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'''European Design since 1985: Shaping the New Century'''
'''European Design since 1985: Shaping the New Century'''


This exhibition was displayed from March 8 to June 21, 2009<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> and was the first major survey of contemporary European Design.<ref name=DesignID>{{cite news|last=McKee|first=Bradford|title=Meet you in the middle|newspaper=International Design|date=March-April 2009}}</ref> Curated by R. Craig Miller, the exhibition contained a collection of nearly 250 pieces<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> by Western European industrial and decorative<ref name=DesignNancrede>{{cite news|last=Nancrede|first=Sally F.|title=Living by design|url=http://proquest.umi.com.proxy2.ulib.iupui.edu/pqdweb?did=1703465481&sid=3&Fmt=3&clientId=53653&RQT=309&VName=PQD|newspaper=The Indianapolis Star.|date=Apr 4, 2009}}</ref> designers such as [[Phillipe Starck]], [[Marc Newson]] and Mathias Bengtsson.<ref name="Design Home">{{cite news|last=Dunlop|first=Beth|title=Shaping the New Century|newspaper=HOME: Miami|date=May 2009}}</ref> Three prominent modes of design emerged from 1985-2005 and could be seen in the exhibition: Geometric Minimal design, [[Biomorphism|Biomorphic]] design and [[Neo-pop|Neo-Pop]] design.<ref name=DesignAntiques>{{cite news|title=European Design Since 1985 Opens at the Indianapolis Museum of Art March 8|newspaper=Antiques and the Arts Weekly|date=February 27, 2009}}</ref> Miller described the period of time on which the exhibit focused as “a period of evolution rather than revolution.”<ref name=DesignNancrede>{{cite news|last=Nancrede|first=Sally F.|title=Living by design|url=http://proquest.umi.com.proxy2.ulib.iupui.edu/pqdweb?did=1703465481&sid=3&Fmt=3&clientId=53653&RQT=309&VName=PQD|newspaper=The Indianapolis Star.|date=Apr 4, 2009}}</ref> Among the themes addressed throughout the exhibition was the question of what makes something “art” and how to distinguish a museum quality piece in a world full of mass-produced products.<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell.<ref name="Design Home">{{cite news|last=Dunlop|first=Beth|title=Shaping the New Century|newspaper=HOME: Miami|date=May 2009}}</ref> Accompanying the exhibition was a two-day international design symposium that centered on the topics of creating, manufacturing, judging and marketing design.<ref name=DesignDeTnk>{{cite news|title=Shaping the New Century: A Two-Day International Design Symposium|newspaper=DeTnk|date=March 5, 2009}}</ref> After leaving the IMA, the exhibition traveled to the [[High Museum of Art]] in Atlanta, Georgia<ref name=DesignTAN>{{cite news|title=What's On|newspaper=The Art Newspaper|date=March 2009}}</ref> and the Milwaukee Art Museum in Milwaukee, Wisconsin.<ref name=HuffPost>http://www.huffingtonpost.com/2010/08/11/european-design-exhibitio_n_679408.html link</ref>
This exhibition was displayed from March 8 to June 21, 2009<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> and was the first major survey of contemporary European Design.<ref name=DesignID>{{cite news|last=McKee|first=Bradford|title=Meet you in the middle|newspaper=International Design|date=March-April 2009}}</ref> Curated by R. Craig Miller, the exhibition contained a collection of nearly 250 pieces<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> by Western European industrial and decorative<ref name=DesignNancrede>{{cite news|last=Nancrede|first=Sally F.|title=Living by design|url=http://proquest.umi.com.proxy2.ulib.iupui.edu/pqdweb?did=1703465481&sid=3&Fmt=3&clientId=53653&RQT=309&VName=PQD|newspaper=The Indianapolis Star.|date=Apr 4, 2009}}</ref> designers such as [[Phillipe Starck]], [[Marc Newson]] and Mathias Bengtsson.<ref name="Design Home">{{cite news|last=Dunlop|first=Beth|title=Shaping the New Century|newspaper=HOME: Miami|date=May 2009}}</ref> Three prominent modes of design emerged from 1985-2005 and could be seen in the exhibition: Geometric Minimal design, [[Biomorphism|Biomorphic]] design and [[Neo-pop|Neo-Pop]] design.<ref name=DesignAntiques>{{cite news|title=European Design Since 1985 Opens at the Indianapolis Museum of Art March 8|newspaper=Antiques and the Arts Weekly|date=February 27, 2009}}</ref> Miller described the period of time on which the exhibit focused as “a period of evolution rather than revolution.”<ref name=DesignNancrede>{{cite news|last=Nancrede|first=Sally F.|title=Living by design|url=http://proquest.umi.com.proxy2.ulib.iupui.edu/pqdweb?did=1703465481&sid=3&Fmt=3&clientId=53653&RQT=309&VName=PQD|newspaper=The Indianapolis Star.|date=Apr 4, 2009}}</ref> Among the themes addressed throughout the exhibition was the question of what makes something “art” and how to distinguish a museum quality piece in a world full of mass-produced products.<ref name="Design WSJ">{{cite news|last=Dobrzynski|first=Judith|title=The Decorative and Beyond|newspaper=The Wallstreet Journal|date=April 21, 2009}}</ref> Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell.<ref name="Design Home">{{cite news|last=Dunlop|first=Beth|title=Shaping the New Century|newspaper=HOME: Miami|date=May 2009}}</ref> Accompanying the exhibition was a two-day international design symposium that centered on the topics of creating, manufacturing, judging and marketing design.<ref name=DesignDeTnk>{{cite news|title=Shaping the New Century: A Two-Day International Design Symposium|newspaper=DeTnk|date=March 5, 2009}}</ref> After leaving the IMA, the exhibition traveled to the [[High Museum of Art]] in Atlanta, Georgia<ref name=DesignTAN>{{cite news|title=What's On|newspaper=The Art Newspaper|date=March 2009}}</ref> and the [Milwaukee Art Museum] in Milwaukee, Wisconsin.<ref name=HuffPost>http://www.huffingtonpost.com/2010/08/11/european-design-exhibitio_n_679408.html link</ref>




Revision as of 15:03, 1 April 2011

Indianapolis Museum of Art
Established1883
LocationIndianapolis, Indiana
TypeArt Museum
Visitors428,213 (2010)
DirectorMaxwell L. Anderson, Melvin & Bren Simon Director and CEO
WebsiteOfficial website

The Indianapolis Museum of Art (known colloquially as the IMA) is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005,[1] is located on a 152 acre campus and includes 100 Acres: The Virginia B. Fairbanks Art and Nature Park; Oldfields, a restored American Country Place era estate once owned by Josiah K. Lilly, Jr.; and restored gardens and grounds originally designed by Percival Gallagher of the Olmsted Brothers Firm.[2] The IMA also owns the Miller House, designed by Eero Saarinen and located in Columbus, Indiana.[3] The museum's various holdings demonstrate the institution's emphasis on the connections between art, design, and the natural environment.[4]

The Indianapolis Museum of Art is one of the top nine oldest[4][note 1] and top ten largest encyclopedic art museums in the United States (insert explanatory note).[5] The permanent collection includes over 54,000 works, including African, American, Asian, and European pieces.[6] Significant areas of the collection include Neo-Impressionist paintings, Japanese paintings of the Edo period, Chinese ceramics, Paul Gauguin and the Pont-Aven School, a large number of works by J.M.W. Turner,[7] and a growing Contemporary art collection.[8] Other areas of emphasis include textiles and fashion arts[9] as well as a recent focus on modern design.[10]

Founded in 1883 by the Art Association of Indianapolis, the first permanent museum was opened in 1906 as part of the John Herron Art Institute. In 1969, the Art Association of Indianapolis changed its name to the Indianapolis Museum of Art, and in 1970 the museum moved to its current location at Michigan Road and 38th Street north of downtown Indianapolis.[4] Among the Art Association's founders was May Wright Sewall (1844–1920), known for her work in the women’s suffrage movement. Other supporters have included author Booth Tarkington (1869–1946), Eli Lilly (1885–1977), Herman C. Krannert (1887–1972), and Caroline Marmon Fesler (1878–1960). The associated John Herron Art Institute was established with the help of notable Hoosier Group artists T. C. Steele and William Forsyth.[4]

Maxwell L. Anderson has served as the Melvin & Bren Simon Director and CEO since 2006.[10] (Current notability with technology and transparency.) In 2008, the IMA became the first fine art museum to be named an Energy Star partner due to its greening initiative and efforts to reduce energy consumption. [11] Additionally, the IMA was awarded the National Medal for Museum and Library Service in 2009, recognizing the museum's public service, specifically the free admission policy and educational programming.[12]


History

Main page: User:Aacarrie/History of the Indianapolis Museum of Art

(Will move to mainspace later & cut down current content).

The Art Association of Indianapolis

Founded by May Wright Sewall, The Art Association of Indianapolis began planning for its first exhibition less than one month after its incorporation on October 11th, 1883.[13] The exhibit was open for only a month, but contained 453 artworks from 137 artists with loans coming from as far away as New York City.[13] The Art Association purchased their first two paintings for their permanent collection at this exhibit.[4] Without a permanent residence, The Art Association spent over twelve years moving to different locations for exhibits, even using private residences as venues for their artwork.[4]

In 1895, John Herron died leaving a substantial donation to the Art Association of Indianapolis. The only stipulation to the bequest was that his name to be connected to a gallery and a school. From this bequest, The John Herron Art Institute was founded.[13] With this money the Art Association began looking for a permanent location.[13] After considering over twenty properties, Talbott House, the former residence of local artist T.C. Steele, was purchased.[13] This building served as the temporary home for the John Herron Art Institute, until the Art Association could construct a new building at the same location.[4]

The Institute opened in 1902 with ten students. Enrollment quickly grew to sixty-nine by March of the same year. The five teachers at the Institute included: J. Otis Adams,Brandt Steele, son of T.C. Steele, and Alfred B. Lyon.[13] Emphasis on the Arts and Crafts Movement grew throughout the early years of the school, as a means to financially benefit the students by teaching them "applied art".[4] Realizing their growing need for space, The Art Association began planning for the construction of a new building and, with the help of their first Director, William Henry Fox, proper funding was allocated to the construction of a new building on 16th and Pennsylvania Streets in 1905.[4]

By 1937 the school was a success, and though the museum was also gradually growing, it was at much slower pace.[4] Prior to the arrival of Wilbur Peat, in 1927 as the fifth director, the John Herron Art Institute was largely dependent on donations to build its collection. Two of the most significant donations included a textile collection from the family of Eliza Niblack, and a group of supporters called the Gamboliers who donated money for the acquisition of modern art.[4] However, Peat was far more interested in actively expanding the museum's collection. In 1932 the board of trustees created a new Advisory Committee to suggest and review acquisitions under the guidance of the Museum Director.[4] It was under Peat's guidance that such significant connections with Booth Tarkington, Dr. George H. A. Clowes and Eli Lilly were made. In 1941, Caroline Marmon Fesler became the President of the Art Association of Indianapolis. Like Peat, Fesler focused on the acquisition of new artwork and began collecting a wider range of artwork to fill in what she considered were gaps in the collection.[4]

Wilbur Peat's emphasis on expanding the museum collection created a mental separation between the school and museum.[13] The two officially separated in 1967. The school became an official part of what is now Indiana University – Purdue University Indianapolis.[4] The Great-Grandchildren of Eli Lilly, J.K. Lilly III and Ruth Lilly, donated Oldfields to the Art Association of Indianapolis in 1966 as a potential site for the new museum. After a year long debate, the site was officially rezoned and the location was set for the development of the Indianapolis Museum of Art.[4]

  • 1 paragraph: Formation of the Art Association & May Wright Sewall. Note first exhibition, time of moving throughout town in temporary spaces, and the beginning of a permanent collection (p.32-33). John Herron bequest and construction of new building. First director, Fox. Note important board members and those who influenced decisions. Uses of new building and influences of courses. (Woollens: Arts and Crafts movement). Note director, influential board members & supporters, and the growth of the permanent collection. Influences of courses and bringing students to the school/museum.
  • 1 paragraph: Wilbur Peat era and build up of collection. Role of Fesler. Important donations and supporters. Separation of school to IU in 1967 (p.157).

The Indianapolis Museum of Art

Construction of the Krannert Pavilion began shortly after 1968 and continued through 1969. That same year the Art Association of Indianapolis officially changed its name to the Indianapolis Museum of Art. During the Summer and Fall of 1970, the collections were moved into the new building, and in October the museum opened to the public.[4] In more recent years, the museum shifted to include a wider and more diverse audience,[10] in an attempt to be more open to the public such changes were made including the 2005 opening of the Efroymson Family Pavilion, Deer Zink Events Pavilion and the Wood Gallery Pavilion.[1]

  • 1 paragraph: Mention debate about moving from 16th street location (especially note the number of years they were considering the idea) and the donation of Oldfields, date of the move. One sentence on expansion & dates of three pavilions (elaborated in Architecture). Briefly state 2005 renovation to make IMA more welcoming (elaborated in Architecture).

- In 1970 the museum moved to the grounds of Oldfields, the estate of J.K. Lilly Jr's family donated to the Art Association in 1966.

Architecture

The Cultural Campus

  • 1 paragraph: Summarize history leading to current location. Mention first building at John Herron School of Art, leading into the years of discussion surrounding moving the museum (p.140-149). Include location considerations and the Acropolis/cultural campus idea. End with the Lilly donation of Oldfields and the move to 38th street.
  • 1 paragraph: 1970 Krannert Pavilion. Ambrose Richardson designing a cultural campus. (Every Way Possible,' p. 161.) 1972 Clowes Pavilion & Sutphin fountain. 1973 Showalter Pavilion & the Civic Theatre.(p. 178)

Restoring Oldfields

  • 1 paragraph: Restoration of both the gardens/grounds and the house as part of the "New Vision" plan in 1999. Include formal garden, greenhouse, ravine garden, and the house receiving NRHP status. (p.240-253).
  • Importance of horticulture & landscape architecture and the IMA allowing for a variety of artistic experiences, both inside and outside. "Make museum and surroundings a seamless whole."

"The New IMA"

  • 1 paragraph: mid-1990s-2005 Renovation. Efroymson Pavilion, Wood Gallery Pavilion, Deer Zink Pavilion (p.276-277). The Civic Theatre shifting to Tobias (p.266).
  • Discuss importance of architecture speaking to the new IMA as a place for everyone - welcoming gesture to downtown. (PDF source in bibliography).

-"Four new pavilions have been added to the original building since 1970, and the most recent expansion added 171,800 square feet (15,960 m2) to the museum." (From original article; can use but add good source.)

Collections

  • 1 paragraph: Notable artworks. Compile most notable artworks in collection, using curatorial input. List 2 artworks from each department.


Use Every Way Possible inserts for basic facts & framework for collections to mention. I will find files in library for sourcing.

  • 2-3 paragraphs: List important collection, why it's important or the number/types of artworks it's comprised of, who gifted it, and when. Compile one or two sentences for each collection. (Not necessarily in this order; could be organized chronologically or by type.) Including...
  • Caroline Marmon Fesler (20th-century modernism) (p.112-113) (Gifted in January 1961, Memorial Exhibit Nov 16-Dec 17).
  • Eliza Niblack (textiles) (p.104-105)
  • Eli Lilly (Chinese bronzes and ceramics) (p.128-129)
  • Kurt Pantzer (J. M.W. Turner) (p.196-197)
  • Samuel Josefowitz (School of Pont-Aven) (p.222-223)
  • Holliday Collection (Neo-Impressionism) (p.202-203)
  • Eiteljorg (African & South Pacific Art) (p.210-211)
  • Glick family studio-art glass
  • Boucher family Baluchi rugs (p.250-251)
  • Clowes Fund Collection of Old Masters(p.236-239). (p.226)
  • Design Collection (p.290): Its connection to early IMA history. Mention traveling exhibit but leave details for below.

Transparency

Director and CEO Max Anderson has spoken of the need to shift from museums that "collect, preserve, and interpret," encouraging the IMA and other institutions to "gather, steward, and converse" in a way that increases accountability and responsiveness.[14] The IMA's collecting and deaccessioning practices have reflected this perspective, utilizing technology to provide public access, openness, and transparency in museum operations.[15] Unveiled in March 2009, the museum's online deaccession database lists every object being deaccessioned and links new acquisitions to the sold objects that provided funds for their purchase.[16] The IMA has been praised for being the first among museums to openly share their deaccessioning practices[17] and for including the ability to post public comments on entries in the searchable database.[18] The IMA also helped develop the Association of Art Museum Director's (AAMD) Object Registry, a database that allows museums to share information on objects lacking clear Nazi-era provenance following 1970.[19] Since 2003, the IMA has systematically researched the provenance of artworks created before 1946 and acquired after 1932.[20]

Exhibitions

  • 2-3 paragraphs: List important exhibits through time. General information can be found in Every Way Possible, with more details in library files (for diverse sourcing). Including:
  • Augustus Saint-Gaudens Memorial Exhibition (Also called the Saint Gaudens Memorial Exhibition of Statuary). First major exhibition. Retrospective of the American sculptor. 56,000 visitors in three month run. 1909-1910. (p.59)
  • Dutch Paintings of the Seventeenth Century, Feb.27-mid April 1937. (p.106)
  • Holliday Collection. First traveling exhibit from permanent collection. 1986-88 (p.194)
  • Art of the Fantastic: Latin America, 1920-1987. First contemporary show to travel. June 1987. (p.204)
  • William S. Paley Collection., September 11-November 15, 1992. Show organized by Museum of Modern Art that traveled to IMA. 1992. 60,000 visitors during run. (p.227)
  • Gifts to the Tsars, 2001-2002 (p.227)
  • Roman Art from the Louvre (show traveled here, one of only two US stops, 106,002 visitors.) 2007-08. (p.291)
  • Sacred Spain
  • Andy Warhol Enterprises, 2010.

Traveling exhibitions

European Design since 1985: Shaping the New Century

This exhibition was displayed from March 8 to June 21, 2009[21] and was the first major survey of contemporary European Design.[22] Curated by R. Craig Miller, the exhibition contained a collection of nearly 250 pieces[21] by Western European industrial and decorative[23] designers such as Phillipe Starck, Marc Newson and Mathias Bengtsson.[24] Three prominent modes of design emerged from 1985-2005 and could be seen in the exhibition: Geometric Minimal design, Biomorphic design and Neo-Pop design.[25] Miller described the period of time on which the exhibit focused as “a period of evolution rather than revolution.”[23] Among the themes addressed throughout the exhibition was the question of what makes something “art” and how to distinguish a museum quality piece in a world full of mass-produced products.[21] Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell.[24] Accompanying the exhibition was a two-day international design symposium that centered on the topics of creating, manufacturing, judging and marketing design.[26] After leaving the IMA, the exhibition traveled to the High Museum of Art in Atlanta, Georgia[27] and the [Milwaukee Art Museum] in Milwaukee, Wisconsin.[28]


Hard Truths: The Art of Thornton Dial

This exhibition of Thornton Dial’s work was displayed from February 25 to May 15, 2011.[29] Dial, a self-taught artist from Alabama, began a rise to prominence with his large-scale mixed media and assemblage pieces in the 1980s, and his work has been shown in a variety of venues since that time.[29] However, the IMA was the first museum to compile a comprehensive survey of Dial’s work, displaying over 70 pieces.[30] Organized by adjunct curator of American art Joanne Cubbs, Hard Truths presented Dial not as a folk artist or outsider artist as many have portrayed him in the past.[29] Instead, the exhibition contextualized him as a relevant, contemporary artist.[29] The pieces on view in Hard Truths covered a range of social and political themes,[31] many of which addressed rural life in the south and the treatment of African Americans.[32] After departing Indianapolis, the exhibition traveled to New Orleans, Louisiana, Charlotte, North Carolina and Atlanta, Georgia.[33]

Venice Biennale

  • 1 paragraph: Biennale. Include IMA's involvement, Lisa, the artists, and their proposed work.

Gardens and grounds

Museum grounds

Main article: List of outdoor artworks at the Indianapolis Museum of Art
  • 1-2 paragraphs: Describe the sections of the grounds, including the Sutphin Mall, the Oldfields gardens and grounds, with mention of the greenhouse and the Horticultural department.

100 Acres: The Virginia B. Fairbanks Art and Nature Park

  • 1-2 paragraphs: Purpose of grounds (temporary, commissioned contemporary artworks rather than a sculpture park, nature, etc.). Linkage to greenways. The inaugural artworks. Future plans (Mary Miss).

Historic properties

Oldfields: Lilly House & gardens

Main article: Oldfields

Oldfields is a 26 acre historic estate and house museum on the grounds of the Indianapolis Museum of Art. The estate is an example of the American country house movement of the late 19th and early 20th centuries and was designated a U.S. National Historic Landmark in 2003.[2] Oldfields was built between 1909 and 1913 by architect Lewis Ketcham Davis for the family of Hugh McKennan Landon, who occupied the home from 1913 until 1932 when it was sold to J.K. Lilly, Jr.[34] Lilly, the late Indianapolis businessman, collector, and philanthropist, renovated and expanded the estate throughout the 1930s and 1940s, updating interiors as well as adding a number of new buildings to the grounds.[34]

The 22-room mansion has undergone historic restoration and is currently interpreted to reflect the 1930s era when the Lilly family occupied the residence.[35] The rest of the Oldfields estate, which was given to the Art Association of Indianapolis by Lilly's children in 1967, now makes up a major portion of the Indianapolis Museum of Art campus.[2] In addition to the home's significance as a representation of the American country house movement, Oldfields' gardens and grounds are a rare example of a preserved estate landscape designed by Percival Gallagher of the Olmsted Brothers firm. [36]

Miller House and gardens

Main article: Miller House (Columbus, Indiana)
  • 1-2 paragraphs: Summary (wait on Deanna)

Westerley

  • 1-2 paragraphs: Describe history of Westerley and Clowes family displaying artworks. Bequest to the IMA, along with the collection. Renovation by Jacqueline and its current uses as Director's residence. (p. 175, 237, 270 insert in Every Way Possible).

Conservation

  • 1-2 paragraphs: Overview of Conservation department history and major projects that have received press. Include consulting and conservation services to area organizations. (p.169, 195, and 214.) :*Head conservators: A.J. Spheeris (1970), Martin J. Radecki (1975), and David Miller (current).

Conservation Science

  • 1 paragraph: Funding for conservation science, Greg Smith, and major focuses of lab.

Administration

File:IMA Logo (2010).png
  • 1 paragraph: General statement of its form of governance: Director/CEO and Board. Lilly Endowment. Non profit organization.

Prior to 1969, the board of the Art Association of Indianapolis oversaw the John Herron Art Institute, which was made up of the John Herron School of Art and the Museum until the school was incorporated into Indiana University in 1967. In 1969 the Art Association changed its name to the Indianapolis Museum of Art, one year before the museum moved to its current location on 38th Street.[4]


Mission

The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets.[37]

Affiliates

  • 1 paragraph: Include listing of societies over time. The Alliance of the Indianapolis Museum of Art (p.162-165), Contemporary Art Society, 1962 (p.150), Decorative Art Society, Oriental Art Society, Ethnographic Art Society, Print and Drawing Society. IMA Horticultural Society, 1972 (p.243). Second Century Society. "Provided funds that augmented acquisitions budget and members donated works." (p.194) Also can include "Friends of American Art," the first society to support Herron's collection, 1919-1939 (p.70).

Admission

As early as 1915, the IMA (then the John Herron Art Institute) introduced free admission on Saturdays and Sundays, resulting in an increase in attendance and diversity in audience.[4] In 1941 the museum began a free admission policy that remained in effect until 2006 when the board initiated a $7 admission fee for nonmembers.[38] Beginning in January 2007, the museum returned to free general admission with the exception of special exhibits.[39] Dropping the admission charge, which director and CEO Max Anderson described as a barrier that kept people away, resulted in increased attendance, membership, and donor support.[10]

Awards

  • 1 paragraph: National Medal, 2009 IMLS

In 2008, after undergoing a sustainability initiative that reduced natural gas consumption by 48 percent and electricity consumption by 19 percent, the IMA became the first fine art museum to become an Energy Star partner. As of 2010, the IMA was one of only 11 museums to receive this recognition by the Environmental Protection Agency. The museum instituted a "greening committee" to organize a variety of efforts to maintain environmental stewardship, a primary component of the institution's mission.[11]

Outreach

Education

  • 1 paragraph: Docent history (beginning 1946) (p.121), Indianapolis Junior League support (1946-1981) and the formalization of the docent program. (p.180)
  • Facts about number of volunteers and the support/training offered to them.
  • 1 paragraph: Types of educational programming offered to visitors. (p.229)
  • Star Studio, Davis Lab

Accessibility

  • 1 paragraph: Efforts toward accessibility. Garden for Everyone. Other initiatives. (p.233.)

Initiatives

IMA Lab

  • 1 paragraph: Define IMA Lab and its purpose serving the IMA and consulting services. Mention major projects, including steve.museum, TAP, the IMA Dashboard. One to two sentences for each.
  • "Devising new technologically grounded solutions for museums including IMA that promote research and access while contributing to the bottom line" (Strategic plan panel).

ArtBabble

Main article: ArtBabble
  • 1 paragraph: ArtBabble, overview of its purpose and also its partners. Mention awards, including MW2010 Best of the Web winner.

Mellon Curators-At-Large

  • 1 paragraph: Describe project & partners. (Press coming soon).
"Furthering new research to support our collections and exhibitions by means of non-resident curatorial appointments" (Strategic plan panel)

IMA Art Services

  • 1 paragraph: IND airport program (IBJ article coming soon)
  • 1 paragraph: Indianapolis downtown park (Press coming soon.)
"Providing technical and design expertise in the display of art for public and non-governmental agencies" (Strategic plan panel)

Notes

  1. ^ Peabody Essex Museum, 1799; Wadsworth Atheneum, 1842; The Metropolitan Museum of Art, 1870; Museum of Fine Arts, Boston, 1870; Philadelphia Museum of Art, 1876; Columbus Museum of Art, Ohio, 1878; Art Institute of Chicago, 1879; Cincinnati Art Museum, 1881; Portland Museum of Art, 1882; Indianapolis Museum of Art, 1883.[4]

References

  1. ^ a b "Spreading Its Wings" (PDF). Lighting Design and Application. 35 (11): 52–56. 2005. {{cite journal}}: Unknown parameter |month= ignored (help)
  2. ^ a b c Brooks, Bradley C. (2004). Oldfields. Indianapolis Museum of Art. {{cite book}}: |access-date= requires |url= (help)
  3. ^ Richardson, Tim (2010). "Modern Arcadia". House & Garden: 193–196. {{cite journal}}: Unknown parameter |month= ignored (help)
  4. ^ a b c d e f g h i j k l m n o p q r s Berry, S.L. (2008). Every Way Possible: 125 Years of the Indianapolis Museum of Art. Indianapolis Museum of Art.
  5. ^ "Indianapolis Museum of Art Receives Nation's Highest Award for Community Service". ArtDaily. October 9, 2009. Retrieved March 26, 2011.
  6. ^ Yancey, Kitty B. (May 22 2009). "Summer travel '09: Freebies across the USA". USA Today. {{cite news}}: Check date values in: |date= (help)
  7. ^ "Anna Grace Ritchie assisted museum with J.M.W. Turner art collection". The Indianapolis Star. January 2, 2000.
  8. ^ "Interview: Linda Duke". IDEAS. Museum Identity. Retrieved March 22, 2011.
  9. ^ Harpaz, Beth J. (February 8, 2011). "Fashion Museums From NYC to LA, Paris and More". ABC News. Retrieved 11 March 2011.
  10. ^ a b c d Lloyd, Christopher (September 9, 2007). "A wider canvas; Savvy ads and new exhibits boost IMA attendance and membership". The Indianapolis Star.
  11. ^ a b O'Donnell, Susannah C. (Jan–Feb 2010). "Star Power". MUSEUM.{{cite news}}: CS1 maint: date format (link)
  12. ^ Bowen, Katherine (2009). National Medal for Museum and Library Service (PDF). Washington, D.C.: Institute of Museum and Library Services.
  13. ^ a b c d e f g Warkel, Harriet G. (2003). The Herron Chronicle. Indiana University Press.
  14. ^ Anderson, Maxwell L. (June 8, 2010). "Gather, Steward, and Converse". The Art Newspaper. Retrieved March 11, 2010.
  15. ^ "Indianapolis Museum of Art Launches Searchable Database of Deaccessioned Artworks". Artdaily.org. March 17, 2009.
  16. ^ Pogrebin, Robin (January 26, 2011). "The permanent collection may not be so permanent". The New York Times. Retrieved 18 February 2011.
  17. ^ Dobrzynski, Judith H. (March 10, 2009). "Deaccessioning in Public". artsJournal.
  18. ^ Rosenbaum, Lee (March 17, 2009). "Deaccession Heaven: Indianapolis Museum of Art Does It Right". Culture Grrl.
  19. ^ "Indianapolis Museum of Art Launches Online Consulting Service". ARTINFO. February 10, 2010.
  20. ^ Seligson, Joelle (March 2009). "A Loophole for Loot?". ARTnews.
  21. ^ a b c Dobrzynski, Judith (April 21, 2009). "The Decorative and Beyond". The Wallstreet Journal.
  22. ^ McKee, Bradford (March–April 2009). "Meet you in the middle". International Design.{{cite news}}: CS1 maint: date format (link)
  23. ^ a b Nancrede, Sally F. (Apr 4, 2009). "Living by design". The Indianapolis Star.
  24. ^ a b Dunlop, Beth (May 2009). "Shaping the New Century". HOME: Miami.
  25. ^ "European Design Since 1985 Opens at the Indianapolis Museum of Art March 8". Antiques and the Arts Weekly. February 27, 2009.
  26. ^ "Shaping the New Century: A Two-Day International Design Symposium". DeTnk. March 5, 2009.
  27. ^ "What's On". The Art Newspaper. March 2009.
  28. ^ http://www.huffingtonpost.com/2010/08/11/european-design-exhibitio_n_679408.html link
  29. ^ a b c d Art and Antiques. February 2011. {{cite news}}: Missing or empty |title= (help)
  30. ^ Hanna, James Chad (February 2011). "Private View: Indianapolis". Modern Painters.
  31. ^ Wallis, Stephen (January–February 2011). "Extra-ordinary Art". Departures.{{cite news}}: CS1 maint: date format (link)
  32. ^ Lacayo, Richard (March 14 2011). "Outside the Lines. In a potent retrospective, self-taught artist Thornton Dial gets his view". TIME. {{cite news}}: Check date values in: |date= (help)
  33. ^ Kino, Carol (February 17, 2011). "Letting His Life's Work Do the Talking". The New York Times.
  34. ^ a b Carolyn Schlief, Carolyn Pitts, and Patty Henry (September 10, 2001), Template:PDFlink, National Park Service{{citation}}: CS1 maint: multiple names: authors list (link) and Template:PDFlink
  35. ^ "Oldfields-Lilly House & Gardens". Indianapolis Museum of Art. 2010. Retrieved 2010-12-19.
  36. ^ "Oldfields (Josiah Kirby Lilly, Jr. House)". National Historic Landmark summary listing. National Park Service. Retrieved 2009-09-04.
  37. ^ "Our Mission". The Indianapolis Museum of Art. Retrieved 14 March 2011.
  38. ^ Hirsch, Stuart (April 12, 2004). "To art patrons, entry fee is in eye of beholder; Museum's admission charge of $7 per adult, starting May 2005, draws mixed reaction from public". The Indianapolis Star.
  39. ^ McCauley, Mary Carole (September 30, 2007). "Museums enjoy their free for all". The Baltimore Sun. Retrieved March 14, 2011.
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