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Erica Marchetti General Editor

Jane GrahamCopy Editor

Matthew TaylorDesigner

S.L. BerryBradley BrooksLinda DukeRachel HuizingaMarty KrauseAnne LakerMeg LiffickLaura PinegarMark ZelonisContributors

Tad FruitsTascha Mae HorowitzMike RippyAaron SteelePhotographers

Tascha Mae HorowitzPhoto Editor

The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, IN 46208-3326. Questions or comments may be directed to the staff at 317-923-1331.

All reproduction rights are reserved by the IMA, and permission to sell or use commercially any photographs, slides or videotapes must be obtained in writing from the Rights & Reproductions office, 317-923-1331.

© 2010

Indianapolis Museum of Art

The IMA Magazine is printed on FSC-certified paper manufactured with electricity in the form of renewable energy (wind, hydro, and biogas), and includes a minimum of 20% post-consumer recovered fiber.(The FSC trademark identifies products which contain fiber from well managed forests certified by SmartWood in accordance with the rules of the Forest Stewardship Council.)

04 VOICES

Archivist Jennifer Whitlock

06 IN THE GALLERIES

Isabel Bishop’s Tidying Up

08 IN THE GALLERIES

Drawings to Prints

10 SPECIAL EXHIBITION

Andy Warhol Enterprises

NOTESNews, On View,

Program Highlights, Calendars, Events

15 COMMUNITY

BioBus

19 100 ACRES

Winter in 100 Acres

20COLLABORATIONS

Campecíne Film Festival

22VOICES

Meet Our Members

16 A house is just a building —it is the stories and personal affects that transform it into a home. As the IMA prepares for the public opening of Miller House and Garden, IMA staff have been reviewing and researching the Miller House collections. Through the eyes of IMA Director of Historic Resources, see how the property’s designers worked with the Miller family to create an environment that married good design with the realities of family life.

Cert no. SCS-COC-001785

On the cover » Andy Warhol, Self-Portrait, 1963–64. Acrylic and silkscreen ink on linen, 20 x 16 in. (50.8 x 40.6 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.810. © The Andy Warhol Foundation for the Visual Arts/Artists Right Society (ARS), New York. Above » A selection of materials from the Miller House and Garden Collection, IMA Archives.

Adding 100 productive acres of art, design, and nature to our grounds this past summer has brought a new audience—and a new attitude—to IMA. The exciting challenge ahead is learning how to better integrate the informal learning environment of 100 Acres: The Virginia B. Fairbanks Art & Nature Park with the somewhat more structured environment of the Museum’s main building and its galleries, educational spaces, and circulation systems.

Warhol’s absorption in the quest for financial success will be revealed in full detail with some 150 works, ranging from paintings of dollar bills to product endorsements and works that celebrate business acumen. Andy Warhol Enterprises will open the eyes of our visitors to this tastemaker’s preoccupation with lucre, and is, appropriately enough, generously sponsored by PNC Bank.

Conservation science is making its debut at IMA this October. A new 3,000 square foot science labora-tory will complement our long-standing program of art conservation, which was established in the 1940s and was ably piloted and professionalized by Martin J. Radecki, IMA chief conservator from 1975 to 2008. Today, under the leadership of David Miller, conservation at the IMA incorporates four specializations in an exisiting 7,700 square foot laboratory for paintings, objects and variable art, textiles and fashion, and paper. The new science lab, directed by Dr. Gregory D. Smith, is among the largest and best equipped in the world. The Lilly Endowment Inc. provided a generous $2.6 million grant to permit the renovation and instrumentation of the facility, and the Andrew W. Mellon Foundation awarded a $1.5 million challenge grant to endow the position of senior conservation scientist, along with $250,000 to recruit and hire the scientist while matching funds are identified. The science lab will soon be the home of advanced research on the composition, treatment, and preservation of artworks of all kinds.

Dr. Smith has already made great headway by forging an alliance with the Chemistry Department and the Forensic and Investigative Sciences Program at IUPUI. Because of these partnerships, graduate students and post-doctoral interns on IMA’s campus will soon be a routine presence as they unlock the mysteries of how works of art were made and how scientists and conservation specialists can collaborate to insure their longevity. For viewers of the televised “CSI” series, the state-of-the-art equipment of the new laboratory will be familiar, and our connections with IUPUI portend many types of research to come. Dr. Smith’s engagement with the region’s academic institutions has already yielded a very promising visiting scholar, Dr. Jie Liu of Purdue University, who will serve as the first post-doctoral IMA Scholar in conservation science. Over the coming year, she will help us initiate technical studies and research projects in the lab.

In a city renowned for sophisticated scientific research, the IMA’s conservation science initiative is the latest addition to a burgeoning high-tech profile for Indianapolis. We look forward to welcoming scientists in our region and from around the world as we inaugurate this exciting new chapter in IMA’s history.

Maxwell L. Anderson, The Melvin & Bren Simon Director and CEO

Happily, we have many ways of inducing our newfound park visitors to come indoors this fall. First among them is a vibrant exhibition on one of the 20th century’s most celebrated enfants terribles: Andy Warhol.

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The word “archives” can bring all kinds of words to mind. Dusty. Old. Mysterious. Hidden. Unlike the stereotype, archives are vibrant, relevant, organized, and actually very clean places. The IMA Archives is no exception. This year the IMA established a formal archives program, including hiring full-time archivist Jennifer Whitlock, to make the “memory” of the Museum more accessible.

What’s in the IMA Archives? The IMA Archives contains a variety of records on different topics in a wide range of formats dating from 1883 to the present. Museum departmental records contain correspondence, architectural plans, publications, memoranda, press releases, meeting minutes, committee reports, annual reports, and policy docu-ments. The subject of these various records might be exhibitions, art or financial donations, conservation of an art object, renovation of the building, or other activities of the Museum. The records can be a photograph, a video recording, a newspaper clipping, an email, a bound publication, or just a handwritten list. In addition to collecting the records of the various departments, the IMA Archives also collects papers of individuals related to the IMA’s interests, such as trustees, former directors, curators and other staff; records of affiliated organizations such as art committees and the Alliance; and other primary research materials related to the Museum’s properties and art collections, such as Miller House and Lilly House. One of the largest series in the IMA Archives is the exhibition records, which tell the story of all the varied activities that are necessary to realize an exhibition. From the planning, organizing, and researching, to programming, marketing, and actual installing of an exhibition, many departments and people both within and out-side the IMA are involved. These records record the entire process and help show how exhibitions have changed over the long history of the IMA. From correspondence and checklists to photographs and videos, a detailed history of the exhibition is recorded for posterity. What will the archives program do? Although materials dating back to 1883 have been collected for the archives, the materials have been minimally processed. With a formal archives program now in place, the materials will get additional organization and preservation attention. Following national archival standards, the IMA Archives will be hierarchically “arranged and described” rather than cataloged page by page. Materials will be grouped by provenance, then by series or record group, then by sub-series, then by folder title, and then ideally by item level. Not only will this make the processing of the collection happen more efficiently, but it will also maintain the original context of the records, which can be of great value to a historian. Specialized conservation housing for the materials will prolong their life. They will be placed in acid-free folders and acid-free boxes, and rusty paper clips and staples will be removed. Changes in light and temperature can also damage archival materials. By storing them in acid-free boxes away from the light in a climate-controlled room, the IMA will be able to save them for future genera-tions to use. What does the future hold for IMA history? As records in the archives are processed and opened for research, descriptive inventory guides or “finding aids” will be made available on the IMA Web site and an entry will be added to the IMA library catalog. IMA staff and historians will be able to search the guide and identify useful information for their research. Beyond the finding aids, the IMA Archives will begin to digitize fragile and significant materials and make these materials available virtually.

VOICES: ARCHIVIST JENNIFER WHITLOCK

The IMA Archives: Memory of the Museum

In order to do research in the IMA Archives, an appointment is required. Until the archives collections can be fully processed, research appointments will be on a very limited basis. In the meantime, if you have a question about the archives or the history of the IMA, email archives@imamuseum.org or call 317-923-1331, ext. 276.

The IMA’s 125th anniversary publication, Every Way Possible, is an excellent resource on the history of the IMA and features materials from the IMA Archives. Copies of this book and other IMA historical publications from 1883 to today, including the IMA magazine, annual reports, and exhibition catalogs, are available in the IMA Stout Reference Library. The library is open to the public without an appointment Tuesdays, Wednesdays, and Fridays 2–5 pm and Thursdays 2–8 pm.

A native of Cincinnati, Isabel Bishop was educated at Wicker Art School (Detroit), the New York School of Design for Women, and the Art Students League of New York, where she later was an instructor in life drawing and composition. Bishop became part of a group of artists known as the Fourteenth Street School, who were influenced by the realism of the Ashcan School. The Fourteenth Street School was composed of their leader Kenneth Hayes Miller, Reginald Marsh, Bishop, and the brothers Raphael and Moses Soyer. The name of the group came from their focus on urban scenes from Union Square on 14th Street in New York, also the site of the Art Students League. They painted scenes of daily life that concentrated on individuals from lower socio-economic groups. Isabel Bishop created canvases full of female subjects, like her mentor, Miller, who often painted canvases of female shoppers.

Bishop is best known for her studies of young women in New York caught during idle moments away from their jobs. In the painting Tidying Up, a woman, per-haps a secretary or salesperson, uses a pocket mirror to check her teeth for lipstick smudges. Bishop saw working women as participants in an American tradition of upward mobility. Both the active brush-work and the figure’s physical movements were intended by the artist as metaphors of this social movement. The sepia tones of the painting recall an old master drawing, a taste Bishop may have acquired from Kenneth Hayes Miller, himself an anti-mod-ernist and admirer of the Renaissance.

IN THE GALLERIES: AMERICAN COLLECTION

Isabel Bishop’s Tidying Up

To learn more about this and other works from the IMA’s American collection, visit the new, comprehensive online catalogue at www.imamuseum.org/art/collections/american-art. This body of information, including artist bios, object discussions, and references for additional reading, was researched and compiled by Harriet Warkel, curator of American painting and sculpture, with assistance from Kirstin Krause-Gotway, the IMA’s Weisenberger Fellow. The online catalogue includes every object from the American collection that has ever been displayed in the IMA’s galleries.

Left » Isabel Bishop, American, 1902-1988, Tidying Up, 1941, oil on Masonite, 15 x 11 1/2 in., Delavan Smith Fund, 43.24

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Prints and drawings have always had a physical kinship. They are made with relatively similar materials, are generally intimate in size, are almost always on paper, and emphasize the beauty of simple lines. Yet, from the advent of engravings and woodblock prints in 15th-century Europe, the relationship became a mutually dependent one. This interdepen-dence is examined in Drawings to Prints, an exhibition of 28 drawings from the 16th to 20th centuries and the woodcuts, engravings, etchings, and lithographs to which they are related in one way or another.

The rise of printed images in the Renaissance coincided with the growth of the industry of illustrated printed books. These books replaced the hand-drawn illuminated manuscripts of previous generations but sought to imitate them. The print was usually preceded by a fully worked out design, drawn by the printmaker, a commissioned draftsman, or a pre-vious master whose work the print publisher wished to reproduce. The tradition of working from preliminary drawings was no different from that of a painter first working out his composition on paper. But it was more crucial for the print-maker, since lines, once engraved or etched into the metal printing plate or carved into the woodblock, were difficult—if not impossible—to change. This exacting and unalterable nature of printmaking led the French painter-etcher Edgar

Degas to remark: “Let us make prints, they will teach us how to draw.” It is not surprising, therefore, that prints were often used as the models to be copied by students in drawing, because they were the only precise, handy, and inexpen-sive facsimiles of the great art of the past.

The relationship of drawings to prints changed with the invention of photography in 1839, which not only took over the printmaker’s function as illustrator or reproductive engraver, but effectively co-opted the pursuit of truthfulness to nature, which had been the goal of painters for centuries. Painting became more impressionistic and expressive than imitative, and printmaking, now divorced from its commercial role, was embraced by painter-printmakers of all styles as a viable and lucrative outlet for their personal creativity. For artists who treated the etching plate or the lithographic stone as a sketchbook page, preliminary studies were no longer necessary, and the distinction between an artist’s draw-ings and his prints disappeared, except that his prints could be multiplied. As the 20th century progressed, the hierarchy that had long existed in the traditional arts crumbled and the artist approached the canvas, the block of stone, or the printable surface with the same immediacy that had once been the province of pencil on paper.

Drawings to Prints is on view in the Conant Galleries through January 2, 2011.

IN THE GALLERIES: PRINTS

Drawings to Printsby Martin Krause » Curator of Prints, Drawings and Photographs

Above » Félix Bracquemond, French, 1833-1914, Portrait of Arthur d’Echerac, 1883, charcoal on paper, 16 1/4 x 12 9/16 in., McKee Fine Arts Purchase Fund, 1991.139 Above » Félix Bracquemond, French, 1833-1914, Arthur d’Echerac, called Dargenty, 1883, etching, 16 1/16 x 13 5/8 in., McKee Fine Arts Purchase Fund, 1991.140

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His star rose in the 1950s. As a young artist, Andy Warhol became one of New York’s most sought-after commercial illustrators, producing works for advertisements and editorials alike. But as success took hold and Warhol turned increasingly to his own artistic pursuits, he struggled to find his footing in the world of fine art. The story goes that in 1962, the creatively stymied artist turned to gallery owner Muriel Latow for advice. At her request, Warhol wrote out a $50 check for the suggestion that may have been the catalyst to his ascent to fame not only as a renowned artist, but also as a cultural tastemaker: “Paint what you love, Andy,” she said. “Money.”

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Money was perhaps Warhol’s greatest muse. The artist’s love affair with money—not only the attainment of wealth, but also a fascination with commerce and consumerism—would define Warhol’s body of work throughout his lifetime. Warhol would later identify himself as a “business artist,” asserting that “being good in business is the most fascinating kind of art.”

This fall, the Indianapolis Museum of Art presents Andy Warhol Enterprises, open October 10, 2010, through January 2, 2011. Inspired by the name of the corporation Warhol formed in 1957 to manage his business ventures, Andy Warhol Enterprises explores Warhol’s fascination with money, his de-votion to commercial products, his work life and business endeavors, and his portraiture, ranging from commissioned works to examples of the care-ful packaging of his own image. Andy Warhol Enterprises looks beyond the artist’s most well-known works of Pop art, which brought him fame, money, and success. “Warhol exhibitions tend to focus narrowly on the paintings of just one decade of the artist’s career: the Sixties,” says Sarah Urist Green, associate curator of contemporary art at the IMA. “While that was a hugely important and prolific time period for Warhol, it is much more revealing and exciting to view his landmark silkscreen paintings in the context of his larger body of work.”

In his 1975 book THE Philosophy of Andy Warhol, the enterprising artist summarily stated, “Making money is art, and working is art, and good busi-ness is the best art.” True enough, Andy Warhol Enterprises, Inc., proved to be only one of Warhol’s many business ventures during his career, and thus one of many avenues he would take to produce art, and from art produce profit. At the time of his death in 1987, Warhol’s résumé had grown to include roles as filmmaker, band manager, magazine publisher, television entre-preneur, and director of the Andy Warhol Studio, and before that the infamous “Factory,” where Warhol employed assistants to help produce his silk-screened works in an assembly-line fashion not unlike the production method of the consumer goods Warhol so often depicted.

Organized by the IMA, this exhibition features more than 100 of Warhol’s works, mostly drawn from the collection of The Andy Warhol Museum, in a wide range of media, including paintings, drawings, sculpture, film, and video, as well as an extensive selection of archival materials. Visitors will be able to see such works as Warhol’s Screen Test films of his famous friends, including Edie Sedgwick and Lou Reed; a recreation of one of his early shop window designs from the 1950s, and Warhol’s TV shows from the 1980s—as well as outstanding examples of his paintings, celebrity portraits from the ’60s through the ’80s, and a remarkable array of self-portraits from throughout his life.

Also among the show highlights are examples of Warhol’s works portraying iconic consumer products, such as his 1962 Campbell’s Soup Box sculpture

and a selection of his Brillo Box sculptures of 1964. These works exemplify Warhol’s focus on consumer culture, as do the artist’s 1960s and 1980s paintings of advertisements on view in the show.

The IMA exhibition also includes examples of Warhol’s influential series of Dollar Bill paintings and drawings from 1962. On the heels of earlier images of currency that appeared in Warhol’s commercial illustrations, including dollar signs and gold coins, the Dollar Bill series introduced the method of silkscreening that would become Warhol’s signature technique. A selection of 11 paintings from his Dollar Sign series of 1981 are also featured.

Warhol openly acknowledged a desire for wealth in other noncommercial works with currency as the subject matter. A 1950s ink drawing titled One Million Dollar Bill—also in the exhibition—is a playful and roughly drawn rendering of a fictitious bill, in which Warhol also seems to celebrate capitalism within the rapidly expanding post-war American economy. In a 1956 ballpoint pen drawing titled Foot with Dollar Bills, Warhol pro-vocatively depicts another favorite subject, the human foot, with toes that sensuously caress a pile of crumpled bills.

Many associate Warhol with fame, celebrities, and excess. He fre-quented the notorious Studio 54 and cavorted with rock stars, movie stars, and socialites. His Factory became a revolving door for artists, celebrities, and well-to-do businessmen who dropped in for lunch or drinks. But in Warhol’s mind, every social encounter

was an opportunity for artistic inspiration and business cultivation. “He was not a sellout,” says Green. “The social and commercial dimension of his career was central to his art. He very consciously and creatively harnessed the interrelation of art and consumer culture to draw attention to the realities of American society.”

Warhol continued to accept commercial assignments, commissions, and endorsements well after his work was embraced by the fine art world. By the mid-1970s, Warhol had developed a steady busi-ness of producing portraits on commission for anyone who could pay the $25,000 fee. Movie stars, business executives, athletes, and wealthy socialites came to Warhol’s studio to be immortalized on canvas. Warhol used the proceeds from such commissions to support his other, more experimental projects.

Throughout his career, Warhol also strove to cultivate and control his own image in a kind of instinctual self-promotion that pre-ceded the concept of “branding.” “He had an innate understanding of himself as a brand, in a way that no other artist had done before and no artist has done since,” says Green. Andy Warhol Enterprises includes examples of Warhol’s self-portraiture and his appear-ances as a pitchman in advertisements for brands such as Sony, Vidal Sassoon, and Drexel Burnham, all of which helped to establish him as a preeminent cultural figure of his era.

Andy Warhol was “the consummate artist-slash-businessman,” says Green. “Andy Warhol Enterprises will give visitors a window into Warhol as a visionary entrepreneur throughout his career.”

Page 10 » Dollar Sign, 1981. Acrylic and silkscreen ink on linen, 90 x 70 in. (228.6 x 177.8 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.247 © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. Above » Campbell’s Soup Box, 1962. Casein, spray paint, and pencil on plywood, 22 x 15 3/4 x 15 3/4 in. (55.9 x 40 x 40 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.775. © The Andy Warhol Foundation for the Visual Arts, Inc./ ARS, New York / Trademarks, Campbell Soup Company. All rights reserved. Opposite » One Million Dollar Bill (detail), 1950s. Ink on Strathmore paper, 15 x 22 5/8 in. (38.1 x 57.5 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.1112 © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.

“In Warhol’s mind, every social encounter was an opportunity for artistic inspira-tion and business cultivation.”

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Andy Warhol Enterprises is proudly sponsored by PNC Bank. Promotional support provided by Clear Channel Outdoor.

EDUCATOR SNEAK PEEK Thursday, October 7 » 4–7 pm

Kindergarten through university level educators are invited to preview the exhibition, hear from curators, participate in a related art activity, and enjoy a cocktail reception. Educators may sign up by contacting schooltours@imamuseum.org by Sept. 30. Sneak Peeks are offered to educators only.

THE FACTORY: AN ANDY WARHOL OPENING SOIREE PRESENTED BY PNC BANK Saturday, October 9 » 7–10 pm$60 Public, $25 Members Free for Council Members

Join PNC and the IMA to celebrate the opening of Andy Warhol Enterprises. Ticket includes food, beer & wine bar, entertain-ment and an early preview of the exhibition.RSVP by October 4. Purchase your tickets online or call 317-955-2339.

TALK » VINCENT FREMONT ON “ANDY WARHOL, TV MASTERMIND”Thursday, November 18 » 7 pm » The Toby $5 Public, Free for Members (ticket required)

Warhol began experimenting with ideas for his own television shows after purchasing portable video equipment in 1970. The artist was quoted as saying that “cable TV is the ultimate America. ”Filmmaker and producer Vincent Fremont was a member of Warhol’s inner circle for nearly 20 years. Fremont explores the 42 television episodes Warhol created with guest stars Debbie Harry, Steven Spielberg, Liza Minnelli, and more. Fremont worked for the Factory in various capacities as vice-president of Andy Warhol Enterprises, developing film projects and helping to establish The Andy Warhol Museum in Pittsburgh.

CONCERT » 13 MOST BEAUTIFUL…SONGS FOR ANDY WARHOL’S SCREEN TESTSThursday, December 2 » 8 pm The Toby » $20 Public, $10 Members

Indie music ensemble Dean & Britta perform with their band beneath projections of Warhol’s film portraits. In Screen Tests, a series of short black-and-white portraits filmed between 1963 and 1966, Warhol asked his subjects—from Edie Sedgwick to Dennis Hopper—to pose for his rolling camera. Commissioned by The Andy Warhol Museum, Dean & Britta’s music augments the moods of the subjects on-screen. Bonus for non-members: A concert ticket is good for free admission to the Warhol exhibition December 2 and 3 only. Tickets on Sale Oct. 1.

PROGRAM HIGHLIGHTS

October 10, 2010–January 2, 2011

The exhibition is accompanied by a catalogue published by Hatje Cantz Verlag, which includes an interview with Vincent Fremont, former Vice President of Andy Warhol Enterprises, Inc., and essays by renowned scholar Thomas Crow, The Andy Warhol Museum archivist Matt Wrbican, and exhibition curators Sarah Urist Green and Allison Unruh.

Available at the IMA Museum Store and online at imamuseum.org/shop for $45 (hardback).

This summer’s opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park has inspired a new area of focus for the IMA’s work with teachers. This fall, teachers of middle school science, English, and art will be invited to a series of workshops where they can explore connections between art and science, develop keen ob-servation and critical thinking, and strengthen visual and written communication. The activities begin in October, when the IMA will host a visit from the Cell Motion BioBus (www.biobus.org), a carbon-neutral mobile science lab housed in a converted 1974 San Francisco transit bus and boasting state-of-the-art equipment for in-depth explorations of the microscopic world.

Chief scientist and BioBus founder Dr. Ben Dubin-Thaler and other scientists will be in residence at the IMA and 100 Acres during this time to work closely with IMA educators and area teachers on developing hands-on science, art, and language arts experiences that the teachers will later share with students, using the Museum and Park as resources. “The microscope transports us to a raucous, wild west of life contained in a single drop of pond water,” says Dubin-Thaler. “The diversity and beauty of microorganisms pro-vides both new sources for artistic inspiration along with data for understanding patterns in evolution.”

IMA educators have also been in conversation with innovative art and environmental science educator Penelope Speier. After several years spent building a strong Visual Thinking Strategies (VTS)

program in the San Antonio Independent School District, Speier and others have developed Moving Waters (www.04arts.org), a curriculum for upper elementary students that applies the obser-vation, critical thinking, and language skills acquired in VTS discussions to the study of central Texas ecosystems. IMA educa-tors hope to build similar connections between skills gained by Indianapolis students in its VTS-based Viewfinders program (a collaborative initiative of the IMA, IPS, and Washington Township schools) and environmental science learning at the middle-school level in 100 Acres. They anticipate one or more visits from Speier as they create curriculum materials and plan an instructional workshop for teachers during the 2011–12 school year.

Both the BioBus and Moving Waters programs will prepare middle schools to take advantage of a large public art project that was ini-tiated by the IMA: a city-wide exploration of the White River’s role in the life of Indianapolis. Under the guidance of artist Mary Miss, FLOW (Can you see the River?) will officially start in September 2011. The project will include installation sites along the White River and Central Canal as well as programmatic partnerships among many arts, environmental, and governmental organiza-tions. The ultimate goal of FLOW is to connect the residents and communities of Indianapolis to each other and to the vital water ecosystems of our region. This project is part of the National Endowment for the Arts Mayors’ Institute on City Design 25th Anniversary Initiative.

COMMUNITY

Teachers to Explore Art and Science in 100 Acres

For the most up-to-date list of programs and activities, visit imamuseum.org.

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For someone who has spent a career in historic sites, Miller House and Garden offers a rare treat: spectacular architecture and landscape, engaging history, and wonderful collections original to the property. Such collections are great treasures, not only by virtue of their intrinsic historical or aesthetic interest, but also because of their expressive power and interpretive potential. The objects individually, and even more so collectively, are alive with meaning. At Miller House and Garden, the collections reflect a range of subjects and stories—from post-war American design to the Millers’ per-sonal interests and values—as exciting as any I have seen.

The excitement evoked by the collections is difficult to sep-arate from that of the setting. I remember the impression from my first visit that the property thoughtfully balanced two distinct aesthetics—an austere and serene modernism on one hand and an exuberant, almost Victorian delight in ornament on the other—that might understandably be thought mutually exclusive. Architect Eero Saarinen, land-scape architect Dan Kiley, and especially interior designer Alexander Girard masterfully integrated the design and made it possible to resolve this tension with beauty and no small amount of charm.

Girard’s contributions are extensive, ranging from designs for furniture to assistance with the selection of small orna-ments. His influence tended away from modernist orthodoxy, bringing warmth and individuality to the interiors. In the Millers he obviously found sympathetic clients who shared his great joy in vivid color and pattern, his love of folk art from around the world, and his willingness to playfully indulge a bit of whimsy.

For the main living area and elsewhere, Girard designed occasional tables with stone tops—some with pietra dura inlay—and bronze bases. The piano bench and the bracing of the piano’s pedals have treatments to match, as does an Eames compact sofa, providing an understated but important

unity. The sofa, further customized by having a single back panel rather than the customary two, kept lines in the space lower and views open. Ever mindful of changing perspec-tives, Girard directed that the underside of the piano, visible to those seated in the conversation pit, be painted red.

Behind the piano, the storage wall provided Girard an oppor-tunity to showcase select objects representing cultures from across the globe in a wide range of media, including wood, ceramic, silver, and brass. Glass objects were favorites of Mrs. Miller, including Timo Sarpaneva’s Orchid vase, desig-nated “The Most Beautiful Design Object of the Year” by House Beautiful in 1954. Decanters in cut and colored glass also appeared on the storage wall, as did a variety of glass boxes. A collection of glass paperweights, often displayed on one of the Girard tables, grew over the years, ranging from Indiana-made examples to those by makers such as Clichy.

Girard’s rug designs merit special mention. For the den, he created a lively and colorful rug with a pattern of lozenges, each with an emblem related to an aspect of the family or its history. The dining room rug, more densely patterned beneath the table, was so designed—according to family tradition—that any spills would be less evident. On the table itself, Girard’s design for porcelain tableware held pride of place for important occasions, as the diners in Saarinen pedestal chairs rested on needlepoint cushions worked to Girard’s designs.

Perhaps the most elaborate of Girard’s contributions is a three-story dollhouse placed at the west side of the conver-sation pit. Though not a dollhouse in the sense of being a plaything, the structure presents a whimsical view of the Miller family as they might appear as actors in a stage set of Girard’s design.

Taken together, the collections and furnishings suggest designers and clients who valued a broad range of aesthetic and cultural influences, who were thoroughly engaged with the contemporary while treasuring the historical. And all with a sense of style that still dazzles.

BEHIND THE SCENES

The Miller House Collections by Bradley Brooks » Director of Historic Resources

Architect Eero Saarinen, landscape architect Dan Kiley, and especially interior designer Alexander Girard masterfully integrated the design… with beauty and no small amount of charm.

Left » A selection of materials from the Miller House and Garden Collection, IMA Archives.

In 2009, members of the Miller Family agreed to donate the house and gardens, along with many of its original furnishings, to the IMA. Additionally, the Miller family has provided $5 million for an endowment to ensure the long term preservation and care of the property. A generous grant from the Cummins Foundation will underwrite start-up costs to make Miller House and Garden fully accessible to the public by summer 2011.

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This fall a shift will occur in 100 Acres. The green canopy that in warm months encloses the Park and shrouds the works of art will change to a mosaic of browns, oranges, and golds. Children who played in the Park throughout their summer break will return to school. Days will become shorter.

Winter will bring snow and ice to cover the meadows and wetlands in a frosty blanket. Wind, once obstructed by leafed woodlands, will whip through the trees, rattling the empty branches. Obvious signs of life in the Park will be limited to the flitting of birds picking berries from Alfredo Jaar’s Park of the Laments, the sounds of wildlife scurrying during the day for food, and the crunch of visitors’ feet on the frozen ground.

“Winter offers fresh perspectives and allows for new connections with both the nature and the art,” says Linda Duke, the IMA’s director of education. “We hope that visitors discover their own relationships with the Park through observa-tion and reflection.” While no formal programming is planned, posts on the IMA’s Web site and social media sites will alert patrons to exciting develop-ments and events—such as icicles forming on works of art or the first budding of the trees—that can be experienced informally and independently.

Chad Franer, director of horticulture, has his own advice for winter visits to the Park: “Visitors should pause, look around, listen to the wind, and just enjoy.”

100 ACRES: THE VIRGINIA B. FAIRBANKS ART & NATURE PARK

Winter in 100 Acres Winter has a

concentrated and nutty

kernel, if you know where to

look for it.

Henry David Thoreau

ALEXANDER GIRARD SCARF

This oblong silk crepe scarf is based on a rug Alexander Girard designed for J. Irwin and Xenia Miller. $50

MILLER HOUSE BOXED NOTE CARD ASSORTMENT

Archival photographs of Miller House exteriors, interiors and gardens by Ezra Stoller and Balthazar Korab. Box of 20 notecards and recycled envelopes.$18.95

ALEXANDER GIRARD QUATREFOIL DESIGN GLASS

Alexander Girard’s popular Quatrefoil pattern was used in the children’s bedrooms at Miller House. $12.50

ALEXANDER GIRARD QUATREFOIL DESIGN COASTER SET

Set of four acrylic coasters featuring Alexander Girard’s Quatrefoil design. $22

MILLER HOUSE TOTE BAG

A motif Alexander Girard used in table- ware he designed for Georg Jensen is the inspiration for our 100% heavyweight cotton canvas gusseted tote. The tote has an interior zipper compartment and snap closure. $34.50

MILLER HOUSE MUG

This ceramic mug features an Alexander Girard motif from Georg Jensen tableware in Miller House. $12.95

The Miller House collections have inspired a series of unique designs that are now available in the Museum Store and online (imamuseum.org/shop). Revenues from the sale of these items help support the preservation of this extraordinary architectural complex.

FOLLOW ME HOME (1996, 100 mins.) with filmmaker Peter BrattFriday, September 24 » 7 pmThe Toby » FREE; ticket required

Introduction and Q&A with director Peter Bratt and actor Jesse Borrego. The film follows four racially diverse characters on a road trip filled with conflict and revelation.

CAMPECÍNE FILM FESTIVALSaturday, September 25 » Noon–5 pm The Toby » FREE; ticket required

Screen short films made by Latino/a youth and participate in youth-led dialogue.

For more information about and The Latino Youth Collective, or to schedule a presentation, visit www.latinoyouthcollective.com.

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For the fifth consecutive year, the IMA will host The Latino/a Youth Collective’s Campecíne Film Festival, September 23 through 25, an event that brings hun-dreds of teens to the IMA. Campecíne—which is planned and led by youth, ages 11 to 23—is a showcase for digital media created by young people that explores community and societal issues.

“We promise this is more than a film festival,” says Kathy Souchet-Moura, a Latino/a Youth Collective (LYC) co-founder and board member. “You can expect film, participatory theater, and conversations about how communities move from empathy to solidarity.” LYC’s mission is to foster youth develop-ment through critical thinking, grassroots organizing, and collective action. “The festival, as with all of LYC’s work, seeks to move participants from consciousness to action around the issues affecting our local and global communities,” Souchet-Moura says.

Founded in 2006 by youth in Indio, California and Indianapolis, Campecíne: El Cine Campesino film festival arose from the activist tradition of El Teatro Campesino, which began in California in the 1960s as part of the United Farm Workers Union and the Chicano movement. The theater groups, with farm workers as actors, brought live performances into the fields to raise the consciousness of the workers and inspire them to political action.

Through the approachable medium of digital film, today’s youth teach their community. “New media technologies, youth participatory action research methods, and film production are powerful skills and mediums for young people to learn from one another and to produce products that resist the dominant images our youth see every day on YouTube, Twitter and Face-book,” says Felipe Vargas, LYC co-founder and instructor of media theory.

In another LYC program, Campecíne Youth Academy, participants engage in research and interviews to dig beneath the surface of an issue, and then prac-tice their media skills to share what they learn, often confronting controversial issues. “Things can get pretty creative,” says Souchet-Moura. “In one film, brown eggs represent the experience of North America’s indigenous people; in another, Barbie dolls model how racism thrives in a school lunchroom.”

Since 2006, the IMA has partnered with LYC by hosting the festival, offering transportation assistance to participating schools and providing planning support. “LYC students have gained a sense of ownership towards the IMA,” says Javier Barrera, LYC co-founder and board member. “In a community that doesn’t traditionally align itself with cultural organizations such as art museums, this is significant.”

This year, LYC will bring up to 400 middle school and high school students to the IMA to see the films and take part in conversations led by LYC mem-bers and IMA docents and staff. The conversations connect the themes in the films to participants’ everyday experiences. The public is invited to screen the films and participate in discussion (see sidebar).

“It is a wonderful experience to have the students at the IMA for Campecíne,” said Emily Hansen, senior coordinator of teacher and school programs. “We want them to feel welcome as the next generation of museum-goers, and their creativity brings a fresh perspective to our programming.”

COLLABORATIONS

Campecíne Film Festival

Above » Photos by Javier Barrera

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Why did you decide to become members of the IMA? We are members because we spend so much time there! We use it as an extension of our home and backyard, from picnics on the grounds and rainy days in the galleries, to showings at The Toby and visits to the classic cars in the Lilly House garage; our boys enjoy the IMA as much as we do. It is important to us that we sup-port the IMA commensurate with the value it brings to our family and our larger community. What do you value most about your membership? Why should others become members of the IMA? Contributing to the cultural vibrancy of our community and promoting creative expression are our top reasons why everyone should become members of this amazing museum. Of course, the perks are nice too. As members of the IMA we receive regular updates on all the special events and openings. The Museum Store and Design Center are two of the best places in the city to find unique gifts. The member discount on pur-chases makes it fun to shop there. What is your favorite work of art/location/thing to do at the Museum? It is so hard to choose! The contemporary art collection is one of our favorites because it gives us a lot to interpret and discuss. Our boys saw “the black painting” first and could not wait to show it to us. Whenever we go for walks or picnics, the boys suggest that we move into Lilly House and live there. They love the grass-covered balcony. For us, our favorite thing to do at the IMA is whatever is new that we have not had a chance to experience yet. We are looking forward to exploring 100 Acres and Miller House. Share a memory or story about a visit to the Museum. The IMA has become a part of our Thanksgiving tradition. Our extended family comes from out of state and spends the holiday with us. After focusing on food and family on Thanksgiving, many of us spend Friday seeing whatever is new at the Museum. Last Thanksgiving, we explored Sacred Spain. Sharing the IMA with family of all ages with different perspectives and experiences makes it all the more special.

MEET OUR MEMBERS

The Magid Family

Julie and Terry Magid and their three boys are members of the IMA’s Curator’s Council.

Like the Magids, all members are an important part of the IMA family as they help to make the organization a vibrant and vital community resource. The IMA invites all members to deepen their level of commitment to the Museum by considering a Council membership. Council members represent the single most important source of annual gift income for the Museum. Council members not only enjoy the highest level of benefits, but also have the satisfaction of knowing that they help make the IMA free to all.

For more information, visit imamsueum.org/council.

4000 Michigan Road Indianapolis, IN 46208317-923-1331imamuseum.org

NON-PROFIT ORGU.S. POSTAGE

PAID INDIANAPOLIS, IN

PERMIT #2200

The Factory: An Andy Warhol Opening SoireeSaturday, October 9, 2010 » 7–10 pm

$25 member tickets » $60 nonmember tickets » Free for Council members (up to 6 free tickets for Council, any additional tickets may be purchased at the member rate)

Tickets on sale beginning September. Purchase your tickets at imamuseum.org or call 317-955-2339.

Presented by PNC Bank

NEWS » EXHIBITIONS » CALENDAR » EVENTS » PROGRAMMING »

NOTES: SEPTEMBER–OCTOBER 2010

IMA MEMBER NIGHTS

Share what you love with the ones you love at IMA Member Night. The IMA hosts an exclusive, members-only night on the second Thursday of every month.

Enjoy discounts on food and beverages at Nourish Café, docent-led tours, and the chance to socialize with friends and family at the IMA. Be sure to stop by the Museum Store and Design Center for Member Night special promotions.

To see the complete schedule of events for Member Nights, visit imamuseum.org/support/member-programs. Contact our Membership office at 317-920-2651 if you have any questions.

GET INVOLVED AT THE IMA

Now is your chance to experience the IMA from the inside. New volunteers are needed to assist visitors from around the city, state, and the world. Volunteers work throughout the Museum, where they greet visitors, support programs and much more.

To get involved or learn more about volunteer opportunities, contact Pamela Kennson at 317-923-1331, ext. 263 or volunteer@imamuseum.org.

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IMA APPOINTS NEW MEMBERS TO BOARD

At the May Annual Meeting, Thomas Hiatt, Kay Koch, Ersal Ozdemir, and Jeffrey Smulyan were elected to the Board of Governors, each for a three-year term.

The Indianapolis Museum of Art reelected The Honorable Sergio Aguilera, Daniel Cantor, Jane Fortune, Michelle Griffith, Lynne Maguire, June McCormack, Lawrence A. O’Connor Jr., Kathleen Postlethwait, and Charles Sutphin. Additionally, Myrta Pulliam was reelected for a one-year term in order to complete her term as Immediate Past Chair.

Officers of the Corporation include Stephen Russell, Chairman; June McCormack, Vice Chairman; Kathleen Postlethwait, Vice Chairman; Rick Johnson, Vice Chairman; Daniel Cantor, Secretary; Lawrence A. O’Connor Jr., Treasurer; Lynne Maguire, At Large; and Myrta Pulliam, Immediate Past Chair. THOMAS HIATT

Thomas Hiatt founded Centerfield Capital with Scott Lutzke in 1998. He has worked with entrepreneurial companies for more than 25 years. He has worked in private equity since 1986, and has served as a director of a number of private and publicly held companies, including firms in the financial services, health care, manufacturing, information technology and business services industries.

News

Hiatt is Vice Chair and member of the Board of Directors of the Na-tional Association of Small Business Investment Companies. He also serves as a director of Lake City Financial Corporation and Lake City Bank. Hiatt twice served as president of the Indiana Ven-ture Club, and is active in several non-profit organizations. He is a Life Trustee of t he Indiana Nature Conservancy and a director of the International Honors Program.

KAY KOCH

Kay Koch is an active volunteer (a docent since 2004) and gener-ous donor of the IMA. Koch is also a Board member of both the IMA Design Arts Society and Contemporary Arts Society.

Koch worked as a research chemist and as a manager in research and scientific information systems at Eli Lilly and Company for 27 years. Koch is an active member of the Indianapolis community, having served on the boards of the Indianapolis Symphony Orches-tra, the Indianapolis Opera, and the Festival Music Society. Interested in animal conservation, Koch also volunteers at the Indianapolis Zoo.

ERSAL OZDEMIR

Ersal Ozdemir started Indianapolis-based Keystone Construction Corp. 11 years ago and has since built or renovated more than 10 million square feet of office, retail and multifamily space in the greater Indianapolis area. His firm was recognized as one of the

fastest-growing companies in the state by the Indiana University Kelley School of Business. Ozdemir has made sustainable building practices a priority, incorporating green-roof systems into two recent projects and seeking Leadership in Energy and Environ-mental Design certification for upcoming projects.

Ozdemir serves on the boards of the Children’s Bureau, the Indiana Historical Society, the Carmel Symphony Orchestra and the American Turkish Association. Indianapolis Mayor Greg Ballard appointed Ozdemir to the Greater Indianapolis Progress Commit-tee and the Indianapolis Sister City Committee.

JEFFREY SMULYAN

Jeffrey Smulyan is the Chairman of the Board of Emmis Communi-cations Corporation, an Indianapolis-based radio, TV and magazine publishing company. After operating two radio stations—WNTS in Indianapolis and KCRO in Omaha—Smulyan formed and became principal shareholder of Emmis in 1980. A public company since 1994, Emmis owns and operates 21 FM and 2 AM radio stations in the nation’s largest markets; six local, regional and national maga-zine operations; and the No. 1 radio network in Hungary and nine radio stations in the Flanders region of Belgium.

A former director of the National Association of Broadcasters and former Chairman of the Board of Directors of the Radio Advertising Bureau, Smulyan serves as past chair of the Central Indiana Corpo-rate Partnership, a consortium of CEOs from central Indiana’s largest corporations, sits on the Board of Trustees of the University of Southern California and the Board of Directors of The Finish Line, Inc. He is a member of the American, Indiana and Federal Commu-nications bar associations, and has served on numerous civic boards and committees.

ARTBABBLE BEST OVERALL AT MUSEUMS AND THE WEB

In April, ArtBabble was recognized at Best Overall web site at the 2010 Museums and the Web conference. Each year Web sites are submitted for awards in a handful of categories. From those, the judges pick their “Best of the Web.” This award recognizes the outstanding nature of a site and its overall contribution to the institution, museum profession, and museum and archives infor-matics community. Quality of content, ease of use, accessibility and stability are all considered. ArtBabble is supported by a grant from the Ball Brothers Foundation.

AAMD RECAP

In early June, IMA’s Melvin & Bren Simon Director and CEO, Max Anderson, and first lady Jacqueline Buckingham Anderson, hosted 127 art museum directors, as well as several spouses and partners, from three countries (Canada, Mexico and the U.S.) for the annual meeting of the Association of Art Museum Directors (AAMD). The group ratified its next strategic plan and dealt with topics facing art museums today, from deaccessioning to professional development. The IMA supplemented the conference and museum visit by host-ing various special events including a dinner honoring Angelica Rudenstine, who retired from the Andrew W. Mellon Foundation in March; behind-the-scenes tours of the IMA and 100 Acres: The Virginia B. Fairbanks Art & Nature Park; a trip to Miller House and Garden in Columbus, IN, and to the Indianapolis Motor Speedway where three museum directors received pace car rides; and a dinner generously hosted by Bren Simon in her home highlighted by a special performance from IU violin prodigy, Rachel Patrick. Lilly Endowment Inc. generously underwrote most of the IMA’s costs for this prestigious conference.

SOTHEBY’S MILLER HOUSE RECEPTION

On June 14 in New York City, Sotheby’s generously hosted a pri-vate viewing of their 20th Century Design sale followed by a panel discussion of Miller House to bring new audiences to the IMA’s landmark acquisition. The panel included the Melvin & Bren Simon Director and CEO Max Anderson, architect Robert A.M. Stern, Sotheby’s 20th Century Design Director James Zemaitis, collector Daniel Wolf and designer Jack Lenor Larsen. The discussion focused on the importance of Miller House from an architectural, interior design and landscape perspective as well as how best to open the historic home to the public next spring.

Top » Myrta Pulliam at Annual Meeting. Left » New board member Ersal Ozdemir and new Chairman Stephen Russell at Annual Meeting. Right » Association of Art Museum Directors (AAMD) at IMA.

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On ViewBALL-NOGUES STUDIO: GRAVITY’S LOOMSeptember 3, 2010–March 6, 2011 » Free » Efroymson Entrance Pavilion

Los Angeles-based design team Ball-Nogues Studio will create an immersive, site-specific installation of multicolored strings configured in catenary curves for the IMA’s Efroymson Family Entrance Pavilion. Trained as archi-tects, Benjamin Ball and Gaston Nogues are working with the pavilion’s architecture to develop an installation related to the function of the space as a thoroughfare and meeting point for visitors. The studio’s practice fuses the disciplines of art, architecture, and design, bringing aspects of each world to the others to create technologically innovative and visually spectacular built environments.

Support provided by a grant from the Efroymson Family Entrance Fund, A CICF Fund.

JEPPE HEIN: DISTANCECloses September 5 » Free » McCormack Forefront Gallery » Floor 4

Copenhagen-and Berlin-based artist Jeppe Hein’s 4,000-square-foot installation Distance consists of a dynamic indoor rollercoaster track for a series of white plastic balls. When a visitor enters the space, a sensor reacts and releases a ball that is set in motion and runs the length of more than 1,000 feet of track, passing through walls and navigating through loops, sharp curves and spirals.

THE THIRTY-SIX VIEWS OF MT. FUJI Closes September 5 » Free » Appel Gallery » Floor 3

Rising majestically with a near-perfect cone shape, Mount Fuji has been a favorite subject of Japanese artists from the earliest times. Mount Fuji was a daily presence in the lives of the citizens of the shogun’s capital of Edo, and it was also visible from many points along the great Tokaido Highway that linked Edo with the ancient capital of Kyoto. This second exhibition in a two-part series features 18 of the prints that make up Utagawa Hiroshige’s Thirty-Six Views of Mt. Fuji.

ANDY WARHOL ENTERPRISESOctober 10, 2010–January 2, 2011 » $14 Public, Free for Members » Clowes Special Exhibition Gallery » Floor 2

See page 10.

Proudly supported by PNC Bank. Promotional support provided by Clear Channel Outdoor.

FRAMED November 5, 2010–March 6, 2011 » Free » McCormack Forefront Galleries » Floor 4

This exhibition brings together for the first time recent video work that documents artists’ bodily confrontation with the frame of the camera and boundaries delimited within. Through a variety of movements, procedures, and performances, the artists in Framed investigate the space between self and environment, self and other, and the divide between what is recorded by a camera and the indefinite expanse of unmediated life. Each video depicts the artist as he or she marks, follows or grapples with a boundary and thereby maps the space of a now-expanded studio, still encompassing the familiar ter-ritory of four-walled artist’s studio, but also stretching into the street, city, and wider surroundings.

Framed features Serra and Nauman’s seminal films along with recent works by Kate Gilmore, Sigalit Landau, Lilly McElroy, Robin Rhode, Melanie Schiff, and Type A.

READ MY PINS: THE MADELEINE ALBRIGHT COLLECTION November 7, 2010–January 30, 2011, » $5 Public, Free for Members » European Galleries » Floor 2

Organized by the Museum of Arts and Design, Read My Pins: The Madeleine Albright Collection highlights over 200 pins from the unique collection of the former Secretary of State. The Madeleine Albright collection includes pins of every description, many with fascinating stories attached. Some of the pieces are associated with important world events, others were gifts from interna-tional leaders or valued friends. A select number of the pins are fine antiques, most are costume jewelry, chosen for the symbolic messages they might convey. As the fame of Albright’s pins has grown, so has their variety and number. Distinctive as it is democratic, this often whimsical collection spans more than a century of jewelry design and includes pieces from across the globe.

DRAWINGS TO PRINTS Through January 2, 2011 » Free » Conant Galleries » Floor 3 (accessible through Clowes Courtyard)

See page 8.

On View

Opposite page top » Ball-Nogues Studio, Feathered Edge, Museum of Contemporary Art, Los Angeles. 7/26/09-11/15/09. Opposite page bottom » Jeppe Hein, Danish, Distance (detail), 2004, iron, electrical motor, PVC balls, sensors, technical apparatus. Exhibited at Dunkers Kulturhus, Helsingborg, Sweden, 2005. Image courtesy Johan Konig, Berlin and 303 Gallery, New York. Photo Credit: Simon Ladefoged. This page top » Type A, Mark, single-channel video, 34:00, 2002. Above » Breaking the Glass Ceiling, Vivian Shimoyama (USA), 1992. Images and Photos from READ MY PINS: Stories from a Diplomat’s Jewel Box by Madeleine K. Albright (Harper). Photographs by John Bigelow Taylor. Page N6 top » Weegee (Arthur Fellig), American (b. Ukraine), “This was a friendly game of Bocci,” 1938, gelatin silver print, 10 3/8 in. x 13 in. © Weegee/International Center of Photography/Getty Images. Caroline Marmon Fesler Fund, Gift of the Alliance of the Indianapolis Museum of Art, Roger G. Wolcott Fund, Nancy Foxwell Neuberger Acquisition Endowment Fund, Mr. and Mrs. Theodore P. Van Vorhees Art Fund, Cecil F. Head Art Fund, James V. Sweetser Fund. Page N6 Middle: William Edouard Scott, Rainy Night, Etaples, 1912, oil painting, Gift of a Group of African-American Citizens of Indianapolis. Page N6 Bottom: Rudi Gernreich, American, (1922-1985), dress, 1968 wool, vinyl.

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On ViewSHOTS IN THE DARK: PHOTOS BY WEEGEE THE FAMOUS Through January 23, 2011 » Free » Golden Gallery » Floor 2

The exhibition showcases 48 works selected from the Museum’s recent major acquisition of 210 photographs by Arthur Fellig, the father of New York street photography better known as Weegee the Famous. Shots in the Dark is the first exhibition at the IMA featuring works by the photographer since the Museum acquired this extraordinary collection of photographs in 2009. The exhibition explores a range of works that defined Weegee’s career, including photos of crime scenes in the 1930s, Harlem jazz clubs in the ’40s, audiences at Sinatra concerts and in darkened movie theaters taken surreptitiously with infrared film, strippers, transvestites, Greenwich Village coffee houses in the ’50s and portraits of the famous, shot through distorting lenses of his own devising.

THE VIEWING PROJECT: THE PLEASURES OF UNCERTAINTY

Through January 9, 2011 » Free » Alliance Gallery » Floor 2

The Viewing Project is a series of small-scale installations designed to offer visitors creative and enjoyable experiences with objects from the IMA’s permanent collection. Although themes vary, the main goals of all Viewing Project installations remain constant: to encourage active looking, to support visitor creativity and engagement, and to present objects from the permanent collection in new ways.

The Viewing Project is supported by a generous grant from ART MENTOR FOUNDATION LUCERNE

BODY UNBOUND: CONTEMPORARY COUTURE FROM THE IMA’S COLLECTION Through January 30, 2011 » Free » Paul Textile and Fashion Arts Galleries » Floor 3

This exhibition examines the varied approaches designers use to present, manipulate and transform the female body. Approximately 25 pieces, dating from the 1960s to 2007, by avant-garde fashion designers such as Gernreich, Gaultier, Mugler, Versace, Miyake and Moschino, are featured.

WATERCOLOR SOCIETY OF INDIANA ANNUAL JURIED EXHIBITIONOctober 12–December 5 » Free » North Hall Gallery » Floor 2

The Watercolor Society of Indiana presents the 28th annual juried exhibition of paintings featuring works in a variety of styles. The Society is made up of more than 300 artist, student and patron members statewide who produce high-quality watercolor paintings and seek to educate the public about the beautiful transparent medium.

Above » Gaston Nogues (left) and Benjamin Ball (right) .

Program Highlights

TALKS

BENJAMIN BALL & GASTON NOGUES OF BALL-NOGUES STUDIOThursday, September 2 » 7 pmThe Toby » Free; ticket required

Ball-Nogues Studio works with uncon-ventional materials and fabrication techniques to create immersive environments for social interaction, wonder and play. The studio works collaboratively to create large-scale installations by using custom-designed software and digitally controlled mechanical tools in conjunction with traditional hand craft assembly techniques. Ball and Nogues speak about the installation created for the IMA’s Efroymson Family Entrance Pavilion, and their philosophies of design and fabrication. Presented by the IMA Contemporary Art Society.

LIVES OR LIES? THE TRUTH ABOUT BIOPICSThursday, October 28 » 7 pmThe Toby » Free; ticket required

Films portraying the lives of real peo-ple—aka biopics—may interrogate, cel-ebrate, parody or mythologize a subject’s life. Join Dennis Bingham, Associate Professor of English and Director of Film Studies in the IU School of Liberal Arts at IUPUI, for an illustrated talk about the many facets of this popular, durable, but underappreciated film genre, including the distinctions between biographical cinematic portrayals of men and women. Bingham is the author of Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre. Book signing to follow.

PERFORMANCES

SITAR RECITAL BY PUNDIT NAYAN GHOSHSaturday, September 25 » 7:30 pmThe Toby » $20 Public, $15 IMA members and students, Free for Indian Classical Music Circle of Indianapolis members

Pundit Nayan Ghosh is acclaimed as one of India’s finest players of the sitar. Nayan’s sitar recitals sparkle with enchanting melodies and rich aesthetic delineations, bringing out the depth and the true spirit of the raga (melody). For this concert, he will be accompanied by Ishaan Ghosh on the tabla. Presented by the Indian Association of Indiana Fine Arts Committee with support from the IMA Asian Art Society.

FOR EDUCATORS Many IMA public programs may be eligible for Indiana Dept. of Education Professional Growth Plan (PGP) points, toward teaching license renewal.

Contact schoolprograms@imamuseum.org for more information.

TOURS

Visit imamuseum.org for complete tour schedule including tour themes. All tours are free unless noted.

PERMANENT COLLECTION Tuesday & Wednesday » 1 pmThursday » 1 & 7 pmFriday » 1, 2:30 & 7 pmSaturday » 1 & 2:30 pmSunday » 1 & 2:30 pm

ANDY WARHOL ENTERPRISESBeginning October 10 » Times vary » included with exhibition admission

FAMILY TOURS2nd & 4th Saturdays » 1:30 & 2:30 pm

GARDEN WALKS Saturdays & Sundays (through September) » 1 pm

LILLY HOUSE Fridays, Saturdays & Sundays (April–December) » 2 pm

100 ACRES: THE VIRGINIA B. FAIRBANKS ART & NATURE PARK Saturdays & Sundays (through September) » 11 amMeet at Lake Terrace.

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PERFORMANCES

SUMI-E: THE ART OF JAPANESE INK PAINTING WITH SHOZO SATOFriday, October 1 » 7 pmThe Toby » Free; ticket required

Join respected Japanese artist Shozo Sato as he demonstrates techniques and explains the ideals behind traditional black ink painting, or sumi-e. The artist’s live demonstration will be viewable on a large screen. Presented in conjunction with the release of Sato’s latest lavishly illustrated book, Sumi-e: The Art of Japa-nese Ink Painting. Book signing follows. Presented with support from the Asian Art Society and the Japan-America Society of Indiana., Inc. (PGP)

FILM

GOOD FORTUNEThursday, September 30 » 7 pmThe Toby » $9 Public, $5 Members, Free IUPUI students with ID (available at the door only)

Through portraits of two Kenyans receiving aid, Good Fortune explores how massive international efforts to alleviate poverty in Africa may be under-mining the very communities they aim to benefit. Discussion follows film. Presented by IMA and the IUPUI Com-mittee on African and African American Studies. (PGP, if stay for discussion)

2009, 73 mins., dir. Landon Van Soest, Kenya

SPECIAL EVENTS

BIRD BANDING BASICSThursday, September 16 » 4:30–6:30 pm Meet at Ruth Lilly Visitors Pavilion in 100 Acres » Free

Join John Schaust, Chief Naturalist at Wild Birds Unlimited, as he demon-strates the harmless methods used for capturing birds, the procedures used in collecting data and the process for banding birds with uniquely numbered bracelets. (PGP)

IMAGINE INDIANA SUMMITTuesday, October 12 » 8:30 am–5 pmThe Toby » $150 Public, $100 Government & non-Profits.

This summit will examine how to increase Indiana’s capacity for in-novation and creativity in the arts and culture, education, and economic development. Attend and help shape policies to strengthen culture, learning, and entrepreneurship in Indiana. Event details at www.themeridianinstitute.org./imagineindiana.pdf. (PGP)

PROJECT IMA: FASHION UNBOUNDFriday, October 22 » shows at 7 & 8 pm The Toby » $12 Public, $7 IMA members, Free Fashion Arts Society members

Savor a night of one-of-a-kind fashion designs, featuring uncanny silhouettes and unexpected materials by a juried group of artists and designers, plus live entertainment and more. After-party to follow; includes a cash bar.

IMA Affiliates

NEW » FASHION ARTS SOCIETY (FAS)

In 1888, the Indianapolis Museum of Art’s textile and fashion arts collection was founded with the purchase of an Irish embroidery. Today, the collection comprises over 7,000 pieces representing virtually all of the world’s traditions in fabric.

The IMA’s Fashion Arts Society, which kicked off in early 2010, seeks to promote awareness and appreciation of textile and fashion arts through the study of haute couture and cloth. FAS members have the opportunity to gain a greater understanding of textile and fashion arts through education, discourse, and social engagement. Members also benefit from exclusive exhibition previews, lectures, and tours, as well as the opportunity to help facilitate the expansion and enrichment of the IMA’s textile and fashion arts collection.

ANNUAL FAS MEMBERSHIP DUESBecome a member of FAS today! To be eligible for membership in the Fashion Arts Society, you must be an IMA member.

Student » FreeFashion professional or young member (under 40) » $50Individual » $100Couple » $150

DONOR LEVELS (includes additional benefits)Halston Donor Level » $250Dior Donor Level » $500Chanel Donor Level » $1,000 All but $25 of membership dues goes towards The Fashion Arts Society Acquisition Fund. This fund will enable the IMA to acquire important couture creations for the permanent collection.

IMA affiliates offer members unique opportunities to become more involved in the life of the Museum by exploring their own interests. Affiliate members look at art from a behind-the-scenes point of view with exclusive tours of the IMA permanent collection and programs and special events related to the mission of each group. Each IMA affiliate group has its own board and programming, which support the Museum’s collection and operations.

To learn more about how you can join one or more of these interest groups, contact Jessica Bussell, Board and Affiliate Relations Coordinator, at jbussell@imamuseum.org or 317-923-2331, ext. 434.

ART, DESIGN, AND NATURE INTEREST GROUPS

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Left » Shozo Sato. Right » Body Unbound: Contemporary Couture from the IMA’s Collection.

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September

Art-Making » Starlite » noon–4 pm » Free

Art-Making » Starlite » noon–4 pm » Free

Dining » Chef’s Table: Late Summer Flavors » 6:30–8 pm » $60 per person Talk » Benjamin Ball & Gaston Nogues of Ball-Nogues Studio » 7 pm » Free; ticket required

Dining » Chef’s Taste: Late Summer Flavors » 6:30–8 pm » $35 per person Special Event » Bird Banding Basics » 4:30-6:30 pm » Free (PGP)

Art-Making » Starlite: 100 Acres » noon–4 pm » Free

Art-Making » Starlite: 100 Acres » noon–4 pm » Free

Special Event » Member Night » 5:30 pm » Free

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Art-Making » Starlite » noon–4 pm » Free

Art-Making » Starlite » noon–4 pm » FreeSpecial Event » Lugar Collegiate Energy Summit » 10 am–4:30 pm » Free; registration required (PGP)

Family Tour » Art in the Great Outdoors » 1:30 & 2:30 pm » FreeSpecial Event » Penrod Arts Fair » 9 am-5 pm » Advance: $12 Public, $11 IMA members; Event Day: $17Art-Making » Starlite » noon–4 pm » Free

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HIGHLIGHTS OF EVENTS PRESENTED BY IMA AFFILIATES

ASIAN ART SOCIETY (AAS)

Sumi-e: The Art of Japanese Ink Painting with Shozo SatoFriday, October 1 » 7 pm » The Toby

See page N8 for details.

DESIGN ARTS SOCIETY (DAS)

Boston Furniture of the Eighteenth CenturyThursday, October 21 » 6 pm » DeBoest Lecture Hall

Brock Jobe, professor of American Decorative Arts at the University of Delaware, discusses the skilled American craftsmen who built, carved, decorated, and upholstered furniture—from grand accomplishments to common wares.

CONTEMPORARY ARTS SOCIETY (CAS)

Benjamin Ball & Gaston Nogues of Ball-Nogues StudioThursday, September 2 » 7 pm » The Toby

See page N7 for details.

FASHION ARTS SOCIETY (FAS)

Project IMA: Fashion Unbound Friday, October 22 » 7 pm & 8 pm » The Toby

See page N8 for details.

HORTICULTURAL SOCIETY (HORTSOC)

Appreciating Native Trees & ShrubsThursday, September 23 » 7:30 pm » The Toby

Connor Shaw, owner of Possibility Place Nursery in Monee, Illinois, shares his lifetime of knowledge on how urban yards and gardens can benefit from a healthy mix of native and introduced species of plants.

THE ALLIANCE FOUNDED IN 1958

The Alliance of the Indianapolis Museum of Art, the longest established IMA affiliate, develops and supports activities and projects that will stimulate public interest in the Museum, its educational programs and collections. Members of the Alliance plan and participate in art-related classes, study groups, lectures, tours, and special events. Annual traditions include the Alliance Holiday Tea and seasonal luncheons.

ASIAN ART SOCIETY (AAS) FOUNDED IN 1975

The IMA showcases one of the nation’s largest and most significant collections of Asian art. Through the years, that collection has expanded through donations of several works of art from the AAS. The AAS offers its members the opportunity to learn more about Asian art, history, and cultural traditions through exclusive previews of exhibitions as well as lectures and class participation. Attending the receptions and dinners scheduled in conjunction with programs enables members to get acquainted with others who share a deep interest in Asian art.

CONTEMPORARY ART SOCIETY (CAS) FOUNDED IN 1962

CAS is a dynamic group which promotes the understanding of and appreciation for con-temporary art through educational programs, social events, and community collaborations. For over 50 years, the generous support of CAS members has improved both the quality and scope of the Museum’s permanent contemporary art collection.

DESIGN ART SOCIETY (DAS) FOUNDED IN 2007

Formerly known as the Decorative Arts Society (founded in 1970), the Design Arts Society was renamed and restructured in 2007 to promote a greater awareness of the central role that design plays in our daily lives and to also help establish the IMA as an important center for the design arts in the United States. A new focus of this vibrant group is the promotion and support of IMA’s historic property, Miller House and Garden. Located in Columbus, Indiana, the house is one of the nation’s most highly regarded examples of mid 20th-century Modern design.

HORTICULTURAL SOCIETY FOUNDED IN 1972

The Horticultural Society celebrates the art of gardening at the IMA by helping to develop, enhance, and maintain the gardens, grounds, and greenhouse through volunteer and financial support. The Society offers its members the opportunity to visit hundreds of public gardens throughout North America at little or no cost. Members of the Horticul-tural Society also enjoy local and national speakers; educational sessions about plants, gardens, and landscape design; travel programs; and special events. The Horticultural Society also maintains an extensive horticultural library on the IMA campus.

DAILYTour » Offered daily. See page N7 for more information.

Family Tour » Art in the Great Outdoors » 1:30 & 2:30 pm » FreeArt-Making » Starlite » noon–4 pm » FreeFilm »Campecíne Film Festival » noon–5 pm » Free; ticket requiredPerformance » Sitar Recital by Pundit Nayan Ghosh » 7:30 pm » $20 Public, $15 IMA members and students, Free for Indian Classical Music Circle of Indianapolis members (ticket required)

Art-Making » Starlite: 100 Acres » noon–4 pm » Free

Art-Making » Starlite: 100 Acres » noon–4 pm » Free

Talk » Appreciating Native Trees & Shrubs » 7:30 pm » $5 Public, $3 Members, Free for Hortsoc Members (ticket required)

Film » Good Fortune » 7 pm » $9 Public, $5 Members, Free for IUPUI students with ID (available at the door only)

Performance » Leaf Collective—An Autumn Equinox Concert » 7 pm » Free

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Art-Making » Starlite » noon–4 pm » FreeFilm » Follow Me Home with Peter Bratt » 7 pm » Free; ticket required (PGP)24

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For Educators: Many IMA public programs may be eligible for Indiana Dept. of Education Professional Growth Plan (PGP) points, toward teaching license renewal. Contact schoolprograms@imamuseum.org for more information.

Visit imamuseum.org for FULL program descriptions, TICKETS and more.

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October

Performance » Sumi-e: The Art of Japanese Ink Painting with Shozo Sato » 7 pm » Free; ticket required (PGP)

Special Event » Member Night » 5:30 pm » Free

Dining » Chef’s Taste: Fall Harvest & Squash » 6:30–8 pm » $35 per personTalk » Boston Furniture of the 18th Century » 6 pm » Free; ticket required

Talk » Lives or Lies? Truth about Biopics » 7 pm » Free; ticket required

Special Event » imagine Indiana Summit » 8:30 am–5 pm » $150 Public, 100 Government & Non-Profits

Dining » Chef’s Table: Fall Harvest & Squash » 6:30–8 pm » $60 per personFilm » Strange Things: Children of Haiti » 7 pm » $9 Public, $5 Members, Free for IUPUI students with ID (available at the door only)

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Special Event » Project IMA: Fashion Unbound » 7 & 8 pm » $12 Public, $7 Members, Free for Fashion Arts Society members

Film » The Bride of Frankenstein » 7 pm » $9 Public, $5 Members

Family Tour » Stories in Art » 1:30 & 2:30 pm » FreeSpecial Event » Andy Warhol Enterprises Opening » 7–10 pm » $60 Public, $25 IMA members, Free for Council Members

Family Tour » Stories in Art » 1:30 & 2:30 pm » Free

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Art-Making » Starlite: » noon–4 pm » Free18

SAT

Assistive listening devices available for all Toby events and public tours. ASL interpretation available at Toby events where noted.

DAILYTour » Offered daily. See page N7 for more information.

The inaugural event for the new Fashion Arts Society —a private viewing of Body Unbound. Learn more about this new affiliate on page N9 .

In June, the IMA hosted the AAMD conference, giving attendees a preview of 100 Acres and behind-the-scenes tours. More on page N3.

On May 20, author and architect Sarah Susanka spoke to a full house in The Toby about how the size and design of our homes affects our well-being. Over 10,000 people celebrated the opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park on June 19 & 20.

EventsEvents

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ADMISSION

General admission is Free.

Special Exhibition » Andy Warhol Enterprises » $14 Public, Free for members. School groups are also Free (must book through IMA Education Division at education@imamuseum.org).

The IMA also offers free parking, Wi-Fi, coat check, wheelchairs, rollators, strollers, public phone, and lockers.

GETTING HERE LocationThe IMA is located at 4000 Michigan Road in Indianapolis. The main entrance is approximately one block north of 38th Street and Michigan Road. Note that south of 38th Street, Michigan Road becomes Martin Luther King Jr. Street.

The IMA is accessible off the Central Canal Towpath (an Indy Greenways trail). Bike racks are available on campus, including in parking garage. By Indy Go Bus» From downtown Indianapolis, take #38 Lafayette Square» From Michigan Road, take #34 North or South» Visit indygo.net/tripplanner to plan your trip.

HOURS Museum Tue, Wed, Sat » 11 am–5 pmThur, Fri » 11 am–9 pmSun » Noon–5 pm

Lilly HouseOpen April through December, all Museum hours except on Thur and Fri; closes at 5 pm.

Both Museum and Lilly House are closed Mondays, Thanksgiving, Christmas, and New Year’s Day.

100 Acres, Gardens and Grounds Open daily from dawn to dusk

TOURS

The IMA offers free public tours of its galleries, 100 Acres, Lilly House, and gardens. For a complete schedule, including tour themes, visit imamuseum.org.

ACCESSIBILITY

The IMA strives to be accessible to all visitors. » The Museum building and Lilly House are accessible for wheelchair users» Open captioning is available on in-gallery videos; Closed captioning available with select public programs» Assistive listening devices are available for all public tours and Toby events» ASL interpretations during select public programs and tours or by request. Call 317-923-1331 at least three weeks prior to event.» Service animals welcome» Family restrooms and nursing mothers room available

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

DINING

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

Happy HourThur & Fri » 5–9 pm

SHOPPING

Museum StoreBooks, jewelry, and museum- inspired merchandise

Design CenterDesign objects, furniture, and more

Madeline F. Elder GreenhouseRare and choice plants, gardening supplies, and gifts. Closes Thur & Fri at 8 pm.

IMA LIBRARIES

Stout Reference Library A non-circulating research library that consists of thousands of resources on the visual arts. 317-920-2647

Tue, Wed, Fri » 2–5 pmThur » 2–8 pm and by appointment

Horticultural Society LibraryNon-circulating collection of books and videos on gardening and related topics, open to the public. Located at Newfield. 317-923-1331 ext. 429

Tue, Wed, Sat » Noon–3 pm

FACILITY RENTAL

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

For more information: imamuseum.org/special-events or 317-923-1331, ext. 250

MEMBERSHIP

Membership helps support free general admission at the IMA.

For questions concerning member-ship, call 317-920-2651 or visit imamuseum.org/membership

AFFILIATES For more information about IMA art interest groups and clubs, contactaffiliates@imamuseum.org.

VOLUNTEER For more information about how you can get involved contact volunteer@imamuseum.org or 317-923-1331, ext. 263

CONTACT THE IMA

317-923-1331 (Main)317-920-2660 (24-Hour Info Line)imamuseum.orgmagazine@imamuseum.org

4000 Michigan Road Indianapolis, IN 46208317-923-1331imamuseum.org

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