• Throngs of museum security guards donate hair to Locks of Love
• IMA race car art
• Indianapolis Zoo’s Naturally Inspired Paint Out: My favorite elephant
• Banana Republic’s 2008 ad campaign “The Art of Style: Captured Through Photography”
• Blogger Swap 2010 call out
• My senior thesis and why I believed new media was ruining the culture of Bhutan
• Current state of the art market with an insider’s look from Sotheby’s Institute of Art professors
• Corporate art in Indianapolis- What’s really hanging on the walls at Eli Lilly headquarters?
• The Plaster Belly Trend: 3 Dimensional replicas of pregnancy (only $24.99)
• How to get on the roof of the IMA, an in-depth investigation of the IMA Nuggets

• The girl behind the Upland Brewing Co. Twitterfeed and the cool green key chains she gave away at Bloggers Anonymous
• Micro-donations on the Blog. NPR does it well.
• My life changing experience with Tara Donovan at the Contemporary Arts Center Cincinnati
• Following up with Indianapolis City Ballet: What’s next?
• “Synchronous Object for One Flat Thing, reproduced” Web site: Visualizing choreographic information in new ways
• Why people don’t buy art: A recap of OnTheCusp.org’s summer 2009 survey results
• Wilber takes on the Indianapolis Cultural Trail
• The life of a content migrator and why I love/hate wiki
• The making of an IMA Magazine cover (link coming soon)
• IDADA: The Year Ahead
• Sacred Spain: TAP tour survey trends, How did you rate the TAP experience?
• moosh in indy. -The coolest mommy blogger I know

Thank you for reading!

Interested? The IMA has announced its spring 2010 internship opportunities online. Application deadline: Friday, December 11. The individuals pictured above are former or current IMA interns Sam, Ben and Jenny–All whom took advantage of the opportunity to blog during their time here at the Museum. It’s no joke that students selected to participate in the internship program gain practical experience, marketable skills, broad exposure to museum work, and an invaluable glimpse into the museum world.

The Indianapolis Museum of Art Internship Program is designed to mentor future museum professionals by providing real-world learning experiences. Internships are available for undergraduate juniors, seniors and graduate students. Interns participate in the ongoing work of the department to which they are assigned and often work on major projects or complete projects of their own. Interns are not paid; however, they can receive course credit.

• Spring 2010 Internships Available
• Application Requirements
• Internship Application Form

The Marketing internship available in my department (formally known as Public Affairs) is a golden ticket! I may be slightly biased.  With three maternity leaves on the calendar for early 2010, this intern will have a significant opportunity to do meaningful work. The lucky intern will engage in an array of social media efforts including blogging, twittering, facebooking and write copy for the IMA Magazine, press materials and eNewsletters. The intern will join the IMA’s celebrated Web team in managing and creating content on the IMA Web sites. Sound too good to be true? On top of all that, the intern will assist in the promotion of the opening of the IMA’s 100 Acres: The Virginia B. Fairbanks Art and Nature Park. That officially makes this internship a once in a lifetime opportunity.

Looking back on my internships at The Children’s Museum of Indianapolis and the Smithsonian’s National Portrait Gallery, I appreciate the introduction to museum life and the follow up exposure to collections, curators,  policies and procedures, major openings and donor events to daily operations. But what I know now, is how much I was appreciated by the museums in which I worked. You will carry the memories and connections you make during an internship for a lifetime.

My first Pecha Kucha night, enjoyed from the squishy goodness of a giant red comfy sack in The Toby, was  like no other PowerPoint presentation I’ve been to. I left feeling inspired and liberated (since profanities could be shouted or whispered freely at any point). I’m definitely experiencing culture these days, maybe due to a motivating post by Meg. It’s true–as a marketer, and as a resident of Indy–we should all be experiencing the amazing galleries, games, plays, concerts, trails, architecture and exhibits offered by our friends. But why not also ask ourselves how as individuals we can create culture?

Matthew Hale, life-long resident of Indianapolis and graduate of Herron School of Art & Design, pitched his idea to make Indy a cultural landmark at the recent Pecha Kucha Night. “Letteracks: A 3D map for Indianapolis” is a coordinated system of 26 giant letter bikeracks, one for each letter of the alphabet, designed for the regional center of Indianapolis. The options for the use of these letteracks are endless–from field trip and jogging destinations to wayfinding and photo ops. Letteracks would add a unique system of nationally recognized landmarks to our city and increase the cultural language so-to-speak of the people in our city.

"Letteracks: A 3D map for Indianapolis"

While Matt didn’t win the $10k PK prize (in my opinion, he should have), his idea speaks to the idea of creating culture on a large scale. On a much smaller scale, as a child, I was a ballet dancer, I painted Tiger Lillies by the mailbox, I played the piano, I wrote poems and stories, I sang “Billy Boy” on the swing set, I planted mounds of pumpkin seeds and sunflowers in my garden, I took portfolios of pictures after a heavy snowfall, I read. Today, I rarely make time for these renewing acts or share them. What would Indy be like, if we each brought our own light and talents to our family, neighbors and city? What if we didn’t passively absorb culture, but actively created and shared it?

I heard an artist speak on the topic about a year ago in a sun-drenched gym on the Old Northside. “Do you have a picture to paint? A book to write? A dance class to take? Are you needed by someone?”

We should all have our day in the comfy sack, but I’m going try to make more time to create, converse and inspire.

Wilber in his comfy sack

]]> http://www.imamuseum.org/blog/2009/11/18/creating-culture/feed/ 4 PK Letteracks IMG_2382_new http://www.imamuseum.org/blog/2009/11/05/dancing-with-choreographer-oguri/ http://www.imamuseum.org/blog/2009/11/05/dancing-with-choreographer-oguri/#comments Thu, 05 Nov 2009 12:43:02 +0000 Noelle Pulliam http://www.imamuseum.org/blog/?p=8917 This Saturday, November 7, choreographer Oguri and the L.A.-based dance company Body Weather Laboratory bring Caddy! Caddy! Caddy! to The Toby. Named for a character in William Faulkner’s novel The Sound and The Fury, the performance features slow movements drawn from the modern Japanese art of Butoh. In the interview below, Oguri puts his work in context.

Interview with Oguri

What’s your mission, or hope, as an artist?
Dance. Basically I feel inspired to dance. I began dancing with Body Weather and Tatsumi Hijikata’s  work, but it was not to learn a kind of tradition or to be a ‘dancer’. I was attracted by the spirit and community. Body Weather does not teach one how to move but is an investigation of the body through working with and learning from others and explores the connection of body to space. A lot of people connect Butoh with the atomic bomb and Hiroshima, and I want to make it clear that that is a misunderstanding. Of course that is a very strong human experience and everything is related, but Butoh is not a direct expression for that. Rather the dance is a possibility for human understanding. Butoh is revolutionary, but it just means ‘dance’. Dance doesn’t have a goal. I work between my body and myself.

How did Caddy! Caddy! Caddy! come to be?
Because of my interest in William Faulkner.

How does Caddy! relate to the Japanese performing arts tradition?
I found Faulkner through Japanese literature. Oe and Nakagami  were inspired by him, and if they are like my fathers, I wanted to meet my grandfather. When Faulkner visited Japan in the mid-1950s after World War II, he said I am like you. I come from the south–the losers country. There is physicality in Oe and Nakagami’s work, and for me that is dance.  I find the same thing in Faulkner’s work.

What influence has Butoh had on you as a performing artist?
Butoh is respect of Tatsumi Hijikata’s dance. In Japan, there was folkdance, ballet, and modern dance. There was a society where performers presented seven-minute pieces for a classy, sophisticated audience. Hijikata comes along half naked and shines the light in the audience’s eyes. He brought the idea of homosexuality and sex and eroticism on stage. He killed a chicken on stage, and the little girls fainted and he was kicked out. After he was expelled, people sought him out because he seemed so cool, and at the time, many people had the same antiestablishment sense. He did a lot of collaborations and events, but it was very avant-garde, very strong cutting edge work.

This year’s Spirit & Place theme is “Inspiring Places.” Does Caddy! take its sense of place from Faulkner’s writing?
William Faulkner lived his entire life in one small county town. From there he created hundreds of characters and lives full of memories and imagination. He invented a fictional place, Yoknapawtawpha, that the reader feels and travels through. In the dance we carry the spirit of the stories.

Can you describe what it’s like to perform this piece?
I have the opportunity to be in Faulkner’s imagination, to dance his stories in space and explore many different characters and the strength and depth of humanity.

What do you ask of the audience who attends this performance?
If you have a chance, please read Faulkner.

Caddy! Caddy! Caddy! The William Faulkner Dance Project is Saturday, November 7 at 7 pm in The Toby. Tickets are $10 for the public and $7 for IMA members. Purchase tickets online

BONUS: Show any Toby ticket stub and receive half off the ticket price for Caddy!

Look like a rerun of X-Files? It’s not. If you’ve been around the Museum after dark recently, you may have spotted the new LED light installation in The Sutphin Fountain. Jeff Earl, head electrician at the IMA, replaced all the original white halogen lights, many submerged underwater, with the new technology. 

Red, green and blue LEDs of the 5mm type. Source: Wikipedia

A light emitting diode (LED) is an electronic light source. The first LED was built in the 1920s by a radio technician who noticed that diodes used in radio receivers emitted light when current was passed through them. The LED was introduced as a practical electronic component in 1962 (See Wikipedia). LEDs are considered more energy efficient and require less maintenance than traditional lighting. They also boast a life of about 50,000 hours–more than five years! This replacement energy concept is certainly green for the IMA’s future. The well-known Fremont Street Experience in Las Vegas uses LED technology to create its 1,500 foot light display.

The new LED technology also serves as an revenue generator. The public can request various colored lighting shows for weddings, dinners and other special events for a fee. Because the lights are run off a computer, the 17 color choices are easy to navigate between. When the NCAA was here, Jeff recalled, they requested a  blue and orange display and were very pleased with the result.

The IMA is planning several upcoming LED projects at the IMA. One of these efforts includes installing 49 energy efficient LED lights in the overlook of the Efroymson Family Entrance Pavilion of the Museum. (“Just before the Star Wars’ doors,” Jeff explained.)

Meet Jeff Earl and see time lapse footage of the LED light installation in the IMA ArtBabble video below.

After a full day of shouting “Watch your eyes!” as the strobes went off, we found the results well worth our efforts. The shoot took place on a Monday in the IMA’s new Design Center (store) for easy access to product. Our challenge was to include items from the Museum Store, Design Center, Greenhouse Shop and the newly opened Nourish Café. Keeping a consistent look and feel between these entities took some extensive product planning, and having holiday products in early September also posed some limits. Luckily, we had Tascha as our pro photo editor, Matt the daring designer, and Tad and Mike, two amazing photographers on the team.

A little humor you won’t spot in the published pages of the magazine — We included a pair of cat salt and pepper shakers in the shoot full of bird decorative items. A porcelain origami crane ornament took the hungry kitties’ place in the final shot. We also all fell in love with the Charles and Ray Eames House Bird available in the Design Center for $210. You might call that funny too…

Look for the “Shop & Celebrate” photo spread in the new issue of the magazine this October, and have your holiday shopping list handy.

Where did this love story begin? A swim teacher danced and suggested that I try classes for the coordination, recognition of rhythm and self-confidence it instilled. It was also one of the few activities available during the fall and winter months in a small town. I should mention that I was obsessed with Angelina Ballerina books. I met two of best friends in Creative Dance and find it impossible to forget my lilac butterfly costume from the first recital. From there, it was a whirlwind of performances from The Wizard of Oz to The Nutcracker until I was old enough to become a member of the Wabash Valley Dance Theater Company.

When I spotted an announcement about a new professional ballet company possibly starting in Indy, I broke into a set of grand battement (that’s large kicks for you non-dancers).

Indianapolis City Ballet seeks to unite and strengthen the ballet, dance, and arts community. Founded with a philosophy that more dance is good for everyone — be it professional, amateur or scholastic, contemporary, classical, jazz, ballroom or tap — Indianapolis City Ballet offers links to dance-related resources.

The Indianapolis City Ballet hopes to establish a 12 person professional company in Indianapolis (as opposed to a larger regional company) under the artistic direction of John Meehan, maintaining a performance regime of both classical and contemporary ballet. You can listen to an interview with Meehan on WFYI “The Art of the Matter”: WFYI “The Art of the Matter” To gauge and raise community support, the City Ballet is holding a gala performance this Saturday at the Murat Theatre with dancers from around the world. This probably isn’t news to you. The gala is getting quite a bit of publicity. You can meet the dancers in this Indianapolis Star article, or get a glimpse into the lives of a married couple from the American Ballet Theatre who will be performing at the gala in Glamour magazine. The story of the City Ballet is also featured in the latest issue of Dance Magazine, Indianapolis Monthly, and NUVO.

As much as I hope the company is successful and the gala is a sell-out, I am not sure that Indianapolis is ready to support this venture. It has some major supporters and sponsors behind it, including both individual donors and companies like Saks and Tiffany & Co. But is the Midwestern ballet audience ready to be revived? I had friends in Ballet Internationale when it went under four years ago and that history makes me nervous. City Ballet includes its background online, but makes no mention of focus groups or surveys conducted to test the market, although they imply that the gala is the actual test. Also, I wonder if Indy has an audience with an eye for classical ballet? Dance Kaleidoscope is a contemporary company and often draws large audiences because of the approachability of modern dance. It seems the City Ballet recognizes they have to do more than classical ballet to draw people in — their ad in the Indy Star reads “A one-of-a-kind performance featuring acclaimed dancers from major international companies; neo-classical and contemporary ballets; fog machines, strobe lights and a cow in a pink tutu!”

In addition to a substantial amount of press, the City Ballet is doing an nice job stating their cause through tranparency on its Web site. The site also contains an educational section with theatre and ballet terms for newcomers, and the City Ballet is on Facebook with more than 230 fans.

Consider trying something new this Saturday night and supporting the Indianapolis City Ballet at An Evening with the Stars. It may be the beginning of your love story. Or share your thoughts — is Indianapolis ready for a new professional ballet company? I am.

And perhaps this is why we began a series of articles in the IMA’s magazine on the provenance of important works in the Museum’s collection, written by Annette Schlagenhauff. As the IMA’s Associate Curator for Research, Annette has spent years tracing the paths of works of art from the artists’ hands to the walls of the IMA. The stories are fascinating and not without moral ambiguities and missing pieces.

Landscape at Saint-Rémy (Enclosed Field with Peasant)

The fall issue of the magazine features the IMA’s Landscape at Saint-Rémy (Enclosed Field with Peasant) by Vincent van Gogh. As one of the most important and valuable works in the Museum’s collection, Annette peers beyond the paint into the 120 year life of the painting. Painted in southern France in 1889, its early history is well documented, however, during the time of Nazi regime power when many of Europe’s art collections were in jeopardy, its provenance is spotty. Did Landscape at Saint-Rémy leave Europe legitimately or was it tied up in the Nazi’s campaign of looting Jewish art collections?

[This is why the magazine should be online. I could link to the rest of the story here and you could happily finish reading. Soon enough!]

Long story short, papers found in the New York Public Library confirmed that the painting left Europe still in the family of the original owners and had been consigned to a New York-based art dealer when arriving in the United States. The IMA can breath a sigh of relief and say that the provenance of the Van Gogh is clear.

But what would have happened if the provenance was not clear? Should research suggest the name of a possible legitimate owner, the IMA is obligated to attempt to contact them to discover more. Many paintings in the IMA’s collection have gaps in their provenance in the critical years of 1933-1945. Per the American Association of Museums (AAM) and the Association of Art Museum Directors (AAMD) guidelines, the Museum posts these works on the Nazi-era Provenance Internet Portal and the IMA Web site–provenance research project. The facts unique to each painting help determine the course of action. (More here)

I think there are more than a few of us who would like Annette’s captivating, Nancy Drew-like sleuth job. No doubt it’s nerve wracking, hard work. In the winter issue of the magazine, and online, you’ll be able to join Annette in her journey to discover the past of the Dutch painting Valkhof at Nijmegen by Aelbert Cuyp. I see National Geographic documentaries in her future.

The Valkhof at Nijmegen

But you don’t have to take my word for it. Come to the IMA on October 3 or 23 to see The Rape of Europa in The Toby. This is an amazing opportunity to watch a documentary film that examines Nazi looting of the great museums and private art collections of Europe in an attempt to obliterate cultural identities. The film’s epic scope explores a descendant of painter Gustav Klmit’s flight to regain a portrait of her aunt, Louvre staff members who packed and moved 400,000 pieces of art as the Nazis advanced, and the “Monuments Men” who plumbed salt mines to recover stolen art after the war. You’ll be faced with the question: “Which is of more value: a work of art or a human life?”

Preview The Rape of Europa below and get your tickets now.

The exhibition opened Saturday and runs through January 18, 2010 in the IMA’s Star Studio. I spent my Tuesday lunch in the exhibition. The students’ video works and the film documenting the process with Dash drew me in. I was also tempted to add my own daydream to an IMA Flickr set shown in the exhibition as a slideshow. But my stomach was growling so I’ll have to go back.

I was delighted to sit down with Julie for a quick chat earlier this year.

Interview with artist Julie Dash

Was there a recent experience that led to the title for the exhibition, Smuggling Daydreams into Reality?
That’s something that as an artist I’ve been doing all my life and career. It’s not always easy being a visual artist. Creative ideas can be fragile and sometimes you have to protect those ideas at the same time you are developing them. We’re born creative beings. As you get older people demand that you be less creative, less imaginative and more pragmatic so you learn to protect and nurture your imagination. I’ve learned to smuggle my dreams into reality.

What do you hope visitors to the exhibition will take away from their experience?
First, it’s a way of giving a public voice to my students. Second, it’s a way for visitors to see and hear and interact with the students. And for me, it’s a great experiment with teaching and nurturing creativity. This is the first time I’ve worked with students in this way. I was presented with the opportunity and said “I can’t turn this down.” For the students, myself and the community, I hope we will continue this experience on some level.

The exhibition title also serves as a theme for this year’s Museum Apprentice Program. How do you hope the students in the program will be impacted?
I hope they will have fun smuggling their creative ideas, and at the same time they will unmask themselves. Everyone walks around with some mask on. This is the perfect venue to talk about unveiling because you have access to art and experts in one place. The students went into the galleries and looked at African and Asian masks and then video blogged about their experiences.

As a filmmaker, your daydreams would seem to be wonderful breeding ground to explore new stories, plots and characters. How have your daydreams found their way into your craft?
You’ll always see some of my daydreams in my films. If given an assignment or a script, I have to dream it from beginning to end before I make it. Dreaming comes in handy. It’s really just a more romantic way of saying “visualize.”

Are there ways you might recommend people to access and record their banished fantasies or deferred hopes?
Video blogging – it’s private and easily done with a flip camera and tripod. You can sit with yourself and talk about experiences.

Tell me something about yourself you think readers would like to know.
Before a filmmaker, I’m a mother. My daughter just graduated from college. So you could say, first I’m a mommy.

Note: this interview was also published in the fall issue of Previews membership magazine.

Working at the IMA for the past few weeks has only seemed to heighten this nagging observation I noticed years ago. There are two types of people when it comes to any, but especially, an art museum visit: those willing visitors and those who would simply rather not. Each side is a simple preference, like cats over dogs, or vanilla over chocolate, Cubs or Cardinals. The preference exists in our families and friends, each side representing itself at one time or another. But this ‘preference’ to go or not go visit an art museum, seems to be a bit of an annoying, elusive thing to solve or make sense of. I have rarely heard of a middle ground on the subject, nor experienced it, and it always seems to be people either do or do not want to go to an art museum. In a recent 4th of July adventure to St. Louis I experienced the two-sided argument once again.

As it was in Indianapolis, St. Louis’s July 4th was plagued with rain. I was visiting a close friend. As a good hostess, and to silence my references to the fact neither of us had been to the Saint Louis Art Museum, my friend allowed me to drag her to the museum to enjoy the soggy morning indoors. Needless to say my friend, a nursing major, is one person that definitely falls into the category of individuals who simply tolerates a trip to the art museum. But I wouldn’t classify a high risk cardio floor as my cup of tea either.

Anyway, as my friend zipped through the Impressionist galleries, I couldn’t help but notice a little girl, maybe five or six, whining about being wet and bored. (I can’t blame her; it was, after all, the 4th of July.) In her damp pink sweatshirt she miserably meandered around, until she spotted the three foot Degas bronze sculpture of a ballerina. She was instantly dragging her mother to the piece and slowly circling it, completely blank faced with awe and deeply fascinated with the work. At the back of the statue, she grinned and as she played with her own curls, quietly pointed out that the ballerina had a satin bow in her ponytail. After that she was nothing but cooperative smiles and continued her admiration of the works in the area. I expect she now will likely fall into the category of ‘willing visitor’ to art museums.

Edgar Degas, French, 1834–1917; Little Dancer of Fourteen Years, c.1880, cast c.1920; bronze, gauze, and satin; 38 1/2 x 16 1/4 x 13 3/4 in. (97.8 x 41.3 x 34.9 cm); Saint Louis Art Museum, Funds given by Mrs. Mark C. Steinberg 135:1956

So, what is it that makes people love or dislike the art museum experience? It’s a difficult question, seeing that everyone has their own preferences, and most are probably informed ones. For the little girl in St. Louis and me, it was a single piece of art that kept us coming back. Perhaps it is an engaging docent who can personalize the experience, making it a true learning and discussion process, or the use of something familiar during the experience, say technology for the younger generations.

The issue of engagement with these two types of preferences has made my internship so interesting. With the IMA’s vast offerings that combine history, design, art and nature, how can the experience on our campus continue to be defined as something beyond that of the average art museum? The idea of participation makes the art museum much more exciting, and one the IMA has, in the past, been challenged on. Art itself can speak, but how many people can hear it, understand it, or even find the right path to relate to it? The options to engage and encourage participation are going to distinguish the boring museum of the ‘I’d simply rather nots’ with the art museum of our contemporary society. People want things tailored to them, whether that means they’re spoilt and lazy, or simply need to be taught how to understand. The IMA should continue to develop our options and teach how to employ them, in order to achieve this understanding and connection to the preferences on each side. The many things available should ensure a participatory, enlightening experience on our campus, ones that are to focus on the viewer’s eye and the teaching moment of the 500 year old painting. To connect with art and the IMA there are many available options, but the new challenge is going to be developing these as preferences.