Indianapolis Museum of Art Blog

There is no place I enjoy more on a snowy December morning than stepping into a warmly-lit coffeehouse buzzing with java, chatter and art. The environment is simply soothing.

Mo’Joe Coffeehouse on Michigan Street displays works of art for sale by local self-taught artists with advance permission from the shop’s owner. Currently, Angelina Fielding’s art is featured along with her bio and artist statement. According to the barista, “the art adds to the atmosphere” but doesn’t necessarily sell. My Starbucks on Massachusetts Avenue is in the process of establishing a program for local artists. In the meantime, the store encourages partners (employees) to display their work, along with other individuals connected to the store’s management. Nathan Wohlt and Jenny Elikins are a few of the artists with work on view. “A lot of artists work in coffeeshops so it’s a good place to sell your work,” said the barista. But where did the connection between art and coffeehouses originate? Read the rest of this entry »

If you missed last Thursday’s talk by Modern Art Notes blogger Tyler Green at the Central Library, presented by iMOCA, we’ve got you covered. Overall the talk was insightful–intriguing to those outside the arts world and passion-evoking for those intimately involved in the arts. “We all agree too much. Maybe we’re afraid to say the wrong thing,” said Green at the opening of his talk.

The afternoon before speaking, Green spent some time wandering the galleries of the IMA. The following are Tweets from Green’s visit to the IMA. You can “follow” Green on Twitter by clicking here.

• At Indy Museum of Art. Sweet.
• Digging Emile Bernard. Color, composition, his way of eliminating depth.
• Denis’ The Breton Dance from 1891 shows how important he would be to Bonnard and Vuillard and how they showed foliage/landscape.
• Rembrandt 20something self-portrait is fantastic and weird. Light. Diagonal of cap. Open mouth.
• Early Titian (20ish) portrait is creepy and soothing. Something odd about the eyes. And fur trim on coat is more painterly than hair.
• Fine Prints for Five Dollars at IMA is the most fun I’ve had in a prints gallery in eons. I hope the show is on http://imamuseum.org.
• Emile Bernard’s Yellow Christ: fascinating apostles. Mask-like: recalls later Picasso; simple, direct feature that recall very late Matisse.
• IMA Sandback space is haunting. Untitled diagonal going out window into beyond…
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AQUALUNG BAKELITES BENADRYL BIRO BRAGGERS BRILLOS BUDDHA CATHOLICS CELOTEX CENOZOIC COLICKIER COLICKIEST CROCKPOT CYCLOPES DACRON DEVONIAN DOBRO DUMPSTER DUMPSTERS EMMY EMMYS ENUF ENURESISES EOCENE EXAHERTZES FORMICAS FORZANDI FRISBEE FRISBEES GRUMMETED GRUMMETING HAFTOROS HERTZES HOLOCENE INIONS JACUZZI JELLO JETWAYS JURASSIC KEWPIE KEWPIES KLEENEX KLEENEXES KURTOSISES LAPIDES LATINA LEFTMOSTS LEVIS LILOS LUCITES LUREXES LYCRA MAILGRAMS MASONITE MERCES MESOZOIC MIOCENE MIPS MYLAR POPSICLES POSTCAVAS PYREX REALTOR SECONALS SILURIAN SORTA SPANSULE SPANSULES SPUTTERY STELLITE STETSON SURPLUSSES TALEYSIM TALLAISIM TALLITHIM TALLITOTH TANNOY TEFLON THERMITS TOFUTTI TORTA TRES TREVALLYS TRIASSIC TROPICALS UPTALKED UPTALKING VASELINE VELCROS VENUS VENUSES WIMMIN WORKABLY ZUZIM ZLOTE ZLOTYCH Read the rest of this entry »

Though I’m writing this post from NYC I don’t want you to get the impression that I travel a lot.  The vast majority of my days are spent down in the “service level” of the museum conserving objects.  But today is a rare exception:  I’m at the Conflux Festival for the rest of the weekend with IMA adjunct curator Rebecca Uchill to experiment with ways to enhance our work with documenting variable art – art without a static original visible state (such as time-based media or ephemeral art).

Here’s a link to our project description.

Since the Conflux Festival is “The art and technology festival for the creative exploration of urban public space” we thought this would be an ideal place to expand our ideas and methods for documentation as we prepare for a number of upcoming projects in the contemporary department.

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Tentacles of the Beast, 2008

I just returned from a trip to New York in the height of the August heat with all of the lovely smells and suffocating humidity that comes with it. The goal of this trip? To spend as much time with artists and their work as possible, to slip into the city’s unique rhythms and magic anonymously and deeply. To see again.

My first experience with art on this trip happened unexpectedly and almost immediately. When I got to my Midtown hotel to drop off my bags before rushing down to a Chelsea studio on 26th Street, I pulled back my curtains and opened the windows, letting in the outside air to equalize the freezing air in my room. Set before me was a Hitchcockian scene, a 21st century Rear Window. I looked outside of my room on the eighth floor and saw various people engaged in quiet, disparate activities: in one window a woman busy at her desk, in another two people kissing, and an old man walking out onto the fire escape to grab a secret smoke. There were silent intimate recognitions, an awareness that we were all seeing each other, despite our resistance to acknowledging it, a fierce refusal to allow our eyes to meet directly. Extreme privacy and exposure both at once. I was reminded of the Impressionist era opera paintings where the subject of the work is spectatorship, the reciprocal experience of looking and being looked at. What happens in the space between.
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