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  • Ann Dancing
    Ann Dancing
    Category: Electronic/Technology; Outdoor Sculpture
    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
  • Beacon Bloom
    Beacon Bloom
    Category: Electronic/Technology; Outdoor Sculpture
    Beacon Bloom is a roundabout sculpture created for The City of Carmel. Residing at Westfield Boulevard and 96th Street, viewers approaching and passing the roundabout see three steel flower-like structures with curvy stems. They face south, northeast, and northwest. The composition is raised well above the roundabout, making it easily visible to motorists; the tallest is more than thirty feet high. As viewers circle the form, its flowers’ undulating stems seem to make the sculpture come alive. At night the structure displays a delicate, multi-colored play of lights reflected in the undersides of the seven hundred and sixty eight stainless steel florets, which form the three flowers. The sculpture serves as a beacon, signaling the presence of the roundabout not with a warning, but with a welcoming expression of hope and growth. It also marks an important entrance to the city. The whole piece looks like a subtle firework display, a moment frozen in time. Inspired by the artist’s ongoing study of plant forms, this sculpture continues his work exploring light and form in public art. Atop each stem is a tilted twelve-foot wide domed flower. The flowers are comprised of sixteen stainless steel clusters on curved cluster arms. Each similarly domed cluster is two feet wide and contains sixteen florets, endless laser-cut three lobed loops of folded stainless steel strip. Inside each floret a space age coated dichroic glass lens covers an LED light source so that by night each is bathed in subtly changing colored light. The seven hundred and sixty eight florets together use only 135 watts of electricity. The artist, Arlon Bayliss, is a sculptor based in Anderson, Indiana.  Originally trained as a studio glass practitioner, and the founding director of the glass program at Anderson University, since 2014 he has focused his work on architectural-scale projects in metal, glass, and light.
  • Breath
    Breath
    Category: Electronic/Technology; Indoor Sculpture; Outdoor Sculpture
    The sculpture Breath, by Creative Renewal Arts Fellow Greg Hull, consists of eleven kinetic elements suspended within the atrium of the parking structure of the new Indianapolis Airport. The presentation discusses aspects of integrating sculptural form within public/architectural spaces as well as the work’s relationship with the audience and the use of movement as a component of a visual vocabulary. The creative process is described through the conception and execution of the art work. Integrating an artist into the design process prior to the beginning of construction allowed greater dialogue and understanding of the complexity of the planned structure. It also provided a more complete understanding of the eventual paths of pedestrian and vehicular travel and revealed eventual visual lines of sight as well as opportunities to respond to the aesthetic and formal qualities of the structure. This led to the development of unique methods of visualizing and exploring the space during the conceptual design phase and supported forecasting of the experience of both current and future audiences through the use of scale, color and the poetics of movement. The final work embodied layers of complexity that were developed and executed through collaboration with professionals in a variety of fields. The work was completed and installed in November 2008.     Quoted from: research.iupui.edu/events/researchday2009/documents/hull.pdf
  • Brickhead 3
    Brickhead 3
    Category: Electronic/Technology; Outdoor Sculpture
    In the Brickhead series, the human head is the reoccuring theme. Tyler’s brick constructions bring to mind familiar imagery we associate with past cultures and ancient civilizations. While the form is timeless, the sound component is what plants these works in the 21st century. Using familiar sounds, Tyler engages the viewer and draws his audience in. In "Brickhead 3", the sound track depicts a "calculating mind" with references to thought patterns that are on one hand permanent, and another fleeting.
  • Care / Don't Care
    Care / Don't Care
    Category: Electronic/Technology; Outdoor Sculpture
    Care/Don’t Care, created by Indianapolis-based artist Jamie Pawlus, resembles a pedestrian signal and functions like the typical “Walk/Don’t Walk” signals. In an increasingly fast-paced world, this project quietly invites users to pause and find joy in a moment of comic relief. The message “Don’t Care” is programmed to change to “Care” automatically and at random intervals; it can also be changed manually if trail users push the button. The “Care/Don’t Care” signal is placed for use by those continuing along the trail, as opposed to a tradition pedestrian crossing sign that is located near intersections. It is located on the east end of Massachusetts Avenue, just north of the intersection of St. Clair Street and College Avenue. Jamie Pawlus is a graduate of the Herron School of Art and Design. Her practice involves the creation of conceptually based, site-specific installations. Much of Pawlus’ work is expressed through a public vernacular and is made with the same industrial-grade materials used for public signage. The literal and visual imagery of her works are individual antidotes and anecdotal expressions of personal experiences. Pawlus has been awarded the Efroymson Contemporary Arts Fellowship and the Creative Renewal Arts Fellowship.
  • Chatham Passage
    Chatham Passage
    Category: Electronic/Technology; Outdoor Sculpture
    “Chatham Passage” is a multisensory artwork comprised of a sunken concrete scent vault with an ornate steel grate and LED lighting. Located in a historic alley in the Mass. Ave. Cultural District and adjacent to a night club, the scent vault will release a faint floral aroma recalling a scent historically associated with luxury. Both the luxurious scent and the ornate latticework of the vault cover reference the work of the former Real Silk Hosiery Mill, which was located adjacent to the alley as well. The vault form also references the historic coal vaults in the area. The ethereal qualities of the vault, grate, light and scent are intended to create an emotional environment that allows trail users to form unique relationships with the Indianapolis cityscape of yesterday, today and tomorrow. Sean Derry is a conceptual artist whose public projects seek to connect a site’s history with its current context and use. Derry earned his Bachelor of Arts degree in studio art from the University of Alaska, Anchorage, and his Masters of Fine Art in studio art from The Ohio State University, where he studied with internationally renowned artist Ann Hamilton. Derry completed a successful site-specific public art project in Indianapolis in 2005 as a finalist in the Great Ideas Competition managed by the Arts Council of Indianapolis. His project “Charting Pogue’s Run” received national recognition at the annual conference of the Americans for the Arts when it was selected by the artist Mary Miss and Robert Rindler, artist and president of the Milwaukee Institute of Art and Design, to be featured in the Public Art Year in Review as one of the most innovative and exciting public art projects to happen in the country that year. A former resident of Bloomington, he now lives in Pittsburgh. Quoted from: http://www.indyculturaltrail.org/chatham-passage.html
  • Circle
    Circle
    Category: Electronic/Technology; Functional Artwork; Outdoor Sculpture
    Inuzuka’s contribution to ArtsPark was created in conjunction with the Indiana School for the Blind and Visually Impaired (ISBVI). Working from ISBVI student feedback, Inuzuka created this Zen-like sculpture composed of a 10-foot ring of black granite with a sand garden on the inside. When turned, the sand garden’s rotating arm smoothes the sand and triggers songs to play. These songs were recorded by ISBVI students. Aside from his aesthetic sensibility, Inuzuka’s status as legally blind made him uniquely qualified for this collaboration. Gift of Sheila Fortune Foundation with support from Carter Fortune, June M. McCormack, Cinergy Foundation, Inc, Sallie Mae Fund in honor of Dr. Don and Joanne Tharp Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
  • Connection
    Connection
    Category: Digital Art; Electronic/Technology; Indoor Sculpture
    The ceiling of the pedestrian bridge at the Indianapolis International Airport is covered with a field of interactive illuminated dot lights that display several colors and exhibit a range of intelligent and playful behaviors, accompanied by sounds. Quoted from: electroland.net/projects/connection/
  • Five Decades: A Fifty-Year  Collection of Life Sound Bytes
    Five Decades: A Fifty-Year Collection of Life Sound Bytes
    Category: Electronic/Technology; Outdoor Sculpture
     As you walk through the Art Center’s Sensory Path, a dozen infrared sensors detect your passing and each trigger a random playback of a sound from a large library of mp3 files stored on a memory card. Each MP3 sound file in the library is 15 to 30 seconds long. The result is a completely random composition played for you as you walk through the sensory path. Various sounds were kindly donated to the Art Center by: www.SoundRangers.com – Seattle, WA. Gift of Nina Mason Pulliam Charitable Trust http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
  • Happiness
    Happiness
    Category: Electronic/Technology; Outdoor Sculpture
    ESL-Spectrum, a lighting design company, commissioned Indianapolis artist Jamie Pawlus, known for her quirky takes on signage in the everyday environment, to create an artwork for their building. The result, Happiness, simply states a directive of the word — reinforced by an arrow pointing to the sky — to motorists and pedestrians passing below it. Using neon and running lights, Pawlus chose an aesthetic reminiscent of the 1950s. The result is a piece that offers a myriad of interpretations to viewers. The vintage feel of the sign suggests an era that people often nostalgically recall as a golden age of American prosperity and optimism. The moving lights and arrow, in signage code, also point westward, another nod to the 19th century popular notion that the future of America relies on expanding in that direction. In the specific context of Indianapolis, to the west is the Indianapolis Motor Speedway, an economic engine for the city and the source of its worldwide fame.  And of course, there is the more personal suggestion, that happiness is a singular path for each individual. With these  various interpretations and so many more, Pawlus is making a complex conceptual statement about how we as a culture have defined and searched for happiness, perhaps only to find it in our own backyard. Jamie Pawlus is an Indianapolis-based artist.
  • Ka-Bike-O-Scope
    Ka-Bike-O-Scope
    Category: Electronic/Technology; Interactive; Outdoor Sculpture
    The Ka-Bike-O-Scope, an interactive public sculpture created by Quincy Owens and Luke Crawley in partnership with The daVinci Pursuit, is located on Pleasant Run trail near the Barth Bridge. The Ka-Bike-O-Scope is a large scale, group kaleidoscopic kinetic sculpture consisting of a stationary bike-like base that when pedaled causes canopies of overlapping up-cycled bicycle wheels 18 feet in the air to spin. A user can either ride the attached stationary bike or turn the hand cranks (or both) to activate the bicycle wheels in the canopy. Colorful acrylics are fitted between the overhead spokes creating chromatic natural reflections during the day and LED generated ones at night. The sculpture allows passersby to playfully explore the principles of energy conversion, simple machines and the properties of light. Masterminded by professional artist Quincy Owens and physicist Luke Crawley, the Ka-Bike-O-Scope is the culmination of a community-wide design competition created to use the arts to bring basic science concepts to neighborhood residents and beyond. Children from local schools have participated in attaching the colored plastic panels into the up-cycled bicycle wheels while learning the physics concepts. A curriculum is being used by area schools to further the exploration of the physics concepts.
  • Light, Words, Life
    Light, Words, Life
    Category: Electronic/Technology; Indoor Sculpture
    Light, Words, Life is a light and glass installation that welcomes visitors to an elevator lobby at the Indianapolis/Marion County Central Library. Situated in the first floor basement garage, layers of colored light undulate across the length of a 40 foot west wall, leading visitors towards two elevators and a 10 foot square north wall. There, a poem described in colored light encourages library visitors to think of the importance of words and writing. The project focuses on using light as an appropriate metaphor for reflection, illumination and enlightenment. Hidden in the line of colored light on the long west wall are reflections of letters and occasional words taken from the poetry wall. The artists invited the Indiana Poet Laureate, Joyce Brinkman, to write the poem especially for the project. The full poem reads: Light Captured In words won’t Hide in shadow It emerges to illuminate life. Arlon Bayliss studied at the Royal College of Art in London, England. His public art projects include monumental outdoor works and large-scale indoor installations, and his gallery artwork is in collections and exhibitions worldwide.  He was a guest artist at Rosenthal Glass and Porcelain in Germany for more than 10 years, and is currently a designer for Blenko Glass in West Virginia. He taught glass in the UK for seven years at Stourbridge College and for more than 20 years as Professor of Art and Design at Anderson University, Anderson, Indiana.  His wife and collaborative partner on the artwork, Mary Jo Kramb Bayliss, is an experienced sculptor and educator.  They have been working together on projects as the Bayliss Design Team since 2005.  Mary Jo also works independently as a public, community and studio artist under the name Blue Monkey House.  She received her B.F.A. in sculpture from Virginia Commonwealth University and her M.F.A. in sculpture from the University of Colorado, Boulder, and taught at Anderson University for 7 years.  The Baylisses are based in Anderson, Indiana. Joyce Brinkman served as Indiana’s first Poet Laureate from 2002-2008. She has a BA from Hanover College and her poetry has appeared in newspapers, magazines, and on CDs, bookmarks and buses, as well as on a wall in the town square of Quezaltepeque, El Salvador.  She is a strong proponent of poetry as public art and enjoys working with both visual and other literary artists on projects. She has received fellowships from Mary Anderson Center for the Arts and the Arts Council of Indianapolis.
  • Musical DNA
    Musical DNA
    Category: Archive; Electronic/Technology; Outdoor Sculpture
    ****This artwork was accidentally damaged on 6/12/2018 and is being repaired.  It is marked “archive” until it is reinstalled, anticipated late summer 2018.**** Musical DNA is an interactive sound sculpture. User input connects the musical notes to create simple musical compositions.  More complex compositions are possible with the cooperation of multiple users.  The artwork helps users become fluent in the language of music through the interaction of geometry, sound, and color:  allowing them to “see” music. The sculpture itself consists of two 4-foot square pieces of plexiglass, supported by a steel framework designed to house the touch sensor “domes”, LED lighting, wiring, and microcomputer controllers. People interact with hand-sized plexiglass domes that trigger the sounds and lights required to teach music visually through the production of visual geometric chords. The installation is the creation of Mark Kesling, and artist, science educator, and founder/CEO of The daVinci Pursuit, a non-profit organization creating projects that connect art, science, and community.  Other contributors to the artwork are Ken Lemons, Alex Porter, Christopher Doeden, and Clyde Pennington. The sculpture is a physical representation of another daVinci Pursuit project, the Musical DNA software, an algorithm that allows efficient ways to learn, process, and experience sound by combining the audio and visual centers of the brain.
  • Prairie Modules 1 & 2
    Prairie Modules 1 & 2
    Category: Electronic/Technology; Functional Artwork; Outdoor Sculpture
    Prairie Modules 1 & 2 consists of two architectural sculptures, tall grass, solar panels, black reflective pavers and dynamic, motion-sensitive LED lighting. This combination of references to Indiana’s agricultural and urban environments is designed to invite spatial interaction and experiential awareness. Through a partnership with Indianapolis Power & Light, Prairie Modules 1 & 2 is the first public art installation in Indianapolis to return solar power to the electrical grid. The project is located on the north side of North Street between New Jersey and Alabama streets. M12 is a collective of artists and designers who view contemporary art as a vehicle for exploring community identity and as a powerful tool for the enhancement of civic life. Operating as a non-profit, the multi-located, multi-faceted and interdisciplinary firm develops and implements site-based projects, public art commissions, exhibitions and research projects that have socially progressive themes. The name M12 refers to a groundbreaking model of electrical amplifier, which, when introduced in 1933, made possible the technological fusion of numerous existing genres of music and, eventually, the birth of rock-and-roll.  The primary contributor from M12 for this project was Indianapolis-based artist Stuart Hyatt. Read more about the artwork at http://indyculturaltrail.org/ictart/prairie-modules-1-2/    
  • Prime Commonality
    Prime Commonality
    Category: Electronic/Technology; Outdoor Sculpture; Temporary
    The ancestral commonality between humans and chimpanzees is undeniable, with dramatic evidence exhibited in our chromosomal similarities. Prime Commonality is visually inspired by this high degree of correlation as shown in human and chimpanzee chromosomal banding patterns. The sculptures are internally lit and change colors to produce intense visual effects that take advantage of the physical interaction between colored light and translucent filters. The installation is sonically accompanied by a 14 channel surround sound art piece composed entirely of manipulated samples of both the human singing voice and chimpanzee vocalizations. Prime Commonality highlights both our similarities and differences with the shared natural world. Each of the 7 pillars is approximately 10”W x 10”D x 7’H and is styled to represent human and chimpanzee chromosomal banding using panels of wood and translucent acrylic. Light emanates from within each pillar from internal LEDs. Each pillar also contains a stereo set of audio speakers, player, and amplifier, for a total of 14 independent channels of sound from which a sound art piece will play. The piece will be composed of digitally manipulated samples of both the human singing voice and chimpanzees. The chimpanzees were recorded at the John Ball Zoo in Grand Rapids. Viewers are engulfed in a stunning visual and aural experience as they are awash in vibrant, evolving color and sound from all directions. These works have also been on display at the Harrison Center and at the 2014 Art Prize in Grand Rapids, MI.
  • Prime Commonality - U of Indy
    Prime Commonality - U of Indy
    Category: Digital Art; Electronic/Technology; Outdoor Sculpture
    The ancestral commonality between humans and chimpanzees is undeniable, with dramatic evidence exhibited in our chromosomal similarities. Prime Commonality is visually inspired by this high degree of correlation as shown in human and chimpanzee chromosomal banding patterns. The sculptures are internally lit and change colors to produce intense visual effects that take advantage of the physical interaction between colored light and translucent filters. The installation is sonically accompanied by a 14 channel surround sound art piece composed entirely of manipulated samples of both the human singing voice and chimpanzee vocalizations. Prime Commonality highlights both our similarities and differences with the shared natural world. Each of the 2 pillars is approximately 10”W x 10”D x 7’H and is styled to represent human and chimpanzee chromosomal banding using panels of wood and translucent acrylic. Light emanates from within each pillar from internal LEDs. Each pillar also contains a stereo set of audio speakers, player, and amplifier, for a total of 14 independent channels of sound from which a sound art piece plays, composed of digitally manipulated samples of both the human singing voice and chimpanzees. The chimpanzees were recorded at the John Ball Zoo in Grand Rapids, Michigan. Viewers are engulfed in a stunning visual and aural experience as they are awash in vibrant, evolving color and sound from all directions.
  • Seeds of Light
    Seeds of Light
    Category: Electronic/Technology; Outdoor Sculpture
    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. The artist, Arlon Bayliss, is based in Anderson, Indiana.  Originally trained as a studio glass artist and the former founding director of the glass program at Anderson University, since 2014 he has moved his practice to architectural-scale projects in metal, glass, and light. 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.
  • Swarm Street
    Swarm Street
    Category: Architectural Detailing; Electronic/Technology; Functional Artwork; Indoor Sculpture
    “As you walk through the tunnel, as you cycle through, a swarm of fireflies – above you, below you – gathers around you & lights your way; one sparkle attracts another, like a magnet…” explains Vito Acconci, founder of Acconci Studio based in New York City. “When someone passes you, when someone comes toward you, some sparkles veer off in a different direction, and a new flock of fireflies emerges.” When Vito Acconci, the principal designer at Acconci Studio, was invited to visit Indianapolis in 2007, he asked to be taken to the Cultural Trail’s biggest design problem. Mindy Taylor Ross, the Trail’s curator and public art coordinator, took Acconci to the Virginia Avenue garage, a dark space adjacent to both the NBA basketball arena and the Marion County jail. The garage straddles Virginia Avenue, the most direct route from the city center to the historic urban neighborhoods of Fletcher Place and the Fountain Square Cultural District. The Cultural Trail’s management and design team knew that the Trail’s design should provide a reconnection between the downtown core and these important urban neighborhoods. CICF and the City of Indianapolis always knew that this space would need a superb artist at the helm and additional financial resources to transform this space from a dark, intimidating place to a dynamic, illuminated corridor that urban dwellers and families alike would feel safe visiting and comfortable walking and riding through. “Swarm Street” is composed of a thousand LED-lights embedded in the pavement and another thousand LED-lights within an open steel-framework above. As one walks through, as one cycles through, one activates sensors that turn on lights that swarm around you as you move. Each sensor informs its neighbors, so that lights start to turn on as you approach them & start turning off as you move further away. These swarms not only demarcate a user’s personal space but they signify when our space joins another, symbolically blurring the lines between public and private, individual and community. Vito Acconci is one of the most important figures in art and architecture working today. From his days as a poet in the mid-1960’s, to his groundbreaking performance works of the 1970’s, and finally to the founding of Acconci Studio in 1988 to realize architecture and public-space projects, Acconci has pushed from one discipline to the next while always thinking about language and the boundaries of the body. Seminal public projects include Mur Island, 2003, Graz, Austria, where the studio designed a floating island that houses a theatre, cafe, and playground. Listen to an interview with Vito Acconci about this project by clicking here.  Learn more about the artwork by visiting here.
  • Vicarious
    Vicarious
    Category: Electronic/Technology; Outdoor Sculpture
    The work of Greg Hull often involves movement, even incorporating light into some of his pieces. Both of these are evident in Vicarious (although the lights only come on at night). Vicarious was influenced by Hull’s visit to Scotland and Ireland, countries where his heritage lay. What relationships between Scotland and Ireland can you make to this installation? Hull also has a large installation in the parking garage at the Indianapolis International Airport.  Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
  • Visionaries
    Visionaries
    Category: Electronic/Technology; Outdoor Sculpture; Temporary
    As a part of PreEnactIndy, artist Quincy Owens installed four “stained glass” light sculptures on power poles near the Monon Trail at 16th Street and Yandes Street. These pieces glow at night, and may be permanent. Sponsored by Harrison Center for the Arts, the collaborative theater event took place on October 7th, 2017. Through interactive performances, this preenactment envisioned through interactive performances what a neighborhood ought to be. This public event gave attendees fully-immersive experiences of the active, healthy, and well-designed neighborhood the area deserves, including inspiring public art.  
  • Wishful Thinking
    Wishful Thinking
    Category: Electronic/Technology; Outdoor Sculpture
    The gateway consists of a pocket park with a centerpiece sculpture. Stone markers identify buildings once located on this site and a former street is represented as a crushed stone plaza. Local artist Dick Lutin worked with the Southeast Neighborhood Development Corporation (SEND) to design a piece of artwork that relates to the bright future of Fountain Square and pays homage to the district’s illustrious past. Lutin’s sculpture, titled Wishful Thinking, is a conceptual abstraction of a fountain. It displays graphic content about Fountain Square’s history and culture. Blue neon provides night interest and represents moving water. In addition to adding beauty, the new gateway creates a locator for Fountain Square as a special place. It is visible from Interstate 65. The project is located on the southwest corner of Virginia Avenue and Leonard Street, just south of the Virgnia Avenue interstate overpass. Dawn Kroh, Green 3 and Eric Fulford, Ninebark, served as the project’s landscape architects. Eric Etchison, Smock Fansler, built the base and provided site preparation. The budget for the gateway was $85,000, with $60,000 from the Indianapolis Cultural Development Commission, $5,000 from the Southeast Umbrella Organization and $1,000 from the Fountain Square Merchants Association. As an in-kind contribution, IPL moved an existing street light and power lines. “Fountain Square is a great cultural destination in Indianapolis,” said Paul Baumgarten, director of Fountain Square Main Street, SEND. “This project will surely attract many new visitors who will discover the vitality and opportunities within the district.” Fountain Square is one of Indianapolis’ six cultural districts that received funds from the Indianapolis Cultural Development Commission for enhancement projects that each district’s stakeholders identified in grant proposals. The other five cultural districts are Broad Ripple Village, The Canal & White River State Park, Indiana Avenue, Mass Ave and the Wholesale District. Indianapolis Downtown, Inc. and The Corsaro Group serve as program managers of the Cultural Districts program on behalf of the Cultural Development Commission. The Arts Council of Indianapolis managed the grant program and is the program manager for the Commission’s Public Art Program.
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