Fanning the Flame

Fanning the Flame The Indianapolis Art Center turns 75

S.L. Berry

Fanning the Flame

Fanning the Flame The Indianapolis Art Center Turns 75

S.L. Berry

We offer a warm thank you to all who have brought this publication to fruition.The collective memories have been captured faithfully and gracefully written by Skip Berry, who also wrote the first history of the Indianapolis Art Center, For the Sake of Art, published in 1999. He again collaborated with Jim Sholly, who creatively designed both of our history publications. Our appreciation also goes to Frank Basile, who generously provided oversight and continuity as a board representative, along with the dedicated professional staff support of Lisa DeHayes,Anya Aslanova and Pam Rosenberg.

This book has been made possible through the generous support of Lilly Endowment, Inc.

For a more detailed history of the Indianapolis Art Center, see For the Sake of Art (1999, Indianapolis Art Center)

Indianapolis Art Center, Indianapolis, Indiana 46220 Š 2009 by the Indianapolis Art Center All rights reserved. Published 2009.

Printed in the United States of America Book Design: Commercial Artisan Printing: Mossberg & Company Inc. ISBN: 978-0-9669925-1-9 Library of Congress Control Number: 2009927467 Top cover illustration: Future East Entrance and Sculpture Pavillions (Anderson Illustration Associates, Inc., 2004) Bottom cover illustration:Art Center South Facade (Michael Graves, 1993) Title page:Art Center’s South Entrance Pages 6-7: Ruth Lilly Library Entrance

A note about sources: Section notes are at the end of this book. For a complete list of all notes, the Indianapolis Art Center has a copy of the original manuscript on file.

contents

9

Acknowledgements

11

Introduction

13

Section One: From Concept to Composition

23

Broad Ripple Art Fair

33

Section Two:A Greater Vision

43

Michael Graves

57

Significant Exhibitions 1996-2008

71

ARTSPARK Art & Artists

83

Joyce Sommers:A Legacy of Achievement

90

Endnotes

93

Former Presidents & Chairpersons

“ It’s impossible to enter this building and not be affected by it—the people, the art, the atmosphere. The feedback you get as a teacher is much more valuable than the money you get.

The people here are wonderful.”

— Shirley Carr, longtime instructor

acknowledgements

people around with first-hand knowledge of how it

project. First and foremost is Joyce Sommers, the

came to be what it is.That’s what makes archives so

indomitable force behind the Indianapolis Art Center

valuable—from scrapbooks and clippings files to

whom I’m proud to have called my friend for many

board meeting minutes and personal correspon-

years.It was Joyce who suggested to me that we should

dence, the paper trail that archives provide is an

do a follow-up to my book For the Sake of Art, a

invaluable resource to anyone researching the history

history of the first 65 years of the Art Center that we

of an organization. So it was in this case.And as with

published in 1999; the new volume, she said, should

the earlier book, I was able to turn to Pam Rosenberg

concentrate on what happened to the organization

for help in locating what I needed: she’s one of the

after opening its Michael Graves-designed building in

Art Center’s most valuable repositories of information

1996 (which is where the earlier book ends).

(as well as a fine copy editor).

she was one of the most helpful sources of informa-

Michael Graves, Frank Basile, Stan Hurt, George and

tion for the project—as she had been for the earlier

Diane Seybert, Julia Muney Moore, Ellie Siskind,

volume. For her graciousness and willingness to talk

Teresa Altemeyer, Bernie Carreno, David Owen,

about the trials as well as the triumphs, I’m most grate-

Robert Stackhouse, Carol Mickett, Laura Alvarado,

ful. My world is a richer place for knowing her—and

Jude Odell, and Lianne Sommerville. For technical

that’s a feeling I know I share with many of the stu-

assistance, thank you to MarkWilliams of imagenation,

dents, artists, donors, staff, and board members who’ve

LLC and the Art Center’s own Lisa DeHayes.For artful

shared some part of their lives with her over the years.

design services, Jim and Jon Sholly of Commercial

More than anything, this book is a tribute to her, my

Artisan.And for unfailing love and support, thank you

way of saying simply:Thank you, Joyce, for everything.

always to my wife Margo and our son Tyler.

Sarah Hurt (at right) and friends with paintings at an Indianapolis Art League sale in the 1940s.

7 5

number of people: thank you to David Thomas,

T U R N S

organization’s 75th anniversary in 2009. Once again,

C E N T E R

For firsthand information, I was able to rely on a

A R T

She wanted to do a new book to commemorate the

9

I N D I A N A P O L I S

uals I want to thank for their contributions to this

T H E

further back than a generation, there are rarely many

F L A M E

does it alone. In this case, I have a number of individ-

T H E

For an organization that has a history extending

FA N N I N G

Creating a book is a collaborative process—no author

“ Truly the creative spark slumbers in most everyone.

Only some people fan the flame. The members of the Indianapolis Art League have done just that.”

— Myrtie Barker, The Indianapolis Star; November 12, 1958

introduction

The passage of more than a decade—a time period

exhibition of works by members of the Art Students

which has seen significant developments in the Art

League of Indianapolis, Butler University art instructor

Center’s operations—led to the decision to supple-

Ethelwynn Miller gave a talk entitled “Who Is an

ment For the Sake of Art with this book.The focus of

Artist?”The answer, according to Miller, was some-

the following pages is the period from 1996 to 2008

one who has a “wide horizon that is constantly

during which the Art Center has continued to build

enlarging,” who is “alive to the beauty of the world,”

upon its legacy by expanding existing programs and

and who has “the natural gift of imagination.”

creating new ones, extending its relationship with

1

group that became the Indianapolis Art League, then

through additional projects, including the innovative

the Indianapolis Art League Foundation, and even-

ARTSPARK, and elevating its status in regional,

tually the Indianapolis Art Center. And the three

national and international art circles through collab-

traits that Miller suggested were key to being an artist

orative exhibitions and innovative programming.

are equally applicable to the organization that, under

In addition to its role as a community hub for ac-

various names, has been a center of artistic activity in

complished and aspiring artists alike, the Art Center

Indianapolis since 1934. Without passionate and

has become a popular venue for films, concerts,

supportive members, staff, boards, instructors, and

lectures, corporate retreats, and family events.

sighted visionaries, without a collective persistence

comprehensive overview of the Art Center’s first 65

in the face of adversities and a willingness to take

years, the time-frame of this volume is shorter and its

risks, the organization would not have survived, let

purpose less ambitious.The objective this time is to

alone thrived as it has over the past 75 years.

offer a look at some of the highlights of the past 12 Art Center since that momentous day in 1996 when

history—For the Sake of Art—which the Art Center

it opened the doors to the Graves building. But first,

published in 1999. That volume chronicled the

a quick glimpse back at the organization’s earlier

development of the organization from its inception

decades—a capsule version for those who haven’t

as a small painting class to its emergence by the end

read the earlier book.

community art centers. It ended with the construc-

— S. L. Berry; September 2008

tion and opening of the Art Center’s now iconic building, designed by internationally renowned architect (and Indianapolis native son) Michael Graves.

Welding was one of many skills taught at the Indianapolis Art Center after it moved into its Michael Graves-designed building in 1996. (Photo: David Hooper)

7 5

of the 20th century as one of the country’s leading

T U R N S

anniversary. It is also an extension of an earlier

C E N T E R

years—a greatest hits, if you will, of the Indianapolis

A R T

This book is a celebration of the group’s diamond

I N D I A N A P O L I S

While For the Sake of Art attempted to provide a

11 T H E

students, without ever-expanding horizons and far-

F L A M E

Graves and his Princeton, New Jersey-based firm

T H E

The Art Students League was the precursor of the

FA N N I N G

In 1939, at a tea held to preview the third annual

section 1

From Concept to Composition Balance is the fundamental law of the universe, and so it is in a painting.When a composition has unity, all parts serve one end and no element can be eliminated without disturbing the whole. — William Kaeser, in his unpublished autobiography What’s the World Coming To?

None of them looked like artists. Not even their teacher,William Kaeser, who actually was one. All of them—the women pictured anyway—looked like what they were: middle-aged housewives. Kaeser looked like a bank teller. But in the snapshot of the small painting class, which Kaeser started teaching at an Indianapolis community center in 1934, was the basis for an organization that would transform the teaching of art in Indianapolis— and in the process encourage the development of an array of talented artists.

projects at the same time.Though initially a blow to

was the precursor to others he would teach at various

the fledgling organization, Kaeser’s departure forced

sites around Indianapolis between 1934 and 1939.And

Art Students League members to grapple with the

during his tenure, what started off as a few house-

question of the organization’s future.They agreed to

wives in search of a hobby to lighten the gloom of life

continue despite the loss of their much-admired

in the depths of the Depression became a bona-fide

founding instructor, and in doing so they set the tone

organization known as the Indianapolis Art Students

for the coming decades when the organization

League (named, at Kaeser’s suggestion, after the fa-

would be confronted by other serious challenges and

mous NewYork Art Students League).

would overcome them. Determination in the face of

Founded in 1938 by some of the same women

adversity became a League hallmark.

Art Students League not only held classes in com-

Kaeser crisis. In 1943, with money needed to sup-

munity centers, schools and at one point above a

port military efforts during World War II, the WPA

drugstore, it also sponsored an annual exhibition that

came to an end.Without federal funding, the League

became a popular event among Indianapolis art

had no way to pay instructors. But with membership

lovers. In addition to being well-attended, the

on the rise despite gas rationing and other war-time

exhibitions were popular venues for Indianapolis res-

restrictions, the League found a way to finance its

idents to buy works of art for reasonable prices.

operations, probably through a combination of rais-

In 1939, Kaeser received a federal commission to

ing the monthly dues (which were 10 cents at the

paint a mural in the Pendleton, Indiana post office.

time) and receiving contributions from wealthier

To do so, he had to give up teaching his League

members. In any case, the League’s classes continued.

classes, which were also federally funded through the

Following the end of the war, the League saw a

William Kaeser with members of his first painting class in 1934 Pages 12-13:Art League sidewalk sale, a precursor to the Broad Ripple Art Fair, 1960s.

C O M P O S I T I O N

The next big test came just a few years after the

T O

who had formed Kaeser’s first class, the 40-member

15

C O N C E P T

ing the Great Depression, Kaeser’s first painting class

F R O M

forbade receiving money from two government

F L A M E

classes that sprang up around the United States dur-

T H E

Works Progress Administration (WPA)—regulations

FA N N I N G

One of thousands of vocational and recreational

steady increase in membership, especially among

designed by local artists George Jo and Evelynne Mess,

men, few of whom had taken part in the past.As the

raising $200 for a newly established “building fund.”

roster expanded and changed, the group opted to

That kicked off a series of fund-raising activities over

alter its name, dropping the word “Students” (perhaps

the following years, including the first art fair that the

because it sounded too much like a beginners’ group

group hosted in Broad Ripple in 1955. Raising more

for the more accomplished members’ taste). It became

than $1,000, that event was considered so successful

simply the Indianapolis Art League, a name it would

that the Art League made it an annual affair, in the

retain in one form or another for the next 40 years.

process establishing the precedent for a later event it would take on—the Broad Ripple Art Fair.

FA N N I N G

T H E

F L A M E

A Place to Call Home

F R O M

C O N C E P T

T O

C O M P O S I T I O N

16

Another high-profile fund-raiser for the League

In 1947, the League consolidated all of its classes in

was the 1954-55 renovation of a carousel that had

one location: Indianapolis Public Schools system’s

once been the centerpiece of Broad Ripple Park.

School 66 on East 38th Street between Park and

Repairing and repainting the murals that were part of

Broadway avenues. But the post-war Baby Boom led

the carousel earned $300 for the building fund; the

to an increased demand for classroom space, forcing

organization would have garnered even more had

the League to move out of the school in 1951, first to

members been able to complete a planned restora-

a public library branch a few blocks west, then in

tion of the carousel’s carved wooden animals. But the

1952 to the Holliday House in Holliday Park.

roof of a pavilion where the Parks Department stored

Owned by the Indianapolis Parks Department, the

the carousel collapsed, forcing Park officials to haul

former residence of John and Evaline Holliday be-

away and store the salvaged animals. They were

came the League’s home for the next three years—

eventually donated to the Children’s Museum of

and the closest thing to a permanent address the

Indianapolis, which restored and mounted them on a

organization would have for some time.

new motorized platform. The carousel became one

But when the Holliday House was destroyed in

of the Museum’s most popular attractions.

a fire in 1955, the Art League became a nomadic

As the League’s financial needs mounted, leaders

organization, holding classes at various sites around

realized they needed to expand their fund-raising

Indianapolis. Lack of a home base didn’t diminish

efforts, and the best way to do so was to appeal to

the organization’s popularity, however—its classes con-

area funding agencies for support. But to do that, the

tinued to attract a wide range of people from through-

organization needed not-for-profit status. In 1960, it

out the metropolitan area. But membership dues and

submitted its 501(3c) application to the Internal

class fees couldn’t keep pace with the League’s austere,

Revenue Service, which was approved the following

but growing, budget. Over the years, the group found

year. At the same time, the group changed its name

a number of ways to enhance its bottom line.

to the Indianapolis Art League Foundation (IALF),

Finding a place to call its own was the League’s chief financial goal throughout the 1950s (beyond, of course,

which some members thought would make it more appealing to grant providers.

paying ongoing operational expenses). The first

The Foundation didn’t waste any time capitaliz-

concerted effort specifically directed at achieving that

ing on its new not-for-profit status. With the

goal came in 1952 when the League sold note paper

donation of a lot at 3103 North Pennsylvania Street

Flo Burke (l) and Mary Stirewalt (r) with paintings they did in Art league classes (circa 1954-58)

F L A M E T H E FA N N I N G F R O M

C O N C E P T

T O

C O M P O S I T I O N

18 from Marguerite (Maggie) Fehsenfeld, the group’s

More Space, Students, Classes, and Concerns

board commissioned a building design from local

From the moment it opened, the Pennsylvania

architect Joseph O. Cezar and set about raising the

Street building was a bustling place, filled with a

money required to construct the first building. Satis-

roster of classes taught by some of central Indiana’s

fied that Cezar’s plans accounted for both classroom

best known artists, including faculty from Herron

and exhibition needs, Art League officials broke

School of Art. With space for a greater variety

ground for the organization’s first permanent home in

of classes and high-profile instructors, the League

the spring of 1962 and dedicated the finished 4,000-

attracted more students than ever before, many with

square-foot structure that fall.The entire project cost

more serious intentions. While the hobbyists and

slightly more than $50,000, while the Foundation’s

Sunday painters remained an important component

fund-raising campaign had netted $54,000. With a

within the overall membership, working artists began

place to call its own, the 28-year-old Art League—

to assume a larger role within the organization.

having long before proven its value to the commu-

At the same time, the League expanded the types

nity—was poised to become an even more important

of classes it offered. Based on student suggestions,

contributor to the cultural life of Indianapolis.

it added classes in such disciplines as printmaking,

A scene from the Art League’s popular annual Awards Exhibit held at the William H. Block Company department store in downtown Indianapolis (circa 1958-60)

lithography, fiber arts, and wood sculpture, and

do with any regularity before—it also had led to

broadened its traditional menu—drawing and still

security concerns. By the late 1960s, the neighbor-

life and landscape painting (both oil and water-

hood surrounding the League’s home had begun to

color)—to include portraiture and acrylic painting.

deteriorate, a victim of the flight to the suburbs that

But more on some fronts was offset by less on others,

plagued many large American cities at the time.

primarily money and manpower. While keeping

Crime was on the increase in the area. While a

membership dues and class fees low to encourage

fenced and lighted parking lot provided a measure

more people to get involved, the Art League was

of safety for people coming to evening classes, the

confronted by new concerns such as the need to

board began to hear complaints from students who

maintain its building and organize its operations.

were worried about being there after dark. emerged within the organization—those who

could meet.The short-term (and obvious) solution

wanted to expand the Pennsylvania Street facility and

was to create part-time paid positions for a janitor

enhance its security provisions and those who

and a secretary, which it did. But the board realized

wanted to move the Art League to a new location.

that if the League were to continue to expand—

Following a two-year search for potential relocation

which was both the goal and the expectation—it was

sites, League officials decided to move, choosing an

going to have to do some long-range planning.And

acre-plus lot on East 67th Street, bordering the

such planning had to factor in the need for a profes-

White River in Broad Ripple.The cost: $30,000 for

sional staff. Before committing to the idea of a full-

the lot, plus an additional $300,000 to construct and

time staff, though, the board had to figure out how

equip a new building there.

growing at a faster rate than its Pennsylvania Street

emerged. Prodded by friend and Art League instructor

building could accommodate.As membership and stu-

Marilyn Price, Joyce Sommers had begun taking

dent populations continued to increase, so did requests

classes in 1971. Though confident in the value of

for classes in ceramics, textiles and other disciplines

the organization, a reluctant Sommers had to be

that the League wanted to make part of its curriculum,

convinced by longtime board member M. Steele

but which posed serious space and equipment needs

Churchman to chair a fund-raising committee.

that its building was not able to handle on any large

Working in tandem, the committee and the board

scale. It did what it could, but classroom space and

managed to raise the money needed for the Broad

available time slots were limited.The building that had

Ripple facility, the construction of which Church-

seemed such a blessing a few years earlier was now

man, an experienced engineer, agreed to oversee.

constraining the organization’s growth.

Ground-breaking took place on June 22, 1975,

That wasn’t the only building-related matter con-

with Sommers—who by then was the League’s

fronting the League’s board.While the Pennsylvania

president—joining Churchman, local philanthropist

Street site had provided a means to hold evening

Allen Clowes and other dignitaries to turn over

classes—something the group had not been able to

ceremonial shovels full of dirt. Designed by architect

C O M P O S I T I O N

significant figures in the organization’s history

T O

By 1968, another issue confronted the League. It was

C O N C E P T

It was during this period that one of the most

19 F R O M

to pay for it.The idea was tabled for future discussion.

F L A M E

found itself with more consistent labor needs than it

T H E

The question was what to do. Two factions

FA N N I N G

Volunteer-run from the beginning, the organization

the onus for handling those responsibilities was on the members who were willing to step forward and help. But volunteers could not assume all of the dayto-day operational duties, the board agreed, so it was time to hire someone who could.

A call for applications led to 55 candidates vying for the newly created position of executive director, but in the end the person the board determined was most qualified was its very own president, Joyce Sommers.After five years of active involvement with the Art League—first as a student, then a volunteer

FA N N I N G

T H E

F L A M E

and finally in various roles on the board—Sommers

F R O M

C O N C E P T

T O

C O M P O S I T I O N

20

was convinced not only of its value to members and students, but also to the broader cultural community Thomas Dorste of James Associates and built by

and the city of Indianapolis. In late 1976, Sommers

League-friendly contractor Charles Pechette, presi-

resigned as the group’s president and assumed her

dent of Merit Homes, the 10,000-square foot building

new duties as its first executive director.What neither

cost approximately $24 per square foot. Seven

Sommers nor the board could foresee at the time was

months after the ground-breaking, the Art League

that she would serve in that position for the next 33

held its first classes in its new 10,000-square-foot

years, guiding the organization to regional and

home. Just weeks before opening the new building,

national prominence as one of the largest and most

it sold its existing facility to a local Girls Club for

innovative community art centers in the country.

$26,000.The move was a bittersweet affair for all the

That transformation began with the new building.

members, including Sommers and Churchman, who

While the Art League had begun as a place for novices

had originally hoped the organization would show

to learn the rudiments of drawing and painting, over

its commitment to the inner-city by expanding the

the years it had become a place where serious artists

14-year-old Pennsylvania Street structure. But there

could hone existing skills and develop new ones.The

was no denying the advantages the new building

move to Broad Ripple—which in the mid-1970s was

offered: more space for making and exhibiting art, as

a haven for musicians, artists, writers, and other creative

well as room to expand if the need arose.

mavericks—gave the League added appeal. Its classrooms filled with a combination of beginning and

A New Home and a New Leader Substantially larger than its predecessor, the new

experienced artists, and its gallery became a popular showcase for the work of regional talent.

building allowed the Art League to expand its

At the same time, Sommers began to lay the

programming roster, adding classes in ceramics,

groundwork for the future by urging the board to

photography and printmaking. More classes meant

buy some of the property surrounding the League’s

more responsibilities, though, and with a part-time

facility.That was in keeping with a recommendation

secretary-bookkeeper and a part-time receptionist,

made by the organization’s newly formed advisory

Art League volunteers preparing works for an exhibition (circa 1960s)

committee, which consisted of representatives from

Staffing Up

the local business, civic, cultural and media commu-

While the title “executive director” had a corner

nities. Buy as much land as possible, the committee

office-like cachet to it, in reality Sommers’s job was

advised, to ensure room for future growth. By No-

more middle management-oriented (and sometimes

vember 1978, the League’s board had taken heed,

even worker bee-like).With only a few part-timers

purchasing three acres east of the East 67th Street site

to assist her—along with a fluctuating number of

for $25,000. That was the first of many real estate

volunteers—Sommers not only dealt with such

deals to come, as Sommers and the board positioned

executive-level responsibilities as finances, planning

the organization for long-term growth.

and operations, but with such day-to-day concerns as keeping.Wearing multiple hats traditionally had been

as personnel, volunteer recruitment and utilization,

common practice for the people leading the Art

facilities, finances, programming, and organizational

League, but that had been easier to do when the

structure and procedures.That study was the precursor

organization was smaller. By the time Sommers

to a long-range planning effort headed by board

took the helm and the Broad Ripple facility began

member Alan Nolan, which in 1980 produced the

attracting record numbers of members and students,

organization’s first five-year plan. One of the most

the existing business-as-usual approach, which relied

pressing needs that the study identified and the plan

on volunteers to do much of the heavy lifting, was

included was the development of a professional staff.

no longer effective.

F L A M E

study of the organization, looking at such matters

T H E

class schedules, exhibition coordination and record-

FA N N I N G

In late 1979, the League’s board did an internal

21 F R O M C O N C E P T T O C O M P O S I T I O N

The vacant lot on East 67th Street (which was then a narrow dirt lane) that the Art League purchased in 1974 as the site for its first Broad Ripple building

BROAD RIPPLE ART FAIR

From its beginning in 1970 as a

• Dozens of artists returned

bad weather on one day had less of an impact on artists’

consistently ranked it among

sales and the Art Center’s net

parking lot to its 21st-century sta-

the top art fairs in the country.

income from ticket sales. The

tus as one of the largest events of

Among those returning was

exceptions were in 2002 and

its kind in the Midwest, the annual

local favorite K.P. Singh, who is

2003 when severe weather led

Broad Ripple Art Fair long has

the only artist to have taken

to revenue losses of $94,000

been the Indianapolis Art Center’s

part in every Broad Ripple Art

and $85,000 respectively.

highest-profile attraction. With an

Fair since the first.

In response, the Art Center

Broad Ripple Art Fair,” which

of a single Saturday in May; by

was held on Aug. 25, 2002 and

2008, nearly 250 artists were on

netted more than $20,000 and

hand, attracting 25,000 people to

“Songwriters for Art, benefiting

the weekend-long event, which in-

(sic) the Indianapolis Art Cen-

cluded not only exhibition booths

ter,” which was held at the

but also live music on stages

Vogue Theater on August 28,

throughout ARTSPARK. As it grew

2003 and netted more than

in size and scope, the Fair also

$16,000. The remainder of the

became the Art Center’s biggest

two deficits was covered by

fund-raiser, netting approximately

donations from area founda-

$300,000 for the organization’s

tions, philanthropists and

outreach programs and other

media outlets.

• After back-to-back weather-

Among the highlights of the Art

related disasters, the Art Center

Fair’s history are:

moved the Art Fair to the third

• In 1980, it moved from the parking deck beside the Broad Ripple canal to the grounds of the Indianapolis Art League.

That same year, it expanded from being a one-day event to a two-day schedule.

weekend in May, starting in • As an outdoor event, the Art

2004. Even then, a severe

Fair is subject to the weather—

weather warning forced officials

that was a more serious con-

to close early on Sunday; de-

cern when it was still a

spite that, the Art Center made

single-day event, but once it

money on the event and chose

became a weekend-long affair,

to stay with the later date.

Left: Art fun at Broad Ripple Art Fair Above: As of 2009, Indianapolis artist K.P. Singh had participated in every Broad Ripple Art Fair since the first in 1970

FA I R

operational needs.

23

A R T

thousand visitors over the course

R I P P L E

A Benefit Concert for the

B R O A D

staged two benefits— “Art-Aid:

Art Fair attracted a couple of

F L A M E

initial roster of 103 artists, the first

T H E

to the event every year and

and easel displays in a canal-side

FA N N I N G

humble collection of card tables

F L A M E T H E FA N N I N G

24

For one thing, the League’s pool of volunteers was

C O M P O S I T I O N

many of the housewives who for so long had made

Those hires signaled the beginning of an ongoing

up the largest percentage of the League’s volunteer

effort to develop a professional staff, which eventually

ranks began joining the workforce in greater

resulted in the employment of several individuals

numbers than ever before.That left Sommers (who

who stayed with League for a decade or longer. Such

T O

ironically was one of those former volunteers who

loyalty and commitment, as well as the resulting sta-

C O N C E P T

first exhibitions coordinator.

was now duly employed) to search for ways to get a

bility, contributed to the growth of the organization.

multitude of tasks done as efficiently and effectively

While the board continually upgraded salaries and

as possible—a significant challenge since she had little

benefits in an effort to reward long-term staffers and

F R O M

shrinking rapidly. By the late 1970s and early 1980s,

Nickolson joined the fledgling staff as the League’s

money to hire full-time staff members. But the

to make the Art League a competitive employer

League’s board understood the problem and gradually

among area nonprofits, Sommers strove to make staff

helped Sommers raise the money she needed to

members feel appreciated for their considerable,

begin adding staff. In 1980, with funding from the

often above-and-beyond-the-call-of-duty efforts,

Metropolitan Arts Council, Sommers hired Elizabeth

using everything from personal gifts to official

Sowards as the organization’s first paid program

acknowledgements. In the process, she fostered a

director; she oversaw education and special

sense of family among staff that led many people to

programming. Two years later Anne McKenzie

stay, sometimes in spite of offers from other organi-

Executive director Joyce Sommers in front of the Art League’s original Broad Ripple building

zations willing to pay more for people who had worked under Sommers’s tutelage.

More Changes In 1984, the Art League marked its 50th birthday “A Phantasmagoria Historia Through Fifty Years of

mers and the Art League’s board throughout the 1980s

Art.” Chaired by Barbara Stokely, who invited other

resulted from the success of the League’s primary func-

arts organizations in the city to take part by devel-

tion—its classes. The move to Broad Ripple had

oping themed rooms based on each decade of the

expanded the number of classes and art forms on the

Art League’s history, the event was held at the Broad

League’s roster, and consequently the number of

Ripple facility on June 9. It allowed the organization

instructors needed to teach them.Within a year of mov-

to revel in how far it had come from its humble

ing into its Broad Ripple facility,the Art League’s mem-

beginning as a simple painting class for 10 women.

bership rolls had nearly doubled from 650 to 1,200 and

The gala was followed a few months later by a more

it had 57 classes on its schedule, ranging from drawing

sober assessment of the organization’s history, a gath-

and still life painting to calligraphy, photography and

ering called “Conclave:Art League 1988,” held at the

ceramics. But simply offering more classes in a greater

Inn of the Four Winds in Brown County in March

variety of disciplines was only one step the League took

1985. Its purpose was to encourage the organization’s

to attract new students into its fold. For practicing

chief advocates—Sommers and board members—

artists—or those who intended to be—it developed

to take stock of where the League was and deter-

certificate and diploma programs. It also began profes-

mine where they wanted it to go.

The fact was, less than 10 years after opening the

academic standards,a practice that first took shape under

Broad Ripple facility, the League had run out of

the direction of artist Beverly Snodgrass, the League’s

space.With its gallery serving as an exhibition venue

education director from 1987 to 1989.

and a place to store art for upcoming shows (somethe artists whose work was on display), and with

grass left, who set the standards upon which the

classrooms shared by such incompatible art forms as

League would build its reputation for educational

ceramics and photography, the organization’s reputa-

excellence from 1989 forward. By working with

tion as an art- and artist-friendly place was fraying.

instructors to create classes that were meaningful to

Its growth, once seen as a sign of vitality, was fast

them as well as their students, and by developing a

becoming a symbol of weakness.The League either

sense of community among the instructors, staff and

needed to scale back its ambition to become a com-

students,Thomas took the Art League’s educational

munity center for creative activities or expand its

program to new levels of achievement. In the process,

facility to accommodate ever-increasing demands.

he earned accolades for his innovative approaches to

The 1985 conclave aimed to explore the Art

art education, as well as a promotion. As a result,

League’s problems and figure out how to solve them

Thomas became the organization’s first associate

before they overwhelmed the organization and

director (later, vice president) second only to Som-

diminished its ability to provide the high-quality ed-

mers in both authority and eventually seniority.

ucational experiences that were its core purpose. Since

C O M P O S I T I O N

teacher who stepped into the position when Snod-

T O

thing that unintentionally appeared disrespectful to

C O N C E P T

But it was David Thomas, a photographer and

25 F R O M

sionalizing its classes by imposing a consistent set of

F L A M E

finances, staffing and operations that confronted Som-

T H E

with a glamorous celebration of its past dubbed

FA N N I N G

The organizational growth and subsequent issues of

space restrictions were a major factor confronting the

Diane Seybert in memory of her father Lynn E.

organization, Sommers and the board agreed it was

Pierce, with additional support from the Indianapolis

time to begin exploring the possibility of expanding

Foundation, the Fehsenfeld family, Robert Hurt, and

or replacing the existing building.This time, however,

Target Stores, the Riverfront Stage and Deck was

due to prior purchases of surrounding property, the

unveiled in 1989 and quickly became a popular site

League wasn’t facing the possibility of having to move.

for concerts, films and other fair-weather perform-

It had room to expand right where it was.

ances, as well as a revenue-producing rental space for

FA N N I N G

T H E

F L A M E

But any construction project was going to require

26

a capital campaign, and to help that process along,

Not everyone was happy with the new direction.

the board opted to drop the word “Foundation”

Just as it had encountered resistance among some

from the organization’s official name, returning it

members and students to the move to Broad Ripple

simply to the Indianapolis Art League. In a reversal of

in 1976, the League was confronted by individuals

the original thinking behind calling it a foundation,

who were unhappy with the idea of it being any-

everyone agreed it would be easier to raise money

thing more than what it had been—a place to make

without that designation, which made it sound like

and display visual art. But Sommers and the board

a funding provider rather than a funding seeker.

insisted that, if the Art League were to survive and

Before undertaking a large-scale fund-raising cam-

thrive, it had to become more of a cultural complex,

paign, conclave participants determined, the League

keeping the main emphasis on art classes and exhi-

had to make some changes. Despite having expanded

bitions, but diversifying its programming to attract

its membership rolls and student population between

new people, new ideas and new financial resources.

1976 and 1985, the organization retained an insular,

C O N C E P T

T O

C O M P O S I T I O N

club-like atmosphere that many insiders enjoyed. But

F R O M

special events such as weddings and small parties.

But the best, and to some the most controversial, change was yet to come.

that atmosphere alienated many newcomers and outsiders.To lay the foundation for future growth, which

Michael Graves Comes Home

the board regarded as essential if the Art League were

On one level it was so simple: pick up the tele-

to endure, it had to broaden its appeal and extend its

phone receiver and make a call. On another level,

reach to new audiences, not only through classes and

it was bold, unexpected, audacious. Joyce Sommers

exhibitions, but also through more varied program-

had nothing to lose the day she dialed up Michael

ming.While it had hosted successful film series in the

Graves, internationally renowned architect, Princeton

past and intended to continue doing, the board

University professor and Indianapolis native. En-

wanted the group to explore other prospects.

couraged by board member Joe Hale, who already

For example, the League considered adding a

had talked to Graves about the Art League’s need for

theater component, which led to discussions about

more space, she called to see if he would consider

serving as a venue for performing arts programs.

designing an expansion of the existing structure.

That, in turn, led to the development of the River-

What Sommers had in mind was a 21,000-square-

front Stage, an outdoor venue erected on the southern

foot addition that an ad hoc building committee,

bank of the White River, directly behind the East

which included local architects Jeff Myers and Jim

67th Street building. Underwritten by George and

McQuiston, had outlined. It would feature glass,

FA N N I N G T H E F L A M E

27 F R O M

ceramics, photography, and woodworking studios,

opportunity to design a project in his hometown,

offices, a library, a gallery, and an auditorium. Pre-

something that, for all of his fame and acclaim, he

C O N C E P T

liminary estimates set the cost at $1.7 million, a

had never done. And to do it just blocks away from

T O

significant price-tag for an organization that had

the high school he and Sommers had attended. But

never done such an expensive project or tried to raise

an alma mater wasn’t all that Graves and Sommers

so much money. But Sommers was not deterred—

shared—they both were in the habit of dreaming

to her, it was a natural progression for an organization

big, then figuring out how to turn a dream into

C O M P O S I T I O N

that she had worked tirelessly to position as one of

reality.The Art League project offered them a chance

central Indiana’s creative hubs.

to do that together.

While the Art League lacked the deep pockets of

Graves made his initial presentation to the Art

such Graves clients as the Walt Disney Company,

League’s board in April 1990, unveiling a preliminary

Humana Hospital and the Hyatt Corporation, it

design for the proposed expansion that reflected what

offered something none of his past clients had—an

he perceived as the organization’s character.That early

Michael Graves with a model of the Indianapolis Art Center building that he and his namesake architectural firm designed Pages 28-29:The Broad Ripple Art Fair through the years

F L A M E

to expand its horizons by giving it the room to

interpretation of a factory-style building—became

diversify the audiences it served both on-site and,

the basis for a project that gradually shifted from

through the use of new technologies, around the

being an expansion of the existing structure to a

world, participants ultimately resolved to proceed

replacement for the circa-1976 facility.Along the way,

with a capital campaign and to give Graves the green

the project’s cost kept escalating, eventually reaching

light to move forward with his planning process.

nearly $8 million for a new 40,000-square-foot build-

In June 1991, the Art League kicked off its

ing, plus three years’ worth of funds for operations,

expansion campaign. Over the course of the fol-

program development and contingency purposes, as

lowing three years, the campaign raised more than

well as a building endowment.

$6 million, plus a $2.5 million donation from local

When a study conducted for the League by

philanthropist Ruth Lilly.The Lilly gift, which the

national consulting firm Ketchum & Associates pre-

League received in June 1994, tipped the scales in

dicted the organization would be able to raise only

favor of beginning construction. At a ground-

about $2.5 million, Sommers and the board

breaking ceremony for the project on June 24,

convened Conclave II to discuss the situation.Agree-

1994, Sommers announced that the organization

ing that the project offered the League an opportunity

was changing its name to the Indianapolis Art

FA N N I N G

T H E

design—which featured a structure based on Graves’s

F R O M

C O N C E P T

T O

C O M P O S I T I O N

30

The Graves building under construction in 1995

Center, a designation suggested by board member David Young, co-founder of local advertising agency Young & Laramore. Calling it a “Center” made it more community-oriented, claimedYoung, and his fellow board members agreed. For the first time since 1938, when Bill Kaeser had suggested naming the new organization after the New York Art Students League, the word “League” would not be part of its name; the reason for that, stated Sommers, was that it implied a closed type of group, whereas “Center” signified inclusiveness. The new designation was the first step in an effort by the FA N N I N G

board to give the organization a new identity, one that focused on its value to the city and the state as a center of creative ideas, energy and

T H E

efforts.Young contributed to that effort by design-

F L A M E

ing a new logo based on Graves’s renderings of the new building.

Of course, the linchpin for the organization’s new identity was that building, construction of which

31

began immediately after the groundbreaking. Overseen by local contractor Shiel Sexton Company, Inc.,

to continue operations in its existing structure.When

had, over the course of six decades, become the

the east wing was done and ready for use in August

center of a community of artists, educators and ad-

1995, Sommers and her staff moved into temporary

vocates, providing an array of classes, exhibitions and

offices in that portion of the building while the old

special programs in a building designed by one of the

facility was torn down and the west wing built.The

world’s most creative architects—Kaeser’s concept of

entire structure was completed in the spring of 1996.

a unified composition come to life.

The result was a facility with 13 studio classrooms (including one of the few non-commercial, non-academic glassblowing studios in the country), three formal galleries as well as exhibition space in the hallways, an office suite with conference room and kitchen, an auditorium designed to accommodate films, lectures and live performances, and a 2,000-volume library.

Glassblowing at Moxley studio Pages 32-33: Imploding Cube by John Simms in ARTSPARK

C O M P O S I T I O N

painting class in a Depression-era community center

T O

the new facility going up first, allowing the League

C O N C E P T

The organization that had begun as a simple

F R O M

it took place in two phases, with the eastern half of

F R O M

C O N C E P T

T O

C O M P O S I T I O N

32 FA N N I N G

T H E

F L A M E

section 2

A Greater Vision The Indianapolis Art Center’s expansion plan is well thought-out,

renowned architects, Michael Graves. He has created a design that will be an important addition to the finest in architecture in the Midwest, as well as a grace to his own birthplace.

33 F R O M

— Anthony Jones, former president of the Art Institute of Chicago; quoted in The Illuminated Space

F L A M E

a powerful finely articulated building by one of the world’s most

T H E

and community oriented, and the physical aspect is quite remarkable—

FA N N I N G

addresses a real need, is founded on a proven track record, it is people

C O N C E P T T O C O M P O S I T I O N

Under a canopy of stars, against a backdrop of the first building in Indianapolis entirely designed by Michael Graves, the Indianapolis Art Center hosted the grand opening of its new facility on June 1, 1996 inside crisp white, open-sided tents. Organized by a committee headed by artist and board member Teresa Altemeyer, it was a black tie gala that attracted hundreds of supporters, including other board members, benefactors and community leaders.

to generate the essential ingredients needed in a dy-

Center was changing at that point. It was evolving

namic and humane society.Through the resonance of

from being a small,White River-front institution…

art we celebrate and embrace our diverse cultures

into this fascinating vision that the board and Joyce

and the spirit and abilities of all.”3

had for the future. So we were looking for a scope in

Rather than marking the end of the Art Center’s

an event that would tell the world what we were,

association with Graves and his firm, however, the

which was something very, very unique.”2

building’s debut was the beginning of an ongoing Indianapolis organization for years to come.

industrial-influenced design, the Art Center hosted a June 2 open house for the public featuring artist Crowds roamed the hallways, gathered in the galleries and wandered through the studios.

Sommers marked the occasion with remarks that hinted at the vision behind the project. “The completion of our landmark building, designed by Michael Graves, heralds new, creative and broadened horizons,” she said.“The nature of the building is at once lyrical, muscular and embracing, and serves as a metaphor for our philosophy of being ’open armed’ and inclusive. It reflects the true meaning of ’center’— creativity flowing and inflecting into our center,

Architect Michael Graves (left) joins the Art Center’s executive director Joyce Sommers (center left), Indianapolis Mayor Steven Goldsmith (center right) and Art Center board chairman John Hoover (right) at the official opening of the new Graves-designed building on June 2, 1996.

Above: Joyce Sommers speaking at the building opening

V I S I O N

demonstrations in the new studio classrooms.

G R E AT E R

by a dramatic fireworks display highlighting Graves’s

collaboration that would continue to transform the

35 A

In addition to the private affair, which was capped

F L A M E

recalled Altemeyer. “The whole image of the Art

T H E

bouncing and reflecting outward into the community

FA N N I N G

“We were trying to do something new and different,”

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

36

A Rough,Tough Building

space and light, so they could draw, paint, throw pots,

That transformation began with the building.The

blow glass, weld metal, carve wood, sew fabrics, print

fact that it was designed by Graves guaranteed the

photographs, and create digital images unimpeded.

Art Center a degree of visibility. For the first few

After all, it was the making of art—more precisely,

years after it opened, the Art Center had regular

the teaching of art-making techniques—that was the

streams of visitors—architectural students and fans of

foundation of the Art Center.

Graves’s work, tourists and conventioneers, adminis-

Working with Graves throughout the planning

trators and staff members of museums and cultural

process was like taking a master class in architecture,

organizations, artists and art educators—who came

said former board chairman Stan Hurt. “It was a

specifically to see the building. But it was the facil-

dream for someone like me who was a frustrated

ity’s functional qualities that garnered rave reviews

architect.”The result was a building that was a work

from the faculty, students and visiting artists who

of art built for working artists: it elevated an organi-

used it regularly. Functionality had been at the heart

zation that had been something of a well-kept secret

of Graves’s concept from the beginning of the design

to a new level of visibility and credibility. “Joyce

process; concern about functionality had prompted

always saw that the Art Center could be one of

him to turn to David Thomas, who solicited design

the top cultural institutions in the city,” said Hurt.

input from the artists who would be using the stu-

“Having Michael Graves involved attracted new

dio classrooms. Graves,Thomas and others involved

audiences and gave us tremendous momentum.”4

in the planning process wanted to ensure that they

The new building had an immediate impact on

would have what they needed, from the proper types

the education program. According to painter Ellie

of electrical lines and air vents to enough storage

Siskind, who started teaching classes in the first

Fireworks capped a gala black-tie event on June 1, 1996, celebrating the debut of the Graves building.

Broad Ripple building, one noticeable shift was in

that focused on spending a portion of every day

the way people felt about what they were doing.

drawing. He also created watercolor renderings of

“The old building had less space and less privacy for

each of his architectural projects, turning what could

teaching,” said Siskind. “It seemed like an amateur

have been prosaic pictures intended to simply illus-

kind of place.When we moved into the new building,

trate how a building was going to look into poetic

we felt special.We had places to store art, good light-

expressions of color, form and perspective. But his

ing, model stands.The whole building made you feel

renderings of the Art Center building—while as

like you belonged to a unique organization.We went

artistically done as any others—didn’t disguise its

from feeling like some sort of club to feeling like

blue-collar roots: Graves looked to factories and

professionals.”

warehouses for his inspiration, which wasn’t much

5

Jersey was known as “The Warehouse” for its origi-

In addition to providing his department with state-

nal role as a storage facility for Princeton University.

of-the-art facilities, including a professional quality

“It’s a rough building,” he said of the Art Center

darkroom, the new building’s increased space led to

structure several years after its completion. “It’s a

the development of new classes in all art disciplines,

tough building. It’s a building where you can spill

which in turn led to increased enrollments. One asset

stuff. It’s a building you can feel at home in. That’s

that carried over from the old building was the in-

what I like about it.”7

structors, since the core group made the move to the

Along with participating in the creation of art,Art

Graves structure. “Joyce encouraged the staff and

Center students and visitors alike were encouraged

instructors to roll with the punches and grow along

to observe it. And with three light-filled galleries,

with the organization,” said Bowman.

supplemented by three well-lit hallways and a library,

6

having functional rooms in which to work.Through-

to mount exhibitions. “It made my life as a curator

out his career, he had held fast to a personal regime

easier,” said Julia Muney Moore, who was the Art

G R E AT E R

the new building provided plenty of space in which

37 A

As an artist himself, Graves appreciated the value of

F L A M E

ment as well as a former board president, concurred.

T H E

of a stretch since his own home in Princeton, New

FA N N I N G

Mike Bowman, head of the photography depart-

V I S I O N

Dancers from the Fire dance troupe performed during the festive christening of the new building on May 31, 1996.

“ I have always believed that people have inside them a creative spirit that may never get tested unless they place themselves in a new and unique environment…A person can come here… and do everything from woodworking to jewelrymaking to sculpture to pottery to glass work to painting to printing—it goes on and on and on. It’s amazing.”

— Teresa Altemeyer, artist and former Art Center board member

FA N N I N G T H E F L A M E

Siskind, James Wille Faust and Lois Main Templeton,

room, with carpet on the floor and fabric on the

Then and Now was a visual stroll through more than

walls. That restricted my ability to do anything too

60 years of contemporary art. Over the next eight

messy, like installations that involved scattering any-

years, Moore followed it with an array of shows that

thing on the floor, or hanging anything that would

featured everything from large installation works to

damage the wall covering. But the new building had

intimate drawings. Along the way, she had to make

concrete floors in most of the spaces, which were

adjustments to her exhibition schedules, not due to

easy to clean, and sheetrock walls, which were easy to

the building’s limitations, but to its popularity.

patch and paint. There were also 16-foot ceilings

Almost immediately after opening the doors of its

with strong supports, so I could suspend heavy things

new facility, the Art Center became a popular place

and show tall pieces.”

for special events, from corporate retreats to parties

8

The opening exhibition, entitled Then and Now:

and weddings.“There were more events being held

Metaphor for Creativity, provided an overview of work

there than we had anticipated,” said Moore.“We had

by several instructors and students, past and present.

to schedule some of our shows around the special

Spanning the entire history of the organization up to

events being booked there. For instance, I had to

1996, it offered viewers an opportunity to trace the

make sure that we didn’t have a potentially offensive

development of the organization through the styles

show up at a time when someone was having a wed-

of work on display. Ranging from the American

ding at the Art Center. I had to pull back on some of

Scene paintings of founding instructorWilliam Kaeser

the shows I wanted to do.” Having to accommodate

Ceramics is one of the most popular creative fields among Art Center students. Pictured is long-time instructor Loran Hill.

Above:The Art Center’s exhibitions programs focus primarily on work by contemporary regional artists.

39

V I S I O N

from 1990 to 2004.“In the old building, we had one

G R E AT E R

through the contemporary work of such artists as Ellie

A

Center’s director of exhibitions and artist services

the other functions going on at the Art Center aside

with nearly $171,000 in facility rental fees for fiscal

from classes and exhibitions forced Moore to get cre-

year 2005-2006. Her accomplishments earned Dillon

ative in her use of other spaces aside from the three

a new role in 2007 when she took over as the chief

main galleries. “I learned how to take advantage of

organizer for the Broad Ripple Art Fair, adding that

the hallways, the library and even outdoor spaces,”

annual special event to her roster of responsibilities.

she said. Her adaptability reinforced Moore’s schol-

Another significant component of the new build-

arship: in 2003, Indianapolis Star art critic Steve

ing was its auditorium. For the first time in its history,

Mannheimer named her the city’s best curator.

the Art Center had a place designed specifically for

FA N N I N G

T H E

F L A M E

9

40

As Moore learned firsthand, tours and special events

such activities as screening films, hosting lectures and

quickly became an important component of life in

staging live performances.The first event held there

the Graves building. In fact, the demand escalated so

was a lecture by Tom Wolfe, author of such contem-

rapidly that Sommers had to create a special staff po-

porary classics as The Right Stuff andThe Bonfire of the

sition—director of special events—to accommodate

Vanities, as well as a pair of art and architecture tomes

it. It proved to be a demanding job, leading to short

— The Painted Word and From Bauhaus to Our House

tenures for the first two people to hold it. But Som-

(in which he named Michael Graves one of five of

mers found the perfect person for the post when she

the 20th century’s top architects) — spoke in the un-

hired Iris Dillon in 1998. Dynamic and efficient, Dil-

finished auditorium on October 13, 1995.The large

lon proved her value in short order, turning tours and

audience sat knee-to-knee on folding chairs, since

special events into a significant annual revenue stream,

the seats had not been installed yet—and the chairs tended to slide down the uncarpeted, inclined floor.

Subsequently, the Art Center hosted talks by other notables such as Michael Graves, writer Kurt

A

G R E AT E R

V I S I O N

Vonnegut, Jr. (another Indianapolis native), New Museum founder Marcia Tucker and artist Robert Stackhouse, using either the auditorium or the spacious new library at the west end of the building. The latter room was perfect for smaller-scale meetings, seminars or talks. Both settings also served as perfect backdrops for business conferences or retreats, private receptions and other events that attracted people who might not otherwise come to the Art Center. Once inside the striking building, many people were intrigued to discover such a lively, creative place nestled in a lovely riverside setting— sometimes so much so that they came back on their own for classes, exhibitions or summer concerts on the riverfront stage.The building became a beacon of creativity and community.

Author Tom Wolfe was the first Art Center guest to speak in the auditorium of the Graves building.

The Graves connection also earned the Art Center a spot at professional conferences—in 1998, Sommers spoke at the Association of American Museum’s event in Los Angeles, and in 2006, Sommers and Thomas addressed the International Sculpture Conference in Cincinnati.

Graves first felt the impact of his creation while talking with two other Indianapolis native sons.

“I was sitting in the (Art Center’s) library one day with KurtVonnegut and Dan Wakefield and we were discussing a sense of place,” said Graves.“That’s when the building came alive for me.”1 1

Continuing the concept that Sommers had initiated

tionally known cultural consultant Ralph Burgard, sionals, winning numerous awards including the

14 years earlier, it focused on developing a long-range

Association of Builders and Contractors of Indiana’s

plan for the organization. In addition to directing the

Award of Excellence in 1996 for the project’s general

conclave, Burgard also wrote “Vision IV,” a paper

contractor Shiel Sexton, and the Monumental

based on input from board and staff in which he

Affairs’ 1996 Merit Award for excellence in con-

suggested that the Art Center could assume a variety

struction and Achievement Award for project/

of roles: as a center for creative development,

community development in Indianapolis.

providing life-long opportunities for people to develop their creative abilities; as an arts laboratory,

vice president and director of programs David

which would undertake research projects exploring

Thomas, also heightened the Art Center’s visibility

creative responses in humans, develop cross-discipli-

and credibility within the cultural community.

nary programs, and utilize individuals and organizations

“It gave us a way to show that we were a much more

that specialize in new ideas; as a community forum

serious organization than they might have thought

venue, where people could come to discuss issues

we were. We were able to sit at the big people’s

involving public culture; and as a public art advocate,

table rather than the card table at dinner parties.

collaborating with other organizations and agencies

We started being contacted when new community

to foster public art projects.Already involved to some

initiatives were taking place, whereas before we had

degree in each of those roles, board members vowed

to make the contacts to make sure we were included

to use Burgard’s suggestions as the basis for exploring

in the discussions.”1 0

what more the Art Center could be doing.

In addition to speaking at the Art Center on a few occasions, author Kurt Vonnegut, Jr. also exhibited his prints and drawings there.

V I S I O N

Having a Michael Graves-designed building, said

41 G R E AT E R

who had also been the facilitator for the first conclave

A

It also earned the respect of construction profes-

F L A M E

Conclave IV—on March 12, 1999. Led by interna-

T H E

in 1985, the Art Center convened a retreat—dubbed

FA N N I N G

A Master Plan

“ Drawing and thinking are not one and the same thing, but they are part of the same attitude of making something.”

— Michael Graves Architectural Record May 2001

MICHAEL GRAVES

Center’s Post-Modern warehouse-

old, he spent his spare time draw-

versity, Graves received a Prix

like facility. It was that project that

ing Mickey Mouse and Donald

de Rome fellowship, which

brought Graves full-circle, back to

Duck. One day he told his mother

allowed him to spend two years in

his old neighborhood, teaming

he wanted to be an artist when

Italy. It was there that his lifelong

him with another BRHS alumnus,

he grew up. Concerned about his

fascination with Italian architec-

Joyce Sommers, whom he’d

ability to feed himself, she sug-

ture began, a fascination that in-

known when they were teenagers.

gested he choose a profession

formed the buildings he designed

that would allow him to use his

throughout his storied career,

artistic skills— something like

including the Indianapolis Art

The Art Center commission offered Graves his first opportunity

neering was too math-oriented

F L A M E

engineering or architecture. Engi-

T H E

graduate studies at Harvard Uni-

FA N N I N G

When Michael Graves was 8 years

for his taste, but architecture sounded interesting. He immediately began drawing pictures of

43

the houses in his neighborhood.

That neighborhood was Broad of Indianapolis. The son of a livestock dealer and a nurse, Graves shopped at the hardware store owned by the Vonnegut family and spent his teen years at the local drive-ins. At Broad Ripple High School, he played football, ran track and wrestled. He also continued drawing, announcing to his friends that he intended to become an architect.

No one could have imagined then what an architect he would become. After architectural school at the University of Cincinnati and

Above: Portrait of Michael Graves in 1996, and on the construction site of the new Graves-designed Indianapolis Art Center

G R AV E S

grew up on College Avenue,

M I C H A E L

Ripple Village, on the north side

to do a complete project in

and Dolphin hotels at Disney

making studios for myself,” he

Indianapolis. (During preliminary

World in Orlando, Florida; and an

said of the Art Center design

discussions with the Art Center,

array of other residential and

process.1 3 That commitment

Graves was invited to design the

commercial projects around the

was challenged in the wake of

front entrance and façade of a

world. Concurrent with the Art

an illness in February 2003 that

new building that Thomson Con-

Center project, his firm worked

damaged Graves’s spinal cord,

sumer Electronics was constructing

on the Michael C. Carlos Museum

leading to the paralysis of his

a few miles away, which he

at Emory University in Atlanta,

lower body. Still, once he had

did—but it was a cosmetic

Georgia; the Tajima Office Build-

recovered sufficiently to travel

treatment rather than a whole

ing in Tokyo, Japan; and the

again, he made periodic trips

structure.) A tenured professor in

Denver Central Library in Denver,

from Princeton to Indianapolis to

the architecture department of

Colorado.1 2

oversee the development of

Princeton University, where he

FA N N I N G

T H E

F L A M E

had been teaching since 1962, Graves had already established his reputation as one of America’s leading architects and designers, having done such high-profile projects as Humana Hospital in Louisville, Kentucky; the Portland Public Office Building in Portland, Oregon; the Swan

Despite other higher-profile projects, Graves stayed personally involved with the design and construction of the Art Center building, citing his relationship with Sommers and his commitment to the Art Center’s mission as key components of his ongoing interest. “It’s as if I were

ARTSPARK and plans for the expansion of the Art Center building. “This is a place for artists,” said Graves, who continued his lifelong regimen of drawing and painting daily after his illness. “That’s what I wanted people to take home in terms of the character of the place.”1 4

M I C H A E L

G R AV E S

44

Michael Graves receiving the Sagamore of the Wabash from Indiana Superior Court Justice Randall Shepard.

FA N N I N G T H E F L A M E

was fast becoming one of the busiest community art

titled “Master Plan—Toward Our Preferred Future—

venues in the country. Planning for future needs—

2010.”Among its most important components was a

facilities, personnel, financial, and otherwise—was

call for the organization to pursue an endowment

prudent to ensure the quality of its programming

level of $10 million to $20 million by 2010, to increase

didn’t diminish in the face of increased demand.

position itself as a leading cultural institution on a

proven the value of having a vision and following

national scale. At a board meeting on October 20,

through on it.“(The Art Center) is the finest exam-

1999,at which she discussed the Master Plan document,

ple of vision and passion that I have seen, especially

Sommers stated that its purpose was to raise aware-

in the visual arts field,” he commented. “The Art

ness of the Art Center’s past as a means of helping

Center has made a credo of vision and worn it on its

plan for its future.1 5

sleeve throughout the history of the institution.”1 6

Looking to the future was especially crucial for an

The Master Plan was a continuation of Burgard’s

organization that had enjoyed an 84 percent boost in

“credo of vision,” serving as a guide as the board

annual attendance, with totals nearing 300,000 since

began mapping a future for the organization that as-

the opening of its new facility three years earlier.

sumed, at some point, another expansion would be

With on-site class enrollments exceeding 4,400

necessary. If that were true, the question for board

between fall 1998 and summer 1999 and projected

members was: Expand where?

to reach 6,000 by 2010, as well as a 1999 off-site outreach student population of 3,348, the Art Center

The answer was right in the Art Center’s backyard.

Literally.

A rendering of ARTSPARK by Michael Graves & Associates, architect and Rundell Ernstberger Associates, landscape architect.

V I S I O N

From Burgard’s perspective, the Art Center had

G R E AT E R

fund-raising efforts for its operational budget, and to

45 A

The overall result of the conclave was a document

success of any fund-raising effort.As a result, Maxwell

ARTSPARK In addition to designing the Art Center’s building,

Associates projected that the Art Center could expect

Graves’s firm also developed a master plan. It covered

to raise a maximum of $6.5 million, mostly from in-

the surrounding grounds—and future expansion of

dividual donors—more if Lilly Endowment supported

the facilities.Among the things they envisioned was a

the efforts and a planned giving program were im-

park-like setting that included works of art. “As we

plemented.That was enough to develop the park, but

developed the master plan,” said John Diebboll, a part-

not enough for the two endowments, which together

ner in Graves’s firm at the time,“it was about creating

totaled more than $12 million.19

a collection of outdoor spaces that had a lot of varia-

Complicating matters was the fact that Lilly En-

tion not only in size and shape, but also in the way the

dowment’s support was anything but certain. Having

landscape outlined or integrated the spaces.”

provided 24 percent of the $8.5 million the Art Cen-

FA N N I N G

T H E

F L A M E

17

46

While funding didn’t allow for the kind of

ter raised for the Graves building project, Endowment

landscape design that Graves envisioned in the mid-

officials stated they were unwilling to help under-

1990s, his concept inspired Sommers and the Art

write a new campaign, especially one with a goal of

Center board to begin buying as much of the sur-

$18.5 million. Instead, stated the Maxwell Associates

rounding land as possible, especially since developers

report, the Art Center should direct its fund-raising

had begun purchasing many of the existing houses

efforts at individual donors, counting on foundations

and lots south of 67th Street for a large-scale condo-

and corporations for little more than 25 percent of

minium project. Using a combination of donations

the total.With that in mind, the report concluded, a

and short-term bank loans, the Art Center purchased

more reasonable goal would be $5.5 million.20

a house and an empty wooded lot on 68th Street,

the Graves building, Sommers refused to be daunted

G R E AT E R

V I S I O N

adjacent to its property.

A

As she’d done when preparing to raise money for

By early 2001, Sommers was ready for action. In

by the disparity between what a survey predicted and

February, local cultural advisory firm Maxwell Asso-

what the organization needed to achieve its objec-

ciates interviewed area business leaders, foundation

tives. As a visionary who had already conducted one

executives and residents about the Art Center’s plan

capital campaign with a goal that others had consid-

to develop what Sommers was calling a “creativity

ered unattainable, she wanted to go after $14.5 million.

park,” make alterations to its building and develop

But she realized a wiser course of action, for the mo-

endowments to ensure future funding for existing

ment, would be to adjust campaign expectations. If

programs and maintain the new park.The total price

the program endowment amount was going to be an

tag was $14.5 million, the largest amount of money

obstacle to a successful campaign, Sommers was will-

the Art Center had ever proposed raising.

ing to relegate it to lesser priority status and focus on

18

The survey revealed that, while the Art Center was

what she regarded as more essential at the moment—

highly regarded, it was not widely known; that peo-

getting the park built. After all, integrating the out-

ple were more likely to support a capital campaign

door surroundings with the building was something

than one aimed at building its endowment, which re-

that Graves had wanted to do from the beginning,

spondents suggested should be built through planned

but limited funding had led him to settle for a simple

giving; and that Joyce Sommers was the key to the

natural landscaping scheme until the money for the

The winding paths and natural settings in ARTSPARK meld with the colors and shapes of the Graves building.

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

48

more elaborate park he had in mind was available.To

for projects nationwide.The ARTSPARK campaign

reassure hesitant board members, Sommers and other

was no exception—distracted, worried donors were

project supporters promised that ground would not

less likely to be as generous as they might have been.

be broken for the park until the Art Center had the

But with Sommers at the helm, the Art Center

project’s $5.5 million budget covered.

continued advocating for the value of art in troubled

In August 2001, the Art Center kicked off its

times. In the Winter 2001 issue of Paper Canvas, the

campaign, co-chaired by George Seybert and

Center’s quarterly newsletter, Sommers wrote:“…we

Ralph Nowak, to raise the money for the park—

believe that creativity and art is an antidote for the

which they revealed would be called ARTSPARK.

unrest, uncertainty and fear fulminated by the events

The campaign’s $5.5 million goal included $3 million

of September 11.”2 1

to construct and landscape the park, purchase and in-

Though not a direct correlation to the campaign,

stall sculpture, develop other park programming and

Sommers’s perspective was a reminder of the impor-

market it; $500,000 for equipment; and $2 million

tance of creative thought and activity in the face of

for an endowment fund to ensure the park was

adversity. By February 2002, Nowak reported that $1.4

maintained and updated regularly.

million had been raised for ARTSPARK, mostly from

Cleverly combining the words “arts” and “park,”

board members and Art Center staff and faculty.2 2

and containing a dynamic description of what the

Momentum continued to build as Sommers and

purpose of the place would be—to “spark” creativity

other Art Center staff members talked about the

(or at least an appreciation of it)—ARTSPARK was

project with civic, foundation and corporate leaders,

positioned as a place where people could interact

often using a video presentation about the project to

with art, watch it being made and even make it

help people understand what it was going to look

themselves. More than a static viewing experience,

like and how its interactive components were going

it would be a hands-on environment that combined

to set it apart from traditional sculpture parks. By June

natural and human creations to expand visitors’ un-

2002, Nowak reported $2.3 million was in hand.23

derstanding of the purpose and value of art. In print,

At the same time, the Art Center continued

the park’s name always appeared in all capital letters

acquiring real estate. In June 2002, it received a

to distinguish it as an entity unto itself rather than

$1.5 million line of credit from First Indiana Bank,

merely an adjunct to the Art Center.

permitting it to buy the former Broad Ripple

Unfortunately, the campaign—which was initially

Kindergarten building and grounds immediately

“quiet,” meaning it was focused on raising money

west of the Art Center for $860,000, with reserves

from internal sources, i.e. the Art Center board, staff,

for future purchases. Renaming its acquisition the

faculty and members, as well as foundations and

Cultural Complex and renting space to local organ-

wealthy individual arts benefactors, but not the gen-

izations such as the Writer’s Center of Indiana, as well

eral public—was introduced barely a month before

as to artists in need of studio space, the Art Center had

the September 11, 2001 terrorist attacks on the World

extended its boundaries still further, giving it control

Trade Center towers and the Pentagon. In the after-

of most of the riverfront from College Avenue to the

math, the U.S. economy slumped for several months,

Monon Trail and ensuring that no developer would

causing a slowdown that affected fund-raising efforts

be able to encroach upon the planned park.

ing together—since the 1980s, the Art Center had been providing classes for ISBVI students. The Art Center enlisted the help of nationally known artist Sadashi Inuzuka, a visually impaired ceramist who worked with ISBVI students to design Circle, an interactive installation for ARTSPARK that combined touch and sound. “Unfortunately, students who are blind and visually impaired are not frequently thought of when opportunities arise to express themselves through the arts,” said Jim Durst, ISBVI superintendent.“ARTSPARK will not only provide this opportunity but will allow our students to expand would be no barriers between the art on display in the park and visitors, other artists contacted about

variety of senses. They were also encouraged to With plenty of land in hand, the Graves organization refined the ARTSPARK concept.And in April

develop pieces that could be made with the help of people from the community. ceremony at which Sommers formally introduced

dation that the Art Center hire Rundell Ernstberger

the ARTSPARK plan, complete with a watercolor

Associates to develop plans for constructing

rendering of the park.That event also kicked off the

ARTSPARK. Working from Graves’s initial design

public portion of the fund-raising campaign. By that

drawings and in collaboration with Graves himself,

time, the two-year-old campaign had raised $4 mil-

Rundell Ernstberger created the actual layout for the

lion, or 73 percent of its $5.5 million goal, with 100

project. It combined trees, bushes, flowers, and grasses

percent board participation, plus grants from the

natural to central Indiana with site-specific artworks

Allen Whitehill Clowes Charitable Foundation, Lilly

in a setting that included a “sensory path,” which

Endowment, Inc., Nina Mason Pulliam Charitable

would allow people with disabilities, as well as the

Trust, Efroymson Fund,The Indianapolis Foundation,

able-bodied, to experience the park through a vari-

and the W.C. Griffith Foundation Trust.The inten-

ety of senses.

tion was to have the remainder in hand within a year,

Accessibility was an essential element of the park.

so construction could begin.

To help address the issue, the Art Center teamed up

Two months later, at a board meeting on October

with the Indiana School for the Blind and Visually

15, longtime member Frank Springer announced that

Impaired (ISBVI). The two institutions, which are

several years of work on establishing a good relation-

located less than a mile apart, had a record of work-

ship with a potential donor had paid off.The Eugene

Philanthropists Eugene B. and Marilyn Glick were generous benefactors to various Art Center fund-raising campaigns.

Pages 50-51:Art Center students and their artwork.

V I S I O N

local landscape architects, resulting in a recommen-

49 G R E AT E R

On August 17, 2003, the Art Center held a public

A

2002, the firm’s representatives interviewed several

F L A M E

specific pieces that could be experienced with a

T H E

possible commissions were asked to create site-

FA N N I N G

and share their creativity with others.”24 Because there

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

52

and Marilyn Glick Foundation—an entity responsible

seum, the gathering of Art Center board members,

for the philanthropic efforts of local real estate developer

staff and invited guests examined what the organiza-

Gene Glick and his wife Marilyn, a respected collector

tion had accomplished to date and what needed to

of art glass—was donating $2.5 million to the Art

be done to ensure its future. Reports from various

Center, to be paid in eight installments between No-

staff members revealed that the growth predicted at

vember 2003 and December 2010. In return, the main

the previous conclave five years earlier had become

building would be renamed the Marilyn K. Glick

a reality—in the first three years following the 1996

School of Art at the Indianapolis Art Center. It was

opening of the Graves building, attendance (which

only the building that was getting renamed, Sommers

included from class enrollments to casual visitors)

assured board members, not the organization.

soared by 84 percent; between 1996 and 2003, en-

25

rollment in on-site classes had increased from about Conclave V

3,100 students to nearly 4,300 and the number of

On March 19, 2004, the Art Center convened

classes had almost doubled to 750 annually.The same

Conclave V at the Thomson Consumer Electronics

was true for exhibitions, which had jumped from

building (the façade and main entryway of which

17 in 1996 to 38 in 2003, and ArtReach sites, which

were also designed by Michael Graves). Led by facil-

had grown from 18 in 1996 to 33 in 2003.26 Clearly

itator Karen Corsaro and featuring keynote speaker

the increased awareness the Graves building had

Marcia Tucker, founder of New York’s New Mu-

garnered was paying off.

The front entrance of the Art Center, with its pillars and trailing vines, symbolizes the merger of contemporary sensibilities with natural beauty.

But it was also making new demands—the annual operating budget had gone up from $1.5 million in

aging growth is always a challenge. We have been successful thus far.”3 0 analysis effort the Art Center had initiated in 2003.

to the need to add staff and faculty members, as well

With funding from the Indiana Arts Commission’s

as pay higher utility, maintenance and insurance

capacity building grant program, which helped arts

costs. With ARTSPARK looming on the horizon,

organizations undertake comprehensive analyses of

finances promised to be an ongoing concern, though

their structures and the effects of those structures on

finance committee chair Bill Cafaro explained that

organizational services, programs, management,

the committee was looking at ways to generate new

finances, planning, fund-raising, and governance, the

income and build an endowment to help sustain the

Art Center hired consultant Susan Zurbuchen to assist

organization in the future. In addition to finances,

with the analysis process and develop the required

various staff members gave presentations on educa-

organizational assessment guide. Zurbuchen reviewed

tion, exhibitions, marketing, fund-raising, and

the extensive records kept by the Art Center’s various

special events programming, with special attention

departments. She also sat in on staff, committee and

to the potential effects that the upcoming

board meetings, and held conversations with faculty,

ARTSPARK project could have on each.

students, donors, and members of the general public.

27

The day wrapped up with a panel discussion on diversity, featuring African-American artist Willis

The result was a comprehensive report delivered to the board in May 2004.

“Bing” Davis, African Community International

Among the Art Center’s strengths, noted Zur-

CEO Shola Ajiboye, and director of IndyParks Joe

buchen, were its “well-articulated vision, mission, and

F L A M E

running a larger facility with more programs had led

T H E

Some of the conclave’s discussion arose from a self-

FA N N I N G

1996 to $2.5 million seven years later, in part because

53

Wynns talking about future roles the Art Center could play locally, nationally and internationally.The

to be proactive in making its services and facilities As with previous conclaves, the 2004 version ended with suggestions for actions to consider for the future: achieving long-term financial stability, revitalizing the governing structure (which included giving serious consideration to Sommers’s future successor), and expanding the organization’s roles in the broader community.2 9 In looking to the future, advised Sommers, it was important to balance stability and risk.“We want to leave enough flexibility that we can try new things and possibly fail, without jarring the institutional foundation,” she said.“Man-

Willis “Bing” Davis

V I S I O N

available to diverse populations.2 8

G R E AT E R

parison to other arts groups, the Art Center needed

A

consensus was that, while it was doing well in com-

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

54

values statements;” stability in key staff positions; a

mayor Bart Peterson, Sadashi Inuzuka and students

thorough approach to planning for the overall direc-

from the Indiana School for the Blind and Visually

tion of the organization (the exception being a lack of

Impaired, turned over a few shovels of dirt, symboli-

succession planning for the inevitability of Sommers’s

cally breaking ground for ARTSPARK. Guided by

eventual retirement); well-planned and well-executed

Rundell Ernstberger and general contractor Shiel

programming; and sound financial management pro-

Sexton, a year-long construction process began.

cedures. Areas in which Zurbuchen recommended

“One of the purposes that Joyce has in mind (for

improvements included examining the staffing struc-

ARTSPARK) is to bring artists in and use the out-

ture, especially for key positions; enhancing the

door property as an extension of the studio space,”

organization and operation of the library/resource

said John Diebboll at the time.3 2 Not long after the

center; reducing the strain on staff and board of con-

groundbreaking, she did just that. Internationally

stant high levels of fund-raising required to operate

acclaimed sculptor Robert Stackhouse and his wife

and expand the facilities, grounds and programs;

and creative collaborator Carol Mickett left their

addressing the Art Center’s overall lack of awareness and

studio-home warehouse in St. Petersburg, Florida,

name recognition within the broader community;

and settled into a small house down the street from

collecting more demographic and socio-economic

the Art Center.They came to spend the summer on

data on members to better serve their needs and

what turned out to be one of the most public art

interests; and establishing a viable endowment.

projects the Art Center had ever undertaken—the

31

No one disputed Zurbuchen’s findings—most of

shaping and carving of huge blocks of limestone for

which confirmed long-recognized issues within the

the park’s signature piece, Confluence, designed

organization. Her objective point of view had allowed

by Stackhouse and Mickett.

her to take a clear-eyed look at what was working

“When we came here, we were incredibly

and what needed attention, which helped the board

impressed,” Mickett later said, “first, with what was

set priorities for the future. That was especially im-

already here, but also that they were taking on a

portant since that future was about to include another

project (ARTSPARK) of this scope. That’s some-

significant project that would be in need of program-

thing a museum usually does, not an art center.”3 3

ming, maintenance and long-term financial support.

Based on the relationship between ARTSPARK and the adjacent White River, the multi-part Con-

ARTSPARK Takes Shape

fluence became a group project as the two visiting

In the wake of the Glick donation, which included

artists, who had never worked in stone before, were

$900,000 directed to ARTSPARK, the tally for the

joined by Ismaila Izo Ndiaye and Michael Hall,

capital campaign stood at $4.5 million. Over the fol-

experienced stone sculptors whom the Art Center

lowing months, that figure continued to climb, helped

hired to help Stackhouse and Mickett, and by a

along by a $1.2 million grant from Lilly Endowment;

revolving cast of volunteers that included 60-some

by April 2004, the Art Center had $5.1 million in

staff members, neighbors, students from the Art Cen-

hand, just $400,000 shy of the campaign’s goal.The

ter’s ArtReach program and from Herron School of

board agreed it was time to get started. On June 4,

Art and Design, as well as people who heard about

2004, Sommers and Graves, joined by Indianapolis

the project and wanted to take part. Over the course

FA N N I N G T H E F L A M E

55 amphitheater (an upgraded version of the 1989

metaphor for ARTSPARK itself: from the beginning,

Riverfront Stage), the Cultural Complex, and nine

Graves, Sommers and others had imagined the park

sculpture pads designed for temporary installations.

as a place that would attract a variety of people

More than 200 trees were planted, along with a

regardless of their artistic experience.

variety of bushes, flowers and ground covers, to help

It was a unique experience, said Stackhouse.“There

define specific spaces throughout the grounds.As the

was an atmosphere of community that was incredible.

park took shape, Kevin Osburn, a principal in

It became not our sculpture but their sculpture. It was

Rundell Ernstberger Associates, explained his firm’s

something built of community. It was the antithesis of

approach. “The plantings are not meant to over-

someone just giving a sculpture…, unveiling the fin-

whelm or dazzle, but to provide an appropriate setting

ished piece and saying, ’Here, it’s yours.’”

for the art on display and impart a unique sense of

34

As works such as Circle and Confluence took shape,

place in harmony with the architecture.”3 5

so did the park. By the summer of 2005, it was

Crucial to the landscape design was a balance be-

nearing completion. In addition to the works of art

tween the park’s natural elements and its artistic ones,

scattered strategically throughout the 12-acre site,

said Ann Hildner, an associate with REA.“Since the

The limestone sculpture Confluence was created by the artistic team of Robert Stackhouse and Carol Mickett, with the help of more than 60 community volunteers.

V I S I O N

a seemingly incongruous community, making it a

G R E AT E R

there were gardens, lawns, a terrace, the riverfront A

of more than two months, Confluence pulled together

SIGNIFICANT EXHIBITIONS 1996-2008

not an automatic consequence of

Faust, James Cunningham, Lois

cultural, spiritual and physical

maturation, so the Art Center is

Main Templeton, Art League

journeys faced by West African

committed to a teaching philoso-

students and instructors

people after they were forcibly

phy that is strengthened through

Amanda Block, Karl

transported from their home-

an inter-relationship with its

Chenoweth, Marilyn Price, Leah

lands in slave ships. In connec-

gallery exhibitions programs.

Traugott, Sarah Hurt, Mildred

tion with the exhibition, the Art

Through publications and gallery

Niesse, Flo Jagger, Thelma

Center joined with the Madame

talks, the exhibitions department

Confer, and Willis “Bing” Davis.

Walker Theatre Center to pres-

presents a broad range of per-

Then and Now encapsulated

ent “The Journeys Project,” a

spectives on artistic productions,

what always had been the pri-

series of workshops, films, dis-

highlighting pertinent art issues

mary focus of the organization:

cussions, and performances

from the traditional to the con-

the encouragement of creativ-

held at the two venues.

temporary.

ity, personal vision and techni-

• Then and Now: Metaphor for Creativity: May 31-August 11,

cal proficiency.

• Indiana Collects Calder:

• Indiana Sukkot Project: October 9-November 23, 1997:

and students from 1934-1996,

with Calderfest, a citywide

Greater Indianapolis to host a

the opening of this retrospec-

focus on the work of cele-

competition for which Indiana

tive show coincided with the

brated sculptor Alexander

architects were invited to de-

opening of the new Michael

Calder centered on a major ex-

sign sukkots—small booths

Graves-designed building.

hibition of his circus-themed

traditionally created by families

Among the many artists in-

creations at The Children’s Mu-

to celebrate the annual event.

cluded in the exhibition were

seum of Indianapolis, this show

Judges for the competition

founding instructor William

featured 39 Calder works

included Michael Graves and

Kaeser and his contemporaries

owned by collectors around

fellow architect Stanley Tiger-

Elmer Taflinger, Floyd Hopper

the state.

man, who chose designs by

Stella Coler; Herron School of Art faculty members David Rubins, Garo Antreasian, Harry Davis and Robert Berkshire;

• Crosscurrents: Journeys Within the African Diaspora: August 29-September 28, 1997: Featuring the work of six contemporary artists from the United States, Brazil and West

James McQuiston, Bruce Lowenthal, Robert and Deborah Barnstone, Lynn Levy and Glen Burkhardt, Joseph Dundle and Andrea Swartz, and Eric McNevin to be constructed. The

The touring exhibition In Good Company: Selections from the JPMorgan Chase Art Collection attracted people of all ages to the Art Center to see works like this one, Soldiers of the Soil, 1942 by N.C. Wyeth. (Photo: Leah Zion)

1 9 9 6 - 2 0 0 8

with the Jewish Federation of

E X H I B I T I O N S

Sukkot, the Art Center joined

1996: Staged in conjunction

S I G N I F I C A N T

September 13-December 1,

League/Art Center instructors

League’s founding president

57

To mark the Jewish holiday of

1996: Featuring the work of Art

and George Jo Mess; the Art

F L A M E

Africa, this show explored the

T H E

Herron graduates James Wille

FA N N I N G

The ability to experience art is

finished sukkots were displayed

the work of contemporary

the show traveled from Indi-

inside the Art Center and on

female African artists.

anapolis to other sites through-

the grounds.

• Investigating the Piano: John

• A Celebration of Kurt

Diebboll: October 2-December

F L A M E T H E FA N N I N G 1 9 9 6 - 2 0 0 8 E X H I B I T I O N S

the Arts in Washington, D.C.

31, 1998: The head of Michael

Vonnegut Family of Indianapo-

Graves’s New York office at the

lis: A Legacy of Creativity: July

time, as well as an integral part

the Vietnam War, Then and

9-August 29, 2004: “I can’t

of the design team working

Now: October 28, 2000-

write all of the time, and I don’t

with the Art Center, Diebboll

January 7, 2001: Highlighting

play golf,” Indianapolis-born

(like Graves) loved to draw. His

the little-known role played by

author Kurt Vonnegut, Jr. once

conceptual studies for pianos

artists in the military during the

said of his fondness for making

were the centerpiece of this

Vietnam conflict, this exhibition

art. “Drawing is a most agree-

exhibition, which served as a

(conceived by, and presented

able way to pass the time.”

fund-raiser for the Indianapolis-

to, the Art Center by local art

In these two shows six years

based American Pianists Asso-

collector and ex-Navy SEAL

apart, the Art Center high-

ciation. A glass piano created

Christopher Stack) featured

lighted the celebrated writer’s

by Ed Francis, head of the Art

the work of longtime Herron

skill at drawing lines (in addi-

Center’s glass studio, was auc-

faculty member and celebrated

tion to writing them). The first

tioned off on opening night,

painter Richard Emery Nickol-

show featured 14 silk-screens,

which was co-hosted by Graves

son, as well as that of other

including self-portraits and

and local philanthropist and

former combat artists such

images of characters from

arts benefactor Christel DeHaan.

as Arturo Alonzo Sandoval

Vonnegut novels; the second widened the view to include not only works by Kurt, but

S I G N I F I C A N T

National Museum of Women in

Vonnegut: February 1998/ The

36

58

out the state, as well as to the

also ones by his grandfather Bernard and his father Kurt, Sr. (both well-known Indianapolis architects) and his children Edith and Mark.

• Matter Mind Spirit: February 26-March 28, 1999: This show, which was organized by the Indiana Committee of the National Museum of Women in the Arts, presented work by 12 contemporary women artists

• The Art of Combat: Artists and

and Michael Aschenbrenner.

It was an eye-opening look into a time, place and set of experiences that many visitors only knew from history books and films.

• Willis Bing Davis: Ceremony

living and working in Indiana.

and Ritual: March 9-June 3,

Featuring the work of Amy

2001: The work of Davis,

Reality; Africa Through the

Brier (Nashville), Karen Thomp-

nationally known black artist,

Eyes of Women Artists; Philip

son (Fort Wayne), Peg Fierke

educator and former Art Center

Turner: Helmets and Crowns;

(Indianapolis), Kathryn Waters

instructor, was the focus of this

and Who Am I — I Am: July 31-

(Evansville), Bonnie Sklarski

solo exhibition, which featured

September 6, 1998: Part of the

(Bloomington), Aimée Bott

sculpture, paintings and instal-

citywide Africa Celebration ’98:

(Muncie), Louie Laskowski

lations that explored both

The Spirit of a Continent cele-

(Brookston), Betsy Stirrat

personal and universal experi-

bration, these four exhibitions

(Bloomington), Linda Adele

ences. As a companion to his

provided visitors with diverse

Goodine (Indianapolis), Julie

show, Davis helped organize

perspectives of the influence of

Schweitzer (Elizabeth), Char-

Who We Are: Indianapolis and

African culture on American

lene Marsh (Nashville), and

Dayton Artists Speak, an exhi-

artists, as well as examples of

Julie Tourtillotte (South Bend),

bition featuring the work of

• Africa: Between Myth and

a dozen black artists from

American artists, this show in-

China’s Shandong College of

Indianapolis and Dayton, Ohio.

cluded a panel discussion with

Arts, this exhibition featured

the two artists, moderated by

nearly 60 prints and paintings

Bing Davis and including local

by the college’s faculty

African-American artists Bill

members, plus an accompany-

Rasdell, Fred Shields, Fatimah

ing exhibition Outside Looking

Tuggar, and Glenn White.

In featuring paintings by local

Hosted by the Art Center, this

artist Becky Fehsenfeld, who

program on the issue of race

conceived of the exhibition and

and identity in art was pre-

with her husband Jim helped

sented in conjunction with

underwrite it. The exhibitions

Indiana Black Expo.

were part of the Art Center’s

• Hoosier Expatriates: An Odyssey in Clay and On the Wall 2004: March 14-May 2 2004: This pair of shows, the first featuring work from 20 prominent ceramicists who spent a significant part of their careers in Indiana, the second the work of seven nationally known clay artists, was done in conjunction with the annual

• In Good Company: Selections from the JPMorgan Chase Art

Council on Education in the

Collection: February 24-April

Ceramic Arts, held in Indi-

16, 2006: This traveling

anapolis in March 17-20.

exhibition was a veritable

2004: Featuring steel sculpture

by Sara McCracken and Ann Moriarty, this exhibition focused on women working in a medium traditionally associated with men.

October 15-November 7, 2004: A retired General Motors factory worker and the son Indiana artist Ricardo “Rick” Flores painted vivid pictures of manual laborers. Though Flores exhibition opened, the Art Center held an opening reception in his honor.

• From Hip Hop to Coal Funk: Ayanah Moor and Philip Robinson: April 29-June 5, 2005: In addition to displaying the work by two emerging African-

contemporary works by Roger Brown, Robert Rauschenberg and Agnes Martin.

• Convergence & Contrast: Furniture by Michael Graves and Surface Design by Walter Knabe: June – August 23, 2006: Pairing the design work of its longtime partner Graves with that of internationally known local painter-designer Knabe, the Art Center presented a show that celebrated the artistry behind interior decor.

• Art, Harmony and Nature: From the Land of Confucius: June 28-August 23, 2008: Part of an ambitious program of cooperative exchanges between the Art Center and

Chinese artists, and a roundtable presentation moderated

by Chris Katterjohn, publisher of the Indianapolis Business Journal, and featuring a discussion among local civic leaders

59

and Chinese delegates on the impact of art on economic development.

1 9 9 6 - 2 0 0 8

died shortly before this

from ancient Roman pieces to

festival, workshops with

E X H I B I T I O N S

of migrant parents, Marion,

eager to see works ranging

and dancers, a Chinese film

S I G N I F I C A N T

• Rick Flores: Labor Art:

attracting hordes of visitors

ances by Chinese musicians

F L A M E

Women of Steel: July 6-24,

blockbuster for the Art Center,

included lectures, perform-

T H E

• Survival and Metamorphosis:

Through Art” program which FA N N I N G

convention of the National

“Two Worlds, One Language

music, catered food and fireworks. Local contempo-

effect.The challenge was to have enough plantings to

rary dance troupe Dance Kaleidoscope performed

37

capture interest but keep the spaces open for use.”

with pianist Joan Gerzon, and there was a silent auc-

One of the permanent works that REA had to in-

tion of drawings, prints and photographs by such

tegrate into its design was Restful Place, a bronze, glass

well-known figures as writers Tom Wolfe and Kurt

and limestone piece done by Native American sculptor

Vonnegut, Jr., race car driver Lyn St. James and

Truman Lowe. Located alongside a path and over-

musician Graham Nash. Attracting more than 700

looking the river, it was inspired by nature, helping

guests—including Graves and five of the artists who

tie it to the landscape. Lowe was working on a

created works for the park—the event netted $50,000

commission for the Eiteljorg Museum in White

to help support Art Center programming.39 (What’s

River State Park, on the west edge of downtown

more, it was deemed such a successful fund-raiser that

Indianapolis, concurrent with his ARTSPARK piece,

it became an annual event.)The following day, the Art

marking the first time that two of the city’s visual arts

Center hosted a public grand opening, which coin-

institutions had the same artist creating site-specific,

cided with its annual open house. More than 2,500

permanent pieces of sculpture at the same time. (The

people experienced artist demonstrations both in the

Eiteljorg commissioned its Lowe piece as part of an

main building’s studios and out in the park, along with

expansion project, which opened in June 2005.)

live music at various sites around the grounds. round of attention for the Art Center—not of the

spent a week at the Art Center, creating his contri-

magnitude that the Graves building had when it

bution, Still Life with Sticks. Composed of saplings,

opened in 1996, but still significant.With more than

bent and twisted to create a hut-like structure that

a million people a year passing by on the Monon

visitors could walk through, it echoed ancient

Trail at the eastern edge of the Art Center’s grounds,

dwellings while remaining clearly contemporary. Like

the Art Center board and staff figured a 24-hour, all-

Stackhouse and Mickett, Dougherty worked out in

season park adjacent to the trailhead at the end of

the open, with the help of volunteers including stu-

67th Street would make the Art Center an inviting

dents from the Art Center’s ArtReach program. He

rest stop.Trail users had been stopping by to use the

liked being able to show passers-by how he created

Art Center’s restrooms (and sometimes to wander

art on the spot, he told a newspaper reporter. “The

through exhibitions) for years, but now they could

idea of developing the ground so there’s a sculpture

also relax amid art outdoors. While hard to quan-

park where people can have conversations with artists

tify—a casual passer-by’s 20-minute layover in

is great,” he said. “Just seeing someone physically

ARTSPARK didn’t register on a tally sheet any-

making art is really educational.”

where—within a year of the park’s debut, the Art

38

Having hosted a gala to celebrate the opening of

Center’s formal attendance total had risen by more

the Graves-designed building nine years earlier, the

than 20,000 visitors.4 0 And the opening in 2007 of

Art Center elected to do the same for the debut of

the Efroymson Garden and Canoe Launch at the

ARTSPARK. Appropriately dubbed “ARTSPAR-

northeastern edge of the park, which was developed

Patrick Dougherty’s 2004 sculpture Still Life with Sticks was a popular part of ARTSPARK until nature took its toll (as it was meant to), leading to its deterioration and finally its removal in 2009.

61

V I S I O N

North Carolina-based sculptor Patrick Dougherty

G R E AT E R

Both events helped ARTSPARK attract a new

A

As work on ARTSPARK neared completion,

F L A M E

ation of art,” said Hildner,“we wanted an understated

T H E

KLE,” it was held on August 20, 2005 and featured live

FA N N I N G

site is intended to be used for the exhibition and cre-

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

62 in partnership with Indy Parks Greenways and

camp program a new resource, a means of exploring

Friends of the White River, with the help of a grant

the relationship between nature and creativity. It was

from the Efroymson Family Fund, added yet another

an annex, subject to seasons, weather and the quirks

visitor-friendly touch, allowing people to use the

of Mother Nature, and a sculpture park unlike most

White River as a means of arriving at and departing

others in the world. It was also another manifestation

from ARTSPARK.

of the vision that kept propelling the organization

More importantly, the park assumed the role that

forward, a singular vision that refused to be confined

Sommers,Thomas and Graves had envisioned for it—

by conventional thinking, but insisted on exploring

it became an extension of the studios and exhibition

what lay beyond the boundaries of convention, tra-

spaces inside the building. From classes in plein air

dition, the way things were supposed to be done.

painting, botanical illustration and nature photogra-

From Joyce Sommers’s perspective, envisioning some-

phy to the various permanent and temporary works

thing was just the first step in attaining it.The proof

on display throughout, ARTSPARK expanded the

was all around her, indoors and out.

Art Center’s ability to encourage people to create,

What’s more, the opening of ARTSPARK was the

experience and learn about art. It offered the young-

capstone event for what had been a unique year for

sters in the Art Center’s annual summer fine arts day

Indianapolis.As the Art Center had prepared for the

ARTSPARKLE, the Art Center’s annual summer fund-raising gala, attracts an array of Art Center supporters. (Photo: Philip Blomgren)

park’s debut, earlier in 2005 the Indianapolis

grams.”4 1 That statement became the foundation

Museum of Art had unveiled three new pavilions and

of a new program the League developed soon

newly landscaped grounds; Herron School of Art and

afterward, in conjunction with the Indianapolis

Design had opened a new facility on the IUPUI

Department of Metropolitan Development’s

campus; and the Eiteljorg Museum had introduced a

Division of Housing, which had received funding to

new addition and terrace garden. At the same time,

develop an art program and contacted Sommers.

two national associations—the Association of Chil-

Given a track record that included operating

dren’s Museums and the Association of American

successful art programs at Central State Hospital and

Museums—had held their annual conventions in

the Indiana Women’s Prison, the Art League was a

Indianapolis; the Art Center had hosted tours for

logical organization for the Division of Housing to

both groups, which had allowed it to show off both

turn to for assistance.

its building and the nearly completed ARTSPARK

who had joined the Art League’s staff after heading

excellence from the Indiana Chapter of the American

program to provide learning-through-the-arts expe-

Society of Landscape Architects in 2005 and a 2005

riences for children living in public housing.The first

Monumental Affairs achievement award for land-

year of the program was so successful that the League

scape architecture, as well as merit awards for project/

implemented a new outreach effort it dubbed

community development and for the park sculpture

ArtReach. At its start in September 1990, ArtReach

Still Life with Sticks. ARTSPARK was also featured,

provided after-school and summer art programs at

along with outdoor projects at the Indianapolis

four urban sites; by 1992, it was operating in nine

Museum of Art and the Eiteljorg Museum of Amer-

community centers; the year after that, at 10 sites.

ican Indians and Western Art, in Landscape Architecture

From on-site art classes to outdoor wall murals,

magazine in October 2007.

At its core, ARTSPARK was the latest and, for many people the most visible, aspect of the Art Center’s longstanding commitment to community outreach. In 1989, Sommers had developed a list of initiatives that she intended what was then the Art League to implement over the coming years. Fueled by her longstanding commitment to community activism, Sommers included on the list her intention “to provide free after-school art classes for children and adults in urban settings by networking with urban community centers and social service pro-

The round windows on opposite sides of the Ruth Lilly Library provide unique views from inside and out. (Photo: Philip Blomgren) Pages 64-65:A creative combination of nature and artistry gave ARTSPARK a vibrancy and vitality that put it in the vanguard of American sculpture parks.

V I S I O N

Outreach Programs

63 G R E AT E R

anapolis Public Schools—designed a three-year pilot

A

received professional notice, winning an award for

F L A M E

up the former cities and schools program for Indi-

T H E

As with the Graves building, ARTSPARK also

FA N N I N G

to appreciative audiences.

David Thomas and Bill Spalding—an educator

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

66

ArtReach promoted learning and community

wood wall featuring images representing various art

involvement through creative expression. Inspired by

disciplines, that was sited along the Monon Trail.4 2

Sommers’s mandate and recognizing the value of

The program’s reputation spread nationwide. In

outreach programming to the League’s mission,

1999, ArtReach was listed among the top 200 pro-

Thomas initiated a successful effort to have the board

grams for at-risk youth in a report by the President’s

designate it as the organization’s third arm, equal in

Committee on the Arts and Humanities.43 “Diver-

status to the educational and exhibition programs.

sity is a piece of the pie for everyone,” Spalding said

To promote the program and provide the children

of the importance of taking art into settings where it

taking part with public recognition of their efforts, in

was normally absent.4 4 Though he left the Art Cen-

1991 ArtReach began hosting an annual exhibition

ter in 1995, Spalding’s legacy was the continuation—

featuring the work of its students. In 1998, 16

and gradual expansion—of outreach programming.

ArtReach students were chosen to help create a

One of the keys to the program’s success, said Laura

“Mural of the Arts,” a 12-foot-tall, 96-foot-long ply-

Alvarado, was the commitment the Art Center made

A mural painted by children in the Art Center’s popular ArtReach program

FA N N I N G T H E F L A M E

67 A

ArtReach sites. Alvarado, who moved to Indianapo-

relationship with the same wonderful instructor

lis from Phoenix in 2004 to become the Art Center’s

who comes each week. They learn to think. They

director of outreach, said that over time the program

learn about other cultures. And they’re proud to

had tried to provide a consistent level of support to

show off what they’ve done.”46

the housing complexes and community centers

Ceramics artist Jude Odell became an ArtReach

where it held its weekly classes.“When we take on a

instructor in 1992; as of 2008, she was actively in-

45

site,” said Alvarado,“we want to be there for years.”

volved, teaching at various sites, including Coburn

One place with which ArtReach was able to

Place.While it wasn’t always easy to earn the trust of

forge an ongoing relationship was Coburn Place, a

young, underprivileged participants, said Odell, once

shelter for low-income families from abusive back-

she did the results were often astonishing. “A lot of

grounds. “What I love about ArtReach is that it’s a

kids come into the program feeling shut off—they

constant in the kids’ lives,” said Lianne Sommerville,

think they can’t do anything correctly,” said Odell.

V I S I O N

the shelter’s executive director. “They build a

G R E AT E R

to providing consistent, long-term programming at

F L A M E T H E FA N N I N G A

G R E AT E R

V I S I O N

68

“We have to bring them out of themselves gradually.

Center focused the new program on disadvantaged

But once they start feeling good about themselves

young adults ages 17-20 who were interested in

and the things they do in the program, it permeates

careers in the arts or art-related fields.The Art Cen-

the rest of their lives.”

ter paired AMAP youths with artist-mentors who

47

Building on the success of ArtReach, the Art

could help them identify goals and create schedules

League developed ArtVan, a mobile classroom that

that helped measure their progress. The program’s

offered art classes to children in summer day camps

early efforts proved so successful that the Art Center

at community centers and parks. Much like

made AMAP a permanent part of its outreach

ArtReach, the new program served at-risk youth,

programming. In 2006, it was renamed Supportive

supporting the development of decision-making and

Mentoring Through Art (SMART) and began oper-

interpersonal skills, caring, equality, integrity, the

ating as a collaborative effort with Big Brothers Big

development of problem-solving and cognitive abil-

Sisters of Central Indiana.

ities, and the fostering of artistic skills.

The program’s proactive approach to meeting

In 1994, the newly renamed Indianapolis Art

community needs earned it nationwide attention

Center added another element to its outreach efforts

and resulted in numerous awards,including a Certificate

with the development of the Artist Mentor Appren-

of Excellence from President Clinton’s Committee

ticeship Program (AMAP). Using a grant from the

on the Arts in 2002, IndianaYouth Institute’s Invest-

Lilly Endowment to cover initial expenses, the Art

ment inYouth Award in 2005, a Congressional Salute

Young participants having fun in an ArtReach class

from U.S. Senator Julia Carson in 2005, and a procla-

the 1950s, it had provided art classes for mentally and

mation from Mayor Bart Peterson making March 22,

emotionally troubled patients at Central State Hospital.

2005 ArtReach Day in Indianapolis.

It also did the same for inmates at the Indiana

The key to the success of the Art Center’s outreach

Women’s Prison, and it had established a partnership

efforts was the willingness to change them as cir-

with the Indiana School for the Blind, providing

cumstances changed. That involved assessing the

classes to visually impaired students since 1989. Still,

value of what was being offered and being responsive

there were new opportunities arising as the compo-

enough to alter programs according to the results

sition of Indianapolis was altered by more immigrants

of those assessments. “We have to evolve as the

from Central and South America, Europe,Africa, and

communities we serve evolve,” said Alvarado.

Asia, as well as by a growing, affluent African-Amer-

48

ican middle class. It was those groups that were Diversity

under-represented in the city’s cultural community.

activist, Sommers never needed prodding to advocate

first page, with the use of a quotation from 19th-

for diversity within the group she led. But believing

century painter William Merritt Chase, who left his

in diversity and achieving it are two separate things,

hometown of Indianapolis for NewYork City, where

especially in a cliquish organization that had been

he became internationally renowned. On the subject

primarily a white middle-class operation since its

of diversity, Chase was eloquent:“Diversity, generally

founding.That didn’t stop Sommers from trying. In

understood and embraced, is not casual liberal toler-

1992, she championed the Art League’s “Position

ance of anything and everything not yourself. It is not

Paper on Multiculturalism,” a document that, by

polite accommodation. Instead, diversity is, in action,

encouraging greater diversity and cultural under-

the sometimes painful awareness that other people,

standing within the organization, became a model for

other races, other voices, other habits of mind, have as

similar efforts within other cultural groups around the

much integrity of being, as much claim on the world

country. Moreover, it became a manifesto of sorts as

as you do…”49 Embracing Chase’s perspective, the

Sommers led the effort to diversify the staff, board of

position paper vowed that the Art Center would

directors and advisory board (a group of outside

continue “to nurture and actively support diversity”

observers who provided occasional advice and feedback

by recognizing and appreciating the value of cultural

on what the Art Center did or considered doing).

and individual traits to creative expression and society

The 1992 paper was followed a few years later by a

as a whole.“The desire to experience and participate

second one focused on lesser-served audiences. It

in the process of creativity is not limited to select

called for the Art Center to identify and provide serv-

groups of people,” wrote the paper’s authors.“It is an

ices for those populations within central Indiana that

essential element of human expression.”50

had little or no access to culturally sensitive program-

The desire to serve the widest possible segments of

ming. It wasn’t that the organization had ignored

the city’s population led the Art Center to create such

everyone outside of its traditional audience— since

projects as its Day of the Dead/El Dìa de los Muertos

69

V I S I O N

on Diversity” in early 2000.The tone was set on the

G R E AT E R

head of UNICEF in Indianapolis and a Civil Rights

A

mographics, the Art Center released a “Position Paper

F L A M E

to diversify the Art League/Art Center. As a former

T H E

To acknowledge and address the city’s changing de-

FA N N I N G

The outreach programs were part of a larger effort

ARTSPARK ART AND ARTISTS

• Confluence by Robert Stackhouse and Carol Mickett: Consisting of a series of limestone blocks quarried in southern Indiana, shaped and incised FA N N I N G

with both power tools and hand chisels, then set upright on the southwest corner of the

T H E

park beside 67th Street, as well as a flat, boat-shaped slab set • Still Life with Sticks by Patrick

the Eiteljorg Museum of Ameri-

work celebrates all of the peo-

can Indians and Western Art

Doughtery: Internationally

ple and the different aspects

and underwritten by the Sonia

acclaimed sculptor Dougherty,

of the community that came

Eiteljorg Fund and the Public

who uses saplings and other

together to create ARTSPARK.

Art Initiative of the Arts

natural materials to create

It was underwritten by Mary

Council of Indianapolis.

large-scale installations, spent

Ann and Michael Browning.

• Circle by Sadashi Inuzuka:

• Restful Place by Truman Lowe:

With the help of students Blind, Inuzuka created a granite

appears to be a simple curved

and sand installation that visi-

bench beneath arched

tors are encouraged to experi-

saplings—invites visitors to the

ence through touch and sound.

Hurt Woodland Gardens to

“I want to be a bridge between

contemplate the surroundings

the visually impaired community

(river, trees and earth) and

and the larger community,”

consider what happens when

said the artist about Circle.5 2

such natural resources are

Major underwriting for the

depleted or destroyed. “As a

piece came from the Sheila

woodland Indian,” Lowe said

Fortune Foundation, Carter

of his work, “I can’t ignore my

Fortune, Cinergy Foundation,

51

environment.”

This work was

developed in collaboration with

Inc., June M. McCormack, and the Sallie Mae Fund.

invite visitors to explore it from inside and out. As a semi-permanent work, Dougherty said while building the work, Still Life with Sticks will eventually deteriorate. It was purchased with the help of the Art Center’s arts fund.

• Wings by James Wille Faust: A painted aluminum sculpture created by renowned local artist Faust, Wings is a colorful interpretation of the myriad of birds that nest in or visit the

Young ARTSPARK visitors especially like the topsy-turvy Twisted House by Evansville artist John McNaughton.

Above: Visually impaired artist Sadashi Inuzuka worked with students from the Indiana School for the Blind and Visually Impaired to create the multi-sensory work Circle for ARTSPARK.

A R T I S T S

piece, this work—which

piece. It features openings that

A N D

from the Indiana School for the

summer of 2005 creating this

A R T

A glass, bronze and limestone

a week at the Art Center in the

71 A R T S PA R K

White River, this monumental

F L A M E

into the ground adjacent to the

F L A M E T H E FA N N I N G

72

riverside park throughout the

very architecture. It was

stalled on the western edge of

year. Faust, whose relationship

purchased with the help of

the park, near where it origi-

with the Art Center extends to

the Art Center’s arts fund.

nally stood. It was originally

its earliest days in Broad

A R T S PA R K

A R T

A N D

A R T I S T S

Ripple, also installed a painted sculpture outside of the new Herron School of Art and Design, which debuted in June 2005, two months before ARTSPARK. Funding for this piece was provided by Karl and Barbara Zimmer.

• Vicarious by G. Greg Hull: Mounted on the Art Center’s library roof, this steel, fabric and neon piece by Hull, a local sculptor acclaimed for his innovative use of electronics, light and other kinetic elements, announces to passers-by that this is a place where creative innovation is not only encouraged, but integrated into the

• Imploding Cube by John E. Simms: Set to the east of the building, this 13-foot-tall piece, made of aircraft aluminum by a Wyoming sculptor, was

purchased with the help of the Art Center’s arts fund in honor of longtime board member M. Steele Churchman.

• Twisted House by John

installed on a vista so it could

McNaughton: A fanciful, fairy-

be viewed from a distance. It

tale-like wooden structure was

was a gift from Robert and

the work of yet another Indiana

Patricia Anker.

artist, a University of Southern

• Monumentalment IV by Gary Freeman: This piece, created by the former head of Herron’s sculpture department, once stood in front of the Art Center’s first Broad Ripple facility, in the process becoming a visual icon for the organization.

Indiana faculty member. Like a child’s playhouse turned askew, McNaughton’s creation represented the whimsy that was also an important aspect of the park. It was purchased with the help of the Art Center’s arts fund.

Once ARTSPARK was done, Freeman’s piece was re-in-

G. Greg Hull, an associate professor of sculpture at Herron School of Art and Design, created the kinetic piece Vicarious.

Festival, which debuted in 1999.A collaborative project involving the Hispanic Center, the Indiana State Museum and the Art Center’s ArtReach program, it featured an exhibition of altars and other artwork, as well as music, food and family activities. It proved to be popular within and beyond the local Hispanic community, and the Art Center made it an annual affair. Building on the success of the Day of the Dead program, in 2003 the Art Center introduced Ceramico en Espanol (Ceramics in Spanish), providing another way for the city’s growing Hispanic and Latino populations to get involved in the arts.

FA N N I N G

Another diversity-focused project was Africa Celebration ’98, a citywide series of programs developed by area cultural organizations and univer-

the programs included a trio of exhibitions at the Art

more accessible.The former provided scholarships to

Center—Phillip Turner: Helmets and Crowns,Africa:

low-income youth and adults, allowing them to enroll

Between Myth and Reality, and Africa:Through the Eyes

in Art Center classes free of charge.The latter provided

ofWomen Artists—as well as a performance by Luisah

trained assistants and scholarships for children and

Teish, internationally acclaimed storyteller, author

adults with mental, physical and/or emotional chal-

and actress, and two films by African filmmaker

lenges so they also could take classes. And the Art

Ousmane Sembene. In 2001, the Art Center staged

Center extended its long-running partnership with

the exhibition My World, Our World, which featured

the Indiana School for the Blind andVisually Impaired,

photographs shot by 10 children in Johannesburg,

taking over the operation of its art program and pro-

South Africa and 10 in Indianapolis.The exhibition

viding instructors for all art classes taught at the school.

and companion programs resulted from an intern-

To tackle some of the misconceptions about home-

ship by South African artist Prince Dube at the

lessness, the Art Center teamed with local agency

Art Center in 2000. The project helped reveal the

then known as Lighthouse Mission to develop

differences and similarities in life in the two cities,

Beyond Perceptions:Homelessness, a program that brought

from the perspectives of young people living in each.

area high school students face to face with homeless

In late 2001, Joyce Sommers and David Thomas

men living at the mission. The students were first

traveled to Johannesburg to open the show at the

asked to create art based on their feelings and per-

Johannesburg Art Gallery (now Museum), an event

ceptions of the homeless, then they were given a

attended by Indiana’s first lady Judy O’Bannon, who

chance to meet with and talk to Lighthouse residents.

was also in South Africa at the time.

The students then created new pieces of art based on

Joyce Sommers with her second in command David Thomas

73

V I S I O N

Connections:Art and Disabilities—made art instruction

G R E AT E R

on Africa at the Children’s Museum of Indianapolis,

A

Two education programs—Access Art and Creative

F L A M E

Developed in conjunction with a major exhibition

T H E

sities to celebrate the history and cultures of Africa.

F L A M E T H E FA N N I N G

74

what they learned. Using art to create a dialogue

Headed by popular glass artist Ed Francis, the im-

proved so effective that Beyond Perceptions: Homeless-

mediate and enduring success of the Art Center’s

ness won an “Excellence in Education” award from

glass art program was evidence that the time, money

Indianapolis Mayor Bart Peterson in 2006.

and effort—all of which was considerable—that

A

G R E AT E R

V I S I O N

went into developing, operating and maintaining a Blowing Glass, Pouring Iron

glass studio was worthwhile because it drew in not

Just as important as diversity in the audiences being

only people who wanted to take classes, but also

served was variety in the types of programs being of-

people who wanted to watch.When in use (which

fered. From traditional drawing and painting classes,

was regularly, whether by classes or individual artists

over the years the Art Center had expanded into an

working on projects) the glassblowing studio

array of media, from ceramics and woodworking to

became one of the most popular stops during guided

fiber arts and photography.With the opening of the

tours of the building and grounds. It didn’t take

Graves building, the repertoire broadened even fur-

much to ignite curiosity, said Francis in a 2004

ther, with classroom spaces devoted to digital media,

newspaper article.“You provide a little bit of fire, and

glassblowing and metal work. While the former

people come out of the woodwork.”5 3

proved especially appealing to younger students, the

As the only “hot glass” facility (one equipped for

latter two attracted people of all ages, eager to try

working with molten glass) in Indianapolis, and one of

their hand at two of the art world’s oldest disciplines.

the few in the country not affiliated with a college or

From the moment the glassblowing studio

university, the Art Center’s studio offered beginners

opened in 1997, the classes taught there filled up fast.

and veteran glass artists alike a place to hone their skills,

The Art Center’s annual Day of the Dead festivities are an important bridge to the Spanish-speaking community.

Right: Biennial iron pours attract metal artists and fans alike.

learn new ones and explore the creative possibilities of

enrolled in a sculpture class at the Art Center to

a medium that was at once both simple to manipulate

sharpen his skills—within a semester, David Thomas

and difficult to master. Then there was the danger

had recruited him to be an instructor. Shortly

factor—a glass artist relies on two furnaces, a 2,000-

thereafter, he became department head. Under his

degree Fahrenheit glass-gathering one and a 2,300-

guidance, the program expanded its offerings from

degree “glory hole,” to heat and reheat molten glass

stone sculpture and welding to iron, bronze and

while working with it.“It’s a challenge mechanically,”

aluminum casting, figure study and mold-making.

said Francis of the process.“Details matter.”

FA N N I N G

T H E

F L A M E

54

Carreno first arranged for the Art Center to get

Bernie Carreno concurred, but for a different

into the molten metal field when he spotted a crucible

medium—as the head of the Art Center’s sculpture

furnace on eBay. Used for bronze casting by Rutgers

department, he oversaw the stone, wood and metal

University, which had just built a new facility with

working programs. The idea of pouring molten

new equipment, the furnace was being offered inex-

iron—a fast-disappearing practice in the contempo-

pensively; Carreno convinced the Art Center to buy

rary art world, which favored bronze and aluminum

it. “It cost more to ship it from New Jersey than to

over the more traditional iron—originated with

buy it,” he said later. 55 With the help of other

Carreno, a trained sculptor who had worked as a

sculptors and students, Carreno mounted wheels on

designer for Delphi, Inc. throughout the United

the furnace, then installed an overhead crane to lift

States and Latin America. After retiring in 2001, he

it up and drop it into an outdoor sandpit outfitted with gas and electrical connections.That allowed for bronze to be melted and poured into molds in a

76

controlled environment outside of the building. In 2003, the first bronze pour took place.

It was so successful that Carreno started thinking

V I S I O N

about doing something similar with iron, which he had always liked as a creative material.When a friend

G R E AT E R

donated a small furnace for iron work, Carreno suggested doing an iron pour, an idea that Thomas supported. To reconnect with others in the iron-

A

working community, Carreno attended a pair of conferences, after which he arranged for the Art Center to host one of its own. It took place October 5-8, 2006 and featured well-known iron sculptors from around the country, who came to take part in lectures, panel discussions and demonstrations in ARTSPARK. Like glassblowing, pouring molten iron attracted crowds, who were fascinated by the ancient practice—and Carreno’s ability to pull in some of the big names in the iron-working com-

Above & Right: Glassblowing captivates people of all ages.

FA N N I N G T H E F L A M E

intention of eventually doing so for other disciplines.

wide. Carreno and Thomas agreed to make the iron

Carreno exemplified the quality of the instructors

pour a biennial event—the second one took place

that the Art Center attracted—working artists, many

October 9-12, 2008, and was even more spectacular

of whom were former or current members of college

since the major pours took place after dark, with

or university faculties with Master of Fine Arts

multiple furnaces lined up in a sand-filled portion of

degrees.As of 2008, the faculty included other well-

the parking lot.

known figures such as glass artist Lisa Pelo-McNiece;

With a strong curriculum and events such as the

painters Ellie Siskind, Gloria Fischer, Shirley Carr,

iron pours, as well as a consistent, committed faculty,

Lois Davis, and Farideh Peacock; photographers

Carreno maintained that the Art Center’s sculpture

Mike Bowman and Ginny Taylor Rosner; illustrators

department was the equal of any in an accredited art

Kris Mobley and Dianna Porter; graphic designers

school. To bolster the program’s credibility, he and

Michael Partington, Brad Walters and Erika Woods;

David Thomas established a certificate program,

ceramicists Loran R. Hill, Kyle Crossland, Soyong

which required participants to take a roster of specific

Kang Partington, and Robert Reiberg; textile artists

classes and produce a body of work over an 18-

Sofiya Inger and Carol Lebanon; and sculptors Julie

month period, just as they would in an academic set-

Ball, Giselle Trujillo and Francisco Fonseca. With a

ting. Thomas also created a certificate program in

reputation for instructional excellence, by 2008 the

77

V I S I O N

college and university sculpture programs nation-

G R E AT E R

photography, one of his areas of expertise, with the

A

munity created buzz about the Art Center within

F L A M E T H E FA N N I N G

capable that 18 years later she managed all of the on-site

Among them were classes in both traditional and

classes as well as off-site classes such as those at the

contemporary media, from figure drawing to com-

Indiana School for the Blind and Visually Impaired, maintained faculty records, served as a liaison to both

V I S I O N

term, taught by a faculty that consisted of 150 artists.

puter animation.

That was in keeping with the Art Center’s em-

instructors and students, ordered studio equipment

G R E AT E R

joining the staff in 1991, Minnich-Beck had proven so

phasis on offering a variety of classes, based on the

and supplies, and coordinated special programming.

interests and abilities of the artists teaching them.

Equally valuable was Pam Rosenberg,the organization’s

It was those artists who set the standards for, and

director of operations, whom Sommers originally

A

78

Art Center was offering more than 300 classes a

maintained the quality of, the classes—and hence the

hired as her administrative assistant in 1992, then pro-

reputation of the Art Center. “People come here

moted in 1995. Rosenberg handled an array of duties,

day after day, week after week, year after year to get

including managing the Art Center’s administrative

involved in the creative process,” said David Thomas.

computer systems, overseeing human resource mat-

“A building is a building, but without the people

ters, supervising the facility, office and guest services

teaching the classes, it might as well be a parking lot.

managers, serving as a liaison with the board, and

This place relies on its faculty.”

maintaining Sommers’s confidential records and cor-

56

As well as on its staff.Anne Minnich-Beck, associ-

respondence. As veterans of the Art Center’s physical

ate director of education, was the reason the educa-

and programmatic expansions over the years, by 2009

tion department ran smoothly, said Thomas. Since

Minnich-Beck and Rosenberg were perceived by

Gloria Fischer, faculty since 1981, teaches a drawing class.

faculty and board members as essential to the organi-

a feasibility study confirmed the potential growth

zation’s daily operations and important factors in its

of interest in glass art, Sommers, Thomas and the

success. Sommers and Thomas credited them with

board looked across ARTSPARK to the Cultural

keeping the day-to-day operations—especially the

Complex annex as a solution to some of their space

vital relations among staff members, instructors and

needs, and out the east entrance at the sculpture and

students—on track.

ceramics plaza for the rest.

57

sensitive and supportive role in the lives of the many

students and visitors.The hot shop also was one of the

artists who depended on her to provide them with a

most popular stops on Art Center tours. In fact, the

venue for selling their artwork. By 2008, Reckas was

interest in the glass program led to the need for

responsible not only for the on-site Basile Studio

upgraded equipment and a space for observers, issues

Shop, but also for supplying items to a gift shop at the

that the board hoped to rectify by dedicating a free-

Indianapolis International Airport. In the process, she

standing facility to the glass department. And the

helped the Art Center achieve one of its primary

perfect site was the 9,000-square-foot Cultural

missions—to support working, productive artists.

Complex: a redesign of the facility by architect Jim

Joining the staff in 1997, facility manager Sommers

McQuiston not only called for glass studios that would

was responsible for keeping the building maintained

triple the size of the one in the Graves building, but

and safe amid the on-going messiness inherent in

contained an indoor balcony overlooking the studio

place where ceramic dust, paint, wood and metal

and an exterior glass wall allowing ARTSPARK

shavings, and assorted other studio fallout mingled to

visitors to see what was going on inside. Renovation

make keeping floors, walls and bathrooms clean and

plans also called for a glass gallery gift shop, offices and

tidy difficult. Having a building that met the needs of

a riverfront café and terrace.The cost, according to a

special events users—shiny floors, spotless sinks,

capital campaign case statement, would be $5.1

working lights and audio systems—while still serving

million, including a $1 million endowment to help

the often chaotic dynamics of artists made Sommers’s

maintain the facility and its equipment.

role essential—and constantly challenging.

But even moving the glass program out of the Graves building wasn’t going to alleviate the need

The Glass Complex

for more space. While the existing glass shop was

& the East Entrance Enhancement

going to be converted into a studio for fabric arts,

Less than a decade after opening the Graves struc-

both the ceramics and sculpture departments were

ture, some of the Art Center’s classes were so popular

badly in need of more work and storage space.

that there were waiting lists—and the demand was

Fortunately the Graves organization had factored in

straining the capacity of the building. It was clear to

future expansion needs in the original design of the

Sommers and many others that the time had come

building.The eastern plaza, which the sculpture and

to complete the last two phases of the master plan

ceramics departments used (weather permitting) for

developed as a result of Conclave IV in 1999. After

projects too large or messy for their respective stu-

Pages 80-81: Future East Entrance and Sculpture Pavillions (Anderson Illustration Associates, Inc., 2004)

79

V I S I O N

programs in the country that was accessible to both

G R E AT E R

ter’s gift shop manager since 1990, Reckas played a

A

popular as its glass studio, one of only eight glass

F L A M E

Melanie Reckas and Brett Sommers.As the Art Cen-

T H E

No Art Center program had ever been as wildly

FA N N I N G

Also important to the organization were veterans

“ Joyce has vision, and she’s able to gather around her people who share her vision and who bring to the table skills and abilities that complement what everyone else at the table has.

She is the consummate relationship builder.”

— Frank Basile Art Center benefactor and former board chairman

JOYCE SOMMERS: A LEGACY OF ACHIEVEMENT

Call it fate, destiny or simply

cult-of-personality manner. Som-

needed since they were only pay-

serendipity. But from the moment

mers always shared the credit for

ing $8,000 a year.”58 With the

that Joyce Sommers enrolled in

the organization’s accomplish-

help of board members such as

her first class at the Indianapolis

ments with everyone who was

M. Steele Churchman and later

Art League in 1971, she was

involved in a particular project.

Frank Springer, George Seybert,

organization’s future. After serving in a number of voluntary Sommers was hired by the Art tive director in August 1976. It proved to be a good decision: for the next 33 years, Sommers’s vision, vitality and joie de vivre propelled the organization on a trajectory that took it to heights

attend Indiana University and head up UNICEF’s Indianapolis office, Sommers brought to the Art League a broader vision of what the organization could be than many of its members had ever imagined. “I was very naïve when I started,” Sommers recalled, “but naïve was what they

Sommers turned her naivety into the combination of pragmatism and optimism that came to characterize her tenure. As she took the steps she felt were required to make the Art League more of

F L A M E

League’s board as its first execu-

School who had gone on to

Frank Basile, and many others,

T H E

posts, including as president,

A graduate of Broad Ripple High

FA N N I N G

inextricably linked with the

a community center of creativity rather than a club for amateur artists, she lost some friends

83

and supporters (all of whom later returned); in the process,

mers—could have foreseen.

retain talented, skillful, knowledgeable people to the Art

willingness to accept advice and guidance, Sommers was able to

cultural community to the center.

In the process, she and the Indianapolis Art League (rechristened, appropriately enough, the Indianapolis Art Center) became synonymous, though never in a

Former Indianapolis mayor Bart Peterson, who supported a variety of arts programs during his two terms in office, believed in Sommers’s vision of the Art Center as a cultural resource for the community.

A C H I E V E M E N T

the fringes of the regional

O F

navigate the organization from

L E G A C Y

and instructors, as well as her

A

League as board members, staff

S O M M E R S :

Due to her ability to attract and

J OYC E

that no one—including Som-

she also won new allies and forged new relationships that gradually led to a larger, more diverse organization. And eventually to the emergence of the nationally and internationally known Indianapolis Art Center, housed in a Michael Graves building and anchoring one of six designated cultural districts in Indianapolis.

“She has always been a visionary, beyond what other people were,”

FA N N I N G

T H E

F L A M E

said David Owen, an early staff

84

member and later the facilitator for two of the organization’s conclaves. “She has always been out front. She’s utterly relentless in pursuing (her) visions. She believes in what many others don’t believe in.”5 9 But Sommers always insisted the vision was never hers alone, crediting the support and input

J OYC E

S O M M E R S :

A

L E G A C Y

O F

A C H I E V E M E N T

she garnered from board and staff members, artists, donors, civic leaders, and the public. “I’m proud that the results of our efforts have been so positive.

But if we hadn’t had community support, we wouldn’t have been so successful.”6 0 Among her proudest accomplishments, Sommers listed the Art Center’s outreach programs, citing the impact they had had on young people as an enduring source of pride. Also on her list were raising awareness about the importance of art to community life and the loyalty of Art Center staff members. “I don’t think I

have that much leadership skill,”

outreach programs. It was

she said. “I think what I can do is

Sommers’s obvious commitment

draw people in and let them

to making art accessible to the

experience things that they can

broadest possible community

61

get excited about.”

Rodney Reid agreed. The head of R L R Associates, a local graphics design firm, Reid met Sommers in the mid-1990s. She invited him to

that inspired Reid to get and stay involved. “I don’t know of an individual who has the kind of passion and energy that I see in Joyce,” said Reid.6 2

help the Art Center redesign its

According to Bill Fortune, who

logo and create a coordinated

both separately and in tandem

branding initiative. She also con-

with his sister Jane, supported

vinced him to join the board; he

various projects at the Art Center,

was a member from 1997 to 2007,

it was Sommers’s blend of pro-

focusing primarily on the Art

fessional and personal traits that

Center’s marketing efforts and

initially caught his attention.

“Joyce is delightful, entertaining,

“She built an art center that is

Center gave her its Art as an

articulate, intelligent, and

very unique in its scope and in its

Agent of Change Award for her

enchanting,” said Fortune. “Being

ambition,” added Mickett. ”She’s

outstanding contributions to and

all of those things, you cannot

the face and identity of the

faithful leadership in building

63

not like her.”

And liking Som-

mers usually led to an ongoing relationship, which in turn usually led to an ongoing involvement with the Art Center, whether as a board member, benefactor or

64

Indianapolis Art Center.”

Additionally, said longtime board member (and former chairman) Stan Hurt, Sommers was a leader in galvanizing the growth of

community through the arts. And in 2006, the City of Indianapolis Marion County Council issued a resolution recognizing her for her contributions to the city.

No single individual ever enjoyed

has been an inspiration to a lot of

the longevity with, or had the

arts administrators,” said Hurt.

depth of impact on, the Indi-

“The Art Center is a symbol of

anapolis Art Center that she had

The sculpture team of Robert

the success that’s possible

over the course of 33 years at

Stackhouse and Carol Mickett

through someone’s vision and

the helm. She guided the organi-

were equally impressed. Spending

leadership. She showed other

zation through stormy waters

the summer of 2004 in Indi-

organizations how to grow and

and calm, through periods of

it was hard for anyone to refuse a request for help.

the signature sculpture in ARTSPARK, Stackhouse and Mickett came to appreciate Sommers’s dedication to the organization she helped build.

“Talking to people around the because she has a vision and she goes for it,” said Stackhouse.

Along the way, Sommers collected her share of awards, including three that encapsulated her primary skills as a leader. In 2001, the Association of Fundraising Professionals’ Indiana chapter gave her its executive award in recognition of her extraordinary fundraising achievements. In

progress and others of lulls, through trying times and transformative moments. Yet as her moment of departure from a job she held for 33 years neared, Sommers defined her tenure in simple terms. “I’m not a brilliant

85

person,” she said. “I’ve just liked the contemplative part of being at the Art Center.”6 6

S O M M E R S :

2002, the Martin Luther King

J OYC E

country, there’s a respect for her

achieve their goals.”

F L A M E

limestone piece, Confluence,

T H E

anapolis while working on their

65

FA N N I N G

other arts organizations. “Joyce

both. Once pulled into her orbit,

A L E G A C Y O F A C H I E V E M E N T

A group gathering of Joyce’s cultural community colleagues. Front row, left to right: Glen Kwok, Anna White, Helen Small, Joyce Sommers.

Back row, left to right: Bob Jones, Bret Waller, Jan Virgin, Raymond Leppard, Tom Pickett, John Vanausdall.

F L A M E T H E FA N N I N G

86

dios, was intended as an expansion site—it even

enrollments (and hence, income from student fees),

contained an elevator shaft inset into the concrete

Sommers and her staff began cutting expenses wher-

foundation. As of late 2007, plans called for a 3,750-

ever they could. For the first time in history, staff

square-foot addition, consisting of a pair of pavilions

wages were frozen; staff vacancies were left unfilled;

to be constructed on either side of the plaza, with a

departments trimmed all non-vital expenditures.The

two-story central entryway. One of the new studios

reality of the increasingly stark economic conditions

was intended to be a larger space for the ceramics

had even a diehard optimist like Sommers confessing

program, with the other being either for use by the

that the Art Center’s first priority had to be sustain-

sculpture department or as a much-needed ground-

ability—another expansion project and an expanded

level storage facility.The second story of the new

endowment were luxuries, relatively speaking, next

entryway was also designated as a storage area.The

to the need to survive. Particularly distressing to

projected cost, which included construction of a

Sommers was the fact that the hard times had

sensory path from the Monon Trail to ARTSPARK,

descended on the Art Center and the country just as

was $2.3 million.

she prepared to retire. Still, she expressed confidence

Added to the $7.4 million expansion budget was

in the organization’s ability to weather the storm. “I

an additional $5 million remaining to be raised to

am optimistic that the ingenuity and dedication of the

achieve a 2010 target of $10 million for an operations

staff and board will not only stabilize operations,” she

endowment, as well as $2 million for further riverfront

said,“but will meet the challenges imposed on them

property acquisitions and $600,000 to underwrite

by these times. I’m confident the Art Center will per-

marketing and campaign costs.The total to be raised

severe and thrive, as it always has in the past.”6 7

was $15 million. But when a feasibility study con-

A

G R E AT E R

V I S I O N

ducted by Boyle and Associates revealed greater

The End of an Era

support for a $12 million goal, Sommers and the

By the end of 2008, the Art Center had, in a sense,

board adjusted plans accordingly, and in 2007 the Art

come full circle. Born at a time of economic turmoil

Center initiated a capital campaign with that amount

and distressed over the years by tribulations and

as its target. But as the campaign began to gather

triumphs, the organization once again found itself

momentum, the U.S. economy slumped. By late

confronted by circumstances beyond its control. As

2008, the country was suffering the worst economic

the effects of a massive recession swept like an ava-

downturn since the Great Depression—with many

lanche across the country, littering the landscape with

large corporations laying people off and scrambling

the remnants of businesses large and small, the Art

for business, foundations scaling back grant programs

Center struggled to stand tall amid the tremors. In

due to reduced endowment values, and individual

addition to facing the immediate need to cover its

donors decreasing or eliminating their giving, it was

operating budget, the Art Center’s board faced the

difficult to raise $12 million. By year’s end, the tally

daunting task of finding Sommers’s replacement.

stood at $3.5 million.While fund-raising efforts continued, other priorities intervened.

While Sommers maintained the Art Center was more than her—which, indeed, it was, given the

With a $3.2 million operating budget to cover at

depth of talent and experience among its staff and

a time when donations were down along with class

faculty—the fact remained that she was its public

face. Through her tireless efforts over the years to

behind the Art Center’s success:“…with innovation,

get the organization included in civic and cultural

continued in-depth analyses, and a highly developed

development planning, and later to increase its influ-

sensitivity and responsiveness to our community, we

ence on decisions being made by civic and cultural

will truly continue the transformative effect that

leaders, she had come to symbolize the Art Center.

comes within an environment that is built and

As board member and artist Teresa Altemeyer put it,

shaped to goad creativity and incite active inquiry.

Sommers had been the Art Center’s figurehead,

Such is the Indianapolis Art Center.”7 0 As Sommers’s stewardship of the organization drew

nurtured it through the years, gotten it through its

to a close, her observation served as a reminder to fu-

struggling teenage years. All the dilemmas that have

ture administrators, staff members, artists, and students

occurred, she has found a way to surmount and to

that those attributes, which had kept the Art Center

create an institution that is—like you would want a

vital for 75 years, were the same ones that would keep

child to be—strong and healthy at this juncture, with

it in good standing through all the years to come and

a vision for its future and a belief that it can be any-

all the countless hands fanning the flame.

thing and do anything.”

68

from her peers and affection from her donors for her visionary spirit, humanity and determination. Few other cultural organizations were so identified with a single individual, a fact that the Art Center’s board

F L A M E

the best fundraisers in the city, earning accolades

T H E

At the same time, Sommers had become one of

FA N N I N G

mentor and mother. “She has birthed this place,

87

took into account as it began a nationwide search for the next executive director. As this book went

organization, would be Sommers’s successor. pending loss at the thought of no longer spending her days engrossed in Art Center matters, she also admitted that she was ready to turn over her responsibilities to a successor.“I’m ready to let go. It’ll be good for the Art Center to have someone new in charge, someone younger who has new ideas.”6 9 New ideas, perhaps, but hopefully a sense of continuity, too, an appreciation for traditional values.

At the conclusion of the 1999 document “Master Plan—Toward Our Preferred Future 2010,” Sommers stated what she felt were the underlying principles

Pages 88-89: Long-time Art Center faculty Top row: Shirley Carr,Tim Ryan, Jennifer Sugarman with Joyce Sommers (left), Middle row: Mike Bowman, Gloria Fischer, Ismalia (Izo) Ndiaye, Bottom row: Julie Ball with Joyce Sommers (left), Joann Cardwell, Lois Davis with Joyce Sommers (left)

V I S I O N

As for Sommers, while she admitted a sense of im-

G R E AT E R

that Carter Wolf, head of another local nonprofit

A

to press, board chairman Robert Anker announced

FA N N I N G

T H E

F L A M E

ENDNOTES

The Indianapolis Star; November 21, 1939; (no byline, page number unknown); Indianapolis Art Center archives.

26

Conclave V minutes; March 19, 2004; board minutes notebook 2003/2004; p.2.

2

Teresa Altemeyer, in an interview with S.L. Berry; October 16, 2008.

27

Ibid, p.3.

3

Joyce Sommers, from her remarks at the opening of the Indianapolis Art Center building; May 31, 1996; published in the event’s program The Illuminated Space, p. 5 (unnumbered).

28

Ibid, pp. 6-8.

29

Ibid, Attachment C, pp. 1-2.

4

Stan Hurt, in an interview with S.L. Berry; January 21, 2009.

30

Ibid, p. 2.

5

Ellie Siskind, in an interview with S.L. Berry in her studio; November 6, 2008.

31

Susan Zurbuchen; “Indianapolis Art Center Organizational Assessment;” May 2004; copy included in the Indianapolis Art Center board minutes notebook for 2003/2004.

6

Mike Bowman; in an interview with S.L. Berry; January 21, 2009.

32

Diebboll interview with Berry.

7

Michael Graves in an interview with S.L. Berry at his firm’s headquarters in Princeton, New Jersey; May 10, 2004.

33

Carol Mickett, in an interview with S.L. Berry; October 16, 2008.

34

Robert Stackhouse, in an interview with S.L. Berry; October 16, 2008.

35

“Landscape Plantings, Art Create ‘Room’ in ARTSPARK,” Paper Canvas; ARTSPARK Special Edition; August 2005.

36

S. L. Berry, “Art exhibition looks at legacy of Vonneguts;” The Indianapolis Star; July 4, 2004; p. I3.

37

“Landscape Plantings, Art Create ‘Room’ in ARTSPARK,” Paper Canvas; ARTSPARK Special Edition; August 2005.

38

Patrick Dougherty, quoted in “Open-air park celebrates sensory perceptions” by S.L. Berry; The Indianapolis Star; August 21, 2005; p. I01.

39

Indianapolis Art Center Annual Report, September 1, 2004-August 31, 2005; p. 10.

40

Indianapolis Art Center annual reports for fiscal years 2004-2005 and 2005-2006.

41

Joyce Sommers, Conclave I presentation.

42

Paper Canvas; Spring/Summer 1998; p. 1.

43

“Master Plan—Toward Our Preferred Future—2010;” Indianapolis Art Center; October 1999; p. 29; in the Art Center board minutes notebook for 1999-2000.

44

Bill Spalding, quoted in “Drawn to Diversity” by S.L. Berry; The Indianapolis News; August 5, 1995; p. A-1.

45

Laura Alvarado, in a telephone interview with S.L. Berry; October 23, 2008.

46

Lianne Sommerville, in a telephone interview with S.L. Berry; October 24, 2008.

47

Jude Odell, in a telephone interview with S.L. Berry; October 22, 2008.

48

Alvardo interview with Berry.

49

William Merritt Chase, quoted in “Position Paper on Diversity;” Indianapolis Art Center; February 2000; p. 1; copy in board minutes notebook 1999-2000.

50

“Position Paper on Diversity.”

8

I N D I A N A P O L I S T H E

Julia Muney Moore, telephone interview with S.L. Berry; November 4, 2008.

9

Ibid.

10

David Thomas, in an interview with S.L. Berry; September 10, 2008.

11

Graves; May 10, 2004 interview with Berry.

12

“Michael Graves: The road to gold;” Architectural Record; May 2001.

13

Michael Graves; in an interview with S.L. Berry; October 16, 2008.

14

Ibid.

15

Indianapolis Art Center board minutes for October 20, 1999; in the board minutes notebook for 1999-2000.

16

Ralph Burgard, quoted in “Master Plan—Toward Our Preferred Future—2010;” Indianapolis Art Center; October 1999; in the board minutes notebook for 1999-2000.

17

John Diebboll, in an interview with S.L. Berry in Princeton, New Jersey; May 10, 2004.

18

Maxwell Associates; “Feasibility Study Findings re: Indianapolis Art Center Proposed Capital Campaign;” February 5, 2001; p. 5; copy in the Art Center board minutes notebook for 2000-2001.

19

Ibid, pp. 5, 8.

20

Ibid, p. 9.

21

Joyce Sommers, “Director’s Note,” Paper Canvas, Winter 2001; p. 2.

22

Indianapolis Art Center Board of Directors meeting minutes; February 20, 2002; in the Art Center board minutes notebook for 20012002; Indianapolis Art Center archives.

A R T

C E N T E R

T U R N S

7 5

90

1

23

Indianapolis Art Center Board of Directors meeting minutes; June 19, 2002; in the Art Center board minutes notebook for 2001-2002; Indianapolis Art Center archives.

24

Jim Durst, in a special edition of Paper Canvas; Spring 2005

25

Indianapolis Art Center board meeting, October 15, 2003; board minutes notebook 2003/2004.

54

Ibid.

55

Bernie Carreno, in an interview with S.L. Berry; October 21, 2008.

56

David Thomas; in an interview with S. L. Berry; September 10, 2008.

57

Joyce Sommers; in a conversation with S.L. Berry; January 30, 2009.

58

Joyce Sommers; interview with S.L. Berry; December 11, 2008.

59

David Owen; in an interview with S.L. Berry; October 14, 2008.

60

Sommers 12/11/08 interview with Berry.

61

Ibid.

62

Rodney Reid; in an interview with S.L. Berry; October 14, 2008.

63

Bill Fortune; in an interview with S.L. Berry; October 14, 2008.

64

Robert Stackhouse and Carol Mickett; in an interview with S.L. Berry; October 16, 2008.

65

Stan Hurt; in an interview with S.L. Berry; January 21, 2009.

66

Sommers 12/11/08 interview with Berry.

67

Ibid.

68

Teresa Altemeyer, in an interview with S.L. Berry; October 16, 2008.

69

Sommers 12/11/08 interview with Berry.

70

Joyce Sommers; summary of “Master Plan—Toward Our Preferred Future—2010;” October 1999; p. 37 of the October 20, 1999 board meeting packet, included in the board minutes notebook for 19992000.

91

I N D I A N A P O L I S

Berry, S.L.; “Glass blowing attracts a growing number of students;” The Indianapolis Star; December 12, 2004; p. I01.

T H E

Ibid. (Sadashi Inuzuka).

53

F L A M E

52

T H E

Truman Lowe, quoted in “Cornerstone” by S.L. Berry; The Indianapolis Star; July 18, 2004; p. I2.

FA N N I N G

51

A R T C E N T E R T U R N S 7 5

former presidents & chairpersons

Stella Coler – 1st President, 1938 Winifred Buhl, President, 1940-41

Marge Beal - Chairman, 1974; Founder of the Broad Ripple Art Fair

Elgin Bradford - Chairman, 1979-80

Marie Lutz, President, 1945-46

Marla Dankert, Chairman, 1980-81

Harriet Jeffries, President, 1947-48

Don Price - Chairman, 1982-84

May Guckelberg, President, 1949

Mike Bowman - Chairman, 1985

Jennie Pierce, President, 1950

Vicki Sandstead - Chairman, 1986

May Klaus, President, 1951

Bob Beckmann, Jr. - Chairman, 1987

Marjorie Schulz, President, 1951

Norm Tabler - Chairman, 1988-91

Pauline Briggs, President, 1952

Jay Jarrell - Chairman, 1991-92

Genevieve Hackett, President, 1954

John David Hoover - Chairman, 1993-96, 2005-2007

Pauline Briggs, President, 1955

Stan C Hurt – Chairman, 1996-99

Violet Bannon, President, 1956

George Seybert, Chairman, 1999-2001

Viola Cannon, President, 1957

Frank M. Basile, Chairman, 2001-2003

Pat Trainor, President, 1958

Ken Turchi – Chairman, 2003-2005

Lenore Whitman, President, 1959-62

John David Hoover - Chairman, 2005-2007

Edith Cook, President, 1963

Robert Anker - Chairman, 2007-2009

Ruth Medernach - President, 1964-65 Alice Eriksen, President, 1966 Mildred Niesse - President, 1967-68 Carolyn Rickert – President, 1969

Martha Buddenbaum, President, 1973 Joyce Sommers – President, 1975-1976,

Orbs by Bonnie Zimmer and Judy Dominic in ARTSPARK (Photo: Chelsea Dubey) Pages 94-95: Night at the Art Center (Photo: Ed Lacey) Inside Back: Boy with Helmet, 6th Century BCE, Etruscan from In Good Company: Selections from the JP Morgan Chase Art Collection (Photo: Leah Zion)

7 5

President, 1976-present

T U R N S

Gloria Nowak, President, 1974

C E N T E R

Jeanne Young, President, 1971-72

A R T

Jackie Pechette - President, 1970

93

I N D I A N A P O L I S

Selena Madinger, President, 1944

T H E

David Owen - Chairman, 1977-79

F L A M E

Aleda Farmer, President, 1943

T H E

Marge Beal - Chairman, 1975-76

FA N N I N G

Cloradel Salmon, President, 1942

“ This is a learning laboratory for outdoor sculpture. We want people to see how artists do what they do, and give them a chance to take part when possible.”

— David Thomas

About the Author S.L. (Skip) Berry is the author of a previous history of the Indianapolis Art Center (For the Sake of Art, 1999), as well as the co-author of histories of the Indianapolis Museum of Art (Every Way Possible, 2008) and Herron School of Art and Design (The Herron Chronicle, 2002). He is also the former visual arts writer for The Indianapolis Star. In addition to writing books, he is a freelance journalist and copywriter, as well as a screenwriter.

Fanning the Flame The Indianapolis Art Center Turns 75 From its founding as a WPA project during the great Depression of the 1930s to its status as one of 21st-century America’s most successful community arts groups, the Indianapolis Art Center is a model of organizational evolution and transformation.

A previous book— For the Sake of Art (1999)— chronicled the history of the Art Center from 1934, when it began as a painting class for 10 Indianapolis women to the opening of its iconic Michael Graves-designed building in 1996.A companion to that earlier volume, this book provides a synopsis of that comprehensive history, then relates subsequent highlights between 1996 and 2009, the Art Center’s 75th anniversary.

In addition to marking that historic benchmark, Fanning the Flame honors the essential role that Joyce Sommers played in the growth and development of the organization during her 33-year tenure (1976-2009) as its executive director.

With the help of supportive board members, artists, benefactors and community leaders, Sommers transformed a small, clubby group that primarily served hobbyists into a nationally known community center of art activities for everyone from beginners to experienced professionals.

This book is not the final word on the Indianapolis Art Center. As a dynamic, ever-changing organization, the Art Center will continue to provide new material for future volumes. Here’s to the next 75 years: may they build on the strong foundation the first 75 have established.