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Autumn arrives at the IMA

It’s mid-October in central Indiana, and that means fall leaf color is gearing up for going full swing. Driving down any highway it seems clear that maples make the biggest impression, but take a stroll through the IMA’s gardens and Art & Nature Park and you’ll quickly notice there are many other plants that are praiseworthy as we approach the end of October and beginning of November. Represented here is a small handful of what will be changing their stripes over the next several weeks.

While Oriental spicebush (Lindera angustifolia) doesn’t have many frills the rest of the year, it captures this season perfectly with its stunning display of reds and oranges that set off the fruit like small black pearls when the light catches them. Every fall I get sucked in trying to capture the fiery perfection of the leaves from up close with my camera, but no photograph can truly substitute for the sheer marvel of coming across these beauties on a crisp, autumn day’s stroll.

101714_lindera_angustifolia

Lindera angustifolia

Arkansas bluestar (Amsonia hubrichtii) is an herbaceous perennial, but by this point in the season it carries the same weight as a mounded shrub. This thing practically wears a halo when it glows on rainy, overcast days.

Amsonia hubrichtii

Amsonia hubrichtii

Both in the gardens and at the Art & Nature Park, winterberry (Ilex verticillata) shows off not only golden leaves, but an even more impressive load of poppy-red and coral berries that make great bird candy. The berries begin coloring up much earlier while the leaves are still green, but will persist, as long as the birds allow, long after the leaves have dropped and cold weather has moved in to stay.

Ilex verticillata

Ilex verticillata

Another plant that is frequently seen along the highway is staghorn sumac (Rhus typhina), which is an Indiana native that thrives in tough soil conditions and provides lovely masses of red and orange for fall road trips.  But let’s not forget some of the other native sumacs that are just as stunning without being quite as prolific.  Shining sumac (Rhus copallina) brings in a different color palette than the others with its rich, purple-hued reds, while fragrant sumac (Rhus aromatica) transitions into a low-growing carpet mirroring similar shades of the orangey-red of the staghorn sumac.

Rhus copallina (left) and Rhus aromatica (right)

Rhus copallina (left) and Rhus aromatica (right; photo courtesy of highcountrygardens.com)

Serviceberry (Amelanchier x grandiflora) is one of those rare garden shrubs that look great year-round, but if a “best” season needed to be determined I would have to pick fall. It has enough orange to make it noticeable among the many yellows of the season, yet is soft enough to blend well with just about anything with which it is paired. Fitting into nearly any type of landscape, this plant will always find it has my undying devotion as a lovely and deserving specimen.

Amelanchier x grandiflora

Amelanchier x grandiflora

One shrub that requires both space and patience to develop is bottlebrush buckeye (Aesculus parviflora), but it is well worth the wait. It provides both a stunning floral display at a time in the summer when few other shrubs are blooming, and a vibrant yellow tapestry in the fall that may serve as either a backdrop for other fall fancies or proudly star, front and center. Either way it is a showstopper.

Aesculus parviflora

Aesculus parviflora

Oh, boy, is this one inspiring! Redbud hazel (Disanthus cercidifolius) is not commonly used and may be mistaken for common redbud when its leaves are green, but it makes its presence known in the fall when its heart-shaped leaves turn a deep burgundy-red that echoes the marvel of sweetgum and pagoda dogwood. As an understory shrub, it doesn’t even need sun to bring out the best of its colors, and as icing on the cake, when the leaves drop on this little gem the small, deep red flowers along the stem are exposed as the season moves from fall into winter.

Disanthus cercidifolius

Disanthus cercidifolius

Over the next month if you’re looking for a place to take in the glory of the changing season, look no further than the IMA’s backyard and come lose yourself in the heady glow of a living, picture-perfect color palette.

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Filed under: Art and Nature Park, Horticulture, IMA Staff

 

Art & Science Collide: The IMA at Celebrate Science Indiana

Guest bloggers Fiona Beckett and Erica Schuler are painting conservators at the IMA.

On October 4, the Indianapolis Museum of Art was present in full strength at the annual Celebrate Science Indiana Fair at the Indiana State Fair Grounds. Conservation Scientist Gregory D. Smith along with Paintings Conservators Fiona Beckett and Erica Schuler demonstrated the link between science and art to fair-goers of all ages. Throughout the day, the IMA booth was filled with lively conversations about art conservation and conservation science, including the different analysis techniques that help conservators examine great works of art and reveal secrets invisible to the naked eye.

Fiona, Erica and Greg representing the IMA at the Celebrate Science Indiana Fair.

Fiona, Erica and Greg representing the IMA at the Celebrate Science Indiana Fair.

Using a photographic examination technique, visitors excitedly observed a painting in-situ with a specialized infrared camera, which allowed them to see beyond the upper paint layer and discover a hidden figure beneath. Guests analyzed artists’ materials with X-ray fluorescence, a technique used to identify the presence of elements (such as iron or lead). Once identified, these elements help the conservator determine which pigments were present on the artist’s palette.

For many, the highlight was handling the raw artists materials including 6,000 year-old lapis lazuli, a rare blue mineral once worth its weight in gold. Visitors also guessed the contents of a test tube containing cochineal insects, which are processed to make the red dye, carmine. Many were shocked to discover that the dye not only provided color for artworks, but is also present in many of today’s food and cosmetic products!

Visit us next year (Saturday, October 3, 2015) and see what else art and science have in common!

In the meantime, you can visit Coat of Many Colors at the IMA to discover how scientific imaging and dye analysis has helped us to pinpoint a creation date for an Uzbek garment.

Filed under: Art, Conservation, Education, Exhibitions, IMA Staff, Technology

 

#ArchivesMonth at the IMA

archives_month_banner

… and to celebrate, I am going to share items from some of my favorite collections in the IMA Archives. But first, you may be wondering, “What is an archives?”

An archives is a place where people go to find information. But rather than gathering information from books as you would in a library, people who do research in archives often gather firsthand facts, data, and evidence from letters, reports, notes, memos, photographs, audio and video recordings, and other primary sources.

- The Society of American Archivists

As the IMA’s Archivist, I manage over 130 years of institutional records and special collections that relate to all aspects of the museum’s historic and current operations. While I often work with documents and photographs, the IMA Archives includes textiles, architectural drawings, landscape and sculptural models, scrapbooks, films, and a variety of other unique materials – not limited to the physical. As the IMA and its staff move further into the digital age, I do my best to combat the possibility of a “digital dark age” for the museum by ensuring that both born digital and digitized electronic records are preserved and made accessible for current and future needs.

While the museum’s records date back over 130 years, the IMA Archives was officially established only four years ago. In that short time, some very amazing collections of archival material have become available for research. Not only do these collections document the operations of the museum and the work of IMA departments and governing bodies, but they also give a glimpse into the lives of the people who made the IMA what it is today — our founders, donors, staff members, and patrons throughout the museum’s history. By documenting the actions of these individuals, the archival material also speaks volumes about the vital role that the arts have played in our city and throughout Indiana for generations.

The following are some of my favorite collections and individual items from the IMA Archives …

IMA Exhibition Records
The IMA Archives Exhibition Records document the planning and execution of exhibitions from the first exhibition of the Art Association of Indianapolis in 1883 to the present day. The records of individual exhibitions may include checklists, exhibition catalogues, ephemera, images of installations and artwork, correspondence, press clippings and other documents.

Indiana Art and Artists
Indiana artists and their works are well-represented in the collections of the Indianapolis Museum of Art, and have naturally found their way into many of the collections within the IMA Archives. Photographs, correspondence, scrapbooks, exhibition ephemera, scale models, and other artifacts in the IMA Archives document the relationship between the museum and Indiana’s artists since the founding of the Art Association of Indianapolis in 1883.

Onya La Tour Papers (M005)
An avid art collector and dealer, Onya La Tour traveled extensively and made connections with many modern artists. After amassing her personal collection of artwork, La Tour returned to her home state of Indiana and founded the Indiana Museum for Modern Art in Brown County. Before her return to Indiana, La Tour served as director of the Federal Art Gallery  and the Onya La Tour Gallery in New York City. The collection contains La Tour’s diaries, daybooks, correspondence, personal memorabilia and research files, exhibit and gallery brochures and catalogues, published books and journals, and historical material related to the Onya La Tour art collection at the Indianapolis Museum of Art. Select items from the Onya La Tour Papers will be on display October 17, 2014, through April 12, 2015, in the exhibition, The Onya La Tour Collection: Modernism in Indiana.

Miller House and Garden Collection (M003)
The Miller House and Garden, one of the country’s most highly regarded examples of mid-century Modernist architecture, was designed by Eero Saarinen, with interiors by Alexander Girard and landscape design by Daniel Urban Kiley. Commissioned by industrialist and philanthropist J. Irwin Miller and his wife Xenia Simons Miller in 1953, the Miller House and Garden was designated a National Historic Landmark in 2000. In 2009, members of the Miller family donated the house and garden, along with many of its original furnishings, and the archives collection to the Indianapolis Museum of Art. The archival collection documents the design, construction, decoration, and maintenance of the Miller House and Garden from 1953 to 2009 and includes documents, photographs, architectural and landscape drawings, and material samples. This collection is currently being digitized by IMA Archives staff, and unique and interesting finds are shared on the Documenting Modern Living Tumblr.

Filed under: Art, Conservation, Design, History, IMA Staff, Indiana, Technology

 

The art in volunteering

Today's guest blogger is volunteer Pres Maxson. Pres has been volunteering for just a couple of months, but he is already an excellent addition. You can find him working at special events and the Visitor Information Desk. If you see him, be sure to say hi!

Today the air is crisp. I have all the windows down in the car, and I happily pull through the gates to the Indianapolis Museum of Art. It’s perfectly autumnal outside, and I’m looking forward to starting my shift as an IMA volunteer.

A fan of the museum and art in general, volunteering my time at the IMA was a natural draw for me. As someone who strives to be creative and stay creative, the IMA is an obviously stimulating atmosphere. Not only is there beauty in the artwork itself, but the kind and talented people that I’ve already gotten to know a little bit in the process makes the entire experience all that much more enjoyable.

Volunteer Pres Maxson is waiting for you to visit the IMA.

Volunteer Pres Maxson is waiting for you to visit the IMA.

From where I sit today at the visitor information desk on the second floor, I have a front row seat to Sol Lewitt’s Wall Drawing No. 652. Colorful, mosaic, and mind-bendingly expansive, it’s the perfect welcome to the galleries. If you stand just feet from it and gaze upward, it’s a reminder that life is especially attractive when all you see is art.

I also have a nice view into maybe my favorite area of the museum, the Sally Reahard Suite of European Art. Through its entryway directly in front of me, I get an excellent look at Fernand Leger’s Man and Woman and Joseph Bernard’s Young Girl Arranging Her Hair. The latter sculpture intrigues me because it seems to take on an almost entire different character when I walk around it. It’s almost as if the young girl’s mood changes, even though she stays perfectly still. Not bad for today’s office view.

Even more fun for me, is the scenery off to the right. Products of the Pont-Avon School, Seguin’s Two Thatched Cottages and Denis’ The Breton Dance hang in a soft and perfectly complementary light. If I crane my neck, I can also see a handful of Pont-Aven School etchings. My aunt and uncle have a small cottage in Brittany themselves, and the artwork has me wishing that my wife and I were back vacationing there, enjoying a pain au chocolat at a small café or strolling along the northerly coastline.

Setting my wanderlust and the artwork aside, I watch as several groups of students file through the second floor’s enormous sliding glass doors into Mary Fendrich Hulman Pavilion. Nearly everyone who passes greets me pleasantly, and I can’t help but feel slightly jealous that many of them will be experiencing the museum for the first time. For me, discovering the ambiance of the Clowes Pavilion, drawn to it by the quiet trickle of the fountain in the far back corner of the American and European art suites, is a moment I try to recreate every time I stroll through.

I also meet many of the museum’s members, some of whom I’ll admit know much more about the museum and its collections than I do. I learn something new every time that I volunteer, and I feel that I owe it to them more often than not. Since I began with the IMA, I have developed new favorite artists and pieces of artwork that I otherwise might not have noticed. Isn’t discovery half the fun of art?

If that’s the case, maybe the other half is rediscovery. Pieces like Edward Moran’s The Valley in the Sea say something different to me each time. Whether it’s noticing something in the brushwork that I hadn’t seen before or feeling a different dynamic from one day to the next, the ability to transform my perspective makes it a favorite. It’s tough to explain why a particular piece might resonate with me, and maybe as viewers we’re not supposed to try to put it into words. I’ve always thought that one’s relationship with artwork is largely personal, since everything speaks differently to every person.

So here I sit surrounded by all of it, pleasantly experiencing my fall afternoon. After today I’ll be back as a volunteer in two weeks, and I’m looking forward to the whole experience already. I’ll surely meet plenty of new faces, and who knows? Maybe I’ll leave with a new favorite work of art.

If you are interested in becoming an IMA volunteer, please visit our website for more information.

Filed under: Art, Guest Bloggers, The Collection

 

In black and white and color

Why do architects wear black, anyway? Well, not all of them, but enough so that you can understand why one asks the question. Black turtlenecks, black jackets, black pants, black shoes, black, black, black.

I am off into purely personal speculation here, so I can only ask that you bear with me. Black is a serious color.  And architecture is a pretty serious business. To an architect, there is probably no more serious business. (Aside: priests wear black; ultimate reality is pretty serious, too.) Architecture is about form, space, and order – ask Francis Ching – the serious elements of this serious business. It’s not about mere decoration. Decoration is too ephemeral, too frivolous, very unserious. I’d suggest that black reflects and affirms an architect’s commitment to the seriousness of his or her profession; it says “decoration is not for me – I leave that to others. I create structure, space, form and order. I don’t pick out wallpaper.”

The Miller House:  modernism in black and white.

The Miller House: modernism in black and white.

So why is the Miller House in Columbus, Indiana, predominately white? White steel on the exterior, white plaster and laminates and nearly-white marble and terrazzo on the interior. Granted, the house’s exterior walls are clad in nearly-black slate, but I’d argue that this merely heightens the impact of the interior’s light-filled whiteness. White is a serious color for modernism. White rejects the colors one associates with most traditional building materials – brick, wood, and stone – in the same way that flat roofs and large expanses of glass reject traditional buildings’ expressions of shelter and enclosure. White emphasizes architecture as intellectual concept independent of historical precedents or local traditions. One might say it’s the same idea as the architect’s black wardrobe rendered in reverse.

Recipe for the use of color and texture: add liberally to taste; stir judiciously.

Recipe for the use of color and texture: add liberally to taste; stir judiciously.

The Miller House has intellectual rigor to spare: the grid of its columns, the 5-foot module of its plan, its perfect clarity of openness and enclosure. All expressed in white or nearly-white materials. But the Miller House has plenty of color and texture as well – Alexander Girard saw to that – textiles, glass, ceramics, decorative objects. They balance the house’s austerity and reserve with an outgoing cheerfulness that belies the care of their selection and organization. Architecture is indeed an intellectual exercise, but a home environment must satisfy emotional needs as well. Saarinen, Roche, Girard, and the Millers understood this. My guess is that they wanted to see the full range, a home whose use of color metaphorically captures the greatest possible breadth of experience.

Filed under: Contemporary, Design, Miller House, Musings

 

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