summer 2013

Ai Weiwei & Technology

Summer in the Park

T.C. Steele: Rediscovered

Profile: Gerald and Dorit Paul

MAY–AUGUST 2013

Front cover: William-Adolphe Bouguereau (French, 1825–1905), Dream of Spring (Rêve de printemps) (detail), 1901, oil on canvas, 73 x 50 in. (image) 85 x 63 in. (frame). Gift of Melvin and Bren Simon.

Left: Ai Weiwei (Chinese, b. 1957), Forever (detail), 2003. Image courtesy of the artist. Installation view at the Mori Art Museum, Tokyo, 2009. Photo: Watanabe Osamu. Photo courtesy: Mori Art Museum, Tokyo.

Pages 16–17: Spencer Finch, Following Nature, 2012.

Bouguereau’s Dream of Spring 04Majestic African Textiles 052013 Summer Nights Film Series 06 T.C. Steele: Masterwork Rediscovered 08Profile: Gerald and Dorit Paul 15Spencer Finch: Following Nature 16 Coming This Fall: Matisse 18Summer in the Park 20Indiana by the Numbers 22Ai Weiwei Participatory Project 23On view now through July 21, Ai Weiwei: According to What? explores universal topics of culture, history, politics, and tradition. Ai is known as one of China’s most provocative and vocal artists; his focus on human rights and social change even-tually led to his detainment by Chinese authorities for nearly three months in 2011.

Exhibitions 24 Calendar 26Recent Events 28 IMA Affiliate Groups 30About the IMA 31

Contents

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 Silvia Filippini-FantoniEllen LeeNiloo PaydarAnastasia Karpova TinariLinda WitkowskiIvy Wright Contributors Hadley FruitsTascha Mae HorowitzEric Lubrick 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 obtained in writing from the Rights & Reproductions office.

© 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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With our gardens coming alive and the Ai Weiwei exhibition open, spring is an exciting time at the IMA. It is also a good time to reflect upon those who make everything grow here. This year Isabel Martin (1911–2011) and her legacy have particularly captured my attention. From the mid-1960s until her retirement in 2006, Ms. Martin was the executive secretary to the director. During those decades she supported four directors, as well as Board Chairs and IMA Presidents. Last summer we saluted her loyal service in the IMA Magazine. However, the story did not end with Ms. Martin’s death in December 2011 or last year’s article. Upon her death, Ms. Martin left the Museum a significant bequest to support our decorative arts department. Her gift will help that area of the collection flourish for years to come. Ms. Martin was an extraordinary woman, and with her generous gift, she will help the IMA continue to do extraordinary things. In this issue you will find other examples of individuals making a difference at the IMA. For example, we were recently given two important paintings created near the turn of the 20th century. The earliest is a work by the famous Hoosier artist T.C. Steele, Morning—Old Schofield’s Mill (1889). Depicting a tranquil scene of cows resting in a verdant field beside an old mill, Steele beautifully captures the warm feeling of a lazy summer day in the Indiana countryside. This generous gift from Rosemary Gatewood and her late husband, Kenneth, enhances our collection of Hoosier School painting and is now on view with other Hoosier works in the Joan D. Weisenberger Gallery for all to see. In the same spirit of generosity, Bren Simon and her late husband, Melvin, recently gave the IMA a notable work by the well-known French artist William-Adolphe Bouguereau. Painted in 1901, Dream of Spring is a gift that greatly strengthens the Museum’s European painting collection. As you can see on the cover of this magazine, Bouguereau depicts a beautiful girl surrounded by fluttering cherubs, all within a lush, green setting. The painting is so detailed and technically well executed that one can almost hear the beat of the cherubs’ wings and the call of birds from the trees. These generous gifts of Ms. Martin, the Gatewoods, and the Simons should remind us that everyone can make a difference at the IMA. No matter how small or large, each of your membership contributions, annual fund gifts, and future bequests helps to make possible everything this great museum does now and in the future. Simultaneously, gifts of art give us all something to delight in. With our new paintings by Steele and Bouguereau in the galleries and a host of fun things to do at the IMA, I’m sure to see you in the galleries soon. You won’t be disappointed! Thank you all for your support. It means a great deal to the IMA and to me personally.

Dr. CharLes L. VenabLe the melvin & bren simon direCtor and Ceo

From the director

Isabel Martin

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This spring the IMA welcomes a highly desired new acquisition to the European collection. Dream of Spring by William-Adolphe Bouguereau, one of the most successful artists of late 19th-century France, will hold center stage in the European galleries. Bouguereau was the quintessential traditional academic painter, specializing in exquisitely drawn, beautiful women and irresistible children. His idealized style and romantic subjects made Bouguereau a favorite of collectors in America as well as Europe. Philanthropists Melvin and Bren Simon promised the IMA this magnificent work on the occasion of the Museum’s 125th Anniversary in 2008, and Mrs. Simon has now completed the gift. The IMA is extremely grateful to the Simons for their generousity in making this significant piece available to the public in perpetuity. Measuring more than 6 feet tall by 4 feet wide, the composition depicts a young woman seated at a woodland fountain, attended by three cherubs bearing flowers and the arrows of love.

on the Cover: Dream of Spring by William-adolphe bouguereauAbove: William-Adolphe Bouguereau (French, 1825–1905), Dream of Spring (Rêve de printemps), 1901, oil on canvas, 73 x 50 in. Gift of Melvin and Bren Simon.

a major Gift to the ima Painting Collection

teXt by eLLen Lee the Wood-Pulliam distinGuished senior Curator

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Majestic African Textiles presents a spectacular array of royal and prestige cloths, masking and ritual garments, and superbly beaded and embellished objects. Featuring more than 60 pieces drawn from the IMA’s permanent collection and augmented with a few major loans, the show highlights a significant and diverse group of richly patterned and elaborately decorated textiles from North and sub-Saharan Africa. The IMA has been collecting African textiles since 1918, amassing what now constitutes one of the finest and most comprehensive collections in the United States. This exhibition offers a superb presentation of the woven arts from diverse African textile-producing cultures, including examples from Morocco,

Tunisia, Nigeria, Ghana, Mali, Sierra Leone, Democratic Republic of Congo, Cameroon, Ivory Coast, Ethiopia, and South Africa. In many African cultures, elaborate and costly clothing is the foremost indicator of status, power, and wealth. These prized textiles, which were often made by commission and for special occasions, played a major role in visual communication. Hand-woven, stamped, embroidered, and expertly hand-dyed and painted textiles were made using indig-enous materials such as cotton and raffia as well as exotic imported silks, wools, and beads. Organized geographically and representing various African ethnic groups, Majestic African Textiles is the first exhibition at the IMA to gather together a

large number of these prized pieces to showcase their splendor and significance. Among the highlights of the exhibition is an exquisitely beaded Yoruba royal ceremonial tunic made from panels of imported velvets and worsted wool. Its elaborately beaded designs feature European-style military medals and faux epaulettes, the British crown, flowers, and abstract faces of Yoruba royal ancestors. Among the Yoruba people of Nigeria, beadwork is a royal prerogative and thus associated closely with kingship. Popularly known as kente cloths, the colorful strip-woven cloths of the Asante and Ewe people of Ghana are also represented. Kente cloths—among the most recognizable of all African textiles—are woven in narrow strips using a complex weaving technique that produces patterns with distinct names and symbolic significance. The choice of wearing a specific pattern or color was up to the individual, and commissioned kentes often incorporated colors and motifs that embodied messages about the status and the class of the wearer.

majestic african textiles

Majestic African Textiles will be on view in the Gerald and Dorit Paul Galleries from May 3, 2013, to March 2, 2014.

Above: Nigeria, Yoruba people, royal ceremonial tunic (detail), 1935–1950, silk velvet, wool, cotton, glass and bugle beads, 47 x 62 3/4 in. Martha Delzell Memorial Fund, 2005.30.

Left:Ghana, Ewe people, man’s wrapper, kente (detail), 1900–1950, cotton, 107-15/16 x 69-3/4 in. The Budd Stalnaker Collection of African Textiles, 2007.128.

teXt by nILOO PaYDar Curator oF teXtile and Fashion arts

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Now in its 37th season, The National Bank of Indianapolis Summer Nights Film Series is a highly anticipated Indianapolis summer tradition that can’t be missed! Gather friends and family for evenings under the stars and enjoy this season’s featured films, which range from timeless black-and-white favorites to modern cult classics.

The National Bank of Indianapolis Summer Nights Film Series

June

07 Pillow Talk (1959)

14 Jurassic Park (1993)

21 Dirty Dancing (1987)

28 National Lampoon’s Animal House (1978)

July

05 Raiders of the Lost Ark (1981)

12 The King and I (1956)

19 The Exorcist (1973)

26 Notorious (1946)

August

02 There’s Something about Mary (1998)

09 Hoosiers (1986)

16 The Big Sleep (1946)

23 Rushmore (1998)

30 The Breakfast Club (1985), Pretty in Pink (1986), or Sixteen Candles (1984)

For two months, Summer Nights fans can vote on the final screening for the 2013 season. Visit the IMA blog and vote for your favorite John Hughes film. At the end of voting, either The Breakfast Club, Pretty in Pink, or Sixteen Candles will be chosen by popular vote and shown on August 30.

FridAys, June 7–August 30

Gates open at 7 pm. All films begin after dusk. $10 Public, $6 Members, Free for children six and younger.

Show your ATM, debit, or credit card from the National Bank of Indianapolis and receive $1 off admission.

Film FAn? don’t miss this summer’s indiAnApolis internAtionAl Film FestivAl, July 18–28 At the indiAnApolis museum oF Art. Now in its 10th year, Indy Film Fest has quickly grown into one of the Midwest’s most watched film festivals—and one of the most valued annual cultural events in the city. Featuring the best in independent and innovative film from both award-winning professionals and emerging filmmakers, the festival has exhibited films from nearly every state in the country and more than 50 countries around the globe.

Left: Pillow Talk, 1959 © Universal Pictures. Above (left to right): National Lampoon’s Animal House, 1978 © Universal Pictures. Jurassic Park, 1993 © Universal Pictures. The Exorcist, 1973 © Warner Bros. Pictures. There’s Something About Mary, 1998 © Twentieth Century Fox Film Corporation.

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teXt by anastasIa KarPOVa tInarI WeisenberGer FelloW oF ameriCan art

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A Masterwork Rediscovered The IMA’s New T.C. SteeleThe IMA’s recently acquired painting Morning—Old Schofield’s Mill (1889) exemplifies the qualities that brought international renown to T.C. Steele, arguably the most famous and beloved Hoosier painter. A new installation in the Joan D. Weisenberger Gallery, within the Nicholas H. and Marguerite Lilly Noyes Suite of American Art, provides context for the work within the artist’s oeuvre and among other Hoosier Group contemporaries.

T.C. Steele (American, 1847–1926), Morning —Old Schofield’s Mill, 1889, oil on canvas, 30-1/4 x 45-1/2 in. Gift of Rosemary A. Gatewood and Kenneth Gatewood, 2011.132.

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In the IMA’s gallery, Morning—Old Schofield’s Mill now hangs with Pleasant Run (1885) and The Bloom of the Grape (1893), a comparison that emphasizes the 1889 painting’s stylistic break-throughs in the form of a softer, lighter palette and looser brushstrokes. Pleasant Run, painted just months after Steele returned to Indiana, shows the Munich school contre-jour (“against daylight”) technique, in which a sense of backlighting dramatizes the dark, moody composition—seen here in the thin, white highlights on the backs of the distant cows. In contrast, a luminous haze and lush fuzziness cover Morning—Old Schofield’s Mill, as Steele moves away from the Munich style and settles into poetic interpretations of Indiana landscapes. Paint is thickly daubed in places—such as the

As Morning—Old Schofield’s Mill comes to public view for the first time in over a hundred years, it joins a select list of truly excep-tional works by Steele in the IMA’s collection. The artist must have thought highly of this landscape as he featured it in The Steele Portfolio, an 1890 self-published volume reproducing 25 of his finest works. The same year, he exhibited the painting at the Seventh Annual Exhibition of the Art Association of Indianapolis (precursor to the IMA), confirming its importance by asking $400, double any other painting exhibited in those years. Al-though knowledge of Steele’s portfolio and exhibition history pointed to Morning—Old Schofield’s Mill’s significance, when it surfaced as a potential gift to the IMA, the painting asserted its presence as one of Steele’s great painting accom-plishments. Born in Owen County, Theodore Clement Steele (1847–1926) resolved to become a professional artist at a young age. Encouraged by acclaim of his early portrai-ture, Steele sought serious training and convinced 13 Indiana businessmen to sponsor his study at Munich’s Royal Academy of Fine Arts from 1880 to 1885, later repaying them in paintings. Steele traveled to Germany with fellow Indiana artists Samuel Richards and J. Ottis Adams and immersed himself in artistic training. In addition to academic figure studies, Steele painted out of doors under the direction of J. Frank Currier, renting a house outside Munich since the Royal Academy’s program did not

include landscape. His labors paid off when his graduating work won the Royal Academy’s Silver Medal. Steele’s paintings from this period reflected Munich’s dark, moody style and emphasis on high technical skill. In the years after returning to Indiana, though, Steele’s brushwork loosened and his palette grew increasingly lighter. Morning—Old Schofield’s Mill embodies the post-Munich years that many consider Steele’s strongest period. Following his 1885 homecoming, the artist softened the dark Munich style while retaining the beautiful, solid modeling of his academic training. By 1889, Steele had already established his personal interest in serene pastoral landscapes. A likely influence was Tonalism, a movement character-ized by poetic, dreamy landscapes

that prevailed in the United States between 1880 and 1915. In these years, American landscape painting turned away from the Hudson River School’s grandiose, dramatic wilderness scenes in favor of quieter landscapes painted with a sense of “reverie and nostalgia,” in the words of art historian William Gerdts. Steele’s post-Munich period reflected such Tonalist considerations. Indeed, his 1888 essay “The Development of the Connoisseur in Art” lauded Charles Warren Eaton and J. Alden Weir—artists then painting in a Tonalist style—as “new men” driving American art forward. Known to have spent considerable time writing the essay, Steele provided an intrigu-ing glimpse into his thinking around the time he painted Morning—Old Schofield’s Mill.

the author would like to give special thanks to marty Krause for sharing research on t.C. steele and his exhibition history.

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modeling of the cows’ round, dense bodies and furred texture—and laid more thinly in others. The brushwork becomes particu-larly dynamic and sprightly in the tree and grass. Interwoven foliage provides a playground for the artist, while the solid trunk grounds the scene. Four years after completing Morning—Old Schofield’s Mill, Steele first saw Impressionist works at Chicago’s World Columbian Exposition in 1893. Soon after his visit, he painted The Bloom of the Grape, the earliest example of a palette with heightened color sensitivity characteristic of Steele’s later paintings. Morning—Old Scho-field’s Mill serves as a precursor to the Impressionism-inspired work, apparent in the grandiose tree depicted with loose brush-strokes, the exploration of light, and in areas of the grass where paint was applied with a palette knife—a technique clearly employed in The Bloom of the Grape. Steele’s brushwork loosened and his palette grew increasingly colorful over the years, taking on an Impressionist manner in the 1890s. Steele moved to Brown County in 1907, becoming the first member of the Brown County Art Colony. From his hilltop residence known as the “House of the Singing Winds,” he painted the surround-ing countryside in a regionalist Impressionist style that formed his current reputation. Aptly named the “dean” of Hoosier painters, Steele avoided estab-lished art patronage in Europe or the East Coast and encouraged art appreciation in Indiana. His landscapes highlighted the subtle beauty of the Hoosier landscape, a common thread running through Steele’s stylistic variations. In addition to showing the transition in Steele’s painting style, Morning—Old Schofield’s Mill depicts an actual site in Indianapolis and verifies Steele’s preference for atmospheric

Indiana landscapes. Built in 1836–37, the real Schofield’s Mill stood on the banks of Fall Creek near the present-day 42nd Street. During the late 1880s Fall Creek marked the north boundary of Indianapolis, and the mill stood as an outpost to the northeast of the city. Steele resided closer to the business center, at the present-day intersection of Pennsylvania and 16th Streets. Although Steele often traveled to the smaller, quaint villages of Vernon or Brookville to paint, Morning—Old Schofield’s Mill shows that even when he remained in Indianapolis, Steele fled to the city’s outer edges, focusing on the pastoral and rustic. Although Steele occasion-ally painted non-rural scenes in Indianapolis, nearly all such compositions depict the city in snow, suggesting Steele only resorted to urban landscapes when trapped by weather. The late 1880s marked a time of great change and industrial boom in the Midwest. Railroad

lines were rapidly expanding; the Monon Route increasingly connected Indianapolis to more urban centers, reaching its zenith when it became known as the Chicago, Indianapolis, and Louisville Railway in 1897. As Indianapolis’s population grew increasingly outward, Steele filtered out the spreading development and found moments of peaceful quiet in bucolic scenes like Morning— Old Schofield’s Mill. In a 1924 talk on state parks delivered near the end of his life, Steele wistfully contemplated the struggle between civilization and wilderness. He observed: “We want both the factory chimney and the noble tree. But the pity of it is that the noble tree is gone—that we have destroyed so much that might have been saved.” While others were fascinated with modernity and industrialization, the romantic Steele captured the quiet beauty of the Indiana countryside.

interested in leArning more About t.C. steele And his work? We suggest the following resources.

martin Krause, The Passage: Return of Indiana Painters from Germany, 1880–1905 (bloomington: indiana university Press in collaboration with the indianapolis museum of art and the Wallraf-richartz-museum, Cologne, 1990)

selma n. steele, theodore l. steele, and Wilbur d. Peat, The House of the Singing Winds (indianapolis: indiana historical society, 1966)

theodore Clement steele and mary lakin steele Papers, 1869–1966 (indiana historical society manuscripts and archives department)

Left: T.C. Steele (American, 1847–1926), Pleasant Run, 1885, oil on canvas, 19-1/4 x 32-1/4 in. (image) 28-1/2 x 41 x 4 in. (framed). Gift of Carl B. Shafer, 58.30.1.

Below: T.C. Steele (American, 1847–1926), The Bloom of the Grape, 1893, oil on canvas, 30-1/8 x 40-1/8 in. (image) 34-7/8 x 45 x 2-3/4 in. (framed). Bequest of Delavan Smith, 25.122.

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Morning—Old Schofield’s Mill: The Painting’s New Life at the IMAThis tour de force of Indiana painting came to the Indianapolis Museum of Art as a generous gift from Rosemary and Kenneth Gatewood, who acquired the piece in 1968. The couple went to the Lyman Brothers gallery in downtown Indianapolis to look for a painting to decorate their new house and fell in love with Morning—Old Schofield’s Mill. The gallery reported that the painting was being considered for the boardroom of a local bank, which coincidentally had just rejected a business loan request from Mr. Gatewood, and that sealed the deal. They enjoyed their T.C. Steele privately for over 40 years before Mrs. Gatewood approached Ellen Lee, The Wood-Pulliam Distinguished Senior Curator, with her intended donation. Linda Witkowski, senior conservator of paintings, analyzed the work’s condition and treated the painting following its acquisition, bringing it to pristine condition for display. Her account of the conservation treatment follows.

Preliminary Examination

The conservation treatment of this wonderful work of art first involved a technical examination to gather information about the painting and to design an approach for conservation treatment. The technical exami-nation involved viewing the painting under high magnification using a microscope, as well as further study under normal, raking, and ultraviolet light conditions. Additional analysis using infrared reflectography and x-radiography were used because resulting images often indicate artistic changes to the composition or areas of old damage. Next, small cleaning tests on the front of the painting were made to verify the presence of dirt, old varnish, and restorer’s retouches on the surface, and to what extent they could be removed safely. From all of this information, the conservator prepared a written report outlining the various components of the painting’s creation and condition. Finally, the conservator prepared a written treatment proposal, and based on ongoing discussions with the curator, outlined a safe treatment approach.

TEXT By Linda witkowski SENIoR CoNSERvAToR oF PAINTINGS

Below: IMA conservator Linda Witkowski and donor Rosemary Gatewood with T.C. Steele’s Morning—Old Schofield’s Mill.

CoNSERvATIoN TREATMENT

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Condition History

T.C. Steele’s Morning—Old Schofield’s Mill was covered with an extremely heavy layer of dirt and soot, and its varnish layer, also embedded with soot and dirt, had yellowed significantly with age. At some point in its history (approximately 1968, based on discussions with the donor), a restoration attempt occurred. The IMA’s technical analysis and examination report revealed that during the late 1960s restoration, the original surface dirt and soot and yellowed varnish were removed only partially. This cleaning activity largely occurred in the sky areas, and to a lesser extent along the fence and flowers in the middle and foreground, as well as the grass and cows, while other areas were left untreated. During this restoration, the original canvas was also lined with an additional piece of linen to stabilize localized damages (x-radiograph verified a small hole in the upper left portion of the canvas and a

diagonal indentation in the lower center). A resinous varnish layer was then applied over the front of the painting, and the small hole and minute paint loss coinciding with the indentation were retouched. It should be noted that this restorer’s varnish layer was applied directly over the old dirt and soot, and the areas of yellowed varnish not removed during this earlier restoration attempt.

Top Left: T.C. Steele’s Morning —Old Schofield’s Mill prior to conservation treatment.

Top Right: Infrared reflectography of T.C. Steele’s Morning—Old Schofield’s Mill.

Bottom: X-radiograph of T.C. Steele’s Morning –Old Schofield’s Mill revealing a small hole in the upper left portion of the canvas and a diagonal indentation in the lower center.

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surface of the painting. Under-neath this, a thin dirt layer was directly on top of the paint layer, suggesting that Steele waited at least a year or more before applying his varnish (a rule of thumb for oil painting, allowing the oil colors to dry completely). Working with alternating aqueous and solvent-based cleaning systems, this older varnish and underlying dirt layer were carefully removed. Remov-ing each discolored layer in this manner while using the mildest cleaning approaches possible ensured the original colors in the painting would not be damaged. Final phases of the conservation treatment involved applying a non-yellowing synthetic varnish over the painting to saturate the colors properly and protect the

surface. Small areas of loss were locally filled and retouched with easily reversible materials, and a final non-yellowing synthetic varnish coating was applied on the front of the painting. epilogue

With patience, exacting control, and time, this phase of the conservation treatment revealed once again a painted composition exhibiting the texture and color-brightness originally intended by the artist. At some time in the future, the restorer’s lining fabric, unevenly attached to the original canvas, will be carefully removed from the back of the painting. With ongoing curatorial input, a specific conservation approach will be designed and subsequently

carried out for this procedure. Also, the painting’s current frame, which was acquired around the time of the 1960s restoration, will be replaced with an appropriate period frame.

IMa Conservation treatment

To ready Morning—Old Schofield’s Mill for its IMA debut, the conservator outlined a method of treatment involving the system-atic removal of the various layers of dirt. Working in sections, the conservator used a pH-adjusted aqueous solution to lift the uppermost layer of surface grime. Next, the restorer’s varnish, which had already begun to discolor, was removed with a mixture of mild solvents. As part of this procedure, small areas of discolored over-paint or retouch were locally removed with the appropriate solvents. At this point, areas of old original varnish, extremely yellowed with age and embedded with soot, remained on the

Left: IMA conservator Linda Witkowski cleaning the surface of T.C. Steele’s Morning —Old Schofield’s Mill.

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What inspired you to begin collecting art? D: My parents had a lot of paintings when I was growing up. Most of them were 19th-century academic paintings that hung throughout the house. From the earliest of ages, art was an important part of my life. When Gerald and I got married, we both loved art. Gerald came with a history of art collecting. I remember that the first piece we bought together was in Nassau in the Bahamas. It was a good decision, because we still both really like it. G: Before Dorit and I even met, I used to go to New York a lot for work. When I had spare time I went to the art galleries to explore. Over time, I began to see things that I liked and bought several pieces.

How did you get involved in the IMA?D: We used to go to the contempo-rary shows at the museum when it was in the Herron building downtown. We were young and poor, but we wanted to see the shows and to join the Contemporary Art Society. At that time it cost $100, which was a lot of money. We joined as soon as we could. At the time, I also got involved with the Alliance and the docent program. What have been some of the highlights from your involvement with the IMA?D: The first move to this building was terribly exciting. To go from the Herron building with only three air conditioned rooms to this large, modern space was thrilling. Each of the expansions has been exciting. This is a world-class museum now. It has been a pleasure to watch it grow.

G: I enjoyed our time on the acquisitions committee. We really helped to bring some terrific art into this museum through our work. As part of our role we also got to go on several selection trips which we really enjoyed.

What is a favorite piece from the IMA’s collection and why? D: The Valkhof of Nijmegen by Aelbert Cuyp is my absolute favorite piece. It resonates with me. I like the topic. I like the composition. I like the atmospher-ic perspective. I just like every-thing about it. If you think about it in terms of composition it is actually a very modern piece. G: I still like the Dubuffet, which we gave the IMA. It’s currently off rotation in the galleries, and I miss seeing it.

Why do you support the arts?D: My answers are colored by the fact that I’m a docent. When I get a kid or a whole class on a tour that says “gee, this is great” with their jaws dropped, that’s when I know that this means something. The museum exposes children to something they would never think of doing otherwise. My feeling about art and the museum — it’s a way that people experience things beyond themselves.G: Because I’m not a docent, mine is obviously quite different. I find art sensuous and stimulating. To look at art and partake in art can be life-changing.

Profile: Gerald & dorit Paul married for 58 years, Gerald and dorit Paul have been involved with the ima for nearly four decades. trustees of the museum, they are also active members of the asian art society, Contemporary art society, design arts society, and Fashion arts society. individually, dorit Paul serves as a docent and an alliance member. Gerald Paul came to indianapolis as a refugee from nazi Germany in 1938. in 1954, he and earl harris opened the first Paul harris store in Plainfield, indiana. born in Germany, dorit Paul graduated from radcliffe and went on to pursue graduate work at Columbia university. in addition to their extraordinary support of the museum throughout the years, the couple has been active with a number of local cultural organizations. in 2011 they received the volunteer/Patron arti award from the arts Council of indianapolis. inspired by their decades of col-lecting and supporting the arts, we asked them about their experiences.

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matisse, life in ColorCoMING THIS FAll

masterworks from the baltimore museum of art

October 11, 2013–January 12, 2014

this exciting exhibition is drawn almost entirely from the baltimore museum of art’s (bma) Cone Collection, which is one of the most comprehensive collections of matisse’s art in the world. like the past exhibitions Gifts to the Tsars (2001) and Roman Art from the Louvre (2007), Matisse, Life in Color is expected to draw large crowds from throughout the region.

This exhibition is organized by The Baltimore Museum of Art, in association with the Indianapolis Museum of Art.

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“We are delighted to bring some of the most significant works from this renowned collection to Indianapolis and give our community this rare opportunity to see such an extraordinary array of work by this important artist. Henri Matisse’s strong use of color and pattern was incredibly influential among avant-garde artists of the 20th century, and his work remains a touchstone for many artists working today. I have no doubt that his works will not only dazzle visitors with their sheer beauty, but also will inspire them to think about art in new ways,” said Dr. Charles L. Venable, The Melvin & Bren Simon Director and CEO. Formed by two sisters from Baltimore, Dr. Claribel Cone (1864–1929) and Miss Etta Cone (1870–1949), the Cone Collection forms the core of the BMA’s modern art holdings and is regarded as one of the world’s preeminent collections of modern art. Matisse, Life in Color features more than 80 works of art including paintings, sculptures, prints, and artist books.

among the exhibition highlights are:

Large Reclining Nude, 1935 Large Reclining Nude is one of Matisse’s most compelling paintings of the 1930s and an important work in the transition to his late painting style and to his paper cutouts. He worked on the painting for several months and documented the stages of its evolution through photographs. Matisse progressively flattened the image, striving for a balance between the sinuous arabesques of the figure and the regular grid pattern of the background.

The Yellow Dress, 1929–31 In 1929, Matisse was in the midst of a painting block. His production fell off sharply, and he left a number of paintings unfinished. He began The Yellow Dress in September 1929, but he struggled for another two years to bring it to a satisfying conclusion as he sought to achieve a balance between modeled form and outline. Matisse simplified and enlarged the figure and the dress as the painting progressed, transforming the domestic subject into something monumental and timeless.

Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard, 1928 After seeing an exhibition of Islamic art in Munich in 1910, Matisse became intrigued by the decorative aesthetics of Near Eastern and North African cultures. Following a trip to Morocco in 1912–13, images of women in North African costume begin to appear in his work. The strong patterning of the carpets and textiles dominates this painting.

about henri Matisse

Henri Matisse (French, 1869–1954) was one of the most influential artists of the 20th century. In a career spanning six decades, his achievements in painting, sculpture, drawing, graphic arts, book illustration, and paper cutouts earned the acclaim of collectors, critics, and several generations of younger artists. His stylistic innovations fundamentally altered the course of modern art. Matisse initially trained as a lawyer before developing an interest in art. He moved to Paris to study painting in 1891. He followed the traditional academic path first at the Académie Julian and then at the École des Beaux-Arts, but he also discovered the dynamic contemporary Parisian art scene. He began to engage a diversity of styles to create his own pictorial language. In 1905, Matisse exhibited at the Salon d’Automne with André Derain, and their shockingly bold experiments using color to structure their paintings brought them the derisive nickname “Les Fauves” (Wild Beasts). Across a succession of styles, Matisse aimed to discover the “essential character of things” through art that expressed balance and serenity, as he explained in his Notes of a Painter (1908). He experimented throughout his career with abandoning conventional perspective and form in favor of dramatically simplified areas of pure color, flat shapes, and decorative patterns.

exhibition Programs

In conjunction with the exhibition, the IMA will host a series of programs and activities to complement visitors’ gallery experiences. Designed to engage families and children, art-making activities will occur on weekends in Star Studio. The centerpiece of these activities will be a special community-based program and exhibition, Inspired by Matisse, which will feature works of art by visitors and students from throughout Indianapolis. One of the most compelling stories regarding the exhibition is how Claribel and Etta Cone, two sisters from Baltimore, built this singular collection. A lecture by a member of the BMA’s curatorial staff will explore how the works in Matisse, Life in Color illuminate an extraordinary relationship between artist and patron. A series of musical performances inspired by Matisse’s Jazz will take place in the galleries.

members see it First And see it For Free

ima members can reserve their Free tickets now by visiting the ima’s website or calling 317-923-1331, ext. 406. don’t miss special member-only preview days on october 11 and 12!

tickets will go on sale to the general public beginning september 1, 2013. $18 Public (adults), $10 students with a student id and youth ages 7 to 17, Free for children 6 and younger

Group tour rates are available for groups of 15 or more. Groups can make reservations by calling 317-920-2679.

educational tours are available for school groups, and teachers can make reserva-tions by calling 317-920-2679. Customized activities and individualized curriculum packets, which link to the national visual arts standards as well as indiana’s Common Core standards, will be available for this exhibition.

Left: Henri Matisse (French, 1869–1954), Large Reclining Nude, 1935. Oil on canvas, 26 1/8 x 36 3/4 in. (66.4 x 93.3 cm.) The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.258. Photographer: Mitro Hood. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York

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Each year as the temperatures rise and the days lengthen, The Virginia B. Fairbanks Art & Nature Park: 100 Acres shifts from an isolated, contemplative retreat to a social, active destination. Green leaves resurge in the woodlands, and the Park’s public programs and outdoor amenities return as well. With a full season of art and events—including the Summer Solstice Celebration on June 22 and the debut of a site-specific art installation by Kim Beck—the Park is the destination this summer for visitors of all ages and interests.

Summer in the Park

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Celebrate summer on June 22

Now in its third year, the IMA’s Summer Solstice celebration is the perfect kickoff to summer. With art-making activities for all ages, live music on the lawn, and fun outdoor activities, Summer Solstice in the Park is a great event for the entire family. Bring a blanket for the lawn and your dancing shoes—this year’s concert features the great beats and strong brass line of Chicago AfroBeat Project. Based in Chicago, this eight-piece group has traveled coast-to-coast performing its unique combina-tion of rock, jazz, funk, and traditional Yoruba music. This summer’s celebration will also feature activities organized by Heidi Fledderjohn, a dance therapist with 20 years of experience in incorporating play, movement, and meditation into daily activities and interactions. new Park Commission: Kim beck

Kim Beck’s new project for the Park, NOTICE: A Flock of Signs, will lead strolling visitors to discover groups of signs crowded along landscape pathways. Clusters of signs will be sited in several areas throughout the Park, with the density and abundance in each area creating absurd, Dr. Seussian landscapes in an otherwise serene nature preserve. The signs will direct and misdirect, leading the visitor to keep going, turn back, turn around, and to look here and there. Though signs are typically used to guide and inform, Beck’s will deliberately perplex and overcompensate. A hyper-infor-

mative, look-at-me garden folly, NOTICE: A Flock of Signs will elevate the everyday—the paths, trees, flora, and traces of fauna—to something worthy of notice. Beck’s NOTICE signs will play on the formal language of official signage used for safety and land use, but will also embrace a DIY aesthetic and experiment with variations of scale and perspec-tive. The project playfully addresses conventional uses of signage and explanatory text in art museums and formal gardens, providing a counterpoint to the more directed visitor experience inside the museum proper. Beck’s intervention in the Park will also emphasize the tension between what is considered “natural” or “constructed” geography within the sculpture park experience. NOTICE: A Flock of Signs will highlight the absurdity of excessive pointing and naming while also hinting at the simulta-neous hopefulness and futility of guideposts and language in general.

about Kim beck

The work of Kim Beck urges a reconsideration of the built environment—peculiar street signs, gas station banners, overgrown weeded lots, and self-storage buildings—to bring the everyday into focus. Engaging the imagery and forms of architec-ture and landscape, Beck uses a wide range of media to create drawings, prints, paintings and installations that survey periph-eral and suburban spaces. Kim Beck grew up in Colorado and divides her time between New York, N.Y., and Pittsburgh, Pa., where she is an Associate Professor of Art at Carnegie Mellon University. Her work has been exhibited in solo and group exhibitions at the Andy Warhol Museum, Pittsburgh Center for

the Arts, Hallwalls Contemporary Art Center, Carnegie Museum of Art, Walker Art Center, Mattress Factory, Mixed Greens NYC, Pentimenti Gallery and Socrates Sculpture Park, among other venues. Beck has been commis-sioned to make several public projects, including the sculptural installation Space Available for the High Line in New York City. She has received Pollock-Krasner and Thomas J. Watson fellowships, and awards from Ars Electronica, NYSCA, the Tennessee Arts Commission and the Heinz Foundation. Her artist’s book, A Field Guide to Weeds, was published through the Printed Matter Emerging Artist Publishing Program. Beck’s work is included in the public collections of the Carnegie Museum of Art, the Minneapolis Institute of Art and the Memphis Brooks Museum, among others. Beck holds an MFA from Rhode Island School of Design and a BA from Brandeis University.

summer solstiCe CelebrAtion saturday, June 22 / 6:30 pm / Freethe virginia b. Fairbanks art & nature Park: 100 acres

Art in the pArksundays / april–october / noon–4 pmruth lilly visitors Pavilionmix a little art into your nature time with a different art activity each month. Great for ages 3 and older.

on sundays, may 12 and 19 join artist kim beck for a special art in the Park activity that will help shape her upcoming installation, NOTICE: A Flock of Signs.

Left: Andrea Zittel (American, b. 1965), Indy Island, 2010. Commissioned by the Indianapo-lis Museum of Art. © Andrea Zittel.

Below: Kim Beck, rendering of NOTICE: A Flock of Signs. Image courtesy of the Artist. © Kim Beck.

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Curators traditionally take the lead on creating IMA exhibitions, but you—an art conservator—have organized this one. Given your role at the IMA, are you presenting a different perspective?Conservators approach artworks from a material or technical perspective, in comparison to curators and art historians, who generally prize the meaning and context of artworks within the currents and history of art. Plus, I’m very interested in Indianapo-lis’s history; so, yeah, I think the perspective will ultimately be a little different. My goal is to mix the worlds of meaning, context, and materials in telling the story of Robert Indiana’s Numbers and their history in Indianapolis. Many may not know that in 2011 these sculptures underwent a complete restoration, in which each of the ten sculptures was repainted in

order to look similar to how they were originally fabricated between 1980 and 1983. I’m really excited to show off some of the work we do in the conservation department and highlight the way we take care of the artworks that are gifted to us. And, for the first time, we’ll be telling the history of how Melvin Simon & Associates commissioned Indiana to make these sculptures, a project the artist considered his most important to date at the time of their creation.

What’s your favorite artwork in the exhibition?Well, it’s a given that the Numbers are fantastic—they’re bright, colorful, really big, and many visitors to the IMA have had their pictures taken with them over the years—but I’m not going to choose them; that would be too easy! I’m

going to say that my favorite work is a charcoal drawing by Robert Indiana that for many years has hung outside of Herb Simon’s office in Indianapolis. This is a drawing that Indiana did in preparation for the project so that he could see how the numbers might look when finished and displayed together. As far as I know it hasn’t ever been seen by anyone outside of Simon Property Group, so I’m really thrilled that they have offered to lend the piece to the IMA for this exhibition. It’s a rare opportunity to look into Indiana’s artistic process.

Commissioned in 1980 for the 20th anniversary of melvin simon & associates (now simon Property Group), robert indiana’s eight-foot-tall polychrome Numbers are iconic works from one of america’s most recogniz-able artists. the new exhibition Indiana by the Numbers traces the history of their design and fabrication, tells the story of their display before they were donated to the ima in 1989, and provides a glimpse into their recent restoration and repaint-ing by the ima conservation department.

IMA Magazine asked richard mcCoy, conservator of objects and variable art, about the exhibition.

indiana by the numbers

Right: Robert Indiana (American, b. 1928), Numbers, 1980–1983, painted aluminum, 8 x 8 x 4 ft. (each), Gift of Melvin Simon and Associates, 1988.246. © 2013 Morgan Art Foundation / Artists Rights Society (ARS), New York.

Indiana by the Numbers will be on view in the elma D. and Orville a. wilkinson Gallery from May 24, 2013, to May 4, 2014.

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On April 5, Ai Weiwei: According to What?—the IMA’s latest featured exhibition—opened to the public. A major retrospective of the artist’s work, this not-to-be-missed exhibition includes examples from the broad spectrum of the artist’s practice, which encompasses sculpture, photography, video, and site-specific architectural installa-tions, as well as the design for the “Bird’s Nest” stadium for the 2008 Summer Olympics in Beijing. Walking past some of the works in the show, visitors may be inspired to learn more about the man who created these pieces and the circumstances that drove him to do so. In conjunction with the exhibition, the IMA is employing new in-gallery technology to facilitate these inquiries and help audiences engage with the work of this extraordinary artist.

In-Gallery iPads

Visitors to Ai Weiwei: According to What? will be able to dig deeper into the artist’s biography and his artistic practice through additional content available on iPads installed within the exhibition space. Outlining key events in Ai’s life and the main themes around which his art revolves, these in-gallery tools will provide greater context for the works on display and help users gain a better understanding of the artist and his intent. In addition, visitors will have access to interviews with Ai in which he speaks about his art, his activism, and his recent experiences with the Chinese authorities.

Public programs and opening celebration for Ai Weiwei: According to What? are sponsored by barnes & thornburg LLP.

Above: Ai Weiwei, 2010. Photo by Gao Yuan.

according to ai weiwei

Before the exhibition opened in Indianapolis, the IMA asked Ai Weiwei several questions about his life, his practice, and his passions. Video responses provided by Ai are now available both online at imamuseum.org/accordingtoaiwei-wei and on site at stations located just outside the exhibition. Visitors are encouraged to watch Ai’s responses and then provide their own reactions. This user-generated content will help to build a broader online conversation about themes addressed in Ai’s practice.

On Twitter? Join the conversation by using #whoisaiweiwei.

Ai Weiwei: According to What? is on view through July 21 in the allen whitehill Clowes special exhibition Gallery. tickets are $12 Public, $6 Children ages 7–17, Free for IMa members and children 6 and under.

this exhibition is organized by Mori art Museum, tokyo, and the Indianapolis Museum of art.

to learn more about ai weiwei, visit imamuseum.org/aiweiwei. the website includes press clips, videos, and images of ai weiwei’s work.

okyo, and the

eiwei, visit imamuseum.org/aiweiwei. the website includes press clips, videos,

eiwei’s work.

ai Weiwei: art, activism, and technology

23

timeless beauty through may 5 / Free / Frances Parker appel Gallery / Floor 3

“Timeless” can refer to something that is not restricted to a particular time period or age. It also describes things that are enduring, ageless, and unaffected by time. This exhibition looks at the Japanese genre called bijinga, or pictures of female beauties, from both vantage points, using prints from the last three decades of the 18th century through modern times. On one hand it allows one to compare which aspects artists from different periods seized upon as markers of feminine grace and attractiveness. On the other, it includes prints that have been damaged over time but still retain appreciable elements of beauty.

Indiana by the numbers may 24, 2013–may 4, 2014 / Free / elma d. and orville a. Wilkinson Gallery / Floor 4

See page 22.

ai weiwei: according to what?through July 21 / $12 Public, $6 Children ages 7–17, Free for ima members and children 6 and under/allen Whitehill Clowes special exhibition Gallery / Floor 2

Throughout his career, Ai Weiwei has offered insights into the interrelation between art, society, and individual experience. A major retrospective of the artist’s work, Ai Weiwei: According to What? includes examples from the broad spectrum of the artist’s practice, from sculpture, photography, and video to site-specific architectural installations. As one of China’s most provocative and vocal artists, Ai Weiwei’s focus on human rights and social change eventually led to his detainment by Chinese authorities in 2011 for nearly three months. The Chinese government later supplied charges of tax evasion against Ai Weiwei, which he vehemently denies. Since his detainment, Ai Weiwei has been kept under constant surveillance by the government. Featuring over 30 works spanning more than 20 years, Ai Weiwei: According to What? explores universal topics of culture, history, politics, and tradition. Majestic african textiles may 3, 2013–march 2, 2014 / Free / Gerald and dorit Paul Galleries / Floor 3

See page 5.

Top: Gabor F. Peterdi (American, 1915–2001), Triumph of the Stones (detail), 1955, etching, soft-ground etching and engraving with stenciled color. Gift of Dr. Steven Conant in honor of Bud Stalnaker, 2002.92. © Gabor F. Peterdi.

Middle: Ai Weiwei (Chinese, b. 1957), He Xie, 2010–. Collection of the artist. Installation view at the Hirshhorn Museum and Sculpture Garden, Washington, DC, 2012. Image courtesy of the artist. Photo by Eric Gregory Powell.

Bottom: William Hogarth (English, 1697–1764), The Enraged Musician (detail), 1741, etching and engraving, 13 x 15-3/4 in. (image) 17-1/8 x 23 in. (sheet). Gift of William George Sullivan, 30.993.

exhibitions

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Graphitethrough June 2 / 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 or a liquid, in stick or pencil form—and yield a wide range of visual effects. 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.

william hogarth: the Painter of Comic history through June 2 / Free / the steven Conant Galleries in memory of mrs. h.l. Conant / Floor 3

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.

Indiana artists’ Club through June 9 / Free / north hall Gallery / Floor 2

Since its inception in 1917, the Indiana Artists’ Club has held an annual juried exhibition. This spring the Club returns to the IMA for its 81st annual exhibition. The top 57 works as selected by juror and Chicago-based artist Clayton J. Beck III will be on display through June. Works are composed of a wide variety of styles and media both contemporary and traditional, with many works available for purchase.

MOLa: Kuna needle arts from the san blas Islands, Panama through July 14/ 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 Colombia. The Kuna are famous for these bright, colorful, and meticulously appliquéd textiles, which adorn the fronts and backs of Kuna women’s blouses. A selection of about 50 of the finest molas from the Museum’s collection is displayed in the exhibition.

spencer Finch: Following naturethrough august 25 / Free / efroymson Family entrance Pavilion / Floor 1

Brooklyn-based artist Spencer Finch creates mixed-media installations, photographs, and drawings that explore the limits of perception. Bringing together a scientific approach with a nuanced sense of poetics, Finch’s works call attention to various phenomena of the natural world through his investigations of light and color. Finch’s installation for the IMA’s Efroymson Family Entrance Pavilion, Following Nature, is composed of an array of nearly 200 panels of glass suspended from the Pavilion’s ceiling, as a reinterpretation of Claude Monet’s iconic water garden in Giverny, France.

support provided by a grant from the efroymson Family Fund, a fund of Central indiana Community Foundation.

Gabor Peterdithrough october 13 / Free / susan and Charles Golden Gallery / Floor 2

This exhibition of 31 prints from the permanent collection features the work of master printmaker Gabor Peterdi (1915–2001). After beginning his career at Stanley William Hayter’s trendsetting Atelier 17 in Paris in 1934, he immigrated to New York at the onset of World War II and settled in the US permanently, teaching first at Brooklyn Museum School of Art and then, until the end of his active life, at Yale. His independent prints are known for his mastery of complex intaglio techniques to create images that lie between abstraction and a surrealist investigation of the inner forces of nature. The Museum’s collection spans most of Peterdi’s career, and while the first prints were collected in the 1960s, most of the rest have been given over the past 20 years by Dr. Steven Conant.

25

the nAtionAl bAnk oF indiAnApolis summer nights Film series

amphitheater / doors open at 7 pm, film begins at dusk / $10 P, $6 m, Free for children 6 and under, ticket required (show your national bank of indianapolis card and receive $1 off admission.)

FridAys, June–Augustsee page 7

yogA in the gAlleries

saturdays, July and august only meet in efromyson entry Pavilion / 10–11 am / $78 P, $60 m (price per six-week session)

Session 1: July 13–august 17Session 2: august 31–october 5

mAy

01 wedFamily activity / wee Wednesday / star studio classroom / 11 am–noon / $5 P, $3 m / rsvP

02 thrspecial event / thursday night book Club: Tom Jones by henry Fielding (1749) / meet at Welcome desk / 6:30 pm / Free / rsvPtalk / michael Cunningham: Crowns: Portraits of Black Women in Church Hats / deboest lecture hall / 11 am / Free special event / hats off! Fas annual luncheon / deer Zink events Pavilion / noon /before april 19: $65 P, $50 Fas members; after april 20: $75 / rsvP deadline april 26

04 sAtspecial event / Member Morning: bubble Painting / star studio classroom / 10–11 am / Free (Members only, rsVP)Family activity / make & take: bubble Painting / star studio classroom / 1–4 pm / Freespecial event / teen spoken Word Workshop: speak your art out / Check in at the Welcome desk for location / 1–4 pm / Free (rsvP, space is limited)

05 sunFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: sticks and stones! / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

09 thrtalk / the art of making a living in indiana 1850–1950 / the toby / 7 pm / Freetour / new acquisition: t.C. steele’s Morning–Old Schofield’s Mill / meet in toby lobby after talk / Freespecial event / stargazing / the virginia b. Fairbanks art & nature Park: 100 acres meadow / 9 pm / Free

10 Frispecial event / national Public Gardens day / madeline F. elder Greenhouse / noon–4 pm / Free (an oldfields–lilly house & Gardens Centennial Celebration event)

11 sAtFamily activity / hold it! / Check in at the Welcome desk / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / Freespecial event / teen spoken Word Workshop: speak your art out / Check in at the Welcome desk / 1–4 pm / Free / rsvP

12 sunFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: sign making with guest artist, Kim beck / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

16 thrFilm / Ai Weiwei: Never Sorry (2012) / the toby / 6:30 pm / $9 P, $5 m, Free for Cas members (receive $1 off film admission with your featured exhibition ticket stub.)

17 FriFilm / Ai Weiwei: Never Sorry (2012) / the toby / 6:30 pm / $9 P, $5 m, Free for Cas members (receive $1 off film admission with your featured exhibition ticket stub.)special event / omnimic: speak your art out / the toby / 8 pm / Free

18 sAtFilm / Ai Weiwei: Never Sorry (2012) / the toby / 2 pm / $9 P, $5 m, Free for Cas members (receive $1 off film admission with your featured exhibition ticket stub.)Family activity / make & take: bubble Painting / star studio classroom / 1–4 pm / Free

19 suntalk / alfred sisley’s House in a Village: real or Fake? / deboest lecture hall / 2 pm / FreeFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: sign making with guest artist, Kim beck / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

25 sAtFamily activity / hold it! / Check in at the Welcome desk for cart location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / Free

26 sunFamily activity / make & take: bubble Painting / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: sticks and stones! / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

31 Fritalk / Final Fridays Members-Only talk: Ai Weiwei: According to What? behind the scenes / Deboest Lecture hall / 6 pm / Free (Members only)special event / Final Fridays / ima Galleries / 6:30–11 pm / FreeFilm / Style Wars (1983) / the toby / 7 pm / $9 P, $5 m

June01 sAtspecial event / Member Morning: Pool noodle Printing / star studio classroom / 10–11 am / Free (Members only, rsVP required)Family activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / Free

02 sunFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: Clay Play / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free


For detailed information on events, to rsvp or to purchase tickets, please visit imamuseum.org or call 317-923-1331.

assistive listening devices are available for all toby events and public tours. asl interpretation available at toby events where noted, and upon request by calling 317-923-1331, ext. 213.

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

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

The Virginia B. Fairbanks Art & Nature Park: 100 Acres / noon / meet at lake terrace

The Virginia B. Fairbanks Art & Nature Park: 100 Acres Audubon Birding Tour June 23 / 3 pm / meet at lake terrace

CAmps youth CAmpsages 5–7, 7–9, and 9–12art labs / 10 am–4 pm / $215 P, $175 m

Week One: June 17–21 Week Two: June 24–28 Week Three: July 8–12 Week Four: July 15–19Week Five: July 22–26

teen CAmpsages 13–17adult lecture space a / 10 am–4 pm / $235 P, $195 m

Week One: June 17–21 Week Two: June 24–28

an extended hours program is available for camp enrollees. 8–10 am: $25 per child, per week; 4–5:30 pm: $20 per child, per week

Calendarof events

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06 thrspecial event / thursday night book Club: White Noise by don delillo (1985) / meet at Welcome desk / 6:30 pm / Free with exhibition admission to Ai Weiwei: According to What? / rsvP

08 sAtspecial event / stargazing / the virginia b. Fairbanks art & nature Park: 100 acres meadow / 9 pm / FreeFamily activity / hold it! / Check in at the Welcome desk for cart location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeClass / Connecting the Past to the Present: tell-ing stories with Photographs / adult lecture study a / 10 am–4 pm / $240 P, $200 m / rsvP


13 thrFilm / Planet indy: Trashed (2001) / the toby / 7 pm / $9 P, $5 m

15 sAtFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeClass / Connecting the Past to the Present: telling stories with Photographs / adult lecture study a / 10 am–4 pm / $240 P, $200 m / rsvP


22 sAtspecial event / summer solstice / the virginia b. Fairbanks art & nature Park: 100 acres / 6:30 pm / FreeFamily activity / hold it! / Check in at the Welcome desk for cart location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeClass / Connecting the Past to the Present: telling stories with Photographs / adult lecture study a / 10 am–4 pm / $240 P, $200 m / rsvP


27 thrFilm / ai Weiwei’s Fairytale (2008) / the toby / 6:30 pm / Free

28 Fritalk / Final Fridays Members-Only tour: Delta house rules / efroymson Family entrance Pavilion / 6 pm / Free (Members only)special event / Final Fridays / 6:30–11 pm / Free

29 sAtFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeClass / Connecting the Past to the Present: telling stories with Photographs / adult lecture study a / 10 am–4 pm / $240 P, $200 m / rsvP

30 sunFamily activity / make & take: Pool noodle Printing / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: Clay Play / 100 acres: ruth lilly visitors Pavilion / noon–4 pm

July

06 sAtspecial event / Member Morning: Can You repeat that? / star studio classroom / 10–11 am / Free (Members only, rsVP required)special event / Community day: meGa make & take / Pulliam Family Great hall / 1–4 pm / Free

07 sunFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: PoP art / the virginia b. Fairbanks art & nature Park: 100 acres, ruth lilly visitors Pavilion / noon–4 pm / Free

10 wedFamily activity / wee Wednesday / star studio classroom / 11 am–noon / $5 P, $3 m (rsvP required) Held this Wednesday due to the 4th of July holiday.

11 thrspecial event / thursday night book Club: The Brooklyn Follies by Paul auster (2009) / meet at Welcome desk / 6:30 pm / Free / rsvP

13 sAtFilm / indiana black expo Film Festival / the toby / noon / FreeFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: PoP art / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / FreeFamily activity / hold it! / Check at the Welcome desk for cart location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / Free

14 sunFilm / indiana black expo Film Festival / the toby / noon / Free

20 sAtFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / Free

21 sunFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: PoP art / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

26 Fritalk / Final Fridays Members-Only tour: Pillage and Plunder / efroymson Family entrance Pavilion / 6 pm / Free (Members only)special event / Final Fridays / 6:30–11 pm / Free

27 sAtFamily activity / hold it! / Check at the Welcome desk for cart location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / Free

28 sunFamily activity / make & take: Can you repeat that? / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: PoP art / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free

August

03 sAtspecial event / Member Morning: back to school / star studio classroom / 10–11 am / Free (Members only, rsVP)Family activity / make & take: back to school / star studio classroom / 1–4 pm / Free

04 sunFamily activity / make & take: back to school / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: ink blot Critters / 100 acres: ruth lilly visitors Pavilion / noon–4 pm / Free


08 thrspecial event / thursday night book Club: Green Fields and Running Brooks by James Whitcomb riley (1894) / meet at Welcome desk / 6:30 pm / Free / rsvP

10 sAtFamily activity / hold it! / Check in at the Welcome desk for location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: back to school / star studio classroom / 1–4 pm / Free


17 sAtFamily activity / make & take: back to school / star studio classroom / 1–4 pm / Freetalk and hike / nature as art: Jim mcCormac / the toby and ima Grounds / 1:00 pm / Free / rsvP

18 sunFamily activity / make & take: back to school / star studio classroom / 1–4 pm / FreeFamily activity / art in the Park: ink blot Critters / the virginia b. Fairbanks art & nature Park: 100 acres, ruth lilly visitors Pavilion / noon–4 pm / Free

24 sAtFamily activity / hold it! / Check in at the Welcome desk for location / 1:30–3:30 pm / FreeFamily activity / Family tour / meet at the Welcome desk / 1:30 pm, 2:30 pm / FreeFamily activity / make & take: back to school / star studio classroom / 1–4 pm / Free


30 Fritalk / Final Fridays Members-Only tour: the brat Pack / efroymson Family entrance Pavilion / 6 pm / Free (Members only)special event / Final Fridays / 6:30–11 pm / Free

31 sAtFamily activity / make & take: back to school / star studio classroom / 1–4 pm / Free

Public programs for Ai Weiwei: According to What? are sponsored by

the national bank of Indianapolis summer nights Film series is sponsored by

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recent events

6x13: New Year’s at the IMA1. (l–r) John t rapp, lauren b rapp, Curt brighton, linda brighton, lauren m rapp, ryan mossakowski, leslie rapp, John G rapp 2. (l–r) barrett Crites; Jeffery bond; Jessica mcGuire; evgenia dimova; Christopher West; Jessica brown; Christian brown; angie boarman 3. dr. Charles venable, the melvin & bren simon director and Ceo, and ione debolt 4. (l–r) damon davis; Kay davis, sharon and richard Glimor 5. laurel Page and daughter tory Flynn

Matisse Press Conference1. dr. Charles venable, the melvin & bren simon director and Ceo of the indianapolis museum of art with india-napolis mayor Greg ballard. 2. From left to right, Chris Gahl, vice President of marketing & Communications, visit indy, dave lawrence, President and Ceo of the arts Council of indianapolis, dr. Charles venable, the melvin & bren simon director and Ceo of the indianapolis museum of art, June mcCormack, ima board Chair, and indianapo-lis mayor, Greg ballard.

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Wee Wednesdays1. abby mattingly 2. sarah mattingly leads a discussion in the galleries3. sage and lucy Phelps-Kelleher 4. nathan dobbs using the iPad in star studio

Final Fridays1. (l–r) laurel Judkins, michael Kaufmann, brandon Judkins 2. “naughty” tour of the ima’s european Collection 3. dita andrew, tom Foust4/5. Final Fridays crowd in Pulliam Family Great hall

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IMAAffiliate Groups

aRt, dEsiGn, and natURE intEREst GRoUPs / IMA affiliate groups offer members unique opportunities to become more involved with the IMA by exploring their own interests. Affiliate group members can participate in exclusive tours of the IMA’s permanent collection and special events related to the mission of each group.

To learn more about these events or how you can join one of these interest groups, contact Jessica Borgo, affiliate group associate, at [email protected] or 317-923-1331, ext. 434.

the AlliAnCe The IMA’s longest established affiliate group develops and supports activities and projects that stimulate public interest in the Museum, its educational programs, and collection.

Artist studio tours

Jerry PointsJuly 13 / 1 pm / $15

Jim kellyAugust 15 / 1 pm / $15

AsiAn Art soCiety (AAs) AAS offers its members the opportunity to learn more about Asian art, history, and cultural traditions, and socialize with others who share a deep interest in Asian art.

talk

George Mann, a Collector’s odyssey: Japanese Prints

May 22 / 5:30 pm / Woodstock Country Club / $45 Public, $35 AAS members

hortiCulturAl soCiety (hort soC) 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 also maintains an extensive horticultural library on the IMA campus.

special event

national Public Gardens day

Madeline F. Elder Greenhouse / May 10 / noon–4 pm / Free

ContemporAry Art soCiety (CAs) CAS is a dynamic group that promotes the understanding of and appreciation for contemporary art through educational programs, social events, and community collaborations. CAS support has improved the quality and scope of the IMA’s contemporary art collection.

CAs Annual meeting

May 10 / 5 pm /Caroline Marmon Fesler Gallery / Free

Film

Ai Weiwei: Never Sorry

May 16, 17 / 6:30 pm / The Toby / $5 Public, Free for CAS members

May 18 / 2 pm / The Toby / $5 Public, Free for CAS members

FAshion Arts soCiety (FAs) FAS seeks to promote awareness and appreciation of textile and fashion arts through the study of haute couture and cloth. Members also help facilitate the expansion and enrichment of the IMA’s fashion and textile arts collection.

Hats off! Fas annual talk and Luncheon

May 2 Talk: 11 am / DeBoest Lecture Hall Michael Cunningham: Crowns: Portraits of Black Women in Church Hats

Luncheon: noon / Deer Zink Events Pavilion Before April 19: $65 Public, $50 FAS members; After April 20: $75 / Deadline April 26

design Arts soCiety (dAs) DAS works to promote a greater awareness of the central role design plays in our daily lives and also to help establish the IMA as an important center for design arts in the US.

das annual MeetingJune 6 / 6 pm / The Toby / Free

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Admission General admission is free.

Featured Exhibition: Ai Weiwei: According to What? ($12 Public, $6 children 7–17, Free for members and children 6 and under); 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 IndyGo 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 Thur & Fri at 5 pm.

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

the Virgina b. Fairbanks art & nature Park, Gardens, and Grounds Open daily from dawn to dusk.

tours

The IMA offers free public tours of its galleries, The Virginia B. Fairbanks Art & Nature Park, 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

IMa CaféIMA 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. Museum hours except January–March closes Thur & Fri at 5 pm, 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

By appointment only.

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 and the national endowment for the arts, a federal agency; and lilly endowment, inc.

about the ima

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

NON-PROFIT ORGU.S. POSTAGE

PaID INDIANAPOLIS, IN

PERMIT #2200

Find us. FolloW us.

Tickets available exclusively to IMA members now through August 31. Visit imamuseum.org/matisse or call 317-923-1331, ext. 406 to reserve your tickets today.

Special members-only preview days are on October 11 and 12. Tickets on sale to the public starting September 1.

Be one of the FIRST To See

summer 2013

Documents

ima presidents

ai weiwei chinese

ai weiwei technologysummer

ima affiliate groups

ai weiwei exhibition

photo courtesy

mori art museum

human rights