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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[5][note 1] and top eight largest encyclopedic art museums in the United States.[6][note 2] The permanent collection includes over 54,000 works, including African, American, Asian, and European pieces.[7] 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;[8] and a growing contemporary art collection.[9] Other areas of emphasis include textiles and fashion arts[10] as well as a recent focus on modern design.[11]

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.[11] In recent years the museum has become a pioneer in connecting with audiences through digital technology, creating a number of online tools that promote institutional transparency and collaboration between museums.[12] 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. [13] 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.[14]

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.[15] 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.[15] The John Herron Art Institute opened in 1902 at its first permanent location on 16th and Pennsylvania streets.[15] 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

In 1967, the Indianapolis Museum of Art moved to the donated Lilly family estate, Oldfields. However, the debate concerning the location had lasted nearly eight years. In 1960, Herman Krannert made it clear that a new location for the museum was necessary. The board created a development committee that would consider future building plans and locations for the museum. Between 1960 and 1967 multiple sites were considered for the new location of what was then the John Herron Art Museum, many of which were north of 38th Street. Herman Krannert and Kurt Pantzer were strong advocates for the development of a cultural campus, an acropolis of science and culture.[4] Eight years after the initial consideration for a new building and location, Ruth and J.K. Lilly donated Oldfields to the Art Association, settling the ongoing debate concerning the museum's new location. Ambrose Madison Richardson designed the Krannert Pavilion, which opened to the public in 1970 and was the first of four original buildings that made up the IMA. True to the idea of the cultural campus, the expansion continued with the construction of the Clowes Pavilion in 1972, which housed the Clowes' collection of Old Masters', and the Showalter Pavilion in 1973, which housed the Civic Theater. The museum unveiled the Sutphin Fountain in 1973 prior to the opening of the Showalter Pavilion.[4] In 1986 Edward Larrabee Barnes was chosen by the IMA to design the Hulman Pavilion, a new wing of the museum which would house the Eiteljorg collection of African and South Pacific Art. The Pavilion opened in 1990, increasing the exhibition space to more than 80,000 square feet and providing visitors with the ability to move from one gallery to the next for a more coherent chronological and cultural flow.[16]

(Start paragraph with mention of "Grand Plan" and the next phase of construction). In 1994, with the help of 200 volunteers, the restoration of Oldfields' gardens and grounds began. The Rapp Family Ravine Garden opened in 1999 and was awarded the Centennial Medallion from the American Society of Landscape Architects' Indiana Chapter. Oldfields underwent restoration during this time as well and in 2004 it was designated a National Historic Landmark.[4] (Can add Oldfields publication as reference as well.)

A three year, $74 million construction and renovation plan of the museum was completed and opened in December of 2006.[17] The opening of the Efroymson Family Pavilion, Deer Zink Events Pavilion, and the Wood Gallery Pavilion was part of the larger $212 million renovation and site improvement plan that dates back to Waller's "Grand Plan" in 1998.[1] These new buildings increased the museum's internal space by 164,000 square feet and renovated 90,000 square feet of existing space while making the museum more accessible to the public.[17] These architectural changes were seen as making the IMA more welcoming... (state that the Efroysom Pavilion purposefully faces downtown in an effort to be welcoming). The changes coincided with a new advertising campaign that reached out to a wider, more diverse audience, with the tag line, "It's My Art."[11] (This was also when the Civic Theater became the Toby - mention that.)

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

In recent years the IMA has begun to focus on developing its contemporary art collection,[18] which includes works by artists such as Robert Irwin[19] and Do-Ho Suh.[20] Since 2007 the museum has featured site-specific contemporary installations in the Efroymson Pavilion, rotating the temporary works every six months.[21] Contemporary art is also featured in 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is unique in its inclusion of commissioned works by emerging mid-career artists.[22] (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.[23] The IMA's collecting and deaccessioning practices have reflected this perspective, utilizing technology to provide public access, openness, and transparency in museum operations.[24] 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.[25] The IMA has been praised for being the first among museums to openly share their deaccessioning practices[26] and for including the ability to post public comments on entries in the searchable database.[27] 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.[28] [29] Since 2003, the IMA has systematically researched the provenance of artworks created before 1946 and acquired after 1932.[30]

Exhibitions

Throughout its history the IMA has provided visitors with the opportunity to view a diverse selection of temporary exhibitions. In 1909 the Art Association campaigned for a major retrospective, the Augustus Saint-Gaudens Memorial Exhibition, to be brought to Indianapolis.[31] The exhibition, also referred to as the Saint-Gaudens Memorial Exhibition of Statuary, attracted 56,000 visitors during its three month run,[4] well beyond the board's goal of attracting 50,000 visitors.[31] A 1937 exhibition, Dutch Paintings of the Seventeenth Century, included loans from the Cincinnati Art Museum, the Metropolitan Museum of Art, and the Rijksmuseum Amsterdam.[4] The six week exhibition presented 65 pieces, including several Rembrandts,[32] and was considered the beginning of the museum's rise to connoisseurship.[4]

In 1977 the IMA acquired a collection of Neo-Impressionist paintings from Indianapolis industrialist W.J. Holliday, which were presented in an exhibition in 1983 titled The Aura of Neo-Impressionism: The W.J. Holliday Collection.[4] From 1986 to 1988, the exhibit traveled to seven cities in the United States and made one stop in Europe at the Van Gogh Museum in Amsterdam.[33][34] Opening in the summer of 1987 to coincide with the Pan American Games, Art of the Fantastic: Latin America, 1920-1987 presented 125 works by artists from a variety of nations. Well-known artists such as Frida Kahlo and Roberto Matta were featured, as well as artists who had never exhibited outside their native country.[35] The show was the first large-scale presentation of 20th century Latin American art in the United States in over 20 years and was the museum’s first contemporary exhibition to travel.[4]

In 1992, the IMA hosted the The William S. Paley Collection, a traveling exhibition organized by the Museum of Modern Art that included Impressionist, Post-Impressionist, and modern pieces collected by the late CBS News chairman William S. Paley.[36] The exhibit helped establish the IMA as a prominent museum venue in the Midwest and brought in a record-setting 60,837 visitors.[37] In 2001, the IMA collaborated with the Armory Museum in Moscow to organize Gifts to the Tsars, 1500-1700: Treasures from the Kremlin.[38] The show helped the IMA form partnerships with local arts organizations, gain international exposure, and attracted a record 70,704 visitors.[38] Another important exhibit to travel to the IMA was Roman Art from the Louvre, which attracted 106,002 visitors during its 2008 run.[4] The exhibition featured 184 mosaics, frescoes, statues, marble reliefs, and vessels loaned from the permanent collection[39] of the Louvre in Paris, France. It was the largest collection ever loaned from the Louvre to date, and only stopped in three U.S. cities before returning to France.[39]

In 2009, Sacred Spain: Art and Belief in the Spanish World brought together 71 works of art from a wide variety of lenders, including Peru, Mexico, and the Prado in Spain.[40] The exhibit was composed of a rare collection of pieces, many of which had never been on view in the United States and featured paintings, sculpture, metalwork, and books by artists such as El Greco, Diego Velazquez, and Bartolome Esteban Murillo.[41] Andy Warhol Enterprises was displayed at the IMA from October, 2010 to January, 2011 and featured more than 150 works of art by Andy Warhol, as well as archival materials.[42] The exhibition was the largest to feature Warhol’s fascination with money and consumerism as a central theme.[43] Visitors were able to view the progression of Warhol’s career, from his beginnings as a commercial artist to his multi-million dollar empire.[44]

Traveling exhibitions

European Design since 1985: Shaping the New Century was displayed from March 8 to June 21, 2009[45] and was the first major survey of contemporary European Design.[46] Curated by R. Craig Miller, the exhibition contained a collection of nearly 250 pieces[45] by Western European industrial and decorative[47] designers such as Phillipe Starck, Marc Newson and Mathias Bengtsson.[48] 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.[49] Miller described the period of time on which the exhibit focused as “a period of evolution rather than revolution.”[47] 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.[45] Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell.[48] Accompanying the exhibition was a two-day international design symposium that centered on the topics of creating, manufacturing, judging and marketing design.[50] After leaving the IMA, the exhibition traveled to the High Museum of Art in Atlanta, Georgia[51] and the Milwaukee Art Museum in Milwaukee, Wisconsin.[52]

Hard Truths: The Art of Thornton Dial, on display from February to September 2011,[53] included over 70 large-scale artworks and served as the largest assemblage of Thornton Dial's work ever mounted.[54][55] The exhibition contextualized him as a relevant, contemporary artist, rather than a folk artist or outsider artist as many have portrayed him in the past.[54] The pieces on view in Hard Truths covered a range of social and political themes,[56] many of which addressed rural life in the south and the treatment of African Americans.[57] After departing Indianapolis, the exhibition traveled to New Orleans, Louisiana, Charlotte, North Carolina and Atlanta, Georgia.[53]

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).[58] 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.[59] 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.[59] Allora and Calzadilla are the first collaborative team to be exhibited at the Venice Biennale,[58] and 2011 was the first time American artists from a Spanish-speaking community were selected.[59] Six new works of art were developed by the pair, who often explore geopolitical themes through their work.[60] 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.[61] Allora and Calzadilla also brought elements of performance into their multimedia pieces through the participation of Olympic athletes.[61] 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.[60]

Gardens and grounds

Museum grounds

Main article: List of outdoor artworks at the Indianapolis Museum of Art

The 152 acre grounds of the IMA contain distinctive features that have been modified over time to create a greater connection between the museum building and its surroundings.[4] Notable areas on IMA grounds include the Oldfields Lilly House, the Sutphin Mall and Fountain, the wheelchair accessible Garden for Everyone, a working greenhouse and shop, and a variety of formal and informal spaces[2] designed by landscape architect Percival Gallagher.[4] The IMA grounds are also home to 100 Acres: The Virginia B. Fairbanks Art and Nature Park, located behind the museum proper.[62] Garden areas make use of features in the natural landscape and incorporate examples of public art, both historical and contemporary. The IMA is also home to a well-established Horticultural Society that continues to advocate for the grounds.[4]

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

June 20, 2010 marked the official opening[63] of a large-scale outdoor project undertaken by the IMA. Formerly a gravel pit,[62] 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.[64] 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.[65] 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.[65] These works, along with an LEED certified visitor center, are linked by a variety of walking trails.[63]

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.[66] A public premier of this project is set for September, 2011.[67]

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.[68] 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.[68]

The 22-room mansion has undergone historic restoration and is currently interpreted to reflect the 1930s era when the Lilly family occupied the residence.[69] 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. [70]

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.[71] 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.[71] 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.[72] 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,[73] quickly becoming known as a regional center for conservation.[74] In 1978 the department began providing consulting services to regional institutions, taking on contracts from across the Midwest.[75] 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.[76][77] 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,[78] the Wishard Memorial Hospital murals,[79] the Otto Stark and Clifton Wheeler murals in Indianapolis Public School 54,[80] 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.[81]

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.[82] The department has grown in both size and staff throughout the years,[83] 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.[76] 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.[84] 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.[85] 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.[86] 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.[87]

(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 Stephen Russell, three vice chairmen, a treasurer, secretary, and twenty-one additional board members. As of 2009, 404 employees staffed the museum and 510 individuals served as volunteers.[88] The museums endowment consists of approximately 120 individual funds devoted to building operations, bond costs, personnel expenses, legal fees and other purposes.[88]

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.[89]

Affiliates

The IMA has relied on affiliates to support and raise awareness about the museum's 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 members, annual donations. The Alliance of the Indianapolis Museum of Art was founded in 1958 and planned lectures,black tie balls, and related activities in order to raise funds for the museum.[4] Major gifts included, in 1979, $350,000 towards the $40 million centennial endowment campaign[90] 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 was formed in 1962 to acquire contemporary art for the museum's permanent collection. In 1963, the first major acquisition consisted of 65 works.[15] The Horticultural Society was founded in 1972 to contribute to the care and education of the museum's gardens and grounds, raising $65,000 in 1989 toward their restoration. In the late 1970s the Second Century Society and the Print and Drawing Society were both formed. The Second Century Society, later known as the IMA Council, was founded to celebrate donations of $1,000 or more to the museum's annual operating fund, attracting more than 200 contributors during its inaugural year.[4] In 1979, the Print and Drawing Society exhibited 70 artworks spanning 500 years in their first exhibit, The Print and Drawing Society Collections.[91] By the late 1980s the museum had expanded its affiliate program to include the Decorative Arts Society, the Oriental Arts Society, the Ethnographic Arts Society,[4] and the Fashion Arts Society.[92]

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.[93] Beginning in January 2007, the museum returned to free general admission with the exception of special exhibits.[94] 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.[11]

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.[13]

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).[95] 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,[95] greening and sustainability initiatives, efforts to reach virtual audiences, and improvements in accessibility throughout the museum.[14]

Outreach

Education

The IMA's educational initiatives include programming for the local community as well as online audiences.[9] 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.[12] Davis Lab, an area inside the museum, allows visitors to virtually browse the museum's collection and experiment with new technology.[96] 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.[96]

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.[88]

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,[97] accessible seating and sign language interpretation in Tobias Theater, and wheelchair accessible trails in 100 Acres.[98] 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. [99]

Initiatives

IMA Lab

In February 2010, the IMA announced the launch of IMA Lab, a consulting service within the museum’s technology department. [100] [101] [29] 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. [100] [101] 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 [101]). IMA Lab projects include TAP, steve.museum, and the IMA Dashboard. [100] [29] 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. [102] 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. [101] [100] 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. [29] [103]

ArtBabble

Main article: ArtBabble

ArtBabble, which was launched in April 2009, is a website created by the IMA that features art-based video content including interviews with artists and curators and full-length documentaries. [104] [12] ArtBabble was conceived as an online community and a destination for online art content; to that end, the IMA has partnered with a number of other museums on the project. [12] Initial partners included the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the San Diego Museum of Contemporary Art, and The New York Public Library. [104] ArtBabble now has over thirty partners from around the world contributing content to the website, including the Art Institute of Chicago, the San Jose Museum of Art, the Solomon R. Guggenheim Museum, and the Van Gogh Museum. [105] [106] In addition to partnering with museums, ArtBabble also encourages contributions from visitors to the website via feedback features on the site. ArtBabble describes itself as a place where everyone is invited to join the discussion; no art degree is required. [107] Since its launch, ArtBabble has been widely praised. It was chosen as a showcase project for the October 2009 National Summit on Arts Journalism and it was also selected as the “Best Overall” Best of the Web winner at Museums and the Web 2010. [108] [109]

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]
  2. ^ At 669,484 square feet, the IMA is eighth largest in the United States in Main Museum Building space among the 130 respondents in the Association of Art Museum Directors 2010 Statistical Survey.[6]

References

  1. ^ a b "Spreading Its Wings" (PDF). Lighting Design and Application. 35 (11): 52–56. 2005. {{cite journal}}: Unknown parameter |month= ignored (help)
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Category:Museums established in 1883 Category:Museums in Indianapolis, Indiana Category:Art museums in Indiana

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