Table of Contents
Table of Contents provides our most vulnerable neighbors with comfortable and inviting pavilions for reading and listening to audio books. The project has been conceived and designed in direct collaboration with the “neighbors” of Horizon House who are experiencing homelessness. The structures will be fabricated off site but will be assembled and finished on site with the help of the Horizon House community, providing temporary employment to a group of neighbors.
The name Table of Contents reflects the project’s guiding conceptual framework: to provide ample space (a table) to hold books and audio CDs (contents) in a way that invites users to discover and interact with an expansive collection of materials. Similar to the manner in which a book’s table of contents presents an organizing guide to the contents within, our design aims to provide users a number of welcoming but unexpected points of entry into the pavilion and the materials therein.
The form of each pavilion derives from a large volume from which a room was carved out. The surfaces were then shaped to create small, intimate spaces for reading, writing, and listening. The result is a small refuge nested within an otherwise large and open Horizon House room. This large piece of furniture warmed by natural materials and daylight becomes an inviting place to read. Individuals experiencing homelessness and spending time at Horizon House might need space for both themselves and for socializing and connecting with other people. The resulting geometry balances individual, private space with opportunities for socializing and small group dynamics. A mashup of table, bookshelf, reading desk, and seating bench, Table of Contentsinhabits a scale somewhere between furniture and architecture.
Taking the Bait
This shimmery iridescent winged creature, with its unique natural beauty, is confronted with a sweet morsel. Despite its unfamiliarity with this strange manufactured worm, the bird is nonetheless tempted by the bait. Is it a trap? Most definitely.
Carl Leck is an Indianapolis-based painter and muralist. His trompe-l’oeil (“fool the eye”) technique can be seen on numerous murals around town.
Taking the Bait 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.
Bernard Williams’ projects investigate the complexities of American history and culture through painting, sculpture, and installation. This sculpture is an open-ended conversation about the African-American history of Indianapolis: a “talking wall” in which elements speak both to each other and to the viewer. When visiting the sculpture, viewers both literally and figuratively walk in the shadows of heroic ancestors and cultural icons.
The patterns are derived from traditional African decorative carving and textiles as well as from African-American quilt making. Individual symbols reference nationally recognized historical figures such as Madame C.J. Walker, Major Taylor and Wes Montgomery. Other icons represent specific African Americans known in Indianapolis for their achievements in education, the arts, athletics, and military service. The sculpture is crowned by a representation of the North Star, a symbol of the African-American historical and contemporary quest for freedom and dignity.
The artwork site itself is significant. It was once the location of IPS School 4, which was one of the original ward public schools and welcomed both black and white students until 1922 when it was designated for African-American children only. In 1953, a new IPS School 4 building—also segregated—was constructed just north of the original and named in honor of Mary Ellen Cable (1862-1944), an African-American woman who was renowned as a School 4 teacher and principal and as a civic leader. Cable founded the Indianapolis branch of the NAACP and served as the first president of both its Indianapolis and Indiana chapters.
Funding for the artwork was provided by the Central Indiana Community Foundation and the Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick. The project was an initiative of the Greater Indianapolis Progress Committee and the Arts Council of Indianapolis, with additional support from Indiana University-Purdue University Indianapolis (IUPUI).
Team Building (Align)
Team Building (Align) is constructed of two 30 foot-wide metal rings suspended from telephone poles and trees, oriented so that their shadows become one during the annual summer solstice. Elements of this installation were determined in collaboration with a team of IMA staff members who worked with the artist collective over a two-year period on an experiential education performance. From conversations about art to rigorous challenges courses, Type A and the IMA team collaborated to develop a sculptural form that could metaphorically convey the complexity of their collaboration. Commissioned by the Indianapolis Museum of Art, Courtesy of the Artists and Robert Goff Gallery, New York.
Quoted from http://www.imamuseum.org/visit/100acres/artworks-projects/align
Temple VI is an abstract steel sculpture consisting of a four-footed base that rises to a central, rectangular raised platform that supports the upper portion of the sculpture. The main body of Temple VI is similar to a vertical I-beam with extra pieces welded onto the body. Some of these additions are crossing, semi-circular pieces; others are dagger-like pieces that hang from a higher level; still others are square blocks that were added. At the top of the sculpture lies a circular level piece with a tall, abstract form extending into the air.A foundry mark just above the feet of the base on the proper fight side tells the title, artist, and location of creation for Temple VI. It reads: “Temple VI, by Austin Collins, Notre Dame, Indiana”.
Artist Austin Collins has been quoted as saying: “In my recent work, The Temple Series, I hope to invoke in the viewer a sense of sacred space, of retreating, of reflection. By constructing a space with abstract geometric steel forms, referencing architecture, games, and toys, Temple VII [and the Temple series] generates a bodily response from both structure and composition.”
Austin Collins, C.S.C., is a Holy Cross priest and a professor of sculpture in the Department of Art, Art History and Design at the University of Notre Dame. The theme of his creative work often deals with political and social issues.
More information is available at https://en.wikipedia.org/wiki/Temple_VI
More information about the artist is available at http://www3.nd.edu/~acollins/
Closer to the entrance to the Department of Art and Design office is the large red steel sculpture Temple XVIII by Austin Collins. Collins received an MFA from Claremont (Cal.) Graduate University and a Master of Divinity degree from the Graduate Theological Union in Berkeley. He is a professor in the Department of Art, Art History, and Design at the University of Notre Dame. His work is included in many collections, including those of Loyola, University of Chicago, and California State University-Hayward.
Quoted from: www.uindy.edu/arts/temple-xviii
That Beautiful Sound
About the mural: A.J.’s Lounge commissioned Indianapolis artist Linette Bledsoe to celebrate their history and love of Indianapolis jazz music.
About Linette: Linette Bledsoe has been a professional muralist since 2003, and has her work in many private residences and businesses across the midwest. She currently has a studio in the historic Stutz Business and Arts Center where she also displays her artwork.
The American Bison
American Bison is a life-sized bison made of intertwining barbed wire that is painted brown. The bison is standing on a jagged limestone base, as if on a cliff ledge. A bronze label on the front of the base reads: THE AMERICAN BISON / SYMBOL OF INB FINANCIAL CORPORATION / WILLIAM E. ARNOLD / SCULPTOR / INB FINE ARTS COLLECTION / 1989
Quoted from: https://en.wikipedia.org/wiki/American_Bison_(Arnold)
The answer is in the question.
Mary Rigg Neighborhood Center serves approximately 250 people a day in inner-city southwest Indianapolis. The Center commits to help, serve, and connect neighbors to additional resources. The Center supports learning, work, and community opportunities to help those who want to improve their situation today and take steps toward a better tomorrow.
This design, in the shape of a life-size question mark, becomes a mascot to the idea that knowledge is available at our fingertips as we ask the questions and look for the answers. The answer is in the question. It has a strong conceptual relationship to the type of work that is accomplished daily by the Mary Rigg Center. The question mark as a book share station also comments on a topic of social significance with the idea of libraries as symbols of social justice.
“Social justice includes ‘support for human rights, and a fair allocation of community resources.’ There are numerous ways in which libraries support human rights, beginning with the human right to access information. Libraries are also a community resource, an intellectual infrastructure that is made available to all members of the community.”
The Birth of Flight
Birth of Flight depicts the American Sign Language (ASL) sign for "butterfly," rising out of a chrysalis of feathers. The sculpture is indicative of the human desire to fly. Frahm has chosen to focus on the emotional rather than the experimental aspect of that desire. The use of ASL to express the urge towards flight was inspired by the artist’s teaching of sign language to his infant son: a gesture transcends languages and is accessible to all.
Quoted from www.indfoundation.org/northgardensculpture.html
The Book of Life
The full title of this mural is The Book of Life: The People We Know, the Experiences We Have, and the Conditions under Which We Live. Located on the 6th floor of the Indianapolis/Marion County Library, Central Branch, the mural is appropriately placed in the Indiana Room, where readers can find special editions of books by Indiana authors and rare material about the history and geography of Indiana. The Indiana Room is typically kept locked, so to view the full mural, visitors must find a librarian to unlock it.
The mural was inspired by Booth Tarkington’s novel The Magnificent Ambersons, which was written in 1919 and depicts the fortunes of three generations of one Indianapolis family from the Civil War into the early 20th century. Torluemke spent a year painting this interpretation of the period covered in the book as well as other eras in Indiana history. “This mural was loosely inspired by the novel in that it chronicles the social and economic development of Indianapolis, the lives of some of the prominent citizens in that city and their families, and many of the trials and tribulations experienced by these people. It has always been my hope that after I created this mural, viewers could identify images and events in it that in significant ways parallel the happenings in our own time.” (quoted from the artist’s website, http://www.tomtorluemke.com/murals/murals.html, retrieved 12/19/2016)
The mural is painted on canvas panels and attached to the wall with an adhesive. For more about the mural and its installation, visit http://www.indypl.org/readersconnection/?p=1058
Tom Torluemke was born and raised in Chicago but spent most of his adult life in northwestern Indiana. He works prolifically in a variety of media, including mural painting, stage design, mosaics, oil and acrylic painting, watercolor and sculpture. With over 20 public art commissions throughout the Midwest, the relevance and scope of Torluemke’s ideas, as well as his ability to present them in a meaningful context within their communities, makes him a sought-after artist. Read more about Torluemke at http://www.tomtorluemke.com/main.html.
The Circle of Life
In 2018, the daVinci Pursuit partnered with artist Pat Mack to create a series of sculptures along the Urban Wilderness Trail near IUPUI in Indianapolis. The area in which the sculptures are located is focused on pollinators and their essential role in the urban environment. The three sculptures–Cliff Swallow, Monarch Butterfly, and Milkweed Plant–show the interconnectedness and coevolution of species. Each has a role to play in the creation of a balanced and healthy ecosystem.
The artist was given a list of flora and fauna important to the ecosystem, and was able to help identify the three species to create as sculptures. The artworks were created not to be in scale with each other, but to highlight features of the various species. Additional sculptures will be added as the Urban Wilderness Trail develops.
Pat Mack is an Indianapolis-based sculptor. He has been a full-time artist since 1995, and works primarily in metal.
The artwork and associated educational signage were produced in association with Partners for the White River, an initiative funded by the Nina Mason Pulliam Charitable Trust.
The Coal Miner
The Coal Miner is a public artwork by American artist John J. Szaton (1907–1966) and located on the west lawn of the Indiana Statehouse in Indianapolis, Indiana. The statue is a copy of a 1964 work by Szaton that was commissioned by the Illinois state legislature in 1963. The sculpture copies a 1946 painting by Vachel Davis, an Illinois Pentecostal minister, journalist, poet, and amateur painter who had worked as a coal miner and was an active champion of coal mining safety. Davis had given the painting to the State of Illinois as part of his efforts to create a monument to Illinois coal miners who had lost their lives on the job; he was acquainted with Szaton and suggested that he be hired as the sculptor.
The Indiana memorial was commissioned in 1965 with funds appropriated from the Indiana General Assembly. It was cast in 1966 and installed in 1967 to commemorate the state’s coal miners who lost their lives in the mining industry. The 7-ft. tall statue rests on a 3-ft. square, granite base supported by a concrete foundation. Both the Illinois and Indiana statues were cast at the Spampinato Art Workshop foundry in Chicago.
The Coal Miner, which measures 85 in. x 26 1/2 in. x 28 in., is installed in the northwest corner of the Indiana Statehouse lawn and faces west. The figure wears overalls, boots, a belt, a long-sleeve shirt, and a miner’s hat. He has a contrapposto stance with his proper left foot forward. He carries a miner’s fire safety lamp, or “bug light”, in his proper left hand, which is at his side. His proper right hand is raised, gripping the base of a miner’s pick axe that rests on his proper right shoulder. The shirt-sleeve on his proper right arm is unbuttoned and hangs open on his forearm. The belt hanging at his waist has three visible belt punches. He wears a MSA Comfo Cap Model P miner’s hat with its battery pack clipped to the backside of his belt. The artist’s signature, “John Szaton, Sc.” appears on the proper left side of the base, toward the front. On the proper left side of the base, toward the back, a foundry mark reads, “Cast by Spaminato [sic] Art Foundry Chicago, Ill. 1966”.
The square, granite base measure 35 7/8 in. x 35 1/2 in. x 36 in. Its front-facing side has a bronze, bas-relief plaque depicting a drag-line mining crane at work in a strip mine.A cement foundation, 4 to 6 inches thick, supports the base.
The plaque on the rear-facing side reads, “Without coal the marvelous social and industrial progress which marks our civilization could not have been achieved. But the production of this vital commodity, so essential to the world’s progress, has cost the lives of thousands of ‘coal miners’ in Indiana. It is to the supreme sacrifice of these men that this memorial is dedicated.”
Reproductions of small-scale versions of the monument have been mass-produced; over 200 have been given as gifts by the coal industry over the years.
The artist, John J. Szaton, was born in 1907 in Ludlow, Massachusetts of Polish descent. He apprenticed under well-known Illinois sculptor Lorado Taft, who invited Szaton to come to Chicago after meeting him on a lecture tour of various high schools and art schools in Massachusetts. Szaton studied at the Art Institute of Chicago and at the now-defunct National Academy of Art in Chicago. He executed sculptures both for Taft and on his own, continuing to work at Taft’s studio until it disbanded in 1947. He moved his family to Tinley Park, at that time a small rural suburb of Chicago, and commuted to Chicago to work during the week as a greeting card engraver. The Coal Miner, in all its forms, became his most widely-known sculpture. Szaton died in 1966 and is buried in Cedar Park Cemetery, Calumet Park, Illinois.
Read more about the sculpture at en.wikipedia.org/wiki/Coal_Miner_(statue)
Read more about the artist at https://en.wikipedia.org/wiki/John_J._Szaton
The Death of Ambition
Brazilian-born artist Artur Silva creates a digital collage rich with references to pop culture and travel. This desire to seek out new places and knowledge is critical to the survival of humankind. At the center of the mural is a self-portrait of the artist as a modern day Icarus, the Greek mythological character whose pursuit of freedom resulted in his tragic death.
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.
The Death of Ambition was decommissioned in the spring of 2015 as the material the mural was printed on was of a temporary nature.
From the Artist:
“I’m interested in the ephemerality of materials and the evolution of ideas. Death of Ambition has reached the end of its current form. The Arts Council’s commitment to the artist’s intention is also a commitment to quality. Decommissioning this piece will open up opportunities for other ideas that will continue to reflect on current life and the human condition.” – Artur Silva
In the Indianpolis Art Center’s Artspark.
The artist’s vision for The Gateway was to visually unlock the energy, activity and life of Broad Ripple. She intended to create a design that complements the unique identity of the neighborhood, with its diverse street life, shops, restaurants, night life, and downtime with one’s family.
Michelle Carollo is a Brooklyn, NY-based artist whose strong graphic style is ideal for large scales. “I’m not so interested in making these grand political statements,” she says. “I’m more interested in creating a sense of beauty…capturing energy, the excitement, the idea of fun, of contemporary movement and culture.”
The artwork was facilitated by the Indianapolis Art Center.
This mural, appropriately painted on the side of the Gleaners Food Bank of Indiana facility, was a vibrant artistic interpretation of The Gleaners, a famous 1857 painting by Jean Francois Millet, which celebrates the humble life of French peasants. Millet’s painting depicted three women gathering grain as monumental figures in the foreground of a harvested field.
Julian Gammons, an Indianapolis artist, has reinterpreted the quiet design of Millet’s work by including contemporary figures and using a bright color palette.
This artwork was destroyed in 2016 when the building was demolished.
The Glory of Sports in Indianapolis
In 2005, Tourluemke was awarded two major commissions by the Indianapolis Airport Authority to design and facilitate two terrazzo floor designs for the New Indianapolis International Airport. The designs titled, The Glory of Sports In Indianapolis and A Work Of Heart are roughly 1,000 square feet (93 m2) each. The pieces were completed in 2008.
Located in Concourse A.
The Great Circle Route
Encircling the public gathering plaza in the heart of the new Indianapolis Airport, The Great Circle Route references a system of navigation known to pilots and sailors while symbolically representing the journeys individuals take through their lives.
Quoted from: lynnbasa.com/artwork/745385_THE_GREAT_CIRCLE_ROUTE.html
Renowned artist George Carlson was born in Illinois in 1940 and studied art in Chicago. He is an Academician of the National Academy of Design and a Fellow of the National Sculpture Society. The subject of this work is a Blackfoot man welcoming visitors; he holds an eagle wing fan up in a gesture of friendship. The work is an allegorical expression of welcoming friendship. Carlson has been the subject of numerous exhibitions and publications, is represented in many public and private collections, and has received many awards at major shows across the country.
See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.uGCsCPGN.dpuf
The Herron Arch 1
Over thirty geometrically shaped pieces of painted aluminum make up The Herron Arch 1. This 20-foot-tall (6.1 m) sculpture is vividly painted using an airbrush technique. From the proper front and proper back of the sculpture, the viewer sees a predominantly black and white structure. However, from the proper left and proper right of the sculpture, the viewer sees a wide variety of vivid colors. The sculpture is painted in a geometric pattern on all sides. There is a stylized signature and date near the base of the structure on the proper left side. The square-shaped foot of the sculpture sits on a 5-foot-square (1.5 m) concrete base, and features a black and white geometric pattern which matches the overall aesthetic of the artwork. A large flood light is mounted flush with the concrete base on all four sides of the sculpture. There is a weather-damaged bronze plaque attached to the east corner of the base which lists the artist, title, and date of the sculpture.
The Herron Arch 1 was the first large scale sculpture created by James Wille Faust, one of the Herron School of Art and Design’s most notable alumni. In an effort to raise funds to name a drawing studio after Faust, the Herron School of Art and Design held an exhibition of Faust’s work. Included in this exhibition were maquettes of potential large scale sculpture, including The Herron Arch 1. The Dean of Herron School of Art and Design, Valerie Eickmeier, noticed this particular maquette during the exhibition. In an effort to fulfill Faust’s wish of creating a large scale sculpture, she suggested commissioning the piece for the upcoming Public Sculpture Invitational. Through grants and fund raising, as well as the generous donation of time by the artist, the $115,000 sculpture was created and now serves as the signature piece of artwork of the Herron School of Art and Design.
The Herron Arch 1 was one of fifteen sculptures placed on the grounds of the new Herron School of Art and Design during the first ever Public Sculpture Invitational. The invitational lasted eighteen months, and initially, this piece was the only permanent sculpture of the group. Since the removal of the invitational works, three others have become permanent fixtures on the Herron grounds: Anatomy Vessels by Eric Nordgulen, Torso Fragment by Casey Eskridge, and Job by Judith Shea. The Herron Arch 1 was commissioned by the Herron School of Art and Design to stand on the north-east corner of the school’s property. This is the south west corner of the New York Street and Blackford Street intersection.
Quoted from http://en.wikipedia.org/wiki/The_Herron_Arch_1
The Jazz Masters
The previous owners of the Irvington Theatre asked artist Dar Parsons to do the mural. They wanted a mural with a music theme and provided the paint and a scissor lift. Dar bought 50 black markers and used a projector at night to put the images on the wall. The rough brick exterior destroyed all of the marker due to the many grooves. Working on Saturdays for 8 hours at a time, Dar raced to complete the project before winter and used only a small paint brush to paint the entire surface. The mural is dedicated to the Irvington Community.
Note: There is a riddle in the piece. A number on the painting is a clue to solve it.
The Kiss of Life
Jordan’s mural depicts the trials and tribulations of life. The demands of physical labor are represented by the two African American figures working on the land. The promise of life is represented by the flowing water surrounding the figures and the kiss of life seen in the center of the mural.
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.
The Lovers of Indianapolis
Known for his stylized and surreal landscapes, Christian Quintin’s mural greets travelers as they enter the Fountain Square neighborhood, one of Indianapolis’ six cultural districts. Quintin’s mural was created to appear as a painting on a wall rather than a full-wall mural. His quiet and serene imagery complements this vibrant cultural district. 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.
Christian Quintin was born in the town of Saint Brieuc, on the northern coast of Brittany, France. He studied at the Beaux Arts Academy in Paris and moved to the United States in 1981. His work has been exhibited in many solo and group shows, in galleries and museums such as the Vorpal Gallery in San Francisco and the Crocker Art Museum in Sacramento. Christian was represented by the famed Vorpal Gallery in San Francisco and New York, which gave its first U.S. show to M.C. Escher. He has also been the recipient of numerous public and private commissions. Christian now lives in Northern California.
The Luxurious Underpass
In an effort to create interest in an often overlooked area, the artist has employed techniques to create the illusion that the bridge columns and bulkheads were actually built with the finest marble.
This mural is a tribute to the rich history and ornate style in which the surrounding neighborhoods were originally designed as well as the revitalization happening through new construction projects.
Funding for Vibrant Corridors, a city-wide effort to create murals in key underpasses and gateways around downtown Indianapolis, is provided in part by the Lilly Foundation and the Glick Fund, a fund of Central Indiana Community Foundation, Keep Indianapolis Beautiful, the Arts Council of Indianapolis, and Downtown Indy.
This mural was completed during the 2014 Lilly Global Day of Service with the help of more than 200 Lilly Employees.
The Octo Lady
In the heart of Broad Ripple Village, behind the Red Room building, artist Rafael Caro has created an imaginative piece inspired by the sea and the human spirit.
This mural comes from the artist’s original concept of the “octo lady.” After numerous pencil and ink drawings of this concept, the woman transformed into what you see on the fence today. She lurks in the deep but always finds light wherever she goes, highlighted by the blue glow on her face and tentacles. Caro believes that The Octo Lady represents a deeper meaning: “no matter how deep you are in or how different you may look, life is beautiful and so are you.”
Rafael Caro is a local graphic designer, mural artist, and concept developer. Caro has been a mural artist since 2011 and received an associate’s degree in design and visual communications from Ivy Tech Community College in 2015.
The Pieces Fit
Pulling inspiration from the Butler Tarkington neighborhood, Jordan’s mural celebrates the neighborhood’s vibrant history. Represented within the mural is Butler basketball, the area’s strong literary past, and Indiana’s rich agricultural heritage.
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.
In 1916, at the centennial celebration of Indiana statehood, John and Evaline Holliday donated their 80-acre country estate along what is now Spring Mill Road to the City of Indianapolis for a park. It was the Hollidays’ intent that the land be used for recreation and the study of nature, and the grounds as a public park and playground.
Meanwhile, New York’s first skyscraper, the St. Paul Building, had been built in 1898. One of the outstanding architectural sculptors of the day, Karl Bitter, designed the façade of this building to include three massive statues made of Indiana limestone. The statues, called “The Races of Man,” represented the African-American, Asian and Caucasian races laboring together as they appeared to hold the skyscraper on their backs. In the 1950s the St. Paul Building owners decided to build a modern skyscraper on the site and before they demolished the old building, they held a competition among cities for a plan to display and preserve the Bitter sculptures. Indianapolis offered to place them in Holliday Park, which by then had become an arboretum, and was awarded the gift in 1958.
The design for a Romantic-style constructed ruin had been submitted by Indianapolis artist Elmer Taflinger, a painter, and proposed to reproduce the façade of the building’s entry including original facing stone, doorways and the ledge that upheld the figures. The statues were placed east of the new community center that was under construction at the time. A reflecting pool was located between the building and the statues and two geysers of water rose from it. Taflinger worked to complete the project over the next twenty years as funding became available.
As older Indianapolis buildings were demolished and pieces worthy of salvaging became available, Taflinger incorporated them into the ever-evolving Ruins design. He included a horse trough formerly located at the base of an historic monument on Fountain Square, twenty-six Greek columns from the Sisters of Good Shepherd Convent, and four of the eight statues that stood for many years above the Marion County Courthouse until it was demolished in 1962. He also included two capitals from columns originally located at Broadway Christian Church and a stone table once part of an altar at St Paul’s Church.
The Ruins were eventually dedicated in October 1973, but as the 1976 Bicentennial celebration approached, Taflinger proposed an expansion of his design to convert it into a symbolic panorama of American history. His concept, Constitution Mall, symbolizes the American Republic in which men and women of all races are united in working for freedom and justice. The elaborate plan added a large reflecting pool at the east side of the original statues, extensive landscaping with long lines of English hornbeams, one for each state of the Union, and groups of evergreens representing the thirteen original colonies. A single columnar oak represented Washington, D.C. and the Washington monument. Giant slabs of rough Indiana limestone were inscribed with the words of the preamble to the Constitution. Constitution Mall was finally rededicated in September 1977.
Over the years the landscaping grew and overgrew the site, and the structure fell into disrepair. In 1994 the Friends of Holliday Park spoke about dismantling the installation due to safety considerations and their desire to refocus the park on nature programming, but the community outcry to keep them outweighed their decision and small improvements were made instead. The row of boxwoods had not thrived in the Indiana winters and in 2005 were replaced by basswood trees. Several of the statues of the goddesses were damaged and unstable and had to be removed. The reflecting pools developed leaks and were no longer filled with water. After the nature center was opened in 2004, the old community center was torn down and the view of the ruins was much improved; however, the entire site remained fenced in due to areas of structural instability.
Renovations completed in fall 2016 returned The Ruins to an appearance much as Taflinger intended, and added more interactive, family-friendly elements such as a shimmer pool.
For more information, visit http://www.hollidaypark.org/resources/Ruins.pdf, http://www.atlasobscura.com/places/the-ruins, and https://paulmullins.wordpress.com/2013/12/04/renovating-ruins-ruination-consumption-and-art/
The Tent was created by internationally renowned artist Donald Lipski. Lipski was commissioned for the project by the 500 Festival’s 50th Anniversary Artist Selection Committee, with support from the Arts Council of Indianapolis. The committee was comprised of representatives from the 500 Festival and the 500 Festival Foundation, as well as representatives from the Indianapolis Museum of Contemporary Art, Eiteljorg Museum of American Indians and Western Art, Herron School of Art and Design, Expo Design and the Indianapolis Motor Speedway. The Tent is a wind-activated sculpture and was built from tubular stainless steel. It has nearly 500 panels of polished stainless steel and is painted on the outside with 23 bright colors.
Donald Lipski was born in Chicago, Illinois in 1947. Although his first welded sculptures as a teen won him The Scholastic Art Award in high school, he became a history major and anti-war activist at the University of Wisconsin–Madison, earning a B.A. in American History in 1970. He then pursued an MFA in ceramics at Cranbrook Academy of Art in 1973. Lipski taught at the University of Oklahoma from 1973 to 1977, when he moved to New York. Lipski soon gained recognition with his early installations. In 1978, he won the first of three National Endowment for the Arts grants, followed by a Guggenheim Fellowship in 1988, an award from the American Academy of Arts and Letters in 1993, The Rome Prize of The American Academy in Rome in 2000, and Cranbrook’s Distinguished Alumni Award in 2013. In recent years, Lipski has focused his efforts on creating large-scale works for public spaces. Lipski lives and works in New York City.
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