For a host city, the Super Bowl is much more than this.

Like many of its predecessors, Indianapolis has transformed in preparation for its countless visitors. From new hotels, to temporary businesses, street improvements and hours upon hours of logistical planning, the Super Bowl Committee has worked hard to prepare our city for its big day. But when those temporary businesses close and the zip line is taken down, what will our city be left with? Lots.

2,012 Trees Program
According to the Alliance for Community Trees, More Trees = Less Crime. In an effort to maximize the community impact (not to mention environmental impact) of additional trees, the Super Bowl Host Committee aimed to plant 2,012 trees by 2012. Not only did the Committee succeed in generating early excitement for the Super Bowl, but they surpassed their goal, planting 2,876.

Indy Super Cure
Did you know that 1 in 8 women will get breast cancer? Did you also know that Indianapolis is home of the world’s only known tissue bank that collects healthy breast tissue for cancer research?  Extending a nod to the city’s leadership in health and life sciences, the Super Bowl committee has teamed up with the Susan G. Komen Tissue Bank to develop Indy Super Cure. The goal of Super Cure is to raise awareness and increase donations to the tissue bank, while also raising money. Super Cure has surpassed their million-dollar fund raising goal but is working to collect 700 tissue donations in the weekend leading up to the Super Bowl XLVI. You can learn how to donate here.

Super Baskets of Hope
Super Bowl hosts cities have a long history of service projects, but Super Baskets of Hope will be the first to extend its reach nationwide. Beginning on January 30, gift-filled baskets will be put together for 7,000 hospitalized children in each of America’s 32 NFL cities. The Riley Children’s Foundation, the Basket of Hope program, and Tony Dungy have partnered on this effort, recruiting NFL players, coaches, and volunteers to then hand deliver the baskets.

46 for XLVI
Spear headed by the Arts Council of Indianapolis, 46 for XLVI ‘sought to elevate the arts and culture of our city.’ Supported by partnering institutions (including the City of Indianapolis) and a team of talented muralists, the project resulted in 46 new public murals throughout the city’s neighborhoods (you can search the murals map here). So next time you’re walking on Mass Ave. and Kurt Vonnegut greets you with a smile, you’ll hopefully smile back in reflection of this city, its partnerships and the lasting impact of one football game.

Be proud Indianapolis.

My Affair with Kurt Vonnegut by muralist Pamela Bliss.

These are just a couple of the service projects connected to the Super Bowl. Additional efforts include (but are definitely not limited to): the Legacy Project, Super Scarves, Student Ambassadors, and Super Learning in a Super State. 

The IMA acquired numerous Egyptian artifacts in 1928, including this bronze sculpture:

The Goddess Neith, 664BCE - 332BCE; Emma Harter Sweetser Fund; 28.224.

In addition to archeological successes, America’s revitalization and construction boom of the 1920’s was nationwide and Indianapolis was no exception. The economy had mostly recovered after WWI and hadn’t yet fallen into depression. A time of industry, it was a decade of heavy construction in Indianapolis. On Monument Circle alone, the Columbia Club, Guaranty Building, Test Building and Circle Tower still stand today as a tribute to the roaring twenties.

As industry grew, so did the height of the built environment. Skyscrapers were born during this era (the Empire State Building was begun in 1929).  At the time, Indiana’s tallest skyscraper was Merchants National Bank topping out at seventeen stories, and remained the tallest building in Indiana until 1962.  As competition for height soared, so did the demands of decoration.

Art Deco was the most popular decorative art style of the 1920’s, originating in Paris. It is a hybrid art form, combining quotations from empirical civilizations (Egypt) and a hunger for the innovation of the machine industry.  It mainly features linear symmetry and geometric shapes in its design.  Natural and circular forms are limited, or simplified during this time period. Notice the geometric designs of this ancient headdress compared with this purse created in the 1920’s:

Mummy Mask, 332-30 B.C.; Emma Harter Sweetser Fund; 28.243.

Purse, early 1900s. Gift of Stella and Fred Krieger; 2009.312.

Art Deco and traditional Egyptian figural art both feature flat two-dimensional characteristics, as can be seen on Circle Tower. The building is also a nod to Aztec influence – note the stair-stepped design below.

Circle Tower is one of many existing Art Deco building in Indianapolis.  It particularly features intricately designed bronze ornamentation of Egyptian workers. Bronze was similarly popular in the ancient world, as it was a symbol of man’s achievement. (Bronze is an alloy that must be combined through human effort and is not found in nature). The Tower’s main structure is Indiana limestone.

Circle Tower is fourteen stories with a two story tower. It was the first building on the circle to feature “set back” construction in order to comply with the controversial 1905 height restriction ordinance. This ordinance stated that no building could be higher than 86 feet, so as to obstruct the Soldiers and Sailor’s Monument from sight.  So the main part of Circle Tower is 86 feet, but the additional tower is set back, in order to achieve height and carefully comply with the rules.

These bronze elements on Circle Tower show Egyptian iconography through representing figures at work.  Also, on the elevator doors in the interior lobby are similar figures, except they are portrayed as helping pull the elevator ropes and cranks to move the elevator from floor to floor.

So next time you stop at Starbucks on Monument Circle, (a current occupant of Circle Tower) make sure you check out the many unique details of the building (and some not covered in this blog) and next time you are at the IMA , be sure to catch the  Egyptian artifacts on the third floor!

Theodor Groll, "Washington Street, Indianapolis at Dusk," 1892-5.

This work from the IMA’s permanent collection by Theodor Groll showcases late 19^th century Indianapolis, the State Capitol Building and Washington Street. Groll himself was not an Indianapolis resident, but instead a prominent German artist passing through Indianapolis after judging the German entries for the World’s Exposition in Chicago.

Illuminated by gaslight electricity, the painting exhibits horse-drawn trolleys rattling down the metal tracks in Indianapolis streets. A year after this painting was completed, 1896, the first electric streetcars were introduced in Indianapolis. They were an effective mode of transportation, but were soon phased out by the even more convenient automobile.  The last Indianapolis electric streetcar line closed in January of 1953.

The view also includes the brilliantly lit Park Theater directly to the east of the Capitol building. It was once called, “The most elegant theater in the west” but burned in March 1897, just two short years after this painting was complete. On the right side of the painting, the street is lined with market stalls and a dimly lit saloon, one of many in the area. The 1892 Indianapolis Business Directory listed Washington Street alone as having 74 people in the saloon trade.  In the 1920′s, Prohibition put many of these locally renowned establishments out of business.

If you view historical photos like those from the Indiana Historical Society archives, you will see that Groll’s representation of Indianapolis was somewhat idealized. In fact he finished his painting in Germany using memory, photographs and sketches he had taken while in the city. The painting is fairly accurate except for the sunset appearing to the Northeast, and the distortion of the Capitol building resting on the edge of the street. As you can see in this contemporary photo, it actually sits back much farther.

The Capitol building in 2011

Instead of streetcars we now have IndyGo buses. There are no longer horse-drawn carts and daily markets, but cars and franchise businesses. If you look closely at the painting you can see men and women talking, citizens engaged in commerce, and those headed home in their wagons after a long day in the city. A boy walking his dog, a woman and child walking hand in hand and the formidable State Capitol aren’t much different than what you would see today.

Groll’s painting is a refreshing snapshot of nostalgia and is currently on view on the second floor in American Art. Come take a look!

Well, my last blog talked about the upcoming Garden Writers Association (GWA) annual symposium to be held here in Indianapolis. I’m sure you are all dying to know if I won the Gold in 2011. As a matter of fact, no, I did not. GWA did not award the Gold in my category this year. Both my competition and I had to settle for Silver. As my friend Scarlet once said, “As God as my witness, I’ll never go hungry again”. Now, what does that statement have to do with this blog? Frankly my dear, not a damn thing. It’s just what came into my head and I have to get those things out of my head right away sometimes. Anyways, I’m quite proud of my Silver Award in Electronic Media Writing.

From all the comments I heard, the symposium was quite a success. From the networking, to the breakfast catered by Nourish, to the gardens visited, to the lectures attended, most seemed very pleased. As is so often the case, they were surprised and delighted at the qualities of our city. The folks at Plants Nouveau (Angela Treadwell Palmer and Jim Martin) were so giddy over being here they got hitched – multiple times I think.

We had not one but two camera crews to film here. One was with Oklahoma Gardening. I saw host Kim Toscano shooting with Chad Franer, Director of Horticulture, about the green roof on the Sutphin Mall.

The other crew was Growing a Greener World (a series on Public Television and online) with Joe Lamp’l. They did a piece with Chad on the Rain Garden. Speaking of the Rain Garden, here’s what one GWA attendee said about ours: “Now THIS is a rain garden!  THIS is what it’s supposed to look like!” Jim and Chad did a fantastic design job on that garden.

We visited gardens four of the five days of the symposium. This was three days split 50/50 gardens and lectures, then a full day post-symposium tour. All in all, we visited one urban vegetable garden, four public gardens, two retail gardens, and ten private gardens. It is a lot to pack into four days. Here are a few details and images.

We started our visit to the Wishard Slow Food Garden in White River State Park with yoga.

The Children’s Garden at Garfield Park was a hit with attendees.

It also won the first Jim Wilson Mentoring Award from the GWA. That included a much needed $1,000.

Here’s the overview of the award from GWA: The Jim Wilson Mentoring Award will be presented to the individual or organization in the area of the Annual Symposium that has demonstrated an extraordinary commitment to sharing their knowledge and enthusiasm for gardening, encouraging others who may not otherwise come outside to experience, learn, and have success in garden.

White River Gardens and the Zoo were big hits as well. White River Gardens grows these Victoria waterlilies from seed every year! Can you imagine?

I forgot to take any pictures while we were at the IMA. I was terribly busy, along with the rest of the Horticulture staff, being a good host.

Avon Gardens was a perfect spot for lunch and shopping.

And then you could drop a few more dollars at Soules Gardens.

But I must tell you, it is the private gardens that gets people’s hearts astirrin’ and minds awhirrin’ with story ideas. The private gardens are why people go on the tours. And I think we really impressed them.

So my first ever experience helping to plan a national symposium is over. I want to thank all involved but especially Jo Ellen Meyers Sharp who had the dream and gumption to make it happen. And likewise a special thanks to all my co-workers in Horticulture. I know you have had to come in on many week-ends this year for programs and this was another one. You worked extra hard to make things look so beautiful and I do so appreciate it. And yes, I know there have been times you thought there was a live hand grenade sitting at the table with you.

But bless you all, you didn’t even say a thing to me. Not even when my head went flying across the garden and hit that brick wall.

And it’s a good thing. I’m in close touch with my inner femme fatale.

Learn more on how you can Go for the Gold!

Here’s the Central Canal in 1894, in a work from the IMA’s collection by Richard Buckner Gruelle:

Richard Buckner Gruelle, "The Canal Morning Effect," 1894, John Herron Fund.

Venice’s Grand Canal also has its roots in trade, and provides the main connecting thoroughfare in the heart of Venice.  We’ve been getting to know the Grand Canal very well – it’s our main route to and from the U.S. Pavilion and the evening events (that is – when we’re not walking, which is another experience in itself!).  Here’s a work by Vaughn Trowbridge (featured in the Venetian Views exhibition!) created eleven years after Gruelle’s view of the Indiana Canal:

Vaughn Trowbridge, "The Grand Canal, Venice," 1905; Bequest to Delavan Smith.

And here a photo of the Grand Canal today, as we head towards work:

The boats have been updated, and it’s definitely more crowded (and even more so, now that the Biennale crowd has kicked in), but a lot remains the same from that 1905 artwork.  Being surrounded by that level of preserved history is something we are conscious of every day, even if it means reminding ourselves to pause in between work to look around and take it all in.  Plus, it’s been pretty surreal taking a boat to work every day – maybe it’s something I should look at working into my IMA commute?

So, where does the IMA fit in?

Well, in addition to all of the perks above, 2011 pass holders can gain free admission to two of the IMA’s special exhibitions, Hard Truths: The Art of Thornton Dial and Dynasty and Divinity: Ife Art in Ancient Nigeria.

Not only is spending time in these special exhibitions worth at least a couple of summer days, but with free general admission, free gardens and grounds, free tours and a selection of free programming, there is much more to do and see at the IMA. Check out our online calendar to see some of the upcoming events.

The pass can be purchased anytime on IndyGo.net or via IndyGo customer service. Hop on Routes 34 or 38 and you’ll hit a stop right at the Museum. Hope to see you around this summer!

Fathoming, though, is a big part of sustainability – that’s why we love it at the IMA.  Green thinking demands an experimental spirit, and usually reflects a nod to smart design.  The status quo (pollution, wastefulness, inefficiency) has got to go.

In that vein, this spring you can hear three free radicals speak at The Toby, as part of the IMA’s Planet Indy series: guerilla gardener Richard Reynolds is here tonight, design educator Emily Pilloton on March 24, and the uncategorizable Temple Grandin on April 28. (Grandin is a visual thinker, a cow whisperer, slaughterhouse designer, and heroine to anyone who lives with autism.  Plus, actress Claire Danes just won a slew of awards for portraying her. Thanks to her crossover appeal, tickets for Temple’s talk are already sold out, however overflow seating with a live feed are still available.)

While London-based Reynolds runs a global movement planting gardens in urban areas without permission, Pilloton has guested on The Colbert Report and is re-designing civic life in a poor rural town in North Carolina and the ways its kids are educated.  Introducing sustainability on the scene is often a case of designing a new system, whether it’s a wind farm, a carbon stock exchange, or a national network to power plug-in cars.

Behind the scenes at IMA, we need a redesigned system as well.  The IMA’s recycling program for staff and visitors, admittedly, leaves something to be desired.  There’s a meeting this week to review the text on our recycling bins for greater clarity and redesigning our dock to expand space for collected recyclables.  As a member of the IMA’s green team, I’ll definitely be collaborating with our crack Design staff to find solutions.

My fantasy is that we compost food scraps from Nourish Café and use it to feed the new plantings in 100 Acres.  Another fantasy is eliminating plastic from the Café (check out a prior meditation on plastic here).

But the IMA has gotten quite a few green things right, from energy efficient gallery lighting to a rain garden that absorbs storm water runoff.  Help us improve by leaving your suggestions for how you think we ought to keep greening.  Or supply your ideas for green innovators you’d love to hear speak…

Listening to the pitter patter of ice on the windows, we just got word that the IMA will be closed again on Wednesday. What about you – are you hunkering down at home or braving the elements?  We’ve started a Flickr group called “Through your Lens” and want to see your photos of the storm, whether it be your backyard, a decimated shelf at a grocery store (here’s a pretty hilarious – and revealing – post from a St. Louis store), or your cozy indoors.   And we might, just might, post a few of our favorites on the blog.  Here’s one courtesy of IMA staffer Emily: