A Bit of Me in You (Echo Point)
Chad Hankins is an Indianapolis artist who uses photography and sculpture to produce interactive artwork. A Bit of Me in You is an expansion of the installation he created for the Raymond James Stutz Art Gallery in October 2015. The form is a wall made up of thin, rectangular shaped mirrors. The artist has left a number of empty spaces in the wall, so that the viewer can interact with other viewers on the opposite side of the wall; seeing another person’s face where one would expect to see one’s own creates a startlingly intimate, if temporary, relationship between strangers.
This sculpture was first featured in the Indianapolis Arts Center’s summer 2016 hosting of Primary Colours’ annual Installation Nation exhibition of temporary outdoor art, and is still on view on the Art Center’s grounds.
Quoted from http://www.nuvo.net/indianapolis/from-the-indianapolis-art-center-to-the-art-shack/Content?oid=4060821
(photos courtesy of Ken Norris)
A Work of HeArt
In 2005, Tourluemke was awarded two major commissions by the Indianapolis Airport Authority to design and facilitate two terrazzo floor designs for the New Indianapolis International Airport. The designs titled, The Glory of Sports In Indianapolis and A Work Of Heart are roughly 1,000 square feet (93 m2) each. The pieces were completed in 2008.
Located in Concourse B.
Adam & Eve
Lee Benson is the chair of the Department of Art and Design at Union University in Tennessee. His ceramic work, Adam & Eve, stands between the Christel DeHaan Fine Arts Center and Esch Hall on the campus of the University of Indianapolis.
Quoted from: www.uindy.edu/arts/adam-eve
Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to After Rome and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.
Agriculture, Industry, Justice and Literature
These four allegorical figures appear on the south exterior of the Birch Bayh Federal Building and U.S. Courthouse (formerly the U.S. Courthouse and Post Office), and represent four of the foundations of American society. They flank the building’s two entry pavilions. The figures were carved by J. (John) Massey Rhind (1860-1936) in 1906.
Agriculture is depicted as a seated, classically-draped female figure holding a scythe in her proper left hand and a sheaf of wheat in her proper right hand.
Industry is depicted as a seated, classically-draped female figure holding a hammer and with an anvil at her proper right side.
Justice is depicted as a seated, classically-draped female figure holding a sword in her proper left hand.
Literature is depicted as a seated, classically-draped female figure with an open book on her lap and a rolled scroll in her proper left hand.
The Federal Building and U.S. Courthouse is a distinguished example of Beaux Arts architecture, typical of the 19th and early 20th centuries for public buildings. Begun in 1902 and completed in 1905, the U-shaped structure occupied an entire block, rose four stories, and housed federal courts, offices, and the main post office. The Federal Building and U.S. Courthouse inspired Beaux Arts designs for other public buildings in Indianapolis, including City Hall (1910), the Indianapolis-Marion County Public Library (1917), and buildings in the Indiana World War Memorial Plaza (dedicated in 1927). In 1974, the Federal Building and U.S. Courthouse was listed in the National Register of Historic Places. For more information about the building, visit the General Services Administration’s website.
Rhind was born in Edinburgh, Scotland. He studied art with his father, a renowned sculptor, and at the Royal Scottish Academy in addition to private lessons with the French artist Jules Dalou in Lambeth, England. Rhind emigrated to the U.S. in 1889 and settled in New York City, moving to New Jersey ten years later to set up his own studio. He was very prolific, and well known for his free-standing portrait sculptures, some of which are in the U.S. Capitol, fountain sculptures, and architectural enhancements for public structures, including monuments, courthouses, commercial establishments, and churches. Read more about Rhind at https://en.wikipedia.org/wiki/J._Massey_Rhind
Anatomy Vessel is by Eric Nordgulen, chair of the Fine Arts Department and associate professor of sculpture at the Herron School of Art and Design at IUPUI. Eric’s work can be seen on Massachusetts Avenue in Indianapolis and in numerous public and private collections.
Quoted from: www.uindy.edu/arts/anatomy-vessel
Anatomy Vessels (Saplings)
Anatomy Vessels (Saplings) is a public sculpture created by Indiana-based artist Eric Nordgulen, Associate Professor of Sculpture at the Herron School of Art and Design. It was selected in 2005 for the Herron Gallery’s first Sculpture Biennial Invitational and exhibited in the Herron Sculpture Gardens. The two-part cast and fabricated bronze sculpture represents two-life size sapling trees with bound root balls. It is part of a series of Anatomy Vessel works by the artist referencing nature, but not intended to be functional.
The sculpture was on extended loan from the artist and was located outside of the north entrance to Eskenazi Hall on the Indiana University-Purdue University Indianapolis (IUPUI) campus. It is now in the artist’s possession.
Angel of Hope
The child being carried by the angel is representative of hope for future generations. It was dedicated as a September 11th memorial on the one year anniversary of the attacks. Originally the sculpture was planned to be an angel with a sword, but it evolved into this more tranquil, and gentle work of art with flowing lines. As the years have passed, the sculpture has since taken on new energy and life as a welcoming peaceful segue for the Monon trail south of Broad Ripple, and enhancing the Monon / Keystone Neighborhood corridor of the Monon Trail. It is located between 49th and 52nd Street. It has become part of the Monon Trail experience for thousands of trail users.
Angel Wings Mural
This mural at DeveloperTown is one of two similar sets of street-art interventions by Indianapolis artists Megan Jefferson and Jamie Locke. Initially created in the summer of 2016, the murals are Jefferson’s attempt to infuse hope and love into public spaces of the city. Their interactive nature (many people share photos of themselves standing in front of the wings, seen at #indyangelwings) and positive spirit are intended to provide a bright spot in one’s day.
Two other sets of Jefferson and Locke’s angel wings, in full color at both adult and child heights, are located further north along the Monon Trail at 64th St. in Broad Ripple. Angel wings “graffiti” are seen in many cities in the U.S., done for similar reasons.
Megan Jefferson is one of the artists in the collaborative known as the Department of Public Words, whose mission is to spread positivity through word-based murals and interactive projects in public places.
Learn more about the group at: http://www.dpwords.org/main/
Jefferson also creates studio work independent of the collaborative. Learn more about Jefferson’s work at: http://www.jeffersonartstudio.com/
Jamie Locke is a resident artist at Ruckus Makerspace. Her work usually takes the form of intricate mandalas (spiritual maps) in both two-dimensional and three-dimensional media. Learn more about Locke’s work at: http://www.jamielockeart.com/
Ann Dancing references the historic use of the female form as architectural embellishment. Whether looking at the caryatids on the Acropolis in Athens, Greece, or the personifications of Industry, Agriculture, Justice and Literature found at Indianapolis’ own Federal Courthouse, the female form has often been used in the development of inspiring places.
Situated within the Mass. Ave. Cultural District, the artwork also reflects the area’s artistic flair. Ann is dancing at the end of the block that houses the Chatterbox Jazz Club, a club that has been showcasing jazz for more then 28 years. The district is also home to independent restaurants and boutiques, theatres, galleries, and more.
The artist, Julian Opie, is internationally regarded for his artwork, which often updates aesthetic traditions. His artwork can be found in the collections of many prestigious museums such as the National Portrait Gallery and Tate Gallery, London; the Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; and The Israel Museum, Jerusalem. In 2005, Opie was commissioned by the Arts Council of Indianapolis to create a temporary exhibition in public spaces entitled Julian Opie: Signs. He produced this, his first 4-side LED “column,” for that show.
Funding for the exhibition and additional funding for the acquisition of this artwork was provided by the Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick and the Indianapolis Cultural Development Commission.
Visit the artist’s website, www.julianopie.com, to learn more about his work.
Quoted from: http://www.indyculturaltrail.org/opie1.html
Antenna Man, a public sculpture by Eric Nordgulen, is located on the west side of the Herron School of Art and Design, which is on the Indiana University-Purdue University Indianapolis campus in Indianapolis, Indiana. The sculpture consists of blend of figure form and vessel shape. Antenna Man, which was created in 1998, took six months of labor to create and is constructed from fabricated Aluminium. It is approximately 339.5 cm in height, including the metal base, and it is approximately 385 cm tall, including a cement base. The cement base is approximately 45.5 cm in height and is 240.5 cm X 240.5 cm.
The sculpture is the prototype for a larger version, which was installed at Navy Pier, Chicago, Illinois in 1999. Made from fabricated aluminum and interlocking wires, the sculpture abstractly represents a human form. Aluminum was chosen as a material for Antenna Man because it is lightweight, contemporary in material, and lends itself well to the concept of an antenna.
Antenna Man is part of a series consisting of around six other antenna forms. One of these is located on Massachusetts Avenue, Indianapolis; this work is entitled Viewfinders. Another sculpture, also titled Antenna Man and similar in theme, is located in Crown Hill Cemetery in Indianapolis. Originally Antenna Man was left partially constructed while work was being completed on the larger version of Antenna Man (21 ft. by 3 ft. by 3 ft). The larger version was on exhibit at Navy Pier from May until October 1999; it was later moved to the campus of Illinois Institute of Technology.
Antenna Man was located outside the library on IUPUI’s campus in the early 2000s. Antenna Man was on view at the library for approximately four years. After being placed outside the library, Antenna Man moved to outside the west side of Herron School of Art and Design.
Nordgulen interprets the human body as a sender and receptor for signals. The sculptures on Massachusetts Avenue, Indianapolis have Fresnel lens located in them, which intensify light and capture images from the surroundings and invert them. This allows the sculpture to create its own content based on what surrounds it and to incorporate that into the itself.
Eric Nordgulen was born in Oklahoma, OK. He studied ceramics and sculpture at East Carolina University, where he received his Bachelor of Fine Arts in 1982. He attended Indiana University (Bloomington) for graduate school, where he received a Master of Fine Arts in sculpture and ceramics in 1985.
Nordgulen served as the Chair of the Fine Arts Department at Herron during the years 2004 through 2008. He is currently an Associate Professor of Sculpture at Herron. He typically works in series or in transition from series to series. It is clear from his work that he enjoys exploring materials investigating the history of the materials.
Nordgulen is currently working with Dr. Andrew Hsu on a project involving sustainable energy and public art. Through their collaboration, Hsu and Nordgulen hope to create a functioning piece of artwork that will generate energy.
Quoted from: http://en.wikipedia.org/wiki/Antenna_Man_(sculpture)
Apple Catapult celebrates the important role that Teachers’ Treasures plays in our community. Referencing school supplies found inside, Schlough’s mural depicts a clever contraption that might be used to send an apple to a teacher in a most unusual way: one simple push of a domino causes a chain reaction; even the “blueprint” of the machine can be seen taped to the wall.
Apple Catapult was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
The West Indianapolis community (Oliver Street to Raymond, White River to Holt Ave) lies “between the rivers” of Eagle Creek and the White River. It is one of the oldest neighborhoods in Indy, with many West Indy families having lived here for multiple generations. In the spring of 2015, eight traffic signal control boxes, created by professional artists from designs voted on by a panel representing both art experts and the neighborhood residents, were painted as part of a Great Indy Cleanup project. Keep Indianapolis Beautiful’s Great Indy Cleanup program helps community groups organize to combat heavy litter and debris that has accumulated in public spaces such as streets, alleys, greenspaces, and waterways. Some cleanup efforts also include new plantings and community murals, all done by neighborhood volunteers. For more information about the Great Indy Cleanup program, visit http://www.kibi.org/programs/beautification/great-indy-cleanup/
On the northwest corner of Morris and Belmont Streets, the artist Tasha Beckwith added street-inspired color to Indianapolis’ Westside. Using a mixture of different blues, greens, and neutral tones she rendered abstracted arrows on this traffic signal box. Unfortunately, this box was hit during a traffic accident in July 2016 and was replaced with a new, unpainted box.
Arrows of Direction
This sculpture was the result of a design contest hosted by the Art Department at North Central High School. The artist was inspired by origami, and the folding shapes and skewed lines of the piece create directional movement, suggesting the various paths that graduating students will take in life.
Arts Council of Indianapolis Bike Rack
Located just outside Gallery 924 at the Arts Council, this functional bike rack was commissioned in recognition of Erik C.A. Johnson by Borshoff advertising and public relations with joy and gratitude for Erik’s 22 years of creativity and service. Erik is also recognized as a past board chair of the Arts Council of Indianapolis.
Arts, Sciences and Literature
Arts, Sciences and Literature originally graced the roofline of an earlier Indianapolis Public Library facility, which was built in 1893 on the southwest corner of Ohio and Meridian Sts. The building also housed the central administrative offices of Indianapolis Public Schools. The current Central Library was built in 1917; however, the sculpture remained in place until 1967, when Indianapolis Public Schools moved to a new administration building. Although the building was soon demolished and a hotel constructed in its place, the sculpture was rescued and relocated to the grounds of Crown Hill Cemetery. In 1981 the artwork, damaged from the elements and with missing parts, was brought back to the grounds of the Central Library. It remained there until 2002, when it was removed for a complete restoration before being placed over the north doors of the library’s renovated and expanded facility in June-July, 2007.
The sculpture is a heroic-scale bronze group of three figures. On the proper right is a seated female figure representing Literature. On her lap she holds a book or tablet, and at her feet is a bust of the poet Henry Wadsworth Longfellow. She faces away from the grouping. Her proper right arm is extended. In the center is a standing male figure, representing Enlightenment, holding aloft a torch in his proper right hand. The torch is topped with a six-pointed star. In his proper left hand he holds a palm leaf, representing Achievement. Beside him is an owl and a globe, attributes of science. On the proper left is a seated female figure, representing the Arts. With her proper left hand she holds a drawing board braced against her proper left knee. Her proper right hand is poised near her shoulder and she is gazing at the board. At her side is a bust of the Renaissance artist Michelangelo. A laurel wreath lies in the foreground between the center and proper left figures. An eagle perches with outspread wings behind the figures.
Richard Bock (1865-1949) was a Chicago-based artist of the late 19th and early 20th century, best known for creating sculptures and architectural ornaments in association with architect Frank Lloyd Wright. Bock was born in Germany but moved to Chicago as a youth. He studied art at the Berlin Academy and at the Academie des Beaux-Arts in Paris, and established his studio in Chicago in 1891. Bock received the commission for Arts, Sciences and Letters on the basis of his entry into a competition for the sculpture, which he won. For more information about Bock and his work, visit the website of the Richard W. Bock Sculpture Museum in Greenville, Illinois: https://www.greenville.edu/about/visit/bock_museum.html
Ascend the Wind
Mike Helbing is a Midwestern sculptor who spent his early years and made his early art in Indiana through the 1980s. He taught children’s art classes at the Indianapolis Art League (now the Art Center) before moving to the Chicago area in the late 1980s, where Helbing has since been making large metal sculptures. He’s also currently the curator for Chicago’s National Vietnam Veterans Art Museum. His website is www.mikehelbing.com.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Ascending, along with Serpent and Daughter of the Moon, Nokomis, are from artist Robert Pulley’s large body of work combining references to geology, organic growth, and the human figure in abstract, expressionistic sculptures inspired by nature. Their segmentation, the striation that comes from coil building, and the picked textures create a sense of age and loss that contrasts to their strength and energy.
Robert Pulley is a clay sculptor based in Columbus, Indiana. According to the artist, “I grew up in the American Midwest where frequent solitary walks in the woods and along the creeks and rivers of rural Indiana etched strong impressions into my memory of the varied forms, colors and textures around me. Evidence of the effects of time were everywhere in the rock strata, glacial till, and aboriginal artifacts. I found a sense of wonder that embraced mysteries of nature, of change and of time…In my creative process there is always a time of free improvisation using easily manipulated materials on a small scale. The materials may have qualities of a found object, chance forms that must be reacted to, much as a jazz musician riffs off a casual theme. The resulting models are very crude, casual and many. A chosen few undergo editing, refinement and transformation as they are built into full size sculptures.”
At the Bus Stop, Without Delay
At the Bus Stop, Without Delay was inspired by the artist’s experiences riding the bus to work. Many people overlook bus riders, yet there are communities and neighborhoods of people that live solely by commuting by bus. By showing the near East Side community at the bus stop, it created the most natural setting for a large group of people to mingle below the cityscape.
The artist incorporated little narratives occurring between all of the people featured at the bus stop. The cityscape above shows the Indianapolis skyline flowing out into the houses and landmarks along East 10th Street. The sky even unfolds from dusk to daytime as the mural moves from left to right. All of these nuances make up the mural, and will be there for the many viewers who will see this on a daily basis, as well as the initial impact it will give the first time visitors driving along 10th Street.
Autumn is one of a series of 14 glass murals commissioned for the concourses at Indianapolis International Airport. For eight of the murals, the artist was inspired by the colors of the Indiana landscape at different times of the day and different seasons of the year. He created abstract imagery to communicate his perceptions in hopes that they would remind departing visitors of what they had experienced and welcome returning residents back home.
This mural is located on Concourse B.
Autumn Prairie Morning
The mural features wildflowers and animals native to prairie land in the central United States.
Fabricated and installed in conjunction with Perdoma Byzantine Studio in Cuernavaca, Mexico.
For more information on L.S. Ayers, visit en.wikipedia.org/wiki/L._S._Ayres.
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