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Growing For The Future: The Madeline F. Elder Greenhouse

Exciting things are happening at The Madeline F. Elder Greenhouse as we continue on the path to making the IMA Gardens and Greenhouse a world class destination. The Elder Greenhouse, which is located on our diverse 152-acre campus is announcing a host of new plant purchase opportunities, classes and workshops, as well as exciting plans for additional displays and interpretation. In addition, seasonal plant sales will be held in vehicle-accessible locations on campus throughout the year.

Greenhouse manager, Sue Nord Peiffer, and her staff have been busy developing an extensive line-up of classes and workshops to be held throughout the year. Programs include making art from nature, holiday workshops, plant propagation, and more!  The line-up for the remainder of 2015 includes:

  • August 6 – Gardening for Pollinators (Bees, Butterflies & Hummingbirds) Talk & Walk
  • August 29 – An Herbal Lifestyle – Cooking & Crafts with herbs in daily life with Carolee Snyder
  • October 17 – Ornaments from Nature
  • November 14 – Mini treehouse workshop inspired by our upcoming Gustave Baumann exhibition
  • November 19 – Evergreen Wreath Workshop
  • December 12 – Vintage Paper Wreath Ornament workshop

This enhanced array of programs is one part of the new strategy for the Elder Greenhouse, an integral part of the IMA Gardens. Plans are underway to significantly develop the Greenhouse’s plant collections, especially the orchids for which it is so well-known. For example, we will stage an orchid exhibition in February 2016, complemented by related lectures and programming culminating with an opportunity to purchase these intriguing plants.

At key times throughout the year the IMA will continue to offer special plant sales that will feature a wide array of Indiana native plants, herbs, succulents, bonsai, and orchids.  Mark your calendar now for these IMA hosted “can’t miss” plant sales, which will be held on vehicle-accessible areas on campus. These special sales include:

  • September 19 – Autumn Equinox Native Tree and Bulb Sale (Campus-wide free Community Day)
  • December 3 – Holiday Hullabaloo (First Thursday free evening)
  • December 17 – Winter Solstice (Campus-wide free Community Day)
  • April 23 – 24, 2016 – Perennial Premiere
  • June 12, 2016 – A Garden Affair (Horticultural Society event)
  • June 18, 2016 – Summer Solstice (Campus-wide free Community Day)

The Elder Greenhouse is in the heart of the IMA Gardens, and is easily accessible for all guests.  After entering the gardens through the main Welcome Center, guests can enjoy a short walk or take our eco-friendly tram to the Greenhouse. Daily, the Elder Greenhouse is staffed with extremely knowledgeable horticultural staff and volunteers who are on-hand to share their extensive expertise in plant selection and garden design with all guests.


Filed under: Uncategorized


New publication coming soon!
Rights & Reproductions: The Handbook for Cultural Institutions

Almost two years ago, the IMA was honored to receive a National Leadership Grant from the Institute of Museum and Library Services (IMLS) to support the creation of the new publication Rights & Reproductions: The Handbook for Cultural Institutions. Read the press release here.

Cover design for the publication. Artwork depicted: Edward Hopper (American, 1882–1967), Hotel Lobby (detail), 1943, oil on canvas, 32-1/4 x 40-3/4 in. Indianapolis Museum of Art, William Ray Adams Memorial Collection, 47.4 ©Edward Hopper.

Cover design for the publication. Artwork depicted: Edward Hopper (American, 1882–1967), Hotel Lobby (detail), 1943, oil on canvas, 32-1/4 x 40-3/4 in. Indianapolis Museum of Art, William Ray Adams Memorial Collection, 47.4 ©Edward Hopper.

The Handbook will be the first comprehensive resource to focus solely on the rights and reproductions field and will be co-published by the IMA and the American Alliance of Museums (AAM) in Summer 2015. Furthermore, with intellectual property laws and rights and reproductions methodologies ever-changing with the development of new technologies, this digital publication will be a living document that can be constantly updated to stay current with trends and best practices. To this end, the Handbook will be the first reference publication produced using the OSCI Toolkit software developed by the IMA Lab. Learn more about the OSCI Toolkit here.

Since the announcement of the IMLS grant, I and over 30 leading professionals from libraries, museums, arts organizations and law firms have worked tirelessly to identify and prepare the content for the Handbook. Our efforts in writing and editing, as well as entering and designing the content in the OSCI Toolkit have been rewarded by the release of the free online preview that is now available at I am beyond thrilled to see this first tangible iteration of the publication come to fruition. This has truly been a collaborative endeavor among colleagues from a variety of institutions that I am humbled to shepherd into existence.

Excerpt from “Chapter 1: Intellectual Property” as presented in the online preview. This particular image highlights the design created to visually differentiate the case studies and text boxes.

Excerpt from “Chapter 1: Intellectual Property” as presented in the online preview. This particular image highlights the design created to visually differentiate the case studies and text boxes.

The preview features the full text of the Disclaimer, Introduction, and Biographies sections as well as excerpts from Chapter 1: Intellectual Property. It is our hope that this preview excites readers about the full ePub that is forthcoming.

While you wait for the final ePub to come out by September (of this YEAR), head on over to the preview of Rights & Reproductions: The Handbook for Cultural Institutions and check it out now! The ePub will retail through AAM at two price points: $4.99 for Tier 1 and non-AAM members and $1.99 for Tier 2 and 3 AAM members.

Rights & Reproductions: The Handbook for Cultural Institutions is made possible by a grant from the U.S. Institute of Museum and Library Services. The project utilizes the OSCI Toolkit, which is supported by the Getty Foundation as a part of its Online Scholarly Catalogue Initiative.

Filed under: Publications


Keeping Green Leaves Green: An Overview on Tree Injections

Sutphin Mall

Of all the peculiar methods and practices that we use to protect and maintain our beloved plants at the Indianapolis Museum of Art, the use of tree injections may be one of the strangest to observe. Imagine a couple of garden staff members drilling holes and inserting tubes into trees, pumping bright green liquid right into the trunks. A sight such as this might seem like more harm than good to the tree. However, the use of injections is the reason for the continuous health of some of our trees here at the IMA. The need for tree injections varies from tree to tree. The reasons can range from eradicating invasive pests to preventing killer diseases.

chlorosis-webFor example, the maples on the Dudley V. and Mary Louise Sutphin Mall of the IMA provide a lovely sidewalk border perfect for strolling in the shade of the trees. However, the soil that these trees are planted in doesn’t provide the best nutrients. Iron is a very important element to plant health and it plays a large role in the successful conduction of photosynthesis. The photosynthetic process is fundamentally the lifeblood of most plants.

Unfortunately, the soil on the lawn does not contain much iron and the trees experience deficiencies. These deficiencies cause a yellowing of the leaves and a condition called iron chlorosis. Thankfully, we have a solution we can inject into the trees that contains iron and other important elements to keep the trees happy and healthy.


Tree injection begins with a measurement of the trees’ diameter and circumference to determine how much solution needs to be injected. After that, the solution is poured into what’s called a “Tree I.V.,” and the injection site is drilled into the trunk. The small yellow “plugs” provide a place for the needle to stick and additionally protect the wound after injection is complete.

Tree injectionThe trees simply grow new bark over the plugs as time goes on. When it comes to our maples, the iron-containing solution will travel from the injection site in the trunk, through the vascular system of the tree, all the way up to the leaves. Once the whole process is complete, we can watch as the solution provides the means for increased photosynthesis. This will allow the healthy green color to return to the leaves and improve their overall state. So the next time that you see a staff member drilling holes in a tree, know that they are (probably) not crazy, but are just continuing to keep the IMA beautiful.

Filed under: Conservation, Gardens


Indianapolis Museum of Art Bike Access Route

Bikers on Canal Towpath heading to IMA

Bikers on Canal Towpath heading to IMA

Recently, there has been much concern expressed over the Indianapolis Museum of Art’s accessibility to bikers who commute to our campus. We appreciate hearing feedback from our guests, especially those who have been visiting us for many years. We fully understand the sense of loss of not being able to use the IMA campus as it has been used in the past. Major changes like this are always difficult. We would like to take this opportunity to address these concerns directly.

The commentary stating the IMA has banned bicycles from our property is untrue. The Virginia B. Fairbanks Art and Nature Park: 100 Acres, which comprises two-thirds of our 152-acre campus, is available to cyclists just as it was before our new policies went into effect this April. The most significant change is restricting vehicle traffic in our gardens. Following the model of many public, botanical gardens around the nation, we have reserved our gardens for pedestrians in order to enhance the safety and experience for our guests. We have also added considerable amounts of new sidewalks, benches, trashcans and bike racks, as well as opened our pedestrian gates on both Michigan Road and 38th Street.

We welcome bikes at the IMA, and we suggest that bikers arrive via the Canal Towpath, to ensure that our guests arrive safely. Bikers who are commuting to the IMA can enter via the Canal Towpath, cross the Waller Bridge (the red bridge that connects the Museum and formal gardens with the Virginia B. Fairbanks Art & Nature Park: 100 Acres), can park their bike at the bike rack and walk up to our Upper Campus.

At that point, guests can check in at one of our Guest Services desks. Our main Guest Services desk is located in the Efroymson Family Entrance Pavilion. For the convenience of our guests arriving by bike or on foot via the Towpath, we have added two additional Guest Services desks located at the end of the Garden Path (just inside of Deer Zink Events Pavilion) and inside the Lilly House. Guests should check in upon arrival.

waller-bridge-bike-rackBike racks are located in the following areas:

  • On the north (Museum & Gardens) and south (The Park) side of Waller Bridge
  • In the parking garage, just outside of the entrance to the Catherine and Robert Lictenauer Passageway Gallery
  • Next to The Dudley and Mary Louise Sutphin Mall
  • Outside of Efroymson Family Entrance Pavilion (38th Street entrance)

Adding bike lanes outside of the IMA property to aid bikers in accessing our campus is a decision that must be made by the City of Indianapolis. We have met with the City to discuss adding additional sections of sidewalks at 38th Street and Michigan Road that would connect with our sidewalks. City Officials felt that was a reasonable request and assured us that they will try to work with us on this initiative. We asked that consideration be given to restriping the crosswalks at 38th Street and 40th Street. We also discussed the possibility of adding a bike path from 42nd Street to the IMA’s 40th Street entrance on Michigan Rd. That request was heard, but no commitment was made. We continue to work closely with neighboring institutions to convince the City to improve walkability and bikeability along Michigan Rd. and 38th St. While it may take some time to accomplish all that our anchor coalition wants, we are confident much can be achieved.

To provide you with some context for the new policies, we want you to know that our Senior Staff and Board of Governors spent an enormous amount of time and effort exploring options before taking unanimous action last December. After studying the situation for two years, we came to the conclusion that if we want to achieve our vision of advancing our gardens to the level of a major public garden and to make them safe for all visitors, part of our campus needed to be reserved for pedestrians.

Canal Towpath leading to IMA

Canal Towpath leading to IMA

Although we have many things to improve on as we implement the Board’s directives during the coming months, we hope that you and other friends of the IMA will understand the need to do things differently going forward. If you are interested in learning more about the reasons behind the transition, we hope that you will take the time to view the video of our Board Chairman, Thomas Hiatt, and CEO, Charles L. Venable, addressing guests at our Annual Membership meeting on May 20, 2015. Their presentation answers a number of the questions that many have posed about the IMA’s finances and changes to our admission policy and entrance to the campus. We also welcome questions or comments at

We will continue to seek outlets for connecting with the community in order to arrive at solutions that both further the IMA’s mission and keep all of our guests safe while traveling to and visiting the IMA.


More details about the Central Canal Towpath, including a comprehensive, can be found on the City of Indianapolis website.

Filed under: IMA Facilities, Uncategorized


Conservation of Jacopo Zucchi’s Portrait of a Lady

Jacopo Zucchi's 'Portrait of a Lady'

Jacopo Zucchi (Italian, 1540 – 1596), Portrait of a Lady, oil on canvas, 48 x 37-3/4 in. 63-1/2 x 54-1/4 in (framed). Courtesy of the Clowes Fund. C10015.

Jacopo Zucchi’s 16th century Portrait of a Lady (attributed) portrays a wealthy woman in a red velvet dress, adorned in jewelry. With no coat of arms, inscriptions or other indications, the lady’s identity remains a topic of on going research by IMA scholars. The painter Zucchi apprenticed under well-known Florentine artist Giorgio Vasari, and both artists painted for various members of the affluent and powerful Medici family. The woman in the portrait may have been closely associated with the Medici family, a link that correlates well with her sumptuous clothing and precious jewelry. Technical analysis and examination of the pigments used in the composition further reinforce the woman’s wealth. For instance, vermilion, an expensive bright-red pigment typically reserved for delicate red hues in flesh tones, was used throughout the dress. Only the most prosperous of patrons could afford a portrait with such expensive paints, let alone the actual garments and jewelry. Ongoing research and technical analysis will hopefully provide clues to her identity as well as solidify the attribution.


Portrait of a Lady suffered numerous damages in the past, and although previously restored on several occasions, the painting has remained unsuitable for display due to aesthetic reasons. In particular, the aged natural resin varnish present over the entire surface caused the painting to appear yellow and the woman’s complexion to appear an unnatural yellow-orange (Fig. 1). The painting was moved out of storage and brought to the Conservation Lab at the IMA, where it underwent analysis and treatment with the chief goal of restoring it to an exhibitable state. After thorough testing, the varnish was carefully removed using solvents during the first stage of the conservation process. Immediately following the varnish removal, the painting appeared much brighter, and the woman’s original pale complexion was returned. Along with the varnish, the old restorers’ paint was removed, since it too had discolored and no longer matched the original paint. At this point in the treatment, the painting revealed the true extent of past damages. The paint losses indicate that the painting likely suffered from being folded and from exposure to water. With the varnish and overpaint removed, the numerous damages, which interfered greatly with the interpretation of the composition, could be addressed.


Fiona Beckett retouches Portrait of a Lady

Retouching Jacopo Zucchi’s ‘Portrait of a Lady’ in the Clowes Pavilion.

In the final stage of treatment, the areas of paint loss and abrasion are visually reintegrated into the composition by a conservation process known as “inpainting” or “retouching” (Fig.2). A fine sable brush is used to gently apply stable conservation pigments in a synthetic medium to the damaged areas. This process is time consuming and requires precise blending of pigments to match those of the painting. This final step in the treatment will occur in the Clowes Pavilion, located on Floor 2. From April through June, Clowes Conservator of Paintings Fiona Beckett will finish retouching the painting in the gallery for guests to observe. Once the retouching is complete, a stable synthetic varnish will be applied to the surface of the painting to fully saturate the colors, as well as provide a layer of protection. Natural aging and cracking of the paint will remain visible as a testament to the painting’s age, which is approximately 500 years old. With the conservation process complete, the painting will once again, and for the first time in many years, be exhibited in the Clowes Pavilion.



Visitors can watch the restoration of Portrait of a Lady in the Clowes Italian Gallery from April – June 2015 on the following days:

Wednesdays   10 a.m. – 1 p.m.

Thursdays   1 – 4 p.m.

First Thursdays 5 – 7 p.m.

First Saturdays 12 – 3 p.m.


Filed under: Conservation


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