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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. In addition to its collections, the museum consists of 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 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 and bronzes; paintings, sculptures, and prints by 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

What is now the Indianapolis Museum of Art was first founded as the Art Association of Indianapolis, an open-membership group led by the nationally known suffragist May Wright Sewall. Formed in 1883, the organization aimed to better inform the public about visual art and provide professional art education for local citizens.[4] The Art Association's first exhibit contained 453 artworks from 137 artists, with loans coming from as far away as New York City.[13] In 1895, wealthy Indianapolis resident John Herron died, leaving a substantial donation to the Art Association of Indianapolis, with the stipulation that the money be used for a gallery and a school with his name.[13] The John Herron Art Institute opened in 1902 at its first permanent location on 16th and Pennsylvania streets.[13] Emphasis on the Arts and Crafts Movement grew throughout the early years of the school, with a focus on "applied art".[4] In 1905 William Henry Fox was hired as the Art Institute's first professional director. From 1905 to 1910, Fox managed both the museum and the school while constructing two new buildings on the 16th street site.[4]

From the 1930s until the 1950s, the John Herron Art Institute museum and school were characterized by an emphasis on professionalism and growth in collections.[4]. Wilbur Peat, director of the Museum from 1929 until 1965, led in acquiring significant portions of the collection, making connections with benefactors such as Dr. George H. A. Clowes, Booth Tarkington, and Eli Lilly. Beginning in the 1940s, Caroline Marmon Fesler, President of the Art Association, gifted a number of significant pieces, including 20th century modern artworks and Post-Impressionist works by Cezanne, Van Gogh, and Seurat.[4] After years of ongoing debate surrounding expansion and relocation of the museum and school, in 1966 J.K. Lilly III and Ruth Lilly, the great grandchildren of Eli Lilly, donated the family estate, Oldfields, to the Art Association of Indianapolis. In 1967 it was decided that the school would become a part of Indiana University's Indianapolis campus in an effort to assist with accreditation. That same year it was confirmed that the museum would relocate to Oldfields, with the new Krannert Pavilion opening to the public in October 1970. In 1969, prior to moving to the new site, the Art Association of Indianapolis officially changed its name to the Indianapolis Museum of Art.[4]

Architecture

Note: Content moved to Alex's History of the IMA draft, until more fleshed out and cut down.

  • 1 paragraph: Early construction - Mention early considerations of the Acropolis/cultural campus idea and how this influenced Ambrose Richardson designing a cultural campus, the 1970 Krannert Pavilion. (Every Way Possible,' p. 161.) 1972 Clowes Pavilion & Sutphin fountain. 1973 Showalter Pavilion & the Civic Theatre.(p. 178)
  • 1 paragraph: Later updates & additions - Restoration of both Oldfield's gardens/grounds and 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." 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).

Collections

  • 1 paragraph: Notable artworks. Compile most notable artworks in collection, using curatorial input. List 2 artworks from each department.
  • 4 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.
  • Caroline Marmon Fesler (20th-century modernism), Clowes Fund Collection of Old Masters, Kurt Pantzer (J. M.W. Turner), Samuel Josefowitz (School of Pont-Aven), Holliday Collection (Neo-Impressionism)
  • Eiteljorg (African & South Pacific Art), Eli Lilly (Chinese bronzes and ceramics), Glick family studio-art glass
  • Eliza Niblack (textiles), Boucher family Baluchi rugs, Fashion Arts
  • Contemporary, Design Collection

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 developed the Association of Art Museum Director's (AAMD) Object Registry, a database that helps museums more easily abide by the 1970 UNESCO ruling that prevents illicit trafficking of antiquities.[19] [20] Since 2003, the IMA has systematically researched the provenance of artworks created before 1946 and acquired after 1932.[21]

Exhibitions

Throughout its history, the IMA has provided visitors with the opportunity to view a diverse selection of temporary exhibitions. This tradition began in 1909 when a memorial exhibition of sculptor Augustus Saint-Gaudens was brought to Indianapolis..[22] Director William Henry Fox worked tirelessly to champion the retrospective, promising the board that he could guarantee attendance of 50,000 visitors[22] and convincing Saint-Gaudens’ widow to allow the exhibit to be shown in a city with fewer than one million visitors.[4] Fox’s efforts paid off, and the Augustus Saint-Gauden Memorial Exhibition (also referred to as the Saint-Gaudens Memorial Exhibition of Statuary) attracted 56,000 visitors during its three month run.[4]

In 1937, another notable exhibition was prepared: Dutch Paintings of the Seventeenth Century.[4] The impetus for the show was an acquisition of a painting believed to be by Meindert Hobbema, which the board sought to contextualize by placing it in a large-scale show of pieces by a variety of Dutch artists.[4] Loans were arranged from institutions such as the Cincinnati Art Museum, The Metropolitan Museum of Art and the Rijksmuseum in Amsterdam.[4] The show presented 65 pieces (including several rare Rembrandts.[23] Dutch Paintings of the Seventeenth Century ran for six weeks, garnered 39,000 attendees and propelled the museum toward a new identity; one that placed it as a center for connoisseurship in Indianapolis.[4]

The IMA acquired a collection of Neo-Impressionist paintings from W.J. Holliday in 1979. (EWP) The Holliday Collection was organized into a traveling exhibition from 1986 to 1988, which was the first major exhibition created from the museum’s permanent collection. The collection toured seven cities in the United States and made one stop in Europe at the Van Gogh Museum in Amsterdam. (EWP) While the Holliday Collection was traveling, another exhibition took shape at the IMA entitled Art of the Fantastic: Latin America, 1920-1987. Opening in the summer of 1987 to coincide with the Pan American Games, (USArts) the exhibition presented 125 works by artists from a variety of nations, including Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Nicaragua, Peru, Puerto Rico, the United States, Uruguay, and Venezuela.(EWP) Well-known artists such as Frida Kahlo and Roberto Matta were featured, as well as artists who had never exhibited outside their native country. (Fantasticmag) The show was the first large-scale presentation of 20th century Latin American art in the U.S. in over 20 years and was the museum’s first contemporary exhibition to travel. (EWP)

1992 brought The William S. Paley Collection, a traveling show that brought Impressionist, Post-Impressionist and modern pieces to Indianapolis. Organized by the Museum of Modern Art, the exhibition contained works from the collection of late CBS News chairman William S. Paley. (EWP) Paley stipulated that the exhibition must travel to 10 American museums before being incorporated into the Museum of Modern Art’s permanent collection, so director Bret Waller requested that the show be brought to Indianapolis. (IndyStar 92) This helped establish the IMA as a prominent museum venue in the Midwest (IndyStar92) and proved to earn the highest attendance to date, bringing in 60,837 visitors. (IndyStar Tsars 2)

The new millennium brought another landmark exhibition in 2001: Gifts to the Tsars, 1500-1700: Treasures from the Kremlin.(EWP) To create the show, the IMA collaborated with the Kremlin’s Armory Museum in Moscow and presented a variety of priceless objects that were presented to Russian Tsars. (IndyStar Tsars 1) Although the exhibition cost over one million dollars to mount (IndyStar 1), it was both a cultural and financial success. The show helped the IMA form partnerships with local arts organizations, gain international exposure and attracted a record 70,704 visitors.(IndyStar 1 and 2)

Attendance soared even higher for the 2008 exhibition Roman Art from the Louvre, bringing 106,002 visitors to the IMA.(EWP) The exhibition featured 184 mosaics, frescoes, statues, marble reliefs, and vessels loaned from the permanent collection(IndyStar) of the Louvre in Paris, France.(EWP) It was the largest collection ever loaned from the Louvre to date, and only stopped in three U.S. cities before returning to France. (IndyStar) The exhibit took a thematic approach, presenting a picture of what Roman life may have been like. (IndyStar) Supplementing the exhibition were a variety of educational resources developed by the museum, including online videos, blog entries and tour materials for schools. (EWP)

(AP New York Times) In 2009, Sacred Spain brought together 71 works of art from a wide variety of lenders in Spain, Mexico, Peru and other countries. A notable lender was the Prado in Madrid, who lent the IMA five pieces for the exhibition. The exhibition was specifically created for the Indianapolis Museum of Art (The Criterion) and did not travel to any other destinations. A $1 million grant from the Allen Whitehill Clowes Charitable Foundation enabled visitors to see Sacred Spain free of charge. (Oct. 4, Indy Star) Sacred Spain was composed of a rare collection of pieces, many of which had never been on view in the United States. The exhibit featured paintings, sculpture, metalwork, and books by artists such as El Greco, Diego de la Velasquez and Bartolome Esteban Murillo. The exhibition moved beyond a traditional academic interpretation of the pieces and instead focused on the connections between art and spirituality, including how the works of art were used by 17th century people.

Andy Warhol Enterprises was on display from October 10, 2010 to January 2, 2011 and featured more than 150 works of art by Andy Warhol, as well as archival materials. (IBJ) The show detailed the progression of Warhol’s career, from his beginnings as a commercial artist to his multi-million dollar empire. (ArtInfo)

Traveling exhibitions

European Design since 1985: Shaping the New Century

This exhibition was displayed from March 8 to June 21, 2009[24] and was the first major survey of contemporary European Design.[25] Curated by R. Craig Miller, the exhibition contained a collection of nearly 250 pieces[24] by Western European industrial and decorative[26] designers such as Phillipe Starck, Marc Newson and Mathias Bengtsson.[27] 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.[28] Miller described the period of time on which the exhibit focused as “a period of evolution rather than revolution.”[26] 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.[24] Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell.[27] Accompanying the exhibition was a two-day international design symposium that centered on the topics of creating, manufacturing, judging and marketing design.[29] After leaving the IMA, the exhibition traveled to the High Museum of Art in Atlanta, Georgia[30] and the Milwaukee Art Museum in Milwaukee, Wisconsin.[31]


Hard Truths: The Art of Thornton Dial

This exhibition of Thornton Dial’s work was displayed from February 25 to May 15, 2011.[32] 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.[32] However, the IMA was the first museum to compile a comprehensive survey of Dial’s work, displaying over 70 pieces.[33] 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.[32] Instead, the exhibition contextualized him as a relevant, contemporary artist.[32] The pieces on view in Hard Truths covered a range of social and political themes,[34] many of which addressed rural life in the south and the treatment of African Americans.[35] After departing Indianapolis, the exhibition traveled to New Orleans, Louisiana, Charlotte, North Carolina and Atlanta, Georgia.[36]

Venice Biennale

In 2011, the IMA was selected to be the commissioning organization for the United States pavilion at the Venice Biennale (Biennale di Venezia).[37] Lisa Freiman, senior curator and chair of the IMA’s department of contemporary art, organized the exhibition and served as the commissioner of the U.S. pavilion.[38] The IMA’s proposal to create an exhibition featuring the work of Puerto Rican artists Jennifer Allora and Guillermo Calzadilla was accepted by the Bureau of Educational and Cultural Affairs at the U.S. State Department.[38] Allora and Calzadilla are the first collaborative team to be exhibited at the Venice Biennale,[37] and 2011 was the first time American artists from a Spanish-speaking community were selected.[38] Six new works of art were developed by the pair, who often explore geopolitical themes through their work.[39] The pieces they created for the 2011 U.S. Pavilion formed an exhibition entitled Gloria and highlighted various competitive institutions such as the Olympic Games, the military and international commerce.[40] Allora and Calzadilla also brought elements of performance into their multimedia pieces through the participation of Olympic athletes.[40] Three of the six pieces (entitled Body in Flight (Delta), Body in Flight (American) and Track and Field) featured Olympians Dan O'Brien, Chellsie Memmel and David Durante.[39]

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

June 20, 2010 marked the official opening[41] of a large-scale outdoor project undertaken by the IMA. Formerly a gravel pit,[42] 100 Acres: The Virginia B. Fairbanks Art and Nature Park now encompasses a diverse landscape, including wooded areas, wetlands, open fields, a lake and a series of hiking trails that guide visitors past site-specific works of contemporary art.[43] 100 Acres is one of the largest art parks in the country and is the only park to feature an ongoing commission of temporary works.[44] The first eight artists selected to create site-responsive pieces were Atelier Van Lieshout, Kendall Buster, Alfredo Jaar, Jeppe Hein, Los Carpinteros, Tea Makipaa, Type A, and Andrea Zittel.[44] These works, along with an LEED certified visitor center, are linked by a variety of walking trails.[41]

A series of installations along the White River by artist Mary Miss will be the next project commissioned by the IMA as part of 100 Acres. The artist will be working with local universities, environmental organizations and government agencies to create FLOW (Can You See the River?). The piece will be comprised of various collaborative public art installations along Indianapolis' Central Canal and the White River, inviting visitors to become more aware of issues related to the health of the river and the city's water supply.[45] A public premier of this project is set for September, 2011.[46]

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.[47] 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.[47]

The 22-room mansion has undergone historic restoration and is currently interpreted to reflect the 1930s era when the Lilly family occupied the residence.[48] 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. [49]

Miller House and gardens

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

Westerley

Located just south of the museum in the Golden Hill neighborhood, Westerley is the former home of Dr. George H. A. Clowes and wife Edith, and their son, Allen Clowes. Built in 1922 and designed by architect Frederick Wallick, the four story home consists of 20-rooms, as well as a carriage house, a greenhouse and the surrounding grounds.[50] Allen Clowes died in 2000 and bequeathed the estate to the museum, intending it to serve as an event space and the home for the IMA director. In 2006 the estate underwent a $2-million renovation, with a major gift of $800,000 by the Allen Whitehill Clowes Foundation and an anonymous donor.[50] The renovation was headed by Indianapolis based architects Rowland Design, construction company Shiel Sexton, and museum director Anderson's wife Jacqueline Anderson, who served as interior designer. Currently, the first floor and grounds remain a space for museum events, while the Anderson family lives on the second and third floors.[51] Westerley historically served as a venue for the Cloweses to showcase their fine art collection, which became the foundation for the IMA's early European collection. Selected works were showcased at the museum, while other works, such as a pair of Dutch portraits from 1648, were shown at the home. Upon the renovation, Jacqueline Anderson chose to continue the display of selected Cloweses pieces, alongside the couples collection of contemporary art.[4]

Conservation

The IMA's conservation department was established in 1970 by the museum's first full-time conservator, Paul Spheeris,[52] quickly becoming known as a regional center for conservation.[53] In 1978 the department began providing consulting services to regional institutions, taking on contracts from across the Midwest.[54] An early high profile contract involved the preservation of 45 governors portraits over the course of 15 months. The 1979 exhibit, Portraits and Painters of the Governors of Indiana, was held at the IMA from January to March before the portraits were placed on permanent display at the Indiana Statehouse.[55][56] Other major regional projects have included the conservation and restoration of the Thomas Hart Benton murals, first created for the Indiana Hall at the 1933 Chicago World's Fair and now located at Indiana University,[57] the Wishard Memorial Hospital murals,[58] the Otto Stark and Clifton Wheeler murals in Indianapolis Public School 54,[59] and most recently the restoration of the May Wright Sewall Memorial Torches at Herron High School, the former site of the John Herron Art Institute.[60]

Currently, the conservation department serves the needs of the museum through the expertise of specialists in paintings, textiles, works on paper, frames, and objects conservation.[61] The department has grown in both size and staff throughout the years,[62] with the most recent expansion occurring in 2007.[4] As of 2007, the IMA owned one of the few computer-based X-Ray units in the United States, continuing a trend in X-Ray technology that the department began in the 1970s.[55] In 1980, the department helped organize and establish the Midwest Regional Conservation Guild, which includes conservators and conservation scientists from Indiana, Ohio, Illinois, and Michigan.[63] The department received a lot of attention in the mid-1980s, when head conservator Martin Radecki assisted local authorities in uncovering over two dozen forged T.C. Steele and William Forsythe paintings worth more than $200,000.[64] The high profile forgery case led Radecki to organize an exhibit in 1989, Is it Genuine? Steel, Forsythe and Forgery in Indiana. The exhibit highlighted conservation techniques and examined how forgeries can be discovered.[65] Another public presentation of conservation took place in 2007 with Sebastiano Mainardi:The Science of Art, a Star Studio exhibit that allowed visitors to watch conservators as they worked on the 16th-century altarpiece.[66]

(Add environmental control shift; or place with Energy Star award info.)

Conservation Science

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

Administration

File:IMA Logo (2010).png

The Indianapolis Museum of Art is a 501(c)(3) corporation which is governed by director & CEO Maxwell Anderson, chairman Myrta Pulliam, two vice chairmen, a treasurer, secretary and twenty-four board members, with twenty-seven voting members. As of 2009, 404 employees staffed the museum and 510 individuals served as volunteers.[67] The museums endowment consists of approximately 120 individual funds devoted to building operations, bond costs, personnel expenses, legal fees and other purposes.[67]

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.[68]

Affiliates

The IMA has relied on their affiliate program as a way to support and raise awareness about the museums collections since the early 20th-century. In 1919 The Friends of American Art was founded to support purchases for the Art Association of Indianapolis and Herron Museum. For two decades the Friends purchased 22 works of art for the collection, funded by member's annual donations of $50. The Alliance of the Indianapolis Museum of Art was founded in 1958 and was originally ran by a board consisting entirely of women. The Alliance planned lectures,black tie balls, and related activities designed to raise funds for the museum.[4] Major gifts included, in 1979, $350,000 towards the $40 million centennial endowment campaign[69] and $500,000 towards the IMA's 1990 expansion. By 2007 the Alliance had provided purchase funds for over 300 works of art.[4] The Contemporary Art Society came into existence in 1962 to acquire contemporary art for the museums permanent collection with its first major acquisition of 65 works in 1963 funded by annual member dues of $100.[4][13] 1972 marked the founding of the Horticultural Society to contribute to the care and education of the museum grounds and gardens. In 1989 the Horticultural Society raised $65,000 to assist in making the gardens historically accurate. In the late 1970s the Second Century Society (later renamed the IMA Council) was founded to celebrate donors of $1,000 or more to the museums annual operating fund, attracting more than 200 contributors during its inaugural year.[4] In the late 1970s The Print and Drawing Society was formed, donating at least 70 artworks by 1979.[70] By the late 1980s the museum had expanded it's affiliate program to also include The Decorative Arts Society, The Oriental Arts Society, The Ethnographic Arts Society and The Fashion Arts Society.[4][71]

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.[72] Beginning in January 2007, the museum returned to free general admission with the exception of special exhibits.[73] 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

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]

In 2009, the IMA was awarded the National Medal for Museum and Library Service, one of ten institutions to receive this annual distinction by the Institute of Museum and Library Services (IMLS).[74] The IMA was recognized for serving its community through a number of programs, including Viewfinders, a school program that serves 9,000 local students a year.[5] IMLS also cited the IMA's free admission,[74] greening and sustainability initiatives, efforts to reach virtual audiences, and improvements in accessibility throughout the museum.[12]

Outreach

Education

The IMA's educational initiatives include programming for the local community as well as online audiences.[8] Viewfinders, an art-viewing program that serves 9,000 local students a year, uses Visual Thinking Strategies curriculum to develop critical thinking skills.[5] The museum's emphasis on online engagement has led to educational tools such as ArtBabble, a video portal for art museum content.[75] Davis Lab,an area inside the museum, allows visitors to virtually browse the museum's collection and experiment with new technology.[76] In addition to its focus on technology and school outreach, the museum provides classes, lectures, and film series, in addition to ongoing tours of the collections, historic properties, and grounds.[4] Other programming includes the Star Studio, which provides drop-in art making on a weekly basis, where visitors, along with museum staff, can carry out projects inspired by museum exhibitions.[76]

From 1946 until 1981, the Indianapolis Junior League provided volunteers and monetary support for the museum's docent program. In 1981, the museum began its own docent training program, which continues to serve a large number of volunteer docents through classes and training.[4] As of 2009, the IMA's volunteers numbered at over 500.[67]

Accessibility

Since the 1990s, the IMA has continually improved accessibility for visitors; the initiative was a contributing factor to the museum receiving the National Medal for Museum and Library Service in 2009.[5] The IMA provides captioning on videos produced by the museum, large print binders for exhibits,[77] accessible seating and sign language interpretation in Tobias Theater, and wheelchair accessible trails in 100 Acres.[78] The museum also maintains partnerships with the Indiana School for the Deaf and the Indiana School for the Blind.[5] In 1993 the IMA opened the Garden for Everyone, a wheelchair-accessible garden designed to emphasize multiple senses. The garden includes varieties of fragrant and textured plants as well as a number of sculptures, including La Hermana del Hombre Boveda by Pablo Serrano. [79]

Initiatives

IMA Lab

In February 2010, the IMA announced the launch of IMA Lab, a consulting service within the museum’s technology department. [80] [81] [20] IMA Lab was designed to address museum-specific technology needs not currently met by software vendors, and to provide consulting services to museums and nonprofit organizations that wish to use technology to help solve problems and meet objectives. [80] [81] According to Robert J. Stein, the IMA’s Chief Information Officer and Director of Information Systems, “The idea for IMA Lab was born after receiving repeated requests from our peers to respond to RFPs and repurpose some of the technology we had already created for the IMA for use in their institutions” (quoted in [81]). IMA Lab projects include TAP, steve.museum, and the IMA Dashboard. [80] [20] TAP is a mobile tour application for iPod Touch that presents visitors with content related to the IMA’s collection, such as artist interviews, text and audio files, and pictures. [82] Steve.museum, for which IMA Lab is the technical lead, is a project that explores social tagging as a new way to describe collections and make them more accessible. [81] [80] The IMA Dashboard is a feature of the IMA website that provides real-time information about the museum’s operations, including the size of its endowment, the objects it has marked for deaccession, and the amount of daily energy the museum consumes. [20] [83]

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. ^ "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 t u v w x y z aa ab Berry, S.L. (2008). Every Way Possible: 125 Years of the Indianapolis Museum of Art. Indianapolis Museum of Art.
  5. ^ a b c d e "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.
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Category:Museums established in 1883 Category:Museums in Indianapolis, Indiana Category:Art museums in Indiana

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