Long-Sharp Gallery
1 North Illinois, Suite A Indianapolis, IN 46204
The Indianapolis gallery is open by appointment, though you can always explore our virtual galleries here. To inquire about works available, make an appointment in Indianapolis, or speak with a member of the gallery team:
Telephone: +1 866 370 1601
Email: info@longsharpgallery.com
www.longsharpgallery.com
To view videos of any of the featured works, look for the icon
an e-catalog presented by
Featured on cover: Core © Tamar Kander, 2020
[Catalogued on p. 15]
Each time I visit the studio of Tamar Kander, I’m filled with anticipation. I’ve known Tamar for the better part of 30 years, and I’ve had a front row seat to her career as a truly remarkable talent. In her secluded studio in the hills of Southern Indiana—an area known for its artistic roots and historical connection to the Brown County Artists’ Colony and American Impressionism—Tamar creates her paintings in near isolation.
Since 2006, Tamar has lived in a modern log cabin with her husband, the ceramic artist Jamas Brooke. The house is nestled in the trees and overlooks a scenic 20- acre lake. Tamar’s spacious studio occupies the lower level of the house and easily accommodates her preference for working large.
Born in Israel in 1958, Tamar moved to South Africa as a child, later attending the University of Witwatersrand in Johannesburg, where she earned her first art degree. Additional degrees in fine art and art therapy would follow from Goldsmith’s College, University of London. Tamar immigrated to the US in 1984, studying at the Art Students League in New York City before finding her way to Southern Indiana in 1987. What was originally intended to be a temporary stay turned into a life and career in Indiana.
Descending the stairs and entering Tamar’s studio, I’m greeted with a familiar sight and smell. The room is filled with stretched canvases in various stages of completion, and the odor of fresh paint informs that there is work underway. Tamar is always preparing for her next exhibit. Worktables are scattered around the room and covered with tubes of paint, brushes, assorted tools and working sketches. The walls are filled with clusters of photographs, old gallery invitations, artwork reproductions and handwritten notes. At one end of the studio is a large wall-mounted easel that cradles a painting that is clearly the current focus of Tamar’s attention; a second easel holds a piece near completion.
In a region of the state that’s better known for traditional landscape painting, Tamar is something of an anomaly. She’s an abstract painter in the truest sense. Recording the physical beauty of her surroundings is of no interest. “My work is neither figurative nor landscape, but rather a response to my experiences,” she says. While her paintings are influenced by the landscape and architectural symbols, her primary sources of inspiration are travel, geography and personal stories. “Sometimes it’s just about the materials,” she says. “Everything has a purpose, even if just in the service of aesthetic form.”
Tamar is candid about her painting process, which she describes as intuitive. “There needs to be tension—a conversation with the canvas,” she says. One recently completed painting was influenced by the southwest desert and its vast, open terrain. Another alludes to the lake just outside her studio window. The spark of an idea starts the pictorial process, then material, action and talent take over. “I love texture, and I’m constantly building up the surface and tearing it back down,” Tamar says.
Color is important, too. Tamar references the 19th century British Painter J.M.W. Turner and his use of color to create atmospheric and dramatic pictorial settings. Turner’s influence is most apparent in Tamar’s “Music for Daylight”, a large diptych awash in varying shades of yellow and veils of texture. The image is seductive and possesses a spiritual quality; it’s elusive— always in a state of change. Tamar also uses images torn from magazines, old documents,
letters, photographs as well as drawings. Her paintings are filled with subtle references, all of which serve the larger composition. Her use of collage elements is personal, too, Tamar says: “Even if the image will eventually be completely covered, it still has meaning to me. I’ll know it’s there.”
As we walk through the studio and talk about her work, it’s clear Tamar is comfortable with the state of her career. She’s represented by prominent galleries, her works are in public and private collections and there’s strong demand among collectors for her work. Over nearly four decades, Tamar has weathered the ups and downs of the art market and changing trends in artistic tastes. This exceptional body of work is another example of her immense talent and demonstrates why she’s earned her place among the finest abstract painters working today.
Mark Ruschman, Senior Curator of Art and Culture at the Indiana State Museum and Historic Sties
Works on Canvas.
Works on Paper.
(b. 1958)
When asked to describe her work, Tamar Kander describes her pieces as metaphors for experiences and expressions of what she sees and feels. Her work comes from a place that reflects on one’s collective memory, specific thoughts, and associations that are unique to each person. She finds beauty hidden in the mundanity of everyday life – the texture and hues of an old, crumbling wall; the reflection of water; the arch of a bridge – music offers influence as well, particularly classical, jazz, and the blues.
Kander creates work that is primarily non-representational and is influenced by architectural symbols, landscapes, and her love of texture. Her canvases are vehicles for various materials and elements of collage. She works with a variety of materials, including powdered gesso, cold wax, dry-wall compound, acrylic medium, marble dust, and oils.
Building her surfaces onto canvas, sometimes adding collaged materials pertinent and personal mementos, she adds in marks and gestures made with brushes and other tools, all the while enjoying a reciprocal “conversation” with the work in progress.
Kander’s complicated yet fluid images illustrate her experiences as a world citizen. Kander was born in Jerusalem and grew up there and in South Africa. She studied fine art at the University of Witwatersrand (Johannesburg, BFA), traveled to Italy on scholarship, then attended Goldsmiths (London, MFA), and thereafter studied at the Art Students League of New York. She now resides in Indiana, US. Her works are included in museum, corporate, and private collections worldwide.
According to the artist: “First Light is about the lovely very early dawn light. I love being awake at that time, and in this painting I tried to evoke what I see and what I feel.
Additionally, I always use collage that is meaningful to me, and it also has to appeal to me aesthetically. For example I must be attracted to the color, shape, or texture, etc, as well.
The labels you see are shipping/customs labels off packages received from a good friend in Australia.
I had saved them because they were from her. And I liked the weight of the paper, they also had my name and my friend’s name on them. We go back a long way… She always says she waits for the very early morning to call me (when she knows I’ll be available to talk at the end of my day) because of the time difference. Another reference to first light.”
First Light Year: 2019
Medium: Mixed media
Size: 60 x 60 in (152.4 x 152.4 cm)
According to the artist: “Core represents the physical as well as the spiritual centre which we all have within us. I aimed to illustrate this by depicting a “core” central passage and using two dark areas on both sides, creating a visual “pull” that also serves as an anchor.”
Core Year: 2020
Medium: Mixed media
Size: 60 x 60 in (152.4 x 152.4)
According to the artist: “I am very interested in creating a sense of space and distance on a flat surface. In this piece I have reaffirmed this contradiction by using flat color as well as texture. The divide between the two canvases subtly breaks the horizontal span.
This is a painting about expanse, breadth and the space we occupy at any given moment. I have created a gentle tension between the two outer edges of the composition; the mid-point is the calm, the eye of the storm, or the centre of gravity.”
Span Year: 2023
Medium: Mixed media on canvas, diptych
Hand signed and titled on verso
Size: 48 x 72 in (121.9 x 182.8 cm)
Click to view a film
According to the artist: “In Indiana we are fortunate to have the most beautiful and vast limestone quarries. I used to live near one and would walk there daily, enjoying the subtle colors and the feeling of space, age and texture. I am also affected by the feeling of historic and ageless beauty; is it such a powerful draw for me.
Those elements have stayed with me and this painting came out of the desire to celebrate the stone.
When living in New York I learned that the Empire State Building is made of Indiana limestone from the Empire Quarry in Bloomington, IN, which still fascinates me.”
Limestone
Year: 2018
Medium: Mixed media
Size: 72 x 48 in (182.8 x 121.9 cm)
According to the artist: “This painting is a playful one. I used colors I don’t always use, partly as an exercise in challenging myself and also as a way to explore new areas within myself. It became a dialogue between myself and the surface — adding pops of color and using the wide horizontal format to create a feeling of fun and expansive ease. I used colors and shapes as I would do if designing a crazy board game, spontaneously and without logical reason. It’s definitely a right brained process. Intuition is the guide.”
Temptation Year: 2019
Medium: Mixed media
Size: 48 x 60 in (121.9 x 152.4 cm)
According to the artist: “This painting was planned loosely - best way for me to be intuitive and work freely. The idea was to use cool colors, blues and greens and create a feeling of expansiveness and flow, achieved through color and mass. I had thought of a stream of water flowing, as I worked on this, allowing my thoughts to drift, stream of consciousness…
I arrived at a broad mass of color and gesture. A horizontal passage winds its way through both canvas panels, linked by their proximity and separated by a vertical “line” formed at the intersection of the two panels.”
Flow Year: 2025
Medium: Mixed media on canvas
Size: 48 x 60 in (121.9 x 152.4 cm)
According to the artist: “I like to challenge myself by working on different sized dimensions. This very long horizontal format attracts me because it suggests the feeling of extended space.
I have driven across this country more than a few times and am amazed over and over at the breadth of it, the different terrains, varied flora, fauna etc. All changes within hours…
Travel, motion and connection all suggest the movement across. That is what I set out to evoke in this painting; change and movement in a literal as well as a symbolic way.”
Across Year: 2021
Medium: Mixed media
Size: 36 x 72 in (91.4 x 182.9 cm)
According to the artist: “As with most of my paintings, I began this with a decision about color palette and materials. I wanted to approach this as I would a drawing, using graphite as well as elements of texture and paint, etc. I was reaching for a feeling of space and light; soon a suggestion of landscape emerged. I kept the colors minimal and let the conversation continue. That conversation, always between me and the marks on the canvas, is a back and forth until a satisfying balance is reached — a conclusion, if you like.”
Clearing Year: 2022-2023
Medium: Mixed media on canvas
Hand signed and titled on verso
Size: 48 x 48 in (121.9 x 121.9 cm)
Click to view a film
According to the artist: “Hill Town was created at the same time as Clearing. I have said many times that it is natural for me to work in series -- it’s as if I still need to say more on the same subject. As I worked on this painting, I was reminded more and more of travels in Italy when I was a student. I made many sketches at the time — of the hilly landscape of areas like Orvieto and San Gimignano. These “impressions” are etched into my memory — my storehouse of images, to be drawn from over and over.
Color is used to accent, not to dominate. There is a suggestion of landscape but the viewer can bring to the composition whatever they like.”
Hill Town Year: 2023
Medium: Mixed media on canvas
Hand signed and titled on verso
Size: 48 x 48 in (121.9 x 121.9 cm)
According to the artist: “When starting out on a new canvas panel, I often prepare by applying a textured base comprised of many mediums. In this piece, I incorporated a large piece of canvas that had some beautiful marks and scuffs on it. When I say beautiful, I must explain that I find the random marks of time, age, and wear very compelling.
My work is inspired by textures and surfaces – both architectural and of the natural world. I appreciate and am excited by the beauty of everyday mundane objects: for instance, the moss growing on old walls, the peeling of paint, the graffiti on bridges, torn areas and stains on fabric, and so on. I am inspired by the results of the passage of time.
November Bridge gets its title from a portion of a poster that was salvaged from a wall in Rome, Italy. I introduced it as an element of collage. I have a love of bridges, and this theme recurs in my work.
Here, I have let the structure dominate the canvas. I then suggested a sky and let the rest of the piece merely unfold. I added graphite to reinforce the “architecture” and a bright red to offset everything else.”
November Bridge Year: 2022
Medium: Mixed media
Size: 48 x 48 in (121.9 x 121.9 cm)
Click to view a film
According to the artist: “I almost always find myself working in series. I will work on a theme until I feel it is (temporarily) complete. I say temporarily because I may return to it at some time in the future; everything is cyclical. Once Again is part of a loosely related group of paintings in which I expand my exploration of light and dark as opposing elements. Color, shape, and surface texture are elements that contribute to the composition.
It seems to me that every painting I make is a “Once” in that it’s a new creation. It is also an “Again” in that I am a painter once more entering into a dialogue as I work. Every painting feels new to me and at the same time familiar as I work it out: I never know precisely how the painting will be resolved, manipulating and changes the masses of light and dark.
I hope that you, the viewer can bring your own associations to the image.”
Once Again
Year: 2024
Medium: Mixed media on canvas
Size: 40 x 50 in (101.6 x 127 cm)
According to the artist: “Spirit Lines refers to a deliberate irregularity in a weaving. Because nothing in life is perfect, the weaver adds the spirit line to materialize the positive attributes of human imperfection and humility. My loose and spontaneous approach to this painting brought to mind this philosophy in Native American and other culture’s weavings. I used contrasting color values to allude to space, but the texture and collaged elements re-emphasize the flatness of the canvas. I enjoy this interplay.”
Spirit Lines 2
Year: 2025
Medium: Mixed media on canvas
Size: 30 x 30 in (76.2 x 76.2 cm)
According to the artist: “This painting is part of a group of small paintings I made using collaged words and bits of articles that interested me. Some of the text became obscured as I worked on and resolved the piece as an integrated whole; other portions remain evident for the viewer to ponder.
Whenever I include collage it is there for the compositional value as well as the personal.
My way of working is to view the painting I am working on many times over after I think it is completed. I will move it around the studio, look at it upside down and generally “Re-view” it until I am satisfied it is a unified and completed whole.
Reviewing also refers to reexamination, reevaluation and the reappraisal we all do in our daily lives.”
Re-view
Year: 2019
Medium: Mixed media
Size: 24 x 18 in (60.9 x 45.7 cm)
According to the artist: “If you look carefully you will see my cat – from behind – in this painting. That boy has more than nine lives -- he probably has ten or more.”
Ten Lives
Year: 2019
Medium: Mixed media
Size: 24 x 18 in (60.9 x 45.7 cm)
According to the artist: “I selected collage pieces from saved newspapers and books, as well as an old cancelled passport. I always start by arranging these initial elements on my surface. Using this as a basic beginning, I added texture and color, letting the painting speak to me as I laid down colors and gestures. I start, and the painting responds.
I use graphite and ink as well as paints and the textural effects are made up of several compounds, from drywall to marble dust. My work comes from a very interior and private place, hence the title, Inner View.”
Inner View
Year: 2018
Medium: Mixed media
Size: 20 x 20 in (50.8 x 50.8 cm)
According to the artist: “The Verticals are a series of paintings I made at the same time; they are each vertical, but in creating them together, they made a horizontal. This is only pertinent in that I enjoy working in series, creating continuity — while at the same time, each painting stands on its own.
I love the graphic appearance of numbers and letters, so it felt right to number each vertical and to keep the title from being more specifically descriptive. I used antique linens and paper collage as well as several textural materials. These pieces are about formal design versus spontaneous gesture and color.”
#1, 2, and 4
Year: 2019
Medium: Mixed media
Size: 30 x 10 in (76.2 x 25.4 cm)
According to the artist: “My love of numbers and letters is shown here - I created a composition using squares of different colors and sizes. I used the word ‘square’ as a visual design element and in a playful sense as well; it’s a statement about the ‘subject’ but also invites viewers to make their own associations.”
Square/3
Year: 2021
Medium: Mixed media on paper
Size: 12 x 20 in (30.5 x 50.8 cm)
Frame size: 25.5 x 31 in (64.8 x 78.7 cm)
According to the artist: “Both Lake and Mountains use ‘shorthand’ – or distilled shapes – to convey their subject. I enjoyed using various elements of collage to enhance the spontaneous compositions.”
Lake + Mountains
Year: 2022
Medium: Mixed media on paper
Size: 11 x 12 in (27.9 x 30.5 cm), 11 x 13 in (27.9 x 33 cm)
Frame size(s): 20.5 x 20.5 in (52 x 52 cm)
According to the artist: “This is all about when the storm clouds burst and there is a deluge. In order to create a sense of movement and drama I used line, tonal variation, and bright, bold color accents.”
Deluge Year: 2023
Medium: Mixed media on paper
Hand signed and titled on front
Size: 9.2 x 9.2 in (23.3 x 23.3 cm)
Frame size: 20 x 19 in (50.8 x 48.3 cm)
According to the artist: “Red Arch is made up of paper, paint and crayon placed on a salvaged segment of a canvas I had painted on and subsequently discarded. I changed my mind, saved it, and cut it up to use as a ground for the added collage.”
Red Arch Year: 2024
Medium: Mixed media on linen and canvas fragments
Hand signed and titled on front
Size: 9 x 9 in (22.8 x 22.8 cm)
Frame size: 20 x 19 in (50.8 x 48.3 cm)
According to the artist: “This is a collage of found papers over a lightly painted area. It features architectural elements, like columns, walls, bridges — and the prominent “Arch.”
Arch Year: 2025
Medium: Mixed media and collage on watercolor paper
Hand signed and titled on front
Size: 7.25 x 11.25 in (18.4 x 28.6 cm)
Frame size: 19 x 20 in (48.3 x 50.8 cm)
According to the artist: “In this composition I used antique fabric, gold leaf paper, fragments of mono-prints I had discarded and integrated all into a feeling of electricity and drama. I am very affected by my surroundings and even when not consciously seeking to describe them, they come unbidden into my work and onto the paper or canvas. It is the unconscious at work.”
Lightning Year: 2021
Medium: Mixed media on paper
Size: 7 x 11 in (17.8 x 27.9 cm)
Frame size: 18 x 21 in (45.7 x 53.3 cm)
According to the artist: “Doorway is another free form collage using fabric, paper and paint. The yellow segment is a torn fragment from an image of one of my paintings. Go through that doorway into the piece.”
Doorway Year: 2024
Medium: Mixed media on handmade paper Hand signed and titled on front Size: 7.5 x 8 in (19.1 x 20.3 cm)
Frame size: 18 x 18 in (45.7 x 45.7 cm)
According to the artist: “I love working on paper; it’s very immediate and, as I am an intuitive painter, this lends itself to spontaneity and rapid decision making. I use all sorts of collage as well as paint, graphite, sewn elements, etc. I am a lover of dusk, dawn, and moonlight, hence so many of my paintings and drawings have ‘Moonlight’ in the title.”
Moonlight Year: 2021
Medium: Mixed media on paper
Size: 6 x 10 in (15.2 x 25.4 cm)
Frame size: 16.5 x 20 in (41.9 x 50.8 cm)
According to the artist: “In this piece, autumnal colors using paint and collage are applied to heavy watercolor paper. I incorporated texture to enhance the surface and suggest foliage…rich October colors and varied tones.”
Autumn Year: 2023
Medium: Mixed media on paper
Size: 4 x 7 in (10.1 x 17.7 cm)
Frame size: 15 x 17 in (38.1 x 43.2 cm)
Education
1979 Fine Art BA with Hons (Painting), University of the Witwatersrand, Johannesburg, S.Africa
1982 Fine Art MA (Painting, Art Therapy), University of London, London, UK
1987 Printmaking Program, Art Student’s League of New York, NY, USA
Selected Solo and Two-Person Exhibitions
2024 Kander + Kirchner, Long-Sharp Gallery, Indianapolis, IN, USA More Abstractions, Solo show, Vivid Art Gallery, Winnetka, IL, USA
2023 Tamar Kander, It’s Never Simple, Ventana Fine art, Santa Fe, NM, USA
2022 Front Page, Group show, works on paper, Long-Sharp Gallery, Indianapolis, IN, USA
2021 Two person show, Ventana Fine Art, Santa Fe, NM, USA One person show; New Work, Vivid Art Gallery, Winnetka, IL, USA Driven to Abstraction, Virtual Exhibition, Long-Sharp Gallery
2020 Topography of Color, New paintings, Ventana Fine Art, Santa Fe, NM, USA Scratch the Surface, Long-Sharp Gallery, Indianapolis, IN (with catalogue), USA
2019 Guest Artist, Vivid Art Gallery, Winnetka, IL, USA
2018 Other Worlds, Ventana Fine Art, Santa Fe, NM, USA
2017 New Work, Ventana Fine Art, Santa Fe, NM, USA
2016 Tamar Kander, New Work, Gruen Galleries, Chicago, IL, USA New Paintings, Lanning Gallery, Sedona, AZ, USA
2015 Tamar Kander and Doug Dawson, Ventana Fine Art, Santa Fe, NM, USA
2014 Clay, Form, Paint and Texture: Tamar Kander, Jamas Brooke University of Indianapolis, IN, USA
2013 New Paintings, Gruen Galleries, Chicago, IL, USA
2012 Tamar Kander, Skyline Club, Indianapolis, IN, USA
2011 Transition; New Works on Canvas, Gruen Galleries, Chicago, IL, USA Interval, Mixed Media Works, Ventana Fine Art, Santa Fe, NM, USA
2009 New Work and Salon, Ventana Fine Art, Santa Fe, NM, USA
The Space Between, Catherine Kelleghan Gallery, Atlanta, GA, USA Abstracts; Paintings on Linen, Gruen Galleries, Chicago, IL, USA
2008 Pulse and Rhythm; New Paintings, Joyce Robins Gallery, Santa Fe, NM, USA Time Passages, Gruen Galleries, Chicago, IL, USA
2006 New Work, Chapman Friedman Gallery, Louisville, KY, USA
Abstract Paintings, Gruen Galleries, Chicago, IL, USA
Passages, Ruschman Gallery, Indianapolis, IN, USA
2005 In the Balance, Joyce Robins Gallery, Santa Fe, NM, USA
2004 Space and Place, Mary Bell Galleries, Chicago, IL, USA
2003 New Paintings, Galerie Hertz, Louisville, KY, USA
2002 Abstraction II, Mary Bell Galleries, Chicago, IL, USA
2001 Canvas and Paper, The Gallery, Bloomington, IN, USA
2000 New Paintings, Galerie Hertz, Louisville, KY, USA
New Paintings, Mary Bell Galleries, Chicago, IL, USA
Selected Group Exhibitions
2025 Not So Secret Garden, Long-Sharp Gallery, Indianapolis, IN, USA
Palm Beach Modern and Contemporary Art Fair, Long-Sharp Gallery, Palm Beach, FL, USA
2022 Palm Beach Modern and Contemporary Art Fair, Long-Sharp Gallery, Palm Beach, FL, USA
2020 Art Miami, Long-Sharp Gallery, Miami, FL, USA
2019 Palm Beach Modern Art Fair, Long-Sharp Gallery, IN and NY, USA
Rock, Paper, Metal, Long-Sharp Gallery, Indianapolis, IN, USA
2018 Gallery Group Show, Long-Sharp Gallery, Indianapolis, IN, USA
2016 Gallery Group Show, Lanning Gallery, Sedona, AZ, USA
2013 Group Show, Jacksson Gallery, Columbus, IN, USA
New acquisitions, Indiana state Museum, Indianapolis, IN, USA
Making it in the Midwest, Invitational Show, Indiana State Museum, IN, USA
Text and Image, Artamo, Santa Barbara, CA, USA
Tamar Kander and Jamas Brooke, Chapman Friedman Gallery, Louisville, KY, USA
Print portfolio #1; 6 artists, Ruschman Gallery, Indianapolis, IN, USA
Works on Paper, Ruschman Gallery, Indianapolis, IN, USA
Tamar Kander and Patrick Adams, Chapman Friedman, Louisville, KY, USA
10th anniversary Show, Joyce Robins, Santa Fe, NM, USA
Palette, Gallery Artists, Joyce Robins, Santa Fe, NM, USA
Abstraction 2000, 3 Painters, Mary Bell Galleries, Chicago, IL, USA
True to Nature, Indiana painters, White River Gardens, Indianapolis, IN, USA
3 painters: Humana Festival of the Arts, Actor’s Theatre, Louisville, KY, USA
New Gallery Artists, Mary Bell Galleries, Chicago, IL, USA
Water Tower Annual LVAA, Louisville, KY, USA
Three-person Invitational, Fisher Gallery, New York, NY, USA
Invitational Show, Benefit Auction, Herron School of Art, Indianapolis, IN, USA
Scholarship Benefit Fund Show, SOFA Gallery Indiana University, Bloomington, IN, USA
Kathy and Roger Penske
Law Offices of Rigby Slack PLLC, Austin, TX
Meitus Gelbert Rose LLP, Bloomington, IN
T.M. Crowley and Associates, Indianapolis, IN
Clayton Miller Law, P.C. Indianapolis, IN
Centaur Interiors, Chicago, IL
New York University, Bobst Library, New York, NY
Stoll Keenon Ogden, PLLP, Indianapolis, IN
Indiana State Museum, Indianapolis, IN
IU Outpatient Center IUPUI, Indianapolis, IN
Reyes Holdings, Chicago, IL
Bloomington Monroe County Convention Center, IN Wabash College, Crawfordsville, IN
Manchester College, Manchester, IN
PNC Bank, New York, NY
M & I Bank, Indianapolis, IN
Westye Group, New York, NY
Sub-Zero Wolf, New York, NY
Archer,Daniels, Midland, Decatur, IL
Scheuer, Yost & Patterson, Santa Fe, NM
Marcadia Biotech, Carmel, IN
Kilkenny Capital, Chicago, IL
Hunter Industries, San Diego, CA
The Credit Union, Indianapolis. IN
Fultz Maddox Hovious & Dickens PLC, Louisville, KY
Riley Bennett and Egloff, Indianapolis, IN.
Betz Law Offices, Indianapolis, IN.
Metropolitan Place, Chicago, IL
Gtech Corp., W. Greenwich, RI.
Salton Inc. Lake Forest, IL.
Weill, Public Collection, New York, NY.
Brown Forman, Louisville, KY.
Glenview Trust, Louisville, KY.
Chicago Equity Partners, Chicago, IL.
Baker & Daniels, Indianapolis, IN.
Marchfirst, Milwaukee, WI.
Lilly Industries, Indianapolis, IN.
Indiana University Health. Indianapolis, IN. Freihofer Inc. Indianapolis, IN.
Bingham McHale Law Firm, Indianapolis, IN.
Hickman & Associates, Indianapolis, IN.
Lincoln National Corp. Fort Wayne, IN. Channel 13, Indianapolis, IN.
Eli Lilly & Co, Indianapolis, IN.
Mallor Clendening Grodner & Bohrer Law Offices, Bloomington, IN.
Ice Miller Donadio & Ryan, Indianapolis, IN.
Bank One, Indianapolis, IN
Oxfordshire County Council, Oxford, England.
Studio Ten, Commercial Enterprises, London, England.
Jacoby Architectural, Toronto,
Michael Albano, N.Y.Council for the Arts, New York, N.Y.
Deborah Frazier, Merrill Lynch, New York, N.Y.
C.I.D. Venture Partners, Greg T Summerville, Indianapolis, IN.
Dutton and Overman, Law Offices, Indianapolis, IN.
Kirr, Marbach & Co. Investment Managers, Columbus, IN.
Kunz and Kunz, Law Offices, Indianapolis, IN.
Boyd-Sobieray Associates Inc., Architects, Indianapolis, IN.
Gallerie Primitief, Indianapolis, IN.
Law Offices, T.A.Trollip, Johannesburg, S. Africa.
S.A.I. Incorporated, Indianapolis, IN.
Indiana University Medical Center, Indianapolis, IN.
Sheldon Swope Art Museum, Terre Haute, IN.
Capitol Holding, Louisville, KY.
P.N.C. Bank, Louisville, KY.
Welborn Hospital, Evansville, IN.
Bell South Telephone, Louisville, KY.