PREVIEWS N e w s a n d E v en t s f o r M em b ers o f t h e I M A
Live OPENING JULY 13
EGYPTIAN TREASURES FROM THE BROOKLYN MUSEUM
FROM THE DIRECTOR It’s about time. This summer visitors to the Indianapolis Museum of Art will have the chance to delve into how art can be experienced over time, how it can stop time and how it can rise to be timeless. We start with a lively provocation—the staging of On Procession. This multi-part exhibition, which takes place in the Forefront galleries as well as in the streets of Indianapolis, recalls the multiple ways of experiencing art before the invention of the modern museum in the nineteenth century. Art was seen in homes, cathedrals, palaces, as clothing and on streets. To this day throughout the world, people of different faiths stage parades of sacred objects in ritualistic observance of the power of imagery. On Procession, with its art parade and other community engagements, is a secular version of the traditional procession, and one that will urge us to rethink the sterile, climate-controlled environment as the only one befitting artistic experiences. To Live Forever: Egyptian Treasures from the Brooklyn Museum will connect our audiences with a long-lost civilization whose people spent much of their imaginative powers trying to game the system, to insure that death was nothing more than a passage into the afterlife. The results are wonderful objects, but were made with the intention of accompanying one into a fulfilling next chapter. So much energy was devoted to this proposition that we end up with an image of ancient Egypt as death-obsessed. Yet the combination of funerary sculpture and applied art objects make a stronger case that Pharaonic Egypt was a fertile and life-affirming place, diligent, religiously observant and filled with remarkably talented artisans. Finally, we will open an exhibition that explores 1950s America through two lenses that the sanitized pop culture image fails to convey. One speaks through the writing of celebrated author Jack Kerouac, and one looks through the camera of Robert Frank in the exhibition On the Road Again with Jack Kerouac and Robert Frank. The centerpiece of the exhibition is the 120-foot-long original typescript for Kerouac’s 1957 personal odyssey that remains compelling for young people who strive to differentiate themselves from their parents’ generation. With 83 photographs of his own pilgrimage, Frank captures an unedited urban and rural America that appears to be apart from the mass media picture of the Eisenhower era. In addition to these three remarkable art experiences, we will be marking time in our gardens with Egyptian heirloom plants, exploring how social media via the Internet can create community, and through many other offerings throughout the IMA campus. As we gear up for a spectacular 125th birthday autumn, we hope to see you often during what promises to be a memorable summer!
Maxwell L. Anderson The Melvin & Bren Simon Director and CEO
Keep an eye out for fun facts from the IMA throughout Previews as we continue our 125th Anniversary year of celebration and commemoration!
ON THE ROAD AGAIN WITH JACK KEROUAC AND ROBERT FRANK
C L A S S P I C T U R E S : P H OT O G R A P H S B Y D AW O U D B E Y
P O W E R A N D G LO R Y: CO U R T A R T S O F C H I N A’ S M I N G DY N A S T Y
Be h i n d t he Sc e n e s : s u m m e r n i g h t s
ON THE COVER: Ancestral Bust of a Woman about 1336–1279 B.C. Limestone, painted 10 1/4 x 6 1/8 x 3 3/4 in. Charles Edwin Wilbour Fund
TO LIVE FOREVER: EGYPTIAN TREASURES F R O M T H E B R O O K LY N M U S E U M
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T E CHNO LOG Y: s o c i a l m e d i a
IN TH E GARD E NS : u n co v e r a s a c r e d s u m m e r
A F F I L AT E E V E NTS
IMA E V E NTS
IN F ORMATION
In 1911, Frederic Alan Whiting became the second director of the Museum. He left within one year to become the founding director of the Cleveland Museum of Art. REVERSE
July 13–September 7 Clowes Gallery in Wood Pavilion
EGYPTIAN TREASURES FROM THE BROOKLYN MUSEUM
Sunk Relief of Queen Neferu From the tomb of Queen Nerferu, Thebes, Egypt about 2008–1957 B.C. Limestone, painted 7 1/2 x 9 5/16 x 3/4 in. Charles Edwin Wilbour Fund
The afterlife, life after death, eternal life — call it what you will, the belief in a life beyond life spans cultures, religions and millennia. Perhaps nowhere did that belief permeate daily life so thoroughly as in what we now call “ancient Egypt,” which in reality was a time period of more than 4,000 years during which millions of people lived and died. And prepared for eternal life. The ancient Egyptians’ preparations for the next life—which included the creation of everything from simple eating utensils to elaborate tombs—are the focus of the exhibition To Live Forever: Egyptian Treasures from the Brooklyn Museum, on display at the Indianapolis Museum of Art from July 13 to September 7. Consisting of 120 objects from the Egyptian collection at the Brooklyn Museum, To Live Forever is an overview of the various methods ancient Egyptians used to defeat death, an enemy whom they believed could be beaten. It’s the first ancient Egyptian exhibition that the IMA has hosted in 12 years, said Theodore Celenko, the Museum’s curator of Art of Africa, the South Pacific, and the Americas. While the IMA’s African gallery features a few ancient Egyptian pieces, they are only a small percentage of a larger collection that focuses on other parts of the continent. “We have very little ancient Egyptian art in the state, so this is a very meaningful show for us,” said Celenko. “The Brooklyn Museum has one of the most important Egyptian collections in the country.” The exhibition was organized by Edward Bleiberg, curator of Egyptian art at the Brooklyn Museum, who said it allows his institution to share some of its vast collection of ancient Egyptian objects with people around the country. With more than 8,000 pieces on hand, the museum has plenty to share. Comprising thousands of pieces acquired by Dr. Henry Abbott, a physician living in Cairo in the 1820s and 1830s, as well as many other pieces acquired between 1902 and the 1960s, the Brooklyn Museum’s ancient Egyptian collection is renowned for its quality. Organized specifically as a traveling show, To Live Forever debuts at the IMA.
Among the works in the show are a painted coffin of the mayor of Thebes; the mummy and mummy portrait of Demetrios, a wealthy citizen of Hawara; protective gold jewelry made for nobility; faience amulets; and granite and terracotta pots, bowls and other vessels. While the exhibition features many items created for people of lesser rank and standing, it also includes others made for royalty. “There are tools, weapons, [and] magical figures called shabties that were used to do the work in the next life,” said Bleiberg. “There are also parts of tombs that illustrate what the Egyptians thought the next life looked like, and works on papyrus, including the magical spells which would be recited over the dead in order to help maintain them in the next world.”
Statue of a Family Group, about 2371 B.C.–2298 B.C. Limestone, 28 15/16 x 9 1/16 x 9 13/16 in. Charles Edwin Wilbour Fund.
Many of the pieces in the show have never been on public display. And one piece will only be shown in Indianapolis—a limestone statue of a father, mother and child, 2371 A.D. to 2298 A.D. (right). According to records at the Brooklyn Museum, it was the first major piece of ancient Egyptian art shown in this country, going on display in New York in the 1840s. Almost every social group in ancient Egypt believed that acquiring the right types of objects in this world would ensure them of living forever in the next. But as in worldly life, not everyone was equal in the afterlife. “The materials that Egyptians used often reflected their economic status,” said Bleiberg. Royalty filled their tombs with objects made of gold and other precious metals. On the other hand, artisans often painted their coffins yellow, in imitation of the gold coffins that encased the nobles who employed them. Another example included in the show is a faux-granite pot—while real granite was expensive, terracotta painted to look like granite was not. The show looks at what people did to stock their tombs on a budget.
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It also explores how mummies were made, what a funeral looked like and the objects that went into a tomb—both those the deceased might have used daily and those made especially for the tomb. Also on display are the bowls and other objects used by the living to provide food for the dead. “[T]he Egyptians believed that in order to eat properly in the next world it was necessary for people in this world to help feed them,” said Bleiberg. The oldest item in the exhibition is a female figurine made of painted terracotta; it dates from 3650 B.C. to 3300 B.C. (which, to put it in some perspective, was before the pyramids were built). The most recent piece is a painted terracotta head and chest from a sarcophagus, from the 4th century A.D. One of the thrills of working with ancient Egyptian objects, said Bleiberg, is the span of time they represent. “The immense antiquity of Egypt is one of the facts that I still find overwhelming, even though I deal with it every day.”
which also contains an essay by scholar Kathlyn M. Cooney on the social and economic aspects of funerary art in ancient Egypt. Despite the long time span, there’s an amazing consistency in the artistic designs and themes evident in the items in the exhibition. “Modern, contemporary art prizes originality,” said Bleiberg, “but the ancient Egyptians actually believed that the artist was attempting to copy a divine form that had been set by the gods at the beginning of time.” They also believed that, with the right preparations, they could live forever. In a sense, they were right— their memory lives on in the objects on display in To Live Forever. Join Dr. Bleiberg on July 13, at 2:00 pm in DeBoest Lecture Hall, for an opening talk, on “Living Forever in Ancient Egypt.” For more information, visit imamuseum.org/ exhibitions/toliveforever
To help explain the ancient Egyptian approach to death, Bleiberg prepared an exhibition catalogue, Above: Shabty of Amunemhat about 1400–1336 B.C. Limestone, painted 10 5/8 x 3 1/8 x 2 in. Charles Edwin Wilbour Fund Below: Large Outer Sarcophagus of the Royal Prince, Count of Thebes, Pa-seba-khai-en-ipet about 1075–945 B.C. Wood, gessoed and painted 37 x 30 1/4 x 83 3/8 in. Charles Edwin Wilbour Fund
IMA Shop: Featured Items
Immortal: A Performance
Egyptian Kid Kit
Visualize the ancient Egyptian quest for eternal life, and witness the elaborate journey toward divinity. Performance, dance music and language meld in this one-time presentation by NoExit Performance, Inc.
The Kid Kit includes an Egyptian necklace to assemble, a black face-painting stick for outlining your eyes, and the parts needed to make your own replica of the Great Pyramid of Giza.
Friday, July 18 / 6:30–9:00 pm Alliance Sculpture Court Included with Summer Nights ticket (see page 16)
Legends, Myths and the Afterlife in Ancient Egypt: Teen Class Visit To Live Forever to see examples of how life and death intersect in ancient Egypt. Then return to the art labs to design your own works of art inspired by the sculpture, jewelry and other objects included in the exhibition. Bring a sack lunch. Monday–Friday, July 21-25 / 9:00 am–5:00 pm Blue Art Lab T0708 M $87.50 / P$125 Register by: July 11 For more related programs and classes, visit imamuseum.org.
Tutankhamen’s Tomb Take an incredible 3-D journey through Tutankhamen’s tomb, and learn all about the secrets and treasures of Ancient Egypt. Find a host of glittering treasures and uncover them using the pull-tabs, flaps, pop-ups and die-cuts. Written by Jen Green with consultation of Dr. Julie Renee Anderson, from the British Museum. $18.99
with Jack Kerouac and Robert Frank June 26 through September 21 Schaefer and Gray Gallery
On the road for an international tour, the original manuscript of Jack Kerouac’s most well-known work travels to the crossroads of America to be part of the IMA’s exhibition On the Road Again with Jack Kerouac and Robert Frank. Reuniting two iconic members of the American anti-establishment “Beat Generation” of the 1950s— novelist Jack Kerouac and photographer Robert Frank— the exhibition showcases the 120-foot-long original typescript for Kerouac’s trans-American odyssey, On the Road, written in 1951 and published in 1957. “The roll,” as he called it, was typed in three weeks, singlespaced, without margins or paragraph breaks, and held together by clear tape. In 2001, Jim Irsay, owner of the Indianapolis Colts, purchased it at auction. Despite its local tie, the IMA’s exhibition will be the first time the manuscript has journeyed to the city for public display. Kerouac’s roll will be accompanied by 83 photographs taken by Robert Frank during his own two-year cross-country pilgrimage and published first in Europe in 1958 as Les Americains. “They were kindred spirits,” IMA curator Martin Krause said of Kerouac and Frank. In 1951, Kerouac had created On the Road, a largely autobiographical work based on the cross-country travels of the author and his friends.
As Kerouac used his pen to express his restlessness with mid-century America, Robert Frank did the same with his camera. In 1955, Frank took off across the U.S. to photographically document the hidden underside of American culture. As the story goes, Frank met Kerouac on the sidewalk outside a party in New York and showed him the photographs from his journey. Kerouac immediately told Frank, “Sure I can write something about these pictures.” True to his word, Kerouac wrote the introduction to the American version of Frank’s book. The combination of the iconic works created by Kerouac and Frank are the artistic legacy of the “Beat Generation” as they capture the soul of an American generation. For this exhibition, the IMA will borrow one of the rare complete sets of Frank’s photographs owned by the Addison Gallery of American Art in Andover, Massachusetts. Organizers: Lilly Library/Addison, Gallery of American Art Save the date! Opening party Thursday, June 26
Jack Kerouac, 1963. © Allen Ginsberg/CORBIS, Detail of original typescript, On the Road by Jack Kerouac, 1951. Photograph courtesy of Christie’s, New York. I M A P revie w s
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a parade is like performance art. it’s an event meant to be experienced in person. and that makes staging an exhibition about parades somewhat akin to bottling that bracing mountain air that made you feel so good on vacation—by the time you get the bottle home, the air inside isn’t so bracing anymore. May 2–August 10 But the bottle is still a reminder of the wonder of that moment when McCormack Forefront Galleries you stood atop that peak with the wind ruffling your hair and the world spread out before you. And that’s what the exhibition On Procession, on display in the Forefront Galleries through August 10, does. Presenting video, sculpture, installation art and parade remnants—everything from flyers and concept sketches to costumes and photographs—it embodies the fascination with parades that’s shared by participants, spectators and artists. “There are fleeting moments in a parade, and this exhibition reflects that,” said Rebecca Uchill, the IMA’s assistant curator of contemporary art. Uchill organized the exhibition (and the related parade that took place on the streets of Indianapolis in April). “A lot of the artists [in the exhibition] were surprised and excited to have an opportunity to revisit this material anew.” Most of the parades represented in the show were developed as one-time events by artists, including the multi-media installation The Modern Procession, which documents a 2003 parade staged by Francis Alÿs in New York City. Featuring a video of the parade, along with tables showing various prints, postcards, maps and other items he used in the planning process, it offers a look at what was truly a spectacle, staged with the assistance of the Museum of Modern Art and the Public Art Fund, a New York based public art agency. Another art spectacle took place in Munich, Germany in 2005, when Paul McCarthy staged a parade for an exhibition, LaLa Land Parody Paradise, which his multimedia installation chronicles. Using a marching band in traditional Bavarian costumes, as well as other
Above and opposite, far left: FriendsWithYou, Skywalkers, 2006, blimp parade, Art Basel Miami Beach 2006. Image courtesy of the artists. Photograph by Abraham Kalili.
marchers in 19th-century U.S. Army Cavalry uniforms accompanying replicas of the Conestoga wagons, McCarthy used the parade as part of an exhibition of his work at the Haus der Kunst, the former Nazi art museum that now houses a contemporary art museum. On the other hand, a community procession is the focus of Jeremy Deller’s A Social Parade, which uses video and photographs shot during an event he organized in San Sebastian, Spain, in 2004. And Amy O’Neill combines a video of the Rose Bowl Parade (the annual major extravaganza held New Year’s Day in Pasedena, California) with a simple installation featuring replicas of imagined float fragments from that parade. The exhibition and art parade also contain three largescale wooden pull-toy donkeys created by Allison Smith. Linking with the IMA’s past as part of the former John Herron Art Institute, Smith has been working in residence with the help of students at the Herron School of Art on the IUPUI campus. Also in the toy-like arena is Dream Maker, a large-scale mobile in the Efroymson Family Entrance Pavilion. Created by the Miami-based design group FriendsWithYou, the mobile consists of cartoon-like inflatable characters that are modeled on parade balloons. “One thing this museum is doing a great job of is living up to its intention to be a place where experimentation is encouraged,” said Uchill. “We’re standing behind the creation of contemporary art. This show is an example of that.” To learn more about On Procession and see some of the items from the show (and April’s parade), as well as create some parade memorabilia of your own, pay a visit to the specially designed Web site onprocession.org.
RELATED EXHIBITION FriendsWithYou: Dream Maker May 2–November 9 Efroymson Family Entrance Pavilion
FriendsWithYou is an art collective based in Miami, Florida, founded by Sam Borkson and Arturo Sandoval in 2002. The group promotes the two artists’ common message of magic, luck and friendship in popular culture by creating and sharing designer toys, multimedia, paintings, sculptures, performances and art installations. FriendsWithYou presented their floating blimp parade Skywalkers at Art Basel Miami Beach in 2006. For the IMA’s Efroymson Family Entrance Pavilion, FriendsWithYou has fashioned a new blimp mobile entitled Dream Maker, made up of brightly colored vinyl balloons suspended from a rotating metal frame. FriendsWithYou’s rainbow-colored, inflatable caterpillar Mr. TTT was featured in the IMA’s downtown Fountain Square Art Parade on April 26. Above, center: Allison Smith, Hobby Horse, 2006, Performative sculpture, Artpace San Antonio, TX, Wood, paint, horsehair, leather, brass, glass, and mixed media, 98 x 112 x 36 in., Commissioned by Artpace San Antonio Photo credit: Todd Johnson, Courtesy of The Saatchi Gallery, London Above, far right: Paul McCarthy, PARADE, HAUS DER KUNST, GARDEN, MUNICH GERMANY, 2005, performance photograph. Photo by Damon McCarthy. Courtesy of Hauser & Wirth, Zürich and London.
On Procession was made possible with the Support of the Arts Council of Indianapolis and the Indianapolis Cultural Development Commission I M A P revie w s
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Class Pictures Ph o to g r ap h s b y
“I think what has been driving and directing my work for a long time is this idea that through making pictures of young people I can affect viewers in such a way that they too can become invested in these subjects.” —Dawoud Bey September 26–November 21 McCormack Forefront Galleries Dawoud Bey: Class Pictures includes 40 photographic portraits of high school students paired with their own written words. For the exhibition, Bey photographed young people from all parts of the economic, racial and ethnic spectrum in both public and private high schools in Detroit; Lawrence and Andover, Massachusetts; Orlando; San Francisco; and New York City. The statements displayed alongside the portraits were written by the students and edited by Bey. Many of the statements are touching, funny or harrowing, deepening our appreciation for young adults facing the challenges of the 21st century. Bey’s earlier work includes Harlem and Brooklyn portrait series. The exhibition was organized by Aperture Foundation. Save the date! Opening party and artist talk Thursday, September 25 Sponsored by
Dawoud Bey, Kevin, chromogenic print, 40 x 30 in. Image courtesy of Aperture Foundation.
P OWER AND GLORY
Court Arts of
Chin a’s Ming D y na s t y October 26, 2008–January 11, 2009 Clowes Gallery in Wood Pavilion Featuring a full range of objects in use at the imperial court of the Ming dynasty, this exhibition was organized by the Asian Art Museum of San Francisco in association with the Palace Museum, Beijing; the Nanjing Municipal Museum; and the Shanghai Museum. It is the first major exhibition to focus solely on the court arts of the Ming dynasty. Some of the objects in the exhibition are from newly excavated tombs of individuals related to the Ming court and have never been shown before outside of China. The exhibition is comprised of more than 200 items that include paintings; gold and jade; textiles; jewelry; architectural and funereal objects; carvings and lacquer pieces; porcelains; and enamel and metal work. After opening at the Asian Art Museum in San Francisco, the IMA will be the first of two venues to host this exhibition.
Lü Wenying and Lü Ji detail from Elegant gathering in a bamboo garden, 1499 ink and colors on silk Palace Museum, Beijing Brown satin fabric with lotuses silk satin damask Palace Museum, Beijing Ornament depicting a lotus pond green nephrite on a gold mount Nanjing Municipal Museum Organized by the Asian Art Museum of San Francisco, the Palace Museum, the Nanjing Municipal Museum, and the Shanghai Museum. This exhibition was developed by a grant from the Robert H. N. Ho Family Foundation. Additional support was provided by the Henry Luce Foundation and the Starr Foundation.
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EXHIBITIONS Opening On Procession May 2–August 10 McCormack Forefront Galleries
See page 8.
FriendsWithYou: Dream Maker In conjunction with On Procession May 2–November 9 Efroymson Family Entrance Pavilion
See page 9.
On the Road Again with Jack Kerouac and Robert Frank June 26–September 21 Schaefer and Gray Gallery
See page 7.
To Live Forever: Egyptian Treasures from the Brooklyn Museum July 13–September 7 Clowes Special Exhibition Gallery
Cirrus Editions/Crown Point Press May 31–November 30 / Milliken Gallery
Crown Point Press, founded in San Francisco in 1962, and Cirrus Editions, founded in Los Angeles in 1970, have long been magnets for west coast painter-printmakers. With Crown Point specializing in etching and later woodcuts and Cirrus specializing in lithography, each attracted its own stable of loyal artists. Ed Ruscha, Bruce Naumann, William Wiley and Vija Celmins produced significant bodies of lithographs at Cirrus in the early 1970s. Richard Diebenkorn, Brice Marden and John Cage were attracted to the intaglio expertise of Crown Point Press at the same time. Twenty prints from these two workshops have been selected from the IMA’s permanent collection.
Above left: Wayne Thiebaud American, Born 1920 Dark Cake, 1983 Color woodblock print 15 x 17 1/2 in. (image) Delavan Smith Fund 1984.46 Above right: Richard Diebenkorn American, 1922–1993 Spreading Spade, 1981 Color aquatint and drypoint 18 x 19 in. (image) Helen Adams Bobbs Fund 82.26
See page 4.
Shared Beauty: Eastern Rugs & Western Beaded Purses May 31, 2008–January 4, 2009 / Paul Textile Arts Gallery
Though beaded purses were fashionable through the 19th and early 20th centuries, they became extremely popular in the 1920s as an integral part of the flapper-era costumes, greatly complementing the period’s beaded evening dresses. A wide variety of patterns were depicted on these bags, including flowers, landscapes and other
popular motifs. However, some of the most fashionable designs were copied from the patterns of Persian, Turkish, Caucasian, Turkmen and Indian carpets and textiles. In this exhibition, beaded bags will be displayed alongside rugs with similar patterns. This juxtaposition will explore the motifs common to rugs, provide a closer look at “Orientalism,” and
examine the influences of Eastern art on Western art and fashion. The beaded purses are from the Stella and Fredrick Krieger Collection. The rugs are drawn from the IMA’s permanent collection augmented by a few loans from private local collections.
Edward Hopper American, 1882-1967 Hotel Lobby, 1943 Oil on canvas 33 1/4 x 40 3/4 in. William Ray Adams Memorial Collection 47.4
More Than Four Legs: A Closer Look at Chairs
Edward Hopper: Paper to Paint
August 10–December 31 / Star Studio
August 30, 2008–January 11, 2009 / Alliance Gallery
Chairs: We all sit in them, but how often do we really look at them? This installation by Carla Atwood Hartman invites visitors to consider design as an artform by drawing attention to overlooked features of the chairs in which we sit, from the simple to the luxurious, handcrafted to mass-produced. The exhibition includes chairs from Carla Atwood Hartman’s private collection and features chairs designed by Hartman’s grandparents, 20th century design legends Charles and Ray Eames. The exhibition also includes chairs from the collections of the IMA and Oldfields, the historic country home on the IMA’s grounds. Visit the Star Studio to see chairs as you’ve never seen them before!
This exhibition will feature the IMA’s Hopper painting Hotel Lobby and ten sketches Edward Hopper produced as studies, on loan from the Whitney Museum of American Art. The show will also pair another Hopper painting from the IMA’s collection, New York, New Haven and Hartford, with paintings related to South Truro, where the piece was painted.
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Continuing Off the Wall: Adrian Schiess
Squares-Folds-Life: Contemporary Origami by Robert J. Lang
Through May 4 / Various Locations
Through July 20 / Star Studio
For his project at the IMA, Adrian Schiess has created a site-sensitive exhibition of his flat panels that are sited throughout the entire campus, including galleries, hallways and Oldfields–Lilly House & Gardens. Their glossy surfaces are intended to reflect the passage of time, light and people as engagements in the environment. Visit imamuseum. org/adrianschiess to plan your visit.
Robert J. Lang is a former physicist and engineer turned artist, whose innovative approach to the traditional art of Origami has earned him a reputation as one of the world’s most important Origami artists. The exhibition in Star Studio includes examples of Lang’s complex and realistic work, including monumental paper sculptures created at the IMA for the exhibition. The exhibition also gives visitors the opportunity to make their own folded paper creations, which will be incorporated into a unique visitor-generated installation.
Kenneth Tyler: Tamarind, Gemini G.E.L. and Tyler Graphics, Ltd. Through May 24 / Milliken Gallery
Twenty-three prints by some of the most important painters and sculptors of the late 20th century—including Vija Celmins, Mark di Suvero, David Hockney, Roy Lichtenstein, Robert Motherwell, Robert Rauschenberg and Frank Stella—are featured in this exhibition, which is the fourth in a series of exhibitions at the IMA on the major American print workshops of the same period.
Robert Lang, Morpho Flight, opus 509, 2007, Multiple uncut squares of Korean hanji paper
Breaking the Mode: Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art
British Qualities: Works on Paper, 1875–1930
Through June 1 / Clowes Special Exhibition Gallery
Nearly 50 prints, drawings and watercolors by two dozen British artists follow the developments in the graphic arts during the Victorian and Edwardian eras. Noticeably absent are the revolutionary trends that wrenched French and German art toward modernism in this same period. The British evolved, rather, from their home-grown landscape traditions of Turner and Constable and from the crystalline figurative style of the Pre-Raphaelites. The results were insular, independent and united only by common devotion to excellence in craft. Led in the early period by supremely talented American expatriates, James McNeill Whistler and John Singer Sargent, England nurtured the idiosyncratic talents of Frank Short, Muirhead Bone, Frank Brangwyn, David Young Cameron and William Russell Flint whose contributions to English art were recognized with eventual knighthoods.
This extensive exhibition of contemporary fashion from LACMA’s permanent collection examines designers who have challenged the canons of the body’s fashionable silhouette, revolutionized methods of garment construction, rejected the formulaic use of materials and techniques, and exploited new technology in textile production. Focusing on the dramatic change in the aesthetics of fashionable dress over the past 25 years, the exhibition is divided into four thematic areas: construction, materials, form and concept. Among the more than 40 international designers whose work is exhibited are Jean-Paul Gaultier, Rei Kawakubo, Martin Margiela, Issey Miyake, Thierry Mugler and Yohji Yamamoto, with historical examples by Gilbert Adrian, Christian Dior and Charles James. Sponsored by
Indiana Artists’ Club Annual Exhibition
Manufacturing Material Effects
Through June 1 / North Hall Gallery
Through June 8 Art of the Digital Age Gallery
The 74th annual exhibition of the Indiana Artists’ Club features works in a variety of media and styles.
This interactive installation showcases work from international architects and designers who participated in the April 2007 Manufacturing Material Effects Symposium organized by Ball State University’s Institute for Digital Fabrication and held at the IMA.
Through July 13 / Conant Galleries
Paris Posters: The Art of the Streets
Hats of Africa: From Asante to Zulu
Auguste Rodin: The Gates of Hell
Through August 24 Susan And Charles Golden Gallery
Through September 28 Eiteljorg Gallery For Special Exhibitions
Rodin’s massive Gates of Hell project was arguably the most important European sculpture commission of the 19th century. Intended to mark the entrance to a new museum in Paris, the Gates were conceived as monumental doors, adorned with the writhing forms and dramatic gestures of the condemned. This exhibition features nine bronze casts of pieces originally created as preparatory studies or individual elements of the project. Acquired by the world’s leading collectors of sculpture by Rodin, the works are on loan from the Iris and B. Gerald Cantor Foundation and the Iris and B. Gerald Cantor Collection.
The posters in this exhibition, about 20 in all by Henri de Toulouse-Lautrec, Alfons Mucha, Jules Chéret, Pierre Bonnard, Felix Vallotton, Paul Berthon and others, document the early history of a thoroughly modern art form. Created in Paris during the Belle Époque—the period including the last decades of the 19th-century and the years leading up to World War I—they had to be simple, dynamic, eyecatching and distinctive.
More than 50 traditional head coverings representing 30 ethnic groups from across Africa show the great cultural diversity of the continent. The hats are made for a variety of purposes and are fashioned from a variety of materials, including cloth, leather, feathers, shells and hair.
Through December 1 / Pulliam Great Hall
Lida Abdul Through September 28 Carmen & Mark Holeman Video Gallery
Afghan artist Lida Abdul creates artwork in a variety of media that attempts to understand the destruction and political unrest that has ravaged her country for the past several decades. Born in Kabul, Afghanistan in 1973, Abdul was forced to flee her country in the late 1980s. She lived as a refugee in India and Germany before moving to the United States. It was not until 2001 that Abdul returned to Afghanistan, where she has since staged video-based works that explore the interconnection between architecture and identity. Three of Abdul’s video works will be installed in the IMA’s Holeman Video Gallery, including White House (2005), What We Saw Upon Awakening (2006), and the U.S. premiere of a new work, In Transit (2008). Abdul lives in Afghanistan and the United States.
Simply Halston Through January 4, 2009 / Paul Fashion Arts Gallery
Roy Halston Frowick (1932–1990) was born in Iowa and grew up in Indiana. He began his career as a milliner and later designed the hat Jacqueline Kennedy wore at her husband’s inauguration in 1961. A master of cut, he was a favorite of many celebrities and designed clothes for Elizabeth Taylor, Liza Minnelli, Anjelica Huston and Lauren Bacall. Most of the approximately 32 designs in this exhibition are drawn from the IMA’s fashion arts collection. Halston, American, 1932–1990 evening dress, 1981, silk organza, bugle beads, glass beads, sequins Gift of Halston Enterprises, 82.85
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BEHIND THE SCENES
Fridays, June 6–August 29 Once upon a time, if you wanted to catch a movie under the stars, you headed for a drive-in. But today the drive-in is more a nostalgic remnant of summers past than a vital part of the present. (Though let’s be honest here—not everyone went to the drive-in to watch a movie or gaze at the stars.) Fortunately, you can still get your under-the-stars flick fix through the IMA’s Summer Nights film series, celebrating its 33rd anniversary this year. Since the series debuted in 1976, the IMA has hosted more than 250 screenings of films ranging from black-andwhite classics such as Casablanca and Stagecoach to wide-screen hits such as 2001: A Space Odyssey and Gladiator. This year’s series will feature a mixture of classics and more recent productions, based on an online poll the Museum conducted earlier this year.
“We’re trying to do a lot with the series,” said Anne Laker, the IMA’s assistant director of education for public programs. She’s responsible for the final slate of Summer Nights films. “Show films with cultural impact—that’s first and foremost. Also tie some of the films to other things that are happening in the museum, such as The Mummy, which we’ll show in conjunction with the exhibition To Live Forever: Egyptian Treasures from the Brooklyn Museum. And for the first time, there is an audience input component.” The ongoing popularity of the series is proof that film has a place in an art museum, said Jessica DiSanto, the IMA’s director of marketing and public relations. She’s the project manager for Summer Nights, coordinating the various departments within the Museum that are responsible for doing everything from set-up to clean-up. “People love to gather and watch great films. There’s an appreciation of film as art.”
Horror The Rocky ow Sh e Pictur
Grease June 13 Gilda June 20 This is Spinal Tap June 27 The Goonies July 4 Glory July 11 The Rocky Horror Picture Show
That appreciation has been burnished for the past 32 years by Summer Nights. Here’s a look at some of series’ highlights through the years: In its inaugural year, the series consisted of three foreign films— Love & Anarchy, Seven Beauties, and Swept Away—shown in DeBoest Hall, as well as four Fred Astaire and Ginger Rogers musicals on the concert terrace. The latter proved so popular that the next year the entire series moved outdoors, where it has remained ever since. Among the films with the most repeat showings through the years have been Singing in the Rain (4); The Manchurian Candidate (3); The Philadelphia Story (3); High Society (3); and The Wizard of Oz (3). The director whose films have been shown the most frequently is Alfred Hitchcock, who has had 11 films in the series, some of which (Vertigo, The Birds, North by Northwest, Dial M for Murder) have been shown more than once. As with any outdoor event, Summer Nights has encountered problems with the weather from time to time. The most amusing (and apt) came on June 30, 2000 when a scheduled showing of Singing in the Rain was rained out. Single ticket prices for the series have ranged from $1 for members and $2 for the public in the beginning to $3 for members and $8 for the public in 2007. Even though prices have gone up, in comparison to the cost of a ticket at your local cineplex, Summer Nights is a bargain, especially for IMA members. Now it’s time to mark your calendars for season #33 of Summer Nights. As one of the few art museums in the country with an amphitheater, the IMA is able to offer patrons a unique movie-going experience. While there’s a shortage of backseats for you drive-in buffs (and no way to sneak your friends in by hiding them in the trunk of your car), Summer Nights is a great way to catch a movie under the stars.
Midnight Showing / Doors open at 10:00 pm
The Mummy July 25 The Big Lebowski August 1 Strangers on a Train August 8 Devil in Blue Dress August 15 Dr. Strangelove:
Or How I Learned to Stop Worrying and Love the Bomb August 22 August 29
Promotional support provided by: Emmis Communications Tickets available at the door only. Members $3, Public $8. Members must present current membership card to receive discount. Children six and under are admitted free. Ticket sales begin and doors open at 6:00 pm for picnicking. Films begin at dusk (except on July 11). All films are subject to change.
Grease: Paramount/Photofest © Paramount Pictures, The Goonies: Amblin Entertainment/Warner Bros./Photofest © Amblin Entertainment/Warner Bros., The Rocky Horror Picture Show: Twentieth Century Fox/Photofest © Twentieth Century Fox, Ghostbusters: Columbia Pictures/Photofest © Columbia Pictures, The Mummy: Universal Pictures/Photofest © Universal Pictures
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Have you ever uploaded photos to share with a friend? Created a user profile? Read a blog or commented on a message board? Watched a video on YouTube? Voted for your favorite? If so, you’re engaging with social media. Social networking Web sites are places where users can customize their online experience, by creating unique profiles, sharing information and interacting with online communities. Examples of these applications are Google and Wikipedia (reference), Facebook and MySpace (social networking), YouTube and Flickr (video and photo sharing), and Second Life (virtual reality participation). These Web sites combined boast more than 114 million members worldwide according to MediaSauce, a digital marketing agency in Carmel. The global Web traffic created by these conversations is second only to search engines. The IMA’s involvement in online communities allows it to share a rich collection and provide visitors, both local and around the globe, with new art experiences.
While anyone can engage in this type of new media, it appeals most to young audiences (defined as under the age of 40 for the purpose of the following study). The Arts Council of Indianapolis’ 2006 report on Developing Next Generation Arts Audiences found that, “The next generation wants a creative experience that includes learning, connecting and sensing.” As the IMA seeks to engage all audiences, it is mixing social media into its Web sites to extend the visitor experience and connect to the larger Internet-based Indianapolis arts community. The Museum has more than 400 fans on Facebook and posts current photos and videos of exhibitions and happenings at the IMA on Flickr and YouTube. All this information is also available on the new IMA blog, a place to share your experiences, vote in interactive polls and jump to other local and national arts and culture blogs. The Museum also offers free presentations, performances and lectures to educators and students on iTunes U. The IMA’s main Web site, imamuseum.org, allows visitors to browse works of art and “tag” them, or assign descriptive words to an item on the Web. Users describe art using their own language which in turn increases accessibility to others navigating the collection. The IMA’s Dashboard employs tools to display real-time statistics important to the daily operation of the Museum. It’s a lot to take in, but in the famed words of Reading Rainbow’s LeVar Burton, “You don’t have to take my word for it!” Visit imamuseum.org/connect/interact to check out links to see how the IMA uses social media to engage our online audience.
The Museum has more than 400 fans on Facebook and posts current photos and videos of exhibitions and happenings at the IMA on Flickr and YouTube. 18
IN THE GARDENS
Uncover a Sacred Summer To Live Forever showcases the art of ancient Egypt in the IMA’s galleries this summer. Gardens Manager Chad Franer reveals how ancient Egypt is also exhibited in the IMA’s gardens.
How does Indiana’s climate compare to that of Egypt? Egypt’s general climate is hot and dry with the exception of occasional storms. Our summers in Indiana have similar temperatures with higher humidity. Although the soil types are dramatically different between Indiana and Egypt, many plants exist that can actually grow in both locations.
What types of Egyptian plants are grown at the IMA? Papyrus (Cyperus papyrus) can be found along the banks of the Nile River and had multiple uses in Egyptian life, for boats, baskets, rope, cloth and paper. We use this plant at the IMA for the fine texture of its foliage and the 4-foot height it provides to plantings. It needs full sun and likes moist conditions, and can actually be submerged in water gardens. This year, you can find Papyrus planted beside purple basil in the Garden for Everyone. Lotus (Lotus nelumbo) is a plant that was thought to symbolize rebirth and was carved into temples and tombs, and can be seen on many artifacts today. Lotus flowers are 6 inches across and can be grown in shallow still ponds. Their large flowers come in white and many shades of pink. Celosia (Celosia plumosa), or Cockscomb, are grown extensively in the cutting garden of Oldfields to be used for the Lilly House flower arrangements. You can find Celosia ‘China Town’, a red flowered form with dark burgundy foliage, planted in the circle at the main entrance this year. Celosia are great plants to start in the gardens for kids because of the quick germination and rapid growth rate.
Do fruit trees flourish on the IMA grounds? The Fig (Ficus carica) is a native plant of Egypt that thrives in the hot dry climate and provides a long lasting fruit that can be preserved. Egypt has native varieties of apricots and peaches. However, in Indiana many of these have blooms that become frosted in early spring, making it difficult to yield reliable fruit. You can find fig trees in containers around the Garden Terrace through the summer. They produce fruit, but many times other visitors and raccoons will find them first!
Papyrus (Cyperus papyrus)
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AFFILIATE EVENTS Asian Art Society
Summer Solstice: Mare Fecunditatis
IMA Horticultural Society Auction / Garden Party Benefit
Venture to the IMA grounds in the moon’s full phase to invoke the solstice with a purifying performance. Conceived by artist and zen archer Hirokazu Kosaka, Mare Fecunditatis, or “sea of fertility,” features choreographer and Japanese Butoh dancer Oguri and cellist Emily Corwin. The experiential show blends traditional rites of purification from Japan with classical and contemporary Western influences through primal music, a single arrow shot and a searchlight with the power of 12 million candles. Presented in part by the IMA Asian Art Society. Rain date: Sunday, June 22. Saturday, June 21 / 8:00 pm IMA Grounds, Lilly House Allée Donations suggested
Enjoy a summer evening of fun and friendly competition for garden plants, artifacts, books, travel opportunities and more at the IMA Horticultural Society’s annual auction. The garden party, “Fountain Fling: New Hope for Coping,” will feature the 1920s and 1930s with the music of Scott Joplin and Cole Porter. Proceeds from this auction will support the further development of the IMA gardens and grounds by restoring the Grand Allée Fountain. The evening includes a cocktail hour during which patrons can bid on silent auction items, followed by dinner and the live auction of unique garden artifacts and plants. Join the Horticultural Society to participate in this popular event! Membership benefits and forms are available at the IMA and online at imahortsoc.org. Sunday, June 1 / 5:00–8:30 pm / Deer Zink Pavilion
Former Indianapolis Water Company executive Hugh McKennan Landon developed the original Oldfields estate on 26 acres of what is now the IMA campus. He named it in honor of the wheat fields that formerly had been on the property. REVERSE
IMA Alliance Artist Studio Tours Join Alliance members and guests for studio tours. Space is limited, and reservations are required. For pricing and more information, please call Leah Leifer at 317-253-6319 or Carol Edgar at 317-889-8129.
Studio of Steve Redman and Nhat Tran
Gallery of Magdalena Hoyos-Segovia
Studio of Carolyn Sihler Connors
Steve Redman graduated from John Herron Art School with a Masters degree in Fine Arts from Indiana University. After 20 years in conservation, Redman has built a clientele of art dealers, collectors and gallery owners. He has also exhibited his own works in regional shows and sold them in galleries throughout Indianapolis, Chicago, Cincinnati and Washington, D.C.
Magdalena Hoyos-Segovia, a native of Veracruz, Mexico, is in “love with color.” She has made that the motive for her contemporary art gallery, Carmel’s Magdalena Gallery of Art. Segovia received her B.A. in Fine Arts from the University of Sao Paulo in Brazil and has been a professional artist for ten years. As a teacher at Carmel Academy of the Arts, Segovia also encourages young artists. Her awards include those from the Minister of Culture of Sao Paulo as well as an award for artistic development from the Department of Culture in Vera Cruz.
Connors studied art at the University of Minnesota where she was selected as the outstanding female student in art education. She continued her graduate studies at Dallas Museum School and the University of Dallas. Connors has had solo exhibits of her paintings and serigraphs at the Tamarack Gallery in Stillwater, Minnesota, the Lake Forest Gallery in Lake Forest, Illinois and the Northbrook Library in Northbrook, Illinois. Eight of Connors’ paintings were purchased by Marshall Fields for their State Street Gallery, and her work has been published as covers for the Indianapolis Culture Calendar and the Indiana Right to Life.
Nhat Tran, a Vietnam native whose art has been chosen from 550 applications to be exhibited in the new Indianapolis International Airport, earned a Bachelor’s degree in Fine Arts from the University of Fine Arts in Ho Chi Minh City. Since moving to the U.S. in 1966, Tran has worked in Urushi lacquer art. Her work can be found at the Smithsonian’s American Art Museum, Corcoron Gallery of Art, National Museum of Women in Art and the Indianapolis State Museum. Tuesday, May 13 / 1:00-3:00 pm
Volunteer The IMA offers rewarding opportunities to individuals like you– people interested in donating their time and talents. Volunteers play an important part in nearly every aspect of IMA’s activities and day-to-day operations. For more information, please contact email@example.com or call 923-1331, ext. 263. Save the Date! IMA Volunteer Appreciation Dinner Thursday, June 12 / 5:30 pm
Thursday, June 5 / 1:00-3:00 pm
Studio of Rosemary Browne Beck
Tuesday, August 12 / 1:00-3:00 pm
Rosemary Browne Beck attended Butler University where a developing interest in visual arts took her to Herron School of Art where she received a Master of Fine Arts degree. Beck has presented in solo and two-artists exhibitions in galleries for more than 40 years and has taught privately, as well as at the University of Indianapolis and the Indianapolis Art Center. Beck’s paintings include portraits of Indiana corporate, community and educational leaders such as John Nelson, former conductor of the Indianapolis Orchestra, Dr. Kenneth Gros-Louis, V.P. and Chancellor at I.U. and William Powell, former V.P. of Eli Lilly and Company International. Tuesday, July 15 / 1:00-3:00 pm
In 1967, the Alliance established “The Enchanted Owl Craft Shop” as a fundraising project for the Museum. In 1975 it merged with the Museum’s small gift shop and bookstore and became the Alliance Museum Shop, now known as The IMA Store.
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GIVING Dr. Kenneth R. Shaffer Founding Member of the Legacy Circle A former IMA Sustaining Life trustee, Dr. Kenneth R. Shaffer’s association with the museum began in 1925, when he was only 11 years old. At that time, his aunt made arrangements with Wilbur Peat, then Indianapolis Museum of Art director, to meet her nephew at the museum one Saturday morning. In the words of Dr. Shaffer, “Mr. Peat showed me how to look at art.” Dr. Shaffer went on to graduate from Shortridge High School, Butler University and the University of Illinois. In 1946, Dr. Shaffer moved to Boston to become dean of a library science graduate school at Simmons College, where he remained until his retirement in 1978. For many years, he also served as a noted architectural consultant with the United States Department of State. In retirement, he authored books and articles, expanded his art collection, and continued to correspond with his friends at the IMA. When Dr. Shaffer died in February 2006, at the age of 91, he left the vast majority of his estate, nearly $2.5 million, to the IMA. Dr. Shaffer was a bachelor and had no children. The terms of the bequest stipulate that the funds be used “to create an endowment fund called the Dr. Kenneth R. Shaffer Art Purchase Endow- “The IMA in countless ment Fund. The purpose of the Fund shall be to ways has given my life both purchase paintings, drawings and prints for the significance and great pleasure.” Museum’s permanent collection. The acquisitions shall be limited to art created before 1945.” —Dr. Kenneth R. Shaffer (1914– 2006) Aaron Fink, American born 1955, Self-Portrait, 1983 ink, pencil and gouache on paper 9 1/4 x 19 in. Gift of Dr. Kenneth R. Shaffer 2000.259
Legacy Circle & The Art of Giving In celebration of the IMA’s 125th anniversary we are expanding our circle of friends who believe in the importance of sustaining the mission of an internationally significant art museum in Indianapolis. The IMA invites you to become a member of the IMA’s Legacy Circle. Donors are invited to join the Legacy Circle upon informing the IMA of their intention to leave a bequest or make a planned gift. Legacy donors join a distinguished group of individuals whose support ensures the future of the IMA as a preeminent art institution. These gifts may provide tax advantages for donors and their families. In recognition of their generosity, members will receive invitations to IMA special events throughout the year. For more information about the Legacy Circle, or if you have already made the IMA a beneficiary of your estate, please contact the IMA at 317-923-1331, ext. 434 or firstname.lastname@example.org.
Legacy Circle Founding Members Frank and Katrina Basile Claire R. Bennett Leonard and Alice Berkowitz The Ruth Bernhard Trust* Dr. Ella H. and Mr. Robert R. Bowman Keith Uhl Clary and Kwang Fei Young Dr. Steven Conant A.E. Gene* and Phyllis Crum Damon and Kay Davis Suzanne S. Dettwiler* Helen J. and Richard A Dickinson Lori Efroymson–Aguilera Edgar and Dorothy Fehnel Drs. Richard and Rebecca Feldman Elizabeth Fortune* William L. and Jane H. Fortune* Deloris (Dee) and David Garrett John B. Gray, Jr and Carolyn M. Schaefer Sandra D. Hardee* Mr. and Mrs. John H. Holliday Francine and Roger Hurwitz Rick and Alice Johnson Catharine and Robert* Lichtenauer Ruth Lilly Marjorie J. Mann* and Robert L. Mann June McCormack Michael K. and Patricia P. McCrory Alice and Kirk McKinney Elizabeth H. McLain* Marian and Boris Meditch Ina Mohlman Katherine C. Nagler Nancy Neuberger* Mary B. Newill* Jane and Andrew Paine Gerald and Dorit Paul Maisie Eden Power* Dr. and Mrs. George F. Rapp Mr. James and Dr. Patricia Rapp Dr. and Mrs. John G. Rapp Sally Reahard* Carol Rogers Reed John Rogers* Dr. Kenneth R. Shaffer * Juanita M. Smith Trust* Susanne and Jack Sogard Frank C. Springer* Becky Curtis Stevens Charles and Peggy Sutphin Randall L. and Marianne W. Tobias Marilyn M. Watkins* Anna S. and James P. White Jeanette Epler Winters* Billie Lou and Richard D. Wood Anonymous–5 * Deceased
Meet…Donna Noland How long have you been a member of the IMA’s Legacy Circle? I just recently decided to join the Legacy Circle by adding the IMA to my will. It’s only a little bit, but it is for a worthy cause. Art plays an important role in my life.
You have also been a volunteer at the Museum since 2005. What inspired you to begin volunteering? Before coming here from the San Francisco Bay area, I had physical problems and was without sight. Three of my dear friends offered to take me to the Legion of Honor fine arts museum there. At first I thought they were silly, knowing that I could not see to appreciate
the art. After stopping at the first work of art, however, each friend took a turn describing to me in their own words what they saw. It filled my spirit and lifted my eyes to the importance of art in our lives. I’ve since had three eye surgeries, and my sight has returned. When I moved to Indianapolis, I knew I wanted to volunteer at the IMA. I don’t always have a lot of other resources to give, so I like to give my time.
What do you get in return for volunteering? I volunteer at the information desk, greeting visitors and answering questions. I find myself helping as well as learning. I always walk away with something new, something someone tells me about that I didn’t see, but get to see through their eyes.
What has been your most memorable moment while volunteering at the IMA? A disabled man was sitting on the benches in the Efroymson Family Entrance Pavilion looking very down. I sat next to him and asked him to look at the glass panels, pretending each panel was a frame with a work of art inside. He slowly looked up and started smiling. He was saying, “Look at this…look at that!” It was so much fun! And, of course, all the kids’ faces are so sweet.
What is your favorite part of the IMA? I have a new favorite artwork every time I go into the galleries. As a former Latin teacher, I do enjoy the Greek and Roman pottery. I also love the pretty little bridge off Deer Zink Pavilion and the sculptures by Robert Indiana.
Will you be attending Summer Nights this year? Yes–My favorite film played last year was Cat on a Hot Tin Roof with Elizabeth Taylor and Paul Newman. I was hoping for Borat this year. It’s a weird film, but I like it!
In 1883, you could join the Museum for $10 ($200 in today’s economy). For nonmembers admission was 10 cents ($2 today). REVERSE
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IMA EVENTS Breaking the Mode IMA Style Nearly 700 guests broke out their coolest garb to strut their stuff at the most fashionable party in town. On March 14, giant disco balls, a larger-than-life runway projection, and a drag show set the IMA scene for a stunning opening night of the exhibition Breaking the Mode: Contemporary Fashion from the Permanent Collection, Los Angeles County Museum of Art.
Susan Downing, Nancy Thompson, Eliz Kraft Meek, Jane Spahn
Lorene Burkhart, Frank & Katrina Basile
Exhibition sponsored by
Top row, left to right: Kathy Nagler Saks models, Tony Dicen and Niloo Paydar Center row, left to right: LACMA curator Sharon Takeda, IMA curator of textile and fashion arts Niloo Paydar and LACMA curator Kaye Spilker Asia LaBouche Bottom row, left to right: Virgil Chan, Rob MacPherson, George Salinas and David Hochoy Chairperson Jacqueline Buckingham Anderson
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Julianne Swartz: Terrain Opening Delighted whispers filled the Efroymson Family Entrance Pavilion on February 6, as Contemporary Art Society members gathered for the opening of Julianne Swartzâ€™s installation Terrain. Suspended from the ceiling, this colorful, multi-sensory work was the focal point of the eveningâ€™s conversation. The event provided an intriguing opportunity to meet the artist and hear a discussion of her work in a personal setting.
Top: Julianne Swartz: Terrain as installed in the Efroymson Family Entrance Pavilion
Above: IMA curator of contemporary art Lisa Freiman, artist Julianne Swartz, and Ann Stack
Above: Maxwell Anderson, Lori Efroymson-Aguilera and Sergio Aguilera
See more photos of IMA events at http://flickr.com/photos/imaitsmyart
INFORMATION IMA H ours
Indianapolis Museum of Art & Lilly House
For questions concerning membership, call 317-920-2651. To renew or join IMA, call 317-920-2651, or join online at imamuseum.org.
Puck’s Wolfgangpuck.com/rsvp or call 317-955-2315 for reservations
Tuesday, Wednesday and Saturday, 11:00 am–5:00 pm Thursday and Friday, 11:00 am–9:00 pm Sunday, noon–5:00 pm Closed Mondays, Thanksgiving, Christmas and New Year’s Day.
Gardens & Grounds
Visitors may park in the garage and designated outdoor lots at no charge. Wheelchairaccessible spaces are marked.
Open daily from dawn until dusk.
General admission is free. Admission charges for special exhibitions in the Clowes Gallery in Wood Pavilion are: IMA members Free Adults (18–64) $12 Children (7–17) $6 College students with valid I.D. $6 Seniors (65+) $10 Groups of 10 or more, each person $10 Children 6 and under Free School groups Free (must book through IMA Education Division) IMA members, depending on membership level, receive one or more complimentary tickets for guests for ticketed exhibitions. Phone MAIn:
24-Hour Information Line:
Previews is published by IMA, 4000 Michigan Road, Indianapolis, IN 46208-3326, as a benefit for IMA members. Questions or comments may be directed to the Previews staff at 317-923-1331.
Lunch: Tuesday–Saturday, 11:00 am–2:00 pm Dinner: Thursday–Saturday, 5:00–9:00 pm Brunch: Sunday, 11:00 am–2:00 pm
Noelle Pulliam contributer:
IMA Cafe Tuesday–Saturday, 11:00 am–3:00 pm Sunday, noon–3:00 pm
S.L. Berry Graphic Design:
The Museum building and Lilly House are accessible for wheelchair users.
Happy Hour Thursday, 5:00–9:00 pm
AMP: art, music, people Friday 5:00-9:00 pm
The IMA Store Unique selection of books, crafts, gifts and more.
I M A L ibraries
Open all Museum hours.
Noncirculating collection of more than 90,000 items 317-920-2647
Gallery Shop Located on the north end of the first gallery level, this shop offers merchandise related to special exhibitions and IMA collections. Greenhouse Shop Perennials, annuals, herbs and gardening gifts for sale. Open all Museum hours, except Thursday and Friday, when it closes at 8:00 pm. Public T ours
Public tours are offered each day at 1:00 pm and also on Thursdays and Fridays at 7:00 pm. Tour size is limited. Meet on the first gallery level at top of escalator.
Tad Fruits Mike Rippy
Stout Reference Library
RIGHTS & REPRODUCTIONS:
Ruth Roberts image processing specialist:
Tuesday, Wednesday, Friday, 2:00–5:00 pm Thursday, 2:00–8:00 pm and by appointment
All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides or videotapes must be obtained in writing from the Rights and Reproductions office, 317-923-1331, ext. 171.
Jane S. Dutton Educational Resource Center 317-920-2675 Tuesday, Wednesday, Friday, Saturday, 11:00 am–5:00 pm Thursday, 11:00 am–8:00 pm
Copyright ©2008 Indianapolis Museum of Art
Horticultural Society Library Books on gardening and related topics. Lower level of Garden Terrace. 317-923-1331, ext. 429 Wednesday and Saturday, noon–3:00 pm
WEB SITE: E-MAIL:
This ac tivity madeossible p , in par t, with supp ort from the Indianarts A C ommission, and theational N Endo wmen t for the A rts, a eder f al agenc y
General support of the IMA is provided by the Arts Council of Indianapolis and the City of Indianapolis; and by the Indiana Arts Commission, a state agency, and the National Endowment for the Arts, a federal agency.
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REVERSE “The pageant, written to meet the requirements of a large audience, aims at pictorial effects—at processional movements, rhythm, color and grouping. To this end symbolism is largely employed. The historical story is secondary.” —Introduction for a pageant presented by Herron School, 1916
Above: Art School Pageant Right: Herron pageant costume designs representing Printing Industry (left) and Auto Industry Photos courtesy of Indiana Historical Society
4000 Michigan Road Indianapolis, IN 46208-3326
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