Winter 2010 Magazine

Framed Spirit & Place Festival Venice Biennale Read My Pins Remembering Ed Blake Holidays at the IMA

NOV/JAN

2010–11

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Over the summer the Indianapolis Museum of Art was notified of an extraordinary honor, announced to the public just after Labor Day. Thanks to the imagination and perseverance of Dr. Lisa Freiman, IMA’s Senior Curator and Chair, Department of Contemporary Art, the Museum will represent the United States at the 54th Biennale di Venezia, from June–November 2011—the Olympics of the art world. Freiman has been appointed the U.S. Commissioner, and her selection of the collective Allora & Calzadilla as the artists representing the U.S. in our national pavilion guarantees an exciting, challenging, and ground-breaking experience for the hundreds of thousands of visitors who will tour the pavilion in Venice next year.

IN THE GALLERIES Framed

06 FEATURED AQUISITION The Bernard Cabinet

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The IMA is only the second Midwestern museum to represent the United States in Venice with a standalone presentation since the 1895 founding of this biannual visual arts exposition.

COMMUNITY Venice Biennale

10 SPECIAL EXHIBITION Read My Pins

The Art Institute of Chicago had that honor in 1956. Apart from that showing, only two other museums west of Pennsylvania have ever represented the United States with a freestanding presentation in the art world’s oldest and preeminent art exposition. For the next year, IMA will be in the news frequently, as we prepare the remarkable projects with artists Jennifer Allora and Guillermo Calzadilla.

NOTES News, On View, Program Highlights, Calendars, Events

13 COLLABORATIONS Spirit & Place Festival

14 IN THE GALLERIES Pairs: Contrasts and Parallels in Japanese Prints

Outside the world is preparing for its winter slumber, but inside the IMA is gearing up for the holidays. From new exhibitions, like Andy Warhol Enterprises and Read My Pins,

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to the festive decorations of Christmas at Lilly House, the

MEET OUR MEMBERS Barnes & Thornburg, LLP

IMA is ready to welcome the traditional wave of visiting

18 CONSERVATION A New November Morning

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family and friends. In this issue, find more about those offerings as well as some great gift ideas that can be found at our five retail shops.

100 ACRES Edward L. Blake, Jr.

Much attention has been paid to IMA in recent years for its focus on our community, from restoring free general admission, to collaboration with IPS and Washington Township schools, to our embrace of local film festivals and educational programs, to the opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park.

The IMA has also made a conscious effort in recent years to combine service to Indianapolis residents with a quest for distinction in the international art world. Examples include the 2007 adoption of a 1970 “bright line” in collecting antiquities to reduce the likelihood of our contributing to the illicit trade; the acquisition of the mid-century modern masterpiece Miller House; the creation of the nation’s largest contemporary design arts collection; the adoption of a leadership position in connecting scientific evidence and energy savings with a less restrictive climate control standard; the development of ArtBabble, the Internet’s home for the best video about art; and major international exhibitions, from Roman Art from the Louvre to Sacred Spain. Major acquisitions, like the extraordinary cabinet carved by Emile Bernard illustrated on the cover of this magazine, are part of that quest for distinction as well.

Erica Marchetti

Managing Editor Matthew Taylor

Art Director/Designer Candace Gwaltney Anne Laker Ellen Lee Meg Liffick David Miller Laura Mosteller John Teramoto Harriet Warkel Amanda York

Contributors

Tad Fruits Tascha Mae Horowitz Mike Rippy Aaron Steele

Photographers

Tascha Mae Horowitz

Photo Editor

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

Questions or comments may be directed to the staff at 317-923-1331.

All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides or videotapes must be obtained in writing from the Rights & Reproductions office, 317-923-1331. © 2010–2011 Indianapolis Museum of Art The IMA Magazine is printed on FSC-certified paper manufactured with electricity in the form of renewable energy (wind, hydro, and biogas), and includes a minimum of 20% post-consumer recovered fiber.(The FSC trademark identifies products which contain fiber from well managed forests certified

by SmartWood in accordance with the rules of the Forest Stewardship Council.)

The awarding of the U.S. Pavilion to IMA is a capstone achievement in this series of initiatives, and one that will repay Indianapolis for years to come. Our goal in fostering international collaborations, partnerships, and programs is nothing less than to have culture considered as integral to our city’s reputation as sports and life sciences. This latest honor moves us ever closer to that ambition.

22 BEHIND THE SCENES Ball-Nogues Studio: Gravity’s Loom 02

On the cover » Emile Bernard, French, 1868-1941, Corner cabinet with Breton scenes (detail), about 1891-92, carved and polychromed walnut, 109 7/8 x 42 1/4 x 5 1/4 in., Samuel Josefowitz Collection of the School of Pont-Aven, through the generosity of the Jane H. Fortune European Art Fund, the Josefowitz Family, Anonymous III Art Fund, The Ballard Fund, Rick and Alice Johnson, and The Beeler Fund

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

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IN THE GALLERIES

Left » Lilly McElroy, The Square–After Roberto Lopardo, 2004.

Single-channel video, 30:00. Image courtesy of the artist.

Framed Using Bruce Nauman’s Dance or Exercise on the Perimeter of a Square (1967-68) and Richard Serra’s Frame (1969) as points of departure, the exhibition Framed brings together for the first time recent videos by artists who confront the frame of the camera and boundaries established within. The videos included in Framed explore the constructive tension that arises between the limitations set by the area captured by a camera and the unbounded expanse of space experienced in real life.

In a 16-minute black-and-white film titled Frame, Serra uses a small ruler to measure the perceptual disparity between what one sees through a camera and what is seen by looking directly at the same space. The title not only references the camera’s frame, but also the object of Serra’s measurement: a window frame in his studio.

Nauman also explores a delineated space within his studio in Dance or Exercise on the Perimeter of a Square. After making a square of masking tape on the floor, Nauman records himself as he steps rhythmically around the perimeter of the demarcated space to the beat of a metronome, dividing each segment of the square in half with each step. These seminal films by Nauman and Serra provide an art historical context for the more recent works featured in Framed, which includes work by emerging and midcareer artists of an international scope, including Kate Gilmore, Sigalit Landau, Lilly McElroy, Robin Rhode, Melanie Schiff, and the artist collaborative Type A.

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In every work featured in Framed, the camera remains stationary as the artists perform or direct a variety of movements, procedures, and actions. Departing from the formal concerns of Nauman and Serra, the more recent works often contain underlying commentaries. These artists incorporate awareness of the limits of the camera’s frame and the processes performed within, while also expanding past the more minimal documentation of predetermined action.

For example, the works by two artists featured in Framed, Kate Gilmore and Lilly McElroy, range from topics such as gender construction to contemporary notions of personal boundaries within public space.

Kate Gilmore’s single channel video Main Squeeze documents the artist as she forces her way through a rectangular tunnel constructed from plywood and cardboard that is roughly the same size as the camera’s frame. Outfitted in feminine garb, Gilmore struggles to navigate her way through the confined space, which comes to embody

not only the rigid border dividing the seen from the unseen, but also the confines of gender construction and metaphorical limits of artistic expression. Gilmore exhibits defiant resolve in overcoming this manufactured challenge, testing the physical limitations of the human body in relation to its environment.

Upon first glance Lilly McElroy’s The Square—After Roberto Lopardo appears strikingly similar to Nauman’s Dance or Exercise on the Perimeter of a Square, when McElroy demarcates a white square in chalk on the pavement of a busy city sidewalk. Rather than moving around the square like Nauman, McElroy aggressively defends the square of pavement she has claimed by attempting to block all passers-by from entering the space for a 30-minute time span. The Square cleverly plays out the unspoken expectations that lie between the private and public spaces in contemporary urban life.

Framed is organized by IMA curators of contemporary art Lisa Freiman and Sarah Urist Green and will be on display in the IMA’s McCormack Forefront Galleries and Holeman Video Gallery November 5, 2010 through March 6, 2011.

ARTIST TALK » Kate Gilmore and Lilly McElroy discuss their work in a forum held on Thursday, November 4, from 6–7 pm in The Toby, immediately followed by an opening reception and an opportunity to view the exhibition.

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Bernard’s cabinet achieves a harmonious blend of lyricism, simplicity, and wit.

FEATURED AQUISITION

A New Dimension to the Pont-Aven Collection

distinctive for its harmonious colors and clever adaptation of image to form, marks Bernard’s growing prowess as a carver and his mastery of the flattened surface patterns typical of the Pont-Aven aesthetic. Gracefully adorned with winding tendrils and flowers, the cabinet also reflects Bernard’s awareness of the Art Nouveau and Arts and Crafts movements.

This highly unusual piece was owned (and probably commissioned) by Bernard’s Parisian patron, the Comte Antoine de La Rochefoucauld. Like Bernard, the count was highly sophisticated and well read. Both men were also deeply spiritual. Indeed, it seems that the cabinet, with its arched panels and lack of hardware or interior shelves, might exist as an altarpiece more readily than a functioning cupboard. The cabinet, which has appeared in several major international exhibitions, was acquired by the IMA from the distinguished collection of Samuel Josefowitz. Its acquisition was made possible through the generosity of the Jane H. Fortune European Art Fund, the Josefowitz Family, the Anonymous III Art Fund, The Ballard Fund, Rick and Alice Johnson, and The Beeler Fund.

by Ellen W. Lee » The Wood-Pulliam Senior Curator

After more than three years of research and fundraising, the IMA welcomes the ideal addition to its renowned Pont-Aven School Collection—a rare corner cabinet, carved and painted by French artist Emile Bernard.

While paintings and prints are the best known, most plentiful media of the school, wood sculpture and furniture also played a significant role in the movement. The cupboard, an ingenious fusion of painting, sculpture, and design, is one of only four known examples of important wood furniture produced by the Pont-Aven School.

The Pont-Aven School was named for a remote village in Brittany, on the western coast of France, where an international group of progressive artists gathered during the 1880s and 1890s. Together, young Emile Bernard and Paul Gauguin were founders of the school, developing the style and approach that made them innovative leaders of the era. Inspired by the hand carving they discovered in the homes, churches, and inns of Brittany, both artists created wood sculpture and furniture.

Measuring more than nine feet from its base to the tips of its decorated finials, Bernard’s corner cabinet has a distinctive presence in its new home in the European Galleries. The artist embellished the piece with bretonneries, or scenes of life in Brittany. The upper and lower panels present Breton women wearing their traditional coifs and dresses, set in the woods or orchards of the region. Bernard also slyly inserted his self-portrait amid the skillfully ornamented compositions. The cupboard,

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As this issue of the IMA Magazine was readied for press, the Museum received the welcome news from Samuel Josefowitz of his family’s desire to give the IMA a preparatory drawing for the cabinet. An intriguing study that Josefowitz acquired several years ago from Bernard’s family, the freely drawn sketch hints at the artist’s general concept for the placement of figures. It also raises the tantalizing prospect, as suggested by the tasseled cushion and the short lines demarcating a pair of arms, that Bernard was considering creating a chair to complement the corner cabinet. To date, however, no chairs by Bernard have been discovered.

The summit of the cabinet in the drawing differs from that of the IMA cupboard, though it does resemble the top of the other Bernard cabinet in the collection of the Norton Simon Museum in Pasadena. While the full interpretation of the drawing is a work in progress, its relationship to both armoires makes it a critical element in the understanding of Bernard’s approach to his carvings. It serves as another reminder that, like so many painters of the Post-Impressionist era, Bernard became increasingly engaged in the decorative arts during the early 1890s.

Arguably the most appealing example of the Pont-Aven School’s wood carvings, Bernard’s cabinet achieves a harmonious blend of lyricism, simplicity, and wit. Its images and handling link the cabinet to Bernard’s paintings and prints in the IMA collection, providing new insight into the artist’s working methods and use of motifs. A strategic new aquisition, the piece complements and reinforces the 18 paintings and nearly 100 prints that make the IMA’s Pont-Aven School Collection the finest in America.

Left » Emile Bernard, French, 1868-1941, Corner cabinet with Breton scenes, about 1891-92, carved and polychromed walnut, 109 7/8 x 42 1/4 x 5 1/4 in., Samuel Josefowitz Collection of the School of Pont-Aven, through the generosity of the Jane H. Fortune European Art Fund, the Josefowitz Family, Anonymous III Art Fund, The Ballard Fund, Rick and Alice Johnson, and The Beeler Fund.

Right » Emile Bernard, French, 1868-1941, Design for a Cabinet or Chair, about 1891, pencil on paper, 13 11/16 x 5 9/16 in., Gift of the Josefowitz Family.

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COMMUNITY

Venice Biennale For more than a century, artists, writers, diplomats, collectors and fans have flocked to the canals of Venice in celebration of contemporary art. Held throughout the summer and fall every two years, La Biennale di Venezia (the Venice Biennale) provides a glimpse of the international art scene at 30 national pavilions. The oldest, and perhaps most significant, international visual arts event, the Biennale has served as a global showcase for contemporary art since 1895.

Selected by the U.S. Department of State, the Indianapolis Museum of Art will present the work of Puerto Rico-based artist collaborative Jennifer Allora and Guillermo Calzadilla at the U.S. Pavilion at the Venice Biennale, the 54th International Art Exhibition in summer 2011. Six new works by Allora & Calzadilla will premiere at the 2011 Biennale, transforming the interior and exterior of the U.S. Pavilion into a dynamic and interactive space.

The new commissions by Allora & Calzadilla will employ a variety of artistic practices to pose important questions about the relationships among art and their critical and social contexts. These multimedia works will utilize performance, sculpture, video, and sound elements to highlight the role of art in framing and exploring complex social issues such as national identity, democracy, militarism, freedom, society, and the individual subject. Comprising of works developed specifically in response to the U.S. Pavilion site, the exhibition will analyze contemporary geopolitics through the lens of spectacular nationalistic and competitive enterprises such as the Olympic Games, international commerce, war, the militaryindustrial complex, and even the Biennale itself.

“Allora & Calzadilla represent the diversity and vitality of contemporary American art and their selection is a critical historic moment for the United States,” said Lisa Freiman, Chair of the IMA’s Department of Contemporary Art and Commissioner of the U.S. Pavilion at the 2011 Venice Biennale. “Not only is this the first time an artist collaborative has been chosen to represent the United States at the Biennale, but it also acknowledges the significance of performative, interdisciplinary artistic practices, which have been essential to the breadth and variety of American art since the early 1960s.”

Over the course of the coming months, you can follow the IMA’s progress and preparations for the Venice Biennale online at imamuseum.org/venice.

Photo by Marion Vogel

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HOLIDAYS AT THE IMA

Holiday Shimmer Loop Loop Gold Candlelabra ($125) » Velvet Scarf ($65) » Glass Ornament ($24) » Murano Glass Paperweight ($75) » Patricia Locke Bracelet ($165) » Silver Foil Vase ($110) all available at Museum Store

The IMA will use its outstanding resources in new media and community outreach to provide an unprecedented variety of educational and public programming to complement Allora & Calzadilla’s exhibition in the U.S. Pavilion. Engaging audiences in Venice, Puerto Rico, Indianapolis, and beyond, programs will include social media integration, video documentation, public talks, and related publications. Additionally, the IMA will organize a Teen Forum on Art and Global Dialogue, which will provide educational and visual literacy programming for a small group of underserved teens from Indianapolis; Ponce, Puerto Rico; and Venice who will facilitate tours of the exhibition and engage in social networking and new media initiatives to encourage audiences to connect more deeplywith the installations and foster greater public debate.

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The pin that started it all will be on display when the IMA presents Read My Pins: The Madeleine Albright Collection, opening November 7. Organized by the Museum of Arts and Design in New York, the exhibition features more than 200 pins, many of which Secretary Albright wore to communicate a message during her diplomatic tenure. The exhibition examines the collection for its historic significance as well as the expressive power of jewelry and its ability to communicate through a style and language of its own. Read My Pins will be on view in the Patrick O’Reilly & Elizabeth Fortune Gallery, the Maryann and Gene Zink Gallery and the Ann & David Knall Treasury at the IMA through January 30, 2011.

In 1997, Albright was named the first female Secretary of State and became, at that time, the highest ranking woman in the history of the U.S. government. While serving under President Bill Clinton, first as U.S. ambassador to the United Nations, and then as Secretary of State, Albright became known for wearing brooches that purposefully conveyed her views about the situation at hand.

“I found that jewelry had become part of my personal diplomatic arsenal,” Albright has said. “While President George H.W. Bush had been known for saying ‘Read my lips,’ I began urging colleagues and reporters to ‘Read my pins.’”

SPECIAL EXHIBITION

Read My Pins: The Madeleine Albright Collection When Saddam Hussein’s press referred to Secretary of State Madeleine Albright as an “unparalleled serpent,” she turned the critical commentary into a diplomatic statement. Albright famously wore a golden snake brooch pinned to her suit for her next meeting in Iraq—a move that initiated her unique use of pins as a tool in her diplomatic arsenal.

Her message: Don’t tread on me.

The collection that Albright cultivated is distinctive and democratic—sometimes demure and understated, sometimes outlandish and outspoken—spanning more than a century of jewelry design and includes fascinating pieces from across the globe. The works on view are chosen for their symbolic value, and while some are fine antiques, many are costume jewelry. The exhibition explores the stories behind these works and their historical and artistic significance, and is accompanied by a book, Read My Pins: Stories from a Diplomat’s Jewel Box (HarperCollins, 2009).

“I found that jewelry had become part of my personal diplomatic arsenal. While President George H.W. Bush had been known for saying ‘Read my lips,’ I began urging colleagues and reporters to ‘Read my pins.’”

SAVE THE DATE Madeleine Albright visits the Indianapolis Museum of Art on November 11 for a public talk—featuring a Q&A session—and book signing at 7 pm in The Toby. Albright’s New York Times bestseller Read My Pins: Stories from a Diplomat’s Jewel Box (HarperCollins, 2009) will be available for purchase.

ALSO THAT EVENING Shop a Silver Seasons trunk show in the Museum Store from 4–8 pm.

Wear home a pin featured in Read My Pins: The Madeleine Albright Collection as Silver Seasons presents three pins from the exhibition designed by Michael Michaud. Also peruse other items not carried in the Museum Store.

Over the years, Albright’s pins became a part of her public persona, and they chart the course of an extraordinary journey, carving out a visual path through international and cultural diplomacy. Read My Pins: The Madeleine Albright Collection will feature many pins with compelling stories associated with important world events, while others were gifts from international leaders or close friends.

Read My Pins: The Madeleine Albright Collection has been organized by the Museum of Arts and Design in New York City. Generous support for this exhibition has been provided by Bren Simon. Support for the catalogue has been provided by St. John Knits.

Left » Photograph by John Bigelow Taylor. Serpent, designer unknown, circa 1860.

Above » Photograph by Diana Walker. Liberty, Gijs Bakker (Netherlands), 1997.

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COLLABORATIONS

IMA’S 2010 PROGRAMS

Food for Thought: Spirit & Place Festival

VIENNA VEGETABLE ORCHESTRA

HOLIDAYS AT THE IMA

Now in its 15th year, the Spirit & Place Festival is a cornerstone of the Indianapolis cultural calendar and unusual among city-wide festivals for its mission to engage organizations from congregations to gardening clubs around a lightning rod theme. “The festival has become an extensive civic celebration that engages more than 15,000 people in dozens of programs presented by more than 100 organizations,” says Hinkle. “The mission is to promote civic engagement, respect for diversity, thoughtful reflection, public imagination, and enduring change through creative collaboration among arts, humanities, and religion.” The IMA has participated as a festival partner since the events’s founding in 1996, and has acted as a signature partner since 2009.

Gifts for the Young

“We look to the IMA for edgy, out-of-the-box programming,” says Festival Director Pam Blevins Hinkle.

“The festival has benefitted from the steady involvement and support of a risk-ready institution like the IMA.”

(and Young at Heart)

Whimsical felted animal ornaments ($8.75–Greenhouse) » Art For Baby book ($19.99–Museum Store) » Puzzle Clock ($30–Museum Store) » Jonathan Adler Piggy Bank ($50–Design Center) » Animal Friends children’s cutlery 4-piece set ($45–Design Center)

The programs presented for Spirit & Place by IMA over the years include conversation events with architects Evans Woollen and Michael Rotondi in 2004, and philosopher Stewart Brand and professor Witold Rybczynski in 2005; a ceremony with three Japanese Shingon monks in the Asian galleries in 2005; a talk by Last Child in the Woods author Richard Louv in 2007; and Caddy! Caddy! Caddy!, a performance art piece by dancer Oguri and troupe Body Weather Laboratory in 2009.

“We love the creative challenge of interpreting each year’s Spirit & Place theme in a way that meets the IMA’s mission (this year’s theme is food for thought),” says Anne Laker, assistant director of public programs at IMA. Laker served on the Spirit & Place staff before coming to IMA in 2003. “The IMA’s participation in Spirit & Place is a key part of our community partnership strategy.”

For a full listing of festival programs, visit spiritandplace.org or pick up a festival magazine at IMA.

Saturday, November 6 » 7 pm The Toby » $18 Public, $15 for IMA members Experience the Midwest premiere of the Vienna Vegetable Orchestra.

The one-of-a-kind orchestra makes instruments and music from fresh vegetables—a pepper trumpet, a leek violin—in front of a live audience. The stunning sounds that result are contemporary, jazzy and new.

This program has been made possible in part by support from the Indiana Humanities Council in cooperation with the National Endowment for the Humanities. Any views expressed in this magazine do not necessarily represent those of the National Endowment for the Humanities or the Indiana Humanities Council.

EDIBLE LANDSCAPING WITH ROSALIND CREASY Sunday, November 7 » 2:30 pm The Toby » $5 Public, $3 Members, Free for IMA Horticulture Society (but ticket required) Creasy, a pioneer in the field of edible landscaping and awardwinning professional photographer, gives a mouth-watering slide presentation on the beauty, sustainability, and practicality of edible gardens. Presented by the IMA Horticultural Society and Indiana Living Green magazine.

More info and tickets at imamuseum.org

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Below » Kitagawa Utamaro, Japanese, 1750-1806, Ebisu Festival, about 1801, color woodblock print, 15 3/16 x 9 3/4 in., Miscellaneous Asian Art Fund. Right » Mizuno Toshikata, Japanese, 1866-1908, Flower-viewing, Ladies of the Bunsei era, 1893, color woodblock print, 12 7/8 x 8 1/2 in., Gift of Keith A. Hattwig

IN THE GALLERIES

Pairs: Contrasts and Parallels in Japanese Prints

by John Teramoto » Curator of Asian Art

Pairs: Contrasts and Parallels in Japanese Prints, on view September 24 through January 30 in the Appel Gallery, explores the richly complex world of Japanese prints. The pairings reflect a variety of issues, including techniques of production, use of color, drawings versus prints, pattern and style, abstract versus naturalistic depiction, nostalgia, romanticism and changing ideals of beauty. Together they demonstrate the complexity, versatility, and far-ranging scope of Japanese prints.

One example from Pairs compares a work by the Edo period (1600–1868) master Kitagawa Utamaro (1754–1806) with one created almost a century later by Mizuno Toshikata (1866–1908).

Utamaro’s print, from about 1801, is the far right panel of a triptych featuring women preparing for the Ebisu Festival. The entire triptych is known only through an ink key-block impression. No complete version is known, although a full-color impression of the far-left panel is in the collection of the Musee Royaux d’Art et d’Histoires in Brussels. Each panel could stand as an individual print.

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Toshikata’s print is from his 1893 series “Thirty-six Selected Beauties,” which featured women from different time periods. Titled Flower Viewing: Women from the Bunsei Era, (the Bunsei era ran from 1818 to 1830), Toshikata’s print is ostensibly illustrating women from around Utamaro’s time.

The two prints share many key aspects, such as strong diagonal compositions, attention to lovely kimono patterns and other fine details, and, of course, the subject of beautiful women. One major difference, however, is in the treatment of space. Reflecting Western influences, in Toshikata’s print the women exist in a visually rational world, standing in a comfortable space between the umbrellas in front of them and the columns behind them. The space around them recedes seamlessly to the trees in the distance. In Utamaro’s print, on the other hand, although the relationship of the figures and objects is clear—which is in front of or behind another—there is no concern with creating a believable pocket of space in which they exist. From the vantage point of Western methods of perspective, space has been confused—aided by the odd angles of the folding screen in the background and by its painted landscape, which serves simultaneously as a backdrop and as a window to the outside world. The result is a denial of rational space and depth. This flattening of space tends to emphasize surface patterns and, consequently, further highlights the women and their physical qualities. And, of course, the most important physical qualities are their beauty and sensuality. Toshikata’s women seem cool, rational, and remote in comparison to the sultry warmth of Utamaro’s females.

The hedonistic world of the pleasure quarters—the “floating world” (ukiyo)—had already begun to vanish towards the end of the Edo period. The new Meiji government called for “civilization and enlightenment” in its effort to catch up with the West. Toshikata’s proper women and his composition as a whole reflect a more rational world view. Ultimately, the pairing of these prints reveals more than a difference in two styles; it illustrates the distance between two ages.

The two prints share many key aspects, such as strong diagonal compositions, attention to lovely kimono patterns and other fine details, and, of course, the subject of beautiful women. One major difference, however, is in the treatment of space.

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MEET OUR MEMBERS

Barnes & Thornburg, LLP Why did Barnes & Thornburg decide to support the IMA? Like many other leaders in the central Indiana business community, Barnes & Thornburg recognized long ago that a vibrant and growing business community depends very heavily on the ability to attract and retain current and future business leaders and talented employees. For that to happen, Indianapolis and the communities which surround it have to be places where people want to live, raise their families and commit their energies and talents. The Indianapolis Museum of Art plays a major role in making the Indianapolis area a great place in which to live, work and play. Barnes & Thornburg’s relationship with the IMA spans decades and involves countless volunteer hours and involvement by our attorneys and employees, in addition to donor dollars. We are proud of our relationship with the IMA, and are pleased to contribute energy and resources in support of an organization which has had such a significant impact on the profile and character of our community.

What does Barnes & Thornburg value most about its corporate membership? Why should corporations support the IMA? For a corporate community to be strong and dynamic, the larger community in which they operate must be engaging and vital enough to attract and retain businesses, business leaders and talented employees. Barnes & Thornburg recognizes the Indianapolis Museum of Art’s role in shaping the image of Indianapolis and central Indiana, and that the IMA and cultural organizations like it contribute significantly to the attractiveness of our community as a place to live and work. Businesses and business leaders want to live in, and contribute their energies and benefits to communities

that offer a broad array of cultural and sports activities. It only makes sense for the corporate community to support the IMA because of its significant role in defining the cultural character of our community, and in raising the profile of Indianapolis and central Indiana on a national and international level, especially with things like 100 Acres: The Virginia B. Fairbanks Art & Nature Park (Barnes & Thornburg was a proud sponsor of the Park’s opening weekend).

On every level the contributions made and to be made by the IMA can only mean good things for the Indianapolis business community.

What does the IMA and Barnes & Thornburg have in common?

Barnes & Thornburg LLP and the Indianapolis Museum of Art have a great deal in common. Both organizations are leaders within the community, and take great pride in what our organizations, and our employees, do to make Indianapolis and central Indiana such a great place in which to live. The excellent reputations of both organizations reflect positively on the quality and character of Indianapolis as a place to live, work and play. Both of our organizations seek to “give back” to the communities which have contributed so greatly to our success, and we both are proud to have the opportunity to deliver the excitement and inspiration of the Indianapolis cultural community to new and broader audiences. The continued success of the IMA, like the continued success of Barnes & Thornburg, will facilitate the achievement of new goals, and the realization of new visions for our community, all of which will positively impact the vitality and image of the Indianapolis community for decades to come.

We are pleased to be able to partner with the IMA in these efforts.

Barnes & Thornburg LLP is a corporate partner of the IMA. HOLIDAYS AT THE IMA

Celebrate with Nature Pussy Willow Necklace ($90–Museum Store) » Glass bird ($3.95–Greenhouse) » Algue Decorative Screen Elements ($95/25 pieces–Design Center) » Tea towel ($5.95–Greenhouse) » Gold bird w/feather tail ($13.95–Greenhouse)

Like individual members, our corporate partners are an important part of the IMA family as they help to make the organization a vibrant and vital resource for our local as well as global audiences. Corporate support keeps the IMA free and helps us to more fully serve the creative interests of our communities by fostering exploration of art, design and the natural environment.

To find out more about corporate partnerships, visit imamuseum.org/support.

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Now that the frames were rejoined, dental wax was used to take a mould of the ornament that matched the design of any areas of loss. Several moulds were created, most notably the corner leaf element and the various areas of the fish scale design. Mineral oil was used as a releasing agent for the wax and a two part epoxy product was used as the fill to cast the ornament. The fills were inpainted and toned using a gilt varnish to match the original “Roman Gold” finish as closely as possible.

CONSERVATION

A New November Morning

by Laura Mosteller » Conservation Technician, and David Miller » Conservator in Charge and Senior Conservator of Paintings

Dwight Tryon’s painting, November Morning, has been on display in the American galleries since 2005, but it was difficult to fully appreciate the artist’s technique because it was overshadowed by an unsatisfactory frame. IMA conservators and the curator of American painting and sculpture were determined to give the painting a more appropriate frame. As purchasing a frame was not in the budget, conservators searched IMA’s storage and found a frame not being used that would be perfect for the Tryon painting.

What they found was a significant example of the Renaissance Revival style, a style highlighted in America in the late 19th century by architect and interior designer Stanford White. White’s creativity was stimulated by neoclassical motifs and he often used antique picture frames he collected as inspiration for new frame designs.

His detailed ornamentation was embraced by some of the day’s leading painters, including Dwight Tryon. The two developed a close association, resulting in a collaboration that brought together all the admired design qualities of the Golden Age. The IMA’s frame was in poor condition, but restoring the Stanford White-style frame and using it to reframe November Morning would reunite White and Tryon.

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THE RESTORATION The dimensions of the frame were slightly larger than the panel on which Tryon’s landscape was painted. This worked well for the frame restoration effort because the majority of the frame’s damage was at the corner joins. Trimming the frame down to the appropriate size allowed much of the damage to be cut away while leaving the remainder of the original ornament intact. The frame is comprised of two stacked structures, a larger outer frame that was embellished with a lovely scalloped fish-scale design, and an inner frame comprised of five small rows of varying ornament with each row slightly raised to form a subtle stair-step profile. The corners have a narrow leaf ornament which covers the miter joinery and a small

ribbon element that wraps over the decorative sight edge. Three of the four corners were missing this Stanford White signature decorative element, and the forth corner only had a partial remnant of the original design. Through careful consideration, the wood-shop technician was able to trim the frame to the dimension needed without disturbing the one corner join that retained the integrity of the White design.

Once the frames had been resized, it was necessary to consolidate the loose and/or missing composition ornament with the appropriate adhesives to stabilize the applied design. The frames were then dusted and a cleaning solution was used with microswabs to remove the grime and dark stains from the surface finish of the frame.

After finishing the repairs, the inner and outer frames were stacked together. Originally, to secure the frames together large nails had been used, but that solution is not reversible without causing harm to the structure. Due to the profile of the verso, a different method of securing the frames together was needed.

Narrow strips of cherry wood were cut to fit on the verso of the secondary frame to build up the back and make it flush with the level of the primary frame. This enabled mending plates to be attached with screws in the primary frame and in the wood strip to hold the secondary frame in place. This is easily removable and involves no adhesives or undue amendment to either frame.

With its new frame, all the subtlety and beauty of November Morning is now visible. Special thanks to Harriet Warkel, Curator Emerita, American Painting and Sculpture, and Michael Griffey, Prepartor / Woodshop Technician

Left » Dwight Tryon, American, 1849-1925, November Morning (detail), 1901-02, oil on panel, 26 x 34 in., John Herron Fund (Page 18 » November Morning in old frame. Page 19 » November Morning in new frame) Page 20 » detail of conserved Stanford White style frame

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CREATING FRAMES IN THE LATE 19TH CENTURY

ABOUT NOVEMBER MORNING

The decorative ornament on the IMA’s frame is not hand-carved, but applied sheets of composition. The prominent usage of composition ornament during the second half of the 19th century enabled many of Stanford White’s intricate designs to be mass produced. An original design could be used to create a mold and then the compo mixture, mainly consisting of gilder’s whiting (chalk), animal glue, linseed oil and resin, could be pressed into the mold resulting in a perfect casting of the design. The composition cast could be cut and finished to accommodate any frame dimension thus allowing mixing of various design elements to create a “Stanford White Style” frame.

Dwight Tryon’s favorite subject was a row of trees in a barren field at twilight or just after sunrise. November Morning is lighter in color and freer in execution than most of his treatments of this motif. While it may be reminiscent of Impressionist landscapes, Tryon despised the naturalism of the Impressionists. His landscapes are evocations of states of mind rather than depictions of nature. Tryon was interested in creating an introspective mood in his paintings. In keeping with this attitude, he composed his paintings in his studio from memory. With their subtle color harmonies and sense of gentle melancholy, Tryon’s works are prime examples of American Tonalism.

White’s popular frame designs were fabricated by a number of frame makers around the country. The IMA’s frame has a label on the back from H. Lieber Company, a prominent Indianapolis frame shop during the late 19th and the turn of the 20th century. We do not know whether Lieber made the frame himself or purchased pre-cast compo molding elsewhere. The ornate compo decorations were finished with “Roman Gilding” (refined bronze powders in animal glue, burnished to yield a low gloss luster to look more like cast metal), a very popular finish of the period rather than gold leaf.

—Harriet Warkel

Sources » Gray, Nina and Suzanne Smeaton. “Within Gilded Borders: The Frames of Stanford White.” American Art, Vol. 7, No. 2 (Spring, 1993). Pgs. 33–45. Published by The University of Chicago Press on behalf of the Smithsonian American Art Museum. » Adair, William (Gold Leaf Studios, Washington D.C.) “The Picture Frames of Stanford White (1853–1906).” The Magazine Antiques, March 1997.

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100 ACRES: THE VIRGINIA B. FAIRBANKS ART & NATURE PARK

Edward L. Blake, Jr. An Inspired Artist of the Land

by Mark Zelonis » The Ruth Lilly Deputy Director of Environmental & Historic Preservation

The IMA mourns the recent unexpected passing of landscape architect Edward L. Blake, Jr. The founder and owner of The Landscape Studio in Hattiesburg, Mississippi, was internationally known for his ecological planning efforts and his creation of environmentally sustainable designs. His most recent work featured the innovative design for 100 Acres: The Virginia B. Fairbanks Art & Nature Park.

Blake’s work on 100 Acres began in 2004, when he was invited to team with architect Marlon Blackwell on the site’s development.

Together they carefully aligned structure, form and nature to reveal the true essence of the property, and allow opportunities for interaction between art, people and nature. Blackwell states, “‘Ed was the best collaborator I ever had. He had the intellect of a scientist and the heart of a poet. He truly understood the processes and manifestations of nature and its influence and possibilities in shaping the built environment.”

Revealing a space’s true nature was critical in all of Blake’s work, and especially here for 100 Acres. Rather than impose new artificial structure upon the landscape, Blake preferred that the site subtly but poignantly reveal its history, both ancient and recent, to tell the story of its use, misuse, and, finally, enjoyment by the many thousands of park visitors who have already heralded its delights.

He studied the site endlessly, photographing and taking copious notes, and eventually designing a series of what he termed “journeys,” leading visitors along gentle slopes, over wetlands, and through forest thickets and varied plant mosaic.

A giant of a man, Blake spoke softly but passionately, with the backing of a deep philosophy about the natural world and our place within it, and with the voice of a poet. As his wife Marilyn Blake states, “He’s given people a lot of wonderful places to be in and experience.”

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BEHIND THE SCENES

Ball-Nogues Studio: Gravity’s Loom Support provided by a grant from the Efroymson Family Fund, A CICF Fund.

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From August 23–September 2, IMA staff worked with Ball-Nogues Studio to install the studio’s site-specific installation Gravity’s Loom. See the final product in Efroymson Family Entrance Pavilion on view now through March 6.

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HOLIDAYS AT THE IMA

Holiday Hullabaloo Thursday, December 9 » 6–9 pm Enjoy our annual evening of holiday shopping at the Museum Store and Design Center. Find a unique gift for someone you love or shop for an extra special something to deck the halls for holiday parties to come.

The evening features a Patricia Locke trunk show as well as special promotions available only during Holiday Hullabaloo.

NOTES: NOVEMBER 2010–JANUARY 2011

NEWS » EXHIBITIONS » CALENDAR » EVENTS » PROGRAMMING » YEAR-END GIVING 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 IMA. Your gift to the Annual 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.

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

GIFT MEMBERSHIPS Finding the perfect gift for your friends, family, and co-workers is an art. This year, give the gift of year-round art and entertainment by purchasing an IMA gift membership. Members save 10 percent on all gift memberships when purchased between November 1 and January 1. Gift memberships carry the same benefits of an IMA membership including free admission to ticketed exhibitions, discount rates on IMA education and public programs, subscription to this publication, and much more.

To purchase a gift membership, call 317-920-2651.

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News

at the Baltimore Historical Society, Mining the Museum. He then showed drawings for E Pluribus Unum, the sculpture he will create for the southwest corner of the City-County Building at the corner of Washington and Delaware Streets in downtown Indianapolis.

The dialogue between Wilson and Cubbs and between both presenters and audience members was lively and thoughtprovoking. IMA educators Carol White and Linda Duke briefly shared their plans to involve high school students with the Dial exhibition, using Visual Thinking Strategies (VTS) to foster probing discussions and writing. This process started in late September as students have visited to consider “preview” art works by Dial, hung in Pulliam Great Hall.

IMA FRONT DESK HAS MOVED If you’ve been to the IMA since mid-August, you’ve noticed that the front desk is no longer in the Efroymson Family Entrance Pavilion. In an effort to provide a better Museum experience, visitors will now go to the balcony of Efroymson Entrance Pavilion and check in at a new ticket desk. The desk will continue to provide all its services—exhibition tickets, memberships, maps and pre-sale tickets for various IMA programs. The information desk that had been on the Efroymson balcony has now moved into Pulliam Great Hall.

IMA BOX OFFICE As part of this move, the coat check on Floor 1 (across from Nourish Café) has been transformed into a box office. This desk provides day-of-event ticketing services for IMA programs. Tickets for events can be purchased or picked up at this location one hour prior to the start of the program.

WORK UNDERWAY ON NEW STRATEGIC PLAN Since early 2010, the Strategic Planning Task Force has been hard at work developing a new strategic plan that will guide the IMA through 2015. The task force, which is chaired by June McCormack, includes Myrta Pulliam, Steve Russell, Lynne Maguire, Kathi Postlethwait, Rich Johnson, Tom Hiatt, Jennifer Bartenbach, and Max Anderson. Kathleen Kavanagh from Grezebach Glier

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and Associates has helped to shape the process. With the help of several IMA staff members, the task force has isolated six hallmarks of focus: Collections Growth; Community Engagement; Financial Strength; Programmatic Vitality; Research Leadership and Responsible Governance. For the past several months, interdepartmental staff teams have met to devise and refine goals and objectives in each of the six areas. Following input from the task force and presentations to the full Board of Governors, the new strategic plan should be submitted for approval at the December 2010 meeting of the Board of Governors, and it will thereafter be effective.

EDUCATORS DISCUSS TWO AFRICAN-AMERICAN ARTISTS On August 26, the IMA invited an audience made up primarily of thought leaders in the African American community and educators to a preview of projects involving the work of two important contemporary artists: Thornton Dial and Fred Wilson.

Joanne Cubbs, curator of the IMA’s upcoming exhibition Hard Truths: The Art of Thornton Dial (February 27–May 15, 2011), showed images from the exhibition and described the extraordinary range of cultural, political and historical topics Dial has addressed, often employing the material language of the southern “yard art” tradition. Mindy Taylor Ross, an independent curator overseeing art commissions for the Indianapolis Cultural Trail, introduced New York-based conceptual artist Fred Wilson. Wilson showed images of past projects, most notably his award-winning installation

Both Dial and Wilson explore the nature of cultural invisibility, and work to represent the experiences of those who have been absent from the accounts of mainstream history. Seeking a wider vision of the truth, they celebrate art’s ability to promote critical thinking on complex issues. IMA educators look forward to supporting this artistic intention by collaborating with educators and presenting public programs that invite discussion.

Audience members, museum staff, and presenters lingered to network after this event, with several community members expressing appreciation for the advance information and vowing to spread the word about these projects.

experiences–including using Visual Thinking Strategies techniques as a discussion strategy. Back at school, students will participate in creative writing and other linguistic activities related to their IMA visit, further developing their communication skills. In May, students, teachers, and families will gather for a year-end celebration to demonstrate and recognize the work that has been done by students over the course of the year.

100 ACRES SELECTED AS A LEAF CAM SITE 100 Acres: The Virginia B. Fairbanks Art & Nature Park has been selected to showcase Indiana’s fall foliage as part of the Indiana Office of Tourism Development’s Leaf Cam program. Other sites include Spring Mill State Park and Brown County. The sites as well as new features of the popular web-based program were announced by IOTD Director Amy Vaughan and IMA’s Maxwell Anderson on September 30 during a press conference at 100 Acres.

The leaf cams are streaming live images from the sites through November 12. If you cannot make it out to 100 Acres to see the fall color in person, log on to VisitIndiana.com.

IMA PREPARES TO LAUNCH NEW AFTER-SCHOOL INITIATIVE IN THREE IPS SCHOOLS With many schools currently making difficult choices and reductions in arts programming during the school day, it has become increasingly important for cultural institutions to consider what and how they can contribute to the lives of young people during out-of-school hours. Continuing IMA’s commitment to arts learning for children of all ages, in and around Indianapolis, the IMA is launching IMA Perspectives after-school program at Shortridge Magnet Middle and High School for Law and Public Policy, Cold Spring School #316 and James Whitcomb Riley School #43—all neighbors of the IMA. Classes will begin to meet regularly in February.

The new IMA Perspectives after-school program is focused on bringing students grades 4-10 to the IMA on a weekly basis and providing them with learning experiences focused on art, nature, and design. Students will explore the IMA grounds, galleries, historical buildings and 100 Acres: The Virginia B. Fairbanks Art & Nature Park. Activities will include language and writing

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On View

On View

FRAMED

WATERCOLOR SOCIETY OF INDIANA ANNUAL JURIED EXHIBITION

November 5, 2010–March 6, 2011 » Free » McCormack Forefront Galleries and Holeman Video Gallery » Floor 4

Through December 5 » Free » North Hall Gallery » Floor 2

See page 4.

READ MY PINS: THE MADELEINE ALBRIGHT COLLECTION November 7, 2010–January 30, 2011, » $5 Public, Free for Members » European Galleries » Floor 2 See page 10.

Read My Pins: The Madeleine Albright Collection has been organized by the Museum of Arts and Design. Generous support for this exhibition has been provided by Bren Simon. Support for the catalogue has been provided by St. John Knits.

CHRISTMAS AT LILLY HOUSE November 20, 2010-January 2, 2011 » Free » Lilly House Lilly House will be decorated in the style of the 1930s and 1940s, when Christmas cheer often had to overcome Depression-era budgets or wartime shortages. See how familiar motifs such as trees, wreaths and evergreens are enlivened with refreshing touches of new fashions in this historic home. Enhance your experience with the two open houses (December 2 and December 16), where luminaria transform the gardens and live music fills the house.

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The Watercolor Society of Indiana presents the 28th annual juried exhibition of paintings featuring works in a variety of styles. The Society is made up of more than 300 artist, student and patron members statewide who produce high-quality watercolor paintings and seek to educate the public about the beautiful transparent medium.

ANDY WARHOL ENTERPRISES Through January 2, 2011 » $14 Public, Free for Members » Clowes Special Exhibition Gallery » Floor 2 Andy Warhol Enterprises examines Andy Warhol’s lifelong exploration of commerce, consumerism, and the business of art making.

With artwork ranging from shop window designs and commercial illustrations of the 1950s to his groundbreaking paintings of consumer products and stars of the 1960s, and ultimately to his ventures into TV, film and magazines of the 70s and 80s, Andy Warhol Enterprises serves as a window into the world of commerce and art, and the ways that Warhol intentionally blurred the lines between the two.

Proudly supported by PNC Financial Services Group .

Promotional support provided by Clear Channel Outdoor.

DRAWINGS TO PRINTS

SHOTS IN THE DARK: PHOTOS BY WEEGEE THE FAMOUS

Through January 2, 2011 » Free » Conant Galleries » Floor 3

Through January 23, 2011 » Free » Golden Gallery » Floor 2

Drawings to Prints explores the similarity between prints and drawings through 30 drawings from the IMA’s permanent collection and 30 engravings, etchings, woodcuts and lithographs, which relate to them. The exhibition suggests a close and often complex relationship between the two branches of the graphic arts. The earliest engravings were line drawings transferred to the printing plate for reproduction. Later, many artists continued to work out their compositions as drawings before committing them to the permanence of the printed line.

The exhibition showcases 48 works selected from the Museum’s recent major acquisition of 210 photographs by Arthur Fellig, the father of New York street photography better known as Weegee the Famous. Shots in the Dark is the first exhibition at the IMA featuring works by the photographer since the Museum acquired this extraordinary collection of photographs in 2008. The exhibition explores a range of works that defined Weegee’s career, including photos of crime scenes in the 1930s, Harlem jazz clubs in the ’40s, audiences at Sinatra concerts and in darkened movie theaters taken surreptitiously with infrared film, strippers, transvestites, Greenwich Village coffee houses in the ’50s and portraits of the famous, shot through distorting lenses of his own devising.

THE VIEWING PROJECT: THE PLEASURES OF UNCERTAINTY Through January 9, 2011 » Free » Alliance Gallery » Floor 2 This installation explores the deliberateness and the delights of ambiguity in art. Some works of art instantly throw the viewer into confusion. It may be difficult to tell what meanings are intended or even what material an object is made from. In such cases, it is perfectly logical to ask, “Is it art?” or even, “What is it?” This installation is titled The Pleasures of Uncertainty in the hope that visitors will find enjoyment and make discoveries as they consider art objects which offer both uncertainty and pleasure. This is the fifth installation in The Viewing Project series.

The Viewing Project is supported by a generous grant from ART MENTOR FOUNDATION LUCERNE.

Above (left to right) » Lilly McElroy, The Square—After Roberto Lopardo, 2004. Single-channel video, 30:00. Image courtesy of the artist. The United States Capitol, Monet (USA), circa 1970. Images and Photos from Read My Pins: Stories from a Diplomat’s Jewel Box by Madeleine K. Albright (Harper) Photographs by John Bigelow Taylor. Christmas at Lilly House. William Edouard Scott, Rainy Night, Etaples, 1912, oil painting, Gift of a Group of African-American Citizens of Indianapolis. Weegee (Arthur Fellig), “Lovers at the Palace Theater”, ca. 1953.© Weegee/International Center of Photography/Getty Images.

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Program Highlights

On View

FOR EDUCATORS Many IMA public programs may be eligible for Indiana Dept. of Education Professional Growth Plan (PGP) points, toward teaching license renewal.

Contact schoolprograms@imamuseum.org for more information.

TOURS Visit imamuseum.org for complete tour schedule including tour themes. All tours are free unless noted.

PERMANENT COLLECTION

BODY UNBOUND: CONTEMPORARY COUTURE FROM THE IMA’S COLLECTION

BALL-NOGUES STUDIO: GRAVITY’S LOOM

Through January 30, 2011 » Free » Paul Textile and Fashion Arts Galleries » Floor 3

Los Angeles-based design team Ball-Nogues Studio created an immersive site-specific installation of multi-colored strings configured in catenary curves for the IMA’s Efroymson Family Entrance Pavilion.

Trained as architects, Benjamin Ball and Gaston Nogues worked with the pavilion’s architecture to develop an installation related to the function of the space as a thoroughfare and meeting point for visitors. The studio’s practice fuses the disciplines of art, architecture and design, bringing aspects of each world to the others to create technologically innovative and visually spectacular built environments.

Body Unbound: Contemporary Couture from the IMA’s Collection examines the many ways designers have manipulated, transformed and liberated the female figure. The exhibition features groundbreaking designs by Rudi Gernreich, Issey Miyake, Junya Watanabe, Thierry Mugler, Jean-Paul Gaultier, Gianni Versace and other avant-garde fashion designers. Body Unbound explores how these designers used modern construction and unexpected materials to contort, conceal, reveal or mock their wearers.

Featuring a range of works, many of which are recent additions to the IMA’s fashion arts collection, Body Unbound demonstrates how some of the most influential designers of the 20th century helped shape the direction of avant-garde fashion.

Through March 6, 2011 » Free » Efroymson Family Entrance Pavilion

Tuesday & Wednesday » 1 pm Thursday » 1 & 7 pm Friday » 1, 2:30 & 7 pm Saturday » 1 & 2:30 pm Sunday » 1 & 2:30 pm (ASL interpreted tours: 2nd Friday at 7 pm and 3rd Sunday at 2:30 pm)

ANDY WARHOL ENTERPRISES October 10–January 2 » Times vary » included with exhibition admission

FAMILY TOURS 2nd & 4th Saturdays » 1:30 & 2:30 pm

LILLY HOUSE Fridays, Saturdays & Sundays (April–December) » 2 pm Support provided by a grant from the Efroymson Family Fund, A CICF Fund.

PAIRS: CONTRASTS AND PARALLELS IN JAPANESE PRINTS Through January 30, 2011 » Free » Appel Gallery » Floor 3 See page 14.

TALKS

CONCERT

TALK: VINCENT FREMONT ON ANDY WARHOL, TV MASTERMIND

YUVAL RON ENSEMBLE: SACRED MUSIC OF THE MIDDLE EAST AND SOUTH ASIA

Thursday, November 18 » 7 pm The Toby » Free (ticket required) Filmmaker and producer Vincent Fremont was a member of Warhol’s inner circle for nearly 20 years, working as vice-president of Andy Warhol Enterprises, developing film projects and helping to establish The Andy Warhol Museum in Pittsburgh. At this talk, Fremont explores the 42 television episodes Warhol created with guest stars Debbie Harry, Steven Spielberg, Liza Minnelli and more.

Wednesday, November 17 » 7 pm The Toby » $10 » Tickets available at internationalinterfaith.org, and at the door.

Hear the ecstatic music of the mystical Sufi traditions, the sacred music of the Iraqi Jews, and the Hassidic Jewish tradition in this concert that features Qawwalli singer Sukhawat Ali Khan of Pakistan, Jewish-Yemenite vocalist Talia Goren, and a special appearance by Whirling Dervish Aziz. Yuval Ron is an internationally acclaimed composer and musician who weaves the rich musical traditions of the Middle East into entrancing cross-cultural performances.

This event is presented by the Jewish Community Relations Council, Muslim Alliance of Indiana, Peace Learning Center, and Indianapolis Museum of Art.

Above (left to right) » Iwami Reika, Japanese, b. 1927, New Moon and Sea, 1989, woodblock print, ink and gold foil on paper, Carl H. Lieber Memorial Fund. Ball-Nogues Studio, Gravity’s Loom, 2010, nylon twine, aluminum and ink.

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SPECIAL EVENTS WINTER SOLSTICE Thursday, December 16 » 5:30–8:30 pm Lilly House and Madeline F. Elder Greenhouse » Free Bundle up for IMA’s winter kick-off celebration. Outside watch ice carvers in action, meet wintery animals, create a constellation lantern and cozy up by the bonfire. Inside, enjoy seasonal music, decorations and shopping.

MARTIN LUTHER KING JR. DAY Monday, January 17 » Noon–5 pm » Free

FILMS INDIANAPOLIS LGBT FILM FESTIVAL Friday, November 12 » 7–11 pm The Toby Saturday, November 13 » 1 pm–midnght The Toby & DeBoest Lecture Hall IMA co-hosts Indy’s tenth annual festival of queer cinema with a line-up of over 30 films. Catch the premiere film, Violet Tendencies, and meet the writer and star, Jesse Archer, in The Toby Friday night. For the full festival schedule and tickets, visit www.indylgbtfilmfest.com.

IMA members receive a $10 discount on full festival passes.

WINTER NIGHTS FILM SERIES: NOIR/NEO-NOIR Fridays, January 7–February 25 » 7 pm The Toby » $9 Public, $5 IMA Members Cozy up in The Toby for another year of classic films shown on the big screen, every Friday night.

JANUARY SCHEDULE Jan. 7 » Blood Simple (1984, dir. E. and J. Coen, 99 min., starring J. Getz, F. McDormand and D. Hedaya) Jan. 14 » Criss Cross (1949, dir. R. Siodmak, 88 min., starring B. Lancaster and Y. De Carlo) Jan. 21 » Key Largo (1948, dir. J. Huston, 100 min., starring H. Bogart, L. Bacall and E. Robinson) Jan. 28 » Stray Dog (1949, dir. A. Kurosawa, 122 min., starring T. Mifune and T. Shimura)

Winter Nights is proudly supported by Wells Fargo.

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Celebrating the birthday of Dr. Martin Luther King Jr. has become an annual IMA tradition. Spend the day exploring the galleries with the docents, playing art-related games and make some of your own art.

IMA Affiliates

ART, DESIGN, AND NATURE INTEREST GROUPS

IMA affiliates offer members unique opportunities to become more involved with the IMA by exploring their own interests. Affiliates do exclusive tours of IMA’s permanent collection, programs and special events related to the mission of each group. To learn more about how you can join one or more of these interest groups, contact Jessica Borgo, Board and Affiliate Relations Manager, at jborgo@imamuseum.org or 317-923-1331, ext. 434.

THE ALLIANCE

HIGHLIGHTED EVENTS PRESENTED BY IMA AFFILIATES

The IMA’s longest establish affiliate develops and supports activities and projects that will stimulate public interest in the Museum, its educational programs and collections.

THE ALLIANCE

ASIAN ART SOCIETY (AAS) AAS offers its members the opportunity to learn more about Asian art, history and cultural traditions, and socialize with others who share a deep interest in Asian art.

CONTEMPORARY ART SOCIETY (CAS) CAS is a dynamic group which promotes the understanding of and appreciation for contemporary art through educational programs, social events and community collaborations. CAS support has improved the quality and scope of IMA’s contemporary art collection.

DESIGN ART SOCIETY (DAS) DAS works to promote a greater awareness of the central role that design plays in our daily lives and to also help establish the IMA as an important center for the design arts in the U.S.

FASHION ART SOCIETY (FAS) FAS seeks to promote awareness and appreciation of textile and fashion arts through the study of haute couture and cloth.

Members also help facilitate the expansion and enrichment of IMA’s fashion and textile arts collection.

HORTICULTURAL SOCIETY (HORTSOC) The Horticultural Society celebrates the art of gardening at the IMA by helping to develop, enhance and maintain the gardens, grounds and greenhouse through volunteer and financial support.

The Society also maintains an extensive horticultural library on the IMA campus.

2010 Alliance Holiday Tea Friday, December 3 » 1–3 pm » Woodstock Club See imamuseum.org for details.

DAS Milton Glaser: To Inform and Delight Thursday, January 20 » 7 pm » The Toby » $5 Documentary portrait of Milton Glaser, a designer best known for co-founding New York Magazine and the enduring I ♥ NY campaign.

CAS Framed: Kate Gilmore and Lilly McElroy on Space, Place and Boundary Thursday, November 4 » 6 pm » The Toby See page 5 for details.

FAS Madeleine Albright: My Life with Pins Thursday, November 11 » 7 pm » The Toby See page 11 for details.

HORTSOC Edible Landscaping with Rosalind Creasy Sunday, November 7 » 2:30 pm » The Toby See page 13 for details.

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November Tour » Offered daily. See page N7 for more information.

DAILY

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Tour » Alliance Studio Tour: Nancy Ezell » 1–3 pm » $20 Public, $15 Alliance & IMA Members

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Performance » Yuval Ron Ensemble: Sacred Music of the Middle East and South Asia » 7 pm » $10

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Dining » Chef’s Table: Late Autumn Vegetables & Stout Beer » 6:30 pm » $35 per person Talk » Vincent Fremont on Andy Warhol, TV Mastermind » 7 pm » Free; ticket required Tour » Meditation Hike » 5 pm » Free

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Talk » Framed: Kate Gilmore and Lilly McElroy on Space, Place and Boundary » 6 pm » Free; ticket required Tour » Meditation Hike » 5 pm » Free Dining » Chef’s Table: Late Autumn Vegetables & Stout Beer » 6:30 pm » $60 per person

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Art-Making » Starlite » noon–4 pm » Free Performance » Vienna Vegetable Orchestra » 7 pm » $18 Public, $15 IMA members

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Talk » Edible Landscaping with Rosalind Creasy » 2:30 pm » $5 Public, $3 IMA Members, Free for IMA Horticultural Society members; ticket required

Film » Mexican Cinema Double Feature: Los Abandonadas and Santo Y Blue Demon Contra Los Monstruos » 7 pm » Free; ticket required

Art-Making » Starlite » noon–4 pm » Free

Family Tour » The Viewing Project: The Pleasure of Uncertainty » 1:30 & 2:30 pm » Free Art-Making » Starlite » noon–4 pm » Free

Visit imamuseum.org for FULL program descriptions, TICKETS and more.

Member Program » IMA Member Night » 5:30 pm » Free Talk » Madeleine Albright: My Life with Pins » 7 pm » $10 Public, $5 IMA members, Free for IMA Fashion Arts Society members; ticket required Tour » Meditation Hike » 5 pm » Free Special Event » Silver Seasons Trunk Show » 5 pm » Free Special Event » Member Double Discount Day » 11 am–9 pm » Free Film » Indianapolis LGBT Film Festival » 7–11 pm » Tickets vary Special Event » Member Double Discount Day » 11 am–9 pm » Free

Family Tour » The Viewing Project: The Pleasure of Uncertainty » 1:30 & 2:30 pm » Free Art-Making » Starlite » noon–4 pm » Free Film » Indianapolis LGBT Film Festival » 1 pm–Midnight » Tickets vary Special Event » Member Double Discount Day » 11 am–5 pm » Free Special Event » Member Double Discount Day » noon–5 pm » Free

Assistive listening devices available for all Toby events and public tours.

ASL interpretation available at Toby events where noted.

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December Tour » Offered daily. See page N7 for more information.

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January Tour » Offered daily. See page N7 for more information.

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Special Event » Christmas at Lilly House and Greenhouse Open House » 5:30–8:30 pm » Free Dining » Chef’s Table: The Holidays » 6:30 pm » $60 per person Performance » 13 Most Beautiful…songs for Andy Warhol’s Screen Tests » 8 pm » $20 Public, $10 IMA Members Tour » Meditation Hike » 5 pm » Free

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Special Event » Alliance Holiday Tea » 1–3 pm » Free

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Art-Making » Starlite » noon–4 pm » Free

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Member Program » IMA Member Night » 5:30 pm » Free Special Event » Holiday Hullabaloo » 6–9 pm » Free Film » Marwencol » 7 pm » $9 Public, $5 IMA Members Tour » Meditation Hike » 5 pm » Free

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Family Tour » Take a Look at Contemporary Art » 1:30 & 2:30 pm » Free Art-Making » Starlite » noon–4 pm » Free

Special Event » Winter Solstice » 5:30–8:30 pm » Free Special Event » Christmas at Lilly House and Greenhouse Open House » 5:30–8:30 pm » Free Dining » Chef’s Table: The Holidays » 6:30 pm » $35 per person Tour » Meditation Hike » 5 pm » Free

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Tour » Meditation Hike » 5 pm » Free

Film » Winter Nights: Blood Simple » 7 pm » $9 Public, $5 IMA Members

Family Tour » Get in Touch with the African Gallery » 1:30 & 2:30 pm » Free Art-Making » Starlite » noon–4 pm » Free

Special Event » Member Night » 5:30 pm » Free Tour » Meditation Hike » 5 pm » Free

Film » Winter Nights: Criss Cross » 7 pm » $9 Public, $5 IMA Members

Art-Making » Starlite » noon–4 pm » Free

Special Event » Dr. Martin Luther King Dr. Day of Celebration » 11 am–5 pm » Free

Art-Making » Starlite » noon–4 pm » Free

20 THR

Tour » Meditation Hike » 5 pm » Free Film » Milton Glaser: To Inform and Delight » 7 pm » $9 Public, $5 IMA Members, $3 Students

Tour » Meditation Hike » 5 pm » Free

21 FRI

Film » Winter Nights: Key Largo » 7 pm » $9 Public, $5 IMA Members

Film » Smash His Camera » 7 pm » $9 Public, $5 IMA Members Tour » Meditation Hike » 5 pm » Free

Assistive listening devices available for all Toby events and public tours.

ASL interpretation available at Toby events where noted.

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22 SAT 27 THR 28 FRI 29 SAT

Family Tour » Get in Touch with the African Gallery » 1:30 & 2:30 pm » Free Art-Making » Starlite » noon–4 pm » Free

Events

Tour » Meditation Hike » 5 pm » Free Tour » Alliance Studio Tour: IMA Fashion Arts Collection with Niloo Paydar » 7–8:30 pm » 20 Public, $15 Alliance & IMA Members

Film » Winter Nights: Stray Dog » 7 pm » $9 Public, $5 IMA Members

Art-Making » Starlite » noon–4 pm » Free

The IMA hosted several film festivals this summer, including the 48 Hour Film Project on August 7.

Council members gathered for a year-end thank you for their generous support of the IMA Council program in the Gene and Rosemary Tanner Orchard in mid-September amid the restored garden.

Assistive listening devices available for all Toby events and public tours.

ASL interpretation available at Toby events where noted.

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On September 2, IMA members were invited to a preview of the newest installation in the Efroymson Family Entrance Pavilion, Ball-Nogues Studio: Gravity’s Loom. The evening also included a public talk with the artists, Benjamin Ball and Gaston Nogues, and IMA curator Sarah Urist Green.

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

ADMISSION

TOURS

IMA LIBRARIES

General admission is free.

The IMA offers free public tours of its galleries, 100 Acres, Lilly House, and gardens. For a complete schedule, including tour themes, visit imamuseum.org.

Stout Reference Library A non-circulating research library that consists of thousands of resources on the visual arts. 317-920-2647

Special Exhibitions » Andy Warhol Enterprises » $14 Public, Free for members. Read My Pins: The Madeleine Albright Collection » $5 Public, Free for members. School groups are also free (must book through IMA Education Division at education@imamuseum.org).

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

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, the National Endowment for the Arts, a federal agency, and the Lilly Endowment, Inc.

GETTING HERE Location The IMA is located at 4000 Michigan Road in Indianapolis. The main entrance is approximately one block north of 38th Street and Michigan Road. Note that south of 38th Street, Michigan Road becomes Martin Luther King Jr. Street.

The IMA is accessible off the Central Canal Towpath (an Indy Greenways trail). Bike racks are available on campus, including in parking garage.

By Indy Go Bus » From downtown Indianapolis, take #38 Lafayette Square » From Michigan Road, take #34 North or South » Visit indygo.net/tripplanner to plan your trip.

HOURS Museum Tue, Wed, Sat » 11 am–5 pm Thur, Fri » 11 am–9 pm Sun » Noon–5 pm Lilly House Open April through December, all Museum hours except on Thur and Fri; closes at 5 pm.

Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day. 100 Acres, Gardens and Grounds Open daily from dawn to dusk

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ACCESSIBILITY The IMA strives to be accessible to all visitors. » The Museum building and Lilly House are accessible for wheelchair users » Open captioning is available on in-gallery videos; Closed captioning available with select public programs » Assistive listening devices are available for all public tours and Toby events » ASL interpretations during select public programs and tours or by request. Call 317-923-1331 at least three weeks prior to event. » Service animals welcome » Family restrooms and nursing mothers room available For more information: imamuseum.org/connect/accessibility or 317-923-1331.

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

Tue, Wed, Fri » 2–5 pm Thur » 2–8 pm and by appointment Horticultural Society Library Non-circulating collection of books and videos on gardening and related topics, open to the public. Located at Newfield. 317-923-1331 ext. 429 Tue, Wed, Sat » Noon–3 pm FACILITY RENTAL The IMA offers a variety of spaces to rent—perfect for any occasion from cocktail parties to weddings to business conferences.

For more information: imamuseum.org/special-events or 317-923-1331, ext. 250 MEMBERSHIP Membership helps support free general admission at the IMA. For questions concerning membership, call 317-920-2651 or visit imamuseum.org/membership AFFILIATES

Happy Hour Thur & Fri » 5–9 pm

For more information about IMA art interest groups and clubs, contact affiliates@imamuseum.org or see page N9

SHOPPING

VOLUNTEER

Museum Store Books, jewelry, and museuminspired merchandise

For more information about how you can get involved contact volunteer@imamuseum.org or 317-923-1331, ext. 263

Design Center Design objects, furniture, and more Madeline F. Elder Greenhouse Rare and choice plants, gardening supplies, and gifts. Closes Thur & Fri at 8 pm.

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