winter 2012 ima magazine

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Beauty and Belief

Meet Charles Venable

Holidays at the IMA

Donor Thank You

NOV–JAN 2012–2013

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On the cover: Calligraphic Scroll (detail), Syria or India, 14th–15th century, Ink, watercolor and gold on paper, 800 x 36.6 cm. The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait.

Left: Tile, Greater Iran, second half 14th century, Composite body, carved and glaze painted, H: 20.8 cm. L: 32.6 cm. D: 4.8 cm. The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait.

Pages 24–25: A. Bitterman, INDIGENOUS: Out of the Wild, 2012. 100 Acres:The Virginia B. Fairbanks Art & Nature Park.

Graphite 04 Dutch Paintings from Antwerp 06 Holidays at the IMA 08Digital Publishing at the IMA 16 Mola: Kuna Needle Arts 17Beauty and Belief 18Beauty and Belief: Crossing the Bridges with the Arts of Islamic Culture features more than 250 objects dating from the 7th century through the present day, drawn from various public and private collections located across the US and around the world.

Indigenous 24Meet Charles Venable 26Documenting Modern Living 28 A Conversation with Kyle Long 34Exhibitions 36 Calendar 38 Recent Events 40 Donor Thank You 42About the IMA 47

I first visited the IMA almost 20 years ago, having been invited to lecture on American silver after writing a book on the subject. I still vividly recall being impressed by the quality and wide-ranging nature of the art collection and the graciousness of the staff and museum supporters. It was obvious to me that the IMA was on an upward trajec-tory. My recent years leading the Speed Art Museum in Louisville allowed my partner, Martin Webb, and me to become better acquainted with Indianapolis and the IMA, as we lived only two hours away and thus visited frequently. During the interview process I once again had the opportunity to stroll through the galleries and 100 Acres: The Virginia B. Fairbanks Art & Nature Park, as well as to visit the splendid Miller House and Garden in Columbus that is now owned by the IMA. These experiences, coupled with the enthusiasm of the trustees and staff, convinced me that the IMA’s trajectory was still upward bound.

The IMA is a place that brings people together with great art. In one gallery, a family enjoys an intimate self-portrait by Rembrandt or Van Gogh’s vibrant painting Enclosed Field with Peasant. Meanwhile, in the Asian galleries, a visitor contemplates the majestic pair of painted screens entitled

Birds and Flowers of the Twelve Months by the Japanese master Tosa Mitsunari, and marvels at the technical brilliance of a Tang dynasty tomb guardian figure. New galleries for one of the country’s best collections of African art recently opened, and additional ones for modern design will be completed next year. Ancient art, couture fashion, photography—the IMA offers endless sensations for the eyes and spirit. The collection and programs even extend beyond the walls into 100 Acres, where you experience contemporary art in a landscape teeming with flora and fauna…hummingbirds, maple trees, and even the occasional captive artist! In short the IMA is truly alive, pulsating with life and possibilities.

Becoming the director of the Indianapolis Museum of Art is a true honor for me personally. Martin and I are excited to be part of a community that seems to understand the importance of having a great art museum. As a member, you represent the bedrock upon which the IMA stands and upon which the future will be built. I look forward to meeting you at IMA events in the coming months and know that if we work together in building support for the IMA, great things are sure to follow.

Dr. CharLes L. VenaBLe the melvin & bren simon director and ceo

contents From the director

Meg Liffick Managing Editor emily Zoss Editor Matthew Taylor Designer

Tascha Mae horowitz Photo Editor Julie Long Assistant Photo Editor

anne M. Young Rights & Reproductions Laurie Gilbert Project Manager sabiha al Khemir rachel Craft ronda Kasl niloo PaydarMaureen saul Jennifer WhitlockIvy Wright Contributors hadley FruitsTascha Mae horowitzeric LubrickMike rippyaaron steele Photographers The IMA Magazine is published by the IMA, 4000 Michigan Road, Indianapolis, Indiana 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 obtainedin writing from the Rights & Reproductions office, 317-923-1331.

© 2012–2013 Indianapolis Museum of Art

The IMA Magazine is printed on paper containing FSC certified 100% post-consumer fiber, is processed chlorine free, and is manufactured using biogas energy. (The FSC trademark identifies products which contain fiber from well managed forests certified by SmartWood in accordance with the rules of the Forest Stewardship Council.)

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An exhibition exploring recent and innovative uses of the material graphite will open at the IMA on December 7. The first major museum exhibition to explore graphite as a medium in works beyond drawings, Graphite will include sculptures, drawings, and installations created over the past decade, including several newly commissioned works. Emerging and established contemporary artists such as Carl Andre, Karl Haendel, Kim Jones, Robert Longo, Geof Oppenheimer, and Molly Springfield, among others, will be featured. Graphite is a naturally occurring mineral as well as a synthetic, industrial product that can be processed in multiple ways. This exhibition brings together recent artworks that reveal the material’s potential to take a variety of forms—it can be machined or carved; used as a powder or a liquid; in lump, stick, or pencil form—and yield a wide range of visual effects. “By bringing together works that share only the basic similarity of the use of graphite, we hope to provoke a reexamination of topics like material choice and the experience of an object—ideas embedded in contemporary artistic practice but often taken for granted,” said Sarah Urist Green, curator of contemporary art at the IMA. “This exhibition seeks to create a conversation about the significance of medium at a time when the subject has been largely ignored.”

Among the more than 50 works in the exhibition, visitors will encounter Carl Andre’s Graphite Cube Sum of Numbers (2006), composed of 164 units of machined graphite arranged in a geometric progression stretching nearly 20 feet on the gallery floor. Kim Jones will create a new War Drawing for the exhibition that will extend from an existing graphite on oil cloth work, which depicts an elaborate battlefield diagram pitting X against O figures in an ongoing war of markings and erasures that indicate the move-ments of each force. The drawing will begin on the oil cloth and spill out onto the surrounding walls. Judith Braun will create a new wall drawing as part of her series Fingerings, in which the artist dips her fingers in powdered graphite and uses her hands to make symmetrical movements at the extent of her arms’ reach. Also featured in Graphite will be a selection of works from Robert Longo’s Heritage series—intimately scaled graphite on paper drawings in which Longo has reproduced iconic artworks that have inspired or informed his practice.

Opening events for Graphite are Thursday, December 6.

see page 38 for more information.

Organized by the IMa, Graphite will be on view through april 7, 2013 in the McCormack Forefront Galleries.

Top: Dan Fischer, Eva Hesse, 2002, graphite on paper, 15 x 12 in. Image courtesy of Derek Eller Gallery. Left: Carl Andre, Graphite Cube Sum of Numbers, 2006, 164 graphite cubes, each cube: 4 ½ x 4 ½ x 4 ½ in., overall: 4 ½ x 229 ½ x 40 ½ in. Image courtesy of Sadie Coles HQ, London. © Carl Andre/Licensed by VAGA, New York, NY.

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“Van Eyck is a ‘no-go zone,’” replied Nico van Hout, curator at the Royal Museum in Antwerp. I had not dared to ask my genial colleague for Jan van Eyck’s unfinished St. Barbara or his jewel-like Madonna by the Fountain, but on learning that the museum would be closed for renovation until 2018, I did inquire whether long-term loans to the IMA could be arranged. Discussions followed and a collaboration between our distant institu-tions took shape: IMA conservators would undertake the study and treatment of two Dutch paintings in return for the privilege of exhibiting them in Indianapolis until the Royal Museum reopens. Both paintings—Maarten van Heemskerck’s striking portrait of an unknown man and Gerrit Berckheyde’s meticulous “portrait” of a well-known landmark— are now temporarily displayed at the IMA in the The William C. Griffith, Jr.

and Carolyn C. Griffith Gallery of Dutch Works. This fall, Museum visitors can view the paintings before they undergo conservation treatment, then return in the following months to see the results of the conservators’ work. Heemskerck’s Portrait of a Man is a work by a painter who is best known for his admiration for antiquity and his assimilation of contemporary trends in Italian art. The compelling realism of this early work, with its sensitive attention to physiognomic detail, is more faithful to Netherlandish visual traditions, and its essential corporeality foretells later achievements in portraiture by Dutch artists like Rembrandt and Hals. Berckheyde’s View of Dam Square and the Amsterdam Town Hall was painted in 1668, just three years after Jacob van Campen’s monumental classical-style building was finished. Contemporaries proclaimed it the

“Eighth Wonder of the World,” and Berckheyde was among the first painters to respond to the demand for depictions of it. He painted the subject no fewer than 35 times. This wide-angle view of Dam Square, with the new Town Hall at its west end, is among his earliest versions of the subject. Its composition derives from that of a propaganda print aimed at the taxpayers who bore the expense of the costly project. Built on the dam in the Amstel river that gives Amsterdam its name, the Town Hall was a potent symbol of the city’s political and economic power. At the time of the build-ing’s inauguration, the poet Constantijn Huygens called on city leaders to live up to the values it embodied: “May God, who commanded you to unite power and glory with reason, give you in this building reason and pleasure to show who you are.” If the Town Hall was the seat of government and the embodiment of civic identity, Dam Square was the center of urban life, a vibrant place of commerce and assembly. Berckheyde’s view of the square shows goods being conveyed to and from the Weigh House, a Renais-sance-era building decorated with municipal coats-of-arms, where taxes were levied on imported merchandise. The square bustles with the activity of vendors and shoppers, country folk and city dwellers, citizens and foreigners. Exotic figures wearing turbans and oriental dress converse with merchants in dark coats, a detail that alludes to Amsterdam’s status as a thriving center of international trade.

In the coming months, IMA conservators Linda Witkowski and Christina Milton O’Connell will conclude their careful examination of both paintings and will begin the work of conserving them. Close visual observation—aided by imaging techniques such as ultraviolet illumination, infrared reflectography, and x-radiogra-phy—will enable them to detect areas of damage and restoration, observe the characteristics of surface coatings, document working methods, and gain a better understanding of the complex, layered structures of both paintings. Detailed treatment proposals will be developed in consultation with colleagues in Antwerp, and with their consent, IMA conservators will carefully remove layers of dirt, discolored varnish, and old retouchings. Once this is accomplished, new, non-yellowing layers of varnish will be applied, and any areas of loss and damage will be reintegrat-ed with stable and reversible conservation paint. Months from now, when the paintings make their next public appearance, Heemskerck’s unknown sitter will gaze upon us with even greater self-assurance, and Berckheyde’s view of the Dam will be animated with even more vivid comings and goings.

teXt by rOnDa KasL senior curator oF Painting and sculPture beFore 1800

dutch Paintings from antwerp

Below: Gerrit Berckheyde (Dutch, 1638-1698), View of Dam Square and the Amsterdam Town Hall, 1668, oil on canvas, 27 9/16 x 43 1/8 in. (70 x 110 cm), Royal Museum of Fine Arts Antwerp. (Pre-treatment)

Top: Conservators Linda Witkowski and Christina Milton O’Connell examining Dam Square in Amsterdam. Above: Maarten van Heemskerck (Dutch, 1498-1574), Portrait of a Man, oil on wood, 27 1/16 x 20 3/16 in (69 x 52 cm), Royal Museum of Fine Arts Antwerp. (Pre-treatment)

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the days are shorter, and a chill has crept into the air. the holidays are nearly here! this season, be sure to enjoy the many opportunities to celebrate, shop, and save at the ima.

Holiday Shopping Christmas at Lilly House Winter Solstice Holiday Hullabaloo

2012

Mobile Art Book $19.95 (MS)

Art Cube $23 (MS)

Chive Dot Vase $18.25 (GH)

Calista the Cat $35 (MS)

Blue Clouds Mobile $65 (MS)

Topsy Turvy Stacking Blocks $19.99 (MS)

Gardening Projects for Kids $19.95 (GH)

Bunny Melamine Set $35 (MS)

Osborne the Owl $35 (MS)

Alexander Girard Eden Giant Floor Puzzle $19.95 (MS)

Davidson the Dog $35 (MS)

Alexander Girard Color Board Book $14.95 (MS)

holidays at the IMA

for KIDS

(MS): Museum Store / (GH): Greenhouse Shop

PhotograPhy by erIC LuBrICK

styled by KrIsTOFer BOWMan

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Woodstock Craftsman Chime $48 (GH)

Jonathan Adler Mr. and Mrs. Muse Mug $25 (MS)

Frank Lloyd Wright Whirling Arrow Card Case $55 (MS)

Lotus Baby Bonsai Tree $19 (GH)

Balthazar Korab: Architect of Photography Book $40 (MS)

Forum Watch, Designed by Michael Graves $130 (MS)

Frank Lloyd Wright Storer House Trivet $24 (MS)

Roost Recycled Glass Terrarium, as planted $275 (GH)

Le Corbusier Architect’s Mechanical Pencil and Eraser Set $68 (MS)

Silk Ties featuring designs by Gene Meyer $40 each (MS)

for HIM

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Christian Lacroix Voyage Journal $40 (MS)

Hand-Blown Glass Vase $120 (MS)

Dove Ornament $15 (MS)

Wallet and Purse $22, $28 (MS)

Robert Held Glass Heart $55 (MS)

Sterling Silver Bubbles Ring $115 (MS)

Sterling Silver Bracelets $260–$300 (MS)

Dove Dishes $18 each (MS)

Wool Scarf $120 (MS)

Roost Recycled Glass Hanging Terrarium, as planted $80 (GH)

Miller House Conversation Pit Boxed Notecards $12.95 (MS)

Free Basket Lunch Bag $21.95 (MS)

Free Basket Mug $12.95 (MS)

Free Basket or Eden 100 Piece Jigsaw Puzzles $16.95 each (MS)

Art & Nature Park Banner Tote $18.95 (MS)

Eco Bamboo Egg Birdhouse $22.50 each (GH)

Mini Orchid $12.50 each (GH)

Eames Numbers Blank Book $19.50 (MS)

Frank Lloyd Wright Mini Books $9.95 each (MS)

Chive Dot Vase $18.25 (GH) Alexander Girard Quatrefoil 2 Deck Playing Card Set $14 (MS)

Holiday Cards $12.95–$22.95 (MS)

for HER

under $25

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As the holidays approach, so too does the embrace of annual traditions, whether in honor of sacred religious beliefs or merely the infectious merriment of the season. For many in Indianapolis it has become customary to spend a night basking in a storybook-like setting with luminaria-lined gardens and music-filled rooms, appreciat-ing a beautifully detailed nod to a complex era in American history. In 2002, Lilly House was renovated from use as an exhibi-tion space back to an interpreta-tion of the grand residence it had once been. With the restoration came the redesign of a near-and-dear community tradition, a full-scale holiday event that would reinvigorate the home to showcase a vision of the Christmas spirit from the Lilly family’s occupancy

in the 1930s—a time when holiday cheer was relied upon to overcome the shadows cast by the political and economic challenges of the day. Beginning each January, Bradley Brooks, director of historic resources and assistant curator of American decorative arts at the IMA, begins planning the year’s décor for Christmas at Lilly House. Though there is no evidence of the Lilly family’s personal Christmas celebrations, Brooks searches for fresh ideas and period-appropriate details from various resources. While creating a unique theme-oriented scene in each room, Bradley works with the IMA’s horticultural experts as well as the Engledow Group, a local partner known for horticulture services and seasonal decorations, to create the accents that help keep each

year distinctive. Though not every aspect is intended to be precisely historically accurate, the overall feel succeeds in transporting visitors to another time. While exploring the home, it is easy to imagine the Lilly family playing Monopoly in the game room, escaping with an Agatha Christie novel in the library, or gathering around the radio to tune into one of Roosevelt’s fireside chats. Each winter, innovative designs come together in a visually stunning arrangement to create a magical holiday destination one can enjoy with the whole family. Christmas at Lilly House opens to the public in mid-November for what is sure to be another remarkable year.

IMA Community Day: Winter Solsticethursday, december 20, 2012 5–8:30 pmima grounds Free

Celebrate the season with IMA’s annual Winter Solstice celebration. Step outside for an ice carving demonstration, art making, and music. Warm up in Lilly House with historic holiday decorations, then finish your shopping at the Greenhouse and Museum. Cozy up to the bonfire with hot chocolate and holiday treats available for purchase from Nourish Café. Free parking.

Holiday Hullabaloothursday, december 6 , 2012 5–9 pmmuseum store, greenhouse shop & lilly house christmas shop Free

You’re invited to an evening of holiday shopping and festivities at the IMA. Find a unique gift for someone you love, drop a hint by creating a wish list with our gift registry, or shop for an extra-special something to deck the halls for holiday gatherings to come. Enjoy music, complimentary giftwrap, holiday refreshments, and special pricing available only during Holiday Hullabaloo!

IMA Members will receive a 20% discount on all purchases during this event.

christmas at lilly house

special holiday events

Christmas at Lilly house opens to the public november 10 and closes January 6, 2013.

Patricia Locke Avant-Garde Bracelet $230 (MS)

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The Kuna Indians, an indigenous people of Panama and Columbia, are renowned for their molas: bright, colorful, and meticulously appliquéd textiles that adorn the front and back of Kuna women’s blouses. In 2008, a collection of more than 350 molas was donated to the IMA by Irene Hollister. Living in New Hampshire, Mrs. Hollister had identified the IMA as the ideal home for the molas from the San Blas Islands of Panama that had been collected by her late husband, Paul Hollister— a writer, lecturer, painter, and photographer—during the 1960s and 1970s. Beginning October 12, a selection of approximately 50 of the finest molas from the Mu-seum’s collection, ranging in date from the early 1900s to the 1970s, will be displayed in the IMA Alliance Gallery. Molas are handmade using at least two layers of fabric in contrasting colors. Older and more complicated molas may be constructed with several layers of fabric. The complex designs of these textiles reflect their origins in Kuna body painting practices. After the Spanish colonization and subsequent interactions with missionaries, the Kuna people began to adapt their traditional

designs from body painting for use on fabrics for clothing. Initially the Kuna women painted designs on fabric, but over time they adopted the complicated construction technique known as reverse appliqué. Layers of cloth are stacked and sewn together and designs are formed by cutting out parts of each layer. The largest pattern is cut from the top layer and progressively smaller patterns are excised from each succeeding layer; cutting multiple layers at once provides variance in color. Raw edges are then turned under and sewn down to finish the design. The finest molas are made with tiny needles that allow for the execution of extremely small and nearly invisible stitches. The molas included in the exhibition reflect the broad range of motifs and designs that can appear on these remarkable textiles. Motifs may be geometric, depicting mazelike abstract patterns, or feature people, animals, and birds that represent traditional Kuna myths and legends. Depictions of Western graphics and commercial designs have also been popular in the last 50 years.

molaKuna needle arts from the san blas islands, Panama

MOLA: Kuna Needle Arts from the San Blas Islands, Panama will be on view in the IMa alliance Gallery through april 28, 2013.

Above: Kuna Indians, shirt panel (mola), about 1950s, appliquéd cotton. The Paul and Irene Hollister Collection of Kuna molas, 2008.712. Top Right: Kuna Indians, Mola (shirt), 1920-1970, appliquéd cotton, 18 5/8 in. (length neck to hem). The Paul and Irene Hollister Collection of Kuna molas, 2008.380.

In a field that’s rapidly evolving, museums are exploring ways in which digital publishing can both complement and enhance traditional publish-ing models. While print-based catalogues won’t be disappearing from our shelves anytime soon, digital counterparts can provide new avenues for engagement. At the IMA, we’re viewing this as an opportunity to expand beyond the printed page, building additional texts, multimedia, and interactive elements that will together offer a depth of content that is not possible in printed form. As a leader in the development of new applications for technology in museums, the IMA has been actively involved in conversations about digital publishing, and we’ve been working to identify opportunities to expand our connections with other innovators in the field—both within the museum world and beyond. To this end, the Publishing and Media department has initiated a program to partner with some of the top-tier design programs in the country to create the IMA’s first interactive design fellowship. This fellowship provides a graduate student, working under the guidance of faculty advisors, with the opportunity to design a digital art catalogue for the museum. Throughout the process, the student will collaborate closely with artists, curators, and IMA digital media, technology, and publications staff. Each project is viewed as a creative experiment, with student, staff, and faculty exploring the opportunities and challenges that digital publishing presents along the way. To continually push the scope of these conversations, the IMA will seek a new partner to collaborate with on each project. To kick off the fellowship initiative, a digital complement to the IMA’s catalogue for the recent exhibition Aziz + Cucher: Some People proved to be the perfect place to start. Created by the artist collaborative Aziz + Cucher, the body of work that constitutes Some People includes digital animation, performance, video, and sound—elements that can be experienced only in a limited sense on the printed page. The artists are also widely considered to be pioneers in the field of digital imaging, making it all the more appropriate to collaborate with them on our first foray into digital publish-ing. In addition, Anthony Aziz teaches at Parsons The New School for Design, a fact which facilitated involving the esteemed school as the first

partner institution for the interactive design fellowship. Two students, Navit Keren and Or Zubalsky, were chosen to design the digital catalogue and conduct related research, reimagining art catalogue design for the touch screen. Parsons faculty members David Carroll, Director of the MFA Design and Technology program, and Juliette Cezzar, Director of the BFA Communication Design and BFA Design and Technology programs, were enlisted to mentor the students throughout the process. In collaboration with the artists and students, IMA staff developed material that expanded upon the stories presented in the essays from the print edition of the catalogue, integrating additional photographs, video interviews with the artists, and blog posts from the overseas trip that inspired Some People. An interactive historical timeline was also included, positioning the artists’ oeuvre alongside significant cultural, political, and societal moments that served as influences throughout their career. Anthony Aziz and Sammy Cucher summed the experience up perfectly: “This has been a wonderful process of discovery for all of us, as none of us were familiar with what it takes to design and execute an e-publication. We have learned, along with the students, just what it takes from a technical point of view, but we have also been forced to really think about how the reading experience of an art catalogue can be enriched with additional multimedia content alongside the central essays in the book. We look forward to how it will be received by the general public and art world.” The print edition of Aziz + Cucher: Some People, published in collaboration with Hatje Cantz, is now available at the IMA Museum Store. The digital edition will be available to download as an app via the iTunes store during the fall of 2012 and can be found via the IMA website.

Generous support for the catalogue provided by the Elizabeth Firestone Graham Foundation.

digital Publishing at the ima

teXt by raCheL CraFT director oF Publishing and media

teXt by nILOO PaYDar curator oF teXtile and Fashion arts

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teXt by saBIha aL KheMIr guest curator

Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture was born from a strong conviction in its meaning and purpose: wishing to communicate a sense of beauty par-ticular to the Islamic world that is also universal and has something to share with humanity at large. The exhibition was initiated by the Brigham Young University Museum of Art and features more than 250 objects dating from the 7th century through the present day, drawn from various public and private collections located across the US and around the world. The Indianapolis Museum of Art is the next step of its jour-ney to several venues throughout the country.

When we hear about the arts of the Islamic world, we probably imagine a religious art. In fact, most of this art is secular. Islamic art is not art for art’s sake, though. As the exhibition reveals, these are mainly objects intended to be used as part of everyday life, from a carpet that covered the floor to a bowl that held food.

By integrating religion into all aspects of life, Islamic culture reflects the principles of Islam in its aesthetic ideals. Objects in secular space are imbued with the sacred, and what the objects of everyday life embody makes them constant reminders of the divine, even in the most secular aspects of life. The sacred is thus manifest everywhere in Islamic art, even in objects that have no overt religious function or meaning, and objects form a bridge between the daily life of humankind and the heavenly realm. A functional object can be beautifully decorated but also incorporate Islamic thought, reflecting that direct connection between beauty and the divine. This exhibition aspires to communicate that conceptual context, which is both a mentality and a way of seeing.

A saying of the Prophet Muhammad, “God is beautiful and loves beauty,” reflects the view of God as the ultimate beholder who sees all. Everything that is beautiful con-nects with His nature. This saying sets the aesthetic principle for Islamic art. Artists transformed diverse materials as basic as earthenware and as precious as silk with equal dedication and concern for aesthetic grace. Based on the belief that God loves beauty, the act of beautifying is seen as an act of devotion akin to a prayer, testifying to the oneness and permanence of God.

Left: Bowl with Animals, Iran (Kashan), 13th century, Earthenware with underglaze, 10.8 x 25.4 cm. Indianapolis Museum of Art, Emma Harter Sweetser Fund.

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A unity of expression

The Muslim community is unified not by geography, nationality, or something material, but by faith and spiritual beliefs. The term Islamic art covers objects created on various continents spanning centuries and that embrace a multitude of races, religions, and cultures. Beauty and Belief high-lights the complex cultural context of each object and its bridging qualities; some objects even speak directly about shared beliefs between different religions. All works, though, are linked by the unifying presence of Islam, which helped this rich variety of influ-ences shape a visual language that is readily recognizable and allowed for a unity of expression across time and space. Even though regional and periodic trends can be singled out and objects may vary in style, they all manifest a similar sensibility of aesthetics and inhabit the same spiritual uni-verse, reflecting commonalities shared between Islamic cultures across centuries. The exhibition provides “a view from within,” and visitors undertake a voyage of both learning and unlearning, opening a space of discovery.

The exhibition journey

The exhibition unfolds through thematic rather than linear stages. An introductory section provides the historical and geographical background. By 715, Islam had spread from Spain to Central Asia, and the far-flung reaches of the Islamic world became strongly connected by unifying precepts. At the beginning of the exhibition journey, the visitor will encounter

cultural concepts that serve as keys to unlock meaning. An example is the principle of Dhahir and Batin (Visible and Invisible), the understanding of which leads to the recognition that everything, including each work in the exhibition, is considered part of a greater whole. The exhibition offers a visual journey and a visceral experience. A way of seeing the world, a way of being, becomes tangible as we advance in this journey. The rest of the exhibition highlights the objects in a way that brings out three main facets of the language of Islamic art: calligraphy, the figurative, and pattern. The first of these sections, entitled The Word, is devoted to the art of calligraphy. It visually illustrates the preponderance of the word across time and media while emphasizing the central role of the word in Islamic culture—an importance that is also recognized by the cultures of the other “people of the book,” including Christians and Jews. Omnipresent in Islamic art, the word was even rendered on the leaves of trees; an example includes the saying “The best people are those who do good for other people.” Since the idea of a ban on figurative imagery is probably one of the most widespread misconcep-tions about Islamic art (among both Muslims and non-Muslims), the section designated Figures and Figurines provides a poignant visual experience of unlearning. It shows how the figurative—though reserved for secular contexts—is in fact present in Islamic art through different media and across centu-ries, and demonstrates how and why the figurative is treated differently within Islamic art. From an eating bowl with the figure of a peacock to a bath scraper that takes the shape of a hedgehog, the exhibition reveals how the figurative form is fully integrated in the fabric of everyday life.

Above: Falnama Manuscript Painting of the Virgin Mary and Baby Jesus, India or the Ottoman Empire, c.1600, Gouache on cloth, 33.2 x 21.2 cm. Private Collection. Right: Natural Leaf with Calligraphy, Thuluth script, Turkey, 19th century, Horse chestnut leaf, H: 20.3 cm. W: 8.9 cm. Private Collection.

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The emblem of the exhibition

The writing of the expression Allah khaliq kulla shai’ (God is the Creator of all things) is executed in a continuous calligraphic line with neither beginning nor end. This calligraphic piece expresses strong visual and thematic coherence, illustrating the interconnectedness between beauty and belief. The treatment of the exhibition’s themes is similarly interconnect-ed, with no one stage of the journey capable of being separated from the whole. At the “end” of the journey visitors are invited to reconnect with its beginning in a place of new understanding.

A section on Pattern encompass-es geometry and the arabesque. The extensive use of ornament and the filling of empty space is looked at through Muslim mentality and belief. Something in the nature of pattern itself explains why it was embraced in Islamic art and culture on such a large scale. Pattern is in harmony with the notion of Tawhid (the oneness of God) and a belief in the abstract quality of God. In the visual language of the Islamic world, pattern became the perfect tool to allude to the infinite nature of God. A pattern, whether floral or geometric, reveals only part of the whole. It alludes to the Infinite. One cannot see directly but is offered a sense of the presence of the divine. The effect of these patterns creates a musical rhythm that opens the heart to a space of contemplation.

Inviting the visitor to look closely

The exhibition consciously incorporates a broad range of works: modest as well as virtuoso pieces, objects carved from precious stones as well as those molded from base material, creations both imposing and intimate. These juxtapositions invite the visitor to look closely in order to decipher the many layers of meaning contained within the objects. The more we look, the more we see. It is a journey that can transform sight into insight.

organized by the brigham young university art museum, Beauty and Belief is supported by a major grant from the institute of museum and library services, grants from the national endowment for the arts and the national endowment for the humanities as well as a number of private donors. support for public programming at the ima provided by the doris duke Foundation for islamic art.

Left: Calligraphic Scroll (detail), Syria or India, 14th - 15th century, Ink, watercolor and gold on paper, 800 x 36.6 cm. The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait. Above: Composite Elephant and Other Creatures, Northern India, circa 1600, Opaque watercolor and gold on paper, H: 15.88 cm. W: 22.23 cm. The San Diego Museum of Art, Edwin Binney 3rd Collection.

“The more we look, the more we see. It is a journey that can transform sight into insight.”

Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture will be on view through January 13, 2013, in the allen Whitehill Clowes special exhibition Gallery.

Opening events for Beauty and Belief are Thursday, november 1. see page 38 for more information and related programming.The Beauty and Belief catalogue is available for purchase in the Museum store.

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Life Outside the Museum

venable and his partner, martin Webb, will live at Westerley, the historic 1920s estate, once home to the clowes family, that was given to the ima for use as the director’s residence. martin is the principal at mW innovations, a consulting firm specializing in marketing, product development, and brand manage-ment strategies. originally from houston, he received his mba from southern methodist university. in additional to his multiple volunteer efforts, martin is an avid traveler and sports enthusiast who enjoys biking, cooking, and gardening. the couple has a 23-year-old daughter, alexandra venable, who recently graduated from vassar college and currently lives in louisville.

Follow charles venable on twitter: @VenableArt

What led you to a career in the arts? I have always liked art. My mother always called me the “artsy” one of her three sons because I was so enthusiastic about craft projects when I was a child. In junior high school I took private painting lessons from my art teacher and found that most enjoyable. I vividly recall saving my money so that I could purchase my very own easel. However, I became really serious about art when I went to Rice University in Houston, Texas. Although I was in the pre-med program and hoped to become a physician, I took both life drawing and sculpture as electives. But, it was Art History 101 that changed everything for me. I simply loved traveling through time and around the globe through art. Plus I had a wonderful professor who made everything come alive for her students. How magical it was to listen to Mozart while gazing at slides of German rococo church interiors or imagining what it must be like to walk though a building using only a floor plan. From then on I was hooked on art history and was fortunate to receive an internship at the Museum of Fine Arts, Houston down the street, and then to become a Jamison Fellow there, before heading off to graduate school on the East Coast.

What excites you about joining the IMA? I enjoy all kinds of museums. From small ones dedicated to very narrow subjects to huge ones like the Louvre, British Museum, and the Metro-politan. But the ones in the middle hold a special place in my heart. The IMA fits that category very well. With more than 54,000 works of art, the collec-tion has real breadth and depth. I especially like the fact that we

have much of the world repre-sented here at the IMA with fine holdings of Japanese, Chinese, African, European and American art, as well as a wide array of media—textiles, works-on-paper, photography, ceramics, metal-work, pastels, oil paintings, watercolors, glass, plastic, and so forth. Everyone can truly find something to delight them here at the IMA. My partner, Martin, and I are also plant geeks and thus are interested in garden history, horticulture, and parks. When I was about 10 years old, for example, I took starts from all my grandmother’s daylilies and within three years hybridized a selection of new varieties. Tragically, they were all brown and rather drab, but I learned a lot about botany along the way. More recently Martin and I have created gardens around our houses in Dallas, Cleveland, and Louisville and are looking forward to reviving the one at Westerley, the IMA’s director’s home near the Museum. We are also excited about the formal landscape around the Lilly House and the wilder one in 100 Acres. The intersection of art and nature can be very dynamic.

What are you and your cats most looking forward to as new residents of Indianapolis? Martin and I like living in the Midwest and know we will enjoy India-napolis. Our two Maine Coon cats, Atlas and Zeus, are just as excited. Their new quarters at Westerley will give them plenty of room to romp, while events we plan to host in the house will give them ample opportunity to engage with new people. They simply love to make dramatic entrances at parties!

meet charles venable the melvin & bren simon director and ceoon august 15, the board of governors of the indianapolis museum of art announced the appointment of dr. charles l. venable as the melvin & bren simon director and ceo of the museum. venable, who was director and ceo of the speed art museum, assumed his role at the ima on october 8, 2012. venable brings more than 25 years of museum experience to the ima, having held senior positions at some of the country’s top encyclopedic art museums, including the cleveland museum of art and the dallas museum of art. during his five-year tenure as director and ceo of the speed art museum in louisville, Kentucky, venable fueled tremendous institutional growth and initiated innovative programs that placed a special focus on the permanent collection and fostered deeper engagement with the public. “charles has a proven track record as a director, curator and fundraiser at leading museums across the country,” said June mccormack, chair of the ima board of governors. “during his five years as director of the speed, charles developed and instituted a clear vision for the future of his museum. he also initiated innovative partnerships that broadened the speed’s reach throughout the louisville community, which speaks to his understanding of how a museum can serve as an anchor and cultural hub for its city, as the ima does for indianapolis.” a native texan, venable holds a Ph.d. in american studies from boston university, an m.a. in Fine and decorative art from the university of delaware and a b.a. in american history and art history, cum laude, from rice university.

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Modern Living

DIgItIzIng tHE MIllER HouSE AnD gARDEn CollECtIon

Photos: Miller House and Garden Collection, IMA Archives

DoCuMEntIng

The Miller House and Garden Collection, part of the IMA Archives, contains the unique records of the design, construction, and maintenance of the Miller House

and Garden in Columbus, Indiana. The August–October 2012 issue of the IMA Magazine announced the Museum’s receipt of a substantial National Endowment

of the Humanities grant to digitize these materials and make them available to the public on the web. Now, take a closer look at what makes this collection

so special and why this initiative is so important.

teXt by JennIFer WhITLOCK archivist

TrICIa GILsOnarchives and content sPecialist

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if the archives were laid out end to end, they would lap the indianapolis Motor Speedway twice, or stretch the length of a football field 88 times.

played a major role in this effort. In a letter dated December 11, 1958, Mr. Miller reflected on the role of the client: In working with the architects, Mrs. Miller and I made complete detailed studies of all space, storage, and other requirements as contained in our former house, individual additions needed to make them satisfactory and forecasted future requirements. I feel for a successful house it is necessary that the clients do a great deal of work in order to provide the architect with the basic information he must have to do an intelligent job.

FaMouS houSe, private LiveS

While the story of J. Irwin Miller’s commitment to Modern architec-ture has been widely known, the more personal chapter of that legacy is only now becoming available for examination and study. Documents in the collection reveal how the Millers sought to balance their commitment to maintaining the family’s privacy with their wish to acknowledge the achievement of the property’s designers. When the Millers received a request from the New York Times in 1957 to photograph and publish the house, Mr. Miller declined the inquiry, writing, My wife and I have not really made our minds up on the subject of publishing pictures of our house. Our own desire is to publish none, but we desire also not to stand in the way of recognition due Messrs. Saarinen and Girard in respect to the very fine work which they have done on this project.

not your average architecturaL archive

Collections of archival records relating to architecture are numerous, but few collections offer the array of viewpoints that this collection does. What’s more, few of the iconic midcentury Modernist houses have these records available online for research and study. The IMA will set a precedent by presenting such a valuable collection of architectural primary sources online. A number of factors set the Miller House and Garden Collec-tion apart from other architecture collections. Most architecture collections consist of papers from the architect’s office that docu-ment the design and construction of their various projects. The Miller House and Garden Collection spans over 50 years and presents diverse perspectives from a number of collaborators, including those of the client, architect, interior designer, landscape design-er, and several photographers. In addition, the Millers were not typical clients. J. Irwin Miller’s civic involvement and architec-tural patronage through the Cummins Engine Foundation’s Architectural Program spurred a Modern design legacy throughout the city of Columbus. While several other Modernist house museums exist, these houses were not designed as year-round family dwellings, as Miller House was. Its larger scale, functionality, and practical accommodations were significant factors in the design. The Millers


32 33

Eventually they agreed to allow the preeminent architectural photographer Ezra Stoller to come and photograph the house for Architectural Forum, insisting that the images be published without mention of the clients’ name, the location, or the cost of the house. Although the Millers initiated the application for the property’s recognition as a National Historic Landmark, when it was awarded, information typically made publically available, such as the address, was withheld at their request. Thus, the highly acclaimed property has been a long-held curiosity, even among local Columbus residents.

Why digitize?

Since the Miller House and Garden opened to the public in May 2011, there has been not only a signifi-cant interest in the property but also a greater demand for the archival records. Digitization will help preserve this collection and increase its availability to a growing research audience. With the collection available online, a variety of researchers—including scholars and students of Modern 20th-century architecture, interior design, and landscape architecture—will be able to consult these rich materials remotely. The collection’s long-term documentation of the

midcentury materials regarding the structure, furnishings, technology, and gardens hold research value on such topics as preservation, stewardship, material culture, collecting, mass-produced and custom design, the integration of the Modern aesthetic and family life, and documentation practices.

digitizing iS More than Scanning

The collection includes four main categories of contents—docu-ments, photographs, drawings, and samples of materials—that together create an unusually comprehensive record. The total extent of the collection is 333.5 linear feet; it comprises 51 boxes of files, photographs, samples, and drawings; 2 card file boxes; 12 oversize flat boxes of photographs and materials samples; and 40 flat files of architectural plans. If the archives were laid out end to end, they would lap the Indianapolis Motor Speedway twice, or stretch the length of a football field 88 times. To make the collection available online is a multi-step process. Each of the approximately 23,000 records must be individually scanned or photographed, indexed, and added to a database on the web. The grant from the NEH will allow the IMA to buy the necessary equipment and software and to add two full-time employees to work with the archivist to complete the whole project.

The approximately 20,000 paper documents, such as correspon-dence, invoices, memorandums, notes, and inventories, will be scanned on a large 11 x 17–inch scanner. The nearly 1,500 large architectural plans and 700 textile samples and three-dimensional objects will be photographed. Images of all these materials will be uploaded to Archon, an open-source, web-based archives database program that will serve as the public portal to access the digitized collection. In addition, in order to make the collection searchable, multiple fields of metadata will be created by the grant staff and entered into Archon to describe each record, including full-text transcription of all typewritten text. Due to the time-consuming nature of the work, the digitization project is anticipated to extend until the spring of 2014.

More updateS to coMeCheck the IMA website at imamuseum.org/digitizingmillerhouseandgarden in the coming months to see highlights from the Miller House and Garden Collection and to follow the progress of the archivists.

This project has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the Human Endeavor.

Any views, findings, conclusions or recommendations expressed in this article do not necssarily reflect those of the National Endowment for the Humanities.


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What should people expect, musically speaking, when they come to Final Fridays? They can definitely expect to hear great music that reflects the creativity and innovation of the works of art in the galleries. They can also expect Final Fridays to provide a fun and exciting cultural experience. Each edition of Final Fridays will feature a different guest performer. As music curator for the event, I’ll be drawing on my background working with international music traditions. So expect lots of surprises and be prepared to hear intriguing new sounds. In regard to the atmo-sphere of Final Fridays, I think a good comparison would be a late-‘60s “happening” at Andy Warhol’s Factory—a space where a diverse group of people can come together to experience art and music in a fresh, stimulating environment.

What excites you the most about this opportunity to partner with the IMA?When I look at the Museum’s collection, I see a level of diversity that I aspire toward in my own work. The IMA’s collection spans thousands of years and represents the cultural heritage of civiliza-tions across the planet. The collection contains challenging contemporary work and familiar classics; deeply spiritual religious paintings and pop art; pieces by unknown folk artists and works by the Old Masters. I’m excited to develop a music program that encompasses all these concepts. I’m also excited about the future of Final Fridays. I believe we can grow this event into something very big and make it an integral part of the city’s cultural scene. So I urge everyone to come out and support it.

Do you have a favorite work of art in the IMA’s collection?Not necessarily a favorite work, but the African collection has fascinated me since visiting the Museum as a child. At an early age this work really challenged my perception of art. Unlike many of the pieces on display at the IMA, it seemed to me that the work didn’t aspire toward any conventional standard of beauty. Although elegantly crafted, some of the objects in the African collection were raw, brutal, and sometimes intentionally ugly to my eye. Actually, I remember being quite scared of some of the masks as a kid. But I was always drawn back, and my experience with this collection provided my first encounter with a non-Western artistic tradition. It sparked my interest in learning about other cultures and significantly influ-enced the work I do today.

Final Fridays Friday, January 25 / 6:30 pm–11 pm / ima galleries / Free

unwind at the ima with extended evening hours on the last Friday of each month from January through may. begin your evening at the sunset bar on Floor 4’s contemporary art galleries and then choose from a variety of experiences throughout the museum: take a slightly naughty gallery tour, do museum-label mad libs, meet an unconventional character stationed in the exhibition An American Legacy: Norell, Blass, Halston & Sprouse, or contribute to a group drawing project. starting around 8 pm, don’t miss the global, reggae-inspired downtempo grooves of Kaleidoscope Jukebox. cash bar; food available for purchase. Just for IMa Members: Join us in deboest lecture hall at 6 pm for a conversation with dr. charles l. venable. also on this night: the ima’s Winter nights series features a classic film at 7 pm in the toby.

dJ Kyle long is the guest musical curator for the Final Fridays series. a native of indiana, Kyle has always been interested in building bridges between his home state and ideas, people, and music from around the world. We took a moment to ask him about Final Fridays and his partnership with the ima.

a conversation with Kyle long

Left: Kyle Long, photograph by Eric Lubrick.Above: Event at the Sunset Bar on Floor 4’s contemprary art galleries. Photo courtesy of Zach Dobson.

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Musha-e: Japanese Warrior Printsthrough december 2 / Free / Frances Parker appel gallery / Floor 3

The power and visual strength of imagery combined with tales of honor and heroism was highly popular among the people of the Edo period. This exhibition features examples of the ukiyo-e genre called “musha-e,” or “warrior prints,” which depicted armored samurai in battle scenes and other historical or legendary settings. Popular literature and theater contributed to the blending of fact and fiction in these prints, creating fantastic figures much larger than life. Utagawa Kuniyoshi brought the genre to its pinnacle of popularity—as indicated by his nickname, musha-e no Kuniyoshi, or “Kuniyoshi of the Warrior Prints.” Four works by Kuniyoshi and one by his student Yoshitora are included. The exhibition also highlights works by such popular artists as Hokusai, Toyokuni I, Kunisada (Toyokuni III), Koryūsai and Shunzan in a variety of formats that include book illustrations, pillar prints, and triptychs in addition to the standard size (ōban) woodblock.

Watercolor society of Indiana annual Juried exhibition through december 2 / Free / north hall gallery / Floor 2

The Watercolor Society of Indiana presents its 30th annual juried exhibition of paintings. The Watercolor Society of Indiana 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.

an american Legacy: norell, Blass, halston & sprouse through January 27, 2013 / Free / gerald and dorit Paul galleries / Floor 3

An American Legacy: Norell, Blass, Halston & Sprouse highlights the achievements of celebrated fashion designers Norman Norell, Bill Blass, Stephen Sprouse and Halston, all of whom hailed from Indiana. Spanning more than 50 years of fashion history, the exhibition presents the work of four innovative designers, their individual styles and lasting influence on American fashion. The exhibition features 51 garments drawn from the IMA’s comprehensive collection, augmented with major loans from the archives of Stephen Sprouse. An American Legacy is the first group exhibition devoted to these prolific Indiana designers, whose work came to define true American style. It traces their careers and offers a fresh look at their creations, which range in date from the 1940s to the early 21st century.

William hogarth: The Painter of Comic history through June 2, 2013 / Free / the steven conant galleries in memory of mrs. h.l. conant / Floor 2

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

Graphitedecember 7–april 7, 2013 / Free / mccormack Forefront galleries / Floor 4

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

Lauren Zoll: something isnovember 16–april 14, 2013 / Free / carmen & mark holeman gallery / Floor 4

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

MOLa: Kuna needle arts from the san Blas Islands, Panama through april 28, 2013 / Free / alliance gallery / Floor 2

In 2008, a collection of more than 350 molas was donated to the IMA by Irene Hollister, whose late husband, Paul Hollister —a writer, lecturer, painter and photographer — collected them in the 1960s and 1970s. The molas represent the textile arts of the Kuna Indians, the indigenous people of Panama and Columbia. The Kuna are famous for these bright, colorful, and meticulously appliquéd textiles, which adorn the fronts and backs of women’s blouses. A selection of about 50 of the finest molas from the Museum’s collection will be displayed in the exhibition: MOLA: Kuna Needle Arts from the San Blas Islands, Panama. They range in date from the early 1900s to the 1970s and represent a myriad of motifs and designs.

Beauty and Belief: Crossing Bridges with the arts of Islamic Culturenovember 2–January 13, 2013 / $12 adults, $6 children 12 and younger, Free for ima members / allen Whitehill clowes special exhibition gallery / Floor 2

Historically, the arts of Islam cover a wide geographical area—from Spain to Indonesia—and includes an extensive ethnic, racial, linguistic, and cultural diversity. Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture explores an Islamic way of thinking, a way of seeing the world, and a way of being through visual expression. Sociological, mythical, and philosophical themes across Islamic culture are explored in an effort to bring about an understanding of its people. The exhibition will feature more than 250 objects of various media, including metalwork, ceramics, paintings, calligraphy, woodcarvings, carpets, and textiles.

organized by the brigham young university art museum, Beauty and Belief is supported by a major grant from the institute of museum and library services, grants from the national endowment for the arts and the national endowment for the humanities as well as a number of private donors. support for public programming at the ima provided by the doris duke Foundation for islamic art.

alyson shotz: Fluid statethrough January 6, 2013 / Free / efroymson Family entrance Pavilion / Floor 1

Alyson Shotz creates artworks in a wide variety of media that attempt to give form to the invisible forces of nature. Her installation for the Efroymson Family Entrance Pavilion includes a new adaptation of her sculpture Geometry of Light, the new animation Fluid State, and a series of digital prints titled Movement in Time. Shotz’s works are grounded in her

investigation of scientific concepts and theories. Geometry of Light is a consideration of the dual nature of light—that it has the characteristics of both a particle and a wave. The sculpture is composed of hand-cut plastic Fresnel lenses (magnifying lenses ridged with concentric circles to focus light), which are interspersed with glass beads and strung on stainless steel wires that extend across the space. Natural light filters through the lenses at varying angles and intensities throughout the day, activating the work and allowing the sculpture to reveal time through the movement of the sun. A visitor’s movement around Geometry of Light further activates the sculpture, revealing the ways in which our experience of space is shaped by our perception of light and motion.

Provincetownthrough november 11 / Free / susan and charles golden gallery / Floor 2

In 1915 Provincetown became the unwitting center of woodblock printmaking in the U.S. American artists abroad, who had made a specialty of printmaking, repatriated at the outset of World War I in August 1914, and congregated the following summer in the Cape Cod fishing village and summer art colony of Provinc-etown. A group of six artists wintered in Provincetown and invented a new form of color woodblock print made from a single block, which came to be known as the white-line woodcut, or the Provincetown print. For the next forty years, Provincetown was the center for the perpetuation of the craft of woodblock printmaking and for a modernist bent that was inherent in the original Provincetown prints. This exhibition includes 50 works in print, drawing and photography from World War I to about 1950.

Top: Utagawa Kuniyoshi, Aspects of the 6 Lucky and Unlucky Days of the Week: Shakku (Unlucky) (detail), 1860, color woodblock print, 14 3/8 x 9 3/4 in. (image) 14 9/16 x 9 3/4 in. (sheet). Miscellaneous Asian Art Fund, 2006.122;Above left: Bill Blass, evening dress, 1981, silk chiffon, silk taffeta, L: 57 in. Gift of Mrs. Ronald Reagan and Bill Blass, 82.50; Above right: Lauren Zoll, Canary & Crenshaw, 2012, digital photo. Courtesy of the artist.

exhibitions

38 39

17 SAT Film: New Cinema from the Middle East: Koran by Heart (2009) / deboest lecture hall / 1 pm / P $5, m $3

24 SATSpecial Event: IMA Community Day: A Feast for the Eyes / ima / 11 am–4 pm /Free

Family Activity: Hold It! / african galleries / 1–3 pm / Free

Family Activity: Family Tour / Welcome desk / 1:30 and 2:30 pm / Free

29 THRTalk: Re-Branding Islamic Architecture / the toby / 7 pm / Free

30 FRITour: Ya Jamil: Poetry Meets Art in Beauty / allen Whitehill clowes special exhibition gallery / 7–8 pm / P $12 (includes exhibition admission), m Free

DECEMBER

01 SATFilm: World AIDS Day: How to Survive a Plague / the toby / 2 pm / $9 P, $5 m

Family Activity: Star(lite) Art Cart: Build a Still Life / Pulliam Family great hall / 12–4 pm / Free

02 SUNFamily Activity: Arabic Calligraphy Demonstrations / Pulliam Family great hall / 2–4 pm / Free

Special Event: 6th Annual Holiday Hullabaloo / museum store, greenhouse shop & lilly house christmas shop / 5–9 pm / Free

06 THRExhibition Opening: Graphite / mccormack Forefront galleries / 7 pm / Free

Member Night Talk: Decorating Lilly House / deboest lecture hall / 6 pm

Special Event: Holiday Hullabaloo Shopping / museum store, greenhouse shop, and lilly shop / 5–9 pm / Free

07 FRITalk: Graphite Brown Bag / caroline marmon Fesler gallery / 11 am / Free

08 SATFamily Activity: Hold It! / asian galleries / 1:30–3:30 pm / Free

Family Activity: Star(lite) Art Cart: Build a Still Life / Pulliam Family great hall / 12–4 pm / Free


Film: New Cinema from the Middle East: The White Meadows (2009) / deboest lecture hall / 1 pm / P $5, m $3


14 FRITalk: Emerging Voices in Indianapolis Design / deboest lecture hall / 6 pm / Free

15 SATFamily Activity: Star(lite) Art Cart: Build a Still Life / Pulliam Family Great Hall / 12–4 pm / Free


20 THR Special Event: IMA Community Day: Winter Solstice / ima / 5–8:30 pm / Free

22 SATFamily Activity: Star(lite) Art Cart: Build a Still Life / Pulliam Family great hall / 12–4 pm / Free

22 SATFamily Activity: Hold It! / asian galleries / 1:30–3:30 pm / Free



26 WEDSpecial Event: Clearance Sale / museum store / 11 am–5 pm / Free

27 THRFilm: Beauty is Embarrassing (2012) / the toby / 4 pm / $9 P, $5 m

Film: Chasing Ice (2012) / the toby / 7 pm / $9 P, $5 m

28 FRIFilm: Chasing Ice (2012) / the toby / 4 pm / $9 P, $5 m

Film: Beauty is Embarrassing (2012) / the toby / 7 pm / $9 P, $5 m

29 SATFamily Activity: Star(lite) Art Cart: Build a Still Life / Pulliam Family great hall / 12–4 pm / Free

Film: Beauty is Embarrassing (2012) / the toby / 1 pm / $9 P, $5 m

Film: Chasing Ice (2012) / the toby / 3 pm / $9 P, $5 m

31 MON6x13: New Year’s Eve at the IMA / ima / 9 pm / P $125

JANUARY

04 FRIFilm: Winter Nights: The Fall (2006) / the toby / 7 pm / P $9, m $5

05 SATFamily Activity: Star(lite): Sandpaper Pointillism / star studio classroom / 12–4 pm / Free

10 THRSpecial Event: Thursday Night Book Club: My Name is Red by Orhan Pamuk, 1998 / allen Whitehill clowes special exhibition gallery / 6:30–7:30 pm / P $12 (includes exhibition admission), m Free

11 FRIFilm: Winter Nights: Sin City (2005) / the toby / 7 pm / P $9, m $5

12 SATFamily Activity: Star(lite): Sandpaper Pointillism / Pulliam Family great hall / 12–4 pm / Free

Family Activity: Hold It! / clowes courtyard / 1:30–3:30 pm / Free


17 THRFilm: Art History on Film: A Portrait of Wally (2012) / the toby / 7 pm / P $5, m $3

18 FRIFilm: Winter Nights: Dangerous Liaisons (1988) / the toby / 7 pm / P $9, m $5


21 MON Special Event: IMA Community Day: Martin Luther King Jr. Day: Common Threads / ima / 11 am–4 pm / Free

24 THRFilm: Art History on Film: The Mill and the Cross (2011) / the toby / 7 pm / P $5, m $3

25 FRISpecial Event: Final Fridays / ima galleries / 6:30–11 pm / Free

Film: Winter Nights: Days of Heaven (1978) / the toby / 7 pm / P $9 , m $5


Family Activity: Hold It! / clowes courtyard / 1:30–3:30 pm / Free


31 THRTalk & Exhibition Opening: Spencer Finch / the toby / 6 pm / Free

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

assistive listening devices available for all toby events and public tours. asl interpretation available at toby events where noted.

P: Public M: IMA Members / s: Students / s&s: Students & Seniors

TOURS DAILY TOURS

Collection Tours offered daily. visit imamuseum.org for more information.

FRIDAY TOURS

Meditation Hikes 5:30 pm / meet at efroymson Family entrance Pavilion

Lilly House Tours 2–3 pm / meet in the lilly house lobby

SATURDAY/SUNDAY TOURS

Garden Walks 1 pm / meet at lilly house

Lilly House Tours 2–3 pm / meet in the lilly house lobby

NOVEMBER

01 THRTalk & Exhibition Opening Reception Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture / the toby / 6 pm / P $35, m $25, Free for ima council members (price includes talk, exhibition opening and refreshments; rsvP required)

03 SATFamily Activity Star(lite) Art Cart: Make Some Molas: Pulliam Family / great hall / 12–4 pm / Free

Film: New Cinema from the Middle East: The Noise of Cairo (2012) / deboest lecture hall / 1 pm / P $5, m $3

08 THRSpecial Event: IMA Member Double Discount Days / museum store & greenhouse shop / 11 am–9 pm / Free

Member Night: Special tour of Beauty and Belief / Welcome desk / 6 pm / Free for members

09 FRISpecial Event: IMA Member Double Discount Days / museum store & greenhouse shop / 11 am–9 pm / Free

Film: Indianapolis LGBT Film Festival / the toby & deboest lecture hall / 7–11 pm / Prices vary, visit www.indylgbtfilmfest.com for more information

10 SATSpecial Event: IMA Member Double Discount Days / museum store & greenhouse shop / 11 am–5 pm / Free

Family Activity: Star(lite) Art Cart: Make Some Molas / Pulliam Family great hall / 12–4 pm / Free

Film: Indianapolis LGBT Film Festival / the toby & deboest lecture hall / 12–11 pm / Prices vary, visit www.indylgbtfilmfest.com for more information

Family Activity: Hold It! / african galleries / 1–3 pm / Free


11 SUNSpecial Event: IMA Member Double Discount Days / museum store & greenhouse shop / 12–5 pm / Free

Special Event: 17th Annual Spirit & Place Public Conversation / the toby / 5:30 pm / Free

15 THRTalk: Wildflowers and Ferns of Indiana Forests – “With a Twist” / the toby / 7:30 pm / Free

17 SATFamily Activity: Star(lite) Art Cart: Make Some Molas / Pulliam Family great hall / 12–4 pm / Free

calendarofevents

MARK YOUR CALENDAR FOR FEBRUARY

02 SATSpecial Event: Member Mornings ima / 10–11 am / Free

starting in 2013, members can get into the ima before open hours one saturday each month for art-making fun, followed by an adventure in the galleries with a themed art search and Find guide. call the membership hotline at 317-920-2651 to register. all ages welcome!

Graphite (see page 4)

EXHIBITION OPENINGThursday, December 6 6–7 pm VIP Preview of Graphite mccormack Forefront galleries

Join us for an exclusive walk through of the exhibition with the artists and curator sarah urist green. be among the first to see the show, and hear directly from several of the artists about their work. (For council and contemporary art society. visit imamuseum.org/cas to join.) 7–9 pm Opening reception barney bridge south Free

celebrate the opening of Graphite with a public reception directly outside the galleries. hip-hop mcs mr. Kinetik, tony styxx, and allen imagery will provide freestyle interpretations of works in the exhibition. music by a squared industries. Free light snacks and cash bar featuring sun King beer. TALKFriday, December 7 11 am–noon Graphite Lunchtime Lecturecaroline marmon Fesler gallery, Floor 4Free; registration required

Join Graphite artists for a lunchtime chat about their work. order a boxed lunch from nourish beforehand or bring your own bag lunch.

limited to 50. register online at imamuseum.org or call 317-955-2339.

Beauty and Belief (see page 18)

EXHIBITION OPENING & TALKThursday, November 1 6 pm Opening reception the toby P $35, m $25, Free for ima council members price includes talk, exhibition opening and refreshments rsvP required Join sabiha al Khemir, guest curator, for an informal discussion exploring an islamic way of thinking about culture, visual expression, and the world. organized by the brigham young university art museum, Beauty and Belief is supported by a major grant from the institute of museum and library services, grants from the national endowment for the arts and the national endowment for the humanities as well as a number of private donors. support for public programming at the ima provided by the doris duke Foundation for islamic art.

eXhibition oPenings and sPecial events

40 41

to see more images of programs at the ima, visit flickr.com/imaitsmyart

The National Bank of Indianapolis Summer Nights Film Series

recent events

Indigenous in 100 Acres: The Virginia B. Fairbanks Art & Nature Park

Summer Camps

42 43

COUNCIL MEMBERSHIP

Clowes Council ($25,000 +)

Kay F. Koch

Chairman’s Council ($10,000 to $24,999)

Lori Efroymson Aguilera and Sergio AguileraGay and Tony BarclayChristel DeHaanDon EarnhartRussell and Penny Fortune III Michelle and Perry Griffith Jane Fortune and Robert HesseTom and Nora HiattMark and Carmen HolemanDr. and Mrs. John C. LechleiterMr. and Mrs. Eli Lilly IIJune Michel McCormackMr. and Mrs. Ersal OzdemirAndrew and Jane PaineKathi and Bob PostlethwaitMichael Robertson and Christopher SlapakAnthony and Marya Rose Steve and Livia RussellCharles and Peggy Sutphin Mrs. Samuel R. SutphinDr. and Mrs. Eugene D. Van Hove

President’s Council ($5,000 to $9,999)

Dan and Kate AppelBob and Toni BaderGeorge and Mary Clare BroadbentDaniel and Kathryn CantorMr. and Mrs. Trent CowlesEdgar and Dorothy FehnelWilliam L. Fortune Jr. and Joseph D. BlakleyMr. and Mrs. Charles E. GoldenDr. Howard Harris and Mrs. Anita HarrisMr.(*) and Mrs. James E. HufferAnn H. HuntMr. and Mrs. Rick L. Johnson, Jr.Mr. and Mrs. John KiteJames E. and Patricia J. LaCrosseMs. Lynne Maguire and Mr. William I. MillerMichael K. and Patricia P. McCroryLawrence and Ann O’ConnorDerica and Robin RiceGary and Phyllis SchahetAnn M. and Chris StackDaniel and Marianne StoutGene and Rosemary TannerSidney and Kathy TaurelMarianne Williams TobiasAnna S. and James P. WhiteWilliam J. Witchger

Director’s Council ($2,500 to $4,999)

Maxwell L. and Jacqueline Buckingham AndersonJoe and Charlene BarnetteSarah C. Barney

Robert A. and Patricia M. BennettAlice BerkowitzLeonard and Kathryn BetleyRuth A. BurnsMrs. Barbara J. BurrisEddy and Kathy CabelloEurelio M. and Shirley CavalierGilbert and Emily DanielsRichard A. and Helen J. DickinsonMrs. Jack DustmanTheodore M. Englehart and Dorothy H. SchulzMarni R. FechtmanTim and Jody GarrigusGary and Kristin GeipelEugene and Marilyn(*) GlickMrs. C.P. GriffithKent HawrylukGinny H. HodowalDavid KleimanJohn L. KraussCatharine D. LichtenauerCarlos and Eleanor LopezKurt and Linda MahrdtAlice and Kirk McKinneyMarni F. McKinney and Richard D. WaterfieldBoris MeditchMr. and Mrs. John M. MutzF. Timothy NaglerGeorge and Peggy RappDr. and Mrs. John G. RappRev. and Mrs. C. Davies ReedJack and Jeanne Scofield Edward and Carol SmithwickPamela A. Steed and Peter FurnoLucy H. WickMargaret WileyHorst and Margaret WinklerMark and Sally ZelonisMr. and Mrs. W. Paul Zimmerman, Jr. Gene and Mary Ann Zink

Curator’s Council ($1,500 to $2,499)

Anonymous (3) Mr. and Mrs. James F. AckermanDorothy and Lee AligBob and Patricia AnkerMr. and Mrs. Don B. AnselRonald and Helmi BantaDr. and Mrs. Richard E. BarbElaine and Eric BedelTed and Peggy BoehmMr. and Mrs.(*) C. Harvey Bradley Dr. and Mrs. Thomas A. Broadie Lorene BurkhartMark Cahoon and Robyn McMahonBryce and Anne CarmineGeorge and Linda CharbonneauAlan and Linda CohenAlbert and Louise CrandallDamon and Kay Davis

Allan H. DyerJeremy EfroymsonMr. and Mrs. John Fazli Elaine Ewing Fess and Stephen W. FessRichard E. FordMr. and Mrs. David GarrettRichard and Sharon GilmorMr. and Mrs. William J. GreerFrank and Barbara GrunwaldMr. and Mrs. George W. Hamilton, Jr. Frank and Patsy HiattJohn David and Martha HooverBill and Nancy HuntFrancine and Roger HurwitzHarriet M. Ivey and Richard E. BrashearSusan M. JacobsMr. and Mrs. Jim JamesCraig W. Johnson Walter W. and Laura M. JollySusan R. Jones-Huffine and Matthew HuffineDavid F. and Joan D. KahnDana and Marc KatzDr. and Mrs. Jerry L. KightAudrey M. LarmanEllen W. Lee and Stephen J. DuttonMr. and Mrs. Richard A. Leventhal Sharon R. MerrimanJane R. NolanDorit and Gerald Paul Dr. Marian PettengillMr. and Mrs. William QuayleCynthia E. RallisDr. and Mrs. Charles H. RedishDavid and Jill ResleyTimothy J. Riffle and Sarah M. McConnellMr. and Mrs. Alvin H. RitzN. Clay and Amy RobbinsMrs. Patty L. RoeschNancy and Frank RussellMr. Thomas F. Schnellenberger and Ms. Jacqueline SimmonsPatsy SolingerMr. Trent SpenceMary M. SutherlandJeffrey and Benita ThomassonMr. Douglas TillmanPhyllis and Victor(*) VernickDr. and Mrs. Robert D. WaltonRosalind H. WebbEmily and Courtenay WeldonEmily A. WestMr. and Mrs. Gene E. WilkinsWalter and Joan WolfMr. and Mrs. Timothy T. WrightKatherine and Jonathon Zarich

ANNUAL FUND

$2,000 +Anonymous Academic Arrangements AbroadMr. and Mrs. James M. Cornelius

Mrs. Dale A. Davidson (*) Dr. and Mrs. William G. EnrightMr. Michael HanniMr. and Mrs. John L. LisherJoanne W. Orr Charitable FoundationAmbassador Randall L. TobiasMarilyn M. Watkins Trust Estate (*)

$1,000 to $1,999Mr. and Mrs. Charles B. BeardDr. and Mrs. Steven C. BeeringMr. and Mrs. William C. BonifieldMr. Robert Brannon and Ms. Rebecca J. MaltenfortDon and Karen Lake Buttrey, The Saltsburg FundDr. Amy S. Chappell and Mr. Greg ChappellMs. Carol J. FeeneyDavid W. and Betty GivensMr. Matthew R. Gutwein and Ms. Jane HenegarMrs. Margaret Hansen-KahnEstate of Earl HarrisTom and Nora HiattMr. John H. HollidayMr. and Mrs. Stephen A. HootkinMr. Gregory A. HuffmanDr. and Mrs. Charles E. JordanMr. and Mrs. Scott KraegeMr. and Mrs. Martin KrootMr. Ignacio M. Larrinua and Ms. Mary T. WolfMr. and Mrs. Stephen A. LathropMeritor, Inc. Drs. Arthur and Patricia S. MirskyBlake Lee and Carolyn NeubauerMs. Nancy ReganSteve and Livia RussellMr. Thomas F. Schnellenberger and Ms. Jacqueline SimmonsAnn M. and Chris StackPamela A. Steed and Peter Furno

$500 to $999Gay and Tony Barclay Mr. John Chirgwin and Ms. Barb GrannemanDr. and Mrs. John J. ColemanMr. and Mrs. Craig D. DoyleMr. and Mrs. Ted EngelMs. Janet Gray Hayes and Mr. Kenneth HayesDr. and Mrs. Joseph F. HeidelmanMrs. Linda A. HuberMr. and Mrs. Kyle E. JacksonKay F. KochJames E. and Patricia J. LaCrosseMs. Nancy C. LillyMr. and Mrs. James B. LootensMr. and Mrs. Leigh MarshDr. J.D. MarhenkeMrs. Virginia R. Melin

We extend our gratitude to each donor who made a gift to the IMA during our fiscal year, July 1, 2011–June 30, 2012.

Council members and Annual Fund contributors provide vital support for the IMA’s daily operations, from art conservation to educational and public programs to the maintenance of the gardens and grounds. Donors of works of art foster new understanding of the permanent collection while increasing its quality and scope. As IMA corporate sponsors and grantors address the special project needs of the present, members of the Legacy Circle ensure the future of the IMA as a preeminent art institution by including the Museum in their estate plans.

a thank you to our donors

44 45

CORPORATE, FOUNDATION AND GOVERNMENT SUPPORT

$500,000 +Lilly Endowment, Inc. Melvin and Bren Simon Charitable Foundation Number One

$250,000 to $499,999Anonymous United States Department of State

$100,000 to $249,999The Getty FoundationHugo BossInstitute of Museum and Library Services

$50,000 to $99,999Arts Council of Indianapolis and the City of IndianapolisJoyce FoundationNational Endowment for the Arts

$25,000 to $49,999Herman MillerIndiana Arts CommissionLacy FoundationSamuel H. Kress Foundation

$10,000 to $24,999Barnes & Thornburg LLPCommunity Health NetworkDoris Duke Foundation for Islamic ArtElizabeth Firestone Graham FoundationMerrill LynchNicholas H. Noyes, Jr. Memorial Foundation, Inc.The Penrod SocietyRobert Mapplethorpe Foundation, Inc. Stephen T. Rose Fine Art

$5,000 to $9,999BKD, LLPChristie’s Dow AgroSciences LLC Garden Club of AmericaJoseph E. Cain FoundationMarilyn M. Watkins Private FoundationMET Foundation Inc.

$1,000 to $4,999AnonymousAcademic Arrangements AbroadBenjamin M. Rosen Family FoundationBlue Grass FarmsCarol Alleman StudiosCastec CorporationCentral Indiana Community FoundationEphraim Faience PotteryFMG Design, Inc.Gregory & Appel Insurance Hagerman LLC

Ice Miller LLPIndiana Chapter ASIDIndianapolis Garden ClubIndianapolis Zoological SocietyJapan FoundationJK Family Foundation Inc.Jungclaus-Campbell Company, Inc. Kirby Risk Electrical SupplyLakeland NurseryRoberts CameraSodexo, Inc. & AffiliatesSteel Dynamics, Inc. Susanin’s Saturday AuctionsW.J. Deutsch & Sons, Ltd.The Worth Collection New York

DONORS TO THE COLLECTION Mr. V. Simon AbrahamDorothy and Lee AligAlliance of the IMAMr. John P. AntonelliBaltensweiler AGDr. and Mrs. Richard E. BarbMr. and Mrs. John E. BarnesLeonard and Kathryn Betley The Brickman GroupPeter and Susan CahnCastec CorporationChristofleMr. Steven CoburnSteven Conant, MDMr. and Mrs. Cheney CowlesMrs. Becky Curtis StevensDesign Arts Society of the IMAMs. Martha Donovan OpdahlMr. Ben DreithDr. and Mrs. William G. EnrightMr. and Mrs. John FazliMarni R. FechtmanMr. Alexander FernandezElaine Ewing Fess and Stephen W. FessMartin Filler and Rosemarie BletterDavid and Cindy ForceMr. Helmut FortenseRussell and Penny Fortune IIIWilliam L. Fortune Jr. and Joseph D. BlakleyTim and Jody GarrigusMrs. Rosemary GatewoodMichelle and Perry GriffithMr. David A. HanksJoan HendersonMr. and Mrs. Jonathan R. HessTom and Nora HiattFrancine and Roger HurwitzIndiana Chapter ASIDIrwin Management Company, Inc. Harriet M. Ivey and Richard E. BrashearMr. Scott Johnson and Ms. Cindy LoryJoseph E. Cain FoundationMr. Frederick M. King

Kay F. KochDr. Thomas W. KueblerMarkham Roberts Inc.June Michel McCormackMr. Michael D. MoriartyF. Timothy NaglerMs. Marcia OddiMrs. Kayoko OkadaDorit and Gerald Paul Ms. Florence PaulyDr. Marian M. PettengillMs. Nancy RamseyMichael Robertson and Christopher SlapakMr. Stephen T. Rose and Ms. Sara A. BlackburnDr. Marguerite K. ShepardMr. James ShollyMs. Nancy SinclairDr. Henry SlosserSouls Grown Deep FoundationAnn M. and Chris StackSusanin’s Saturday AuctionsCarole and Morton TavelMr. and Mrs. William W. ThompsonMs. Elizabeth VirtsDrew White and Patricia ClarkAnna S. and James P. WhiteMargaret Wiley Marianne Williams TobiasMs. Nina K. Winter

DONORS TO SPECIAL PROJECTS

Anonymous (2)Barnes & Thornburg LLPMr. Jim BayseBeauchamp AntiquesBenjamin M. Rosen Family FoundationAlice BerkowitzThe Best Chocolate in TownBlue Grass FarmsBradbury and BradburyMr. Carl E. BrehobBKD, LLPCarol Alleman StudiosCommunity Health NetworkMr. and Mrs. James M. CorneliusDow AgroSciences LLCEphraim Faience PotteryFMG Design, Inc.Russell and Penny Fortune IIIGarden Club of AmericaThe Getty FoundationMr. Jamie Gibbs and Mr. Paco ArgizHerman MillerHouse of Antique HardwareHugo BossIndiana Living GreenIndiana Repertory TheatreIndianapolis Garden ClubIndianapolis Zoological Society

Institute of Museum and Library ServicesMr. and Mrs. Rick L. Johnson, Jr. Joyce Foundation Klehm’s Song Sparrow Farm and NurseryKlyn Nurseries, Inc.John L. KraussLakeland NurseryDonald(*) and Nancy LamportJune Michel McCormackDr. James McGuire and Mr. Peter FulgenziMerrill LynchMonarch BeverageNational Endowment for the ArtsNancy F. NeubergerMr. and Mrs. Sean J. O’ConnorThe Penrod Society Ping’s Tree ServiceMyrta PulliamDr. and Mrs. Charles H. RedishRoberts CameraSteve and Livia RussellSamuel H. Kress FoundationDr. Jennifer Satterfield-SiegelBren SimonPatsy SolingerAnn M. and Chris StackMr. and Mrs. John A. SteenStephen T. Rose Fine ArtAmbassador Randall L. TobiasUnited States Department of StateMr. and Mrs. George W. WilsonW.J. Deutsch & Sons Ltd.Richard D. and Billie Lou WoodThe Worth Collection New York

Mrs. Jo Ellen MillerMr. and Mrs. Robert L. MullerMs. Holly MyersGary David RosenbergMr. William L. ScottNancy C. and James W. SmithThe Sommer Family Foundation, A fund of Central Indiana Community FoundationRosalind H. WebbMargaret WileyMr. and Mrs. Robert M. Witt

$250 to $499Mrs. Suzanne B. BlakemanMr. and Mrs. R. Stephen BradnerMrs. Marsha L. BrownMr. and Mrs. Gregory CanterMr. and Mrs. Vince CaponiMr. and Mrs. James C. ClarkDr. and Mrs. David W. CrabbRose S. and Kenneth H. FifeDavid and Cindy ForceMr. Theaodis Gary Jr. and Ms. Helen RandolphMr. and Mrs. Garth GathersMs. La Ree A. GordonMr. and Mrs. Cuthbert P. Gorman Jr.Mr. and Mrs. David J. HamernikMr. and Mrs. Avrom R. HandlemanMrs. Clarena E. HuffingtonDrs. Meredith T. and Kathleen A. HullMr. and Mrs. Kenneth H. InskeepMr. Jon Laramore and Ms. Janet McCabeMr. and Mrs. Jordan H. LeibmanMr. Dominic L. LiMr. Stephen M. Martin and Ms. Mary Lou MayerMs. Nancy L. McMillanMr. and Ms. Glenn L. MillerMr. Joseph O’HareMs. Rachel Y. ReamsMr. John C. RobertsonDr. Daniel B. Salvas and Dr. Colleen MaddenMs. Carolyn A. Sharp

TRIBUTE AND MEMORIAL GIFTS

In Honor of the 2011–2013 Alliance BoardDr. and Mrs. Richard E. Barb

In Memory of Regina AdamsRussell and Penny Fortune III

In Honor of Bradley BrooksF. Timothy Nagler

In Memory of Dr. Peter H. CahnMarni R. Fechtman

Andrew and Jane PaineBret and Mary Lou WallerAnna S. and James P. White

In Memory of Keith ClaryMarni R. FechtmanMark and Carmen HolemanCarlos and Eleanor LopezNiels and Patricia LysterDorit and Gerald PaulMr. and Mrs. Keith R. PhelpsWalter and Joan Wolf

In Honor of the Conservation Team of David Miller, Richard McCoy, and Kristen Adsit.Ann M. and Chris Stack

In Memory of Valerie A. FreemanMr. and Mrs. Paul Loechle

In Memory of Nick FrenzelRev. and Mrs. C. Davies Reed

In Memory of Dr. Bhuwan GargDorit and Gerald Paul

In Memory of Kenneth A. HalcombMr. F. Joseph BackerJane R. Nolan

In Memory of Arminda HanniMr. Michael Hanni

In Honor of the Anniversary of Dr. Howard Harris and Mrs. Anita HarrisDr. and Mrs. Jonathan A. Fisch

In Memory of James HufferRichard A. and Helen J. Dickinson

In Memory of Mildred KoseneMr. Angelo Zarvas

In Memory of Dr. Theodore H. and Jane D. KrummMs. Nina K. Winter

In Memory of Donald O. LamportMs. Sue E. ArnoldMr. and Mrs. Henry F. ColeMr. and Mrs. David GordenHorticultural Society of the Indianapolis Museum of ArtMrs. Jane S. KohnMs. Rosemary SteinmetzMr. and Mrs. John E. ToevsMark and Sally Zelonis

In Honor of Ellen LeeAnn M. and Chris Stack

In Honor of George L. Lowry and Marcia L. MackeyMr. Robert Lowry

In Memory of Isabel MartinThe Clowes FundThe Efroymson Family Marni R. FechtmanMark and Carmen HolemanJames E. and Patricia J. LaCrosseBret and Mary Lou WallerAnna S. and James P. WhiteMark and Sally Zelonis

In Memory of Elayne F. MayMr. Patrick May

In Honor of Alice and Kirk McKinneyTom and Nora Hiatt

In Honor of David MillerGary David Rosenberg

In Memory of Daniel P. MorseMarnie R. Fechtman

In Honor of Nonie’s GardenAnonymousJohn L. Krauss

In Honor of Niloo PaydarAnn M. and Chris Stack

In Memory of Merrell RameyMarni R. FechtmanJames E. and Patricia J. LaCrosseMr. and Mrs. Thomas D. MantelDorit and Gerald Paul

In Honor of David RussickGary David Rosenberg

In Honor of the Marriage of Stephen Taylor and Elizabeth Kraft MeekGeorge and Mary Clare BroadbentHarriet M. Ivey and Richard E. BrashearJames E. and Patricia J. LaCrosseAudrey M. LarmanMr. and Mrs. James A. StrainMs. Tamara Zahn and Mr. Timothy Wade

In Honor of John TeremotoAnn M. and Chris Stack

In Honor of Mark ZelonisDayton Foundation

LEGACY CIRCLE

Anonymous (2)Mr. Edward N. BallardFrank and Katrina BasileMrs. Claire R. BennettAlice Berkowitz Mr. and Mrs. Robert R. BowmanDorothy CallahanKeith Uhl Clary*Steven Conant, MDChris W. and Lesley J. ConradPhyllis CrumMrs. Becky Curtis StevensDamon and Kay DavisRichard A. and Helen J. DickinsonDon EarnhartThe Efroymson FamilyEdgar and Dorothy FehnelDrs. Richard and Rebecca P. FeldmanRussell and Penny Fortune IIIMrs. Otto N. Frenzel, IIIMr. and Mrs. David GarrettDavid W. and Betty GivensDavid and Julie GoodrichMr. and Mrs. John R. HayesMr. and Mrs.(*) John H. HollidayFrancine and Roger HurwitzMr. and Mrs. Rick L. Johnson, Jr.Dana and Marc KatzMr. and Mrs. David W. KnallJohn L. KraussMr. Charles E. LanhamMr. and Mrs. Richard L. LedmanCatharine D. LichtenauerJune Michel McCormackMichael K. and Patricia P. McCroryAlice and Kirk McKinneyMr. and Mrs. H. Roll McLaughlinBoris MeditchIna M. MohlmanKatherine C. NaglerPerry Holliday O’NealAndrew and Jane PaineDorit and Gerald PaulMr. and Mrs. R. Stephen RadcliffeGeorge and Peggy RappMr. James D. Rapp and Dr. Patricia W. RappDr. and Mrs. John G. RappRev. and Mrs. C. Davies ReedCarolyn Schaefer and John GrayJack and Susanne SogardCharles and Peggy SutphinMarianne Williams TobiasAmbassador Randall L. TobiasAnna S. and James P. WhiteRichard D. and Billie Lou WoodMr. and Mrs. Timothy T. WrightMr. and Mrs. James W. YeeKwang Fei YoungMr. and Mrs. W. Paul Zimmerman, Jr. * deceased

46 47

ADMISSION General admission is free.

Special Exhibition: Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture ($12 Public, $6 children 6 and under, Free for members); School groups are also free (must book through IMA Education Division at [email protected]).

The IMA also offers complimentary 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 the parking garage. By Indy Go BusFrom downtown Indianapolis: #38 Lafayette Square

From Michigan Road: #34 North or South

Visit indygo.net/tripplanner to plan your trip.

ParkingMain lot and Garage: Members Free, Public $5; Outlots: Free

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 closes on Thur & Fri 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.

SHOPPING

Museum storeBooks, jewelry, and museum- inspired merchandise. 317-923-1331, ext. 281

Madeline F. elder GreenhouseRare and choice plants, gardening supplies, and gifts. April–December closes Thur & Fri at 8 pm. 317-920-2652

Shop online 24 hours a day at imamuseum.org/shop.

IMA LIBRARIES

eleanor evans stout and erwin Cory stout reference Library A non-circulating research library that consists of thousands of resources on the visual arts. 317-920-2647

Tue, Wed, Fri: 2–5 pmThur: 2–8 pm and by appointmentClosed December 24–31, 2012

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. 419

MEMBERSHIP

Membership helps support free general admission at the IMA.

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

AFFILIATES For more information about IMA art interest groups and clubs, [email protected].

VOLUNTEER For more information about how you can get involved contact [email protected] or 317-923-1331, ext. 263.

CONTACT THE IMA

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

general support of the ima is provided by the arts council and the city of indianapolis; by the indiana arts commission; the national endowment for the arts, a federal agency; and the lilly endowment, inc.

about the ima

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