S Shelby St Graffiti Wall
As one of the few sanctioned graffiti walls left in Indianapolis, IN, this graffiti wall on the southeast corner of Bates and S Shelby Streets 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 wall represents the very nature of the art form and the state of graffiti in Indianapolis.
Sack Race Kids
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/
Artist, Gabriel Lehman, places a whimsical scene on a traffic signal box located near the southwest corner of Harding and West Morris Street. Using a palette of warm colors, Leham, creates an evening sky of orange and red hues and places multiple silhouetted figures of young children who are all racing around this traffic signal box in a sack race.
Salute honors the military veterans who are served in this YMCA facility, the first one ever to include a fully staffed VA clinic as part of the program. Created by Colorado artist Clay Enoch, the sculpture design arrays figures representing each branch of the military (distinguished by their characteristic headgear) as they salute each other as well as the flags representing their respective service. “Service members have deep respect for each other,” stated Enoch. “I wanted to portray that respect as an important part of why we appreciate the service of all veterans.” The sculpture includes small plaques bearing the names of current and former military veterans and their branch of service, reflecting the deep commitment Pike Township residents have made to serving the country.
Clay Enoch is a Fellow of the National Sculptors’ Guild, a service representing over 200 artists committed to creating fine public sculpture. His figurative work gravitates toward uplifting and inspirational themes, drawing out transcendent truths and sending contemporary messages of hope and redemption. The realism of his figures is important to him, and he does extensive research to ensure that even the smallest details are correct and respectful.
This sculpture commission was realized by the YMCA with the assistance of the Arts Council of Indianapolis.
This sculpture is a portrait of and memorial to Schuyler Colfax (1823-1885), an Indiana-bred politician who served as the 17th Vice President of the United States during Ulysses S. Grant’s first term. He was the first-ever vice president from Indiana. Colfax also served Indiana as a representative in Congress and rose to be Speaker of the House under President Abraham Lincoln. Before taking office he had worked as a journalist for the Indiana State Journal, the South Bend Free Press, and the St. Joseph Valley Register. Known for his genial attitude and anti-slavery stance, Colfax was highly popular in the then-new Republican Party and was nicknamed “Smiler” Colfax by his fellow representatives. After his political career was over, Colfax was well regarded for his public speaking about the Lincoln years.
The sculpture, originally placed in the southwest quadrant of University Park, now resides on the eastern side of the park, facing Pennsylvania Street. It was commissioned by the Independent Order of Odd Fellows in 1887: Colfax had been active in the organization and had designed the Rebekah Degree, the Odd Fellows’ first affiliated organization for women. The relief plaque on the base of the sculpture depicts the Biblical story of Rebecca and Eliezer at the well, in reference to this accomplishment. On the northwest and southwest sides of the pedestal are additional I.O.O.F. emblems, a shield and a medieval tent with crossed staves.
The artist, Lorado Zadoc Taft, was a young Chicago-based sculptor at the time of the commission. Taft eventually became renowned for his technical expertise and his traditional European style, which he applied to architectural ornament, fountains, and decorative sculpture. In addition to being a beloved teacher at the School of the Art Institute of Chicago, Taft was known for welcoming and encouraging female students and apprentices, a group that few other sculptors of his time were willing to take on.
Portrait of Lincoln seated in a chair, his proper right hand raised in a gesture of peace. Behind the chair is his stove pipe hat with a pair of gloves resting on top. The sculpture is mounted upon a graduated base of polished granite.
Seeds of Light
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.
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.
Pontiac, Michigan artist Ray Katz has worked in many mediums, but metal remains his passion. Metal is best suited for his work because of its strength, malleability, and inherent beauty.
Katz combines geometric and organic elements to create compositions that convey the implied energy found in his work. He uses the abstract manipulation of form and shape in space to create visual balance, using rhythm, action, and movement. The implied energy of his composition structures has become a hallmark of Katz’s work and is a metaphor for an evolutionary process that he associates with human experience.
Bold colors and whimsical characters filled Andy Miller’s mural Served, which was painted during the Lilly Global Day of Service in 2011. Served highlighted the community spirit and the many cultural activities that at the time were taking place at Big Car’s Service Center for Contemporary Culture and Community in the Lafayette Square area on Indianapolis’ Westside. The Service Center closed in 2014 and Big Car now operates out of new headquarters in the Garfield Park neighborhood.
Andy J. Miller was born in Indiana, went to middle school in Western New York, to high school in Indiana, and to the University of Huddersfield in the United Kingdom. He is most known for The Indie Rock Coloring Book, his daily drawing project NOD and his Creative Pep Talk podcast. His quirky style adorns everything from public murals to silkscreen prints to tote bags. Read more about the artist at http://www.andy-j-miller.com/
Served was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
This mural was completed by the Department of Public Words in the summer of 2016 with the help of youth from the TeenWorks program. It consists of bright green and yellow colors gradually changing, and acts as a beacon of light. It was designed by Megan Jefferson and Holly and Dave Combs.
The mural, located on the back alley wall of the former Super 8 Food Store at the corner of 39th and Illinois St., was made possible by the Nina Pulliam Charitable Trust, the Central Indiana Community Foundation and the Efroymson Family Fund.
Siege the Day
Siege the Day is located on the southeast corner of the Meyer Najem building in Fishers. The gray-painted, two-piece sculpture features stretched triangles bending back towards the ground while each balances a ring. The representation is intentionally ambiguous, as the artist wishes each viewer to interpret the forms in a way that is meaningful to them.
The artist, Kevin Huff, lives in Noblesville, Indiana and attended the Herron School of Art & Design at IUPUI. The project was facilitated by Nickel Plate Arts.
The Silent Messenger sculpture is a common addition to many Shrine Temples and represents the association of the fraternal organization with the Shriners’ Hospitals for Children, their primary service and philanthropy recipients, and their concern for the well-being of children everywhere. They sculpture also symbolizes the hope children have in adults to help them when they need it.
In most locations the sculpture has been painted or otherwise enhanced with color; however, the sculpture here is left in its original cast fiberglass condition.
The sculpture was inspired by a photograph, called the “Editorial Without Words,” taken in 1970 by Randy Dieter at an outing for young patients at Evansville, Indiana’s Mesker Park. The figure is of a shriner Noble named Albert Hortman, carrying a little girl named Bobbi Jo Wright, whom he noticed was having difficulty getting around. Wright eventually recovered from her surgeries, attended Anderson University, and now tours the country speaking about that day and the work being done at Shriner’s hospitals. Hortman passed away in 2009.
The artist of the sculpture, Fred Guentert, was a Shriner and a lifetime devotee of Egyptian art. He was born in 1922, the same year Howard Carter discovered the tomb of Tutankhamen. Guentert, who died in 2015, built and decorated his own Egyptian-style coffin.
Silver Fall II
Scott Westphal’s latest artwork, Silver Fall II, is installed at the intersection of Delaware Street and Fall Creek Parkway in the Mapleton-Fall Creek Neighborhood. The sculpture is part of Destination Fall Creek, a neighborhood initiative addressing several improvements including bridge repairs, area safety, improved commuting, and better access to nature and the Fall Creek waterfront.
The 1,200 pound sculpture consists of 10′ tall, curved aluminum panels which feature a falling maple leaf motif, inspired by the Arts and Crafts era. In the evening, light escapes through the cut-out leaf shapes, creating a nighttime focal point of soft, dappled light.
From a first birthday to a day at the beach, Torluemke’s mural depicts 19 scenes of simple pleasures. Bold in color and style, the mural was designed for easy engagement for cars passing by, while detailed scenes leave something for viewers passing by on the Indianapolis Cultural Trail: A Legacy of Gene and Marilyn Glick.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
Single Sail Roundabout
As part of an effort to reinforce the identity of certain “waterside” neighborhoods, public art was installed in the centers of three roundabouts in Fishers and Geist. These gateways take the form of sailboats, and are abstracted versions of single-sail, double-sail, and triple-sail craft.
For the roundabout at Fall Creek and 96th Street, a single sail ship was selected for the installation. The large size is intentional, as a traffic-calming measure: motorists are not be able to see around the artwork and are therefore subtly encouraged to slow down as they approach the roundabout.
Rundell Ernstberger Associates, an Indianapolis-based urban design and landscape architecture firm, designed all three roundabout installations. A team of local residents and stakeholders recommended the designs to the Fishers Town Council, who approved them. For visual consistency, all of the sculptures are made from colored architectural acrylic panels with LED lighting to create interest.
Originally, Sky Waltz was part of the Sculpture in the Park temporary exhibitions. At the conclusion of its program, the Park added the piece to its permanent collection of sculptures.
The linear shapes of the piece suggest the jet engine trails that are often seen in the sky. The sculpture is also kinetic, as the top turns in the wind and passes through the stationary part of the piece. The sculpture is made of textured welded aluminum, much of which has been recycled. The round aluminum tubes were originally light poles.
Mishler, a nationally renowned sculptor living in Goshen, Indiana, specializes in using common metals to create his symbolic and abstract works of art. Sculptures that incorporate kinetic energy and moving parts are his signature. He has many works in public and private collections, including Chicago. Learn more about the artist at http://www.johnmishler.com
Slightly Romanesque/Newhall 43
Sometimes the titles of artwork give us clues as to their meaning. Do any of the shapes remind you of Roman architecture? The concrete resembles an arch. Some of the steel also looks like ancient architecture. The additional steel elements seem to suspend the Roman elements in space as if they are holding up a memory of an ancient space in time.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
The portion of the title “Newhall 43” refers to the artist’s 43rd project at his Newhall Studio in Milwaukee. The piece was purchased and donated to the IAC around 1987-8 time period.
In 2014, artist Jose Di Gregorio worked with Big Car to paint two panel-based murals, Sunrise After Dawn and Snowflake Shine, on Indianapolis’ westside. Due to Big Car’s move to the Tube Factory ArtSpace, the murals were later moved to their current location, the east wall of the Safeway located at Shelby and Raymond near Garfield Park. Di Gregorio worked with participants from the Teenworks summer jobs program to create the murals.
Jose Di Gregorio is an interdisciplinary artist, born in Puerto Rico and currently living in Sacramento, California. He studied at the Pont-Aven Contemporary Art School in Pont-Aven, France, and received his BFA in painting from Herron School of Art and Design. His paintings and murals focus on geometric patterns with vivid gradient colors and celestial nightscapes. The line-weight in the drawings often stays the same, yet the renderings create depth and form, by way of overlaps and repetition. As a result, the work can be regarded as ethereal in nature.
For more information, visit http://www.bigcar.org/project/joseonsafeway/
In 2004, as part of the cemetery’s 140th anniversary, a group of ten sculptures were temporarily displayed in the “Gallery” section of Crown Hill as part of the Hoosier Artists Contemporary Walk. This piece was purchased for permanent placement just south of the 38th street underpass.
According to the artist, his intention in creating Social Attachments was to illustrate different relationships. Some are solid; some are passive; others are tenuous at best. The non-objective nature of the artwork leaves the specific interpretation up to the viewer.
Sol y Sombra
Near the west entrance of campus, next to the Fifth Third Bank, stands the bright yellow steel sculpture Sol y Sombra by Bernie Carreño. The sculpture was inspired by brilliant sunlight at a bullfight in Madrid, Spain. Carreño received his BFA and MFA in sculpture from the University of Wisconsin-Milwaukee. He is currently the head of the Sculpture Department at the Indianapolis Art Center. In addition to his role at the IAC, he is a working sculptor with numerous commissions and awards to his credit.
Quoted from: http://www.uindy.edu/arts/sol-y-sombra
Soldiers and Sailors Monument
The Indiana Soldiers and Sailors Monument is a neoclassical monument built on Monument Circle, a circular, brick-paved street that intersects Meridian and Market streets in the center of downtown Indianapolis, Indiana. In the years since its public dedication on May 15, 1902, the monument has become an iconic symbol of Indianapolis. It was added to the National Register of Historic Places on February 13, 1973 and was included in an expansion of the Indiana World War Memorial Plaza National Historic Landmark District in December 2016. It is located in the Washington Street-Monument Circle Historic District. It is also the largest outdoor memorial in Indiana.
The monument was designed by German architect Bruno Schmitz and built over a 13-year period, between 1888 and 1901. The monument’s original purpose was to honor Hoosiers who were veterans of the American Civil War; however, it is also a tribute to Indiana’s soldiers and sailors who served during the American Revolutionary War, territorial conflicts that partially led to the War of 1812, the Mexican–American War, and the Spanish–American War. The monument is the first in the United States to be dedicated to the common soldier.
The monument includes several notable figurative sculptures, including Rudolph Schwarz’s two massive limestone groupings representing War and Peace, two smaller scenes named The Dying Soldier and The Return Home, and four military figures at its base representing the artillery, cavalry, infantry, and navy. Three bronze astragals, one by Nikolaus (Nicolaus) Geiger and two others by George T. Brewster, surround the stone obelisk. Additional sculptures in the plaza include John H. Mahoney’s three bronze statues of former Indiana governors George Rogers Clark, William Henry Harrison, and James Whitcomb, as well as Franklin Simmons’s bronze statue of former Indiana governor Oliver P. Morton, which had occupied the site before the monument was built. Brewster’s 30-foot (9.1 m) bronze statue of Victory (also known as Liberty) crowns the obelisk. The Indianapolis monument is approximately 15 feet (4.6 m) shorter than New York City’s 305-foot (93 m) Statue of Liberty.
Most of the monument is built from Indiana limestone. There is an observation deck on the top of the central obelisk accessible via an elevator, and at the base of the obelisk is the Col. Eli Lilly Civil War Museum.
Sometimes I Sits
Helbing created Sometimes I Sits in memory of his mother Pat Helbing. Reflecting on a poster she had showing an Orangutan titled "Sometimes I sits and thinks and sometimes I just sits," Helbing developed his ideas of a dream machine. It is a functional sculpture meant to be completed when visitors that choose to sit down and dream for a bit.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Excerpt from “Remembrance, Faith & Fancy” by Glory-June Greiff, p 48:
“Somos Unos was left behind when the Disciples of Christ vacated its headquarters in Irvington on the east side of Indianapolis. At first glance the piece appears to be a completely abstract design of corrosive steel. After further inspection, however, the viewer realizes it is an expression of the cross and a globe. Installed in 1981, no doubt it speaks to the fact that the structure it stands beside was once the Missions Building, now converted to senior housing.”
Near Good Hall on the corner of Hanna and Otterbein Avenues is K. Brunett and K. Thielking’s Source. This piece depicts an abstracted river, whose wave forms flow and change through their intersection with the wind. Brunett and Thielking each have an MFA from the University of Wisconsin-Madison and work collaboratively in a variety of media.
Quoted from: www.uindy.edu/arts/source
The South Tower stands in the same place Don Gummer’s work, Reunion, had occupied since the opening celebration for Eskenazi Hall in 2005. Don Gummer, who is an alumnus to Herron made this abstract, frosted aluminum rectangular sculpture after his experience with watching the attacks on the World Trade Center. In response to this tragedy, the artist chose to use a rectangular shape with a vertically-louvered design that comes apart toward the top to depict the World Trade Center’s south tower during the event of the attacks.
This sculpture creates a contemporary visual connection to the Soldiers and Sailors Monument on Monument Circle, and it provides a sense of continuity along the South Meridian Street corridor. The spirals and circles of the piece, which stands in what was once the middle of Meridian Street, allude not only to Monument Circle, but also to the Indianapolis Motor Speedway. Gummer is an Indianapolis native.
From Gummer’s speech at the artworks dedication:
“When I first visited the site in the fall of 2002, I knew immediately that I wanted to make a sculpture that related to the Monument Circle. I wanted to make a sculpture that would express some of the defining traits of the city of indianapolis as I know it: the clarity of it’s structural layout and the dignity and optimism of its citizens. The first formal plan for the original settlement at Indianapolis expanded out of a circle to become the city we know it today. Avenues and plazas radiated from its center to form a square mile from West to East Streets and from North to South Streets. My sculpture pays respect to the model set out in the original city plan and mirrors it. The sculpture rises from a square base in a series of arcs that coalesce into circles. These expand as they aspire upward in a muscular reach and a higher and wider grasp of the sky. The supports for these horizontal circular elements are strategically placed, visually and structurally, to create a twisting, soaring movement. They become lighter and more open the higher they climb.
I believe that combining optimistic expansion with intelligent support creates a poetic yet pragmatic result. The sculpture reflects both the city’s grounded ambition and the aspiration of her citizens to a higher purpose. Because I grew up here and was educated here, I have an appreciation and understanding of the strength of character of the people of this city. And over the last 38 years, my admiration has grown with the city’s proud expansion. This work is my heartfelt response to the great honor of being asked to make a visible statement about the environment where it stands: the center of innovation at Lilly, and the heart of a city where I grew up and was inspired to become an artist. I believe it reflects the spirit of our Circle City: inclusive, uplifting, and outreaching. A community where I always feel at home.”
Southwest Summer Showers
Doug Hyde (Nez Perce, Chippewa, and Assiniboine) was born in 1946, studied and taught at the Institute of American Indian Art in Santa Fe, New Mexico, and is well-known for monumental works in California, Arizona, and elsewhere. He sensitively portrays Native peoples in a way that conveys pride and dignity. He is best known for his work in stone and for bold bronze castings with brightly colored patinas. His work is in the collections of major museums throughout the country, including the Smithsonian Institution. The woman holding the umbrella in this sculpture wears traditional Southwestern clothing and jewelry.
See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.uGCsCPGN.dpuf
Spaces with Iron
Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture’s proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.
This often overlooked functional sculpture is located along the western outside wall of the Ruth Lilly Library. This gate was produced by a factory worker named Lucio Ruiz Rojas and was originally purchased for a hotel in Madrid, Spain. It is a wonderful backdrop for photographs.
Gift of Fred Fehsenfeld, Sr.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
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 Spanish Guitar and his other sculptures along the Cultural Trail. Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.
This expressive graffiti piece 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.
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