Inspired by the location at BELIEVE Circle City High School, I am… is a visual affirmation project. This visual display of portraits was designed to be a reminder of all the things we are, and of which we sometimes need to be reminded. The artist photographed a group of young people, who were given a word of affirmation before the photograph and were asked to think about how that word applied to them. This is the same word that is displayed on their face in the installation. The project expresses the hope that others, especially young people, can see themselves in these portraits and be reminded that they are, in fact, all the positive things that can sometimes be overshadowed by the negative things around them. The artwork was donated to the Meridian Highland community after appearing for a year as a temporary installation with Indy Art & Seek, a 2020 project of the Arts Council of Indianapolis and Keep Indianapolis Beautiful.
Indianapolis-based artist Andrea D. Smith studied traditional photography at Broad Ripple High School. After attending Purdue University’s School of Engineering, she decided that her passion for photography would become her career. She began to expand her knowledge in the field of digital photography at Ivy Tech Community College and taught herself techniques to deliver bold imagery. She uses distinctive lighting to capture the true essence of her portrait subjects, bringing to life qualities often overlooked by others. Smith divides her time between traveling and working in the studio as the lead artist at Studio 57 Photography, covering notable public figures and trends. When she is not pursuing commercial work or following her own artistic projects, Smith volunteers with community organizations including The Artitorium, Flashes of Hope, Outreach Indiana, and Harvest Girls International.
I Have a Dream
Artist Damon Lamar Reed aimed to recognize and celebrate the strong African American cultural heritage found along Martin Luther King, Jr. Street. Reed’s mural asks the viewer to reflect on changes in race relations by depicting modern scenes in a historic Martin Luther King, Jr. peace march.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI murals initiative.
I Miss You
During the COVID-19 pandemic, stay-at-home orders kept people inside to slow the spread of the virus. To make art accessible to the community despite this, 10 East Arts featured “View From My Window,” a roving window art exhibition for the months of May and June 2020 with work from local artists on view in storefront windows along East 10th Street. This vinyl installation by Jamie Pawlus conveyed a common sentiment of missing seeing friends and family during the pandemic. This work was curated by Cat Head Press.
Jamie Pawlus is a graduate of the Herron School of Art and Design. Her practice involves the creation of conceptually based, site-specific installations. Pawlus has been awarded the Efroymson Contemporary Arts Fellowship and the Creative Renewal Arts Fellowship.
This graffiti piece inspired by consumerism 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.
iConsume reads, “The goals of corporate consumerism require that we fail to seek better alternatives, that we even fail even to see the existence of a problem to be solved, that we live according to an entirely inadequate set of values, that we suffer and, if necessary, die for profit. – David Edwards”
In the 1996 book, Burning All Illusions: A Guide to Personal and Political Freedom, David Edwards argues that there is often no greater obstacle to freedom than the assumption that it has already been attained. In this text, Edwards advanced the thesis that corporate structural factors conspire to make the mass media give a picture of the world that goes beyond the political indoctrination, to encompass almost all aspects of personal life, by constantly promoting the values of blind consumerism.
A plaque near the sculpture reads:
“This Statue in Honor of A. John Bosio for Distinguished Service to Youth
Scout Executive of the Crossroads of America Council
Boy Scouts of America 1983-1993”
Immigrantes Bienvenidos (Immigrants Welcome)
This installation is part of Indy Art & Seek, a project by the Arts Council of Indianapolis and Keep Indianapolis Beautiful to pair artists and communities to create site-specific art that encourages neighborhood residents to see their surroundings in new ways.
Working with the Christian Park neighborhood, and in light of current tense policies which target immigrant communities, the artist wanted to create a space that encourages Latinx neighbors to feel welcomed and safe to congregate in public. She was also inspired by her own Mexican heritage and her experience living on the east side and visiting Christian Park with her children. The imagery seen here includes Monarch butterflies, their own seasonal and generational migrations to and from Mexico serving as a symbol of the migratory patterns of immigrants seeking a new life in the United States. The mural on the picnic benches outside echoes elements of the paper sculpture inside the park building.
Beatriz Vasquez is a graduate of the Herron School of Art & Design, and is a self-taught papel picado artist. Her compositions often center on issues of the Mexican immigrant experience and personal and family memory.
Impeach with Speech
The Broad Ripple Impeach with Speech Mural has been a fixture in the community since one of the first annual Subsurface Graffiti Expos in 2004. This creation can be found in the alleyway behind Kroger on Guilford Avenue, where many other graffiti pieces from the 2004 Subsurface event have since been covered.
Subsurface is an 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 urban neighborhoods. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.
Implication of Three
Implication of Three is a 20-foot soaring three-sided column gaining volume as it ascends toward the top. It is made of inner steel and poured concrete core to which more than 650 tiles, created by the artist himself, were adhered within the designs and incisions in the concrete. These textured, cream ceramic tiles are glazed in patterns and shades from deep blue to emerald green that stand out in all seasons. The piece invites study and reflection and greets visitors on the main Broad Ripple Village north-south artery.
Simms served in the US Navy from 1957-59, and after a full career as a product designer turned to creating sculpture. This sculpture is made of aircraft aluminum and measures 9’ w x 9’ d x 12’ h. It pivots on one point in accordance with the prevailing wind speed, and the surface is polished and cut to reflect light. According to Simms he “love[s] transforming heavy metal plate into organic configurations emanating vital strength… There is so much more to the piece than its structure. Much of the beauty is in the shadows cast and the changing organic negative spaces.”
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
In a Hundred Billion Galaxies
The title of this mural, which shows three astronauts enjoying a bit of otherworldly skateboarding, comes from a quote from author and scientist Carl Sagan’s book Cosmos: “Every one of us is, in the cosmic perspective, precious. If a human disagrees with you, let him live. In a hundred billion galaxies, you will not find another.”
The artist featured her signature character, Bean the Astronaut, doing an activity that she wishes she could do but cannot. This is typical of her work–Bean (named after astronaut and artist Alan Bean, who was part of the crew of the Apollo 12 mission and was the 4th person to walk on the moon) is multi-talented and adventurous, providing inspiration for anyone who sees him in the many street murals around town. The skateboarding theme was suggested by the location of the mural in Broad Ripple Village, known for its youth culture and skateboarding activity.
Joy Hernandez is an aerosol and acrylic artist and muralist, originally from Kewanee, Illinois, but currently based out of Indianapolis, Her work can be found at the Full Circle Nine Gallery, a gallery she founded and owns inside the Circle City Industrial Complex, near downtown Indianapolis. With a background in animation, television news, and journalism, Hernandez has created a colorful artistic world focusing on bright colors, subject matter that makes her happy or grabs her attention, and an appreciation of science fiction, pop culture, comic art, and cartooning.
The mural was painted in 2021 as part of the Jiffy Lube Murals series, created in partnership between Jiffy Lube of Indiana and the Arts Council of Indianapolis.
This mural highlights how crucial positive energy is, both as an internal force each person generates and wears like armor, and as an external force to share with others and connect with the world. Different people generate positive energy in different ways, some of which are shown here. Everyone faces differing, and often poignant, challenges in finding their light and sharing it: to be better community members and neighbors we need to understand these challenges and help each other through mutual respect and understanding.
Nekoda Witsken is the artist behind Hue Murals, where she passionately specializes in indoor and outdoor large-scale murals for public and private projects. Tying community engagement, sense of place, and cohesive branding into her custom works is key to her artistic practice. Hue Murals’ goal is to create projects with our clients that help us all rise “a shade above” – a little brighter, and a lot more united.
This mural was created in 2021 as part of the Jiffy Lube Mural Project, a partnership between Jiffy Lube of Indiana and the Arts Council of Indianapolis.
In the Time of COVID
The Hoosier Village senior living community commissioned In the Time of COVID to pay tribute to the role of the Hoosier Village staff during the COVID-19 pandemic of 2020-21. According to the Hoosier Village Arts Council, the staff were unfailingly committed to serving the residents, keeping them safe and contagion to a minimum. Sculptors Amy Brier, John Fisher, and Sharon Fullingim were commissioned to create the work, which they completed collaboratively during the 2021 Indiana Limestone Symposium. The sculpture was dedicated on October 15, 2021.
Amy Brier is a highly skilled limestone carver with international training and a deep understanding of the relationship of sculpture to architecture. She is a co-founder, instructor, and ex-officio member of the Indiana Limestone Symposium. She is based near Bloomington, Indiana.
John Fisher is a California-based sculptor who lived for over 20 years in Italy, studying and working in the classical tradition although he frequently deviates from it in his own artwork. He is a frequent participant in the Indiana Limestone Symposium.
Sharon Fullingim is a limestone and bronze sculptor. She is a Signature Member of the Society of Animal Artists, and a Master Signature member of the American Women Artists. She is currently the Director and lead carver for the Indiana Limestone Symposium. She is based in Luis Lopez, New Mexico.
Indiana Avenue Jazz Masters
Indianapolis-associated jazz legends of the 1950s and 1960s–(l to r) David Young, Jimmy Coe, David Baker, JJ Johnson, Slide Hampton, Freddie Hubbard, Larry Ridley, and Wes Montgomery–adorn the side of Musicians Repair & Sales, which was established in 1946 and supplied instruments to several of the artists pictured. Duncan Scheidt, a well-known Indianapolis-based jazz documentarian, shot the classic images that served as inspiration for the mural; the artist, Pamela Bliss, included his portrait on the far left as well.
This tribute to Indiana’s rich jazz heritage is a fitting gateway to nearby Indiana Avenue, where many of these artists got their start. Bliss, based in Indianapolis and a jazz fan herself, consulted people in the jazz community for ideas on whom she should include.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI murals initiative.
This sunny mural conjures up the feeling of a bright day in early spring. The four sides of the signal box display yellow daffodils with green stems against a yellow grass lawn, and a blue-and-white streaked background of sky. Thick black outlines reminiscent of classic woodcuts provide contrast and separate the colors.
Indiana Daffodils is one of several traffic signal control box murals sponsored by the City of Fishers to enliven its downtown area.
Jen Byler is an artist based in Indianapolis, specializing in portraiture and bold graphic compositions.
Indiana Law Enforcement & Firefighters Memorial
Indiana Law Enforcement and Firefighters Memorial is a public artwork and memorial dedicated to law enforcement officers and firefighters from Indiana who lost their lives in the line of duty. Its design and construction was the collaborative effort of a broad range of professionals, including architects, landscapers, engineers, and construction experts. The memorial is located next to the Indiana Government Center North, on the corner of Government Way and Senate Ave. in the heart of downtown Indianapolis, Indiana, USA. The memorial was dedicated on June 6, 2001 after ten months of planning and construction. The dedication was held three days before the 2001 opening of the World Police and Fire Games that were held in Indianapolis.
A sign marks the pathway to the memorial which is in a park-like setting, with many trees and benches. A fountain which is in the shape of the Indiana state flag is featured in the center of the memorial. Large pylons support bronze medallions, each weighing approximately 500 lbs.
The proper right side of the memorial area is designated to honor law enforcement officers killed in the line of duty. The bronze medallion atop the Indiana limestone pylon displays a uniformed police officer standing next to Saint Michael Archangel, patron of police. In the center of each of the two pylons are laminated books where visitors can search for the names of individuals who are memorialized on the monument, and directions for locating the name. Behind the pylon stands eleven groups of three gray granite panels (thirty-three panels total) with the names of Indiana police officers who have died in the line of duty etched into the granite.
To the proper left is the area designated to honor firefighters who were killed in the line of duty. A bronze medallion depicting the Firefighter shield sits atop the pylon to the proper left. Behind the pylon stands eleven groups of three gray granite panels (thirty-three panels total) with the names of Indiana firefighters who have died in the line of duty etched into the granite. The law enforcement and firefighter panels mirror one another and create a semicircle.
This memorial is a series of pieces, constructed from gray granite, Indiana limestone, and bronze. The only easily identifiable inscriptions are part of the memorial itself, including the names of the deceased that are etched into the granite, as well as words of dedication on the pylons. There are no visible artist or foundry marks.
The memorial was built just 16″ above a pedestrian tunnel, so extra care was taken during the construction to provide for proper weight distribution, stability, and drainage.
Under the direction of the State of Indiana and the Indiana Firefighters Memorial Committee, the planning, design, and construction for the Indiana Law Enforcement and Fire Fighters Memorial commenced in August 2000. The work was completed and unveiled on June 6, 2001, just three days prior to the opening ceremonies of the World Police and Fire Games that were being held in Indianapolis that year.
The price for the construction of the memorial was approximately $1 million.
In 2002, Glenroy Construction was awarded the BKD Governor’s Award for their work on the memorial. This award is granted for exceeding the award criteria and for a structure that provides a positive impact on the community.
The design and construction of the Indiana Law Enforcement and Firefighters Memorial was a collaborative effort. Indiana based company Glenroy Construction Company, Ken Boyce of Ratio Architects, Patrick Brunner, Architect and Bonnie Sheridan Coghlan, Architect, and Indianapolis based Becker Landscape participated in the design and construction of the memorial.
Quoted from: http://en.wikipedia.org/wiki/Indiana_Law_Enforcement_and_Firefighters_Memorial
This public artwork consists of a solid piece of limestone carved in a curvilinear, organic form. It is attached to a limestone base with a cement grout. This base is grouted to a concrete pad. At the front bottom is a plaque that reads, “ADOLFO DODDOLI / Herron School of Art Faculty / Indiana Limestone / 1978”.
Indiana Limestone, a public sculpture by Italian-American artist Adolfo Doddoli, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is located on the East corner of the North side of the Lecture Hall under the overhang. The Lecture Hall is located at 325 University Boulevard. The sculpture was commissioned for the Indianapolis University-Purdue University Indianapolis’s (IUPUI) campus in the mid-1970s. It was installed by the artist.
Indiana Limestone was carved out of one 42″x40″x17.5″ piece of limestone obtained from the Wooley Stone Company Inc. located in Bloomington, Indiana. The sculpture was complete as of February 1976 and sat in storage at the Herron School of Art until its installation in 1978.
The shape of the sculpture is roughly oval with rounded and organic detailing. There is a channel-like indentation carved into the front of the sculpture. The edges of the top and bottom of both the sculpture as a whole and the channel are scalloped giving the impression of a clam opening. The fluid structure of the shape contrasts with the hardness of the material used. Doddoli favored this juxtaposition using it as a reference to the industrial age. A plaque bearing the title, name of the artist and date is located on the proper left front corner of the base of the sculpture just above the concrete base pedestal.
Stone sculpture is generally carved in three steps: roughing out, intermediate carving and final finishing. The first step is generally carried out with a large hammer and chisel. Large chunks of rock are taken off and the basic shape is formed. The next step is commonly undertaken with some sort of mechanical instrument to further refine the shape and add detail. Final finishing can be undertaken with a small hammer and chisel combination or through some method of abrasion. A photograph in the Digital collection of IUPUI University Library shows Adolfo Doddoli engaging in an abrasive technique to finish a sculpture.
This sculpture was one of four commissioned by IUPUI in the mid-1970s for installation around Cavanaugh Hall and other high-traffic areas. The proposals/works were selected by an internal committee and funded by national grants from the National Endowment for the Arts and matching funds from Friends of the University. Other artists selected at the time were Gary Edson, Gary Freeman and Charles Hook. Each artist was given $1000 for materials and production.
The artist requested its placement at the North side of the Lecture Hall under the overhang so as to protect the sculpture from corrosion. He also requested a 3 foot high pedestal base to be used to mount the sculpture. A request was issued for the creation of this base in February 1976, citing the space the finished sculpture was taking up in Herron’s art studios, but there is no evidence that it was made until the installation in 1978.
The sculpture was installed in 1978 without a label. Arthur Weber, Dean of the Herron School of Art, indicated that each of the sculptures commissioned for campus should be clearly labeled. Through a series of memorandums in 1978 and 1979 between Weber, Vice Chancellor Moore, Gary Freeman and Adolfo Doddoli, a plaque was made and eventually installed on the base of the sculpture some time after June 5, 1979.
Adolfo Doddoli is originally from Florence, Italy, where he studied at the Instituto Statale D’Arte. He obtained his maestro d’arte at the age of 18 and furthered his studies at the same institution, obtaining a second degree which allowed him to teach. In 1960 he emigrated to the United States of America to study at the Colorado College in Colorado Springs with a foreign student scholarship. After a short break from school to teach, Doddoli attended the University of Kentucky at Lexington where he obtained a MFA in 1969. Alternatively, The Herron Chronicle, a book detailing the first 100 years of the Herron School of Art, lists Doddoli’s MFA as coming from Northern Illinois University.
After studying at Colorado College for a year Doddoli taught at Southern Colorado State College at Pueblo. He later worked in a casting house in New York state before attending the University of Kentucky. In the fall of 1969 Doddoli joined the Herron School of Art where he taught fundamentals of Design on a one-year contract. He returned the next year as a full faculty member, staying at Herron until 1999, when he retired as Associate Professor Emeritus. While at Herron, Doddoli chaired the 1988 Herron Building Committee. This committee compiled a needs assessment plan proposing a new building for the School. It would take more than 10 years for the work indicated in the needs assessment to come to fruition.
In 1987, two chairs designed by Adolfo Doddoli were included in the exhibition “Topeka Kansas 1987.” This exhibition featured furniture designs by thirteen artists and was held in the LimeLight gallery in Dearborn, Michigan.
When speaking of his sculpture Doddoli has said: “In my work I am trying to visualize an impression or a feeling which I have experienced while observing life.”
Indiana Limestone Eagle and Globe (pair)
Some historic architectural details that look intentional weren’t necessarily part of a building’s original plan. A good example of this is the pair of eagles atop globes outside the entrance of Old City Hall in Indianapolis. While they look quite striking in their current home, they’re actually the only surviving remnants of the Indianapolis Traction Terminal train shed, a major interurban train station in downtown Indianapolis that functioned from 1904 to 1941.
The limestone pair flanked the train shed near the corner of Market and Illinois Streets. The shed had nine tracks that, at the Terminal’s peak, handled 500 trains per day and seven million passengers per year. It was the largest interurban station in the world at the time. When interurban service ended in 1941, the tracks were paved over and the terminal remained in use until 1968. At that point, the shed was dismantled; the eagles were removed and then relocated to their current home at Old City Hall.
From the plaque on the statue base:
“Indiana Limestone Eagle and Globe
Which once graced the World-Famous Interurban Traction Terminal, built in Indianapolis in 1904 and razed in 1968 as the site of the Blue Cross and Blue Shield Building
Presented to the Indiana State Museum on Nov. 15, 1968
by Indiana Blue Cross and Blue Shield
as a memento of the Golden Age of Interurban Transportation”
Indiana Math & Science Academy West Mural
The building housing Indiana Math & Science Academy West is decorated with painted, two-tone blue stripes wrapping around the bottom third of the building. The front of the building also has blocks of purple, green, red, brown, and gray in front of the parking area.
Within the Indiana State Museum is the Governor Frank O’Bannon Great Hall, featuring a soaring 100-foot ceiling and the Indiana Obelisk sculpture, created in 2002 by the Hoosier-born artist, Robert Indiana (born Robert Clark).
The sculpture stands just under 50 feet tall and sits on a five-foot-high base. It is the largest work of art the artist ever fabricated. Upon being awarded the commission, Indiana chose to highlight both the name of the state and the state’s colors, which he felt was only logical. He liked the result so much that he asked that his final resting place be under the sculpture; however, the state denied the request after due consideration.
The date the sculpture was dedicated–April 9, 2002–was declared Robert Indiana Day by then-governor, Frank O’Bannon.
Robert Indiana was internationally known as a printmaker and sculptor, and was a key figure in the Pop Art movement of the 1960s. His famous LOVE design, which exists in a number of flat and sculptural incarnations and in a variety of languages, was originally designed in 1965 as a Christmas card for the Museum of Modern Art. Indiana died in 2018 at his home on Vinalhaven, Maine.
Indiana Repertory Theatre Facade
The Indiana Theatre is a multiple use performing arts venue located at 140 W. Washington Street in Indianapolis, Indiana. It was built as a movie palace and ballroom in 1927 and today is the home of the Indiana Repertory Theatre. It was added to the U.S. National Register of Historic Places in 1979.
The building is six stories and is of concrete frame construction. The front of the building is sheathed in white terra cotta. The main feature of the facade is the curving triangular arch with churrigueresque framing that fills the central bay above the marquee. The original marquee is still in place. The basement originally contained bowling alleys and billiard rooms. Upper floors were divided between office space and theater space. The interior included an entrance lobby, 2 1⁄2-story main lobby and a 3,200-seat auditorium. The auditorium was distinguished by elaborate plaster ornamentation based on Spanish Baroque motifs. The building is topped by the Indiana Roof Ballroom, a large atmospheric ballroom decorated to resemble a square surrounded by buildings with a stage at one end. The ballroom has an elliptical dome with sky effects. The theater is a major example of the American motion picture palace. The building was restored and the auditorium was extensively remodeled in 1979–80 to accommodate the needs of the Indiana Repertory Theatre.
Quoted from: http://en.wikipedia.org/wiki/Indiana_Theatre_(Indianapolis,_Indiana)
Designed by Bloomington, Indiana artist Dale Enochs, this sculpture was originally created for the gallery exhibition 200 Years of Indiana Art: A Cultural Legacy at the Indiana State Museum in 2016. The exhibition coincided with the State’s 2016 Bicentennial Celebration. It was re-installed outside the Indiana State Museum on September 27, 2017.
Indianapolis Fallen Firefighters' Memorial
Located adjacent to the Firefighter’s Local 416 union hall, the Indianapolis Firefighter’s Memorial lists and honors all Indianapolis firefighters killed in the line of duty since records began in the 19th century.
The layout of the memorial plaza begins at the main doors of the firehouse; these doors are flanked by two complete stone columns. To the left of the doors is a series of five stone columns similar to those standing at the firehouse doors. These columns differ, however, in that they are broken and move in a descending spiral. At the apex of the spiral is a raised platform set above the surrounding plaza. From this platform bursts a new column, seemingly in the process of being hewn from living stone. Near the top of the column are abstract carvings of flames that evolve into a three dimensional representation of fire. The carving then transforms into the plumage of the mythical bird, the phoenix, which ends its life in flames and is reborn from the same flames. a bronze phoenix, cast in full round, tops the column. At the base of the central sculpture group there is a bronze plaque with a Firefighter’s Prayer.
The memorial was conceived in 1992 after a fire at the Indianapolis Athletic club claimed the lives of two firefighters. In their grief, the department decided to honor all fallen firefighters in a single, permanent memorial. A mass memorial ceremony was held in 1993, when the names of all the fallen heroes were read out and a flower for each one was placed in a vase at the spot for the future memorial plaza. The plaza was completed and dedicated on July 26, 1996.
According to the Local 416 historian, there are four Black firefighters honored on the memorial:
Thomas Smith: November 8, 1911. Thomas S. Smith, Hose Wagon #16 – Lieutenant, died from his injuries sustained from the hose wagon being struck by a streetcar. Lieutenant Smith, one of IFD’s first black fire fighters, was en route to an alarm at 21st Street and Northwestern Avenue when the hose wagon was struck at the intersection of 16th Street and College Avenue.
Clifford Woods: December 16, 1939. Clifford C. Woods, Engine #1 – Private, died from his injuries sustained after Engine #1 hit a pothole and flipped, pinning him under the engine near the intersection of Beauty Avenue and New York Street while responding to a fire near New York Street and Hansen Avenue.
Roy Pope: August 17, 1963. Roy Pope Jr., Engine #1 – Lieutenant, collapsed and died from smoke inhalation after becoming separated from his crew and running out of air while fighting a 2-alarm building fire at 1915 West 18th Street.
Warren J.C Smith: August 13, 2000. Engine # 14 – Private, died while on a training dive for the department. While performing a training dive, Pvt. Smith got entangled in search ropes. While trying to surface, air clots caused him to go into cardiac arrest.
Additional information and a complete roster of fallen firefighters honored can be found at http://l416.com/about-us/memorial-plaza/
This mural of the navy, red, and white flag of Indianapolis shows pride for the city. The mural can be viewed on Commerce Avenue just off of Massachusetts Avenue, and marks the location of Ruckus Makerspace.
Indianapolis Hebrew Congregation Sculpture
Indianapolis Hebrew Congregation is an inclusive Jewish community where all congregants matter, where they are inspired to action through Jewish values, and where they experience Judaism in a meaningful way.
The sculpture on the front of the temple includes images of tablets and a Torah in bronze. The tablets represent the Ten Commandments, which are the fundamentals of Jewish law, and the Torah scroll represents both the text of the first five books of the Hebrew Bible, which forms the core of Jewish belief and culture, as well as its handwritten form (sefer Torah) which is the most valuable object in a Jewish synagogue.
Rheinhardt highlights the juxtaposition of rural and urban farming. Indianapolis Pastoral celebrates traditional farm imagery. Located on the south side of the farm is Urban Harvest, 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.
Both murals were commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
From the artist, William Denton Ray: “‘Indivinity’ is a word I created by combining three other words: “individuality,” “divine,” and “infinity.” I kept referring to these words as I thought about the design of the mural. This mural consists of very graphic and geometric shapes that were combined to make up a stylized portrait. The face appears to be made of several components and seems to be in a constant state of evolution. Every shape is essential in defining the face, and the only constant is change.”
William Denton Ray is an accomplished muralist, graphic designer, and fine artist based in Indianapolis. He was particularly excited to create this mural near his own neighborhood.
Indivinity was created through a partnership between Jiffy Lube of Indiana and the Arts Council of Indianapolis. The partnership is an opportunity to showcase local artists, beautify commercial corridors with original public art murals, and encourage viewers through positive images while expressing the goals of Jiffy Lube’s programming: Growing People Through Work.
Indy Auto Man Core Values
This mural is the centerpiece of Indy Auto Man’s Service Center, built in 2021. The design is emblematic of the organization’s core values, including initiative, growth, integrity, transformation, and resourcefulness. Employees were surveyed during the design process as to which symbols and heroes they felt best represented these values: their feedback was then incorporated into the design. This mural served as the backdrop to the inaugural Indy Arts Fest in September, 2021.
The mural was designed and painted by Koda Witsken of Hue Murals, with assistance by Travis Neal, Bezol One, and Dan “Invisible Hometown” Handskillz.
Following a national trend to create interactive murals specifically for sharing on Instagram, Buckingham Companies commissioned artist Kelsey Montague to paint a set of butterfly wings for their CityWay II development in downtown Indianapolis. Visitors can stand in the middle of the two wings and take a selfie, then share it using the hashtags given. The deliberate incorporation of the sharing culture in public art creates instant brand identity for the developer, the artist, and the viewer.
Denver, CO-based artist and graphic designer Kelsey Montague creates brightly-colored, simply-created works that integrate public art, design, and social media. Her “What Lifts You” app creates an instant social media post incorporating her work, whether or not one has encountered it in person.
Kirby’s mural honors the history of Lucas Oil Stadium’s primary tenants, the Indianapolis Colts. Famed Baltimore Colt, Johnny Unitas, passes the ball to celebrated Indianapolis Colt, Peyton Manning. From the defensive line to cheerleaders and blue horseshoes, Kirby creates a dynamic mural that celebrates team spirit, city pride and the Super Bowl XLI champions.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI murals 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.