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Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Jack’s Column and his other sculptures along the cultural trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.
James Whitcomb Riley
Located on the north-facing wall of the American Tent and Awning Company building, this FAB Crew mural features the “Hoosier Poet” James Whitcomb Riley. Created for the Old Southside Neighborhood Association, the mural was unveiled at a Neighborhood Party in June of 2015. The quote depicted from Riley states, “The ripest peach is highest on the tree.”
The mural’s bold images are representative of the dynamic colors and design that 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.
American Tent and Awning has a history of over 100 years in Indianapolis, and was founded by Charles J. Truemper, a German immigrant, in 1873. Truemper was a personal friend of James Whitcomb Riley, and it is said that Riley would frequently visit Truemper in his office when American Tent and Awning was originally located near the Lockerbie neighborhood.
James Whitcomb Riley Mural
The “Hoosier Poet” James Whitcomb Riley (1849-1916) is honored in this portrait mural adorning the Lockerbie Lofts residences. The apartment complex is located adjacent to the historic Lockerbie neighborhood, where Riley lived from 1879 to his death.
Riley was among the most popular and prolific writers of the late 19th- and early 20th century, known for his “uncomplicated, sentimental, and humorous” writing. Often writing his verses in dialect, his poetry caused readers to recall a nostalgic and simpler time in earlier American history. This gave his poetry a unique appeal during a period of rapid industrialization and urbanization in the United States.
The artist, Blice Edwards Inc., is a partnership of artists Christopher Blice and Jon Edwards and is based in Indianapolis. Read more about their work at http://bliceedwards.com/
Jammin' on the Avenue
This sculpture, set in a fountain pool, is a columnar assemblage representing musical instruments, primarily tubas, saxophones, trumpets, trombones and sousaphones. Each element is cast in bronze and they are welded together.
The sculpture was commissioned by the Sexton Companies, a residential property developer and management company in Indianapolis. Sexton manages Lockefield Gardens, the apartment community immediately adjacent to the sculpture. The current Lockefield Gardens development incorporates the remaining structures of the first public housing project in Indianapolis, built in 1938. Originally racially segregated, the low-scale project was unique among public housing at the time for its attention to “quality of life” amenities within the development such as a community center, a central open space, playgrounds, a shopping strip, and building designs that maximized light and fresh air. Its location along Indiana Avenue, known as “Black Main Street,” ensured complete integration into the daily life of the neighborhood, including its many jazz clubs, shopping, personal services, and the imposing Madame Walker building. No doubt it is this history that Sexton wished to honor and celebrate.
The sculpture’s artist, John Spaulding (1942-2004), was born in Lockefield Gardens. He was a self-taught welder and sculptor who became internationally renowned for his works that focused on the Black experience in America. Jazz music was a favored subject, not only because he grew up on Indiana Avenue with its wealth of jazz clubs, but also because his brother, James Spaulding Jr., was a professional jazz musician.
For more information: http://en.wikipedia.org/wiki/Jammin%27_on_the_Avenue
Jazz music is alive and well in Indianapolis. Reed’s mural celebrates jazz and Indianapolis’ contribution to this uniquely American art form. The New Fountain Lounge provides opportunities for local musicians to showcase their talent and share jazz music with Indianapolis residents and visitors.
This mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
A fleet of semi-transparent futuristic flying crafts floats across the ceiling of the Civic Plaza following a pattern seen in the jet stream. The organization of the 118 ten-foot long elements is also reminiscent of schools of fish or flocks of birds.
Quoted from www.robfishersculpture.com
Job is a bronze sculpture, created by American artist Judith Shea. It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus in Indianapolis, Indiana. The piece was created in 2005 and placed on loan at Herron School of Art and Design for the school’s first Public Sculpture Invitational, held between May 2005 and August 2006. In 2008, Herron acquired Job and it was acquired with financial support from Jane Fortune, Dr. Robert Hesse, William Fortune Jr., and Joseph Blakley.
Job is a single standing bronze figure placed at the Allen Whitehill Clowes Pavilion main entrance of Herron School of Art and Design, just off of New York Street. Job portrays a bald man looking upward while wearing a long open overcoat. The figure is shirtless with his palms facing outward. It is likely that this figure represents the Biblical character Job, who is the central character of the Book of Job in the Hebrew Bible, as well as a prophet in Islam. The sculpture measures 75” X 38” X 30”.
Job was temporarily uninstalled in 2007 from Herron School of Art & Design’s grounds due to it being a temporarily loaned piece. After nearly a year in 2008, Job was reinstalled due to the support of Jane Fortune, Dr. Robert Hesse, William Fortune Jr. and Joseph Blakley.
Judith Shea was born in 1948. Shea’s work has been shown at the Whitney Biennial and her work is within collection’s of the Whitney Museum of American Art, Metropolitan Museum of Art, Brooklyn Museum, and National Gallery. Shea also has received many awards including, The Rome Prize Fellowship, the Saint-Gaudens Fellowship, and two NEA fellowships for Sculpture.
Quoted from http://en.wikipedia.org/wiki/Job_(sculpture)
The park is named after James Thomas Vastine Hill, who was one of Indianapolis’ first African-American attorneys when he was admitted to the Indiana bar in 1886. He rose to the level of deputy prosecutor before retirement. A large portrait mural of JTV Hill along with an abstracted rendering of the “scales of Justice” honors his achievements.
The artist, Barb Stahl, is an active mural painter in Indianapolis.
As part of its ongoing rotation of public art for its Pennsylvania Street window facade, the Arts Council of Indianapolis identified artist Tam Hildreth for the digital reproduction of her artwork as a temporary, large-scale mural
Hildreth’s paintings in her Junonia series are inspired by the distinctive markings on butterflies of the Junonii genus, commonly known as “buckeye” or “pansy” butterflies. The markings resemble eyes and and function to discourage predators, who think they are seeing a larger, more threatening animal. Hildreth isolates and magnifies the eyespots, and renders each iridescent “cell” as a round dot of color similar to the Pointillist technique. Out of context, and at the mural scale, the paintings approach purely non-objective arrangements of form and color.
Learn more about the artist at http://www.tammiehildreth.com
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