This abstract mosaic composition is one of six commissioned from Seattle-based artist Ann Gardner for the concourses of the new Indianapolis International Airport terminal. The six panels are Earth, Night, Water, Fields, Sun, and Forest. Together, the mosaic panels offer a glimpse of natural elements inside the airport, connecting busy travelers to the outside if only for a moment.
The mosaic is located above a water fountain in Concourse B.
East Gate / West Gate
East Gate/West Gate was made by Sasson Soffer in 1973. It is a three-dimensional outdoor sculpture consisting of two spirals welded and bolted together. It is secured to the ground by steel clamps. Four holes were drilled and filled with concrete and then affixed . It is made of stainless steel pipe and is 24′ x 40′ x 30′ in dimension. Installation of this piece occurred on March 22, 2009. It was moved from the Indianapolis Museum of Art and transported via helicopter to its current location on campus in front of Taylor Hall. It is on loan from the Indianapolis Museum of Art until 2011.
Additional info at en.wikipedia.org/wiki/East_Gate/West_Gate
Ebb and Flow
The mural, which was painted over five wood panels, covered the windows of an unused storefront. Commissioned by the Arts Council and completed in 2006, Ebb and Flow consisted of primarily white, blue and green exterior house paints. The mural features the image of a cloud filled sky and green fields.
This mural was commissioned by the Arts Council of Indianapolis as part of their Picture Windows: Urban Interpretations program. The program allowed artists to create installations or paint murals in vacant or abandonded downtown storefronts. Most projects created for this program were temporary and no longer exist.
Quoted from http://en.wikipedia.org/wiki/Ebb_and_Flow_(mural)
A large foreboding ship emerging from the 100 Acres lake and a guard house on the shore nearby comprise Eden II. An unexpected sight in the idyllic 100 Acres environment, Eden II is a modern ark seemingly filled with human passengers from an unknown homeland. The guard house offers views of the ship from its deck, and surveillance monitors in its interior display footage of Eden II’s passengers, imagined as refugees displaced by rising sea levels and the ecological impact of climate change. Commissioned by the Indianapolis Museum of Art, courtesy of the Artist.
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/eden-ii
This piece of street art portrays a young woman with African-style tribal paint on her face and body. The artist’s goal was to connect the largely Black community surrounding the site to their African heritage, and provide something to inspire the neighborhood.
Michael “Kwazar” Martin is an Indianapolis-based painter, muralist, and street artist. He is self-taught and counts popular culture, Black and African heritage, and sports among his artistic influences.
A variety of artwork decorates the UIndy campus through the campus sculpture walk. Sponsored by Fifth Third Bank, the free outdoor art exhibition features work by artists from around the country. Sculptures vary greatly in size, style and subject, and most were chosen for inclusion through the Fifth Third Bank Campus Sculpture Walk Competition.
This glazed ceramic sculpture was created by Margaret Augustin, a 2016 graduate of the University of Indianapolis as a studio art & pre-art therapy major.
Elmira Annis Irvington Civic Plaza
In 2018, the Elmira Annis Irvington Civic Plaza was unveiled on the north and east side of the Irvington Public Library. The Civic Plaza is a common space and focal point for both the Irvington Branch and community activities. The design of the Civic Plaza focuses on the guiding principles of literacy, education, honoring the natural environment, design using sustainable materials, and a recognition of the late Mrs. Elmira Annis, an avid reader.
Pleasant Run Creek Mosaic by April Knauber and McKayla Bensheimer – This mosaic is a collaborative piece. Their work gives the plaza a spark of color with a nod to the history of Irvington. The artists recreated sections of Pleasant Run Creek, which flows through Irvington. Visitors can walk on each of the paths, which cut in and out of the plaza, as if they’re mapping Pleasant Run.
Interchange by Elizabeth Jorgensen is inspired by the history of Irvington and a movement in the 1900’s that exhibited art in Irvington. The 12-foot tall white metal sculpture sits atop a cement platform and is stamped with delicate, dark lines representing a map of Irvington. The top portion features uplifted, 3D shapes also inspired by the layouts of Irvington streets. The lower three prominent arches, and the top two reaching arches are inspired by N. Audubon Road and its connection with Lowell Avenue. At a height of 10 ft. there are three square and oblong metal shapes representing Irvington’s prominent streets: E. University Avenue, N. Campbell Avenue. and E. St. Joseph.
Pleasant Stream by Jared Cru Smith – For this artwork, the artist chose to focus on a geographical feature prominent in the Irvington area: Pleasant Run Creek. His piece, Pleasant Stream, imitates the shapes created by the creek as it flows through Irvington. The irregular sides of the benches mimic the flowing bends, whereas the flat, geometric sides are Irvington’s streets. Steel rebar base structures emulate the sediment layers of the watershed area with an organic pattern, various sizes of rebar was used to create the walls filled by handpicked river stone. The bench tops are made of white oak, chosen for its durability to outdoor elements as well as being a domestic hardwood commonly found in Indiana. The tops consist of a random, slatted pattern which will allows for the wood to move during climate changes, rain and snow to drain, and adds variation to the seat surfaces.
Planter Bench by Aaron Dodd – With this piece, the artist’s goal was to bring interest to a functional aspect of the space. While this bench does not directly reference any image or map of Irvington, it does represent values seen in the community, primarily being: one foot in the past, one in the future. Materials that differ in color, form, and symbolism serve to highlight their respective features through contrast. There are three prominent materials in this design: concrete, wood, and plant life.
Cool gray concrete cast in large, basic shapes commands presence, and references trends in contemporary design to simplify. Aged hardwood is used for the bench slats and references the town’s history. In one end of the bench, the structural support acts as a planter that houses the heart of the piece. According to the artist, what is most important about Irvington is that it is alive and growing.
R.M. Fischer combines odd electrical, plumbing, and industrial findings into functional sculptures, most often lamps. While decidedly abstract, they also exhibit subtle robot like qualities and are simultaneously futuristic and nostalgic. Can you figure out from what original objects the components of these towers came from?
On loan from Carl Solway Gallery in Cincinnati.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Engine Number 9
Artist Jules Muck was contacted to paint a mural on the garage door of the Grand Junction Brewing Taproom. The mural was painted during an informal artist’s residency in the summer of 2019. This oversized garage door offered plenty of space to paint Engine Number 9 coming straight at you. The train tracks are also painted on the pavement to give it more of a 3D effect. The engine has the artist’s tag “Muck Rock” on the front of the engine.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.
Englewood Community Mural
Englewood Village is a corner of urban activity located near the intersection of E. Washington St. and N. Rural St. on the Near Eastside. The mural was designed based on conversations with the community local to the site, and expresses a philosophy that many, both in and outside of the neighborhood, might find comforting in times of stress.
The Droops are a collective of six Indianapolis-based artists who met and formed in 2013, while attending the Herron School of Art & Design. All six members hail from rural Indiana towns and have developed a certain style that pulls from each person’s individual background. The artists composing The Droops are Adam Wollenberg, Ash Windbigler, Brock Forrer, Ally Alsup, Emily Gable, & Paul Pelsue. View more of their work at http://www.thedroops.com/
This combination mural and sculpture graphically and abstractly represents landmarks in the Englewood neighborhood on Indianapolis’ Near Eastside. It was commissioned by Englewood CDC in partnership with the neighborhood business Gilpin Glass Services, which owns the building that hosts the artwork.
The artwork was designed by artist Quincy Owens in collaboration with Brent Aldrich, an artist and resident of Englewood. Other artists involved in various phases of the project were Aaron Dodd, Amira Malcom, Chase Cannon, Mechi Shakur, and Donald Smith.
Entangled, 2004, is an abstract sculpture created by Indiana-based artist Brose Partington (American b. 1979). The sculpture is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus at the Herron School of Art and Design, 735 W. New York Street in Indianapolis, Indiana in the United States. It was given to Herron by the Honorable Ezra Freidlander and Linda H. Freidlander in 2005.
Entangled is an abstract sculpture consisting of eight unique elements bolted together to create an enclosed form. The powder coated steel sculpture measures 108” x 88” x 98” and is constructed from rolled steel tubes and fabricated steel circles. The base of the sculpture is mounted on a 16′ diameter concrete pad in the Herron Sculpture Garden. The curved support structure at the base of the sculpture references the shape of a bird’s nest as it encloses and supports the sculptural elements.
The Freidlander donors contributed to the funding for a sculpture competition open to upper level Herron students. Partington’s maquette of Entangled won the competition. The sculpture was located on their private property from 2004–2008. It was moved to its current location on the IUPUI campus in 2008.
“I’m currently building structures as parallels to patterns of natural occurrences. My work examines the subtle movements around us, and the patterns those movements create. I am trying to compare the cyclical patterns found in nature with manufactured objects, environments, and modes of transportation." ~Brose Partington, 2009
Partington’s father owned a clock repair shop in Indianapolis during his childhood. The clocks, gears, and mechanisms of his father’s shop influence his sculptures today. Most of his current work is kinetic with references to the patterns of nature.
Quoted from: en.wikipedia.org/wiki/Entangled_(Partington)
Entrepreneurs Awakening: The Making of a Legacy
This mural highlights the legacy of legendary Indianapolis hair-care entrepreneur Madam CJ Walker. “When I first started the concept, I asked myself what Madam C.J. Walker meant to me, as a black woman born and raised in Indianapolis, Indiana,” said the artist, Tasha Beckwith.
Beckwith designed the mural to show historical facts and images of Madam Walker’s legacy along with figures of contemporary Black women, inspiring them – and men and women of all backgrounds – to follow their dreams as Walker did and become their generation’s own Madam CJ Walker. Beckwith also artfully scattered quotes throughout the mural in Madam Walker’s own words.
Tasha Beckwith is an Indianapolis-based visual artist. She studied painting and drawing at the Herron School of Art & Design, IUPUI, but honed her skills in graphic design and digital art on her own. Her portrait-based work combines expressionism, realism, and surrealism and she cites science fiction, fantasy, and Afrocentric themes as her inspirations. Recent work includes billboards encouraging participation in the 2020 census, participation in an artistic campaign encouraging people to #MaskUpIndy, and the neighborhood history mural inside the brand-new Martindale-Brightwood branch of the Indianapolis Public Library. Beckwith works in a variety of media including digital design, oil painting, and resin.
This mural was completed by the Department of Public Words in the summer of 2016, with the help of youth from the TeenWorks program and community volunteers. The design was by Megan Jefferson, Dave Combs, and Holly Combs. It is located on the Tradesman Guild Building on the Monon Trail at 1140 E. 46th St. The project was made possible by the Central Indiana Community Foundation, the Penrod Society, Meridian-Kessler Neighborhood Association, and the Efroymson Family Fund.
Eve is a sculpture of a nude female figure standing on a circular bronze base which measures 17” in diameter and 2” tall. She is standing with her proper left foot pointed forward and her proper right foot is perpendicular to the left, pointing right. Her arms are crossed behind her head and she is looking down and to her left. Her hairstyle is such that all of her forehead and both of her ears are visible. “Robert Davidson” is visible on the proper left side of the top of the base.
Eve was commissioned by the Indiana University Nurses Alumni Association in 1931, was cast in 1932 for its public debut in the Indiana Building of the Chicago World’s Fair in 1933, and appeared in exhibitions around Chicago and Indianapolis before being brought to the IUPUI campus in 1937 and installed in the middle of the fountain in the Sunken Garden behind the Ball Residence Hall for IUPUI’s student nurses. The students affectionately called her “Flo” (for Florence Nightingale) and had a tradition of dressing the sculpture in a pink uniform for the pinning (graduation) ceremonies that took place in the Sunken Garden until the 1960s; later generations of IUPUI students continued to dress her in various costumes. The entire Ball Gardens complex deteriorated from lack of maintenance starting in the 1980s. Eve was removed for safekeeping in 1997 and was temporarily reinstalled inside the HITS building. Ball Gardens is currently undergoing restoration and is set to reopen in summer 2016, at which point Eve will be restored to its original location as the fountain’s centerpiece.
Robert Davidson, the artist, was a student at the John Herron Art Institute (now the Herron School of Art, IUPUI) at the time Eve was commissioned. He was a native of Indianapolis and had attended Shortridge High School. Eve was sculpted while Davidson was studying in Germany and was cast in Munich in 1932 by Priessman, Bruer and Company.
Located in the Indianapolis International Airport – Concourse A
Inspiration for this work came from the artist taking a boat tour in the high sawgrass of the Florida Everglades. The emotion behind the work is reduced to an elegant play between lines and arcs. The work is organized based on the harmony and tension of opposing planes, combining symmetry and asymmetry as a means to communicate clearly and with strength. The use of unyielding material and the austere industrial processes necessary to transform the metal, is intrinsic to the magnitude of the power behind the form. The vivid color helps to distinguish the sculpture from its background, and serves to support the mood of the piece.
Bernie Carreño is an Indianapolis-based, nationally renowned metal sculptor whose work can be found in museum, corporate, and private collections across the United States and Canada. He is well known for his massive, colorful, large-scale public art. His trademark style is considered minimalist abstract with a definite constructivist influence. He has exhibited extensively in indoor gallery and outdoor public art venues.
Every Engine Has a Key
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/
Art teacher Michael Schulbaum coordinated a competition for students at the Key Learning Community, where the box is located, in order to select and refine the design for this artwork. The winning design was by 5th grade student Jalen Washington Cordell, showing a brain on wheels heading down the “Education Highway,” expressing the idea of the brain as an engine that takes you anywhere you want to go, and it only needs to be “turned on”. This design wraps three sides, with the fourth side (facing the street) a combination of several students’ design ideas expressing pride in the Indianapolis Public Schools system. Schulbaum transferred the students’ designs to the box and painted them.
Key Learning Community was a K-12 specialty school, the first in the world to be organized around educating students through theorist Howard Gardner’s “multiple intelligences” concept, until it was closed at the end of the 2015-2016 school year and refocused into a K-8 arts magnet school.
Evolution of Reading
Evolution of Reading is a modern cave-like form that creates a unique educational experience about the history of reading and writing. Anyone that chooses to enter and explore the interior library will be surprised to find a timeline on the wall referencing the cave paintings, which are the first known form of written symbols. The concept is to convey the development in reading and writing in our history as a progression, which has resulted in the current goal to make books and information accessible to everyone. White River State Park is an advantageous setting for Evolution of Reading because the aesthetic qualities of the sculpture accentuate the surrounding cityscape and it fits in with the adventurous environment of the park. The structure is designed to be inviting for all people to have easy access to the informative timeline and the books inside.
The intent of using a cave-like sculpture as a modern lending library is to reference the origin of communicating in written form. The first known written communication was via symbols by the cave painters of the Neolithic Age. The undulating curves and lines of Evolution of Reading metaphorically reference the steps and stages that have occurred in drafted communication. Language is universal, but communicating through documentation was an invention. Aristotle said (On Interpretation), “Spoken words are the symbols of mental experience, and written words are the symbols of spoken words.” This project references history and development by marrying old and new through construction techniques, materials, and concept.
Eye 2 Eye
Eye 2 Eye depicts the early moments of what could become a meaningful friendship for two new and very different acquaintances. The soft and fluffy, curious cat and the hard and angular machine, both creatures of the street, examine each other closely, recognizing one thing they have in common: green eyes. The mural is a metaphor for everyone being able to find commonalities with each other, even if they are from different worlds.
Dan Handskillz is a commercial artist, muralist, street artist, illustrator, and graphic designer working in Indianapolis. Growing up near this site, his love for art began by reading graffiti magazines, watching “Style Wars,” and learning from his friends. He was drawn to the medium by the community and social aspects that surround it–but he admits he was “just a kid who loved comics and graffiti” and started doing graffiti art in his first crew while still in high school. A graduate of Herron School of Art + Design, IUPUI, Dan began by studying painting and eventually switched to general fine art. He and his old high-school crew eventually went into business together and worked as a team on commissioned graffiti-style murals from 2010-2019 under the name Fantastic Aerosol Brothers (FAB) Crew. Dan was also instrumental in organizing the annual Subsurface graffiti jam, which ran from 2002-2015. Currently a freelance illustrator, Dan continues to create commissioned murals, and has worked for clients as varied as the Indiana Pacers, IndyGo, Red Bull, Subaru, Uber, and the Indianapolis Motor Speedway.
This mural was created in 2021 as part of the Jiffy Lube Murals, a collaboration between Jiffy Lube of Indiana and the Arts Council of Indianapolis.
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.