This hollow, figural sculpture was likely cast in multiple segments of aluminum, then welded together. The interior and exterior surfaces are uncoated. The sculpture is bolted to the square concrete pedestal at the proper left leg. There is a plaque at the front of the pedastal that reads, “Casey Eskridge / TORSO FRAGMENT / 2005”. *The loan agreement says that it is signed on the lower left leg. The artist describes the dimensions as 36 x 24 x 24 inches.
Torso Fragment, a public sculpture by American artist Casey Eskridge, is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana. The piece is on loan from the artist to IUPUI and is located outside of the west entrance to Eskenazi Hall on IUPUI’s campus. Eskenazi Hall houses Indiana University’s Herron School of Art and is located at 735 W. New York Street in Indianapolis. The sculpture was created in 2005.
Torso Fragment resembles a sculpture from classical antiquity, except instead of being carved in stone, it has been formed from aluminum. The artist was clearly influenced by the classical sculpture developed during the 5th century BC in ancient Greece, seen particularly in its exaggerated contrapposto form. The torso twists in a classical S curve, with the proper right thigh extending forward and its counterpart—the proper left thigh—in a flexed, straight position.
Torso Fragment, created for Herron’s first Sculpture Invitational on view from May 2005 to August 2006, is one of three sculptures by Casey Eskridge installed throughout the campus of IUPUI. The other two works are a commissioned bust of the fictional “patron saint of nurses,” St. Camillus de Lellis, installed in the School of Nursing, and a bust of Dr. Joseph T. Taylor, the first dean of the School of Liberal Arts at IUPUI.
Casey Eskridge grew up in rural Indiana and earned his B.F.A. from the Herron School of Art & Design in 1997. He later received his M.F.A. from the Pennsylvania Academy of Fine Arts in Philadelphia. As a sculptor, Eskridge is best known for a “naturalistic approach to the figure, recognizing human imperfections and the character within the figure.” He currently divides his time between Indianapolis and Avondale, PA.
More information is available at http://en.wikipedia.org/wiki/Torso_Fragment
This mural at the Tube Factory Artspace was painted by the Big Car Collaborative and Lilly employees on the October 1, 2015 Lilly Day of Service.
Totem, is a public artwork by American-Spanish artist Rinaldo Paluzzi, located on the grounds of White River State Park, which is in Indianapolis, Indiana, United States. The sculpture is made of stainless steel and is a triangular shaped vertical “tube” with triangular and trapezoidal cut-outs in the steel. The piece sits centered atop a concrete circle, 40 feet in diameter, with a sundial face. The piece was constructed in 1982 and dedicated November 9, 1982. It is copyrighted 1983.
The sculpture also has a bronze plaque placed just south of it. The plaque reads: TOTEM/BY RINALDO PALUZZI (AMERICAN B. 1927)/FABRICATED BY MITCHUM-SHAEFER, INC./OF INDIANAPOLIS AND DONATED TO THE WHITE RIVER STATE PARK ON NOV. 9, 1982/INDIVIDUAL CONTRIBUTORS (33 names listed) INSTITUTIONAL CONTRIBUTORS (30 names listed).
White River State Park owns the piece, which was fabricated by Mitchum-Shaefer, Inc. based out of Indianapolis. Over 60 individuals and institutions contributed the $95,000 to install the piece.
Quoted from: http://en.wikipedia.org/wiki/Totem_(Paluzzi)
Dee Schaad, a professor in the Department of Art and Design at the University of Indianapolis, has installed a clay sculpture, Totem, outside the ceramics classroom. His work is included in a number of public and private collections, including the University of Evansville and the Sheldon Swope Art Museum located in Terre Haute, Indiana.
Quoted from: www.uindy.edu/arts/totem
This sculpture has sharply defined positive and negative shapes. What do you notice as you walk around the sculpture looking at it? Do the shapes seem to open and close? Totem was most likely intended to be viewed “inthe-round.” It is especially interesting viewed through time as you walk around it.
In memory of Irving and Frank C. Springer, Jr.
Gift of William L. Fortune, Jr. and Joseph D. Blakley
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Totem to Aging
Totem to Aging sits in the main hall of the Christel DeHaan Fine Arts Center. This steel, bronze, and iron sculpture by Bernie Carreño represents the culmination of the change that occurs as we move from our youth through the middle years and into the “golden years.” Although the golden years have much to offer, they are also a time of physical deterioration and pain. The cast iron and bronze parts represent bones while the steel portions represent joints and radiated pain.
Quoted from: www.uindy.edu/arts/sculpture-walk
The totems stand between 9 and 13 feet tall. Each totem will possess unique characteristics, with steel, bark, and negative spaces that line up. The totems will direct each viewer’s eye between distances across the landscape.
“I am approaching this project using the totems in a sporadically calculated endeavor to enhance the landscape. I am exploring repetition, multiple perspectives, and hidden alignment of materials. Each totem is unique; sculptural marks are revealed to the viewer at different times from different perspective.”
Jason Bord, MFA Sculptor – Herron School of Art
Quoted from www.agreenerwelcome.org/art
Towards Flight is both humorous and nostalgic. The image of a lawn chair with balloons tied to it is emblematic of the wish for humans to fly and their history of attempting to do so in the most direct manner possible. This desire to experience flight in its purest form has been man’s desire for millennia; by placing the sculpture next to a state-of-the-art airport, the artist is connecting past to present and offering those who identify with the lawn chair a safe and enjoyable alternative.
Quoted from www.indfoundation.org/northgardensculpture.html
This sculpture, made of vintage and discarded bicycles, is meant to resemble the famed Indianapolis author Kurt Vonnegut Jr., and was inspired by a self-portrait sketch. Local artist Jeff Laramore, who designed the piece, had planned to use upward of 20 or 30 bikes, arranged in the three-dimensional shape of a head. The Vonnegut-like features were to come from bike-wheel eyeglasses, and a cluster of bikes that would create a big curly coif. The installed sculpture uses the equivalent of six or seven bikes.
The sculpture is somewhat controversial in the neighborhood, as residents have expressed the desire to remove it and reconstruct it as originally planned.
From the Franklin News (Oct 7, 2016, Abrahm Hurt):
During the planning and construction, Berg wanted to create a structure that conveyed the ideas of freedom and shelter.
“I want [viewers] to think and feel about the human condition,” he said. “I want them to ponder: ‘Why would somebody build a structure like this?’ There is sort of a weirdness to making things in the world that aren’t tied to function. So obviously, my motivation was to use aesthetics, to use form and to use the relationship of those two forms to convey a kind of unity and a kind of freedom—and also, at the same time, a kind of humanness.”
The Treehouse Mural was created in collaboration with FAB Crew and visiting graffiti artists Detour, Wruk, and Crepe during the 2014 Subsurface Graffiti Expo .
Subsurface is an annual event that showcases mural and graffiti artists from all over America and beyond. Since 2002, artists have traveled to Indianapolis every Labor Day weekend to create work and build community. Subsurface seeks to advance the art form through beautifying and revitalizing the landscape of the Fountain Square neighborhood specifically. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.
This mural is representative of the many unique designs 6Cents and Sacred317 have created over their 17 years together as FAB Crew. Though both are trained in fine art and commercial design, graffiti art remains the driving force behind their creativity. FAB Crew has been commissioned to create murals for Klipsch, the NFLPA, Hot Box Pizza, IndyGo (for whom they painted two buses), Red Bull, Pabst Blue Ribbon, the Indianapolis Motor Speedway, as well as many others.
Situated at the gateway of the East 10th Street corridor, three strands of color and energy weave in and out of Leck’s five murals. These strands represent the three pedestrian trails that meet at this gateway — the Indianapolis Cultural Trail, the Monon Trail and Pogue’s Run, called The Payne Connection, in honor of Brian & Gail Payne. Leck’s five murals were completed during the 2011 Lilly Day of Service with over 1,100 Lilly employees.
The murals were part of the Arts Council of Indianapolis’ nationally renowned 46 for XLVI mural initiative.
Tulip to Life
Tulip to Life is a public artwork formerly located on the grounds of the Indiana Government Center South in Indianapolis, but which now rests in storage. The functional sculpture is a drinking fountain made of stainless steel in the shape of a tulip tree leaf. Designed by Eric Ernstberger of Muncie, Indiana and fabricated by Tarpenning-LaFollette of Indianapolis, Indiana, the sculpture was installed in 1991 and was removed in 2014 due to physical deterioration. It is unclear whether it will be repaired and returned to its site.
The sculpture depicts an over-sized leaf of the American tulip tree, Indiana’s state tree. The sculpture consists of two main segments: the leaf, which forms the main body and majority of the piece, and the petiole-and-bowl segment, which houses the drinking fountain. Measured diagonally from the foremost tips of the leaf segment to the back of the fountain bowl, it is about 207 inches (530 cm) long.
An example of site-specific art, the tulip tree leaf was the main focal point of a below-ground-level rectangular courtyard surrounded by the Indiana Government Center South’s architecture.
For more information, visit http://en.wikipedia.org/wiki/Tulip_to_Life
The title of this sculpture, TURN, is the acronym for Transforming Urban Neighborhoods, the community revitalization initiative led by the Paramount School of Excellence (PSOE) and Community Health Networks. The steel and concrete sculpture symbolizes the important first steps taken in a positive change of direction. TURN was conceptualized, researched, and initiated by teacher Shay Atkinson’s 8th grade class. The artist, Doug Calisch, was chosen as lead artist to work closely with school staff and students to design and fabricate the final structure.
PSOE believes in the power of art as an active component of placemaking. PSOE is a 5.5 acre charter school with a drastically different approach to both structure and setting. The school grounds host installation art, and lessons have an artistic focus. PSOE made a commitment in 2014 to move away from the “arts and crafts” education model that most schools use. Instead, the art program at PSOE achieves state standards through real-world K-8 projects, and an installation project as the culmination of middle school.
Quoted from http://www.indianacharterschool.com/turn.html
John McNaughton’s furniture and sculptures are represented in over 250 private collections including the permanent collection of the Smithsonian Institution and the White House Collection of Crafts. In this piece he applied his knowledge of woodworking to turn the idea of a home (literally) on its head. Starting with a traditional dwelling base that twists until the roof ends upside down, the piece blurs the line between dwellings and fantasy. Everything, including the flowers, is made of wood.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
U.S.S. Indianapolis Memorial
This National Memorial is the climax of a 50 year dream by the crew members who survived the sinking of the cruiser USS Indianapolis in 1945. They worked continually to erect a fitting memorial to their missing shipmates. The Memorial is located at the North end of the Canal Walk. The Memorial is an outdoor site and is available to the public 24 hours a day, seven days a week. Engraved on the South face of the monument are the names of the ship’s company and one passenger who made up her final crew.
The USS INDIANAPOLIS (CA-35) National Memorial was designed, erected and paid for by The USS INDIANAPOLIS (CA-35) Survivors Memorial Organization, Inc., a not-for-profit (501-c-19) established in Indianapolis, IN., in 1990 for that purpose. No government funds per se were used. The Organization raised slightly more than eight hundred thousand dollars for the purpose. The Memorial was designated a National Memorial by an act of Congress in 1995, one of only 26 such memorials. The USS INDIANAPOLIS National Memorial was dedicated on August 2, 1995.
Quoted from http://www.ussindianapolis.org/monument.htm
FAB Crew, also known as the Fantastic Aerosol Brothers, designed and created this mural for Uber’s new Indianapolis Greenlight Hub. Spanning the entire rear facade of the building, this creative depiction of Indianapolis brings bold design and bright colors to the structure.
This Uber mural is representative of the many unique designs 6Cents and Sacred317 have created over their 17 years together as Fab Crew. Though both are trained in fine art and commercial design, graffiti art remains the driving force behind their creativity. FAB Crew has been commissioned to create murals for Klipsch, the NFLPA, Hot Box Pizza, IndyGo (for whom they painted two buses), Red Bull, Pabst Blue Ribbon, the Indianapolis Motor Speedway, as well as many others.
Unite for Culture and Community
Unite for Culture and Community is a mural expressing a cultural call for action. Situated on the southern wall of a building that formerly housed Big Car’s Service Center for Culture and Community, artist Clayton Hamilton’s mural is an example of how simple text can create a powerful visual statement. The Service Center closed in 2014; Big Car now works out of new headquarters in Indianapolis’ Garfield Park neighborhood.
Clayton Hamilton is best known as the “sign artist” behind the constantly-changing slogans on the low concrete wall that is visible driving north on College Avenue at E. 38th St. He first painted on that site in 1988 and sees the 100-ft-long “canvas” as a platform to inspire the community to take action on issues important to their lives. “They’re just humanistic insights that everybody probably has,” he says. “I have a big tapestry. I could say things that maybe people would be interested in, maybe they won’t.”
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.
Universal Continuum is a metal and glass sculpture by Beverly Precious, an artist internationally known for her site-specific large-scale pieces that incorporate dichroic glass to produce a dramatic kinetic effect.
Quoted from: www.uindy.edu/arts/universal-continuum
Untitled is a 16 foot tall abstract sculpture made of mild steel. It stands on two weight-bearing legs that are soldered to other geometric shapes, one section atop another. It is secured to the concrete sidewalk with four bolts.
Untitled (Folk Art Animals)
For the Broad Ripple Animal Clinic, Indianapolis artist Amy Rheinhardt painted a series of whimsical animals in a folk-art style that highlights their “humanity.” Set against a backdrop of clouds and the city’s distinctive skyline, the mural proclaims the importance of domestic animals in everyday life.
Untitled (Ikelite Mural)
In the fall of 2013, through a collaboration with Keep Indianapolis Beautiful, the Indianapolis Children’s Museum and the Lilly Day of Service the Ikelite mural on the cross section of 33rd St. and Illinois St. was completed.
Originally conceptualized by artist Anna Castillo, the mural is a composite of underwater photographs from photographers Bob Stubbs, Steven Miller and David Fleetham. Using these photographs as reference points, artist Anna Castillo designed a series of stencils that became the foundation of the mural.
The mural depicts underwater scenes taken from photos of oceans and cenotes shot around the world.
Untitled (IUPUI Letters)
Untitled (IUPUI Letters) consists of a group of five letters spelling out IUPUI, the acronym for Indiana University-Purdue University Indianapolis. The five sculpture pieces have been installed at an angle from one another with several feet between each letter. The sculpture can be viewed as individual letters of the alphabet or together as one large group. The letter enclosures sit perpendicular to the full cabinets, giving each letter a multidimensional appearance.
TwoTwelve is a public information design firm based in New York City, also known as 212 / Harakawa Inc. The artwork was designed as part of the original construction of the IUPUI Campus Center as a wayfinding device and was fabricated by ASI Modulex of Indianapolis.
Additional information is available at https://en.wikipedia.org/wiki/Untitled_(IUPUI_Letters)
Scattered across the south face of the building are five larger-than-life jacks that evoke nostalgic imagery of a favorite childhood pastime. Schlough painted the jacks on metal and then bolted each structure to the wall to give the jacks a more life-like shine and texture. This mural is one of the few in Indianapolis to incorporate a sculptural element.
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. The artwork was removed in June 2016 to accommodate new construction on the site. The mural is currently awaiting relocation to a new site.
Untitled (Jazz Musicians)
Untitled (Jazz Musicians) is an outdoor sculpture by American artist John Spaulding. It is located on the border of Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana, at the corner intersection of Indiana Avenue and West Street. The sculpture faces the historic Madame Walker Theatre Center, which is located across the street.
Untitled (Jazz Musicians) is a quintet of linear jazz musicians formed in bronze. Each figure represents a jazz musician who was influential to the artist. Spaulding’s father, James, is playing guitar; his older brother, James Spaulding Jr., is playing saxophone; the bass-player figure represents Larry Ridley; Freddie Hubbard is on trumpet; and "Killer" Ray Appleton is on the drums. Each bronze linear figure has a circular bronze base welded at its feet that is then situated upon a riser of concrete block. The dimensions of the sculpture as a whole are 8’5" x 19′ x 19′ (3 x 6 x 6 m). Each sculpture base is circular, approximately 1’6" (46 cm) in diameter and 1" (25 mm) in height. Each figure, not including its base, has a height of 8’5" (2.6 m). The exception is the seated drummer figure, which is approximately 4’6" (1.4 m) in height. Each figure has different width as follows: The saxophone player is 1’5" (43 cm) wide, the bass player is 3’1" (94 cm) wide, the drummer is 3’11" (119 cm) wide, the trumpet player figure is 2’8" (81 cm) wide, and the guitarist is 2’3" (69 cm) wide.
Untitled (Jazz Musicians) was fabricated in 1995 and was commissioned by the Sexton Companies.
The sculpture stands at the corner of West Street and Indiana Avenue, across from the Madame Walter Theatre Center. The outdoor sculpture is displayed in an area in front of the Gardens of Canal Court apartments. It is a tribute to the rich Jazz heritage that was a part of the Indiana Avenue area. The location of Untitled (Jazz Musicians) reflects the spirit of this sculpture. Facing West Street, Indiana Avenue, and the Madame Walker Theatre Center, it reminds all those who pass the of the rich cultural heritage that was and is part of this area near the IUPUI campus. In addition, this sculpture stands near another of Spaulding’s sculptures, Jammin’ on the Avenue, which is installed at the entrance to historic Lockefield Gardens apartments, where the artist was born. Lockefield Gardens was the city’s first major public housing project, which was racially segregated at first, in the heart of Indianapolis’s African American community. New construction and renovation of Lockefield Gardens’ seven remaining historic buildings are home to IUPUI students, staff, faculty, and anyone wishing to live in this cultural area, known as the Indiana Avenue Cultural District.
In May 2011, the figure representing a saxophone player was broken off at the knees and stolen. The sculpture also suffered several other cuts. A local newspaper reported on June 13, 2011, that police recovered the piece after it was discovered in a trash bin and brought to a scrap yard for sale.
Quoted from: http://en.wikipedia.org/wiki/Untitled_(Jazz_Musicians)
Untitled (KIB/INDOT Mural)
This beautiful artwork was the culmination of a competition at the Key Learning Community School for a mural to be painted on an INDOT wall near the school. Teacher Jocelyn Coe of Key Learning Community School attended an October Great Indy Cleanup planning meeting with West Indianapolis, and decided to coordinate a competition among the students. The teachers picked four finalists, and then the student body voted for their favorite. The winning design was created by a truly creative student, named Victor.
Through a connection at the October GIC planning meeting, Herron High School senior Shea Rodriguez volunteered to help with this GIC mural project. Shea met with Victor and Jocelyn to discuss translating Victor’s square design to the shape of the wall and to discuss how Victor’s design would be transferred to the INDOT wall.
This was an amazing experience for many people: Victor, artist Shea Rodriguez, Victor’s schoolmates who had a say in the mural to be painted, the Marathon volunteers who had the opportunity to work with Victor and Shea, and the neighborhood as a whole, who are thrilled to have a local artist’s design to replace the peeling painted INDOT wall.Victor beamed with pride the entire morning, as Shea and the volunteers complimented him and asked his opinion on colors, etc.
The project was such a success that it was decided the rest of the INDOT retention wall will be painted during West Indy’s April 25th Great Indy Cleanup event, again with designs from local students.
Untitled (L’s) is a public sculpture by American artist David Von Schlegell. The sculpture is located on the campus of Indiana University-Purdue University, Indianapolis (IUPUI) near downtown Indianapolis, Indiana. Untitled (L’s) was created in 1978, installed in 1980, and dedicated on October 7, 1980. The Minimalist sculpture is composed of three identical steel L’s that were fabricated by a yacht manufacturer in New York. Each component has a steel core with an outer layer of brushed stainless steel that reveals its texture when light reflects off of the surface.
Untitled (L’s) was selected from 100 submissions to be accessioned into IUPUI’s permanent collection, an artist challenge suggested by former IUPUI Faculty Council Secretary, Phillis Danielson. Based on the Pythagorean Theorem of geometry, the University believed that Untitled (L’s) represented the tradition of math, logic, and wisdom at IUPUI. Untitled (L’s) was commissioned with partial funding from the National Endowment for the Arts (NEA) under the “Works of Art for Public Spaces” program while the rest of the funding came from private sources. The project took five years to complete.
David Von Schlegell (1920-1992) was born in St. Louis, Missouri and studied at the University of Michigan before entering the Air Force. As a member of the Arts Students League in New York, Von Schlegell rose to prominence in the 1960s as a sculptor. Working primarily in aluminum, steel, and wood, Von Schlegell was inspired by his wartime experience as an aircraft engineer. In addition to sculpture, Von Schlegell also practiced drawing and painting.
For more information, please see: https://en.wikipedia.org/
Untitled (Urban Wall)
Untitled (Urban Wall) is an outdoor mural by Austrian artist Roland Hobart located at 32 North Delaware Street in downtown Indianapolis, Indiana. The mural originally occupied two exterior walls of two four-story commercial buildings at this site. The mural was commissioned by the City of Indianapolis for the Indianapolis Urban Walls Project in 1973. Fabrication of the mural began in September of 1973 and finished by the end of the year.
After it was completed, Indianapolis Star art critic Marion Simon Garmel described Untitled (Urban Wall) as “a complex puzzle of rectangles, pie-shaped wedges, quarter arcs and S curves in bold but earthy colors.” Urban Wall in the title refers to the Indianapolis Urban Walls Project, a region-wide call to artists by the Indianapolis Department of Parks and Recreation to develop outdoor mural designs meant to beautify downtown Indianapolis in hopes of drawing interest back downtown during the 1970s era of suburban flight.
Hobart’s graphic mural is composed of bold geometric shapes of bright colors; mostly reds, yellows, and oranges with pops of blue, black, and white intermixed. Curved rectangular forms morph together to create color-blocked waves that cross the wall. Each larger curved shape is made from smaller rectangles, triangles and trapezoids.
The City of Indianapolis and American Fletcher National Bank sponsored the development of Untitled (Urban Wall). The National Endowment for the Arts matched a $3,500 contribution from the American Fletcher National Bank, providing $7,000 to fund the installation of the winning mural. Deputy Mayor Michael DeFabis named Hobart’s mural the winner over four other finalists. Hobart received $700 for his winning design. His piece was the first of what was expected to be multiyear “Urban Walls Project” with many future installations. During the fabrication of Untitled (Urban Wall), which was completed by Naegele Outdoor Advertising under Hobart’s supervision, Indianapolis was home to multiple other exterior murals, but Untitled (Urban Wall) was the first to be sponsored by the city. The Urban Walls Project sourced painting services from the city’s unemployed and youth.
At the time of the mural’s installation, Steven R. Skirvin and Thomas A. Moyahan owned the two buildings on which the mural was placed. Skirvin owned the Indiana Parking Company garage, which sits at 145. E. Market Street. and Moynahan the Union Title Building, which sits at 155 E. Market Street. Both company owners agreed to fund the preparation of the area for the mural, and to pay for any future maintenance.
Roland Hobart was a native of Innsbruck, Austria, and studied at an Austrian art school for three years, specializing in stained glass window design and mural painting. He moved to Vienna and enrolled in the Akademie der bildenden Künste Wien. While there, he attended a six-year training program while simultaneously owning and running a printmaking business. Hobart moved to Shelbyville, Indiana, in 1966, sponsored by the Fleming family. His work in Shelbyville included designing the Shelby County flag (1972) and a sculpture for the 1971 Shelbyville High School prom. Hobart also created the logo for the Indiana General Assembly in the 1970s, a design that is still in use today.
While working as a graphic artist for L.S. Ayres, in 1971 Hobart created five original prints for the celebration of the Indianapolis Sesquicentennial. Each of the five prints represent an important aspect of the city. At the same time, he also produced an original work for the International Conference on Cities which took place in Indianapolis that year. The prints for both the sesquicentennial and the conference on cities consist of the bold, geometric style seen in Urban Wall. In the summer of 1973, Hobart’s silk screen prints were displayed at the L. S. Ayres & Company Auditorium in downtown Indianapolis as part of a two-artist show. Based on this work, he was encouraged to enter the Urban Walls competition.
Although Hobart’s primary career was working for Dynamesh, a company that supplied screenprinting supplies and equipment, from 1976 to 1977 he taught at the Herron School for Art and Design as an adjunct professor. He also dedicated time to working with young people in the community on mural projects, particularly disadvantaged youth. In the 1980s he moved to Bloomington, IN. As of 2015 Hobart had retired from Dynamesh and was living in a Bloomington assisted living center.
More information about the artist can be found at https://en.wikipedia.org/wiki/Roland_Hobart
The mural has never been repainted since its creation in 1973. The north section suffered severe water damage in the early 1980s and was repainted a solid white, paint which is also deteriorating. Concrete patches and areas of white overpaint mar the lower areas of the remaining west section.
Recently the mural has been gaining attention from Indianapolis residents and interest has been sparked in having the work restored. This effort has a presence at https://www.facebook.com/restoretheurbanwall/
More information about the mural can be found at https://en.wikipedia.org/wiki/Untitled_(Urban_Wall)
The site of this mural is located near Eli Lilly & Company, an international pharmaceutical company headquarted in Indianapolis. Lilly was the first company to mass-produce penicillin, the world’s first antibiotic, in the 1940’s, thus marking the beginning of a sustained effort to fight infectious diseases.
This mural features repeated images of penicillin as seen under magnification. The design flows organically around the columns, simulating a field of plant life. Urban Fields combines art and science to visually enhance this otherwise densely urban/industrial environment.
Amanda Cory is an Indianapolis-based artist.
Funding for Vibrant Corridors, a city-wide effort to create murals in key underpasses and gateways around downtown Indianapolis, is provided in part by the Lilly Foundation and the Glick Fund, a fund of Central Indiana Community Foundation, Keep Indianapolis Beautiful, the Arts Council of Indianapolis, and Downtown Indy.
This mural was completed during the 2013 and 2014 Lilly Global Days of Service with the help of more than 200 Lilly Employees.
Rheinhardt highlights the juxtaposition of rural and urban farming. Urban Harvest depicts the important location of The Concord Farm to the Circle City. Located on the north side of the farm is Indianapolis Pastoral, Rheinhardt’s second mural at The Concord Farm. Both Urban Harvest and Indianapolis Pastoral were painted with volunteers during the 2011 Lilly Day of Service.
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.
Disclaimer: The Arts Council of Indianapolis provides this database and website as a service to artists, arts organizations, and consumers alike. All information contained within the database and website was provided by the artists or arts organizations. No adjudication or selection process was used to develop this site or the artists and organizations featured. While the Arts Council of Indianapolis makes every effort to present accurate and reliable information on this site, it does not endorse, approve, or certify such information, nor does it guarantee the accuracy, completeness, efficacy, timeliness, or correct sequencing of such information.