fall 2012 ima magazine

Online Audiences

Conservation Science

Documenting Modern Living

Oldfields Service Area

Aug–OCT2012

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04 CONSERVATION SCIENCE

Van Gogh

08IN THE GALLERIES

An American Legacy

10ARCHIVES

Documenting Modern Living

12TRAVEL

IMA in Cuba

14VOICES

Sabiha Al Khemir

15COMMUNITY A New Vision

16COLLECTION

Online Audiences

20IMA HISTORY

Service Area at Oldfields

22PROGRAMS

Summer Nights

24AFFILIATES

CAS Celebrates 50 Years

26IN PHOTOS

Eiteljorg Suite Reinstallation

Vincent van Gogh’s canvas Undergrowth with Two Figures, owned by the Cincinnati Art Museum (CAM) and painted within the last five weeks of van Gogh’s life, is not nearly the brilliant work it was when executed in the summer of 1890. This past year, the IMA’s Conservation Science Lab analyzed the mas-terpiece and investigated the disappearance of a pigment known as Geranium Lake.

On the cover » George Wesley Bellows (American, 1882–1925), A Stag at Sharkey’s (detail), 1917, lithograph, 18 5/8 x 23 7/8 in. (image) 21 3/8 x 27 3/4 in. (sheet), Gift of Mrs. George Ball, 26.5. Above » Per Knutas viewing Vincent van Gogh’s canvas Undergrowth with Two Figures, owned by the Cincinnati Art Museum.

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Meg Liffick Managing Editor

Emily ZossEditor

Matthew TaylorDesigner

Maureen BriertonRachel CraftRebecca LongPetra Slinkard Gregory SmithAmanda YorkMark Zelonis Contributors

Hadley FruitsKatelyn HarperMike Rippy Photographers Tascha Mae HorowitzPhoto Editor Julie LongAssistant Photo Editor

Anne M. YoungRights & Reproductions Coordinator

The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 46208-3326. Questions or comments may be directed to the staff at 317-923-1331.

All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides or videotapes must be obtained in writing from the Rights & Reproductions office, 317-923-1331.

© 2012 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.)

In May, my term as the new chair of the Board of Governors began. With the launch of the newly redesigned Eiteljorg Suite of African and Oceanic Art, the opening of the exhibition Snapshot: Painters and Photography, Bonnard to Vuillard, the Summer Solstice celebra-tion, and the myriad of other exciting events and exhibitions these last few months, my tenure thu s far has been exhilarating. I know that the next two years will be filled with challenges and hard work. I am also certain that with the support of the abundantly talented IMA staff, my time as chair will be filled with innovation and exciting achievements.

In 2010, I had the pleasure to serve as the chair of the strategic planning task force, and have been impressed at the progress this museum has made in accomplishing its goals throughout the first year of the plan’s implementation. As you will read throughout this edition, the strategic plan has brought a new energy to our goal of providing access to scholarship related to our permanent collection. High-lighted inside these pages, you’ll also find clear examples of how the IMA is pursuing the strategic goal of increased research, collaboration, and publication in the museum field through the efforts of the IMA’s Conservation Science Laboratory as well as the work of Dr. Sabiha Al Khemir, the adjunct curator for the upcoming exhibition Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture.

With summer ending and fall around the corner, now is a wonderful time to reflect on the past, but look toward the future. As you know, the Board of Governors and members of the search committee have been working diligently throughout the last few months to recruit the next Melvin & Bren Simon Director and CEO of the IMA. We hope to make an announcement soon. I have no doubt that whoever is selected will work closely with the staff, Board of Directors, and the IMA’s community to ensure the greatest opportunity for continued success in the coming years.

If you haven’t had the chance to see Snapshot: Painters and Photography, Bonnard to Vuillard, I strongly encourage you to visit before it closes on September 2. I also hope that you will join us on November 1, for the opening celebration for Beauty and Belief.

There’s a lot to see and do at the IMA. Thank you for your continued support and for helping the IMA to make it all possible.

Sincerely,

JUNE McCORMACK ChAiRMAn, iMA boARD of govERnoRs

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CONSERVATION SCIENCE

It appeared that the pink flowers had rapidly faded to white, and now the question was which flowers were white because

of the fading, and which ones were always white.

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Left » Vincent van Gogh (Dutch, 1853–1890), Undergrowth with Two Figures, Cincinnati Art Museum, Bequest of Mary E. Johnston, 1967.1430.

Van Gogh and the Case of Geranium LakeThe Impressionist palette was known for its vibrant colors, and Vincent van Gogh’s double-square canvas Undergrowth with Two Figures, owned by the Cincinnati Art Museum (CAM) and painted within the last five weeks of van Gogh’s life, does not disappoint. Fiery mercury-based vermilion scarlet, arsenic-containing shades of emerald green, and golden chrome yellows are—like so many things in nature—as vivid as they are toxic. However, the painting is in fact not nearly as brilliant a work as it was when freshly executed in the summer of 1890 in Auvers-sur-Oise, France. One color in particular, an eye-searing pink known as Geranium Lake, is all but gone.

Gregory Dale Smith, the Otto N. Frenzel III Senior Conservation Scientist at the IMA, had recently arranged a visiting research position for Jeffrey Fieberg, associate professor of chemistry at Centre College in Danville, Kentucky. Fieberg is an award-winning college professor who has developed a series of courses that explore the science of art. His position at the IMA was planned to help develop curricular materials for an upcoming semester abroad studying Impressionist paint-ings. It was at this time that Smith received a phone call from Per Knutas, then a paintings conservator at CAM. Knutas had spent the past year cleaning the van Gogh masterpiece and had noticed miniscule traces of a bright pink colorant in areas where the frame covered the edge of the painting. He was seeking help in identifying the colorant and determining where exactly on the painting this “fuzzy dice” pink had once been used. The task seemed perfect for Smith and Fieberg’s goals.

Late in his career, van Gogh was known to have used a bright Geranium Lake, a dye made from derivatives of the syn-thetic compound fluorescein. Previously he had gotten bright reds from natural dyestuffs like brazilwood, madder, and cochineal carmine. Unfortunately, the brilliance of Geranium Lake is short-lived when exposed to light, and its fading in other van Gogh works had been noted by Dutch conservators at the Van Gogh Museum. In Undergrowth, we know from a letter written by van Gogh to his brother Theo while he was painting the work that it contained “undergrowth, lilac trunks of poplars, and underneath them some flower-dotted grass, pink, yellow, white and various greens.” It appeared that the pink flowers had rapidly faded to white, and now the question was which flowers were white because of the fading, and which ones were always white.

Because of its value, the van Gogh painting was secretly brought to the IMA last December for an in-depth, nondestructive analysis using the state-of-the-art tools in the Conservation Science Laboratory. Once the painting had been transferred to the IMA, the first task was to identify the specific dyestuff used to prepare the Geranium Lake. Four different derivatives

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The research collaboration between Smith, Fieberg, and Knutas is ongoing. Smith is now working with forensic scientists at IUPUI to make microscopic color measurements of the still-pink core from tiny broken paint chips recovered from the picture’s var-nish layer. These measurements will refine the coloration used in the virtual restoration. A separate project with chemistry courses at Butler University has sought to study the fading rates of eosin paints manufactured by Smith and professor Michael Samide’s undergraduate chemistry majors. An upcoming scholarly publication by the project’s core collaborators will make the information more widely known to scholars of art history.

Van Gogh said, “In the colours there is adulteration as in wines. How can one judge correctly when, like myself, one knows nothing of chemistry.” Although the fading to this painting has already been done, the IMA’s research in chemistry will help us under-stand how the changes happened while giving today’s admirers of van Gogh a more accurate picture of his artwork’s brilliance.

of fluorescein had historically been used to prepare the colorant: Rose Bengal, erythrosine B, phloxine, and eosin. Smith utilized a small broken paint chip found lodged in the varnish during the recent conservation treatment to analyze the dye by Raman mi-crospectroscopy. Raman spectroscopy collects a characteristic spectral fingerprint from the dye by the scattering of laser lights from the molecules. Comparison of the spectrum to a digital library of thousands of materials identified the dye as eosin. With the nature of the compound determined, the next step was to find telltale traces of it in the painting itself, painstak-ingly mapping out its location in the 387 dabs of white paint used by van Gogh to represent the flowers.

Eosin is a brominated derivative of fluorescein, and bromine is not regularly found in artists’ paints. The ability to locate the residual pink dye relied on the use of an X-ray fluorescence mi-crospectrometer to determine the elemental profile of the paint in each of the flowers. If bromine were detected in levels above the adjacent areas, it would indicate that remnants of the original pink dye lay just below the surface of the faded white crust. The team used Adobe Photoshop to record all the spots in which the dyestuff was detected, creating a “virtual restoration” of the aged painting by applying pink color to those areas.

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Conservation Science Laboratory

The Conservation Science Laboratory augments the IMA’s po-tential as a resource for training and professional development by helping the Museum foster partnerships with universities and corporations involved in central Indiana’s growing role as a hub of the life sciences industry, as well as establishing scientific research and art conservation collaborations with major muse-ums worldwide. The lab joins an esteemed group of science labs at other leading arts institutions in the United States: the National Gallery of Art, the Metropolitan Museum of Art, the Harvard Art Museums, the Art Institute of Chicago, and the Getty Conservation Institute.

Last spring, a $1.5 million gift from the estate of Otto N. “Nick” Frenzel III fulfilled a challenge grant from the Andrew W. Mellon Foundation to endow the senior conservation scientist position for the Museum’s Conservation Science Laboratory. Frenzel (1930–2010) was a longtime Indianapolis philanthropist and former IMA trustee. His son, Otto Frenzel IV, is a current IMA trustee.

Now the Otto N. Frenzel III Senior Conservation Scientist, Dr. Gregory Dale Smith joined the Museum in December 2009. Over the course of the last 3 years, he has led the IMA team in outfitting the laboratory with scientific equipment funded through a previously announced grant of $2.6 million provided by Lilly Endowment, Inc. Under Smith’s leadership, the IMA opened the state-of-the-art laboratory in March 2011 and has since undertaken dozens of significant research projects that further our understanding of the Museum’s collection and add to the IMA’s scholarship in the fields of conservation, collec-tions care, and art history.

The working methods of artists and the subsequent chemical changes in their paints can be studied in depth by preparing a cross section of the paint layers. This technique requires a miniscule paint chip from an artwork, typically less than 100 micrometers in dimension, on par with the width of a human hair, which runs from the topmost varnish to the lowest layer of the preparatory ground. The sample is collected under a surgical microscope using chemically etched needles and razor sharp scalpels. In the case of Undergrowth, a serendipitously discovered broken fragment of van Gogh’s impasto, the thick raised strokes of paint typical of his artistic style, provided the necessary sample to study the faded paint. The sample was removed from where it was stuck in the overlying varnish, mounted in a hardening epoxy resin, and was then cut and polished to expose the cross section of its core. Under the microscope one can see a thin, faded white crust encapsulating an un-degraded interior of bright pink eosin dye mixed with a chunky white lead based pigment. The inner core has been protected from further fading by the reflective outer white rind. On the far left, the pink brush stroke is seen to have been pushed into a still-wet stroke of a yellowish green paint, revealing the rapid and emphatic painting style that is characteristic of van Gogh.

Under the Microscope

Left » Virtual restoration of Undergrowth with Two Figures revealing pink flowers. Above » Cross section of paint layers revealing bright pink eosin dye.

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IN THE GALLERIES

The exhibition An American Legacy: Norell, Blass, Halston & Sprouse, which opened in the Gerald and Dorit Paul Galleries on May 4, 2012, celebrates the careers of four highly creative and influential fashion designers, all of whom were raised in Indiana. Arranged by artist, the impressive garments on display allow visi-tors to compare and contrast the designers’ unique and individual styles, as well as to note sartorial shifts that took place from the late 1940s to the late 1990s. Featuring highlights from the IMA’s collection by Norell, Blass, and Halston and significant loans from the archives of Stephen Sprouse, the exhibition is the first of its kind to juxtapose the works of these prolific designers.

The simplicity and elegance of the refined designs of Norman Norell (1900–1972) are evident in garments that also showcase his technical expertise, while dramatic evening gowns and

polished daywear illustrate the skillful use of tailoring by Bill Blass (1922–2002). Garments by Halston (1932–1990) demonstrate his minimalist aesthetic and mastery of cut, particularly in mag-nificently constructed caftans, serapes, and dresses that appear to be simple, but are actually quite complex. The work of Stephen Sprouse (1953–2004), which incorporates elements of art and street style into high fashion, is represented by vibrant, colorful dresses and suits, some of which feature the work of Andy Warhol and Keith Haring. By responding to the lifestyles of American women while adhering to independent creative philosophies, these designers produced beautifully sophisticated yet func-tional clothing—generating bodies of work that contributed significantly to the universal definition of what has become known as “American Style.”

An American Legacy: Norell, Blass, Halston & Sprouse is on display in the gerald and Dorit Paul galleries through January 27, 2013.

“Indiana, Indiana…don’t tell me he is from Indiana. They all come from Indiana. It may be a horrible, snowy, deserty place—I don’t know, I’ve never been in the Middle West. But all of you who come from there—that I admire, that I love, and are good friends of mine—all have this great sort of serenity of spirit.” —Diana vreeland, noted fashion columnist and editor

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Project IMA, IN:spiredOn October 11, 2012, the IMA will host its third fashion show, titled Project IMA, IN:spired. This year’s event will be produced by the IMA textile and fashion arts department working with the IMA affiliate group Fashion Arts Society. This exciting show will present exclusive, never-before-seen works by local and national artists and fashion designers influenced by garments on view in the IMA exhibition An American Legacy: Norell, Blass, Halston & Sprouse (May 4, 2012–January 27, 2013). The works of celebrated Indiana design-ers Norman Norell, Bill Blass, Halston, and Stephen Sprouse will serve as inspiration for an eclectic new mix of one-of-a-kind designs.

IMA is inviting artists and fashion designers to submit original, one-of-a kind-works for inclusion in Project IMA, IN:spired.Applications are due Monday, August 20, 2012. Go to the IMA website for official requirements and to download an application.

PROJECT IMA, IN:spiredThursday, october 11 / 6:30 pm & 7:30 pmThe Toby$15 Public, $10 iMA members, fREE fashion Arts society memberscash bar

Behind the Seams After PartyThursday, october 11 / 8:30–10:30 pmDeer Zink Events Pavilion$30 Public, iMA members, and fAs membersguests will have the opportunity to see featured fashions up close while mingling with designers and models at the official Project iMA after party. Light hors d’oeuvres and a cash barSpace is limited. Purchase tickets by October 4.

Left » Garments from Stephen Spouse on loan from Stephen Sprouse LLC. Above » Design by Jeremy B. Hunt.

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Documenting

Modern Living

DigiTizing The MiLLer hOuSe

AnD gArDen COLLeCTiOn

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ARCHIVES

Miller House and Garden, located in Columbus, Indiana, is one of the country’s most highly regarded examples of mid-century Modernist residences. Commissioned in 1953 by industrialist and philanthropist J. Irwin Miller and his wife Xenia Simons Miller, the home seamlessly integrates design by architect Eero Saarinen, landscape by Daniel Urban Kiley, and interiors by Alexander Girard. It is an architectural benchmark exempli-fying the Modernist spirit of that time.

In 2009, following the Miller family’s donation of Miller House and Garden to the IMA, the Museum acquired the Miller House and Garden Collection: a comprehensive archive that documents the design, construction, and maintenance of the property over a period of more than 50 years. It includes materials in a variety of formats, including architectural drawings and blueprints, correspondence, textile samples, sketches, and photographs. In March 2012, the IMA received a $190,000 grant from the National Endowment for the Humanities (NEH) that will allow the IMA Archives to digitize, catalog, and make accessible online these primary source materials about the historic residence.

The digitization project meshes well with the goals of the NEH’s Humanities Collections and Reference Resources Grants, which support institutions’ efforts to preserve and provide access to collections essential to scholarship, education, and public programming in the humanities. The Miller House and Garden Collection will be of great interest to historians and students of Modernist 20th-century architecture, interior design, and landscape architecture. The archival materials provide long-term documentation describing the structure, furnishings,

technology, and gardens of the property. They hold research value on a variety of topics, including preservation, steward-ship, material culture, collecting, mass-produced and custom design, the integration of the Modernist aesthetic and family life, and documentation practices. Very few archival collec-tions of Modernist architecture are available online, and with this endeavor the IMA hopes to set a new precedent for engaging researchers from multiple disciplines of study.

Once the Miller House and Garden Collection is digitized, the material will be viewable through the IMA website. Future plans for the collection include creating an innovative online visual finding aid interface that will make the collection available to an even wider audience. With the residence opening to the public in May 2011, there has been a significant intensification of interest in the property. This has spurred a greater demand for the archival records and increased the physical handling of these unique materials. Digitization will help preserve this impressive collection and improve availability for a growing research audience.

This project has been made possible in part by a major grant from the national Endowment for the humanities: Exploring the human Endeavor.

Left » Textile samples from the Miller House and Garden Collection, IMA Archives.

The Miller House and Garden Collection will be of great interest to historians and students of Modernist 20th-century architecture, interior design, and landscape architecture.

The IMA in Cuba An Insider’s View of Art and ArchitectureFor one exciting week in April, a group of 20 IMA patrons and supporters traveled to Havana, Matanzas, Varadero, and Cárdenas, Cuba, to learn about Cuban art and culture firsthand. Travel to Cuba has been off-limits to American tourists, but recently relaxed regulations allow people-to-people exchanges for educational purposes in increasing numbers.

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PHOTOS AND TEXT By REBECCA LONG AssisTAnT CURAToR, EURoPEAn

PAinTing AnD sCULPTURE

TRAVEL

Such trips to Cuba by American citizens require a license from the US Department of the Treasury and must adhere to education-focused itineraries. The IMA’s tour exposed the Museum’s council members to the rich artistic and architectural history of the island and to its vibrant contemporary arts programs. The trip was structured as a people-to-people exchange and therefore included numerous opportunities to engage Cuban artists, performers, and scholars in discussion about their work and their heritage. Lectures and walking tours with local historians covered a diverse range of topics, including Cuban architecture and contemporary economic and political develop-ments. A visit to the US Interests Section allowed the group to discuss American foreign policy and Cuban-American relations with a US Foreign Service official.

The majority of the week was spent in the capital city of Havana, where the group toured historic squares and streets both elegant and crumbling, visited museums and churches, and attended musical and dance performances. The group enjoyed private tours of the National Ceramics Museum and the superb collection of Cuban art at the National Museum of Fine Arts. In addition to visual arts, music was a highlight of the trip; excellent concerts featured classical guitar, early music, and choral selections. A side trip took the group to the town of Matanzas, where a commitment to arts patronage has resulted in the nickname “The Athens of Cuba.” In Matanzas, the group also visited the fortress of San Severino, which was built for defense during Spanish rule and now houses a museum focusing on the history of the slave trade and Afro-Cuban religions. In both Havana and Matanzas, the IMA group visited numerous artists’ studios to see artwork and to learn about current projects from the artists themselves. An evening reception at the Ludwig Foundation of the Arts in Havana included a discussion about the foundation’s initiatives to support and promote the work of young Cuban artists.

Throughout the trip, local guides and lecturers shared personal insights and perspectives that provided invaluable context for the consideration of social and cultural issues in contemporary Cuba, as well as their personal hopes for the future of the country. Whatever diplomatic and political tensions may exist between the US and Cuban governments, all of the IMA travelers were impressed with the warmth and hospitality of our Cuban neighbors and their enthusiastic desire to share their culture and heritage with visitors.

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Left » An unrestored street in Central Havana. Above (top to bottom) » Visiting the museum at the Castillo de San Severino, Matanzas; Looking out over 19th-century Plaza de la Vigia, which marks the center of Matanzas; Taxis lined up in Havana

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On November 2, Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture will open to the public in the IMA’s Allen Whitehill Clowes Special Exhibition Gallery. The exhibition will explore an Islamic way of thinking, a way of seeing the world, and a way of being through visual expression of sociological, mythical, and philosophical themes across Islamic culture. Tunisian writer, illustrator, and Islamic art expert Dr. Sabiha Al Khemir will serve as the guest curator of Beauty and Belief at the IMA.

What brought you to the arts world? I think, essentially, having a nature that is sensitive to beauty has brought me to art—not just art from the Islamic world, but to art from different cultures and from different times. My nature has always found creativity to be an extraordinary human force and seen in beauty a wonderful channel of connection between different cultures and backgrounds. I drew extensively as a child, and by the age of 15 some of my illustrations had already been exhibited and published in books. (I continue to draw to the present day.) Later, I studied Islamic art history at the University of London, and that brought me in contact with a great deal of beauty and steeped me in the aesthetics of my own culture across centuries. Creating with my own hands as well as looking at works from an art history point of view has led me to an intimate relationship with art. I feel equally at home with a 10th-century calligraphy page from the Islamic world and with Western modern art in MoMA. What do you think Western audiences can learn by viewing Islamic art? The experience of aesthetics, the experience of beauty itself, can give us joy and teach us regardless of which culture the art comes from. In the case of Islamic art, any audience can appreciate that shared experience of beauty. In addition, Islamic art is directly connected to the culture that produced it and is an effective way to get to know that culture, its way of seeing the world, its way of thinking, and its particular ideals. Over the last decade, Islam has been associated with violence in the media and in popular culture. Sadly, this misperception has been brought about by many unfortunate distorting factors. The very word “Islam” is actually associated with peace, and Islamic culture aspires to peace. We need to learn about the true nature of Islamic culture. I was born and brought up in Tunisia. I grew up within an Islamic culture and have known it as a culture of many wonderful values that can speak to humanity at large. Islamic art is a direct, honest testimony that can inform the viewer about the essence of Islamic culture. What do you most look forward to about the opening of Beauty and Belief at the Indianapolis Museum of Art? The IMA is a wonderful museum with very interesting collections, but it has been quite some time since it has exhibited Islamic art. Visiting an exhibition about the art of a different culture is like visiting a different world. A different world is coming to Indianapolis, and I look forward to seeing people engage with the exhibition when it opens at the IMA. There is a great joy in seeing the public engage with a new exhibition. The visitor is, after all, the very raison d’être of any exhibition. When you work hard on the making of something, it’s a very good feeling to see what it can give people. In the case of Beauty and Belief, I very much look forward to seeing the expressions of joy, curiosity, and enchantment on the faces of people as I walk among them as a visitor myself! From the point the exhibition opens in Indianapolis, the exhibition belongs to its audience.

VOICES

Above » Sabiha Al Khemir. Photo by Gina LeVay.

Beauty and Belief is organized by the brigham Young University Museum of Art.

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NEWSEXHIBITIONSPROGRAMMINGEVENTS

Notes: AUG–oCt 2012

Celebrate New Year’s eve at the IMa

Celebrate New Year’s Eve in style at the Indianapolis Museum of Art and help us acquire six new works of art for the permanent collection by midnight at the new event 6 X 13: New Year’s Eve at the IMA. 6 X 13 will feature an array of food and beverage selections including a champagne bar, and entertainment by The Vallures and The Cultural Cannibals. The event will be located in the Pulliam Family Great Hall with the galleries open for touring and the six featured works of art to be acquired that evening on display in the Davis Lab. At midnight, as the New Year is rung in, enjoy a virtual ball drop and late night party foods. Individual tickets are $125 each or $100 each if purchased before October 31, 2012. Patron tickets are also available for $175 each. Patrons will have the first opportunity to view the featured works of art, meet the new Melvin & Bren Simon Director and CEO, and enjoy champagne and hors d’oeuvres ahead of the crowd. For more information, visit www.imamuseum.org/6X13. Formal invitations will be mailed in September. 6x13: New Year's Eve at the IMA is presented by Merrill Lynch and The Penrod Society.

ruth lIllY vIsItors PavIlIoN

The Ruth Lilly Visitors Pavilion located in 100 Acres: The Virginia B. Fairbanks Art & Nature Park received official LEED® (Leadership in Energy and Environmental Design) certification from the U.S. Green Building Council (USGBC) in May 2012. This honor recognizes the sustainable strategies used in the design, construction, and operation of the pavilion, including energy use, lighting, water, and material use. The USGBC’s LEED green building certification system is the foremost program for the creation of green buildings. More than 100,000 projects are currently participating in the LEED rating systems, comprising over 8 billion square feet of construction space in all 50 states and 114 countries.

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

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On View

SnapShot: painterS and photography, Bonnard to Vuillard Through September 2 » $12 Adults, $6 Children 12 and younger, Free for IMA members » Allen Whitehill Clowes Special Exhibition Gallery » Floor 2

The invention in 1888 of the first manageable, easy-to-use camera for amateurs made spontaneous photography possible: the snapshot was born. What role did photography play in the lives of artists of the period and how did it influence their work? The exhibition Snapshot: Painters and Photography, Bonnard to Vuillard sheds a light on this creative process, presenting 200 photographs and 60 paint-ings, prints, and drawings from seven artists.

The exhibition is co-organized by the Indianapolis Museum of Art, The Phillips Collection, Washington, DC, and the Van Gogh Museum, Amsterdam. It was real-ized with curatorial collaboration and exceptional loans from the Musée d’Orsay, Paris. Support provided by the Florence Gould Foundation and the Robert Map-plethorpe Foundation.

aziz + CuCher: Some people Through October 21 » Free » McCormack Forefront Galleries » Floor 4

Aziz + Cucher: Some People premieres four newly commissioned video installations by the collaborative team of Anthony Aziz (American, b. 1961) and Sammy Cucher (Venezuelan, b. 1958) that reflect the artists’ complex relationship with the political conflict in the Mid-dle East. Developed by the artists following extensive research and travel to the region, the works in the exhibition explore the long-standing conflict between Arabs and Jews through digital animation, performance, sound, and video documentation.

Generous support for the catalogue provided by the Elizabeth Firestone Graham Foundation.

this page: Left » Henri evenepoel, Self portrait in three-way mirror, 1898. Modern gelatin silver print, 2011, from original negative, 1 1/2 x 2 in. Royal Museums of Fine Arts of Belgium, Brussels, Archives of Contemporary Art in Belgium. Right » Aziz + Cucher By Aporia, Pure and Simple, 2011, multi-channel video, sound, Courtesy of the Artists. opposite Page: Left » Allora & Calzadilla, Half Mast\Full Mast, 2010, Courtesy of the Artists and Gladstone Gallery, New York and Brussels. Right » Alyson shotz, Geometry of Light, 2011, cut plastic Fresnel lens sheets, silvered glass beads, stainless steel wire, 600 x 359 x 157 in.

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On View

allora & Calzadilla: ViequeS SerieSThrough October 14 » Free » Carmen and Mark Holeman Gallery » Floor 4

Allora & Calzadilla: Vieques Series is an exhibition of short videos by the artists Jennifer Allora & Guillermo Calzadilla filmed on the Puerto Rican island of Vieques. This island was controlled primarily by the U.S. Navy until 2003, when military exercises ceased and environmental remediation began. The videos, which have never before been presented together in the United States, include Return-ing a Sound (2004), Under Discussion (2005) and Half Mast\Full Mast (2010). As the Vieques Series demonstrates, the cessation of the military from the land is a victory by the locals that has initiated a longer sequence of events. The residents of Vieques continue to debate about the best future for the recently demilita-rized land and strive for a democratic process of negotiation among the island residents rather than a future mandated by the U.S. government or wealthy investors.

alySon Shotz: Fluid StateThrough January 6, 2013 » Free » Efoymson Family Entrance Pavilion » Floor 1

Alyson Shotz creates artworks in a wide variety of media that attempt to give form to the invisible forces of nature. Her installa-tion for the Efroymson Family Entrance Pavilion includes a new adaptation of her sculpture Geometry of Light, the new animation Fluid State, and a series of digital prints titled Movement in Time.

Shotz’s works are grounded in her investigation of scientific concepts and theories. Geometry of Light is a consideration of the dual nature of light—that it has the characteristics of both a particle and a wave. The sculpture is composed of hand-cut plastic Fresnel lenses (mag-nifying lenses ridged with concentric circles to focus light), which are interspersed with glass beads and strung on stainless steel wires that extend across the space. Natural light filters through the lenses at varying angles and intensities throughout the day, activating the work and allowing the sculpture to reveal time through the movement of the sun. A visitor’s movement around Geometry of Light further activates the sculpture, revealing the ways in which our experience of space is shaped by our perception of light and motion.

Support provided by a grant from the Efroymson Family Fund, a fund of Central Indiana Community Foundation.

urBan ViSion: ameriCan WorkS on paper, 1900–1950 Through September 17 » Free » Alliance Gallery » Floor 2

Urban Vision: American Works on Paper, 1900–1950 explores artistic interpretations of the city. As city dwellers learned to negotiate a rapidly changing environment, the spectacle of metropolitan life became an important focus for artists in the early 20th century. Images of the construction of the massive skyscrapers that came to define New York and Chicago are juxtaposed with scenes ex-pressive of the human face of these urban spaces. The exhibition brings together 25 etchings, lithographs, and engravings from the IMA’s print collection by such well-known artists as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. Also presented is the visually compelling work of the lesser-known Gerald Kenneth Geerlings, whose prints have not been on view at the IMA since the 1970s.

an ameriCan legaCy: norell, BlaSS, halSton & SprouSeThrough January 27, 2013 » Free » Gerald and Dorit Paul Galleries » Floor 3

An American Legacy: Norell, Blass, Halston & Sprouse highlights the achievements of celebrated fashion designers Norman Norell, Bill Blass, Stephen Sprouse, and Halston, all of whom hailed from Indi-ana. Spanning more than 50 years of fashion history, the exhibition presents the work of these four innovative designers, their individual styles and lasting influence on American fashion. The exhibition features 51 garments drawn from the IMA’s comprehensive Fashion Arts collection, augmented with major loans from the archives of Stephen Sprouse. An American Legacy is the first group exhibition de-voted to these prolific Indiana designers, whose work came to define true American style.

See page 8 for more information.

On View

N4

Left » edward Hopper (American, 1882–1967), Night Shadows, 1921, etching, 6 15/16 x 8 1/4 in. (plate), Mr. and Mrs. Julius F. Pratt Fund, 77.214. Right » An American Legacy: Norell, Blass, Halston & Sprouse is on display in the Gerald and Dorit Paul Galleries through January 27, 2013.

proVinCetoWn Through November 11 » Free » Susan and Charles Golden Gallery » Floor 2

In 1915, Provincetown, Massachusetts, became the unwitting center of woodblock printmaking in the U.S. American artists abroad, who had made a specialty of printmaking, repatriated at the outset of World War I in August 1914, and congregated the following summer in the Cape Cod fishing village and summer art colony of Provincetown. A group of six artists wintered in Provincetown and invented a new form of color woodblock print made from a single block, which came to be known as the white-line woodcut, or the Provincetown print. For the next forty years, Provincetown was the center for the perpetuation of the craft of woodblock print-making and for a modernist bent that was inherent in the original Provincetown prints. This exhibition includes 50 works in print, drawing and photography from World War I to about 1950.

looking WeSt Through August 5 » Free »The Steven Conant Galleries in Memory of Mrs. H.L. Conant » Floor 2

Over the period 1870 to 1945 the American West became an increas-ingly popular sketching ground for eastern artists. The first arrivals were view-painters like Albert Bierstadt and Thomas Moran whose panoramic paintings, reproduced as chromolithographs, brought the unimagined majesty of the Rockies and Sierras to a broad eastern audience. They were followed by reportorial artists such as Frederic Remington and the photographer Edward Curtis intent on pre-serving artistically and romantically the disappearing frontier and Native American culture. As artists became residents of the west in the early 20th century, their perspective changed, with tidbits of local color replacing the grandiose prospect. This exhibition will bring 51 prints, drawings and photographs to the public, few of which have been shown before, including several never-displayed works by the Pueblo Indians of New Mexico. Forty-seven of the works are from the IMA permanent collection and four are from a local private collection.

On View

N5

Left » Abraham Walkowitz (American, 1880–1965), Untitled (Provincetown Dock with Figure) (detail), 1917, watercolor over pencil on white paper, 12 x 18 in., Gift of Dr. steven Conant in memory of Mrs. H.L. Conant, 2000.104. Right » Norma Bassett Hall (American, 1889-1957), Navajo Land, about 1940, color woodblock print, 9 3/8 x 14 in. (image) 10 x 14 3/8 in. (sheet), Gift of Dr. steven Conant in honor of Mrs. H.L. Conant and Miss Joan D. Weisenberger, 1991.99.

IMA Affiliates

IMA affiliates offer members unique opportunities to become more involved with the IMA by exploring their own interests. Affiliates do exclusive tours of the 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, Membership and Annual Fund Manager, at [email protected] or 317-923-1331 ext. 434.

Art, Design, AnD nAture interest groups

speCiAL eVent 50th Anniversary CelebrationFri, September 21 » 6–10 pm » Pulliam Family Great HallSee details on page 25.

Artist stuDio toursLesley Baker » Thr, August 9 » 1–3 pm “Mural Walk on the Canal” led by Lindsey Lord from the Arts Council of Indianapolis » Tue, September 11 » 1–3 pmNiloo Paydar, tour of An American Legacy: Norell, Blass, Halston & Sprouse » Mon, October 8 » 6 pm

tALK Dr. James WattThe Story of Blue and White PorcelainThr, September 27 » 7 pm » The Toby

speCiAL eVent Project IMA, IN:SpiredThr, October 11 » 6:30 & 7:30 pm » The Toby See details on page 9.

FiLM Women in the Dirt: Landscape Architects Shaping Our World (2011)Thr, September 6 » 6 pm » The Toby Presented by the IMA Horticultural Society and the Indiana Chapter of the American Association of Landscape Architects

tALK Keeping Quiet: Architect Billie TsienThr, October 4 » 6 pm » The Toby

tHe ALLiAnCe

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

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 promotes the understanding of and apprecia-tion for contemporary art through educational programs, social events and community collaborations. CAS support has improved the quality and scope of the IMA’s contemporary art collection.

Design Arts 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 design arts in the U.S.

FAsHion Arts soCiety (FAs)

FAS seeks to promote awareness and appreciation of textile and fashion arts through the study of haute couture and cloth. Members also help facilitate the expansion and enrichment of IMA’s fashion and textile arts collection.

HortiCuLturAL soCiety (Hort soC)

The Horticultural Society celebrates the art of gardening at the IMA by helping to develop, enhance and maintain the gardens, grounds and greenhouse through volunteer and financial support. The Society also maintains an extensive horticultural library on the IMA campus.

N6

DAILY FRI SAT SUN

02THR

Collection Tours » Offered daily. Visit imamuseum.org for more information.

Meditation Hikes » Every Friday » 5:30 pm » Meet at Efroymson Family Entrance Pavilion

Garden Walks » Every Sat & Sun » 1 pm » Meet at Lilly House 100 Acres Tours » Every Sat & Sun » Noon » Meet at Lake Terrace

Talk » Still Pushing Our Buttons: Mass Photography in the Electronic Age » The Toby » 7 pm » Free

Film » Summer Nights: The Shawshank Redemption (1994) » Amphitheater » Dusk » P $10, M $6

Family Activity » Star(Lite) Art Cart: Wool Painting » Pulliam Family Great Hall » 12–4 pm » Free Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Family Activity » Saturdays in the Park: Trust Walk » 100 Acres: Lake Terrace » 9–10:30 am » FreeFamily Activity » Star(Lite) Art Cart: Wool Painting » Pulliam Family Great Hall » 12–4 pm » FreeFamily Activity » Hold it! » African Gallery » 1–3 pm » FreeFamily Activity » Family Tour » Welcome Desk » 1:30 and 2:30 pm » FreeFilm » 48 Hour Film Project » The Toby » 5, 7 & 9 pm » P $10 each round or 3 rounds for $20

Family Activity » Animation Day: Shadow Play » The Toby » 11 am–3:30 pm » P $2, M $2, Free for children under 6Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Film » Summer Nights: Double Indemnity (1944) » Amphitheater » Dusk » P $10, M $6

Special Event » Member Night: A Walk in the Park: Curating 100 Acres » 100 Acres » 6-9 pm » Free (IMA Members only)Film » Snapshot Film Series: Lumière Brothers’ First Films (1895–97) » The Toby » 7 pm » P $5, M $3

11SAT

Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » FreePerformance » Second Sundays Music in the Galleries » Allen Whitehill Clowes Special Exhibition Gallery » 1–3 pm » P $12 (includes exhibition admission), M Free

Film » Snapshot Film Series: Blow-Up (1966) » The Toby » P $5, M $3

Film » Summer Nights: Batman (1989) » Amphitheater » Dusk » P $10, M $6

12SUN

16THR

17FRI

11FRI

05SUN

10FRI

09THR

04SAT

August

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SAT SUN

DAILY FRI SAT SUN

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Family Activity » Star(Lite) Art Cart:Wool Painting » Pulliam Family Great Hall » 12–4 pm » Free

Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » FreeTour » Bird Watch with the Amos Butler Audobon Society » 100 Acres » 2 pm » Free

Film » Snapshot Film Series: Bill Cunningham New York (2010) » The Toby » 7 pm » P $5, M $3

Film » Summer Nights: The Sound of Music (1963) » Amphitheater » Dusk » P $10, M $6

Film » Summer Nights: Pulp Fiction (1994) » Amphitheater » Dusk » P $10, M $6

Special Event » Hummingbird Banding » Garden for Everyone » 9 am–noon » FreeFamily Activity » Star(Lite) Art Cart: Wool Painting » Pulliam Family Great Hall » 12-4 pm » FreeFamily Activity » Hold it! » African Gallery » 1–3 pm » FreeFamily Activity » Family Tour » Welcome Desk » 1:30 and 2:30 pm » Free

19SUN

26SUN

24FRI

25SAT

23THR

31FRI

August

For detailed information on events or to purchase tickets, please visit imamuseum.orgAssistive listening devices available for all Toby events and public tours. ASL interpretation available at Toby events where noted.

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

SAT SUN

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Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Family Activity » Art in the Park: Light & Shadows » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » FreeTour » Bird Watch with the Amos Butler Audobon Society » 100 Acres » 2 pm » Free

DAILY FRI SAT SUN

01SAT




Family Activity » Star(Lite) Art Cart: Tooling Around with Metal » Pulliam Family Great Hall » 12–4 pm » Free

Family Activity » Art in the Park: Shake, Rattle & Blow » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Film » Women in the Dirt: Landscape Architects Shaping Our World (2011) » The Toby » 6 pm » Free

Family Activity » Star(Lite) Art Cart: Tooling Around with Metal » Pulliam Family Great Hall » 12–4 pm » Free Family Activity » Hold it! » Asian Gallery » 1–3 pm » FreeFamily Activity » Family Tour » Welcome Desk » 1:30 and 2:30 pm » Free



Special Event » Science Fair: The Science of FLOW (Hands-On) » 100 Acres » 6–8 pm » Free

Family Activity » Saturdays at the Park: Bug Design » 100 Acres: Ruth Lilly Visitors Pavilion » 9–10:30 am » FreeFamily Activity » Star(Lite) Art Cart: Tooling Around with Metal » Pulliam Family Great Hall » 12–4 pm » Free

Film » Samsara (2011) » The Toby » 7 pm » P $5, M $3

Special Event » Member Night: Into the Vault » Efroymson Family Entrance Pavilion » 6-9 pm » Free (IMA Members only)Talk » The Jackie Look: Branding a Presidency Through Fashion » The Toby » 6 pm » Free

16SUN

02SUN

06THR

09SUN

07FRI

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08SAT

September

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N10

DAILY FRI SAT SUN

23SUN


Meditation Hikes » Every Friday » 1 pm » Meet at Efroymson Family Entrance Pavilion


Family Activity » Art in the Park: Shake, Rattle & Blow » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » FreeTour » Bird Watch with the Amos W. Butler Audobon Society » 100 Acres » 2 pm » Free

Talk » The Story of Blue and White Porcelain » The Toby » 7 pm » Free

Family Activity » Star(Lite) Art Cart: Tooling Around with Metal » Pulliam Family Great Hall » 12–4 pm » Free


27THR

30SUN

29SAT

September



Family Activity » Star(Lite) Art Cart: Tooling Around with Metal » Pulliam Family Great Hall » 12–4 pm » Free Family Activity » Hold it! » Welcome Desk » 1–3 pm » FreeFamily Activity » Family Tour » Asian Gallery » 1:30 and 2:30 pm » FreePerformance » Balinese Spectacular with I Nyoman Sedana » The Toby » 7 pm » P $10, M $7, S $5, Butler Students Free

22SAT

Performance » Balinese Spectacular with I Nyoman Sedana » The Toby » 7 pm » P $10, M $7, S $5, Butler Students FreeSpecial Event » CAS 50th Anniversary » Pulliam Family Great Hall » 6–10pm » $75 / $150 (see page 25)21

FRI

Performance » Fall Equinox: Hungry Ghosts » 100 Acres: Lake Terrace » 7:30 pm » Free20THR

N11

Talk » The Story of Blue and White Porcelain » The Toby » 7 pm » Free

DAILY FRI SAT SUN

04THR


Meditation Hikes » Every Friday » 1 pm » Meet at Efroymson Family Entrance Pavilion


Talk » Keeping Quiet: Architect Billie Tsien » The Toby » 6 pm » Free

Family Activity » Star(Lite) Art Cart: Come in Costume » Pulliam Family Great Hall » 12–4 pm » Free

Family Activity » Art in the Park: Falling » 100 Acres: Ruth Lilly Visitors Pavilion » 12-4 pm » Free

Family Activity » Art in the Park: Falling » 100 Acres: Ruth Lilly Visitors Pavilion » 12–4 pm » Free

Family Activity » Star(Lite) Art Cart: Come in Costume » Pulliam Family Great Hall » 12–4 pm » Free


Special Event » TEDx Indianapolis » The Toby » 9 am–5:30 pm » P $75

Special Event » Member Night: Preserving History » Efroymson Family Entrance Pavilion » 6–9 pm » Free (IMA Members only)Special Event» Project IMA » The Toby » 6:30 pm & 7:30 pm » P $15, M $10, FAS Free Special Event » Behind the Seams After Party » Deer Zink » 8:30 pm » P $30, M $30, FAS $30

Family Activity » Star(Lite) Art Cart: Come in Costume » Pulliam Family Great Hall » 12–4 pm » FreeFamily Activity » Hold It! » Clowes Courtyard » 1–3 pm » FreeFamily Activity » Family Tour » Welcome Desk » 1:30 and 2:30 pm » Free

Film » Mexican Double Feature: Maria Candelaria (1943) & Modisto de Señoras (1969) » The Toby » 7 pm & 8:45 pm » Free

14SUN

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21SUN

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06SAT

11THR

13SAT

12FRI

07SUN

October

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Family Activity » Star(Lite) Art Cart: Come in Costume » Pulliam Family Great Hall » 12–4 pm » FreeFamily Activity » Hold It! » Clowes Courtyard » 1–3 pm » FreeFamily Activity » Family Tour » Welcome Desk » 1:30 and 2:30 pm » Free


Film » A Clockwork Orange (1971) » The Toby » 7 pm » P $9, M $5

28SUN

31WED

October



opening night of Snapshot, June 7

Events

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Aziz + Cucher opening Night, April 12spring equinox: Celebration of Flight, March 17–18

Events

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Perennial Premiere, April 21–22 and saturday in the Park: Raptors, May 19summer solstice, June 16

Events

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ADMISSION

General admission is free.

Special Exhibition » Snapshot: Painters and Photography, Bonnard to Vuillard ($12 Public, $6 children 6 and under, Free for members); School groups are also free (must book through IMA Education Division at [email protected]).

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

GETTING HERE LocationThe 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.

ParkingMain lot and Garage: Members Free; Public $5; Outlots: Free

HOuRS Museum Tue, Wed, Sat » 11 am–5 pmThur, Fri » 11 am–9 pmSun » noon–5 pm

Lilly HouseOpen April through December, all Museum hours except on Thur & 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

TOuRS

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

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

SHOPPING

Museum StoreBooks, jewelry, and museum- inspired merchandise 317-923-1331, ext. 281

Madeline F. Elder GreenhouseRare and choice plants, gardening supplies, and gifts. April–December closes Thur & Fri at 8 pm. 317-920-2652

Shop online 24 hours a day at imamuseum.org/shop

IMA LIBRARIES

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

Tue, Wed, Fri » 2–5 pmThur » 2–8 pm and by appointment

Horticultural Society LibraryNon-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. 419

MEMBERSHIP

Membership helps support free general admission at the IMA.

For questions concerning membership, call 317-920-2651 or visit imamuseum.org/membership

AFFILIATES For more information about IMA art interest groups and clubs, [email protected] or see page N6.

VOLuNTEER For more information about how you can get involved contact [email protected] or 317-923-1331, ext. 263

CONTACT THE IMA

317-923-1331 (Main)317-920-2660 (24-Hour Info Line)imamuseum.org

4000 Michigan Road Indianapolis, IN 46208317-923-1331imamuseum.org

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COMMUNITY

A New VisionIn February 2012, the IMA was awarded a grant as part of the LDI 100th Anniver-sary Celebration Cultural Partnership Gift Program that will help address how the IMA can better serve the changing needs of the IPS system. A New Vision: Engaging the Next Generation in the Arts will offer students from four nearby IPS schools programs that will engage them with the IMA’s collections and resources. Project outcomes and participant feedback will help the Museum better understand the needs of these audiences.

Strategies for students and families include a Family Day that will acquaint families to Museum programs, specifically the IMA’s after-school initiative, Perspectives. The highlight of A New Vision is the out-of-school programming that is occurring this summer. Four week-long

interdisciplinary summer camps will focus on enhancing critical thinking through language and the visual arts. Activities will include gallery visits that promote dialogue about the Museum’s permanent collections and art-making projects that explore various media, including painting, photography, and sculpture. The IMA will strive to continue building new audiences and encouraging further discovery of its extensive 152-acre campus by extending a complimentary one-year family membership to those that participate. Furthermore, the IMA will engage teachers through focus groups and special Educator Evenings that will foster discussions about how the IMA can be better utilized as a learning center for the community.

The initiatives will take place from May 2012 to February 2013. Each component will position the IMA to more effectively fulfill its mission of serving the creative interests of its communities by providing dozens of students, teachers, and families with opportunities to experience the IMA’s diverse offerings. The grant will give the Indianapolis community a chance to shape the Museum’s efforts to become an even more accessible and significant educational resource.

funded by the LDi 100th Anniversary Celebration Cultural Partnership gift Program

Each component will position the IMA to more effectively fulfill its mission of serving the creative interests of its communities.

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COLLECTION

In July 2011, the IMA adopted a new five-year strategic plan to help guide the efforts of the organization. At the heart of the plan is the desire to review, renew, and enhance the Museum’s engagement with its communities. One of the communities addressed in the plan is the IMA’s online audience. Last year the IMA’s website (www.imamuseum.org) hosted more than one million visits from 688,000 unique visitors. The majority of those visitors were from the United States, but the website also saw a substantial percentage of visitors from more than 200 countries, including the UK, Russia, Malaysia, and Iran.

Now more than ever, the IMA is embracing the opportunity to provide in-depth access to its resources not only to those audiences that can see the collection first-hand in our galleries, but also to those from around the world who may never have the means to travel to Indianapolis. The IMA’s mission can now reach people and places that the Mu-seum’s founders never dreamed of 128 years ago.

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For a student conducting specific research or a generalist interested in engaging with all types of art, multilayered information provides something for everyone. A range of media will help communi-cate these stories, including slideshows that allow you to visually explore the work of art. Images highlighting various angles and details provide an in-depth examination of the work and, where applicable, annotated photographs explain the conservation process. In addition, video and audio interviews with curators, conservators, and scholars share unique stories that go beyond traditional art historical information to give fresh insight into the work, era, or artist. Scholarly texts carefully selected from a range of sources and perspectives focus on key themes and include references to full publications to guide the reader who wishes to dig a little deeper. Links to additional resources provide even further background on the artist’s life and larger body of work, encouraging visitors to continue their exploration throughout the World Wide Web. To extend the information beyond a single object and reveal new connections between collections, styles, and periods of work, the IMA has produced new research that links key artworks across different areas in the IMA’s collection. These works are highlighted through interpretive paths that ex-pose visitors to the diverse and profound relationships that exist within the collection.

If you’ve visited the IMA’s website recently, you may have noticed a few changes: the pages for the Museum’s permanent collection have both a new look and a new focus. This project coincides with a Museum-wide prioritization of the permanent collection that includes initiatives such as the recently renovated Eiteljorg Suite of African and Oceanic Art and the forthcoming expansion of the Design Arts galleries. In addition to recontextualizing the in-gallery experience for our visitors, the Museum also wants to reach new audiences online who may have previously been un-aware of the breadth and depth of the IMA’s collection. To help achieve this, a closer consideration of the online home for these works of art was an important first step.

There are more than 54,000 works of art in the IMA’s collection, and each has an immeasurable number of compelling stories to tell. Whether it is a narrative that the artist hoped to communicate through the work, an event in his or her life that may have proved influential, or even how the work came to be located in Indianapolis, information that illustrates the multifaceted and complex nature of our collection is being featured on the website for the first time. In addition to making preexisting video, audio, photography, and supporting texts available, contextual gaps were filled by the creation of new content to communicate a well-rounded story told from many perspectives.

ONLINE COLLECTION PAGES

Previous Page » Katsuchika Hokusai (Japanese, 1760-1849), Fine Wind, Clear Morning ((Gaifu kaisei) (detail), from the series Thirty-six Views of Mt. Fuji ((Fugaku sanjurokkei), about 1800–1849, color woodblock print, 10 1/8 x 15 in., Carl H. Lieber Fund, 60.12.

There are more than 54,000 works of art in the IMA’s collection, and each has an immeasurable number of compelling stories to tell.

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On April 3, 2012, in both Chicago and Paris, Google held interna-tional press conferences announcing the launch of Phase 2 of the Google Art Project. The Google Art Project (www.googleart-project.com) is an online collection of high-resolution artworks from institutions around the world. The IMA is excited to partner with Google on this ambitious endeavor and proud that due to this effort, the Museum’s collection is now more accessible than ever before.

“As a Google Art Project partner, the Indianapolis Museum of Art will showcase more than 200 pieces from its permanent col-lection,” said Rachel Craft, IMA Director of Publishing and Media. “We are honored to be a part of this program, which is a perfect fit for the IMA’s institutional focus on sharing in-depth art content through technology.” On the Google Art Project site, users can explore IMA collection highlights such as Flageolet Player on the Cliff by Paul Gauguin, Landscape at Saint-Remy (Enclosed Field with Peasant) by Vincent van Gogh, The Fifth Plague of Egypt by J.M.W. Turner, Hotel Lobby by Edward Hopper, The Boy by Amedeo Modigliani, Imperial Russian court dress designed by Charles Frederick Worth, and Magbo helmet mask for Oro association by Onabanjo of Itu Meko. High-resolution images of these and other works from the IMA’s collection are paired with text and video content.

Users can then click through to visit the IMA’s website to find even more information about the works.

The IMA’s partnership with Google is part of a major global ex-pansion of the project, which now counts 151 partners in 40 countries. In the United States alone, 29 partners in 16 cities are participating. The expanded Art Project includes a wide range of institutions, incorporating works from traditional art museums as well as less traditional settings for great art. All told, more than 30,000 high-resolution objects are available, up from the original launch with 1,000 objects from only nine museums.

Art lovers can discover not just paintings but also sculpture, street art, and photographs. Creations from a wide variety of cultures and civilizations are represented, including Brazilian street graffiti, Islamic decorative arts, and ancient African rock art.

“The new expanded Art Project demonstrates our commitment to all types of art—and cultures and civilizations all across the globe,” said Amit Sood, Head of Art Project, Google. “The Art Project is no longer just about the Indian student wanting to visit The Metropolitan Museum of Art in New York. It is now also about the American student wanting to visit the National Gallery of Modern Art in Delhi.”

GOOGLE ART PROJECT

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IMA HISTORY

A Look Back: The Service Area of Oldfields

The service area of the estate where many of the gardeners and other staff once worked remains a core unit of the estate’s operations. The entire horticulture and grounds staff for the IMA—some 15 people, as well as an occasional intern and seasonal gardener—works from this area today. A talented full-time mechanic keeps a fleet of trucks, utility vehicles, mowers, chain saws, trimmers, blowers, and other small equipment in operating condition.

Thanks to a recent generous gift from the IMA’s Horticultural Society—courtesy of proceeds from “A Garden Affair,” its June auction gala—we are able to begin planning for improvements to this vital part of the Museum property. Projects will include realigning driveways for today’s larger vehicles, reopening drains and joining them with new rain gardens to control runoff, the construc-tion of bins for bulk materials, and additional enhancements to coldframes and a temporary greenhouse. In addition, we plan to remove the vinyl siding that was applied in the 1980s to the handsome barn and former residences in order to reveal once again the attractive features that reflect their Arts and Crafts origins.

So as we celebrate the rich legacy of Oldfields and its illustrious former owners, the Landons and the Lillys, we also look ahead to working in a more attractive, safe, and efficient environment.

By MARK ZELONIS ThE RUTh LiLLY DEPUTY DiRECToR of EnviRonMEnTAL AnD hisToRiC PREsERvATion

As with most estates of the Country Place Era (about 1890 to 1940), Oldfields–Lilly House & Gardens was designed to be as self-sufficient as possible. An orchard and vegetable garden provided for the culinary needs of the resident family, its guests, and the staff. Likewise, an ample cutting garden and adjacent greenhouse complex supplied flowers and potted plants to help decorate the home. And although it did not boast the abundant livestock of various types kept by some larger estates, Oldfields had the occasional cow, as well as a hennery to supply needed eggs and poultry.

As we begin to celebrate the centennial of this important National Historic Landmark, we’re also taking stock of how the property developed. Hugh McKennan Landon had his brother-in-law, Lewis Ketcham Davis, design the French chateau–style home for his wife, Suzette, and their children a century ago. At the time, it sat quite unadorned in the midst of older farm fields, possibly leading to the estate’s name, Oldfields. It appears other buildings were constructed at the same time, including greenhouses, a duplex for the head gardener and night watchman, a barn for equip-ment and a few animals, and even a separate cottage for the chauffeur. A few other staff members lived in the main house, but many more lived in homes or apartments downtown, traveling to and from work daily on the old interurban electric trolley line. We’re very fortunate the handsome steel bridge beneath which the trolleys ran still exists and is in fine shape. Even the stone landing upon which passengers disembarked remains to this day.

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Above » View of the service area of Oldields taken during the early 20th Century.

The service area of the estate where many of the gardeners and other staff once worked remains a core unit of the estate’s operations.

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Gates open at 7:30 pm. All fi lms begin after dusk. $10 Public / $6 Member / Free for children six and younger. Buy tickets on site or online at imamuseum.org/summernights. Don’t forget that the galleries are open until 9 pm every Friday.

Friday, August 3THE SHAWSHANK REDEMPTION (1994, directed by Frank Darabont, 142 mins., R)

A banker (Tim Robbins) is convicted for life for murder. He befriends a seasoned lifer (Morgan Freeman) and plans his escape in this extraordinary tale of perseverance, survival, and friendship Janet Maslin of The New York Times writes: “Without a single horrifi c eff ect, it tells a slow, gentle story of camaraderie and growth, with an ending [of ] poetic justice.”

Friday, August 10DOUBLE INDEMNITY (1944, directed by Billy Wilder, 107 mins., NR)

Insurance agent Walter Neff (Fred MacMurray) and Phyllis Dietrichson (Barbara Stanwyck), a diabolical blonde bombshell, plot to “bump off ” Phyllis’ husband and collect the premiums. This defi nitive fi lm noir of the ‘40s shimmies with suspense, hard-bitten dialogue, shadowy rooms, sealed fates, and perfect plans gone awry. Friday, August 17 BATMAN (1989, directed by Tim Burton, 126 mins., PG-13)

In this box offi ce blockbuster, Jack Nicholson brings his grisly smile and maniacal laugh to the portrayal of Batman’s perfectly demented nemesis, The Joker. With Kim Basinger as the scream-prone love interest and Michael Keaton as the subtle hero, Burton gives Batman his fi rst dark turn, set to a Danny Elfman soundtrack.

Friday, August 24PULP FICTION (1994, directed by Quentin Tarantino, 156 mins., R)

This violent, bloody, and morbidly funny black comedy isn't for the easily off ended, but it is a spectacularly entertaining piece of pop culture. Tarantino intertwines lurid stories of mob murderers, drug addicts, career criminals, and sadists in this Academy Award-winning modern classic with equal notes of wit, camp, and quotable quotes.

Friday, August 31THE SOUND OF MUSIC (1963, directed by Robert Wise, 155 mins., G)

The timeless story of a would-be nun who falls for a captain and his seven singing children includes the Rodgers & Hammer-stein tunes “Climb Every Mountain,” “Do-Re-Mi,” and “My Favorite Things.” Based on the true story of the VonTrapp family, this winner of five Academy Awards is an undisputed classic American musical.

If you haven’t had a chance to attend a Summer Nights fi lm this summer, have no fear; August is jam packed with fi ve great movies that are sure to please.

Above » Double Indemnity, 1944, Image courtesy of Doctor Macro.

2012 Summer Nights is sponsored by The National Bank of Indianapolis

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This year, The National Bank of Indianapolis became the title sponsor of the 2012 Summer Nights Film Series. The partnership highlights the rich ties that The National Bank of Indianapolis has to its community. Ann Merkel, First Vice President and Manager of the Bank’s Nonprofit Services division, took a moment to answer some questions about why the bank supports the IMA and its efforts.

Describe The National Bank of Indianapolis’ areas of interest and the types of projects it typically supports. The National Bank of Indianapolis was founded in 1993 with the vision of providing an extremely high level of specialized service in a very personalized manner to professionals, executives, businesses, and nonprofit organizations. Today, through its dedication to superior service and through its support of the greater Indianapolis community, the Bank has grown to be our city’s largest locally-owned national bank. The Bank directs its resources to projects that strengthen our local community. Our employees, officers, and directors are all dedicated to supporting our local community through participation in a broad array of arts and cultural, educational, healthcare, religious, and social service organizations. Why did you decide to partner with the IMA on Summer Nights? At The National Bank of Indianapolis, we believe in enhancing our community through partnership. We recognize that this partnership with the IMA is a natural one. For nearly 40 years, the Summer Nights Film Series has been a favorite summer tradition for many in our community. In a similar fashion, The National Bank of Indianapolis has its own tradition of developing long-lasting relationships with our clients. Our partnership with the IMA is fitting as we truly believe that banking is an art form and with each client we serve, we remain dedi-cated to creating masterpieces in service. What should IMA audiences know about The National Bank of Indianapolis that they might not already? The National Bank of Indianapolis offers its clients the substantial resources of a national bank along with the fast, responsive service available only from a locally owned institution whose decisions are made right here in Indianapolis. In fact, the vast majority of the bank’s shareholders live in the Indy metropolitan area. Since our founding more than eighteen years ago, The National Bank of Indianapolis has grown to be our city’s 11th largest bank. In addition, our Wealth Management division, Diamond Capital Management, ranks in the top 200 investment management providers in the country. Our investment professionals provide a hands-on, personalized style, which focuses on building long-term relationships, as well as portfolio value, for individuals, corpora-tions and nonprofit organizations.

CORPORATE PROFILE

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The Contemporary Art Society (CAS) was founded fifty years ago by a group of community members who sought to bring contemporary art to the city of Indianapolis by gifting works to the IMA and encouraging members of the public to become collectors. The group stayed abreast of the latest artistic developments, taking numerous trips to see work in artists’ studios and galleries, then presenting their findings in a series of Museum exhibitions from 1963 through 1986 titled Painting and Sculpture Today. Membership dues were committed to the purchase of artworks selected from the exhibition for the Museum’s collection, and the remaining works on display were available for purchase by individual members for their private collections. Although this model of acquisition has changed since the group’s inception, CAS continues to support the IMA’s acquisition of contemporary art. Today, members who would like to participate in the selection process meet with curators to study and discuss artworks under consideration. One of three finalists of the group’s choosing is then voted into the collection by the members of CAS.

Through fifty years of continued support from CAS, the IMA acquired many highlights of the contemporary collection, including works by David Hare, Hans Hofmann, James Turrell, Sylvia Plimack Mangold, Jackie Ferrara, Roger Brown, Jenny Holzer, Cindy Sherman, Bernd and Hilla Becher, Kara Walker, and Tim Hawkinson.

The flourishing of contemporary art in Indianapolis and the ongoing legacy of CAS will be honored in a 50th anniversary dinner celebration, during which a silent auction of contemporary art will be held. This auction will continue the spirit of CAS by allowing community members to aquire museum-quality artwork. All proceeds fromthe event and auction will go directly toward the acquisition fund. Many of the artists in the auction have been included in past IMA exhibitions and are represented in the IMA’s permanent collection. These artists include Anila Quayyum Agha, Laylah Ali, Dorothy Alig, Aziz + Cucher, Jeffrey Becom, Kendall Buster, Lucinda Devlin, Arthur Liou, Los Carpinteros, Brian McCutcheon, Artur Silva, Type A, and Lauren Zoll, among others. Visit www.imamuseum.org/CAS50 for further information about each artist and work and to purchase a ticket to the event.

AFFILIATES

Celebrating 50 Years of the Contemporary Art Society

CAS 50th Anniversary Dinner and Silent Auction friday, september 21, 2012 / 6–10 pmPulliam family great hallTickets: $75/$150

Event Planning Committee:CAs Past Presidents: Mark Demerly, Michelle griffith, Jo Jacobs, susie Jacobs, gK Rowe, Trent spenceCurrent CAs board Members: nela swinehart, Anne surak, Anna White

www.imamuseum.org/CAs50

Join the Contemporary Art Societyin order to be eligible for membership in CAs, you must be an iMA member. if you are a student and/or under the age of 35, you are eligible for a special membership rate. for more information please contact the Develop-ment office at 317-920-2651, ext. 434

Membership levels:free for students (iD required)$55 Art Professional/Young Member (under 40)$150 Member$250 Contributor$500 Collector$1,000 Patron$2,000 benefactor

All membership levels include one household or one individual plus a guest. CAs membership is completely tax-deductible and proceeds go to the CAs acquisition fund. Contributor-level members and above enjoy additional access to CAs-organized, curator-led trips in the Us, free art consultations with curators, intimate private dinners with visiting artists, and more.

Left » Tim Hawkinson (American, b. 1960), Möbius Ship, 2006, wood, plastic, Plexiglas, rope, staples, string, twist ties, glue, 104 x 122 x 51 in. (installed), Contemporary Art Society Fund, Koch Contemporary Art Purchase Fund and Purchased with funds provided by Michelle and Perry Griffith, 2008.247.

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On May 10, 2012, the IMA’s African art collection found a new home in a bright, contemporary space prominently located on Floor 2 of the Museum. With more than 300 objects on display, the galleries reveal the breadth and depth of one of the nation’s top African art collections.

IN PHOTOS

The Reinstallation of the Eiteljorg Suite of African and Oceanic Art

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This project was supported by a grant from Eli Lilly and Company Foundation.

SAVE THE DATE12.31.12

Celebrate New Year’s Eve in style and help us acquire six new works of art for the permanent collection by midnight – 6 X 13.

4000 Michigan Road Indianapolis, IN 46208317-923-1331imamuseum.org

NoN-PRofIt oRgU.S. PoStagE

PAID INdIaNaPolIS, IN

PERMIt #2200

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