The story of the departure of the John Sloan began in July 2006 when the IMA director received a letter from another institution requesting the loan of Red Kimono on the Roof for an exhibition on Sloan’s New York paintings.  The exhibit was scheduled to be shown at four museums from October 2007 through December 2008.  The letter was passed on to me,  the American art curator, and the museum’s registration department setting in motion a carefully documented chain of events that would lead to the departure of the painting. The IMA requires at least six months notice to process the loan of a work of art from its collection.
I assessed the loan request to decide if the exhibition would be appropriate for the loan of this important painting and decided that the exhibition was a significant overview of the artist’s work and both the painting and the IMA would benefit from the loan.  The conservation department examined the painting to assess its condition to travel and the registration department requested facilities reports from each of the institutions that will be presenting the exhibition.  There are numerous criteria that have to be met for the IMA to agree to lend to any institution, including appropriate fire protection standards, proper security guards, access to conservation staff in case of damage, no construction or renovation that might pose a risk to the work, proper humidity and temperature control and no food in the gallery space to name just a few of the things we consider before lending to another institution.  Even crate storage is taken into consideration to make sure the crate is properly stored to avoid damage or contamination.  Little critters in the crate pose a threat to any work of art.  The crate is carefully constructed by the IMA to withstand the rigors of travel and protect the work of art, so we want to be sure it remains in the same condition it was created.

Red Kimono on the Roof was deemed safe for travel. Sometimes the IMA requires a courier to travel with a work of art, especially if it is going abroad or if there are concerns about potential damage to a fragile piece.  Curators, conservators and registrars can be couriers as can their assistants if trained for the purpose.  The courier must be present during all phases of transportation and to oversee the hanging of the work in the exhibition space.  When the exhibition closes, the courier often returns to manage the process of taking the work down, assess its condition and accompany it back to the IMA.  If a courier is not required for the entire travel route, one can still be sent to the destination site to assess the work when it arrives. Before a work can go out on loan, the loan must be assessed by the museum’s Collection Committee and approved by its Board of Directors.

So, come and visit John Sloan’s Red Kimono on the Roof when it returns to its permanent place in the American galleries.  There is always a renewed appreciation for a work that has gone out on loan, along with the satisfaction that people who have not visited the IMA have had the opportunity to enjoy it.

The Kimpton Hotel brand seeks to give each of its hotels a unique personality and story for visitors to enjoy. Hotel Palomar in particular focuses on “Art in Motion” by providing rooms with sleek sophisticated, artsy design, kids’ art supplies and games to awaken creativity and nightly wine receptions at which artists often speak arranged through a partnership with the Smithsonian and Phillips Collection. In fact, the hotel staff has been trained by the Washington DC ballet “to serve you with the utmost grace.”

Talk about an infusion of art. But is that what visitors to the nation’s captial really want? Made up of mostly tourists, perhaps a more historical experience like that of The Westin Embassy Row or a family-friendly stay might be more appropriate. Personally, I found mornings where I craved my Holiday Inn “continential breakfast” and the challenge of cramming donuts into an ice bucket. Maybe visitors want to spend their time exploring art out in the city rather than in the hotel.

No doubt, art is an egaging way of marketing hotels with a unique selling point and seems to hold much possiblity both nationally and locally. Have you had an artful stay lately?

It took 3 flights, about 19 hours of flying time and 6 hours of airport mulling to make it here.  How does someone that works in new media stay occupied, engaged and sane on a trip like this?  The glamour of economy class, cheap wine and tasteless food can only go so far.  I’m talking about other options – but with a new media twist.  So here goes –

Think about the next big thing.  Think about nothing.  Or, think about Flickr.  I always opt for the window seat.  It allows uninterrupted moments of thought and a great view.  I love clouds and the landscape below, so in between naps, reading or thinking of the next IMA project, I take photos, lots of them.  With that in mind, check out one of my favorite flickr groups, From the Airplane Window.  You might even see some of my snaps and you’ll think about flying differently the next time you take a flight.  And speaking of flickr, have you checked out IMA’s latest set of images?  You should, because they’re kind of cool.

I love planes and am happy to discuss my favorites or least favorites.  But hands down, the only plane for me is the Boeing 747.  It’s a beautiful piece of design – massive but elegant, stylish and timeless.  Which of course leads me to mention IMA’s blog – specifically our first guest blogger, Patrick Smith, who submitted a superb post on the 747, Pan Am, the Concorde, and the Jetliner as Art.  So – if you’re stuck in an airport with your laptop and looking for something to do (other than check work e-mail), read his post, then impress the person sitting next to you on your next flight, with your new knowledge of aircraft design.

If you’re not the chatty type, recline your seat, turn on your iPod and watch or listen to Indianapolis Museum of Art content.  Yes, you better believe it.  The IMA has its own iTunes page where you can check out some of our latest audio and video content.  And unlike airline food/drinks, our stuff is free, educational, engaging and sometimes funny.  Anyone remember the I love the A.D.’s webisode from the Roman Art from the Louvre exhibition?  It’s on our iTunes page.  Just click, here (make sure you have iTunes installed on your machine).

The NES practically raised me as a kid, so I still hold a special place in my heart for video games.  Recently, I’ve given more and more thought to the role that new handheld devices can assist our visitors in a more meaningful experience.  For instance, when our Art and Nature Park opens next year, should we provide visitors with handhelds such as iPhones, PSP’s or PDA’s?  I don’t know the answer to that…yet, but staff at the IMA are already thinking about the next innovative visitor experience.  Flying 35,000 in the air, I messed around with the Sony PSP as a possible device.  I watched our latest video with Jim Irsay and of course, played some video games – Lego Star Wars II being my favorite (who doesn’t love R2D2?).  It’s unlikely the IMA will partner with Rockstar Games to create an Art Museum Curator game, but we might just create content that will live on your PSP, iPhone/iTouch, or the next popular device.  We’re crafty that way.

It’s now 8:30am Monday morning (8:30pm Sunday night in Indy) and I’m off to some conference sessions.  I would love to hear your thoughts on how to use technology when traveling.  I’m sure I missed something.

Well, specifically, you begin in the front, and in the back. “Most architects who design skyscrapers focus on two aesthetic problems,” explains the architecture critic Paul Goldberger in a recent issue of The New Yorker. “How to meet the ground and how to meet the sky — the top and the bottom, in other words.” By thinking of a jetliner as a horizontal skyscraper, we understand that its beauty is gained or lost chiefly through the sculpting of the nose and tail.

The plane eventually fashioned by Boeing was the iconic 747. It’s perhaps telling that today, strictly from memory, with the aid only of a pencil and a lifetime of watching airplanes, I am able to sketch both the fore and aft sections of the 747 with a startling degree of accuracy. Even for a talentless illustrator like myself, the sweeps and angles of the nose and empennage are drawn almost effortlessly. Looking at the finished product — or at a real 747 out on the tarmac — one notices an organic flow to the jet’s silhouette. For all its square-footage and power, it maintains a graceful, understated elegance.

The vertical stabilizer rises to greater than 60 feet — half or so the height of many airport control towers. Though essentially a six- story aluminum billboard, there’s something sexy in the fin’s cant — like the angled foresail of a schooner. Up front, it’s hard to look at a 747 without focusing on the plane’s most famous feature — its sloping, second-story penthouse deck. The 747 is often, and rather unfairly, derided as “bubble-topped” or “humpbacked.” In truth, while providing the plane with its most recognizable feature, the upper-deck annex is softly and smoothly integral to the fuselage, tapering forward — the cockpit windscreens anthropomorphizing as eyebrows — to a stately and confident prow. All together, the plane looks less like an airliner than it does an ocean liner. “A gentleman’s airplane,” as one captain puts it. Or, putting it another way, it looks like what it is: an impeccable piece of high industrial art.

In the second grade, my two favorite toys both were Boeing 747s. The first was an inflatable replica — similar to one of those novelty balloons you buy at parades — with rubbery wings that drooped in such violation of the real thing that I taped them into position. To a nine year-old the toy seemed enormous, almost like my own personal Macy’s float. Second was a plastic plane about twelve inches long, with rubber wheels. Like the balloon, it was decked out in the livery of Pan Am, and even carried the name and registration of the airline’s flagship jumbo, Clipper America. One side of the fuselage was transparent, made of clear polystyrene through which an entire interior, row-by-row, could be viewed. The blue and red pastels of the tiny chairs is something I can still picture exactly.

But what most infatuated me was the spiral staircase, modeled in perfect plastic miniature near the toy plane’s nose. Early version 747s were always outfitted with a set of spiral stairs, leading from the forward boarding door to the plane’s famous upper deck, a design quirk that, in my mind if nobody else’s became an iconic representation of the airplane. In 1982, when I took my first trip on a real 747, I beamed at the sight of the winding column of steps, materializing just beyond the El Al purser who greeted me at the end of the Jetway. It gave the entranceway the look and feel of a lobby, like the grand vestibule of a cruise ship. Those stairs are in my blood — a genetic helix spinning upward to a kind of pilot Nirvana. (Alas, updated 747s dispatched with spirals and adopted a traditional, ladder-style staircase.)

In league with the Concorde, the 747 is one of the only true Jet Age celebrities. Since Concorde’s retirement in 2003, it stands by itself as civil aviation’s signature product — one of very few eminently and instantly distinguishable aircraft. Even the name itself — the rakish tilt of the 7s and the lyrical, palindromic ring: Seven-forty-seven.

From the other side of the Atlantic has come a different approach. “Air does not yield to style,” is a refrain attributed some years ago to an engineer at Airbus Industrie, Boeing’s main competitor. Right or wrong, he was addressing the fact that modern civil aircraft designs, the 747 and a few others notwithstanding, have been rapidly devolving to a point of total genericism. Jet Age romantics recall the provocative curves of machines like the Caravelle; the urbane superiority of the needle-nosed Concorde; the gothic surety of the 727. Now, they’re telling us, planes need to be boring, or worse, because in the name of efficiency and economy, they have to be. Not everyone believes it, and there’s plenty of evidence to the contrary.

Boeing and Airbus have been at each other’s throats since the latter’s entry onto the aerospace battlefield with the A300, the first twin-engine widebody, in 1974. Those thirty years of competition reveal an odd cultural juxtaposition. The 747 isn’t the only good looking plane to emerge from Seattle in the past three decades, while after five baseline models and scores of variants, Airbus has given us only one true head-turner — the long-range A340. True to their contention that air and style are zero-sum variables, the Airbus consortium has produced a line of aircraft at once technologically exquisite and visually banal. Not long ago I was standing in an airport boarding lounge when a group of young women, seated near a window, began giggling as a small jetliner passed by the window. “Check out that goofy little plane,” one of the girls giggled. It was an Airbus A320, which you have to admit looks vaguely, well, dwarfish, as if it popped form an Airbus vending machine or hatched from an egg. You’d expect more, maybe, at $60 million apiece. And from the French, no less, builders of the Caravelle and who partnered in that most haughtily unmistakable of all airborne contraptions, Concorde. At heart, this is the story of a peculiar cultural victory — the Americans as the elite, trumping those boorish, tasteless Europeans. Who knew?

At Airbus, the pinnacle of aesthetic disregard was finally achieved upon rollout of the company’s latest and much-ballyhooed creation: the enormous, double-decked A380. With a maximum takeoff weight of 1,291,000 pounds, it is the first civilian airliner to exceed the million-pound mark. The Airbus A380 is the largest, most powerful, and most expensive commercial plane in history. And possibly the ugliest. With its abruptly pitched forehead and immense, swollen fuselage, it calls to mind a steroidal whale. I can’t begin to sketch the tail. It looks like a dozen other tails, except bigger.

Though, at the same time, not radically bigger. When the 747 debuted with Pan Am in 1970 (JFK-Heathrow was its maiden voyage), it was more than double the size and weight of its closest competitor, the stretched DC-8 from Douglas. A million pounds sure sounds like a lot — and indeed it is — but the Airbus A380 weighs in only about a third beyond the 747’s 875,000 pounds. Meanwhile, its much-hyped capacity limits of 800-plus passengers, not unlike the 747’s 570-plus potential, is likely to be seen only in rare, charter-only configurations. When it enters service with Singapore Airlines and Emirates in mid-2006, it will have room for about 500 riders. Some carriers, concentrating on first and business cabin amenities, are planning fewer seats than are found today on most 747s. The A380 is big; revolutionary it’s not.

Meanwhile, Boeing had not tweaked its 747 line since the -400 variant in the late 1980s. Sales had dropped off precipitously, and there was talk of the model going out of production. For a while it appeared that the A380 would be the only true high-capacity jetliner out there. For me at least, it was distressing to imagine the sight of a tarmac jammed with A380s; the 747 consigned to memory and old photographs.

But finally in November, 2005, after several teases and false starts, Boeing announced that it will go ahead and produce an advanced 747. For now, if not permanently, it is designated the 747-8. The nomenclature is a departure from Boeing’s usual ordered suffixing of -100, -200, -300, etc. While the aerogeek purist might gasp in disaffection, the name is a wily overture to Asia, where the bulk of sales are expected and where, in some cultures, the number 8 is considered fortuitous. The -8 will be available in both passenger and cargo options.

If you ask me, the best thing to like about the 747-8 isn’t the impressiveness of its performance data or its chances for sales. Quite simply, I’m enamored of the way it looks. Prominent tweaks are an all-new, futuristically raked wing, an extended upper deck, and a foursome of scalloped nacelles that help reduce engine noise. But from every angle it remains true to the original 747 profile.

As a kid, watching a whole generation of commercial airliners go ugly in front of me, I often wondered: why couldn’t somebody take a classic airliner, apply some aerodynamic nip and tuck, imbibe it with the latest cockpit and systems gizmos, and give it new life? Not as a retro novelty project, but as legitimate and viable airliner. Design trends speak to their age, it’s true, but commercial planes are built to last 20, 30, or 40 years. Certain forms are, or ought to be, permanently comfortable in that range. The 747-8 is one of those forms, and if Boeing’s back-to-the-future gamble isn’t the smartest thing to happen in commercial aviation in recent years, it’s definitely the slickest.

Over in Toulouse, Airbus is sucking its teeth, but swears the A380 is no white elephant. And how can we not agree? Looking at that beluga forehead again, that’s not doing justice to the grace of elephants. Does air yield to style? Maybe that’s the wrong question. For it certainly yields to a little imagination and effort.

Patrick Smith is an airline pilot, author, and air travel columnist.
Patrick has visited more than 60 countries and always asks for a window seat. For more information, please visit:

WWW.ASKTHEPILOT.COM

The good news is that the list of IMA bloggers will be expanding in the next couple of weeks. That means you won’t have to rely on my posts for your exciting look into the world of an art museum. Soon you’ll hear from a variety of perspectives, including conservation, curatorial, education and horticulture. I’ll still talk about technology, new media, art content and soccer, but I’m afraid you may have to wait a little longer. My apologies in advance.

Speaking of new bloggers, we are also working on the concept of Guest Bloggers. Yes, we are talking about people like Jay Z, Banksy, Jessica Alba, Jared the Subway Guy and other big names. I doubt we’ll get any of these celebs, but we are thinking creatively about who could be a guest blogger.

The fact is, it could be you, it could be an artist, actor, musician, race car driver, skydiver, chef and so on. Everyone is connected to art in some way, and blogging with the IMA would allow others to communicate that.

So really think about this concept. Would you blog for the IMA? If so, let us know. Who should blog for the IMA? We would love to hear your suggestions.

I’ve thought a lot about this. Someone like Jay Z would be an incredible addition to the list of IMA bloggers – but I’m not sure how likely that is. I mulled and mulled and random people started popping into my head. I’ve listed a few of them below, and in each case I tried to pick people with good web resources, so you could also learn about them. Drum roll please…

Volzy: He’s German, plays professional soccer in London, rides around on a fold up bike, LOVES David Hasselhoff and provides a listing of German phrases everyone should know, such as – Wo kann ich mir meine VokuHila Frisur blondieren lassen? (Where can I get my mullet highlighted?), as well as important facts, such as – in no other country will more X-rays be done than in Germany. I would love to hear who is his favorite artist is.

Douglas Coupland: Artist, author, blogger, Canadian, producer and more. Microserfs remains one of my all-time favorite books, and it’s been fascinating to watch Coupland evolve as an artist since his 90’s release of Generation X. His analysis of pop culture is astounding, so who wouldn’t want to hear his opinions on art, art museums, and artists? I would. He also loves Lego. And so do I.

Patrick Smith: pilot, author and contributor to salon.com. I love planes, airports and flying. His book, Ask the Pilot is packed with interesting facts, humor and opinions on airline liveries and logos. He’s traveled all over the world – he must have visited some museums, right? Although, he recently visited 15 countries in 21 days, traveling 45,000 miles without stepping foot outside. Well, he might be able to tell us how to get that ‘free’ first class upgrade. Who’s going to argue with that?

Jillian Lewis: Alright, I’m busted. I watch Project Runway and I’m rooting for Jillian. She’s talented, stylish, articulate, to-the-point and not afraid to express her opinion. Sounds like a blogger to me, but can she take Bryant Park? My thoughts might also be influenced by an upcoming fashion exhibition, Breaking the Mode, and the site that just launched. And hey, it wouldn’t be an IMA blog post without a Facebook reference – so join the Jillian Fan Club here.

I could keep going here, but as I have in the past, I’m going to the leave door wide open for you to comment…