Winter Ironically, winter is when we need color most in the garden, but it is the season least planned and planted for color. Suzy Bales, award winning author of more than a dozen gardening books, and a frequent guest on national television shows, will teach you how to plant your garden with winter bloomers and conifers to be colorful and engaging even on the darkest days. Learn to use window boxes, containers, structures and ornaments. A reception and book signing of Bales’ latest offering, The Garden in Winter, will immediately follow; all are invited to stay for tea and refreshments.

Sustainable Rose Growing

Supported by the IMA Horticultural Society.

Peter Kukielski, Curator of the Peggy Rockefeller Rose Garden and Rose Collections at the New York Botanical Garden, will share organic practices and discuss topics to help soil become rich and active. He will talk about the three “basics” of rose growing and their importance to the success of your roses, as well as showcase the latest in global hybridization efforts to yield roses requiring little or no chemical intervention.

Kukielski recently completed a major renovation of the NYBG rose gardens. His design work has been featured in regional and national gardening publications. Supported by the IMA Horticultural Society.

Sunday, March 2 / 2:00 pm

Thursday, April 10 / 7:30 pm

Taurel Building, International School of Indiana 4330 Michigan Road

Deer Zink Events Pavilion

Gardening Symposium: Patterns in Gardening Look around your garden, and chances are you’ll notice at least one or more patterns hidden in plain sight. Do you plant perennials in repeating groups? Count colors or scents in the flower garden? Explore your vegetable garden, beds of ornamental grasses or edges of paths? Patterns speak a very old language, one that has guided gardeners for generations.

Discover how learning to recognize and use patterns can enliven your own garden and help you maximize what you already have. Featured speakers include designers Janet Moyer and Gary Koller, clematis nursery owner and breeder Raymond Evison, and garden writer Val Easton.

Chicago’s Michigan Avenue medians.

Urban Greening From the design of award-winning green roofs to his vision for urban corridors that influence many Midwest municipalities, Douglas Hoerr, principal of Douglas Hoerr Landscape Architecture, has been an integral part of the successful urban greening movement. As a noted practitioner of landscape architecture and as a long-term advisor to the city of Chicago, he will discuss Chicago projects including the transformation of Michigan Avenue, the City Garden at Garfield Park Conservatory, the urban university campuses of Loyola University Chicago and North Park University and green roofs at the Apple Store and 900 North Michigan Avenue, as well as streetscape design in Des Moines. Hoerr has received numerous awards for his firm’s work and has been featured in House & Garden, Veranda and Metropolitan Home. Supported by the IMA Horticultural Society.

Thursday, February 7 / 7:30 pm Deer Zink Events Pavilion

Thursday, February 14 / 8:00 am–3:30 pm Shelton Auditorium, Christian Theological Seminary 1000 West 42nd Street

$124 for IMA members and subscribers to Horticulture magazine For more information, call 1-877-436-7764, or visit hortmag.com

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GIVING

Meet…

Michelle and Perry Griffith You’ve both been members of the IMA Council, formerly known as the Second Century Society, since 1994 and have continued to become more active at the President’s Council level. What inspired you to join, and what do you enjoy most about this membership program today?

M: I was inspired to join the IMA when I served as civil appointee to the IMA under Mayor Steve Goldsmith—he was an avid proponent of developing the greenways system in addition to connecting these trails with the future Virginia B. Fairbanks Art and Nature Park. Through my work with Mayor Goldsmith, I learned about the IMA and the Art and Nature Park project and realized what a tremendous benefit this park would someday offer the community and the new segments it would reach.

We joined the IMA President’s Council to further support the Museum’s mission and also because of the added benefits that Council members enjoy such as opportunities to meet artists, attend events and exhibition openings and travel opportunities with the Melvin & Bren Simon Director and CEO.

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What are your backgrounds?

Has that influenced the way you view art?

P: As a young teenager and in my twenties, I viewed art as unapproachable. Since I’ve become involved in programs at the IMA, I now view it as very approachable, engaging and welcoming. Growing up, the art that my mom and dad had in their house included portraits and traditional landscapes, so it has taken me a bit of time to orient myself to contemporary and modern art because it was not a part of my youth. I remember when my wife became interested in contemporary art. Just listening to her talk about the pieces that interested her influenced my interest—Michelle brought me to the door of contemporary art.

Michelle, as the current President of the Contemporary Art Society (CAS), what do you think the group offers members?

M: I think the Contemporary Art Society, along with the other affiliate groups, offers opportunities to get involved in specific areas of interest through events, study groups and exhibitions. Our members really enjoy the social aspect of CAS. We offer a lot of different ways for members to get together

through member dinners, receptions, Forefront exhibition openings, member travel opportunities and more. It’s been such a fun collaboration with our contemporary art department in planning the Forefront exhibition opening events. When planning the event, we talk about ideas the artist is looking to convey through his or her work and build upon those to develop the theme and format for the parties. It has allowed us to reach all types of people. Having fun is ageless. It’s a relaxed and fun way to visit the Museum, meet the artist and enjoy the exhibition—I love that.

As the IMA continues to plan more programs geared towards members and young professionals, what advice do you have for those young professionals looking to become more involved by supporting the IMA? P: Come on in, the water’s warm. It’s approachable.

If young folks have an interest in art, there are a number of ways they can plug into their area of interest at the IMA. From all I’ve seen in the various groups at the IMA from the administration to affiliate groups—they’re all very welcoming and interested in bringing new individuals into the fold.

CAS is hoping to launch its $30 under 30 at the next Forefront opening in April.

What IMA pieces inspire you both?

M: I don’t have one in particular. While I happen to love the contemporary art in the Museum, the wonderful thing is that we have an encyclopedic Museum. When I walk through the collections of African art, Asian art and even textile art, I not only admire them for their own beauty, but I also see the influences on art from past generations of artists on current artists. You can see the continuity and connection between these generations. I find it very interesting to see all of this artwork together.

P: The piece that strikes me as inspirational is the Kay Rosen piece that runs from the underground parking garage to the IMA entrance.

Prior to its installation, Michelle and I were given an opportunity to look at a number of giving opportunities. As we began to sort through these— this one in particular stood out for a number of reasons. First and foremost, this would be a major ingress into the Museum which people would use to enter. And second, our family business revolves around parking garages. So it was a natural tie in.

The other piece at the IMA that is very meaningful to me is the towpath bridge that connects the Museum grounds to the trail and future Art and Nature Park. My family and family foundation along with the Lilly Endowment were able to save this bridge from demolition years ago. It serves as one of the connecting points between the IMA campus and the Art and Nature Park. And on a very personal note, my father loved a poem called The Bridge Builder by Will Allen Dromgoole. It’s a moving poem that ties back to the significance of the tow bridge and the role we have as contributors to the IMA in building bridges for future generations (see page 22).

About the IMA Council Members of the IMA Council are at the forefront of annual giving at IMA. Their generous support makes it possible for the IMA to provide free general admission, extended evening hours, educational programs and partnerships such as VIEWFINDERS and much more for the Indianapolis and international arts com­munities. In return, members enjoy exclusive benefits such as complimentary invitations to artist receptions, exhibition openings and events at Westerley, in addition to travel opportunities with the Melvin & Bren Simon Director and CEO. Membership in the IMA Council includes five different levels of support: Curator’s Council $1,500–$2,499

Chairman’s Council $10,000–$24,999

Director’s Council $2,500–$4,999

Clowes Council $25,000 and above

President’s Council $5,000–$9,999

Join IMA’s premiere membership program today! To join, please contact the Donor Relations Manager at 317-923-1331, ext. 251 or councilgroups@imamuseum.org.

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Create a legacy with a Planned Gift to the IMA The Legacy Circle is a special donor recognition group created to honor individuals who choose to make the IMA a beneficiary in their estate plans.

We invite you to become a part of this noble tradition of giving by investing in the future of the IMA. As a mem­ber of the Legacy Circle, you will join a distinguished group of donors who have made the Museum one of the preeminent art museums in the United States. And, like them, you will have the satisfaction of knowing you have enhanced the quality of life for others.

For more information about the Legacy Circle or if you have already made the IMA a beneficiary of your estate, please contact Mary Crevey, IMA major gifts manager, at 317-923-1331, ext. 268 or mcrevey@imamusuem.org.

The Bridge Builder An old man going a lone highway Came to the evening cold and gray To a chasm, vast and wide and steep With waters rolling cold and deep.

The old man crossed in the twilight dim The sullen stream had no fears for him But he crossed when safe on the other side And built a bridge to span the tide.

“Old man,” said a fellow pilgrim near.

“You’re wasting your strength with building here.

Your journey will end with the ending day You never again must pass this way.

You’ve crossed the chasm, deep and wide Why build you this bridge at eventide?”

The builder lifted his old, gray head.

“In the path I have come,” he said.

“There followeth after me today a youth whose feet must pass this way.

This chasm that has been naught to me, May a pitfall to that fair haired youth may be He, too, must cross in the twilight dim Good friend, I am building this bridge for him.”

—Will Allen Droomgole

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ima events

Tony Feher Artist Reception On October 3, Contemporary Art Society members joined the Efroymson family and artist Tony Feher to celebrate A Single Act of Carelessness Will Result in the Eternal Loss of Beauty, a site-specific installation in the Efroymson Family Entrance Pavilion.

Clockwise from top left: Adnaan Hamid, Lori Efroymson Aguilera, Nishaat Yunus, Elissa Efroymson and Sergio Aguilera Wayne Zink with artist Tony Feher Maxwell Anderson, Tony Feher and IMA curator of contemporary art, Lisa Freiman

Anna and Jim White, Alpha Blackburn and Susan Cahn.

Lori Efroymson Aguilera and Sergio Aguilera

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header

Welcome to Westerley On October 24 and November 7, Maxwell and Jacqueline Anderson hosted an intimate cocktail reception at Westerley, formerly the Clowes family home. The IMA’s generous President’s Council, Chairman’s Council and Clowes Council members were introduced to the newly renovated historic mansion that the IMA’s Melvin & Bren Simon Director and CEO and his family now call home.

Clockwise from top left: Marianne Tobias and Jacqueline Buckingham Anderson Andy Paine toasts the Andersons at Westerly Kate Appel and Kay Koch John and Leslie Rapp, Members of the Council

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contents

Joe Blakley, Bill Fortune and Maxwell Anderson

Maya Lin Sculpture Premiere Artist Maya Lin and the Fortune family, who made this commission possible for the IMA, came together on November 30 to celebrate the installation of her sculpture, Above and Below, located on the Fortune Balcony of the Museum. Lin’s piece is a sculptural sketch of the under­ground portions of Indiana’s White River system and will serve as an aesthetic gateway for the new Virginia B. Fairbanks Art & Nature Park, which will take shape in 2009.

Maxwell Anderson with artist Maya Lin

Rich Fortune, Joe Blakley, Maya Lin, Will Fortune, Bill Fortune, Jane Fortune, Bob Hesse, Pam Fortune-Werbe and Dan Werbe

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An Indy Victory for Ingrid Calame Crowds of race fans and art fans alike came to celebrate the opening of Los Angeles-based artist, Ingrid Calame’s Traces of the Indianapolis Motor Speedway on November 1. Famed Indy Car driver A.J. Foyt IV made an appearance, while the Twin Cats entertained the crowd with a heavy dose of rock and roll. Those interested in practicing their driving skills took their turn at a video game of Indy Car Racing projected on the wall of Pulliam Great Hall.

See more photos of IMA events at http://flickr.com/photos/imaitsmyart 26

Clockwise from top left: Special guest A.J. Foyt IV and chairperson Jacqueline Buckingham Anderson Maxwell Anderson, Penny Fortune, Myrta Pulliam and Jacqueline Buckingham Anderson Dr. Joel and Mrs. Nicole Yalowitz Shelby Roberts and baby Willa Pearl, artist Ingrid Calame and Dorothy and Lee Alig Allyson Pumphrey, Melina Hill, Gemma Mitsch and Ronald Lazzell-Butler

information IMA H ours

Membership

Restaurants

Indianapolis Museum of Art & Lilly House

For questions concerning membership, call 317-920-2651.

To renew or join IMA, call 317-920-2651, or join online at imamuseum.org.

Puck’s Wolfgangpuck.com/rsvp or call 317-955-2315 for reservations

Tuesday, Wednesday and Saturday, 11:00 am–5:00 pm Thursday and Friday, 11:00 am–9:00 pm Sunday, noon–5:00 pm Closed Mondays, Thanksgiving, Christmas and New Year’s Day. Gardens & Grounds Open daily from dawn until dusk.

Admission

General admission is free.

Admission charges for special exhibitions in the Clowes Gallery in Wood Pavilion are: IMA members Free Adults (18–64) $12 Children (7–17) $6 College students with valid I.D. $6 Seniors (65+) $10 Groups of 10 or more, each person $10 Children 6 and under Free School groups Free (must book through IMA Education Division) IMA members, depending on membership level, receive one or more complimentary tickets for guests for ticketed exhibitions.

Phone MAIn:

317-923-1331

2 4 - Hour I nformation L ine :

317-920-2660 Internet WEB SITE: E-MAIL:

imamuseum.org

ima@imamuseum.org

Free Parking

Visitors may park in the garage and designated outdoor lots at no charge. Wheelchairaccessible spaces are marked.

A ccessibility

Lunch: Tuesday–Saturday, 11:00 am–2:00 pm Dinner: Thursday–Saturday, 5:00–9:00 pm Brunch: Sunday, 11:00 am–2:00 pm IMA Cafe Tuesday–Saturday, 11:00 am–5:00 pm Sunday, noon–5:00 pm

The Museum building and Lilly House are accessible for wheelchair users.

Happy Hour Thursday, 5:00–9:00 pm

S hopping

AMP: art, music, people Friday 5:00-9:00 pm

The IMA Store Unique selection of books, crafts, gifts and more.

I M A Libraries

Open all Museum hours.

Noncirculating collection of more than 90,000 items 317-920-2647

Gallery Shop Located on the north end of the first gallery level, this shop offers merchandise related to special exhibitions and IMA ­collections.

Greenhouse Shop Perennials, annuals, herbs and gardening gifts for sale.

Open all Museum hours, except Thursday and Friday, when it closes at 8:00 pm.

Better Than New Shop Now closed. Please direct all donations to Thrifty Threads— 86th and Ditch Road.

Public T ours

Public tours are offered each day at 1:00 pm and also on Thursdays at 7:00 pm. Tour size is limited. Meet on the first gallery level at top of escalator.

Stout Reference Library

Tuesday, Wednesday, Friday, 2:00­–5:00 pm Thursday, 2:00–8:00 pm and by appointment Jane S. Dutton Educational Resource Center 317-920-2675 Tuesday, Wednesday, Friday, Saturday, 11:00 am–5:00 pm Thursday, 11:00 am–8:00 pm Horticultural Society Library

Previews is published by IMA, 4000 Michigan Road, Indianapolis, IN 46208-3326, as a benefit for IMA members. Questions or comments may be directed to the Previews staff at 317-923-1331.

Editor:

Noelle Pulliam contributer:

S.L. Berry Graphic Design:

Kristi Stainback pRODUCTION ASSISTANT:

Hester DeLoach photographers:

Tad Fruits Mike Rippy RIGHTS & REPRODUCTIONS:

Ruth Roberts image processing specialist:

Laurie Gilbert

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 and Reproductions office, 317-923-1331, ext. 171.

Copyright ©2008 Indianapolis Museum of Art

Books on gardening and related topics. Lower level of Garden Terrace. 317-923-1331, ext. 429 Wednesday and Saturday, noon–3:00 pm

General support of the IMA is provided by the Arts Council of Indianapolis and the City of Indianapolis; and by the Indiana Arts Commission, a state agency, and the National Endowment for the Arts, a federal agency.

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1883-2008

The 1907 Aims and Objectives of the Art Association of Indianapolis

REVERSE

included the phrase

“…and in every way possible to encourage the study and love of art among the people.”

Children in the sculpture court of the John Herron Art Museum (ca. 1940).

4000 Michigan Road Indianapolis, IN 46208-3326

4000 Michigan Road Indianapolis, IN 46208-3326

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Indianapolis, IN Permit #2200