Ann Dancing references the historic use of the female form as architectural embellishment. Whether looking at the caryatids on the Acropolis in Athens, Greece, or the personifications of Industry, Agriculture, Justice and Literature found at Indianapolis’ own Federal Courthouse, the female form has often been used in the development of inspiring places.
Situated within the Mass. Ave. Cultural District, the artwork also reflects the area’s artistic flair. Ann is dancing at the end of the block that houses the Chatterbox Jazz Club, a club that has been showcasing jazz for more then 28 years. The district is also home to independent restaurants and boutiques, theatres, galleries, and more.
The artist, Julian Opie, is internationally regarded for his artwork, which often updates aesthetic traditions. His artwork can be found in the collections of many prestigious museums such as the National Portrait Gallery and Tate Gallery, London; the Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; and The Israel Museum, Jerusalem. In 2005, Opie was commissioned by the Arts Council of Indianapolis to create a temporary exhibition in public spaces entitled Julian Opie: Signs. He produced this, his first 4-side LED “column,” for that show.
Funding for the exhibition and additional funding for the acquisition of this artwork was provided by the Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick and the Indianapolis Cultural Development Commission.
Visit the artist’s website, www.julianopie.com, to learn more about his work.
Quoted from: http://www.indyculturaltrail.org/opie1.html
Between Two Mirrors
Artist Brian Priest’s interest in the areas of natural phenomena and interdisciplinary science have resulted in varied artworks comprised of sound, sculpture, performance and drawing. Often, the artist’s own body is both site and source of his work.
His prior piece Body Zoo resulted from the artist collecting samples of microscopic bacteria from different areas on his body to create a “micro zoo”. Images from Body Zoo were incorporated into Between Two Mirrors. Pictures of bacteria and mold were converted into texture maps to create an image which is both grotesque, compelling, and oddly beautiful. The image is a cluster of unlikely combinations of familiar elements, which exists somewhere between a clinical study, horror movie and architectural model.
Priest shows the human body as a structure that both navigates and contains landscape. Just as billions of humans inhabit the Earth, billions of small creatures thrive on and within us. It is life at different scales.
In the Brickhead series, the human head is the reoccuring theme. Tyler’s brick constructions bring to mind familiar imagery we associate with past cultures and ancient civilizations. While the form is timeless, the sound component is what plants these works in the 21st century. Using familiar sounds, Tyler engages the viewer and draws his audience in. In "Brickhead 3", the sound track depicts a "calculating mind" with references to thought patterns that are on one hand permanent, and another fleeting.
Care / Don't Care
Care/Don’t Care, created by Indianapolis-based artist Jamie Pawlus, resembles a pedestrian signal and functions like the typical “Walk/Don’t Walk” signals. In an increasingly fast-paced world, this project quietly invites users to pause and find joy in a moment of comic relief. The message “Don’t Care” is programmed to change to “Care” automatically and at random intervals; it can also be changed manually if trail users push the button. The “Care/Don’t Care” signal is placed for use by those continuing along the trail, as opposed to a tradition pedestrian crossing sign that is located near intersections. It is located on the east end of Massachusetts Avenue, just north of the intersection of St. Clair Street and College Avenue.
Jamie Pawlus is a graduate of the Herron School of Art and Design. Her practice involves the creation of conceptually based, site-specific installations. Much of Pawlus’ work is expressed through a public vernacular and is made with the same industrial-grade materials used for public signage. The literal and visual imagery of her works are individual antidotes and anecdotal expressions of personal experiences. Pawlus has been awarded the Efroymson Contemporary Arts Fellowship and the Creative Renewal Arts Fellowship.
“Chatham Passage” is a multisensory artwork comprised of a sunken concrete scent vault with an ornate steel grate and LED lighting. Located in a historic alley in the Mass. Ave. Cultural District and adjacent to a night club, the scent vault will release a faint floral aroma recalling a scent historically associated with luxury. Both the luxurious scent and the ornate latticework of the vault cover reference the work of the former Real Silk Hosiery Mill, which was located adjacent to the alley as well. The vault form also references the historic coal vaults in the area. The ethereal qualities of the vault, grate, light and scent are intended to create an emotional environment that allows trail users to form unique relationships with the Indianapolis cityscape of yesterday, today and tomorrow.
Sean Derry is a conceptual artist whose public projects seek to connect a site’s history with its current context and use. Derry earned his Bachelor of Arts degree in studio art from the University of Alaska, Anchorage, and his Masters of Fine Art in studio art from The Ohio State University, where he studied with internationally renowned artist Ann Hamilton. Derry completed a successful site-specific public art project in Indianapolis in 2005 as a finalist in the Great Ideas Competition managed by the Arts Council of Indianapolis. His project “Charting Pogue’s Run” received national recognition at the annual conference of the Americans for the Arts when it was selected by the artist Mary Miss and Robert Rindler, artist and president of the Milwaukee Institute of Art and Design, to be featured in the Public Art Year in Review as one of the most innovative and exciting public art projects to happen in the country that year. A former resident of Bloomington, he now lives in Pittsburgh.
Quoted from: http://www.indyculturaltrail.org/chatham-passage.html
Inspired by Lalique crystals, Mendieta’s mural depicts a woman emerging from water. For the artist, the mural references the breaking of planes: planes found in work, relationships and life. Dimensional Shadows represents the importance of self-empowerment.
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.
Duty - Honor - Sacrifice
Indianapolis Professional Firefighters Local 416, in partnership with F.A. Wilhelm Construction, unveiled the sculpture Duty – Honor – Sacrifice on February 16, 2017. The cast-bronze sculpture was installed on the grounds of the newly renovated Local 416 campus and was donated by F.A. Wilhelm Construction as a permanent tribute and thank-you to Indianapolis firefighters and their service to the city. Duty – Honor – Sacrifice serves as a daily reminder of the 350 on-duty firefighters protecting Indianapolis each day.
Duty – Honor – Sacrifice was created by IFD active-duty firefighter and local artist, Ryan Feeney. As the owner and founder of Indy Art Forge, Feeney and his team create custom sculptures and furniture out of metal. Other pieces done by Feeney in the Indianapolis area include the Peace Dove sculpture for the Indianapolis Central Library, the Fallen Deputy Memorial located in front of the Marion County Jail, and the Bronze Eagle that can be found at the Indianapolis 9/11 Memorial. Feeney has been a firefighter in Indianapolis since 2002.
Henry's on East Mural
This mural, of a young woman surrounded by orange rays against a black and white backdrop, was created in 2012 while the artist was still a student. The building’s owner, inspired by all the murals being commissioned by the Arts Council of Indianapolis to celebrate the city’s hosting of Super Bowl XLVI, commissioned the piece to contribute to the initiative. The piece expresses the energy of nearby Mass Ave, with its street-art aesthetic and engaging figure.
Robert Bentley attended Broad Ripple High School and the Herron School of Art & Design, IUPUI, earning his B.A. in drawing and printmaking. Originally a graffiti artist, since 2012 he has been creating commissioned murals using aerosol paint, his preferred medium.
This low-profile, life-sized sculpture, installed with private funding on the property of Roberts Park Methodist Church, portrays a figure lying on a bench, huddled under a blanket in a position familiar to any urban dweller who has observed homeless people trying to find shelter and privacy. When drawing near, the viewer observes that the sculpted figure has wounds on its feet similar to those seen in artworks depicting the crucified Jesus Christ.
The artwork was installed by Roberts Park Methodist Church in order to raise awareness of homeless people in Indianapolis. A donation box is located nearby, and proceeds from donations support the work of Wheeler Mission, Outreach Inc., and the Neighborhood Christian Legal Clinic as well as Roberts Park’s own “Soup’s On” program that provides Sunday meals to people living on the streets.
The artist, sculptor Timothy Schmalz of Kitchener, Ontario, Canada, created the first Homeless Jesus sculpture as a visual translation of the passage in the Bible’s Book of Matthew, in which Jesus tells his disciples, “As you did it to one of the least of my brothers, you did it to me.” Versions of this artwork are in public settings across the U.S. and Canada, primarily owned by churches.
The sculpture is somewhat controversial, with some people claiming it is sacrilegious and others insisting that it is too realistic and “creepy.”
This artwork was originally a temporary piece, placed as part of a sculpture exhibition that was seen on the length of Mass Ave. At the end of the exhibition, the artist gave it to Dean Johnson Design, the business located immediately behind it. Since then, Dean Johnson has been renamed Axiomport and moved away from the Mass Ave Cultural District; the artwork, however, has remained. It is still considered a temporary installation.
The forms of Honor Guard aptly recall a soldier standing at attention.
The artist, Steve Wooldridge, was born in Sheridan, Indiana, where he continues to live. He attended the Dayton Art Institute, where he studied three-dimensional design and sculpture. He graduated from the Herron School of Art in 1963 with a degree in sculpture. Wooldridge is known for his site specific sculpture for indoors and outdoors as well as artisan furniture, and his extensive skill in blacksmithing.
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.
Additional information and a roster of fallen firefighters can be found at http://l416.com/about-us/memorial-plaza/
This mural, located inside the restaurant Rooster’s Kitchen with one of the store’s interior lights positioned to serve as an eye, makes a direct connection to the restaurant’s name. It was painted by invitation during an informal artist’s residency in Indianapolis in the summer of 2019.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.
This mural on the south wall of Livery Restaurant was completed in October of 2016 by Justin Olson, local artist and owner of Olson Paint Studios, LLC. This imaginative mural is representative of Olson’s colorful and creative designs in addition to the buoyant spirit of the Massachusetts Avenue Cultural District.
Having studied entrepreneurship and studio art at Ball State University, Justin Olson started Olson Paint Studios in the spring of 2002. The concept of Olson Paint Studios is to take customer’s decorative paint ideas and make them come to life. Catering to customers looking for fine painting in their homes and businesses, Olson Paint Studios has completed a number of projects around the city of Indianapolis, particularly commercial murals and signage.
Insider’s Note: The south wall of Livery was painted a base color long before Justin was asked to paint the mural. The condition of the brick wall was so delicate, that sandblasting the old paint was not an option. If you look in one of the photographs that shows the second story of the building, you can see where Justin hand painted every brick to make it appear to be original brick colors.
This mural depicts the world-renowned poet, author and playwright Mari Evans (1923- ), who moved to Indianapolis in 1947 and spent the bulk of her writing career here. Evans is known as one of the inspirations and leading lights of the Black Arts movement of the 1960s and 1970s, which sought to create a signature African-American aesthetic and perspective and infuse it into contemporary literature, visual arts, music and theater.
Evans’ work talks about the actions and ideals of the Civil Rights Movement and about celebrating of Africa both as a place and a concept, as well as her personal experiences as a Black woman. Her catalogue includes include hundreds of poems, essays, articles, plays, criticism, fiction stories and even children’s books. She is probably best known for her poems “Celebration” and “I Am A Black Woman,” and for her original musical “Eyes,” which adapted Zora Neale Hurston’s book Their Eyes were Watching God for the stage. Her contributions to Black history, women’s history, and the history of the 20th century are becoming more apparent as Evans enters the canon of American literature. She has been included in over 400 literary anthologies and in 2015 she received an Indiana Authors Lifetime Achievement Award from the Indianapolis-Marion County Public Library Foundation, only the second one ever given.
The mural’s artist, Michael “Alkemi” Jordan, is an Indianapolis resident and native. He has painted murals, portraits, and abstract compositions professionally since the 1970s, and has been writing poetry since the age of seven. Jordan has exhibited his work locally at Indiana Black Expo, the Crispus Attucks African American Museum, the annual “Meet the Artist” exhibition at the Central Library, and at the Indianapolis Museum of Contemporary Art. He is a member of the local Black artist group “I Am/We Are”.
The mural project was curated by Big Car Collaborative and was created with the Riley Area Development Corporation and support from the Indiana Arts Commission, as part of the Indiana Bicentennial Celebration, and The Efroymson Family Fund.
Moving Forward, by Indianapolis-based architect Donna Sink, is a series of seven eco-friendly transit shelters that showcase original, site-sensitive poetry by published authors who have ties to Indiana. Each shelter is composed of 3-Form Eco-Resin panels, which are made of 40% post-industrial re-grind content, mounted in a stainless steel frame. The shelters are installed on TX Active concrete pads, which help reduce many pollutants deemed harmful to human health and the environment through a photocatalytic process.
Each shelter was conceived as a method for allowing poets to participate in the public art program of the Indianapolis Cultural Trail, A Legacy of Gene and Marilyn Glick. A call for poetry was released and entries adjudicated by a panel of professionals selected by the Writers’ Center of Indiana. Each shelter has part of the poem embedded in the resin panels, while the entire poem is legible on one of the shelter side panels.
The designer explains, “The design intent is that the sun will illuminate the colored graphic and cast the shadow of the words on the sidewalk. This temporal, immaterial rendering references the poem’s existence as idea, not object. It also relates the work to the seasonal changing of the sun’s angle in relation to the human body on the sidewalk.”
Selected poems and their respective shelter locations are:
“Invisible Movements,” by Karen Kovacik: Virginia Ave. near McCarty St.
“The Painters,” by Richard Pflum: Virginia Ave. near Woodlawn Ave.
“The Bowl of Possible Peas,” by John Sherman: Virginia Ave. near Lexington Ave.
“Circle, Chorus,” by Mitchell Douglas: Washington St. west of Illinois St.
“Settlement,” by Micah Ling: Washington St. outside the Eiteljorg & Indiana State museums
“Art with a Heart,” by Vienna Wagner: Massachusetts Ave. at Walnut and Park
“Our Street in Endless Circles,” by Jenny Browne: Massachusetts Ave. east of College Ave.
Donna Sink is an Indianapolis-based architect who is interested in innovative and sustainable design solutions. In addition to designing residential and commercial spaces, Sink has extensive experience in exhibition design. Sink received her Bachelors of Architecture from the University of Arizona and her Masters of Architecture from Cranbook Academy of Art. She has worked at architecture firms throughout the country and in Europe, and was formerly a partner at MW Harris Architecture and Design in Indianapolis, IN.
The Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick is an 8-mile, world-class urban bike and pedestrian path in downtown Indianapolis, Indiana. The Indianapolis Cultural Trail seamlessly connects neighborhoods, cultural districts and entertainment amenities while serving as the downtown hub for central Indiana’s vast greenway system.
Read more about the Moving Forward project here.
****This artwork was accidentally damaged on 6/12/2018 and is being repaired. It is marked “archive” until it is reinstalled, anticipated late summer 2018.****
Musical DNA is an interactive sound sculpture. User input connects the musical notes to create simple musical compositions. More complex compositions are possible with the cooperation of multiple users. The artwork helps users become fluent in the language of music through the interaction of geometry, sound, and color: allowing them to “see” music.
The sculpture itself consists of two 4-foot square pieces of plexiglass, supported by a steel framework designed to house the touch sensor “domes”, LED lighting, wiring, and microcomputer controllers. People interact with hand-sized plexiglass domes that trigger the sounds and lights required to teach music visually through the production of visual geometric chords.
The installation is the creation of Mark Kesling, and artist, science educator, and founder/CEO of The daVinci Pursuit, a non-profit organization creating projects that connect art, science, and community. Other contributors to the artwork are Ken Lemons, Alex Porter, Christopher Doeden, and Clyde Pennington.
The sculpture is a physical representation of another daVinci Pursuit project, the Musical DNA software, an algorithm that allows efficient ways to learn, process, and experience sound by combining the audio and visual centers of the brain.
My Affair with Kurt Vonnegut
“All my jokes are Indianapolis. All my attitudes are Indianapolis. If I ever severed myself from Indianapolis, I would be out of business. What people like about me is Indianapolis.” – Kurt Vonnegut, Jr., 1986.
Born and raised in Indianapolis, Kurt Vonnegut, Jr. (1922-2007) was an internationally-known visual artist, fiction writer, essayist, and peace and environmental activist. In a career spanning over 50 years, Vonnegut published fourteen novels, three short story collections, five plays, and five works of non-fiction. He is best known for his novels Slaughterhouse-Five, Player Piano and The Sirens of Titan, his late-life essays on American politics, and whimsical lithographs often referring to characters in his novels. Vonnegut often referenced Indianapolis in his writing, and is one of the most celebrated Hoosiers of all time. This full-length portrait mural of the 20th-century counterculture icon was painted by Indianapolis artist Pamela Bliss.
My Affair with Kurt Vonnegut was created using a compilation of images from the following sources and with the permission of members of the Vonnegut family: the Kurt Vonnegut Memorial Library, artist Shannon Linker (Indianapolis, IN), and Gina Ayvazian (Northampton, MA).
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.
Pattern Magazine Mural
The Pattern Magazine mural spans the corner of Davidson Street and Massachusetts Avenue and was designed and painted by 6Cents and Sacred317, a dynamic Indianapolis-based duo known nationwide as The Fantastic Aerosol Brothers or The FAB Crew. The mural was created to bring life to “the quiet end of Mass Ave” now that local businesses such as Yats, The Pattern Store, and Black Market are bringing more activity to this part of the Cultural Trail.
The Northern end of the mural features Indianapolis icon DJ Topspeed spinning records for a young lady pictured a block away. Described by 6Cents as a figment of his imagination, the figures are representative of the many unique characters 6Cents and Sacred317 have created over their 17 years together as a crew. Though both are trained in fine art and commercial design, graffiti art remains the driving force behind their creativity. The FAB Crew has been commissioned to create murals for Klipsch, the NFLPA, Hot Box Pizza, IndyGo (for whom they painted two buses), Red Bull, Pabst Blue Ribbon, the Indianapolis Motor Speedway, as well as many others.
The mural required 7 gallons of primer, 6 gallons of green paint, 100 cans of spray paint, and about 150 hours to complete. Commissioned by Pattern Magazine, and paid for by a grant, it was conceived to be larger than life and intended to bring a measure of urban culture to the “forgotten end of Mass Ave.”
For more information, see: http://www.patternindy.com/
The project’s concept is growth from a common and discarded material that is associated with shelter and structure. Baker wanted to engage the viewer with the beauty of nature constructed from man-made objects used in a new way, a house for composed of stacked, recycled bricks in the shape of flowers. The bricks are cut in various shapes to create different petal configurations. The flat exterior side of the flowers is glazed and refired with added decal imagery of china patterns, wall paper patterns and architectural details, referencing the history of ceramics and buildings. Two like shaped flowers are bolted to metal pipe with brick wall ties on the exterior which read as the center of the flower. The various pairs are stacked on a brick base in the form of a house.
Situated at the gateway of the East 10th Street corridor, three strands of color and energy weave in and out of Leck’s five murals. These strands represent the three pedestrian trails that meet at this gateway — the Indianapolis Cultural Trail, the Monon Trail and Pogue’s Run, called The Payne Connection, in honor of Brian & Gail Payne. Leck’s five murals were completed during the 2011 Lilly Day of Service with over 1,100 Lilly employees.
The murals were part of the Arts Council of Indianapolis’ nationally renowned 46 for XLVI mural initiative.
Artist Eric Nordgulen created these three figural forms in 1996. Serving as visual links between downtown’s buildings and pedestrians, the figures contain both clear glass that makes them transparent, and lenses that reflect images of the surrounding architecture and passing foot traffic. The lenses (“fresnel” type) are the same that are used for theatre lighting and also for page magnification: if you get close to the sculpture, you will see an inverted image of yourself in several of the lenses. In this way, the viewer becomes part of the sculpture.
As with most of Nordgulen’s work, the questions raised by the sculpture have to do with self-awareness and how we understand the world. Do we see it as it is, or how we interpret it to be? Are we part of the urban landscape, or is the urban landscape part of us?
Visual and Mental Paradoxes
Over the years there have been a number of programs to place artwork on Mass Ave: this piece is the remnant of one of them, the MassAttractions program that was initiated by the Riley Area Development Corporation. The artist is Jerald Jacquard, who was a professor at IU Bloomington at the time of installation. The firefighters’ union contributed the site, and the artist’s fee was raised by private donors. It has been here since 1999, even before the new wing on the union house.
Jerald Jacquard was born in Lansing, Michigan, in 1937. He earned his B.A. in 1960 and his M.A. in 1962 from Michigan State University. Jacquard established a sculpture department at the University of Illinois, Chicago, in 1967 and was a professor of art at Indiana University for more than 25 years. He has been awarded several fellowships, including a Fulbright Scholarship to Florence, Italy, in 1963; a John Simon Guggenheim Memorial Foundation Fellowship in 1972; and a National Endowment for the Arts Fellowship. Jacquard has works in collections including the Kresge Art Museum at Michigan State University; the Kalamazoo Institute of Art, Michigan; the Indianapolis Museum of Art; and the White River State Park, Indianapolis.
WE US ALL
Indianapolis-based artist Nathaniel Russell was commissioned by Milhaus, a local development company, to create a dimensional art fence/mural around the temporary construction site near the intersection of College and Massachusetts Avenues. The purpose was to obscure some of the unsightly construction equipment while making a work that addressed the changing neighborhood and Mass Ave community. Its deliberately naive style and simple shapes were both disarming and endearing.
Nathaniel Russell was born and raised in Indiana. After graduating from college, Russell spent several years in the San Francisco Bay Area making posters, record covers, and woodcuts. He returned to his home city of Indianapolis and now spends his time creating drawings, fake fliers, bad sculptures, wood shapes, and music. Russell’s work is regularly shown around the world in both traditional galleries and informal spaces, usually surrounded by an expanding list of friends, collaborators, and like-minded folk. He frequently returns to his second home of California to work with friends on projects as varied as murals, print workshops, and backyard musical performances. Russell was a guest artist on the PBS Digital series The Art Assignment in 2015 for his “fake flyer” work. Read more about Russell’s work at http://nathanielrussell.com/
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