Bench Around the Lake
Bench Around the Lake is a series of 15 vivid yellow benches that interact with specific sites within 100 Acres and along the bordering bank of the White River. Hein envisions the installation as one long bench that emerges from the ground, twists, turns and submerges again, forming a circuit around the Park’s 35-acre lake. The work challenges the assumption that a bench is made for passive sitting, encouraging visitors to explore less frequented areas of the Park and providing opportunities to sit, look, listen, interact and play.
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/bench-around-lake
Chop Stick, created by the Swedish architecture duo visiondivision, provides visitors to 100 Acres a place to sit, swing, and enjoy refreshments in an outdoor pavilion crafted almost entirely from a single tree. The 100-foot-tall tulip tree—the state tree of Indiana—was found in a forest near Anderson, Indiana, and transported to 100 Acres with a large portion of its limbs intact. The design for Chop Stick revolves around the architects’ ambition to harvest a material as gently and thoughtfully as possible.
A few fun facts about the work:
The tree weighs more than 6 tons
The bark from the tree was removed and kiln-dried to create the shingles that cover the concession stand
Slices from the base of the tree trunk form the tops of the tables
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/flow/chop-stick
East Gate / West Gate
East Gate/West Gate was made by Sasson Soffer in 1973. It is a three-dimensional outdoor sculpture consisting of two spirals welded and bolted together. It is secured to the ground by steel clamps. Four holes were drilled and filled with concrete and then affixed . It is made of stainless steel pipe and is 24′ x 40′ x 30′ in dimension. Installation of this piece occurred on March 22, 2009. It was moved from the Indianapolis Museum of Art and transported via helicopter to its current location on campus in front of Taylor Hall. It is on loan from the Indianapolis Museum of Art until 2011.
Additional info at en.wikipedia.org/wiki/East_Gate/West_Gate
A large foreboding ship emerging from the 100 Acres lake and a guard house on the shore nearby comprise Eden II. An unexpected sight in the idyllic 100 Acres environment, Eden II is a modern ark seemingly filled with human passengers from an unknown homeland. The guard house offers views of the ship from its deck, and surveillance monitors in its interior display footage of Eden II’s passengers, imagined as refugees displaced by rising sea levels and the ecological impact of climate change. Commissioned by the Indianapolis Museum of Art, courtesy of the Artist.
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/eden-ii
FLOW: Can you see the river?
Conceived by artist Mary Miss, FLOW: Can You See the River? is a city-wide public art project that reveals how ordinary activities are connected to the history, ecology, origin and potential of the White River water system. From http://www.imamuseum.org/visit/100acres/artworks-projects/flow See also:
The project appears along a six-mile stretch of the river, with stopping points located on the grounds of the Indianapolis Museum of Art, in The Virginia B. Fairbanks Art & Nature Park: 100 Acres, and along the Central Canal at Butler University and continuing to White River State Park downtown. Mirror markers and oversized red map pins identify important features of the watershed, including wetlands, floodplains, combined sewer outfalls and pollution. In 100 Acres, red tree bands mark the level of what was once referred to as a 100-year flood, or what hydrologists consider a flood that has a 1 percent chance of happening in any year.
FLOW: Can You See the River? was commissioned by the Indianapolis Museum of Art, with concurrent activities facilitated by EcoArts Connections and more than 20 leading Indianapolis arts, science, environment, and municipal organizations and agencies. A series of activities and easily accessible web- and phone-based technologies allow you to experience how water affects your everyday life.
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/flow
Free Basket is located outside the boundary of the 100 Acres park on city property. The parking loop surrounding the artwork is situated just south of the Lake and west of the museum. The artwork can be accessed by means of the IWC Canal Greenway (Central Canal Trail), W 38th Street, and the 100 Acres Park walkway. Free Basket is a site-specific work consisting of twenty-four red- or blue-painted steel tubular arches that mimic the trajectory of two bouncing basketballs. The arches travel throughout the court and are of varying heights and span widths. Two of the arches (one red and one blue) are capped at midpoint, each with their own basketball backboard fashioned with: backboard, metal rim, and nylon net. The steel arches have been mounted on a level, rectangular concrete surface that is size of an international basketball court, where they have been filled and secured with concrete cement. The concrete court has been surfaced with Rhino Guard® colored plastic and has been painted to the standards of an international basketball court. The primary court color is yellow, the “goal lines” are painted white, and sections of black and green flank both sides of the court, and a black border surrounds entire court. There are also built-in lighting systems that have been sunk into the court at various locations so that the structure may be illuminated. From: http://en.wikipedia.org/wiki/Free_Basket
Containing soaring blue and red steel arcs, this sculpture makes the apparent the trajectory of a bouncing ball. Free Basket juxtaposes the practical and the imaginary, drawing on the form of an international basketball court, and turning it into an aesthetically surprising sculpture that offers the community a place to play. In developing their project, Los Carpinteros focused on the prominence of basketball in Indiana, bringing together art, culture and sports, and developing an iconic project for the city of Indianapolis. Commissioned by the Indianapolis Museum of Art, purchased with funds provided by the Griffith Foundation Gift, in memory of Melvin Simon.
Quoted from http://www.imamuseum.org/visit/100acres/artworks-projects/free-basket Images from imamuseum.org
Located in 100 Acres’ central meadow, Funky Bones is a group of 20 fiberglass benches emblazoned with depictions of bones that together take the form an enormous, stylized human skeleton. The project draws on artist Joep Van Lieshout’s interest in the body, as well as in pre-history and relics.With the bones emerging from the ground like archeologically revealed specimens the work reveals itself progressively upon approach. Funky Bones is designed to a site for resting, climbing, and picnicking. Commissioned by the Indianapolis Museum of Art, Courtesy of the Artist and Tanya Bonakdar Gallery, New York.
Quoted from http://www.imamuseum.org/visit/100acres/artworks-projects/funky-bones
About 20 feet in diameter, Indy Island is a fully inhabitable experimental living structure that examines the daily needs of contemporary human beings. Each summer, the island will be occupied by one or two commissioned residents. They will collaborate with Zittel by adapting and modifying the island’s structure according to their individual needs. Commissioned by the Indianapolis Museum of Art, Courtesy of the Artist and Andrea Rosen Gallery, New York.
Zittel’s statement about her project: http://artforum.com/words/id=25893
LOVE is an artwork by American artist Robert Indiana, located at the Indianapolis Museum of Art at Newfields. It was created in 1970 as the first sculptural form of the artist’s famous LOVE painting and has been on continuous exhibition at the Indianapolis Museum of Art since it was acquired in 1975. In 2017 the artwork was moved from its outdoor location indoors to enhance its preservation.
The sculpture is based on the artist’s original 1965 Christmas card design for the Museum of Modern Art (MoMA) in New York. The capital letters of the word “love” are arranged in a 2×2 square, LO atop VE, and the O tilted to align with the diagonal of the square. MoMA’s commission for the card came one year after Indiana had designed similar Christmas cards for close friends.
Although the word “love” had significance in the cultural context of the 1960s, Indiana traces his infatuation with the word to Christian Science church services he experienced as a child in Indianapolis. He was impressed by a small plaque over the reader’s platform bearing the inscription “God Is Love,” and he indicated that he wanted the word to be understood spiritually.
The IMA’s LOVE is the original sculptural rendition of the design. Many other versions have been made and are displayed worldwide, including editions in Hebrew,Chinese, Italian, and Spanish.
Before its permanent move to Indianapolis in 1975, the sculpture was originally installed on the main plaza at the Indianapolis Museum of Art in 1970 for the opening of the museum’s current building. It then spent nearly a year displayed on City Hall Plaza in Boston before being loaned to New York City, where it was exhibited in Central Park for the 1971 holiday season. Upon the artwork’s return to Indianapolis in 1972, it was showcased for several months in front of the Indiana National Bank building and later appeared for a short time on the mall behind Eli Lilly and Company’s administration building.
The artist, Robert Indiana, was born in New Castle, Indiana and lived in a variety of locations in Central Indiana including Indianapolis. He graduated from Arsenal Technical High School and moved from the state to join the military, then pursued his artistic career in New York City. In 1969 he rented a floor in a building on the island of Vinalhaven, Maine, to use as a fall-season studio; he moved to the island permanently in 1978. He passed away in 2018.
Mega-Gem, owned by the Indianapolis Museum of Art but lent to Indiana University/Purdue University at Indianapolis, represents an oversized, faceted gemstone with several “rosette” gems of various colors inserted into the facets. The sculpture was part of a gemstone series done by the artist that played with the idea of the preciousness of art, in which he created the form associated with something valuable in materials that were more ordinary.
The sculpture first appeared at the Chicago International Art Exposition at Navy Pier in 1989, exhibited by the Carl Solway Gallery of Cincinnati, and remained there until 1994 when it was loaned by the gallery to the Indianapolis Museum of Art for three years. In 1997, the museum’s Contemporary Art Society raised funds to purchase it. It was moved to the IUPUI campus in 2009 for safekeeping during the construction of the museum’s 100 Acres (the Virginia B. Fairbanks Art & Nature Park), one of four sculptures owned by the museum to be relocated on campus.
The artist, John Torreano (b. 1941), was born in Flint, Michigan. He attended the Cranbrook Academy of Art and then Ohio State University, where he received his M.F.A. Torreano has worked in a variety of mediums and methods including paint, sculpture, relief, furniture and hand-blown glass. As of 2016, he is the director of the MFA program at New York University and a professor of studio art at NYU’s Steinhardt School. His work betrays an obsession with gemstones. Read more about his work at http://www.johntorreano.com/
Learn more about this artwork at https://en.wikipedia.org/wiki/Mega-Gem
Park of the Laments
The form of Park of the Laments is a square within a square, one rigid and made of limestone-filled Gabion baskets, the other soft and organic, made of indigenous, trees and shrubs. Visitors enter the work via an underground tunnel. Moving towards the light, they climb stairs that lead them above ground into the center of the park. Visitors are invited to occupy this quiet contemplative space, which Jaar describes as a refuge, a place for lamentation and purging the global atrocities of the 20th and 21st centuries. Commissioned by the Indianapolis Museum of Art, Courtesy of the Artist and Galerie Lelong, New York.
Quoted from http://www.imamuseum.org/visit/100acres/artworks-projects/park-laments
Portrait of History
Portrait of History is a tall, narrow bronze sculpture measuring 100 x 24 x 30 in. Its surface is uneven, imitating mud or gauze wrappings. Portrait of History is a highly simplified humanoid sculpture. The lower portion of the sculpture starts out as a cylindrical shape that tapers up to a relatively consistent diameter. Slightly more than halfway up the sculpture are two abstracted wing-like appendages jutting out of the proper right and proper left of the piece. The cylindrical shape continues up from the “wings” into an abstract bulbous head that is arched slightly forward. The sculpture is similar in shape and texture to other sculptures in bronze and beech wood by the Zhou brothers.
Portrait of History, a public sculpture by Chinese-American artists the Zhou Brothers, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is located at the Blackford Street entrance to the Herron School of Art and Design. This piece is one of four public artworks on loan from the Indianapolis Museum of Art to IUPUI. The artworks were moved to the campus on March 22, 2009. Portrait of History is a bronze sculpture measuring 100 x 24 x 30 in and is mounted on an oval cement base.
Portrait of History was a gift to the Indianapolis Museum of Art from Dr. and Mrs. Eugene Van Hove. It was given in memory of their son, Jeffrey Van Hove, in 2001. This piece shares its name with a series of four oil on paper paintings by the Zhou Brothers that were painted in 1975; these paintings are much less abstract than the Zhou Brothers’ sculptural work and show heavily texturized images of traditional Asian portraits
The Zhou Brothers, Shan Zuo and Da Huang Zhou, were born in China in 1952 and 1957 respectively. They have been living in Chicago since 1986. Their work attempts to capture an image of the collective unconscious beyond cultural boundaries, inspired by a combination of Eastern and Western philosophy, literature, myth and history. Shan Zuo and Da Huang Zhou received a BFA in drama and painting at the University of Shanghai in 1982 and received an MFA from the National Academy for Arts and Crafts in Beijing in 1984. In 1986 the Zhou brothers came to a hard realization that they would not be able to progress artistically if they stayed in China. After an invitation to exhibit in Chicago, Illinois, the brothers set up a permanent studio there.
Based out of Chicago, the brothers exhibit their work nationally and internationally. Their work has been collected by private and public institutions. In 2004 a retrospective exhibition “Zhou Brothers: 30 Years of Collaboration” was organized in Chicago. The retrospective was divided into three major periods of the brothers’ life: China (1973–1985), America (1986–1993) and Europe and America (1994–2003) The brothers have exhibited throughout the United States, Germany, Switzerland, Taiwan, Japan, France, Netherlands and Hungary.
Prior to moving to the Indianapolis Museum of Art, Portrait of History was privately owned. Portrait of History was located on the south east grounds of the Indianapolis Museum of Art near the Better than New House.
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.
Stratum Pier consists of a series of organically shaped and layered platforms at the water’s edge that provides a vantage for observing 100 Acres’ expansive 35-acre lake and woodlands. The design of the emerald green fiberglass and steel structure suggest a topographical map with stacked layers that merge with the environment and appear to be an extrusion from the shoreline. Terracing and curved edges reference the natural processes of erosion and layered growth. Sponsored by the Indianapolis Foundation, a CICF affiliate.
From http://www.imamuseum.org/visit/100acres/artworks-projects/stratum-pier Images from imamuseum.org
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
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