As with every year, the program takes on a slightly different feel. This summer, the MAP students’ objective was to welcome and encourage 100 Acres visitors to interact with the Park’s natural environments, and its installations through games and activities which they facilitated.

Adam Ames and Andrew Bordwin of the art collective Type A helped kick off spring training by talking with the MAP teens about their work and teaching them some of the team building initiatives used with Museum staff during the development of their piece Team Building (Align).

These games set the tone for a summer that was largely about helping people lower self-erected barriers to art and nature, while allowing them to connect with their surroundings and the people around them in fun and sometimes unexpected ways. I’d have to say, if visitors’ smiles and laughter were indicators of success, then the MAP teens did a nice job!

Thanks again to all the IMA staff who shared their time and passion for what they do to make this place so “tight!” …that’s a little MAP teen imprint oozing out.

Michael Shapiro of ModernCaptital (left) and Barrett "Baz" Crites of Atomic Indy (right)

Taken together, the participants constituted a pretty impressive group. (By the way, has there yet been coined a word for a group of bloggers?)  Atomic Indy’s Baz was there, along with the Urbanophile (that’s some SERIOUS blogging), Apartment Therapy, and many others, about 15 in all.  I had visited some of their blogs prior to the June 12 tour, but my own digital world is on the narrow side, I have to confess, so most were new to me.  Suffice it to say that as folks were introducing themselves, I could only smile and nod, and reflect inwardly on my opportunity to see the Miller property act as one of the agents that would transform – if only for a weekend – a virtual community of iPhone-addicted hipster inhabitants of the blogosphere into a real-time, flesh-and-blood fellowship of Columbus, Indiana, architectural enthusiasts.

Group photo of bloggers at another mid-century modern residence in Columbus

It’s been great to have opportunities to conduct individuals and groups through the property; I’ve been able to get a sense of what has the greatest impact on people and of possible rhythms of a tour experience.  For many people – and for a lot in the bloggers’ group (where’s that word I need?) – seeing the central living area of the Miller House for the first time is an experience that doesn’t require much chatter from the docent or tour guide.  It’s pretty powerful.

Miller House interior

And that’s a hard one for me, having given tours of one kind or another since I was working at Nissley Vineyards before being old enough to taste the wine samples I was pouring.  Left to my own devices, I will talk ‘til my mouth is dry and I am out of breath, but the Miller House has taught me the value of silence as an interpretive tool as nothing else has done.

Individuals find in that silence time to form their own responses, questions perhaps, or to remember and compare other sites they have visited.  For some, the response can be quite deeply emotional.  One of the bloggers – OK, it was Baz – mentioned to me at one point while lagging behind others that the house had brought tears to his eyes.  I sympathized, having experienced the same thing many months earlier while viewing the landscape and feeling the impact of the soft green, near-perfect turf of the expansive west lawn stretching away beneath me in the glow of afternoon sunlight.

Miller House exterior

After having lived for almost 10 years in Indiana, the day of the bloggers’ tour was the hottest, most oppressive I can recall.  Thank goodness for the air conditioning in the house (Mr. Miller originally thought that central air wouldn’t be necessary – glad he changed his mind).  After seeing the interiors, we adjourned to the outdoors for a look at the gardens, and for some cocktails and refreshments.  Beads of perspiration glistened on every forehead and moistened every hairdo, but in spite of the soupy atmosphere, folks seemed glad for a chance to linger in the garden.

Miller House exterior

With dinner awaiting at another location, the bloggers’ party at the Miller House eventually shifted its venue.  Violent thunderstorms were just about to erupt in the superheated and saturated twilight. The bloggers and I took the property’s calm beauty away with us as the storms broke.  The electricity of the experience later crackled through the blogosphere.

It seems like just yesterday, we were hanging with the Barnacle crew in L.A.

Or team building with the Type A dudes.

Or long jumping with Los Carpinteros.

So what can you expect this weekend? Expect to have your mind blown. Giant grasshoppers, popular bulldogs, throat singing, strawberry shortcake, and more.

See you there.

Sometimes artwork and objects are dispersed back to the lenders who own them.  Other times, exhibitions travel on to another institution for display.  This was the case with European Design Since 1985: Shaping the New Century. Remember it? A portion of this IMA-organized exhibition is now on display at the High Museum of Art in Atlanta.

High Museum of Art

Often, when the IMA sends an exhibition to another institution, our registrars, curators and/or conservators accompany the artwork to the borrowing institution so that we may oversee the installation.  Associate Registrar Brittany Minton, Conservator Richard McCoy and I were lucky enough to travel to Atlanta to work with the High Museum to make a second showing of European Design a reality.

Traveling an exhibition is always a fun and challenging experience.  You are in an unfamiliar gallery space working with staff you’ve just met.  You have a set amount of time to get a show completely installed before you head for home.  In this case, it meant moving crates, unpacking over 250 objects, inspecting them individually to ensure they traveled safely, and installing them in their exhibition locations…..all within two weeks.

Here’s a quick overview of exhibition installation:

1. Unpacking

Euro Design travel crate

Brittany and High Chief Preparator Cayse discuss unpacking Tord Boontje’s Night Blossom from its crate

Each crate is carefully unpacked.  Traveling artwork requires specialized packing which helps each object withstand the stress of travel.  Each container is designed specifically for the object that it holds.  Many thanks go out to IMA’s amazing packing and crating team: Rob Waddle, John Ross, Jesse Speight, and Jim Bayse.  I may be partial, but I think they create some of the most thoughtful art packing.

For example, here’s how Philipe Starck’s Bedside Gun was packed:

2. Condition Reporting

After an object is unpacked, its current condition is thoroughly checked against a report of its condition prior to travel.  This means spending quality time with every single object in the exhibition – be they spoons or sofas – and taking note of every nick, spot, scrape, smudge or accretion.  You have to keep an observant eye on your collection to ensure that it is not changing due to stress during travel.

3. Installation

High Designer Jim and Preparators Justin and Cayse installing Mathias Bengtsson’s 03 Slice

Often, installing an object can simply mean placing it onto its pedestal or platform.  However, some of the objects in Euro Design require special attention.  For example, Tejo Remy’s Milk Bottle needs a specific mount in the ceiling and special attention from the High’s electrician.

Installing Milk Bottle with High carpenter Gene and electrician Jimmy

4. Final placement

Though much preparation is done by both institutions ahead of time, one must always expect the unexpected.  Often, an artwork won’t really reveal itself to you until you are standing in front of it.  One might be surprised by how big an object is in person or by how its color interacts with the objects around it.  Designers and curators may find it necessary to move an object a few inches to the right for better viewing or exchange it with another item that will ensure that visitors have a more comprehensive exhibition experience.

Discussing placement of Mathias Bengtsson’s C8 Spun Carbon with High Curator Ron Labaco (in green)

Many thanks to the High staff:  Jimmy Bryce, Cayse “Mash Three” Cheatham, Jody Cohen, Gene Clifton, Ed Hill, Brian Kelly, Steve Keys, Ron Labaco, Justin McNeight, Berry Perkins, Caroline Prinzivalli, Tommy Sapp, Amy Simon, Nicole Smith, and Jim Waters – for showing us the meaning of Southern hospitality.

Thanks y’all!

Euro Design will be at the High from June 5, 2010 to August 29, 2010.  While you’re there, I highly recommend checking out The Allure of the Automobile exhibition.  Just remember, the ‘61 Aston Martin is mine.

After the High, Euro Design travels to the Milwaukee Art Museum where it will be shown from October 6, 2010 to January 9, 2011.  See you in Wisconsin!

Behind the scenes shot of Dan filming the horn section's rehearsal

And we couldn’t have asked for better subject matter. ISO Principal Trombone (and composer) Jim Beckel’s, In the Mind’s Eye, Images for Horns and Orchestra features the five members of the ISO Horn Section and is inspired by paintings from the collections of the IMA.

The video speaks for itself, I think (watch it below)…an extraordinary partnership between two Indianapolis cultural institutions. You can see the performance in person May 14-15 at the Hilbert Circle Theater.

In the autumn of 2009, Andrea Zittel sent a request for proposals to students at the Herron School of Art and Design who wished to live on her latest piece, Indianapolis Island. The island is an 18′ x 20′ fiberglass living structure that will float in the lake of the new 100 Acres Art and Nature Park. We (Jessica Dunn and Michael Runge) collaborated to write a proposal and were chosen by Zittel and the IMA after several interviews and meetings.

We are really excited to be a part of this project and have many ideas dealing with the Give and Take nature of the project.

Here is a quick overview of our project:

Fabrication of the interior: We will be fabricating the entire interior of the island with modular, dual-purpose furniture including a bed which functions as a couch as well as storage space. We will also be building a bicycle generator so we can have electricity on the island.

Floating garden: Similar to a self watering container, we will be building floating garden pots that will grow vegetables we can eat while living on the island.

Floating messages: Visitors may send messages to the island inhabitants by floating paper messages via capsules visually reminiscent of the island’s shape.

Island trade: Every visitor who sets foot on the island will have the opportunity to give and take something from the island. This trade will will show a tangible example of the mark left on the individual and the space.

Follow our construction progress and our evolving (or deteriorating) mental state on our blog. You can also follow us on Twitter.

The journey from concept to completion of the catalog for the American collection began more than two years ago with a compilation of the material that would be necessary to begin the project. Nothing could begin without a complete list of the American collection. For this project the list took the form of a printout which contained each piece in the American collection organized by its accession number, the order in which it came into the collection. For example 2008.352 was the 352nd piece to come into the collection in 2008. It was then necessary to ascertain from this list the works to be included in the web catalog. The remarkable aspect of a web catalog is that once this decision is made there will always be the opportunity to create more entries in the future.

Each work in the American collection was examined by the curator. A list of the works that would be included in the web project was made. This list included but was not limited to every work from the American collection that has been on display at the IMA. While working on this project a list was made of works that had come into the collection during the early period of the museum’s existence that are not deemed museum quality and should be considered for deaccession (sale). When these lists were completed, the files on each of these pieces, known as the works’ “historical files,” had to be examined. It was hoped that these files would provide detailed information on the work and its history. In some cases they did and in others very little information could be gleaned from these files. It was also necessary to pull together every label produced for the art work, which would be a starting point for the art work’s catalog entry. Since biographies on the artists were not available in the museum’s historical files, this research was also required. All these tasks would have been difficult for one curator to do without devoting every working moment to these tasks. Fortunately, the American Art department was given an endowment to create a fellowship by Joan D. Weisenberger, a museum patron, which provided an assistant for this project. One of the tasks the Fellow was responsible for was compiling the pertinent information from the historical files.

Once we had all the available information, we had to devise a format for each entry in the American Collection web catalog. It was decided that each work would have a label that included its accession number, artist, title, medium, size and credit line, followed by a section called “Learn More” containing the artist’s biography and a discussion of the work in the collection. The last section called “Reference,” includes a source where the reader can find more information.

Compiling the information took about a year. It was now time to start writing. The curator wrote the entries and the Weisenberger Fellow created the checklists that would be used to transfer the material to the web and worked with the web team so these lists met their criteria. Periodic meetings where held with the web team, curator, and Fellow to make certain we were all on the same page. Putting a collection on the web was a new project that had to be worked out so that the final product would be easy to transfer to the museum’s website.

Each work was to contain an image to accompany the text. In most cases this was possible before the launch date, but we decided not to hold up the catalog for those entries without an image and add the image when it became available. Of course, this is another great aspect of a web catalog. Everything we put on the museum’s webpage can be altered, added to or removed if necessary. We can even redesign the whole project, if at a later date it is decided that the catalog needs a new look that would work better. I am constantly reminded of the flexibility of the web, which allows us to launch this catalog without feeling permanently locked into any decisions. So if a reader comes across something that they question, something we missed, or just doesn’t like some aspect of the project, we can address these concerns. We are anxious for input on the American collection catalog on the IMA website. This is the IMA’s first attempt at creating a web collection catalog, and we want you, our audience, to be able to not only learn from it but be motivated to come to visit the museum to see these works of art. It is hoped that with the information this web catalog offers, our visitors can come to the museum and enjoy the work as the artist intended.

This weather has so many horticultural events happening it feels like I could blog every other hour on something new. Today I first want to talk about a little “Blue Sunshine”.

What do I mean? Well, what I am actually talking about are some so-called minor bulbs with blue flowers. They just make me happy like spring sunshine. Only they’re blue.

Anemone blanda (Grecian windflower) has beautiful daisy shaped blossoms. They come in white, pink (more or less) and of course, blue. These come from strange little corms (bulbs) you plant in the fall. It’s kind of hard to tell which end is up so plant them sideways, like putting a quarter in the slot machine (Oh yeah, I know your dirty little secret). Soak ‘em for a few hours or overnight too. In a location where they are really happy they will self sow. Like most spring blooming bulbs the foliage dies away so you want to plant them with other perennials or a groundcover.

The Iris histrioides, I. reticulata (reticulate iris), and their hybrids are early bloomers also, mostly in shades of blue plus purples. It’s hard to tell the different species or hybrids apart really so they all go by the common name of reticulate iris. I’ll show you some pictures of ‘Harmony’, a lovely hybrid blue cultivar blooming in the Overlook.

The markings on the petals actually guide bees to the pollen and nectar so the plants are more easily pollinated.

And here’s a bee hard at work.

Now for the freak show.

We grow Petasites japonica for its huge leaves which can get over 2 feet across. Okay, we also grow it because the common name is butterbur. Anyway, in ideal soil and light, very moist organic soil and dappled shade, it can get a little aggressive so may need to whack some parts off every year. And there is a lovely yellow variegated selection called of all things, ‘Variegata’. The stems are also eaten as a vegetable (fuki). I have not tried them. But this time of year I love it for the bizarre flowers that appear out of nowhere. They belong in what I call “My Star Trek Collection”. These are blooms that in my opinion are so freaky it would be natural to see them in a pot or vase on the Starship Enterprise or even on one of the worlds they visit. Some Petasites are right along the road in Hosta Curve. Don’t park in the road to view it. You make me crazy when you do that. Park in the main lot or the greenhouse lot and take a walk. There are a million other things for you to see anyway between your car and these plants. Take the time to see them. Plus you have sat around enough this winter. Get some exercise.

Here’s a bud shortly after emerging from underground.

Here it has opened some. See the individual flowers?

Here is one even farther along. Freaky.

Don’t cha wish your plant was a freak like Petasites? Don’t cha?

Many restaurant facades bear a cartoon depicting the main dish served, like a perky eel or cute cow.

Even bathroom doors have creative signage.

On the natural side, the mountainous Korean terrain inspires a terraced pattern for landscape architecture.

Ancient designs can pack the biggest wallop. The eaves of Buddhist temples are decorated with exquisite detail and color.

We all need dragons guarding our doors.

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.