Documentos de Académico
Documentos de Profesional
Documentos de Cultura
AugOCT
2012
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CONSERVATION SCIENCE Van Gogh
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IN THE GALLERIES An American Legacy
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ARCHIVES Documenting Modern Living
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TRAVEL IMA in Cuba
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VOICES Sabiha Al Khemir
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COMMUNITY A New Vision
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COLLECTION Online Audiences
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IMA HISTORY Service Area at Oldfields
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PROGRAMS Summer Nights
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AFFILIATES CAS Celebrates 50 Years
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IN PHOTOS Eiteljorg Suite Reinstallation
Vincent van Goghs canvas Undergrowth with Two Figures, owned by the Cincinnati Art Museum (CAM) and painted within the last five weeks of van Goghs life, is not nearly the brilliant work it was when executed in the summer of 1890. This past year, the IMAs Conservation Science Lab analyzed the masterpiece and investigated the disappearance of a pigment known as Geranium Lake.
On the cover George Wesley Bellows (American, 18821925), A Stag at Sharkeys (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 Goghs canvas Undergrowth with Two Figures, owned by the Cincinnati Art Museum.
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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 celebration, 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 plans 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. Highlighted inside these pages, youll 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 IMAs 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 IMAs community to ensure the greatest opportunity for continued success in the coming years. If you havent 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. Theres 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,
Meg Liffick Managing Editor Emily Zoss Editor Matthew Taylor Designer Maureen Brierton Rachel Craft Rebecca Long Petra Slinkard Gregory Smith Amanda York Mark Zelonis Contributors Hadley Fruits Katelyn Harper Mike Rippy Photographers Tascha Mae Horowitz Photo Editor Julie Long Assistant Photo Editor Anne M. Young Rights & 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.)
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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, 18531890), Undergrowth with Two Figures, Cincinnati Art Museum, Bequest of Mary E. Johnston, 1967.1430.
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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 microspectroscopy. 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, painstakingly 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 microspectrometer 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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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 pictures varnish 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 Samides undergraduate chemistry majors. An upcoming scholarly publication by the projects 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 IMAs research in chemistry will help us understand how the changes happened while giving todays admirers of van Gogh a more accurate picture of his artworks brilliance.
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Indiana, Indianadont tell me he is from Indiana. They all come from Indiana. It may be a horrible, snowy, deserty placeI dont know, Ive never been in the Middle West. But all of you who come from therethat I admire, that I love, and are good friends of mineall have this great sort of serenity of spirit. Diana Vreeland, noted fashion columnist and editor
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 visitors 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 IMAs 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 (19001972) 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 (19222002). Garments by Halston (19321990) demonstrate his minimalist aesthetic and mastery of cut, particularly in magnificently constructed caftans, serapes, and dresses that appear to be simple, but are actually quite complex. The work of Stephen Sprouse (19532004), 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 functional clothinggenerating 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.
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Left Garments from Stephen Spouse on loan from Stephen Sprouse LLC. Above Design by Jeremy B. Hunt.
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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.
ARCHIVES
Miller House and Garden, located in Columbus, Indiana, is one of the countrys 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 exemplifying the Modernist spirit of that time. In 2009, following the Miller familys 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 NEHs 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 longterm documentation describing the structure, furnishings, technology, and gardens of the property. They hold research value on a variety of topics, including preservation, stewardship, material culture, collecting, mass-produced and custom design, the integration of the Modernist aesthetic and family life, and documentation practices. Very few archival collections 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.
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TRAVEL
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Such trips to Cuba by American citizens require a license from the US Department of the Treasury and must adhere to educationfocused itineraries. The IMAs tour exposed the Museums 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 developments. 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 foundations 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.
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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Voices
On November 2, Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture will open to the public in the IMAs 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 artnot 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 dtre of any exhibition. When you work hard on the making of something, its 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.
Beauty and Belief is organized by the Brigham Young University Museum of Art.
Above Sabiha Al Khemir. Photo by Gina LeVay.
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On View
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
Support provided by a grant from the Efroymson Family Fund, a fund of Central Indiana Community Foundation.
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On View
Left Edward Hopper (American, 18821967), 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.
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On View
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 printmaking 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 increasingly 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 preserving 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.
Left Abraham Walkowitz (American, 18801965), 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.
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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 the IMAs 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 jborgo@imamuseum.org or 317-923-1331 ext. 434.
THE Alliance
The IMAs longest established affiliate group develops and supports activities and projects that stimulate public interest in the Museum, its educational programs and collections.
TALK
Dr. James Watt The Story of Blue and White Porcelain Thr, September 27 7 pm The Toby
SPECIAL EVENT
50th Anniversary Celebration Fri, September 21 610 pm Pulliam Family Great Hall See details on page 25.
TALK
Keeping Quiet: Architect Billie Tsien Thr, October 4 6 pm The Toby
SPECIAL EVENT
Project IMA, IN:Spired Thr, 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
August
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
Meditation Hikes Every Friday 5:30 pm Meet at Efroymson Family Entrance Pavilion
SAT SUN
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 124 pm Free Family Activity Art in the Park: Light & Shadows 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
Family Activity Animation Day: Shadow Play The Toby 11 am3:30 pm P $2, M $2, Free for children under 6 Family Activity Art in the Park: Light & Shadows 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
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: Lumire Brothers First Films (189597) The Toby 7 pm P $5, M $3
10 FRI 11 SAT
Family Activity Saturdays in the Park: Trust Walk 100 Acres: Lake Terrace 910:30 am Free Family Activity Star(Lite) Art Cart: Wool Painting Pulliam Family Great Hall 124 pm Free Family Activity Hold it! African Gallery 13 pm Free Family Activity Family Tour Welcome Desk 1:30 and 2:30 pm Free Film 48 Hour Film Project The Toby 5, 7 & 9 pm P $10 each round or 3 rounds for $20 Family Activity Art in the Park: Light & Shadows 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free Performance Second Sundays Music in the Galleries Allen Whitehill Clowes Special Exhibition Gallery 13 pm P $12 (includes exhibition admission), M Free Film Snapshot Film Series: Blow-Up (1966) The Toby P $5, M $3
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August
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
Meditation Hikes Every Friday 5:30 pm Meet at Efroymson Family Entrance Pavilion
SAT SUN
Garden Walks Every Sat & Sun 1 pm Meet at Lilly House 100 Acres Tours Every Sat & Sun Noon Meet at Lake Terrace
Family Activity Star(Lite) Art Cart:Wool Painting Pulliam Family Great Hall 124 pm Free
Family Activity Art in the Park: Light & Shadows 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
Film Snapshot Film Series: Bill Cunningham New York (2010) The Toby 7 pm P $5, M $3
Special Event Hummingbird Banding Garden for Everyone 9 amnoon Free Family Activity Star(Lite) Art Cart: Wool Painting Pulliam Family Great Hall 12-4 pm Free Family Activity Hold it! African Gallery 13 pm Free Family Activity Family Tour Welcome Desk 1:30 and 2:30 pm Free Family Activity Art in the Park: Light & Shadows 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free Tour Bird Watch with the Amos Butler Audobon Society 100 Acres 2 pm Free
26 SUN 31 FRI
Film Summer Nights: The Sound of Music (1963) Amphitheater Dusk P $10, M $6
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September
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
Meditation Hikes Every Friday 5:30 pm Meet at Efroymson Family Entrance Pavilion
SAT SUN
Garden Walks Every Sat & Sun 1 pm Meet at Lilly House 100 Acres Tours Every Sat & Sun Noon Meet at Lake Terrace
01 SAT 02 SUN 06 THR 07 FRI 08 SAT 09 SUN 13 THR 14 FRI 15 SAT 16 SUN
Family Activity Star(Lite) Art Cart: Tooling Around with Metal Pulliam Family Great Hall 124 pm Free
Family Activity Art in the Park: Shake, Rattle & Blow 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
Film Women in the Dirt: Landscape Architects Shaping Our World (2011) The Toby 6 pm Free
Special Event Science Fair: The Science of FLOW (Hands-On) 100 Acres 68 pm Free
Family Activity Star(Lite) Art Cart: Tooling Around with Metal Pulliam Family Great Hall 124 pm Free Family Activity Hold it! Asian Gallery 13 pm Free Family Activity Family Tour Welcome Desk 1:30 and 2:30 pm Free Family Activity Art in the Park: Shake, Rattle & Blow 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
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
Family Activity Saturdays at the Park: Bug Design 100 Acres: Ruth Lilly Visitors Pavilion 910:30 am Free Family Activity Star(Lite) Art Cart: Tooling Around with Metal Pulliam Family Great Hall 124 pm Free
Family Activity Art in the Park: Shake, Rattle & Blow 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
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September
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
SAT SUN
Garden Walks Every Sat & Sun 1 pm Meet at Lilly House 100 Acres Tours Every Sat & Sun Noon Meet at Lake Terrace
Performance Fall Equinox: Hungry Ghosts 100 Acres: Lake Terrace 7:30 pm Free
Performance Balinese Spectacular with I Nyoman Sedana The Toby 7 pm P $10, M $7, S $5, Butler Students Free Special Event CAS 50th Anniversary Pulliam Family Great Hall 610pm $75 / $150 (see page 25)
Family Activity Star(Lite) Art Cart: Tooling Around with Metal Pulliam Family Great Hall 124 pm Free Family Activity Hold it! Welcome Desk 13 pm Free Family Activity Family Tour Asian Gallery 1:30 and 2:30 pm Free Performance Balinese Spectacular with I Nyoman Sedana The Toby 7 pm P $10, M $7, S $5, Butler Students Free Family Activity Art in the Park: Shake, Rattle & Blow 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free Tour 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 124 pm Free
Family Activity Art in the Park: Shake, Rattle & Blow 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
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October
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
SAT SUN
Garden Walks Every Sat & Sun 1 pm Meet at Lilly House 100 Acres Tours Every Sat & Sun Noon Meet at Lake Terrace
Family Activity Star(Lite) Art Cart: Come in Costume Pulliam Family Great Hall 124 pm Free
Family Activity Art in the Park: Falling 100 Acres: Ruth Lilly Visitors Pavilion 12-4 pm Free
Special Event Member Night: Preserving History Efroymson Family Entrance Pavilion 69 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 Film Mexican Double Feature: Maria Candelaria (1943) & Modisto de Seoras (1969) The Toby 7 pm & 8:45 pm Free
Family Activity Star(Lite) Art Cart: Come in Costume Pulliam Family Great Hall 124 pm Free Family Activity Hold It! Clowes Courtyard 13 pm Free Family Activity Family Tour Welcome Desk 1:30 and 2:30 pm Free Family Activity Art in the Park: Falling 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
Family Activity Star(Lite) Art Cart: Come in Costume Pulliam Family Great Hall 124 pm Free
21 SUN
Family Activity Art in the Park: Falling 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
26 FRI
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October
DAILY
Collection Tours Offered daily. Visit imamuseum.org for more information.
FRI
Meditation Hikes Every Friday 5:30 pm Meet at Efroymson Family Entrance Pavilion
SAT SUN
Garden Walks Every Sat & Sun 1 pm Meet at Lilly House 100 Acres Tours Every Sat & Sun Noon Meet at Lake Terrace
27 SAT 28 SUN
Family Activity Star(Lite) Art Cart: Come in Costume Pulliam Family Great Hall 124 pm Free Family Activity Hold It! Clowes Courtyard 13 pm Free Family Activity Family Tour Welcome Desk 1:30 and 2:30 pm Free Family Activity Art in the Park: Falling 100 Acres: Ruth Lilly Visitors Pavilion 124 pm Free
31 WED
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Events
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Events
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Events
Perennial Premiere, April 2122 and Saturday in the Park: Raptors, May 19
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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 education@ imamuseum.org). The IMA also offers complimentary Wi-Fi, coat check, wheelchairs, rollators, strollers, public phone, and lockers. 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. Parking Main lot and Garage: Members Free; Public $5; Outlots: Free Hours Museum Tue, Wed, Sat 11 am5 pm Thur, Fri 11 am9 pm Sun noon5 pm Lilly House Open 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 Years 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 imamuseum.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 Caf Nourish Caf offers delicious snacks and inexpensive meals set in a chic cafeteria setting. shopping Museum Store Books, jewelry, and museuminspired merchandise 317-923-1331, ext. 281 Madeline F. Elder Greenhouse Rare and choice plants, gardening supplies, and gifts. AprilDecember 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 25 pm Thur 28 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 noon3 pm FACILITY RENTAL The IMA offers a variety of spaces to rentperfect 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, contact affiliates@imamuseum.org or see page N6. VOLUNTEER For more information about how you can get involved contact volunteer@imamuseum.org or 317-923-1331, ext. 263 CONTACT THE IMA 317-923-1331 (Main) 317-920-2660 (24-Hour Info Line) imamuseum.org
COMMUNITY
A New Vision
In February 2012, the IMA was awarded a grant as part of the LDI 100th Anniversary 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 IMAs 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 IMAs 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 Museums 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 IMAs diverse offerings. The grant will give the Indianapolis community a chance to shape the Museums 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 Museums engagement with its communities. One of the communities addressed in the plan is the IMAs online audience. Last year the IMAs 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 IMAs mission can now reach people and places that the Museums founders never dreamed of 128 years ago.
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There are more than 54,000 works of art in the IMAs collection, and each has an immeasurable number of compelling stories to tell.
ONLINE COLLECTION PAGES
If youve visited the IMAs website recently, you may have noticed a few changes: the pages for the Museums 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 unaware of the breadth and depth of the IMAs 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 IMAs 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. 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 communicate 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 artists 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 IMAs collection. These works are highlighted through interpretive paths that expose visitors to the diverse and profound relationships that exist within the collection.
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 18001849, color woodblock print, 10 1/8 x 15 in., Carl H. Lieber Fund, 60.12.
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IMA HISTORY
by Mark Zelonis The Ruth Lilly Deputy director of environmental and historic preservation
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The service area of the estate where many of the gardeners and other staff once worked remains a core unit of the estates operations.
Above View of the service area of Oldields taken during the early 20th Century.
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If you havent had a chance to attend a Summer Nights lm this summer, have no fear; August is jam packed with ve great movies that are sure to please.
Gates open at 7:30 pm. All lms begin after dusk. $10 Public / $6 Member / Free for children six and younger. Buy tickets on site or online at imamuseum.org/summernights. Dont forget that the galleries are open until 9 pm every Friday.
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 horric effect, it tells a slow, gentle story of camaraderie and growth, with an ending [of ] poetic justice.
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 denitive lm noir of the 40s shimmies with suspense, hard-bitten dialogue, shadowy rooms, sealed fates, and perfect plans gone awry.
This violent, bloody, and morbidly funny black comedy isn't for the easily offended, 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.
In this box office blockbuster, Jack Nicholson brings his grisly smile and maniacal laugh to the portrayal of Batmans 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 rst dark turn, set to a Danny Elfman soundtrack.
The timeless story of a would-be nun who falls for a captain and his seven singing children includes the Rodgers & Hammerstein 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.
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CORPORATE PROFILE
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 Banks 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 citys 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 dedicated 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 banks 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 citys 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, corporations and nonprofit organizations.
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AFFILIATES
Left Tim Hawkinson (American, b. 1960), Mbius 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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In photos
This project was supported by a grant from Eli Lilly and Company Foundation.
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PAID
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Celebrate New Years Eve in style and help us acquire six new works of art for the permanent collection by midnight 6 X 13.
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