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Star Family Studio Ai Weiwei: According to What? New Mellon Curator-at-Large Oldfields Centennial

FEB–APR 2013


Contents

Indianapolis Star Family Studio Lauren Zoll: Something is Perennial Premiere Ai Weiwei: According to What?

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Meg Liffick Managing Editor Emily Zoss Editor Matthew Taylor Designer Tascha Mae Horowitz Photo Editor

Ai Weiwei: According to What? will include a broad spectrum of the artist’s work, including sculpture, videos, photography, and images of his architectural creations. Outspoken and provocative, Ai Weiwei rose to public awareness around the globe when he was arrested and detained in 2011 by Chinese authorities.

Julie Long Assistant Photo Editor

Front cover: Ai Weiwei, Dropping a Han Dynasty Urn (detail), 1995/2009. Image courtesy of the artist. Left: Ai Weiwei, He Xie, 2010–. Collection of the artist. Installation view at the Hirshhorn Museum and Sculpture Garden, Washington, DC, 2012. Image courtesy of the artist. Photo by Eric Gregory Powell. Pages 16–17: The Three Graces, 20th Century, cast stone and Carrara marble, 120 x 54 x 34 in. (w/base). Gift of the Children of J.K. Lilly, Jr., LH2001.227

Amy Poster: Mellon Curator-at-Large Three Graces Oldfields Centennial The Families of Oldfields An Accidental Preservationist Madeline F. Elder Greenhouse The Root Cellar Exhibitions Calendar Recent Events About the IMA

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Back cover: Robert Irwin, Light and Space III (detail), 2008, fluorescent lights, variable dimensions. Purchased with funds provided by Ann M. and Chris Stack, The Ballard Fund, Nancy Foxwell Neuberger Acquisition Endowment Fund, Anonymous IV Art Fund, Lucille Stewart Endowed Art Fund, Martha M. Shertzer Art Purchase Fund in Memory of Her Nephew, Charles S. Sands, Roger G. Wolcott Fund, Gift of the Alliance of the Indianapolis Museum of Art, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, E. Hardey Adriance Fine Arts Acquisition Fund in memory of Marguerite Hardey Adriance, Emma Harter Sweetser Fund, Mr. and Mrs. Richard Crane Fund, Elizabeth S. Lawton Fine Art Fund, Cecil F. Head Art Fund, Mary V. Black Art Endowment Fund, General Endowed Art Fund, Mr. and Mrs. Theodore P. Van Vorhees Art Fund, General Memorial Art Fund, General Art Fund, James V. Sweetser Fund, 2008.358 © 2013 Robert Irwin/ Artists Rights Society (ARS), New York

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Anne M. Young Rights & Reproductions Laurie Gilbert Project Manager Preston Bautista Maureen Brierton Bradley Brooks Chad Franer Lynne Habig Jen Mayhill Sue Nord Peiffer Ivy Wright Contributors Hadley Fruits Tascha Mae Horowitz Eric Lubrick Photographers The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 462083326. 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. © 2013 Indianapolis Museum of Art The IMA Magazine is printed on paper containing FSC-certified 100% post-consumer fiber, is processed chlorine free, and is manufactured using biogas energy. (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.)


From the Director

One of the best things about a new job is the excitement of meeting new people. My first months at the IMA have been very rewarding in this way. The warm welcome of Indianapolis has been overwhelming, and I would like to thank all of you for your thoughtful words, emails, and cards. I so appreciate the support and encouragement. Over the past weeks I have had the pleasure of meeting many IMA supporters who enable the work of this great museum through their memberships as well as annual and planned gifts. I have also had the opportunity to speak with representatives from local and national foundations that have enabled the IMA to undertake a wide array of important projects and educational activities through the years. As you will read in this issue, on January 1 the IMA began the centennial celebration of Oldfields–Lilly House & Gardens, the former estate of the J.K. Lilly Jr. family. Completed in 1913, the house and its grounds were given by J.K. Lilly III and his sister, Ruth, to the Museum in 1966 with the intention that the IMA would preserve the home, but also construct a new museum building somewhere on the site. The “new” IMA opened here at 38th Street and Michigan Road in 1970 and has expanded several times since, most recently with the opening of The Virginia B. Fairbanks Art & Nature Park. In learning the history of the Museum, I have found it both impressive and encouraging to see how unwavering the support of the Lilly family, Eli Lilly and Company, and Lilly Endowment, Inc. has been through the years. My recent conversations with members of the Lilly family, Clay Robbins and Dick Ristine of the Lilly Endowment, and Derica Rice and Rob Smith of Eli Lilly and Company have all focused on the future of Indianapolis and Indiana and the IMA’s role in keeping our community vibrant for all of its citizens. As the IMA’s director, it is reassuring to know that such thoughtful individuals will help to ensure the Museum’s success now and in the years to come.

The celebration of the 100-year anniversary of Oldfields not only reflects upon the leadership and philanthropy of the Lilly family and their legacy, but also upon the generosity of every one of you and those who have gone before and will come after us. The Lillys gave their home and land to the IMA knowing that the institution would need to grow and change over time, and in doing so it would require the support of many more individuals, companies, and foundations. It is an established fact that art and culture create ripple effects of benefits throughout a community. The arts connect people, bringing diverse groups together to share common experiences, hear new perspectives, and understand each other better. Making sure that the IMA flourishes and supports our community in these ways requires the efforts of all of us, as we all benefit from that success. So as Oldfields–Lilly House & Gardens turns 100, lift your glass in a celebratory toast, but remember the thanks go to you as well as the Lillys and all those who have cared for the IMA since its founding in 1883.

DR. CHARLES L. VENABLE THE MELVIN & BREN SIMON DIRECTOR AND CEO

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The New Indianapolis Star Family Studio

The IMA conducts research initiatives to understand how to better connect with our different audiences. A recent survey, focused on family audiences, is helping to inform the ways we design participatory learning experiences, including the activities happening in the Indianapolis Star Family Studio. In January 2012, we decided to close the doors to Star Studio so that Audience Engagement staff could rethink the programs and activities offered in the space. Star Studio is an interactive drop-in space for families, with scheduled facilitated programming on both weekdays and weekends. The Star Studio vision statement and audience philosophy, based primarily on results gleaned from the IMA Family Study, drew as well on research conducted by other leading national counterparts such as the Columbus Museum of Art, the Crocker Art Museum in Sacramento, and the Dallas Museum of Art. Local cultural institutions including The Children’s Museum of Indianapolis and the Indianapolis Zoo also provided inspiration.

The vision statement reads, “Inspired by the IMA’s collection, its resources, and related aspects of the visual arts, programs and activities in Star Studio encourage families to imagine, explore, create, share, and collaborate with art in new ways.” With this vision statement in hand, five overarching action themes—Imagine, Explore, Create, Share, and Collaborate—were tested with a focus group that included members and non-members. These five themes lay the framework for designing the programs and activities occurring in Star Studio and define the five sections of the physical space. In each section, adults are provided with the tools to teach fundamental art concepts such as color, line, shape, and texture in fun and innovative ways to children under the age of 12. In the first section, Imagine, visitors are invited to think creatively about the art-making process. Rules, instructions, and templates are absent. Visitors are encouraged to create art from a set of traditional and non-traditional media, including paint, drawing materials, and clay, but also twist ties, bubble wrap, and packing peanuts. The second section, Explore, includes a tactile table designed to stimulate the senses, promote creativity, and assist in the development of fine motor skills. For the third experience, visitors are invited to Create. They can use the iPad Free Draw Station to create their own works of art. Upon completion, visitors

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may email their drawings to themselves, friends, and family. Another activity in this section invites young visitors to engage in imaginary play. By pretending to be construction workers and donning a construction hat, kids help build R. Indiana City using an assortment of building blocks. Share allows visitors to write or draw responses to a phrase on a large chalkboard wall. Additionally, Share includes an interactive photo booth, giving visitors the opportunity to capture images of the works they created and project them on a wall in Star Studio. Lastly, Collaborate encourages participants to socialize with other patrons by working together on a community art project. While Star Studio is primarily a drop-in space, a series of facilitated programs are offered in the classroom on Wednesdays and weekends. These activities are led by IMA staff, docents, or teaching artists. wee Wednesdays, for example, is designed for preschool children and their adult companions. The early childhood learning curriculum includes guided gallery adventures promoting imaginary play through “Dress Up” games, story time, sing-a-longs, and art-making activities.


Family fun and learning in Star Studio begins in January 2013. For more information about programming, please visit www.imamuseum.org.

TEXT BY

JEN MAYHILL

STAR STUDIO AND ACTIVITY SPACES COORDINATOR

PRESTON BAUTISTA

DIRECTOR OF AUDIENCE ENGAGEMENT

MAKE-AND-TAKE Saturdays, noon–4pm Free Drop by the Star Studio Classroom to create artmaking projects to take home inspired by works of art on view at the IMA.

MEET THE ARTIST Every Sunday in February and March Session 1: 1–2 pm; Session 2: 3–4pm Free

wee WEDNESDAYS

Join local artist, Paula Scott-Frantz, as she illustrates fun and innovative ways to interact with art materials. Registration required. Please call 317-923-1331 ext. 213.

Foster a young imagination through pretend play, sing-a-longs, gallery art hunts, and hands-on art activities. Designed for children ages 0–5 and their caregivers. Registration required. Please call 317-923-1331 ext. 213.

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February 6, March 6, April 3 11 am–noon $3 M, $5 P


Lauren Zoll: Something is

Something is, the latest exhibition in the Carmen & Mark Holeman Gallery on Floor 4, features the work of Indianapolis-based artist Lauren Zoll. A multidisciplinary conceptual artist, Zoll’s past work includes video, photography, sculpture, painting, and performance as well as collections of found objects that explore the cultural associations and material limits of non-art items. Something is features a newly commissioned body of work that explores the relationships between painting and video. Large-scale paintings, videos, and a collage affixed directly to the gallery wall form an immersive and variable installation. To create each painting, Zoll poured approximately ten gallons of glossy black latex paint on a four by eight–foot sheet of drywall. The layers of paint cured over time and developed different textures in reaction to the varying climate conditions of the artist’s studio, resulting in a sensuously textured and highly reflective surface. Zoll began filming the glossy surfaces, focusing her camera on the dynamic, flickering, and colorful reflections that came from the surrounding environment. Some videos are carefully orchestrated and consist of reflections of the artist’s movements or colorful materials in her studio. In one video, Zoll mounted one of the black paintings to the roof of her car along

Lauren Zoll: Something is will be on view in the Carmen & Mark Holeman Gallery through April 14. To see a video of Lauren Zoll discussing her work, visit imamuseum.org/ exhibition/lauren-zoll-something

with a video camera and captured reflections of the Indianapolis cityscape at night. Shown on LED flat screens, the videos become animated paintings that then reflect back onto the black paintings themselves, creating new abstract imagery on the surface. “The paintings allow the viewers to see themselves, the constructed environment, and the videos—all simultaneously,” Zoll states. “The paintings act in a similar way to flat panel monitors, functioning as a window to see other objects, colors, and spaces. While one is looking at the painting, they see the gallery around it.” For Something is, Zoll drew inspiration from a wide range of literary and artistic sources, including the writings of French author Émile Zola (1840–1902), whose 1873 novel The Belly of Paris brings to life the bustling Parisian marketplace of Les Halles through obsessive description of sights, sounds, and smells. Something is proposes an open-ended investigation— the title itself is the start of a phrase to be completed by exhibition visitors as they interpret the foreign environment of the installation within the gallery.

Above: Lauren Zoll, Something is, 2012, installation view. Commissioned by the Indianapolis Museum of Art.

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2013 Perennial Premiere Celebrate the coming of spring at the 2013 Perennial Premiere sale. The Madeline F. Elder Greenhouse Shop will have plants certain to appeal to everyone’s garden style, and the IMA’s skilled staff of horticulturists will be on hand to help shoppers choose the exact plants for their sites, lifestyles, and budgets. Plant selections will include, but not be limited to, old favorites (many of which were noted on Percival Gallagher’s original plant lists for Oldfields), new plant introductions, trees, shrubs, natives, herbs, dwarf conifers, perennials, and— depending on the weather —some annuals and tropicals. Many regional nurseries and vendors also will be on site to help you welcome the return of sunshine and warm weather. Perennial Premiere is more than shopping. Don’t forget to take advantage of guided garden walks, tours of The Virginia B. Fairbanks Art & Nature Park, live music, food trucks, and a beautiful bonsai exhibition and demonstration.

New in 2013

Saturday, April 20 (Public Sale, 11 am–5 pm) Sunday, April 21 (Public Sale, noon–5 pm) Saturday, April 20 (Members-only Preview, 9–11 am) (Members receive a 20% discount April 20–28) More information about this event can be found at imamuseum.org/perennialpremiere

The past few gardening seasons have been extremely challenging, clobbering Indiana with a perfect trifecta of extreme heat, high winds, and drought. Now more than ever, gardeners want recommendations for plants that are not only attractive, but resilient. For this reason, this year each of the IMA horticulturists will provide a list of their “toppick” plants—both for their beauty and for their strength. During the centennial celebration of Oldfields–Lilly House & Gardens, the Greenhouse will

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highlight heirloom plants, old varieties passed down from generation to generation. Some of the heirloom plants to be featured are natives that have proven adaptable to changing climactic conditions while others have been the precursors of new cultivars with desirable traits like better drought tolerance and more resistance to pests and pathogens.


AI WEIWEI

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ACCORDING TO WHAT? April 5–July 21 9


AI WEIWEI HAS BEEN KEPT UNDER CONSTANT SURVEILLANCE BY THE [CHINESE] GOVERNMENT— A CIRCUMSTANCE THAT HAS INSPIRED THE CREATION OF A SERIES OF NEW WORKS.

The first major North American retrospective of Ai Weiwei’s work is coming to the IMA. Featuring more than 20 years of works that explore such universal topics as culture, history, politics, and tradition, Ai Weiwei: According to What? will be on display in the Allen Whitehill Clowes Special Exhibition Gallery from April 5 to July 21. Ai Weiwei is one of China’s most prolific and provocative artists. Throughout his career, he has offered insight into the interrelation between art, society, and individual experience. This retrospective exhibition will include examples from the broad spectrum of his artistic practice, from sculpture, photography, and video to site-specific architectural installations. The survey features more than 30 artworks, ranging from a series of approximately 100 photographs taken when Ai Weiwei lived in New York in the 1980s to very recent works created specifically for this tour. The exhibition prompts viewers to consider: What exists? And more importantly, according to what does it exist? From what context did we emerge, and to where are we headed now? Ai Weiwei: According to What? was organized by the Mori Art Museum in close collaboration with the artist and his studio. The exhibition, which premiered in Tokyo at that institution in 2009, was substantially reconceived for the North American tour to include more recent works and reflect the many changes that have taken place in Ai Weiwei’s career and life. “The IMA is thrilled to bring to Indianapolis the artwork of the most controversial and important living artist in China,” said Sarah Urist Green, curator of contemporary art. “Many people have heard of Ai Weiwei, but few in the United States have had the opportunity to

see his remarkably diverse, poignant, and poetic body of work.” Ai Weiwei: According to What? extends across the largest exhibition footprint in IMA history. Along with filling all 12,500 square feet of the primary exhibition space, works will also be sited strategically within other Museum galleries and common areas to draw comparisons with works from the IMA collection and accommodate large-scale pieces. Upon entering the IMA’s Pulliam Family Great Hall, visitors will encounter a sprawling mound of 3,000 porcelain crabs composing Ai’s work He Xie (2010). Translating literally to “river crab,” He Xie is also a homophone for the word meaning “harmonious”—a term used within a slogan for the Chinese Communist Party, but which has been co-opted by others to refer to online censorship and the restriction of free speech. A new work created for Ai Weiwei: According to What? is a sculpture made from steel rebar that was salvaged from schools that collapsed during the 2008 Sichuan earthquake. The piece points to the inferior construction that caused many schools to

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collapse, while other Chinese government buildings remained unscathed. Employing more than 40 tons of salvaged rebar, Straight (2008–2012) is a powerful indictment of the Chinese government and a monumental reminder of the many young people who died in the earthquake. Over the past several years Ai Weiwei has gained international recognition for his work in the 2007 Documenta 12 in Kassel, Germany, and his collaboration with architects Herzog & de Meuron on the Bird’s Nest Stadium for the 2008 Beijing Olympics. Ai Weiwei’s focus on human rights and social change eventually led to his detainment by Chinese authorities in 2011 for nearly three months. The Chinese government later supplied charges of tax evasion against Ai Weiwei, which he vehemently denies. Since his detainment, Ai Weiwei has been kept under constant surveillance by the government—a circumstance that has inspired the creation of a series of new works, including a marble surveillance camera, that will be part of this exhibition.


Regarding the North American tour of According to What?, Ai Weiwei has stated: “I’ve experienced dramatic changes in my living and working conditions over the past few years, and this exhibition has been an opportunity to reexamine past work and communicate with audiences from afar. I see it as a stream of activities rather than a fixed entity. It is part of a continual process in self-expression.”

Exhibition Information Ai Weiwei: According to What? tickets are $12 public, $6 children ages 7–17 and free for IMA members and children 6 and under.

Pages 8–9: Ai Weiwei, Dropping a Han Dynasty Urn, 1995/2009. Image courtesy of the artist.  

This exhibition is organized by Mori Art Museum, Tokyo, and The Indianapolis Museum of Art.

Page 10 bottom: Ai Weiwei, Map of China, 2008. Image courtesy of the artist.

To learn more about Ai Weiwei, visit imamuseum.org/aiweiwei. The website includes press clips, videos, and images of Ai Weiwei’s work.

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Page 10 top: Ai Weiwei, Colored Vases (detail), 2007–2010. Image courtesy of the artist. 

This page: Ai Weiwei, Forever, 2003. Image courtesy of the artist. Installation view at the Mori Art Museum, Tokyo, 2009. Photo: Watanabe Osamu. Photo courtesy: Mori Art Museum, Tokyo. 


Charlie Hyde

Mindy Taylor Ross

Jane Henegar

Michelle C.S. Greene

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Voices: Ai Weiwei and Indianapolis In anticipation of the opening of Ai Weiwei: According to What?, we asked four members of the Indianapolis community to provide statements about the artist and the exhibition. Ai Weiwei is a man, an artist, a genius. In an age obsessed with physical perfection, he is a fleshy counterpoint. Subversive, humorous, provocative, and iconoclastic, his words and work are abundant in talent, wit, and power. He came to prominence as much for his actions as his art, and yet it is because of both that he has held the world transfixed. His Bird’s Nest dominated the Beijing Olympics, a rarefied perch from which he unapologetically denounced the nationalistic chauvinism that dominated the games. His easy manner and soft exterior belies an indomitable spirit. He sees, he says, he does. Outspoken—beaten but unbroken—Ai Weiwei stands firmly athwart China and the art world. Indianapolis—be prepared for an international incident.

CHARLIE HYDE IMA Member and Director of Membership, Indianapolis Zoo A tension exists, will always exist, between liberty, which every human requires, and order, upon which every society relies. Governments are charged with, first and foremost, maintaining order. Artists and activists challenge order. Ai Weiwei sees himself as part of this tradition, a necessary participant. “I’ve always believed it is essential for contemporary artists to question established assumptions and challenge beliefs. This has never changed.” American society has tools to calibrate a healthy balance between the competing values of order and the freedom of expression that seeks to upset and reevaluate that order. We haven’t always used those tools, most specifically the First Amendment to the US Constitution, wisely or well. Any government, whether it is in China or Europe or the United States of America, must be reminded and prodded, and reminded and prodded again, that it may not value order at the undue expense of liberty. It is the nature of governments to wobble over that line. It is the nature of artists and other civil libertarians to prod them back into balance.

JANE HENEGAR Executive Director, American Civil Liberties Union of Indiana Ai Weiwei is a paramount example of an artist who holds a mirror up to society and who takes documenting his place and time very seriously. His socio-political artwork can be both polarizing and unifying, and he has become an international cultural icon. His work exemplifies the adage that objects—materials— have meaning and he is adept at using various artistic styles to bring those meanings to the forefront. That the exhibition is being hosted in Indianapolis (a city that in modern times has not been known for being on the forefront of socio-political issues) signals the tide here is changing, due to the significant work of many in our city over the last decade. This is a once in a lifetime opportunity. The exhibition is not to be missed.

I first experienced Ai Weiwei’s work in the summer of 2009, while on a study tour in China. It had been one year since the world audience was captivated by China’s opening ceremony at the 2008 Beijing Summer Olympics, which were housed in the Bird’s Nest stadium that he helped to design. In view of the impressive structure, I could appreciate Ai’s artistic mastery. It wasn’t until I became more familiar with his role as an intellectual social commentator that Ai’s art revealed the greater complexities of culture, nationhood, and personhood he aims to represent. Internationally, he is known for experimenting with multiple art forms as media for socio-political commentary, criticism, and activism. In his famous 1995 photography piece, Dropping a Han Dynasty Urn, he symbolizes his personal claim and loyalty to his Chinese identity, all the while challenging China to consider which policies and practices may be ancient and in need of letting go. He employs humor and popular culture to communicate his critique of Internet censorship, as evidenced by his recent October 2012 cover rendition of PSY’s “Gangnam Style” rap video, in which Ai wears handcuffs while performing the signature horse-riding dance move. Pieces like these represent Ai’s western-culture approach to a democratic means of communication in an eastern culture that does not yet embrace free speech. His ability to view and articulate his world from a critical perspective and his willingness to challenge his audience’s thinking are reasons I have come to appreciate Ai’s thoughtful and intentional provocations of art. In addition to the international attention and acclaim he receives, his life and work incite personal interest and relevance for me. As a Chinese American with family in Beijing, the arms-length relationship between China and the United States has never been easy for me to understand or articulate. Like Ai, I am proud of my Chinese identity and heritage, but also recognize the dissonance that exists between the two nations’ political policies and practices. I believe that Ai Weiwei attempts to reveal truths and create bridges of understanding between these two cultural ways of knowing. For that, I await the exhibition Ai Weiwei: According to What? at the IMA with great excitement and anticipation.

MICHELLE C.S. GREENE PhD Candidate, Indiana University, Literacy, Culture, & Language Education

MINDY TAYLOR ROSS Principal, Art Strategies LLC

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Ai Weiwei Programs and Events

EXHIBITION OPENING AND TALK

TOURS

WORKSHOP

Docent-led tours are offered daily. Visit www.imamuseum.org for tour times.

THURSDAY, APRIL 4

BOOK CLUB

TALK

Thursday Night Book Club Thursday, April 11 / 6:30 pm / Meet at the Welcome Desk

Teen Spoken Word Workshop: Speak Your Art Out 2 Saturdays, May 4 & 11 / 1–4 pm Performance on Friday, May 17 / 8 pm Free / Registration required—space is limited.

6:30 pm, The Toby Free Join Barbara Pollack, a leading expert in Chinese art and author of The Wild, Wild East: An American Art Critic’s Adventures in China, and Lee Ambrozy, former editor of Artforum’s Chinese language website and translator of Ai Weiwei’s Blog, for a discussion about the artist and his works.

RECEPTION Directly following talk, Pulliam Family Great Hall P $35, M $25, Free for IMA Council Members Celebrate the opening of Ai Weiwei: According to What? Enjoy music, food, and drink, and an opportunity to be among the first to see the exhibition. Support provided by Sun King Brewery.

Public programs and opening celebration for Ai Weiwei: According to What? are sponsored by Barnes & Thornburg LLP.

Facilitated by Sarah Green, curator of contemporary art, this month’s discussion will be based on the reading of Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006–2009 by Ai Weiwei, 2011. SPECIAL OFF-CAMPUS EVENT IMA Curator of Contemporary Art Sarah Green at Butler University Thursday, April 18 / 7 pm / Butler University Campus / Free Curator Sarah Green discusses the Indianapolis Museum of Art’s exhibition, which includes examples from the broad spectrum of the artist’s practice—from sculpture, photography, and video to site-specific architectural installations. CLASS Connecting the Past to the Present: Telling Stories with Photographs Saturdays, June 8, 15, 22, and 29 / 10 am–4 pm / Adult Lecture Study A / P $240, M $200 After visiting the exhibition, participants will work with a teaching artist who will introduce basic concepts of photography and discuss cameras, storytelling, and photo editing techniques. Each of the 4 sessions will combine theory and practice by encouraging participants to create a series of photographs taken both onsite at the IMA and in downtown Indianapolis. Participants are invited to bring their own point and shoot or digital SLR camera. The IMA will provide the rest. To register call 923-1331, ext. 206. Take Two Discount: $10 off for each registrant if two people register at the same time.

For detailed information on events or to purchase tickets, please visit imamuseum.org P: Public / M: IMA Members

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Calling all teens who have something to say! Kick it with local spoken word artists Mr. Kinetik, Tony Styxx, aLLEN iMAGERY, and Nqobi for a two-session workshop, as we explore the work and life of contemporary Chinese artist Ai Weiwei through poetry. To register call 923-1331, ext. 206.

SPECIAL EVENT Omnimic: Speak Your Art Out Friday, May 17 / 8 pm / The Toby / Free Join the participants of the teen spoken word workshop as they share their Ai Weiwei-inspired prose and poetry. Feeling inspired? Audience members arriving early may sign up to share in a handful of slots. FILMS Ai Weiwei: Never Sorry (2012, dir. Alison Klayman, 91 mins., R) Thursday, May 16 / 6:30pm Friday, May 17 / 6:30 pm (Join us after the film for Omnimic: Speak Your Art Out) Saturday, May 18 / 2pm The Toby / $9 P, $5 M Between 2008 and 2011, director Alison Klayman was given unprecedented access to artist Ai Weiwei—beginning with his work on the Olympic Bird’s Nest stadium to the aftermath of his government detention. The resulting film is a touching, inspirational, and sometimes humorous portrait of a man whose roles as artist and activist cannot be separated.


Amy Poster: The New Mellon Curator-at-Large In 2011, the IMA received a $1.025 million grant from The Andrew W. Mellon Foundation to fund a three-year pilot program allowing leading scholars to conduct groundbreaking research on the IMA’s collections while developing a new model for future scholarly appointments at museums. Over this time, six scholars will contribute their expertise in various areas of the collection. The first Mellon Curator-at-Large was James Watt, who during his one-year appointment analyzed the IMA’s Chinese ceramics, jade, and most of the bronzes in storage and currently on display. In July 2012, the second appointment was awarded to Amy Poster, who will focus on the Museum’s Indian, Southeast Asian, and Himalayan art collections. Poster is the Curator Emerita of Asian Art at the Brooklyn Museum as well as an independent curator and consultant specializing in South and East Asian art. Over the next year, Poster will evaluate the works, iconography, historical importance, and the international role of the Museum’s collections. Additionally, she will be working with IMA curators reviewing the Museum’s collection of Indian jewelry and textiles as well as artworks from India, Pakistan, Nepal, and Afghanistan. A portion of her time will be spent evaluating the history of the IMA’s carved wall created in the workshop of American artist Lockwood de Forest (1850–1932) in India, which was acquired by the Art Association of Indianapolis in 1915. The wall is a great example of the treasures contained in the IMA collection that can help advance interest in Asian art and culture in the United States.

“It is my hope that Amy Poster will guide the IMA in developing a long-term collecting plan for Indian and Southeast Asian art. Her extensive experience and vast network of contacts will also help us to build relationships with collectors and other institutions who may want to lend or donate works of art to the IMA,” said Kathryn Haigh, Deputy Director for Collections and Exhibitions. Poster served as part of the Brooklyn Museum’s Asian Art Department for more than 35 years and is recognized as an expert within the fields of Asian art and museum studies. She has organized several related special exhibitions, led many lectures, and has taught museum studies at New York University and the history of South Asian art at the Bard Graduate Center in the Decorative Arts. Her publications include Journey through Asia: Masterpieces of Asian Art in the Brooklyn Museum of Art (2003), Realms of Heroism: Indian Paintings in the Brooklyn Museum (1994), and From Indian Earth: 4,000 Years of Terracotta Art (1998).

Join Amy Poster on April 28 at 2 pm in DeBoest Lecture Hall for a talk about Lockwood de Forest, Indian arts, and the IMA.

Above: Amy Poster stands with pieces of the Lockwood de Forest wall.

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Celebrating

100

Years 2013 marks the centennial of the completion of Oldfields–Lilly House & Gardens, home to the Hugh McKennan Landon and Josiah Kirby (J.K.) Lilly Jr. families. The Oldfields estate reflects the major currents of the American Country Place Era (1890–1940) in its combination of architectural and landscape design, both of which will be highlighted during commemorative events taking place throughout the year. These special programs will include horticultural and landscape lectures and symposia, the Perennial Premiere plant sale, the Indianapolis Garden Club Flower Show, a classic auto show, and more. This remarkable property, which showcases the splendor enjoyed by the Lilly family and their guests in the 1930s, consists not only of the grand residence and beautifully tended gardens, but also the charming Madeline F. Elder Greenhouse and Shop, Newfield, and Garden Terrace satellite buildings—all situated on the extensive campus of the IMA. Tours of Lilly House as well as the gardens at Oldfields are free and open to the public.

Right: The Rapp Family Ravine Garden on the Oldfields estate, part of Percival Gallagher’s design for the Landons.

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Celebrating

100

Years

The Families of Oldfields

The Landons

Oldfields–Lilly House & Gardens served as a home to both the Hugh McKennan Landon and Josiah Kirby (J.K.) Lilly Jr. families over a span of six decades. Landon, a prominent Indianapolis businessman, banker, and humanitarian, moved his wife, Suzette Merrill Davis, and daughters Elizabeth, Alice, and Margaret to Oldfields from downtown in 1913. By the early 1910s, Landon had been working with the Manufacturers Natural Gas Company for two decades. He was ready for a partial retirement, allowing him to focus his energy on civic affairs and his new home, which offered a tranquil retreat from the dirt, noise, and industrialization that were inescapable within the city. Landon was well known for his extensive range of public service activities and commitment to the betterment of Indianapolis, exemplified by his position as a trustee of the Art Association of Indianapolis (the predecessor to the IMA), and perhaps most notably by his work as president of the James Whitcomb Riley Memorial Association, helping raise funds for the Riley Hospital for Children.

The Landons were an outgoing family—especially the daughters, who enjoyed parties, cutting and arranging flowers, playing with pets, walking along and fishing from the old Central Canal, and roaming the “old fields” that surrounded the house. All three daughters were married on the grounds, and the two youngest, Alice and Margaret, shared a double wedding to two men in the military who had attracted the girls’ attention by buzzing over Oldfields in their biplane. Hugh himself was remarried after the death of Suzette, to Jessie Spalding Walker in 1920. Hugh and Jessie maintained a life of travel and philanthropy. It was while vacationing in Maine that Jessie became enchanted by a naturalistic landscape designed by the Massachusetts-based Olmsted Brothers firm. She quickly wrote to entreat them to develop the grounds of Oldfields, hoping to successfully merge the architecture and gardens, thus bringing the property to its full development as a country estate.

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Left to right: Hugh Landon in his garden at Oldfields (detail), about 1920. IMA Archives. Suzette Merril Davis Landon with daughters Elizabeth (standing), Alice (left), and Margaret (detail), about 1910. Photograph courtesy of Mary Lyon Taylor Collection, Indiana Historical Society. J.K. Lilly Jr. in his library (detail), about 1935. Courtesy of Ruth Lilly. Ruth Brinkmeyer Lilly with her children, Ruth and Joe (detail), 1918. Courtesy of Ruth Lilly.

The Lillys

In the early 1930s, the nation was well in the grip of the Great Depression, and the American Country Place Era dwindled into its twilight. In 1932 Hugh Landon sold Oldfields to J.K. Lilly Jr., the vice president of Eli Lilly and Company, and a fellow philanthropist and collector. He was the grandson of Colonel Eli Lilly, founder of the booming pharmaceutical firm. Throughout his adulthood he continued the legacy set forth by his father and grandfather through his contributions to what is now one of the largest American charitable foundations: the Lilly Endowment, which supports cultural, educational, religious, and community endeavors both nationally and internationally, with a special focus on Indianapolis and Indiana. J.K. Jr. married Ruth Brinkmeyer in 1914, and they had two children, Ruth and Josiah Kirby III—both teenagers by the time the family bought the home from the Landons. With the fervor of new owners, the private couple undertook extensive renovations and expansions to make it more consistent with the style of their time, and to mold it to their own

interests and tastes. J.K. Jr. was an avid collector and fashioned some of the interior to accommodate this personal pursuit, which over time grew to include more than 20,000 rare books and 17,000 manuscripts, as well as stamps and coins. The Oldfields estate grew during the late 1950s and 1960s, as J.K. Lilly Jr. began to purchase six of the seven surrounding properties located in what was then known as the Town of Woodstock. In 1966 Ruth Lilly and J.K. Lilly III gave Oldfields to the Museum. Today, the Oldfields estate showcases the home and gardens as the Lillys and their guests would have known them in the 1930s.

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Celebrating

TEXT BY

BRADLEY BROOKS

100

DIRECTOR OF HISTORIC RESOURCES

An Accidental Preservationist: Oldfields–Lilly House & Gardens and the Evolution of the IMA’s Historic Properties

The offer of Oldfields–Lilly House & Gardens to the Art Association of Indianapolis as a site for a new museum building came at a time when the organization was considering leaving its long-time downtown location at 16th and Pennsylvania. As one might expect, the question of leaving the city for the new site at the intersection of Michigan Road and 38th Street (then Maple Road) was a matter of debate. The move carried other ramifications beyond the shift to a more suburban setting, however. The 1966 gift from J.K. Lilly III and his sister, Ruth, came with the provision that the Oldfields residence be maintained as a museum of decorative arts—a stipulation that suddenly put the Art Association in the business of historic preservation, even if it was not perceived exactly that way at the time. The Oldfields estate was just over 50 years old at the time the Art Association accepted it—a good deal newer than was generally considered eligible for the “historic” designation. Built to resemble a French chateau, the residence reflected contemporary American architecture’s nearobsession with mostly European historical styles. Although it was handsomely detailed and solidly constructed, the house was neither old in years nor innovative in design: just the sort of structure to pose a puzzle to an arts organization suddenly charged with its stewardship. The gift of Oldfields made the IMA an accidental preservationist. In preparation for the public opening of the house, soon to be

Years

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Left: Entrance to the formal garden, about 1934. IMA Archives. Above top: The Richard D. Wood Formal Garden on the Oldfields estate. Above bottom: Lilly House as seen from the allée designed by Percival Gallagher.

styled the Lilly Pavilion of Decorative Arts, the Museum made few initial changes to the Oldfields interiors. Some objects of a more obviously contemporary nature, such as floor coverings, were removed and others put in their place, while furniture was organized into period rooms to create settings of greater stylistic consistency and art historical interest. Over time, as the decorative arts collection grew in size and quality, the Oldfields interiors were treated more like galleries with regard to the arrangement of collections, creating a dissonant effect between the rooms and their contents. The house was clearly a domestic space, but the contents did not reflect domestic use. Visitors came interested in the families who lived there but received information only about objects. The meaning of the Oldfields gardens, like that of the residence, changed over time as the Museum sought the best use for the resource. Not surprisingly, in the early years not everyone agreed that care of the Oldfields gardens was an appropriate endeavor for an art museum. However, the Oldfields gardens attracted the interest and support of the IMA Horticultural Society, which was founded in 1972. In that year, the group was instrumental in saving Oldfields’ greenhouse complex, part of a group of outbuildings on the estate. The Horticultural Society also prompted the designation of the grounds as the Eli Lilly Botanical Garden. While the name indicated a growing appreciation of the gardens’ significance, presenting the domestic landscape of Oldfields as a botanical garden placed emphasis on individual plants at the expense of their larger context— echoing the shift that had taken place inside the house. Oldfields’ own cultural context became much clearer with new scholarship on the American Country Place Era. The year 1990 saw the publication of The American Country House by Roger Moss and The Architect and the American Country House by Mark Alan Hewitt, which explored the history of great houses and described the impulse of many wealthy Americans in the late 19th and early 20th centuries to build expansive estates of the outskirts of growing cities. Books like these encouraged a new perspective on Oldfields one that understood the estate in its entirety, as it was created and used by those who built and lived in it. At this point, momentum toward a reinterpretation of Oldfields was building. Following an extensive restoration that lasted from 1998 to 2002, Oldfields reopened as the Country Place Era estate of J.K. Lilly Jr. The house was once again presented as a home and the landscape as the garden that residents and guests would have enjoyed. Embracing the property’s whole history with the reopening of Oldfields–Lilly House & Gardens, the IMA marked the end of its evolution from accidental to intentional preservationist. Almost exactly five years after Oldfields’ reopening, the IMA received an invitation to participate in discussions concerning the disposition of the J. Irwin Miller residence in Columbus, Indiana. The Museum took ownership of the Miller House and Garden in 2009 and, with the help of the Columbus Area Visitors Center, opened it to the public in 2011. The experience that Oldfields had provided over the previous 45 years was invaluable in shaping the Museum’s approach to both the Miller collections and to the interpretation of a house and garden masterfully designed and integrated by Eero Saarinen, Dan Kiley, and Alexander Girard. Here was a masterpiece that the IMA could accept not only with pride and deep gratitude, but also with full confidence because of the institutional maturity that it had gained from preserving Oldfields.

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Celebrating

TEXT BY

LYNNE S. HABIG

100

GREENHOUSE SHOP COORDINATOR

Madeline F. Elder Greenhouse: Through the Years

Originally, the Oldfields estate was divided into three distinct areas: public grounds designed to be viewed by passersby; private grounds to be used by the family and guests; and a service area, hidden from view, used to meet mundane needs like hanging out wash, storing woodpiles, and food production. In the American Country Place Era (1890–1940), it was common for large estates to assume an air of self-sufficiency, as well as a stately aesthetic. Oldfields was no different. The service areas had a “home farm” feel, with hothouses, vegetable gardens, an orchard, cows, and a hennery.

Years

SUE NORD PEIFFER

GREENHOUSE MANAGER

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The Landon Era The Landon family’s construction of the original greenhouse, then called the hothouses, likely dates to between 1908 and 1911, with part of the greenhouse complex appearing on a 1921 landscape plan. The hothouses provided flowers and vegetables for the family throughout the year. A florist was employed to provide floral arrangements for the house. A notable feature of the structure was a charming cupola that served to vent heat from the building. Surrounding the greenhouse were extensive flower, vegetable, and small fruit gardens. It was during the Landon era that the prestigious Olmsted Brothers firm was hired to design the extensive landscaping


on the estate. Letters show that the greenhouse was in great use during this time. A tall hedge was planted to screen this service area from the house’s view.

The Lilly Era When the J.K. Lilly Jr. family purchased Oldfields, they continued using the greenhouses to supply plants for the gardens and flowers for the house. In a 1947 letter to Lord & Burnham greenhouse manufacturers, Lilly inquired about rebuilding the glasshouses at Oldfields because they were in such a state of disrepair. The company assured him that it would be happy to assist, but the project would be delayed due to a post-war pipe shortage. The project eventually moved ahead with new glasshouses built on the Landon-era footprint. Lilly opted for a different “Estate Style” design, and the hip roof and cupola were lost. The four houses were constructed of similar materials: steel, cast iron, and old-growth cypress wood. For unknown reasons, another greenhouse structure was built in the mid-1960s. Its modern design incorporated an aluminum frame but followed the same curve profile as the older houses.

The Museum Era In 1972 the IMA’s Horticultural Society was founded by a dynamic group of people, including Madeline Fortune Elder and Irving Springer, to help develop and promote appreciation of the Museum’s greenhouse and grounds. Elder is credited with saving the greenhouse from destruction through her words and deeds. She rallied volunteers and friends to fill the glasshouses with donated plants, including orchids from the collection of Walter Marmon, and to manage a small shop. She even propagated African violets in her basement for sale at the greenhouse. Elder quietly established an endowment to be used strictly for the ongoing operation of the greenhouse. Eventually there was enough need to hire a paid greenhouse manager who worked with a small, dedicated group of volunteers. Upon her passing in 1992, the Museum wished to celebrate the many contributions made by Elder and set out to designate the greenhouse in her name. Architect James McQuiston was commissioned to design a new, larger retail space while preserving the historical glasshouses. This led to the construction of a new retail shop, potting area, offices, and enhanced outdoor sales space. In 1995 the complex was dedicated to honor the generosity of Elder and

her family by renaming it the Madeline F. Elder Greenhouse. Elder’s endowment continues to provide for dedicated upkeep today. With the generous support of the Elder family, renovation work began on the glasshouses in 2007. The challenge was to make updates that were sympathetic to historical charm while helping the greenhouse to be more safe, energy efficient, and visitor friendly. The Madeline F. Elder Greenhouse continues to be a vibrant and important part of the Indianapolis horticultural community while honoring its history as part of the Oldfields estate. The simple original objective of supplying flowers and food to the gardens and home has evolved. Today the greenhouse serves many roles for retail and outreach with sales that financially support Museum activities.

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Madeline F. Elder Greenhouse hours: February & March Tue–Sat: 11 am–5 pm Sun: noon–5 pm April–December Tue, Wed, Sat: 11 am–5 pm Thur–Fri: 11 am–8 pm Sun: noon–5 pm Far left: Greenhouses and gardens provided flowers, fruits, and vegetables for the Landons and the Lillys, 1930s photograph. IMA Archives. Left and Above: The Madeline F. Elder Greenhouse on the Oldfields estate.


Celebrating

100

TEXT BY

CHAD FRANER

DIRECTOR OF HORTICULTURE

Years Oldfields–Lilly House & Gardens is an example of the American Country Place Era of the late 1800s and early 1900s. The rationale of this landscape and architectural style—made famous by the Vanderbilts’ Biltmore Estate in Asheville, North Carolina—was to develop a retreat for the wealthy away from the hassles of the city. As such, these residences were designed to have all of the facilities necessary to be self-sufficient. The amenities of an estate in this era were often extravagant and grand but also utilitarian in nature. Root cellars have been used for centuries to extend the shelf life of fruits and vegetables. The basic premise of a root cellar is to eliminate exposure to light and to slow the ripening process by placing produce in a consistently cool place. These structures were once invaluable to farmers as they kept crops from spoiling and preserved nutrient-rich vegetables into the winter months. Most were dug with a narrow opening into a hillside; the space would keep a constant ground temperature of about 55 degrees. When refrigeration became a common feature in most households, families abandoned the storing of food in root cellars. While very few visitors have seen it, Oldfields boasts its own root cellar located in the hillside just behind the greenhouse. Surprisingly large, this 20 by 30–foot space has concrete walls and a dirt floor. The Landon and Lilly families stored food in the space and also used it for the preservation of tubers and bulbs during the cold winter. The archives include correspondence mentioning gardeners from surrounding estates trying to one-up each other by boasting about the latest and greatest dahlia, or forcing the newest variety of tulips in the winter. On the concrete supports, one can still find pencil marks labeling the variety of bulbs that were forced for the 1959 season.

Behind the Scenes: The Root Cellar A root cellar’s cool, constant temperature is ideal for storing bulbs and extending the life of produce after harvest.

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Centennial Celebration Events For detailed information on events or to purchase tickets, please visit imamuseum.org P: Public / M: IMA Members / S: Students

Emily N. Daniels Horticultural Symposium: Shade Savvy Thursday, February 14 / 7:30 am–4:30 pm / P $100, IMA HortSoc members $90, S $75 / The Toby The IMA’s day-long Horticulture Symposium will bring together regional and national experts to discuss the challenges and joys of growing plants in the shade. Suitable for the novice gardener as well as the professional designer, topics will include: plant selection ranging from ephemeral and herbaceous to woody, design aspects, and comparison of native species and non-native cultivars. Featured speakers will be Brian Jorg from the Cincinnati Zoo, Dan Benarcik from Chanticleer, Gene Bush of Munchkin Nursery & Gardens, LLC, Karen Perkins of Garden Vision Epimediums, and Paul Cappiello from Yew Dell Botanical Gardens. To learn more about our featured speakers and their presentations, visit imamuseum.org. Event presented by the IMA’s Division of Environmental & Historic Preservation with additional support from the IMA Horticultural Society. Horticultural Society Lecture & Tea Sunday, March 10 / 2 pm / IMA Horticultural Society members Free, P $5 (pay at the door for tea reception) / The Toby (Tea will be held at Garden Terrace) Mark Zelonis will highlight the visit made by Horticultural Society and IMA Council members in May 2012 to northern Italy. Examining the tradition of art, architecture, and horticulture dating from Roman times in this picturesque region of Italy, the presentation will feature Renaissance, Baroque, and contemporary gardens on lakeshores with mountain backdrops, in the lush countryside, and in the historic cities of Verona and Venice.

Indianapolis Garden Club Flower Show–Les Belles Fleurs Saturday, April 27 / 11 am–5 pm and Sunday, 28 / noon–5 pm / Free / Deer Zink Events Pavilion The Indianapolis Garden Club in collaboration with the Indianapolis Museum of Art Horticultural Society will present Les Belles Fleurs, a Garden Club of America flower show in April. The 2013 two-day special event celebrates the 100th anniversary of the Garden Club of America and Oldfields–Lilly House & Gardens. The New York Times best-selling author, Amy Stewart, will give a presentation inspired by her book, Flower Confidential, at 2 pm on Saturday in The Toby. A book signing will occur afterwards. National Public Gardens Day Friday, May 10 / noon–4 pm / Madeline F. Elder Greenhouse The fifth annual National Public Gardens Day is a national day of celebration that invites communities to explore the beauty of their local green spaces while raising awareness of the important role public gardens play in promoting conservation, education, and environmental preservation. Celebrate the day by visiting the IMA’s gardens and grounds. Drop by the Greenhouse parking lot to receive a fresh bundle of lettuce grown at the IMA, as well as a packet of seed to start your own garden (while supplies last). Enjoy Polishing a Gem: Restoring Oldfields’ Country Place Era Landscape, a talk by Mark Zelonis, Ruth Lilly Deputy Director of Environmental & Historic Preservation, at 2 pm in DeBoest Lecture Hall. Zelonis will discuss the history of the Oldfields landscape and how his division upholds the historic integrity of this important property. Afterward, join IMA horticulturists on a guided tour of the Olmsted-designed gardens. Oldfields Classic Auto Show Sunday, June 16 / noon–5 pm / Free / Oldfields–Lilly House & Gardens Bring the family and travel back in time at the Oldfields Classic Auto Show. Commemorating the Oldfields–Lilly House & Gardens Centennial, all of the featured historic vehicles are from the era of the Landon and Lilly families. Enjoy live music and special tours of the estate during this summer celebration.

“No Mean City”: Indianapolis in the Early Twentieth Century Sunday, April 7 / 2 pm / Free / The Toby On July 27, 1909, at the laying of the cornerstone for the new Indianapolis City Hall, Mayor Charles Bookwalter proudly pointed to a motto engraved in the cornerstone that read: “I am, myself, a citizen of no mean city.” In the years to come, said Bookwalter, nobody would pass by and read the motto “without feeling a responsibility for good citizenship in this city of ours.” Indiana author and historian Ray E. Boomhower will examine the phenomenal growth and change in Indianapolis at the turn of the 20th century. From a swampy hamlet whose citizens, as Meredith Nicholson noted, spent much of their time “shaking with the ague,” the capital city had been crowned with impressive skyscrapers and bustled with business activity, especially in the automotive and pharmaceutical industries. This growth sparked creativity in the arts, including splendid achievements in literature, architecture, and recreation. Boomhower is senior editor at the Indiana Historical Society Press, where he has worked since 1987. He is the author of numerous books on Indiana history, including biographies of such notable Hoosiers as Ernie Pyle, Gus Grissom, Lew Wallace, May Wright Sewall, and Juliet Strauss.

Library of American Landscape History Modern Landscape Design Series Conference September 28–29 / The Toby Join nationally recognized speakers discussing seven of the major designers of the 20th century. Also included with the conference are tours of Oldfields–Lilly House & Garden and Miller House and Garden. Christmas at Lilly House November 9, 2013–January 5, 2014 / Free / Lilly House American Christmas decorations demonstrate both continuity and change in delightful combination from colonial times to the present. In celebration of the centennial, this year’s Christmas at Lilly House will explore the decorative ideas of the 1910s and 1920s, offering an opportunity to see the ways that familiar motifs such as trees, wreaths, and evergreens were enlivened with touches from the first decades of the 20th century.

Perennial Premiere April 20–21 / Free / Madeline F. Elder Greenhouse See page 7 for details.

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Exhibitions

Ai Weiwei: According to What? April 5–July 21 / $12 Adults, $6 Children 12 and younger, Free for IMA members/ Allen Whitehill Clowes Special Exhibition Gallery / Floor 2 See pages 8–14 for details.

Spencer Finch: Following Nature February 1 – August 25 / Free / Efroymson Family Entrance Pavilion / Floor 1 Brooklyn-based artist Spencer Finch creates mixed-media installations, photographs, and drawings that explore the limits of perception. Bringing together a scientific approach with a nuanced sense of poetics, Finch’s works call attention to various phenomena of the natural world through his investigations of light and color. Finch’s new installation for the IMA’s Efroymson Family Entrance Pavilion, Following Nature, is composed of an array of nearly 200 panels of glass suspended from the Pavilion’s ceiling, as a reinterpretation of Claude Monet’s iconic water garden in Giverny, France. Support provided by a grant from the Efroymson Family Fund, a fund of Central Indiana Community Foundation.

Top: Ito Shinsui ដᴖᱡ, Cotton Kimono ࠔߙ߭(yukata) (detail), 1922 from the series Twelve Figures of New Beauties ᳼ᦀ‵ᴜ (Shin bijin juni sugata), color woodblock print, 17 1/8 x 10 1/2 in. Anonymous Loan; Lower left: Karl Haendel, Diamond #2 (detail), 2009, pencil on paper, 90 x 66 in. Courtesy of Beth Rudin De Woody;Lower right: Kuna Indians, shirt panel (mola) (detail), about 1950s, appliquéd cotton.The Paul and Irene Hollister Collection of Kuna molas, 2008.521

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Gabor Peterdi

Timeless Beauty

Graphite

Through October 13 / Free / Susan and Charles Golden Gallery / Floor 2

Through May 5 / Free / Frances Parker Appel Gallery / Floor 3

Through April 7 / Free / McCormack Forefront Galleries / Floor 4

This exhibition of 31 prints from the permanent collection features the work of master printmaker Gabor Peterdi (1915–2001). After beginning his career at Stanley William Hayter’s trendsetting Atelier 17 in Paris in 1934, he immigrated to New York at the onset of World War II and settled in the US permanently, teaching first at Brooklyn Museum School of Art and then, until the end of his active life, at Yale. His independent prints are known for his mastery of complex intaglio techniques to create images that lie between abstraction and a surrealist investigation of the inner forces of nature. The Museum’s collection spans most of Peterdi’s career, and while the first prints were collected in the 1960s, most of the rest have been given over the past 20 years by Dr. Steven Conant.

“Timeless” can refer to something that is not restricted to a particular time period or age. It also describes things that are enduring, ageless, and unaffected by time. This exhibition looks at the Japanese genre called bijinga, or pictures of female beauties, from both vantage points, using prints from the last three decades of the 18th century through modern times. On one hand it allows one to compare which aspects artists from different periods seized upon as markers of feminine grace and attractiveness. On the other, it includes prints that have been damaged over time but that still retain appreciable elements of beauty.

A form of carbon, graphite is a naturally occurring mineral as well as a synthetic, industrial product that can be processed in specific ways. This exhibition offers an incisive glimpse into recent and innovative uses of the material, bringing together recent artworks that reveal the graphite’s potential to take a variety of forms— it can be machined or carved, used as a powder or a liquid, in stick or pencil form—and yield a wide range of visual effects. Evanescent or dense, luminous or infinitely dark—graphite lends itself to investigations of abstract form and elaborate illusionistic rendering, as well as engagements of the material toward conceptual ends. The sculpture, installation, and drawing included in Graphite constitute an open-ended interrogation of a medium, revealing the material’s multifarious identity and extraordinary ability to point to complex ideas.

William Hogarth: The Painter of Comic History Through June 2 / Free / The Steven Conant Galleries in Memory of Mrs. H.L. Conant / Floor 2 William Hogarth (1697–1764) was born in London and rarely strayed beyond its precincts. Overcrowded with a million people, London provided a limitless source of subjects for his observant eye and sharp wit. His print cycles, including A Harlot’s Progress, A Rake’s Progress, and Marriage à la Mode, made Hogarth the artistic corollary of his contemporary literary satirists, Henry Fielding and Jonathan Swift. Drawn from the IMA’s permanent collection, this exhibition looks at 57 works produced by Hogarth over the course of 40 years.

Lauren Zoll: Something is Through April 14 / Free / Carmen & Mark Holeman Gallery / Floor 4 Something is features a newly commissioned body of work by Indianapolis-based emerging artist Lauren Zoll that explores the intersections of painting and video. Numerous large-scale paintings, videos, and a collage affixed directly to the gallery wall form an immersive and variable installation in the Carmen & Mark Holeman Gallery. Something is proposes an open-ended investigation— the title itself is the start of a phrase to be completed by exhibition visitors as they interpret the changing and foreign environment of the installation within the gallery.

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MOLA: Kuna Needle Arts from the San Blas Islands, Panama Through April 28, 2013 / Free / Alliance Gallery / Floor 2 In 2008, a collection of more than 350 molas was donated to the IMA by Irene Hollister, whose late husband, Paul Hollister—a writer, lecturer, painter, and photographer— collected them in the 1960s and 1970s. The molas represent the textile arts of the Kuna Indians, the indigenous people of Panama and Colombia. The Kuna are famous for these bright, colorful, and meticulously appliquéd textiles, which adorn the fronts and backs of women’s blouses. A selection of about 50 of the finest molas from the Museum’s collection will be displayed in the exhibition.


Calendar of Events

For detailed information on events or to purchase tickets, please visit imamuseum.org Assistive 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

TOURS DAILY TOURS Collection Tours Offered daily. Visit imamuseum.org for more information. FRIDAY TOURS Meditation Hikes 5:30 pm / Meet at Efroymson Family Entrance Pavilion Lilly House Tours (Beginning April 1) 2–3 pm / Meet in the Lilly House lobby SATURDAY/SUNDAY TOURS Garden Walks (Beginning April 1) 1 pm / Meet at Lilly House Lilly House Tours (Beginning April 1) 2–3 pm / Meet in the Lilly House lobby

FEBRUARY 01 FRI Film / Winter Nights: Apocalypse Now (1979) / The Toby / 7 pm / $9 P, $5 M

06 WED Family Activity / wee Wednesdays / Star Studio Classroom / 11 am–noon / $5 P, $3 M

21 THR Special Event / JACK Quartet / The Toby / 7:30 pm / $30 P, $25 M, $10 Students 19–25, $5 Children 18 and under

06 WED Family Activity / wee Wednesdays / Star Studio Classroom / 11 am–noon / $5 P, $3 M

07 THR Film / Art History on Film: Views on Vermeer (2010) / The Toby / 7 pm / $5 P, $3 M

22 FRI Talk / Final Fridays Member-Only Talk: The Man Behind LOVE / DeBoest Lecture Hall / 6 pm / Free (Members only)

07 THR Special Event / Thursday Night Book Club: Things Fall Apart by Chinua Achebe (1958) / African Galleries / 6:30 pm / Free

Special Event / Thursday Night Book Club: The Hours by Michael Cunningham (1998) / American Galleries / 6:30 pm / Free 08 FRI Film / Winter Nights: 2001: A Space Odyssey (1968) / The Toby / 7 pm / $9 P, $5 M 09 SAT Family Activity / Make-and-Take: Abstract Attack / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Center / 1:30 and 2:30 pm / Free Family Activity / Hold It! / African Galleries / 1:30–3:30 pm / Free 10 SUN Family Activity / Meet the Artist: From Silk to Paper / Star Studio Classroom / 1 & 3 pm / Free (RSVP required) Film / Winter Nights: 2001: A Space Odyssey (1968) / The Toby / 2 pm / $9 P, $5 M 14 THR Special Event / Emily N. Daniels Horticulture Symposium: Shade Savvy / The Toby / 7:30 am–4:40 pm / $100 P, $90 Horticultural Society members, $75 S

02 SAT Special Event / Member Morning: Abstract Attack / Star Studio Classroom / 10–11 am / Free (Members only, RSVP required)

15 FRI Film / Winter Nights: Top Hat (1935) with introduction by Cathy Whitlock / The Toby / 7 pm / $9 P, $5 M

Family Activity / Make-and-Take: Abstract Attack / Star Studio Classroom / 12–4 pm / Free

16 SAT Family Activity / Make-and-Take: Abstract Attack / Star Studio Classroom / 12–4 pm / Free

03 SUN Family Activity / Meet the Artist: From Silk to Paper / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

Special Event / Final Fridays / IMA Galleries / 6:30–11 pm / Free Film / Winter Nights: The Night of the Hunter (1955) / The Toby / 7 pm / $9 P, $5 M 23 SAT Family Activity / Make-and-Take: Abstract Attack / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Center / 1:30 and 2:30 pm / Free Family Activity / Hold It! / African Galleries / 1:30–3:30 pm / Free 24 SUN Family Activity / Meet the Artist: From Silk to Paper / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

08 FRI Film / AAS Film Series: In the Mood for Love (2000) / The Toby / 7 pm / $9 P, $5 M, Free AAS Members 09 SAT Family Activity / Make-and-Take: Dot, Dot, Dot / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Center / 1:30 and 2:30 pm / Free Family Activity / Hold It! / Asian Galleries / 1:30–3:30 pm / Free 10 SUN Family Activity / Meet the Artist: Felt-Making / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

MARCH

Special Event / Horticulture Society Lecture and Tea / The Toby with tea at Garden Terrace / 2 pm / $5 P for tea, Free Horticulture Society Members

01 FRI Film / AAS Film Series: My Beautiful Launderette (1985) / The Toby / 7 pm / $9 P, $5 M, Free AAS Members

15 FRI Film / AAS Film Series: Lost in Translation (2003) / The Toby / 7 pm / $9 P, $5 M, Free AAS Members

02 SAT Special Event / Member Morning: Dot, Dot, Dot / Star Studio Classroom / 10–11 am / Free (Members only, RSVP required)

16 SAT Family Activity / Make-and-Take: Dot, Dot, Dot / Star Studio Classroom / 12–4 pm / Free

Family Activity / Make-and-Take: Dot, Dot, Dot / Star Studio Classroom / 12–4 pm / Free 03 SUN Family Activity / Meet the Artist: Felt-Making / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

17 SUN Family Activity / Meet the Artist: From Silk to Paper / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

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17 SUN Family Activity / Meet the Artist: Felt-Making / Star Studio Classroom / 1 & 3 pm / Free (RSVP required) 22 FRI Film / Silent Film Series: Sanguivorous (2011) featuring live accompaniment by Tatsuya Nakatani / The Toby / 7 pm / $5 P, $3 M


23 SAT Family Activity / Make-and-Take: Dot, Dot, Dot / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Center / 1:30 and 2:30 pm / Free Family Activity / Hold It! / Asian Galleries / 1:30–3:30 pm / Free Special Event / Spring Equinox / The Virginia B. Fairbanks Art & Nature Park / 11 am–5 pm / Free 24 SUN Special Event / Spring Equinox / The Virginia B. Fairbanks Art & Nature Park/ 12–5 pm / Free Family Activity / Meet the Artist: Felt-Making / Star Studio Classroom / 1 & 3 pm / Free (RSVP required) 28 THR Talk / Michael Graves Reception and Lecture / Deer Zink Events Pavilion / Reception 5 pm, Lecture 6 pm / $100 29 FRI Talk / Final Fridays Member Only Talk: Shutter Speed / DeBoest Lecture Hall / 6 pm / Free (Members only) Special Event / Final Fridays / IMA Galleries / 6:30–11 pm / Free Film / Silent Film Series: Sparrows (1926) with introduction by Christel Schmidt / The Toby / 7 pm / $5 P, $3 M 30 SAT Family Activity / Make-and-Take: Dot, Dot, Dot / Star Studio Classroom / 12–4 pm / Free 31 SUN Family Activity / Meet the Artist: Felt-Making / Star Studio Classroom / 1 & 3 pm / Free (RSVP required)

APRIL 03 WED Family Activity / wee Wednesdays / Star Studio Classroom / 11 am–noon / $5 P, $3 M 04 THR Talk / Ai Weiwei: According to What? / The Toby / 6:30 pm / Free Special Event / Ai Weiwei: According to What? Opening Reception / Pulliam Family Great Hall / Following Talk / $35 P, $25 M, Free for IMA Council members (price includes talk, exhibition opening, and refreshments; RSVP required) 05 FRI Film / Silent Film Series: The Matrimaniac (1916) & The Missing Millionaire (1917) / The Toby / 7 pm / $5 P, $3 M 06 SAT Special Event / Member Morning: “Architecting” Origami / Star Studio Classroom / 10–11 am / Free (Members only; RSVP required) Family Activity / Make-and-Take: “Architecting” Origami / Star Studio Classroom / 12–4 pm / Free 07 SUN Family Activity / Art in the Park: Spring Up! / Ruth Lilly Visitors Pavilion, The Virginia B. Fairbanks Art & Nature Park / 1–4 pm / Free Talk / Indianapolis in the Early 20th Century / The Toby / 6:30 pm / Free 11 THR Talk / Beyond Gorgeous: The Work of Alexander Girard / The Toby / 7 pm / Free Special Event / Thursday Night Book Club: Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006–2009 by Ai Weiwei, 2011 / Allen Whitehill Clowes Special Exhibition Gallery / 6:30 pm / $12 P (includes exhibition admission), Free M

12 FRI Film / Silent Film Series: So’s Your Old Man (1926) & You’re Telling Me! (1934) / The Toby / 7 pm / $5 P, $3 M 13 SAT Family Activity / Make-and-Take: “Architecting” Origami / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Center / 1:30 and 2:30 pm / Free Family Activity / Hold It! / Clowes Courtyard / 1:30–3:30 pm / Free 14 SUN Family Activity / Art in the Park: Spring Up! / Ruth Lilly Visitors Pavilion, The Virginia B. Fairbanks Art & Nature Park / 1–4 pm / Free 19 FRI Special Event / Silent Film Series: Show People (1928) with live orchestral accompaniment by the Indianapolis Chamber Orchestra / The Toby / 7:30 pm / $30 P, $25 M, $12 S 20 SAT Special Event / Perennial Premiere / Madeline F. Elder Greenhouse / 9–11 am member preview, 11 am–5 pm open to public / Free Family Activity / Make-and-Take: “Architecting” Origami / Star Studio Classroom / 12–4 pm / Free

25 THR Film / Planet Indy: Eating Alabama (2012) / The Toby / 7 pm / $9 P, $5 M 26 FRI Talk / Final Fridays Member Only Talk: CSI: Indianapolis / DeBoest Lecture Hall / 6 pm / Free (Members only) Special Event / Final Fridays / IMA Galleries / 6:30–11 pm / Free Film / Ghosts with Shit Jobs (2012) / The Toby / 7 pm / $5 P, $3 M 27 SAT Family Activity / Make-and-Take: “Architecting” Origami / Star Studio Classroom / 12–4 pm / Free Family Activity / Family Tour / Welcome Desk / 1:30 and 2:30 pm / Free Family Activity / Hold It! / Clowes Courtyard / 1:30–3:30 pm / Free Special Event / Stargazing: Saturn at Opposition / The Virginia B. Fairbanks Art & Nature Park / 9 pm / Free 28 SUN Family Activity / Art in the Park: Spring Up! / Ruth Lilly Visitors Pavilion, The Virginia B. Fairbanks Art & Nature Park / 1–4 pm / Free Talk / “Portal to Asia: Lockwood de Forest, Indian Arts, and the IMA” with Amy Poster / DeBoest Lecture Hall / 2 pm / Free

Film / Campecine Film Festival / DeBoest Lecture Hall / 2–4 pm / Free 21 SUN Family Activity / Art in the Park: Spring Up! / Ruth Lilly Visitors Pavilion, The Virginia B. Fairbanks Art & Nature Park / 1–4 pm / Free

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Public programs and opening celebration for Ai Weiwei: According to What? are sponsored by Barnes & Thornburg LLP.


Recent Events

Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture Opening

Project IMA, sponsored by Macy’s. Support provided by George & Farinas, LLP.

Community Day

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Fall Equinox: Hungry Ghosts

To see more images of programs at the IMA, visit flickr.com/imaitsmyart

CAS 50th Anniversary Presenting Sponsors:

A Buckingham Development

In-Kind Support provided by Antique Helper, Crown Liquors, and the Empty Vase.

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WE’VE HEARD YOU! NEW MEMBER PROGRAMS IN 2013 The IMA has been talking to visitors and members for the past few months to find out what it is that you want to experience at the Museum. In response to your feedback, the IMA will be launching several new events series in 2013 that will take the place of Member Nights. Through these programs, members will have access to opportunities and activities that your whole family will enjoy. LIVE MUSIC / BEHIND-THE-SCENES ACCESS / ART MAKING / GAMES / SUNSET BAR

THURSDAY NIGHT BOOK CLUB February 7, March 7, and April 11 / 6:30–7:30 pm / IMA Galleries Explore art from an author’s fresh perspective in the unique setting of the IMA’s galleries. Each selected reading was chosen by librarians from the Indianapolis Public Library. The book club starts with a short tour of the related exhibition, followed by conversation facilitated by IMA staff. Grab dinner before or after the discussion in Nourish Café. To register, call 923-1331 x206 and make sure to say that you are an IMA member!

FINAL FRIDAYS The final Friday of each month / 6:30–11 pm / IMA Galleries Unwind at the IMA with extended evening hours every final Friday of the month. Begin your evening at the Sunset Bar in the Floor 4 contemporary art galleries (one of the most amazing views in town). Then choose from a variety of experiences throughout the IMA galleries: take a slightly naughty gallery tour, do museum label “Mad-Libs,” and contribute to a group art-making project. Each Final Friday will also include a special members-only talk or tour! Musical selections for Final Fridays will be curated by Kyle Long.

MEMBER MORNINGS The first Saturday of each month (Beginning February 2) / 10–11 am / Star Studio New in 2013, members can visit the IMA before the Museum opens to the public one Saturday each month for art-making fun, followed by an adventure in the galleries with a themed Art Search and Find guide. All ages are welcome! In February: take a special tour of the exhibition Graphite and create an abstract drawing with “Abstract Attack.”

Visit imamuseum.org/support/member-programs to find out more about these upcoming events.

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About the IMA

ADMISSION

HOURS

DINING

FACILITY RENTAL

General admission is free.

Museum Tue, Wed, Sat: 11 am–5 pm Thur, Fri: 11 am–9 pm Sun: noon–5 pm

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

The IMA offers a variety of spaces to rent—perfect for any occasion from cocktail parties to weddings to business conferences.

Lilly House Open April through December, all Museum hours except closes Thur & Fri at 5 pm.

SHOPPING

For more information: imamuseum.org/special-events or 317-923-1331, ext. 419

Featured Exhibition: Ai Weiwei: According to What? ($12 Public, $6 children 7–17, Free for members and children 6 and under); 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 the parking garage. By IndyGo Bus From downtown Indianapolis: #38 Lafayette Square From Michigan Road: #34 North or South Visit indygo.net/tripplanner to plan your trip. Parking Main lot and Garage: Members Free, Public $5; Outlots: Free

Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day. The Virgina B. Fairbanks Art & Nature Park, Gardens, and Grounds Open daily from dawn to dusk. TOURS The IMA offers free public tours of its galleries, The Virginia B. Fairbanks Art & Nature Park, Lilly House, and gardens. For a complete schedule, including tour themes, visit imamuseum.org. ACCESSIBILITY The IMA strives to be accessible to all visitors. âThe Museum building and Lilly House are accessible for wheelchair users. âOpen captioning is available on in-gallery videos; closed captioning available with select public programs. ⇇m‡‹m‘Xum‡‹XxmxkVX‘mSX‡A†X available for all public tours and Toby events. â1 mx‹X†ƒ†X‹A‹mzx‡VŒ†mxk‡XuXS‹ public programs and tours or by request. Call 317-923-1331 at least three weeks prior to event. â1X†‘mSXAxmwAu‡’XuSzwXÁ âAwmu”†X‡‹†zzw‡AxVxŒ†‡mxk mothers room available.

Museum Store Books, jewelry, and museuminspired merchandise. 317-923-1331, ext. 281 Madeline F. Elder Greenhouse Rare and choice plants, gardening supplies, and gifts. Museum hours except January–March closes Thur & Fri at 5 pm, 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 pm Thur: 2–8 pm and by appointment Horticultural Society Library Non-circulating collection of books and videos on gardening and related topics, open to the public. Located at Newfield. 317-923-1331, ext. 429

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. 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

Tue, Wed, Sat: noon–3 pm

For more information: imamuseum.org/connect/accessibility or 317-923-1331.

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

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

NON-PROFIT ORG U.S. POSTAGE

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INDIANAPOLIS, IN PERMIT #2200

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Spring 2013 Magazine