Winter 2008 Previews by Newfields

Winter 2008

PREVIEWS News and Events for Members of the IMA

FRO M THE DIRE C TOR Large-scale interior spaces date back to antiquity, expanding by means of poured concrete in ancient Rome and flying buttresses in the Middle Ages. With colossal size came a demand for large-scale design solutions, and such challenges have been met in countless ways across the ages. Robert Irwin came at our invitation in 2007 to experience the vastness of the IMA’s Pulliam Great Hall, our largest interior space, and consider how we might address the scale of this primary assembly space in the Museum’s core. One of America’s leading artists, Irwin has tackled other massively scaled projects, from the atrium of the Nancy Hanks Center in Washington, D.C., to the gardens of the Getty Trust’s complex in Brentwood, California. Irwin’s solution to our needs is a deceptively simple one. He has devised something akin to a choir screen, rising 60 feet and spanning 60 feet. Emitting a bath of light, muted by scrim, it provides a focal point for this enormous space and adds a much needed complement to Sol LeWitt’s equally majestic Wall Drawing No. 652 a few dozen feet to the south. In light of Irwin’s contribution, LeWitt’s crystalline, multicolored drawing takes on the character of a huge stained glass window. The silent conversation between these two giants of late 20th century and 21st century art creates the aura of a secular cathedral dedicated to the arts and will make your next visit to the IMA a memorable one. The story of the collecting acumen of Dorothy and Herbert Vogel is a riveting one, and we are pleased to present the works they have recently donated to the IMA as part of a nationwide transfer of artworks from the National Gallery of Art. While these independent-spirited collectors followed their own muse in assembling a great collection, a wonderful counterpoint may be found in our display of the Wishard Hospital Murals. This mural cycle from 1914 was originally made for the patients of City Hospital by Indiana artists, including William Edouard Scott, T.C. Steele, Clifton Wheeler, J. Ottis Adams and Wayman Adams. The IMA’s Conservation Department has restored the works thanks to the generosity of the Efroymson Family Foundation. Our next installation in the Efroymson Family Entrance Pavilion is a soulful work by Orly Genger, opening on November 21. This cascading assemblage of rope conjures up multiple associations and will decisively reframe the Museum’s entrance. The same night, the Randall L. and Marianne W. Tobias Theater (a.k.a. “The Toby”) will debut its 600-seat renovation with “Virtuosos and Visions”, presenting Violinist Cho Liang Lin and pipa artist Min Xiao-Fen with 2002 International Violin Competition of Indianapolis Laureate Susie Park, violist Atar Arad and cellist Sophia Shao. Altogether we know this fall and winter will be among the most spectacular in our 125 years—and we hope our members and visitors will take full advantage of every offering.

Maxwell L. Anderson The Melvin & Bren Simon Director and CEO

C ONTENTS

7 8 10

A C e l e b ra t i o n o f L i g h t and Spac e

O rl y G e n g e r : W ho l e

P re s e rv i n g a Le g acy: W is ha r d H o s p i t a l M u ra l s

C o l l ec t e d T h o u g h ts: W o rks from t h e D orot hy and H e rbe rt Vo g e l Colle c t i o n

Exhibitions

“ Meet me at The Toby ”

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T E C HNO LO G Y: Flick r Snapshot

I n the Gardens : 1 0 0 A cres

B ehind the Scenes: C hristmas at L illy H ou se

shop o u r H oliday gems

A F F I L AT E E V E NTS

26 28 30 31

G I V IN G

I M A E V E NTS

V oices: Chef A lice W aters

IN F O R M ATION

ON THE COVER:

Robert Irwin’s Light and Space III

Artist Robert Irwin surveys his work from a balcony in Pulliam Great Hall. 4

+ A brilliant wall of light greets visitors to the Indianapolis Museum of Art’s three gallery levels as part of the largest addition to the Museum’s rapidly growing contemporary art program. Unveiled in celebration of the IMA’s 125th anniversary on October 11, Robert Irwin’s Light and Space III transforms the experience of entering the Museum galleries. Irwin specifically created Light and Space III in response to the design of the Pulliam Great Hall atrium. This luminous, abstract sculptural installation is comprised of a series of white floor-to-ceiling scrim panels, which bracket five channels of fluorescent lights, mounted in a grid-like pattern across the wall on the sides of the escalators. Visible from all gallery levels, Light and Space III is a dramatic new landmark of contemporary art at the heart of the IMA.

A Celebration oF

L i g h t + S p ac e An important pioneer of American art since the sixties, Robert Irwin is renowned for creating works that explore the nature of visual and sensory perception. Irwin played a pivotal role in the history of art as one of the leaders of the Light and Space movement that flourished on the West Coast in the late sixties. Often working on site-specific installations, Irwin strives to engage viewers in a new perception of their surrounding environment, while also drawing on an array of conceptual and art historical associations. Maxwell L. Anderson, the Melvin & Bren Simon Director and CEO of the Indianapolis Museum of Art said the Museum was “thrilled to have the opportunity to commission a site-specific work by renowned artist Robert Irwin.” “Its prominent location in the IMA’s Pulliam Great Hall ensures it will become a part of every visitor’s experience at the Museum. I cannot think of a better way to kick off the celebration of our 125th anniversary. The work will enhance visitors’ experiences to the Museum for years to come.” The IMA’s robust contemporary art program has evolved as a model for general art museums as they engage the art of this era. The IMA has raised more than $15 million in funds supporting its contemporary programming.

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+ This focus on its contemporary collection has the IMA actively seeking out works of new and emerging artists through both gift and acquisition. The IMA also is organizing major traveling exhibitions and commissioning sitespecific installations. Irwin’s installation at the IMA was funded in part by longtime supporters of the Museum’s contemporary collection Ann M. and Chris Stack. “We are honored to contribute to the celebration of 125 years of Indianapolis’s preeminent art institution,” Ann Stack said. Lisa Freiman, senior curator of contemporary art at the IMA, said that this commission places “work by one of the most important living American artists at the heart of our institution.” “Irwin’s abstract work demonstrates how versatile and transformative abstraction has become and how it can change the way we perceive our embodied relationship with what surrounds us,” Freiman said. “Irwin’s subtle yet powerful work is an ideal choice for a corridor that connects art from different cultures and time periods.”

+ Light and Space III is on view permanently at the IMA.

Orly Genger: Whole November 21, 2008–June 14, 2009

Above: Genger at work in her studio, preparing her IMA installation. Courtesy of the artist and Larissa Goldston Gallery.

New York-based artist Orly Genger is known for transforming common nylon ropes into elaborate, monumental sculptures. Her newest work, commissioned for the IMA’s Efroymson Family Entrance Pavilion, is her largest and most ambitious one to date. Genger’s sculpture entitled Whole was conceived in response to its surroundings with thousands of feet of painted rope piled into an all-encompassing installation that viewers will be forced to confront from the moment they enter the Museum. The work challenges typical associations with craft and textile handiwork through its highly physical creation process—wrestling rope into knots and stacking the forms to create persistent and imposing sculptural objects. According to Genger, her sculptures are suggestive of “things that are beyond our control. They spill, flood and spread through space. Even as they stand still like steel monuments bolted to the ground, they threaten to envelop their surroundings like molten lava chasing anything in its path.” Born in New York City, Genger received her B.A. from Brown University and continued her studies at the School of the Art Institute of Chicago and The School of Visual Arts in New York. Her work has been exhibited at the Aldrich Contemporary Art Museum, CT; the Queens Museum, NY; the Cornell Fine Arts Museum, FL; Socrates Sculpture Park, NY; and the Haifa Museum of Art, Israel.

SAVE THE DATE! Artist Talk / Thursday, November 20 / 6:30 pm I M A P revie w s

WINTER 2008–2009

January 17–March 29, 2009 A l l iance G a l l er y

One would travel a very long road in finding another such hospital so lavishly decorated by such distinguished artists. That’s how Dr. Thurman B. Rice described the murals adorning the walls of the medical facility now known as Wishard Hospital in an article he wrote for the Indiana State Board of Health’s bulletin in October 1948. No other hospital in the nation could boast of having walls covered with murals, primarily portraits of children and landscapes, done by artists so widely respected and in some cases nationally known as T.C. Steele, Wayman Adams, William Edouard Scott, William Forsyth, Carl Graf, Clifton Wheeler and J. Ottis Adams. But even at the time of Rice’s article, the murals, which were originally done on canvas fastened directly to the walls, were showing signs of wear and tear. After 34 years on display, some had begun to fade, and harsh washings and a roof leak had damaged others. However, the worst was yet to come. Several murals were 8

painted over, while others suffered from years of poor care. As the 21st century began, it was clear that something needed to be done before the murals were beyond rescue. The IMA’s conservation lab, renowned for its skillful handling of such large-scale restoration projects as the Thomas Hart Benton murals at Indiana University, began working with Wishard Hospital to conserve the murals in 2003. With a grant from the Efroymson Family Fund, IMA conservators have been cleaning and stabilizing the murals, many of which had been removed from the hospital walls and remounted on Masonite in an earlier restoration effort in 1967 which was not performed by the IMA. The results of the most recent Wishard conservation effort are dramatic. Removing layers of grime and yellowed varnish has revealed images as colorful as when they were first painted. In cases where the years had left marks, scars and patches of missing pigments, the

IMA’s conservation team—led by Linda Witkowski, senior conservator of paintings, and Christina Milton O’Connell, assistant conservator of paintings—has cleaned, repaired and in-painted several of the murals, resulting in images that again appear as they did nearly 100 years ago. You can see these extraordinary transformations for yourself when the exhibition Preserving a Legacy: The Wishard Hospital Murals opens on January 17, 2009. Not only will the exhibition feature conserved murals, but also a partially conserved mural and several yet to be conserved murals for visitors to observe the conservation process in several stages. “Everything we do is easily reversible,” explains Witkowski, “so if someone wants to do more conservation work in the future, it will be easy to remove what we’ve done to get the paintings back to the condition they were in when we started working on them.” “The purpose of Preserving a Legacy is two-fold,” said Harriet Warkel, the IMA’s curator of American art. “In addition to highlighting the work of the conservation lab, it’s an opportunity to educate visitors about the original project, which was unique in the nation for its time. This was a groundbreaking project that people came from all over the country to see.”

The artists who painted the murals, voluntarily worked on the cashstrapped project for little pay to ensure that patients and their visitors at City Hospital (the name of the hospital at the time) had something more interesting to look at than blank walls. One of the artists, William Edouard Scott, was African American. During a period when segregation was a fact of life, it was a testimony to Scott’s talent that he was among the artists invited to take part—and a precursor to the greater national renown that would eventually come his way. Once the conservation effort is complete, all of the murals will be back on display in public areas of Wishard Hospital. “This exhibition is a reminder that the Indianapolis Museum of Art serves the community in many ways,” said Warkel. To commemorate Scott’s involvement and highlight his mural Simeon and the Babe Jesus, the Museum is offering special tours of Preserving a Legacy on January 19 (Martin Luther King Day) and lecture on January 22, 2009. See more conservation photos at imamuseum.org/flickr

Previous page: Historic photo of Wishard nurses feeding babies with a mural in the background. Far left: William Edourd Scott, American, 1884-1964. Simeon and the Babe Jesus, oil on canvas mounted to masonite, 98 x 44 inches. Health and Hospital Corporation of Marion County, Indiana. Assistant Conservator of Paintings Christina Milton O’Connell repairs a landscape by Jay H. Connaway.

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Collected Thoughts Works from the Dorothy and Herbert Vogel Collection December 12, 2008–April 12, 2009 m c cormac k F orefront G a l l erie s

For many people, collecting art as finances permit or fancy dictates is the norm. But for Dorothy and Herbert Vogel, collecting art has been a 40-year-long commitment, resulting in more than 4,000 works by 170 contemporary artists from the 1960s to the early 2000s. As impressive as that may be, the Vogels’ story enters the realm of the extraordinary when you realize that the lifelong New Yorkers amassed their collection on quite a modest budget. By using Dorothy’s salary as a librarian to pay bills, they were able to devote Herbert’s earnings as a postal worker to the purchase of art. By limiting themselves to smaller pieces, mostly abstract and minimalist works on paper, they kept their acquisitions affordable. In 1991, the Vogels began transferring their collection from their threeroom Manhattan apartment to the National Gallery of Art to ensure the works would be both properly conserved and made available to the public. In early 2008, the National Gallery announced that it would, in turn, give 50 works from the Vogel Collection to one museum in each of the 50 states—2,500 pieces in all—through a program dubbed “The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States.” The IMA was one of the first 10 institutions selected as part of the gift program. On December 12, those pieces will go on display in the Forefront Galleries in the exhibition Collected Thoughts: Works from the Dorothy and Herbert Vogel Collection. Consisting of works by artists such as Robert Mangold, Elizabeth Murray and Richard Tuttle, the exhibition will offer visitors a one-time-only opportunity to see all 50 works together— when the show closes on April 12, 2009, the Vogel gifts will be absorbed into the Museum’s larger contemporary collection.

Left: Stephen Antonakos (American, born 1926) JA#25–1980 Berlin, yellow, green and soft blue silkscreened paper collage. 27 3/8 x 20 7/8 (irregular)

Because the works are small in scale, said Sarah Urist Green, assistant curator of contemporary art, it will be an intimate show. “These are apartment-scale pieces,” said Green. “When you see the works together, you get a sense of the Vogels’ insightful approach to collecting.”

Above: Robert Mangold (American, born 1937) Looped Line Torn Zone, 1989, pastel pencil, acrylic and collage on paper. 22 1/2 x 37 5/8 inches

As artists themselves, the Vogels recognized talent and skill. And by hanging out in places like the renowned Cedar Bar, Herbert befriended many of the contemporary art world’s future stars while they were still struggling, leading to opportunities to buy pieces straight from artists’ studios and often avoiding gallery mark-ups.

Sponsored by:

“The Vogels collected many important artists early in their careers. They were really smart in their collecting,” says Green. “It’s a great American story.”

SAVE THE DATE Exhibition Opening: December 11 Opening Party: Public $10 / Students $5 / Members Free 6:30 pm

Documentary film “Herb and Dorothy” followed by a Q&A with the Vogels in Tobias Theater

8–10 pm Forefront Opening Party

I M A P revie w s

WINTER 2008–2009

E X HIBITIONS Orly Genger: Whole November 21, 2008–June 14, 2009 E fro y mo s on F ami l y E ntrance P avi l ion

See page 7.

Collected Thoughts: Works from the Dorothy and Herbert Vogel Collection December 12, 2008–April 12, 2009 M c C ormac k F orefront G a l l erie s

See page 10.

Preserving a Legacy: The Wishard Hospital Murals January 17, 2008–March 29, 2009 A l l iance G a l l er y

See page 8.

Continuing FriendsWithYou: Dream Maker

Opening Mark Lewis: Rear Projection: Molly Parker November 7, 2008–April 5, 2009 C armen & M ar k H o l eman V i d eo G a l l er y

Since the mid 1990s, London-based artist Mark Lewis has made short films that explore the concept of the moving image. Lewis’ works bring focus to seemingly secondary information—background details such as landscape, everyday architecture and film extras—repositioning these elements so that they occupy the central role. For this exhibition, the IMA presents Lewis’ 2006 work Rear Projection: Molly Parker, which looks to the outmoded technique of rear projection (now replaced by blue screen technology). Engaging a technique originally meant to communicate realism, his work draws attention to its own artifice and creates a mysterious disjuncture of time and space. Mark Lewis, still from Rear Projection: Molly Parker, 2006. 35mm transferred to high definition, 4 minutes. Courtesy of the artist.

Through November 9 E fro y m s on F ami l y E ntrance P avi l ion

FriendsWithYou is an art collective based in Miami, Florida, founded by Sam Borkson and Arturo Sandoval in 2002. The group promotes the two artists’ common message of magic, luck and friendship in popular culture by creating and sharing designer toys, multimedia, paintings, sculptures, performances and art installations. For the IMA’s Efroymson Family Entrance Pavilion, FriendsWithYou has fashioned a blimp mobile entitled Dream Maker, made up of brightly colored vinyl balloons suspended from a rotating metal frame.

E X HIBITIONS Class Pictures: Photographs by Dawoud Bey

Simply Halston

Through November 23

P a u l F a s hion A rt s G a l l er y

Through January 4, 2009

M c C ormac k F orefront G a l l erie s

Class Pictures: Photographs by Dawoud Bey includes 40 photographic portraits of high school students paired with their own written words. For the exhibition, Bey photographed young people from all parts of the economic, racial and ethnic spectrum in both public and private high schools in Detroit; Lawrence and Andover, Massachusetts; Orlando; San Francisco; and New York City. The statements displayed alongside the portraits were written by the students and edited by Bey. Many of the statements are touching, funny or harrowing, deepening our appreciation for young adults facing the challenges of the 21st century. Bey’s earlier work includes Harlem and Brooklyn portrait series.

Organized by:

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 Huston and Lauren Bacall. Most of the approximately 18 designs in this exhibition are drawn from the IMA’s fashion arts collection.

Edward Hopper: Paper to Paint Sponsored by:

Through January 11, 2009 A l l iance G a l l er y

This exhibition features the IMA’s Hopper painting Hotel Lobby and ten sketches the artist produced as studies, on loan from the Whitney Museum of American Art. The show also pairs another Hopper painting from the IMA’s collection, New York, New Haven and Hartford, with watercolors related to South Truro, where the piece was painted.

Dawoud Bey, OMAR, 2005, chromogenic print. Courtesy of the artist and Aperture Foundation.

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E X HIBITIONS Power and Glory: Court Arts of China’s Ming Dynasty Through January 11, 2009 C l o w e s G a l l er y in Woo d P avi l ion

Behold the grandeur and opulence of one of the most important dynasties in Chinese history, renowned for its refined aesthetic and standards of perfection. A groundbreaking exhibition, Power and Glory is the first exhibition to focus on the full range of Ming dynasty (1368–1644) court arts. More than 200 treasures, including gold, jade, paintings, porcelains and silks from China’s greatest museums, many never before seen outside of China. Visit imamuseum.org/powerandglory to preview the exhibition. This exhibition was organized by the Asian Art Museum of San Francisco, the Palace Museum, the Nanjing Municipal Museum, and the Shanghai Museum. This exhibition was developed by a grant from the Robert H. N. Ho Family Foundation. Additional support was provided by the Henry Luce Foundation, the Starr Foundation and the National Endowment for the Arts. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Power and Glory at the IMA is sponsored by:

More Than Four Legs: A Closer Look at Chairs Through January 19, 2009 Star St u d io

Portrait of the Tianqi Emperor (1621-1627). ink and color on silk. Palace Museum, Beijing.

Chairs: We all sit in them, but how often do we really look at them? This installation by collector Carla Atwood Hartman invites visitors to consider design as an artform by drawing attention to overlooked features of the chairs in which we sit, from the simple to the luxurious, handcrafted to mass-produced. The exhibition includes chairs from Hartman’s private collection and features chairs designed by Hartman’s grandparents, 20th-century design legends Charles and Ray Eames. Drop into the free art studio to

design and build your own model chair to add to the display or take home.

Shared Beauty: Eastern Rugs & Western Beaded Purses Through April 5, 2009 P a u l T e x ti l e A rt s G a l l er y

Though beaded purses were fashionable through the 19th and early 20th centuries, they became extremely popular in the 1920s as an integral part of the flapper-era costumes. A wide variety of patterns were depicted on these bags, including flowers, trees, birds, animals, landscapes and other popular motifs. However, some

E X HIBITIONS of the most fashionable designs were copied from the patterns of Persian, Turkish, Caucasian, and Indian carpets and textiles. In this exhibition, beaded bags are displayed alongside rugs with similar patterns. This juxtaposition explores the motifs common to these objects, provides a closer look at Orientalism and investigates the influences of Eastern art on Western art, fashion and culture.

Cirrus Editions/ Crown Point Press

Coming Soon European Design Since 1985: Shaping the New Century March 8–June 21, 2009 C l o w e s G a l l er y in Woo d P avi l ion

See back cover.

Through March 15, 2009 M i l l i k en G a l l er y

Crown Point Press, founded in San Francisco in 1962, and Cirrus Editions, founded in Los Angeles in 1970, have long been magnets for west coast painter-printmakers. With Crown Point specializing in etching and later woodcuts and Cirrus specializing in lithography, each attracted its own stable of loyal artists. Ed Ruscha, Bruce Nauman, William Wiley, and Vija Celmins produced significant bodies of lithographs at Cirrus in the early 1970s. Richard Diebenkorn, Brice Marden and John Cage were attracted to the intaglio expertise of Crown Point Press at the same time. Twenty prints from these two workshops have been selected from the IMA’s permanent collection.

Gifts of the Gamboliers Through June 8, 2009 G o l d en G a l l er y

In 1927 a group of influential Indianapolis citizens formed an organization called the Gamboliers in an effort to introduce more contemporary art to the Indiana art scene. Each member paid an annual fee of $25, and purchases were made by Mary Quinn Sullivan, an Indianapolis native who resided in New York City and traveled frequently to Europe. During the five years of the Gamboliers’ existence, more than 150 works on paper by European and American artists were purchased and entered the Museum’s collection. Approximately 35 works on paper, including works by Modigliani, Matisse, Picasso and Maillol, are featured in this exhibition.

The Viewing Project T hro u gho u t the M u s e u m

The Viewing Project is a three-year series of small-scale installations designed to offer visitors creative and enjoyable experiences with objects from the IMA’s permanent collection. Although themes vary, the main goals of all Viewing Project installations remain constant: to encourage active looking, to support visitor creativity and engagement, and to present objects from the permanent collection in new ways. Funded in part by a generous grant from ART MENTOR FOUNDATION LUCERNE and Wayne Zink.

Thomas Hart Benton, American (1889-1975). Goin’ Home, 1937. Ink. Gift of Dr. Steven Conant in honor of Mr. and Mrs. H.L. Conant. Copyright T.H. Benton and R.P. Benton, Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA/New York/NY. 1985.254.

Fine Prints for Five Dollars Through April 19, 2009 C onant G a l l er y

This exhibition includes 60 Depression-era American prints published between 1935 and 1950. For economic reasons, Associated American Artists and the American Artists Group were able to attract the leading artists of the era including Grant Wood, Thomas Hart Benton and John Steuart Curry and offer their original lithographs to the public by mail order for $5 apiece.

Coming Soon European Design Since 1985: Shaping the New Century March 8–June 21, 2009 C l o w e s G a l l er y in Woo d P avi l ion

See back cover.

I M A P revie w s

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Meet me at The Toby. The vibrancy of a string quartet. The rustling of paper. The click and rasp of stones rubbing together. The melodic splash of water. These seemingly disparate sounds are all part of Ghost Opera, a work by Chinese composer Tan Dun that will be featured as part of the premiere event, “Virtuosos & Visions,” at the IMA’s newly renovated Tobias Theater on November 21.

Copresented by the International Violin Competition of Indianapolis, with support from the Irving Yucheng Lo Memorial Asian Department Fund and the Indianapolis Cultural Development Commission, the theater’s opening night performance also will include a combination of Western and Chinese classical and contemporary music played by violinist Cho Liang Lin and Min Xiao-Fen on pipa (a Chinese lute). The concert will serve as an introduction to the type of innovative programming that Linda Duke, the IMA’s director of education, and Anne Laker, assistant director of education for public programs, intend to stage in the new theater. From international and award-winning films, to talks, symposia and performances featuring artists, musicians, architects, writers and other cultural figures, the Tobias Theater (a.k.a. “The Toby”) is both a extension of, and a complement to, the Museum’s collection of artworks from around the world and throughout time. It also reflects the IMA’s focus on creativity, added Duke. “Our goal here is to offer people events they can’t experience elsewhere in the city.”

Left: The newly renovated Tobias Theater will open November 21.

Chief among them will be some new film series, featured prominently during the winter months: • “Screen Zenith” will feature top prize winners from film festivals throughout the world. • “Winter Nights” will be the indoor equivalent to the Museum’s popular “Summer Nights” series, featuring classics from Buster Keaton and French New Wave films to Ridley Scott’s Blade Runner and Clint Eastwood’s Unforgiven. • “One-Two Punch” will showcase double features on the last Saturday of each month. “Film is a great way to enter the world of art,” said Laker, “and to enter the experiences of people around the world. We hope people will feel that Tobias Theater is a doorway to larger cultural trends. ” The theater will also host lectures—the inaugural one on December 2 will feature chef and food educator Alice Waters (see page 30)—as well as concerts and other performing arts presentations. Dark since 2004, when former occupant Civic Theatre left for a new home on the campus of Marian College, The Toby is the latest addition to the IMA’s arsenal of cultural and recreational attractions beyond the galleries. On the technical front, there’s a new screen, an upgraded sound system, film projectors for 35mm films, and a digital rear projection system. Aesthetically, the theater merges traditional and contemporary style, said the IMA’s Chief Designer David Russick. That includes a mix of auditorium style seating with red beanbag-like seats for people who prefer to lounge, vivid green carpeting and an ADA-compliant layout that maximizes accessibility and comfort for people of all ages and physical abilities. The lobby will feature high-style furniture from the IMA’s Design Center.

Schedule for Tobias Theater Opening Concert: Virtuosos and Visions November 21 / 8:00 p.m.

One-Two Punch film series: Idiocracy (2006) and Brazil (1985) November 29 / 1:00 p.m.

Crouching Tiger, Hidden Dragon, screened November 22. Image courtesy of Sony Pictures Classics/Photofest © Sony Pictures Classics.

“We tried to create a space that’s truly multi-use and visually beautiful,” said Russick, “a place that makes sense as a theater attached to an art museum.” According to Laker, the vision is to create a place that is inviting for both its atmosphere and its events. “Our strategy is to host a variety of programs and invite as many different kinds of audiences as we can. We want The Toby to be a place where people can come to learn about what’s current—Indy’s new living room.”

Inaugural opening month sponsor:

For ticket prices and full schedule, visit imamuseum.org/toby

Conversation: Making Waves: Museums and Cultural Influence November 23 / 4:30 p.m.

Winter Nights debut:

Screen Zenith premiere:

Unforgiven January 2 / 7:00 p.m.

4 Months, 3 Days & 2 Weeks January 10 / 2:30 p.m.

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Technology

f l ic k r S n a p s hot Do you find looking through friends’ photo albums irresistible or creating your own enticing? You may have visited the IMA’s Web site, imamuseum.org, to find information about exhibits, programs or events. But you may not know that the Museum also has its own shared photo album on Flickr. Flickr is a free, online photo sharing service. It is just one of the many ways the IMA shares events, travel and behind-the-scenes content with visitors. The Museum’s New Media department maintains the album and creates a variety of Flickr sets and groups. “Sets” of photos document openings, conservation projects and exhibitions. You can view a set to take a peek into our work at the Museum or relive the fun of an IMA event. A Flickr “group” allows you to take the driver’s seat and post visitor-submitted photos. All you need is a Flickr account to join all of the Museum’s groups. You will also be able to submit your own images to help tell the story of the IMA. The Museum chooses the topic, creates the group and allows anyone, anywhere in the world to join.

Join the IMA on Flickr: imamuseum.org/flickr Visitors with a Yahoo email account can use the same username and password to login to Flickr. If you don’t have an account, signing up is easy. Just follow the step-by-step process. Once you are logged in, Flickr will walk you through the process of uploading a photo or a group of photos. Then follow these easy steps to add content to IMA’s Flickr page: 1. Make sure you are logged in, and go to IMA’s Flickr page. 2. Click on “Profile” under IMA’s name. 3. Choose any of IMA’s public groups to join. Click on the one you want. 4. Click on “Join Group”. 5. Once you join you will see the option to “add photos or video”. 6. Click to add and Flickr will show you the way. The IMA adds new photo sets and groups to Flickr often. Even if you don’t have a Flickr account, visit the IMA’s photo album to see what is new!

IN THE GARDENS

How did the Park become sparse of native species?

100 ACRES Indianapolis Museum of Art Horticulture Manager Chad Franer shares how a recent grant from the Hoosier Heartland Resource Conservation Development Council (HHRCD) has allowed the IMA to improve the native plant diversity of 100 Acres: The Virginia B. Fairbanks Art and Nature Park.

While the Park officially opens in 2009, it has been studied for almost a decade. During these studies we have come to find out how much it has changed over the years. For centuries the White River has seasonally flooded 100 Acres leaving behind a rich, sandy, loam bottomland soil that plants love to grow in. In the mid 1960s, the site was used for a quarry to develop the neighboring highway system. This process changed the soil profiles and eliminated the plants that would naturally grow on the site. Many invasive species spread and thrived in these adverse conditions. The Park had a minimal variety of tree species and a few native shrubs.

How is this grant being used by the IMA? The IMA has received a $20,000 Riparian Buffer grant from the HHRCD. Originating after a large White River fish kill in 1999, the grant is a cost share program for forested buffer plantings along streams, ponds, lakes and wetlands in portions of the Upper White River Watershed. Increasing these buffer zones and maintaining a healthy wetland will reduce excess amounts of sediment, pesticides and other pollutants in the surface water runoff. This grant was coupled with our match of a labor investment to install approximately 600 native trees and shrubs in the Park.

Why is plant diversity important? Diversity is the key to stopping any large outbreak from pests or disease that could wipe out the forest. With this new grant, we were able to install plants that encourage more wildlife and a healthier ecosystem.

Where are these new plants located in the Park? The installed plants are concentrated in the bottomland between the lake and the canal, as well as along the riverâ&#x20AC;&#x2122;s edge. They are used to highlight the subtle differences in the topography as the property goes from a wetland to a flatwood forest. All of the plant material is native to Indiana and represents what would naturally be growing in a mature forest. We chose 26 different species of trees and shrubs of all sizes to show a variation of maturity and habits. Some trees are shade trees that will attain heights of 75 feet, and others are understory trees that will reach 20 feet. All plants will increase food for the wildlife and visually will be more interesting throughout the seasons.

What will visitors see in 100 Acres? When visiting the Park, I would encourage people to walk slowly, look at the different types of plants, and understand that they will change as the topography changes. These new plants are not the last to be added to 100 Acres. More will take root with the development of walkways, the visitor center and the installation of works of art.

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Behind the scenes

christmas at lilly house November 18, 2008–January 11, 2009

Given much thought to your Christmas decorations yet? Bradley Brooks has been thinking about his since January. After all, when you’ve got a mansion to decorate, you can’t just zip over to the hardware store and pick up a few strings of lights.

said Brooks, referring to the three decades (1933–1966) that J.K. Lilly Jr. and his family lived in the sprawling residence that shares the Museum’s main campus. “From what little we do know, it seems the Lillys probably didn’t go great guns with Christmas decorating.”

Brooks, the director of the IMA’s Lilly House, counts the annual “Christmas at Lilly House” celebration as one of his most important annual activities. That’s why, as soon as one year’s decorations come down, he starts thinking about what to do the next year. And it isn’t a theme he is after, but a sense of history.

Fortunately many other Americans of that time did—at least those who could afford it, like the readers of such publications as House Beautiful and Country Living. Those are the types of magazines that a former Lilly House intern pored through a few years ago, compiling binders filled with holiday-related images and articles from the 1920s to the 1940s. Brooks turns to those binders annually as he looks for decorating ideas.

“We lack photographs of what the decorations in the house looked like during the Lilly years,” 20

“I try to balance historical accuracy with appeal,” he explained. “I’m most happy when I can find things that I think will strike people as unusual and things that resonate with decorating trends today.” One example Brooks points to is the time a few years ago when he discovered a historical photograph of an upside Christmas tree. An upside down tree, suspended from a chandelier chain, became the centerpiece of that year’s Lilly House display, just as some department stores started doing the same thing. “That tree was very popular,” said Brooks. “People still ask us when we’re going to do it again.”

when to go: As the holiday season progresses, the popularity of the Christmas at Lilly House builds, with the largest numbers of visitors expected during the annual open house on December 4 (in conjunction with the Madeline Elder Greenhouse), the Winter Solstice celebration on December 18, and the final week before Christmas. I particularly enjoy.” No matter what the decorating scheme is, the one thing that Engledow supplies every year is the tree. Unfortunately, said Brooks, due to fire code concerns, not to mention the dreaded pine needle mess, displaying a real tree isn’t possible. But the type of artificial tree used changes depending on what the design plan requires. The goal is always to create a new look each year. That doesn’t mean there isn’t some live greenery involved. For festive displays of ivy, bird’s nest ferns, Christmas cactus, poinsettias and orange trees, Brooks turns to the IMA’s greenhouse staff. That harkens back to the era when country estates such as the Lilly’s used live plants from their on-site greenhouses as part of their holiday decorations. But Brooks isn’t interested in repeating himself, so don’t look for an upside down tree in Lilly House anytime soon. The object, from one year to the next, is to offer visitors something different from what they ’ve seen in the past. (Here’s a hint: This year, look for huge candy canes.) Once he has a concept in mind, Brooks draws up a list of materials he’s going to need, then turns that list over to the Engledow Group, the local landscape and design company that has been helping him with the project since 2002. Engledow’s staff works with wholesalers and suppliers to gather the materials needed to bring Brook’s ideas to life.

In early November, Engledow sets up the tree and supplies many of the other decorations for Lilly House. Much of the rest of the installation work is done by experienced volunteers, with special attention paid to conservation concerns. Lilly House, after all, is a National Historic Landmark, so thumb-tacking crepe paper streamers to the restored walls and woodwork isn’t an option. Then, in early January, it’s over. All that is left for Brooks to do is arrange for everything to be packed up and put it into storage—and start researching next year’s decorations. Christmas at Lilly House is sponsored by OneAmerica

“Bradley is easy to work with,” said Lael George, vice president of Engledow’s Interior Division. “It’s always fun to see what he comes up with. And the educational aspect of learning what was done in a certain time period is something I M A P revie w s

WINTER 2008–2009

Agnes Seebass Neckace. Hand-crafted sterling silver design. $210

Our Holiday Gems Start this seasonâ&#x20AC;&#x2122;s celebrations with holiday shopping at the IMA Store and the newly opened Design Center. Peruse the newest additions to the jewelry, accessory and home dĂŠcor collections. Find a truly unique gift for someone you love, drop a hint by adding your name to our gift registry, or shop for something special to deck the halls for holiday parties to come.

Member Double Discount Days December 5-7: 20% off Ba-Ball Tray by Marta Sansoni for Alessi. $175

NEW! Shop online at shop.imamuseum.org

Essence Wine Glasses by Alfredo Haberli. Made by iittala. 2/$40 22

Escama Purse made using 100% post-comsumer recycled aluminum pull tabs. $100

Esssence Decanter Turquoise by Alfredo Haberli. Made by iittala. $70

Hosting this Holiday

Turkey Troubles?

New Year’s Eve 2008 at Puck’s

As we enter the hectic holiday season, mark one thing off your to-do list. Let the IMA host your party. The Museum’s facilities are ideal for creating holiday wonderlands with festive décor. Staff will take care of cleaning the “house” before and after the event. With an underground parking garage, your guests will stay warm and dry. Call 317-920-2659 or email vchavez@imamuseum.org to book your holiday event today. Host your party in January and receive a special rental offer.

This year, pre-order a gourmet Thanksgiving meal from Puck’s for your holiday feast. Puck’s at the IMA will prep a sumptuous Thanksgiving menu for you to take home for 4 to 24 people. For details or to preorder your dinner, call 317-920-2662 ext. 514. Last order will be taken Wednesday, November 19.

Start your evening of New Year’s revelries with a tantalizing dinner at the IMA’s signature restaurant Puck’s. Choose from a variety of succulent course options, paired with specially chosen wines. Reserve a table today by visiting wolfgangpuck.com or call 317-955-2315.

View rental facilities and Puck’s special menu options online at imamuseum.org.

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WINTER 2008–2009

AFFILIATE EVENTS

Horticultural Society TALK: Designing With Elegant Silvers November 10 / 7:30 pm Woo d s toc k C l u b ( 1 3 0 1 We s t 3 8 th Street ) F ree

Silvers are the shimmering chameleons of the plant kingdom. In this talk, Designing With Elegant Silvers, renowned photographer and author Karen Bussolini will discuss and show beautiful slides of the inventive ways gardeners across the United States have used these stalwart plants in containers, borders or larger landscapes. She’ll demonstrate the use of regionally appropriate silvers, protective adaptations, color and texture and historical uses from medieval times to modern xeriscaping. Bussolini is a writer and photographer whose words and images have been published in dozens of books and magazines. Copies of her book, Elegant Silvers: Striking Plants for Every Garden, will be available for signing and purchase. Supported by the IMA Horticultural Society and the Indianapolis Hosta Society

IMA Alliance 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.

Studio of Erika Woods Thursday, November 6 1:00–3:00 pm A rti s t s t u d io

Erika Woods is an award-winning calligrapher and graphic designer. Born in Vienna, Austria, she received her degree from the Vienna Institute of Fashion Design. Well-versed in the fundamentals of calligraphy and graphic design, Woods brings a unique blend of innovation and artistic creativity to her work. She approaches lettering as an art form combining calligraphy, watercolor and mixed media techniques. Erika is a long time faculty member at the Indianapolis Art Center. A Hamilton County resident, she is an expert in traditional calligraphic projects such as certificates, wedding invitations and place cards. Her work can be found online by searching “Erika Woods”.

IMA’s Print Study with Martin Krause Friday, January 30, 2009 6:30–8:30pm I M A P rint St u d y

Martin Krause came to the IMA from the graduate program at the University of Illinois in 1977. He was named Curator of Prints, Drawings and Photographs two years later. During his tenure, the IMA’s collection of works on paper has quadrupled in size to 28,000, from which he has drawn more than 100 exhibitions, appearing at the IMA and other institutions. Krause is the author of 14 books and catalogues on European and American art, many of which have featured the IMA’s renowned collection of watercolors by J.M.W. Turner and the history of Indiana art—most notably The Passage: Return of Indiana Painters from Germany, 1880–1905, which accompanied the exhibition he organized for Cologne, Germany in 1991.

Design Arts Society (DAS) The Design Arts Society is growing, and now is the time to join! DAS members have the opportunity to participate in building the new design collection. They also have the benefit of attending stimulating educational lectures, films, exhibitions, opening parties and special member-only events including visits to homes with mid-twentieth-century architecture and design collections. Show your support for the new Curator of Design Arts, R. Craig Miller, and his directive in making the IMA a destination for 20th- and 21st-century design. Recent DAS events include the opening of the Design Arts gallery in October, the opening of the Design Center store on October 11, and a DAS dinner and lecture on October 30: “After Memphis? Design in Europe since 1990,” by noted British design historian Penny Sparke. In addition, the much anticipated opening party for the exhibition European Design Since 1985: Shaping the New Century will be held in March 2009. Please contact Sherri Roizen-Watson at 317-408-3045 or sherrimw@aol.com to join DAS or for membership details.

Tord Boontje, 2002, Garland Light.

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WINTER 2008–2009

giving

Meetâ&#x20AC;ŚTrent Spence

As an IMA member since 2000, what influenced you to become more involved at the IMA through the Contemporary Art Society and the Design Arts Society? I first became involved with the Young Friends of Art at the Museum, but when the group disbanded, I was desperately searching for another way to plug in. CAS happened to be just that fit. I had an interest in contemporary art but didn’t know much about it. I was selected to be on the CAS board and jumped in with both feet, attending lectures, home tours and visiting artist talks. Researching the artist Tim Hawkinson and helping select his work Mobius Ship for the IMA’s collection was truly fulfilling. I later joined DAS. Working in a design field, I have an appreciation for the craft that goes into making beautiful objects.

You helped fund the Type A installation for the IMA’s 100 Acres, opening next fall. What is your interest in art and nature? This was my first donation for a work of art at the IMA. With my work in the field of landscape architecture, art in nature has always excited me. Large, hard-edged sculpture contrast against a soft textured backdrop of leafy trees and shrubs is quite amazing. It is man-made vs. nature-made.

You seem to feel preservation of our natural spaces is important? Every city needs a space that is virtually untouched by development and everyone needs a place that they can go and feel they can let the world go by. That is what 100 Acres will do for the city of Indianapolis.

How do you see the recent addition of Design Arts at the IMA changing the Museum? The Design Arts are a great addition to the IMA, not only because we have one of the foremost curators, Craig Miller, but because we have a concept unique in the museum world—a place that teaches people about designed, utilitarian objects and their importance in design history. Whether it be a coffee cup or a vacuum cleaner, people will stop looking at these objects as strictly utilitarian and see their design and beauty. Having a place where people can buy these items is also progressive.

European Design Since 1985: Shaping the New Century opens next spring at the IMA. What are you most looking forward to about the exhibition? As with everything I see at the IMA, I’m always eager to view works of art that I might not otherwise have the chance to see. I became more excited listening to Miller speak so passionately about the exhibition and the fact that the objects being shown are fairly recent designs. From big hair and parachute pants of the 80s to the sleek, black and white look of the 90s, it will be fun to see how designed objects paralleled my life growing up.

Do you plan to do any holiday shopping at the new IMA Design Center? I have no idea where to begin, but I can’t wait! The one thing I do know is that anyone on my Christmas list will be extremely happy with their gifts.

Passion for Art Fund: Year End Giving

Purchase a Gift Membership

The holiday season is a time for giving to friends, family and organizations close to your heart. Gifts at year end help uphold the Museum’s ongoing commitment to excellence through your support of the Museum’s Passion for Art Fund. Your gift to the Passion for Art Fund is the most comprehensive way of supporting the IMA by providing support for the conservation and protection of our permanent collection, community outreach and education programs, the maintenance of our amazing grounds and free general admission. Support the IMA before the year ends on December 31 to take full advantage of the tax deductibility of your gift.

Finding the perfect gift for your friends, family and coworkers is an art. This year, give the gift of year-round art and entertainment by purchasing an IMA gift membership. Give a gift between November 1 and January 1 and receive $5 off the price of a one-year membership. Gift memberships enjoy the same benefits of an IMA membership including free admission to ticketed exhibitions, 30% discount on IMA education classes, 50% discount for all IMA public programs and much more. To purchase a gift membership, call (317) 920-2651.

To make your gift online, visit imamuseum.org/give.

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IMA Events

Class Pictures P h oto g r a p h s by

Dawoud Bey

Crowds gathered to listen as artist Dawoud Bey discussed his work and his exhibition at the IMA on September 25 with Senior Curator of Contemporary Art, Lisa Freiman. Afterwards, guests previewed Beyâ&#x20AC;&#x2122;s 40 photographic portraits and posed for pictures in a vintage photo booth at the opening party.

Above: Mark Pescovitz, Artist Dawoud Bey Above right: Photo booth fun Below: Sarah Green, Joanna Nixon, Mindy Ross, Jenny Mikulay, Allison Unruh Below right: Jimmy Art, Claire and Dan Becker

Left: Art collaborative Type A creates a Yurt Circle with volunteers in attendance. Below right: Maxwell Anderson, The Melvin & Bren Simon Director and CEO and Len Betley, President & CEO, Richard M. Fairbanks Foundation Below left: Mary Lou Walker, Anna White, Anne Greenleaf

100 ACRES GROUNDBREAKING On September 18, the community joined the IMA in breaking ground on 100 Acres: The Virginia B. Fairbanks Art & Nature Park. The Park will be one of the largest museum art parks in the country when it opens next fall and the only one to feature the ongoing commission of site-specific artworks. Art collaborative Type A created a Yurt Circle as part of an interactive team-building performance at the groundbreaking.

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Fall 2008

Voices Interview with Chef and Food Educator Alice Waters What culture do you think has the most interesting relationship with food? While I can only speak to the cultures I’ve visited, I find the Mediterranean culture of Southern Italy has a unique balance in their relationship with food. Food is part of the fabric of life there. It’s not on the side in the form of health or fueling up. It’s connected to meaningful everyday experiences. Sitting down at the table with family and friends is precious and important.

What did you learn from your grandparents about food? Not much. My grandparents were Irish-English and it seemed to me that they liked to eat quite a lot, but that’s it. They had a narrow, limited diet. My parents were concerned about diet but didn’t know how to cook. My interest in food came from working in my parents’ Victory garden, and my passion came from traveling to France at the age of 19. The experience opened up a world to me.

How are children in the Edible Schoolyard project transformed? When kids are growing the food and cooking it themselves they build a sense of pride in what they are doing. When they serve it, they want to eat it, and their friends want to eat it. The ideas about food happen by osmosis. The values we talk about are absorbed by the kids in the process of working in the garden and kitchen. Science and history classes educate their senses and open their eyes to the world around them, not just to food.

What’s the relationship between food and art? You can set a table with flowers and cloth and it’s like magic. I think of art as magic. It nourishes us in beautiful ways that we can’t speak about. I see beauty as a way of caring. Both food and art offer the possibility of seeing the world in a different way. The reason I’m interested in working with artists is to take food out of that ‘foody place and put it into the beauty of culture. Food is a universal language. We are digesting fast, cheap and easy. The consequences of the choices we make are destroying our world and our culture. I envision a place where an artist is curating the food. You would walk through a beautiful museum and food would be part of that experience.

Alice Waters visits the IMA December 2. Photo by David Littschwager.

What artists inspire you? Peter Sellars, Olafur Eliasson and Ann Hamilton—These artists have a way of surprising people and caring about the same set of values that I’m talking about.

What’s in your refrigerator? All the produce I brought back from a friend’s garden, jams given to me, milk, coffee, a bottle of Bandol Rose Wine, two small bottles of sweet wine from my daughter’s birthday, duck eggs, pickles, mustard, walnuts and hazelnuts, a couple lemons and Seltzer water.

If you could be any food, what would you be and why? It’s a toss up between being sweet like tomatoes or spicy like garlic.

INFOR M ATION IMA Hours

Membership

Restaurants

Editor:

Indianapolis Museum of Art & Lilly House 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.

For questions concerning membership, call 317-920-2651. To renew or join the IMA, visit imamuseum.org.

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

Noelle Pulliam

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

24-Hour Information Line:

317-920-2660

Internet imamuseum.org previews@imamuseum.org

WEB SITE: E-MAIL:

Free Parking

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

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

Shopping The IMA Store Unique selection of books, crafts, gifts and more. Open all Museum hours. IMA Design Center Now open! Design solutions for everyday life. Wednesday, Saturday, Sunday, noon–5:00 pm Thursday and Friday, noon–7:00 pm 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.

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

Lunch: Tuesday–Saturday, 11:00 am–2:00 pm Brunch: Sunday, 11:00 am–2:00 pm Dinner: Puck’s is no longer serving dinner. IMA Cafe Tuesday, Wednesday, Saturday, 11:00 am–5:00 pm Thursday and Friday, 11:00 am–7:00 pm Sunday, noon–5:00 pm

contributer:

S.L. Berry Graphic Design:

Matthew Taylor pRODUCTION ASSISTANT:

Hester DeLoach photographers:

Tad Fruits Mike Rippy RIGHTS & REPRODUCTIONS:

Ruth Roberts image processing specialist:

Happy Hour Thursday, 5:00–9:00 pm

Laurie Gilbert

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

IMA Libraries Stout Reference Library Noncirculating collection of more than 90,000 items 317-920-2647

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 ©2008-2009 Indianapolis Museum of Art

Tuesday, Wednesday, Friday, 2:00–5:00 pm Thursday, 2:00–8:00 pm and by appointment Horticultural Society Library Books on gardening and related topics. Located at Newfield. 317-923-1331, ext. 429 Tuesday, Wednesday and Saturday, noon–3:00 pm 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.

This ac tivity madeossible p , in par t, with supp ort from the Indianarts A C ommission, and theational N Endo wmen t for the A rts, a eder f al agenc y

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.

I M A P revie w s

WINTER 2008–2009

COMING SOON

European Design Since 1985: Shaping the New Century March 8-June 21, 2009 The first critical survey of contemporary Western European decorative and industrial design, this exhibition will present 250 seminal works including furniture, ceramics, metalwork, glass and product design that reveal the extraordinary creativity of two generations of designers in Belgium, France, Germany, Italy, The Netherlands, Portugal, Scandinavia, Spain and the United Kingdom. imamuseum.org/european-design

Mathias Bengtsson, Danish (b.1971), resides United Kingdom and Sweden. 03 Slice Lounge Chair, 1999; Aluminum. Manufacturer: Mathias Bengtsson. Photo credit: Martin Scott-Jupp

4000 Michigan Road Indianapolis, IN 46208-3326 317.923.1331 imamuseum.org

Non-Profit Org U . S . Po s t a g e

PA I D Indianapolis, IN Permit #2200