S Shelby St Graffiti Wall
As one of the few sanctioned graffiti walls left in Indianapolis, IN, this graffiti wall on the southeast corner of Bates and S Shelby Streets stands as a testament to the talent of the young, aspiring graffiti community as well as the more well-known graffiti writers in the area. Constantly changing, this living wall represents the very nature of the art form and the state of graffiti in Indianapolis.
Sack Race Kids
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/
Artist, Gabriel Lehman, places a whimsical scene on a traffic signal box located near the southwest corner of Harding and West Morris Street. Using a palette of warm colors, Leham, creates an evening sky of orange and red hues and places multiple silhouetted figures of young children who are all racing around this traffic signal box in a sack race.
This sculpture is a portrait of and memorial to Schulyer Colfax, an Indiana-bred politician who served as vice-president of the United States under Ulysses S. Grant. Colfax also served Indiana as a representative in Congress. Before taking office he worked as a journalist for the Indiana State Journal, the South Bend Free Press and the St. Joseph Valley Register. This sculpture, originally placed in the southwest quadrant of University Park, now resides on the eastern side of the park, facing Pennsylvania Street. Dedicated in 1887.
Portrait of Lincoln seated in a chair, his proper right hand raised in a gesture of peace. Behind the chair is his stove pipe hat with a pair of gloves resting on top. The sculpture is mounted upon a graduated base of polished granite.
Seeds of Light
Seeds of Light is located in Speedway Trailhead Park along the P&E Trail and honors the history, traditions and values of the Town of Speedway as well as its relationships with its two Sister Cities, the motorsports towns of Motegi, Japan and Varano de’ Melegari, Italy. The trailhead is an iconic space welcoming both students from its Sister Cities exchanges and all international visitors to the town.
From a distance, Seeds of Light appears as a tall, single-stemmed, flower-like structure approximately 18 feet high. Its form was inspired by heracleum maximum; a native plant known variously as cow parsnip, Indian celery, or Indian rhubarb and which appears in the trailhead’s landscaping. Each lit “floret” symbolizes the exchange experience of Speedway’s Sister Cities students, their connections with their hosts, and their potential as global citizens. The floret’s interconnected, three-part form also references the students’ growth in terms of head, heart, and hands, and the three connected Sister City communities of Speedway, Motegi, and Varano.
In addition to the Sister Cities symbolism, Seeds of Light also honors Speedway’s industrial heritage, with its embedded LED lights and reflective dichroic glass symbolizing its commitment to new technology and its forward-facing attitude. At the same time, the overall shape of the piece refers to the quiet, natural beauty of a common Indiana flower.
Seeds of Light was commissioned by the Town of Speedway as part of its participation in Keep Indianapolis Beautiful’s 2016 IPL Project GreenSpace, which created Speedway Trailhead Park. The Arts Council of Indianapolis provided funding and project supervision.
Pontiac, Michigan artist Ray Katz has worked in many mediums, but metal remains his passion. Metal is best suited for his work because of its strength, malleability, and inherent beauty.
Katz combines geometric and organic elements to create compositions that convey the implied energy found in his work. He uses the abstract manipulation of form and shape in space to create visual balance, using rhythm, action, and movement. The implied energy of his composition structures has become a hallmark of Katz’s work and is a metaphor for an evolutionary process that he associates with human experience.
Bold colors and whimsical characters filled Andy Miller’s mural Served, which was painted during the Lilly Global Day of Service in 2011. Served highlighted the community spirit and the many cultural activities that at the time were taking place at Big Car’s Service Center for Contemporary Culture and Community in the Lafayette Square area on Indianapolis’ Westside. The Service Center closed in 2014 and Big Car now operates out of new headquarters in the Garfield Park neighborhood.
Andy J. Miller was born in Indiana, went to middle school in Western New York, to high school in Indiana, and to the University of Huddersfield in the United Kingdom. He is most known for The Indie Rock Coloring Book, his daily drawing project NOD and his Creative Pep Talk podcast. His quirky style adorns everything from public murals to silkscreen prints to tote bags. Read more about the artist at http://www.andy-j-miller.com/
Served was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
This mural was completed by the Department of Public Words in the summer of 2016 with the help of youth from the TeenWorks program. It consists of bright green and yellow colors gradually changing, and acts as a beacon of light. It was designed by Megan Jefferson and Holly and Dave Combs.
The mural, located on the back alley wall of the former Super 8 Food Store (now Happy Brewery) at the corner of 39th and Illinois St., was made possible by the Nina Pulliam Charitable Trust, the Central Indiana Community Foundation and the Efroymson Family Fund.
Silver Fall II
Scott Westphal’s latest artwork, Silver Fall II, is installed at the intersection of Delaware Street and Fall Creek Parkway in the Mapleton-Fall Creek Neighborhood. The sculpture is part of Destination Fall Creek, a neighborhood initiative addressing several improvements including bridge repairs, area safety, improved commuting, and better access to nature and the Fall Creek waterfront.
The 1,200 pound sculpture consists of 10′ tall, curved aluminum panels which feature a falling maple leaf motif, inspired by the Arts and Crafts era. In the evening, light escapes through the cut-out leaf shapes, creating a nighttime focal point of soft, dappled light.
From a first birthday to a day at the beach, Torluemke’s mural depicts 19 scenes of simple pleasures. Bold in color and style, the mural was designed for easy engagement for cars passing by, while detailed scenes leave something for viewers passing by on the Indianapolis Cultural Trail: A Legacy of Gene and Marilyn Glick.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
Originally, Sky Waltz was part of the Sculpture in the Park temporary exhibitions. At the conclusion of its program, the Park added the piece to its permanent collection of sculptures.
The linear shapes of the piece suggest the jet engine trails that are often seen in the sky. The sculpture is also kinetic, as the top turns in the wind and passes through the stationary part of the piece. The sculpture is made of textured welded aluminum, much of which has been recycled. The round aluminum tubes were originally light poles.
Mishler, a nationally renowned sculptor living in Goshen, Indiana, specializes in using common metals to create his symbolic and abstract works of art. Sculptures that incorporate kinetic energy and moving parts are his signature. He has many works in public and private collections, including Chicago. Learn more about the artist at http://www.johnmishler.com
Slightly Romanesque/Newhall 43
Sometimes the titles of artwork give us clues as to their meaning. Do any of the shapes remind you of Roman architecture? The concrete resembles an arch. Some of the steel also looks like ancient architecture. The additional steel elements seem to suspend the Roman elements in space as if they are holding up a memory of an ancient space in time.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Sol y Sombra
Near the west entrance of campus, next to the Fifth Third Bank, stands the bright yellow steel sculpture Sol y Sombra by Bernie Carreño. The sculpture was inspired by brilliant sunlight at a bullfight in Madrid, Spain. Carreño received his BFA and MFA in sculpture from the University of Wisconsin-Milwaukee. He is currently the head of the Sculpture Department at the Indianapolis Art Center. In addition to his role at the IAC, he is a working sculptor with numerous commissions and awards to his credit.
Quoted from: http://www.uindy.edu/arts/sol-y-sombra
Soldiers and Sailors Monument
The Indiana Soldiers and Sailors Monument is a neoclassical monument built on Monument Circle, a circular, brick-paved street that intersects Meridian and Market streets in the center of downtown Indianapolis, Indiana. In the years since its public dedication on May 15, 1902, the monument has become an iconic symbol of Indianapolis. It was added to the National Register of Historic Places on February 13, 1973 and was included in an expansion of the Indiana World War Memorial Plaza National Historic Landmark District in December 2016. It is located in the Washington Street-Monument Circle Historic District. It is also the largest outdoor memorial in Indiana.
The monument was designed by German architect Bruno Schmitz and built over a 13-year period, between 1888 and 1901. The monument’s original purpose was to honor Hoosiers who were veterans of the American Civil War; however, it is also a tribute to Indiana’s soldiers and sailors who served during the American Revolutionary War, territorial conflicts that partially led to the War of 1812, the Mexican–American War, and the Spanish–American War. The monument is the first in the United States to be dedicated to the common soldier.
The monument includes several notable figurative sculptures, including Rudolph Schwarz’s two massive limestone groupings representing War and Peace, two smaller scenes named The Dying Soldier and The Return Home, and four military figures at its base representing the artillery, cavalry, infantry, and navy. Three bronze astragals, one by Nikolaus (Nicolaus) Geiger and two others by George T. Brewster, surround the stone obelisk. Additional sculptures in the plaza include John H. Mahoney’s three bronze statues of former Indiana governors George Rogers Clark, William Henry Harrison, and James Whitcomb, as well as Franklin Simmons’s bronze statue of former Indiana governor Oliver P. Morton, which had occupied the site before the monument was built. Brewster’s 30-foot (9.1 m) bronze statue of Victory (also known as Liberty) crowns the obelisk. The Indianapolis monument is approximately 15 feet (4.6 m) shorter than New York City’s 305-foot (93 m) Statue of Liberty.
Most of the monument is built from Indiana limestone. There is an observation deck on the top of the central obelisk accessible via an elevator, and at the base of the obelisk is the Col. Eli Lilly Civil War Museum.
Sometimes I Sits
Helbing created Sometimes I Sits in memory of his mother Pat Helbing. Reflecting on a poster she had showing an Orangutan titled "Sometimes I sits and thinks and sometimes I just sits," Helbing developed his ideas of a dream machine. It is a functional sculpture meant to be completed when visitors that choose to sit down and dream for a bit.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Near Good Hall on the corner of Hanna and Otterbein Avenues is K. Brunett and K. Thielking’s Source. This piece depicts an abstracted river, whose wave forms flow and change through their intersection with the wind. Brunett and Thielking each have an MFA from the University of Wisconsin-Madison and work collaboratively in a variety of media.
Quoted from: www.uindy.edu/arts/source
This sculpture creates a contemporary visual connection to the Soldiers and Sailors Monument on Monument Circle, and it provides a sense of continuity along the South Meridian Street corridor. The spirals and circles of the piece, which stands in what was once the middle of Meridian Street, allude not only to Monument Circle, but also to the Indianapolis Motor Speedway. Gummer is an Indianapolis native.
From Gummer’s speech at the artworks dedication:
“When I first visited the site in the fall of 2002, I knew immediately that I wanted to make a sculpture that related to the Monument Circle. I wanted to make a sculpture that would express some of the defining traits of the city of indianapolis as I know it: the clarity of it’s structural layout and the dignity and optimism of its citizens. The first formal plan for the original settlement at Indianapolis expanded out of a circle to become the city we know it today. Avenues and plazas radiated from its center to form a square mile from West to East Streets and from North to South Streets. My sculpture pays respect to the model set out in the original city plan and mirrors it. The sculpture rises from a square base in a series of arcs that coalesce into circles. These expand as they aspire upward in a muscular reach and a higher and wider grasp of the sky. The supports for these horizontal circular elements are strategically placed, visually and structurally, to create a twisting, soaring movement. They become lighter and more open the higher they climb.
I believe that combining optimistic expansion with intelligent support creates a poetic yet pragmatic result. The sculpture reflects both the city’s grounded ambition and the aspiration of her citizens to a higher purpose. Because I grew up here and was educated here, I have an appreciation and understanding of the strength of character of the people of this city. And over the last 38 years, my admiration has grown with the city’s proud expansion. This work is my heartfelt response to the great honor of being asked to make a visible statement about the environment where it stands: the center of innovation at Lilly, and the heart of a city where I grew up and was inspired to become an artist. I believe it reflects the spirit of our Circle City: inclusive, uplifting, and outreaching. A community where I always feel at home.”
Southwest Summer Showers
Doug Hyde (Nez Perce, Chippewa, and Assiniboine) was born in 1946, studied and taught at the Institute of American Indian Art in Santa Fe, New Mexico, and is well-known for monumental works in California, Arizona, and elsewhere. He sensitively portrays Native peoples in a way that conveys pride and dignity. He is best known for his work in stone and for bold bronze castings with brightly colored patinas. His work is in the collections of major museums throughout the country, including the Smithsonian Institution. The woman holding the umbrella in this sculpture wears traditional Southwestern clothing and jewelry.
See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.uGCsCPGN.dpuf
Spaces with Iron
Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture’s proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.
This often overlooked functional sculpture is located along the western outside wall of the Ruth Lilly Library. This gate was produced by a factory worker named Lucio Ruiz Rojas and was originally purchased for a hotel in Madrid, Spain. It is a wonderful backdrop for photographs.
Gift of Fred Fehsenfeld, Sr.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
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 Spanish Guitar and his other sculptures along the Cultural Trail. Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.
This expressive graffiti piece is part of a body of work that makes up one of the few sanctioned graffiti areas left in Indianapolis, IN. The alleyway just east of Virginia Avenue in Fountain Square stands as a testament to the talent of the young, aspiring graffiti community as well as the more well-known graffiti writers in the area. Constantly changing, this living alleyway represents the very nature of the art form and the state of graffiti in Indianapolis.
Spirit Keeper is a stainless steel abstract sculpture consisting of a leaf-shaped form perched atop a form that is rectangular at the bottom and narrow at the top. These two pieces are welded together to create the sculpture. The entire sculpture is 78 inches tall and sits on a metal base 40 inches square, which is bolted to a concrete slab. The surfaces of the sculpture are shiny stainless steel but have been lightly sanded to create a pattern in the steel. There is an inscription on the proper left side of the sculpture in the lower proper right corner, which reads “SPIRIT KEEPER, S. WOOLDRIDGE, 2007.”
Spring 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.
Stella by Scott Westphal was featured as a temporary outdoor sculpture in White River State Park. Selected as part of a competition to display at least six large-scale exterior sculptures in the park, Scott Westphal intended to portray the feeling of reaching up and gazing out with his piece. Stella is the artist’s abstracted vision of a seated woman with her knees pulled close to her body. The pose attempts to be pensive and protected, while proud and optimistic.
Scott Westphal designs and fabricates small to large scale bronze, aluminum, and steel sculptures, beginning in 1995 to present. Born in Indianapolis, Indiana, Westphal studied at the Herron School of Art and Design and has worked on several public art projects throughout the state. Focusing primarily on I-beam construction sculptures, Westphal uses a hybrid of abstraction, minimalism, and figuration to strike a balance between industrial and natural elements. As a result, Westphal’s work represents strength, control, and fluidity.
Stone Lantern (Paramount School of Excellence Rest...
Reconnecting to Our Waterways (ROW) is an effort by local artists to highlight the Pogue’s Run Waterway in Brookside Park. The Paramount Rest Stop is one of three sites along Pogue’s Run funded through ROW. Led by artist Eric Nordgulen, students from Herron School of Art and Design, a team of professional artists, and local residents and stakeholders collaborated on the design and implementation of public art installations centered on waterway issues and inspirations.
Greg Hull’s sculpture, Stone Lantern, allows for a place of mediation and contemplation as visitors explore their relationship to the waterway. In three locations around Pogue’s Run, these sculptures use linear elements of steel to geometrically frame and position the riverbed boulders. Because they are elevated above the ground, visitors can reflect upon the stones’ considerable weight and the impact that wind, water, and the passage of time can impose on this material.
This work invites visitors to listen to the sound of water washing and tumbling over stones. This element can be explored by scanning a QR code embedded in the base of the sculpture, connecting visitors with an audio link to the sound of a nearby section of Pogue’s Run.
Quoted from http://www.indianacharterschool.com/stone-lantern.html
Stone Lantern (Spades Park Rest Stop)
Reconnecting to Our Waterways (ROW) is an effort by local artists to highlight the Pogue’s Run Waterway in Brookside Park. The Spades Park Rest Stop is one of three sites along Pogue’s Run funded through ROW. Led by artist Eric Nordgulen, students from Herron School of Art and Design, a team of professional artists, and local residents and stakeholders collaborated on the design and implementation of public art installations centered on waterway issues and inspirations.
Greg Hull’s sculpture, Stone Lantern, allows for a place of meditation and contemplation as visitors explore their relationship to the waterway. In three locations around Pogue’s Run, these sculptures use linear elements of steel to geometrically frame and position the riverbed boulders. Because they are elevated above the ground, visitors can reflect upon the stones’ considerable weight and the impact that wind, water, and the passage of time can impose on this material. This work invites visitors to listen to the sound of water washing and tumbling over stones. This element can be explored by scanning a QR code embedded in the base of the sculpture, connecting visitors with an audio link to the sound of a nearby section of Pogue’s Run.
Greg is an installation artist and sculptor, originally from Richmond, Indiana. He received his BFA from the Kansas City Art Institute and his MFA from the University of Delaware. Currently residing in Indianapolis, Greg is an Associate Professor of Sculpture at the Herron School of Art and Design.
For more information about the artwork, see: http://www.indianacharterschool.com/
For more information about the artist, see: http://www.greghull.com/
Stratford Movie Theater
The transformation of five traffic signal control boxes or “invisible canvases” around the Northeast Corridor is intended to promote pride and unite the community in the area. These boxes are collectively called The Big Picture Project, a public art initiative that uses the gateways of the community to share the stories of the neighborhood.
This artwork pays homage to the Stratford Movie Theater, which once stood near this location and was one of the multitude of neighborhood movie theaters throughout the city of Indianapolis. The design features the facade of the movie theater; layered on top of the facade are theater tickets that give details of what it might have cost to attend a movie at the time the Stratford was still standing.
Quoted from http://us9.campaign-archive1.com/?u=fcf86f7c3f5754fd259da4f7c&id=d8dedccfe8&e=14c2ef4487
Stratum Pier consists of a series of organically shaped and layered platforms at the water’s edge that provides a vantage for observing 100 Acres’ expansive 35-acre lake and woodlands. The design of the emerald green fiberglass and steel structure suggest a topographical map with stacked layers that merge with the environment and appear to be an extrusion from the shoreline. Terracing and curved edges reference the natural processes of erosion and layered growth. Sponsored by the Indianapolis Foundation, a CICF affiliate.
From http://www.imamuseum.org/visit/100acres/artworks-projects/stratum-pier Images from imamuseum.org
This mural is one of 14 commissioned from British artist Martin Donlin for the new Indianapolis International Airport terminal. As part of the commission, Donlin worked with the Indiana Writers Center to stage a poetry contest and developed mural imagery based on the poems he selected to be part of the artwork.
The poem in this mural, “Streaming,” is by Jeannie Deeter Smith of Indianapolis. Smith was an amateur poet prior to her selection for this project. The mural is located in Concourse B at Indianapolis International Airport. Donlin created the colors and forms in the glass mural with the inspiration of the poem’s text.
For more information about the artist, visit http://www.martindonlin.com
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