Anatomy Vessels (Saplings)
Anatomy Vessels (Saplings) is a public sculpture created by Indiana-based artist Eric Nordgulen, Associate Professor of Sculpture at the Herron School of Art and Design. It was selected in 2005 for the Herron Gallery’s first Sculpture Biennial Invitational and exhibited in the Herron Sculpture Gardens. The two-part cast and fabricated bronze sculpture represents two-life size sapling trees with bound root balls. It is part of a series of Anatomy Vessel works by the artist referencing nature, but not intended to be functional.
The sculpture was on extended loan from the artist and was located outside of the north entrance to Eskenazi Hall on the Indiana University-Purdue University Indianapolis (IUPUI) campus. It is now in the artist’s possession.
Antenna Man, a public sculpture by Eric Nordgulen, is located on the west side of the Herron School of Art and Design, which is on the Indiana University-Purdue University Indianapolis campus in Indianapolis, Indiana. The sculpture consists of blend of figure form and vessel shape. Antenna Man, which was created in 1998, took six months of labor to create and is constructed from fabricated Aluminium. It is approximately 339.5 cm in height, including the metal base, and it is approximately 385 cm tall, including a cement base. The cement base is approximately 45.5 cm in height and is 240.5 cm X 240.5 cm.
The sculpture is the prototype for a larger version, which was installed at Navy Pier, Chicago, Illinois in 1999. Made from fabricated aluminum and interlocking wires, the sculpture abstractly represents a human form. Aluminum was chosen as a material for Antenna Man because it is lightweight, contemporary in material, and lends itself well to the concept of an antenna.
Antenna Man is part of a series consisting of around six other antenna forms. One of these is located on Massachusetts Avenue, Indianapolis; this work is entitled Viewfinders. Another sculpture, also titled Antenna Man and similar in theme, is located in Crown Hill Cemetery in Indianapolis. Originally Antenna Man was left partially constructed while work was being completed on the larger version of Antenna Man (21 ft. by 3 ft. by 3 ft). The larger version was on exhibit at Navy Pier from May until October 1999; it was later moved to the campus of Illinois Institute of Technology.
Antenna Man was located outside the library on IUPUI’s campus in the early 2000s. Antenna Man was on view at the library for approximately four years. After being placed outside the library, Antenna Man moved to outside the west side of Herron School of Art and Design.
Nordgulen interprets the human body as a sender and receptor for signals. The sculptures on Massachusetts Avenue, Indianapolis have Fresnel lens located in them, which intensify light and capture images from the surroundings and invert them. This allows the sculpture to create its own content based on what surrounds it and to incorporate that into the itself.
Eric Nordgulen was born in Oklahoma, OK. He studied ceramics and sculpture at East Carolina University, where he received his Bachelor of Fine Arts in 1982. He attended Indiana University (Bloomington) for graduate school, where he received a Master of Fine Arts in sculpture and ceramics in 1985.
Nordgulen served as the Chair of the Fine Arts Department at Herron during the years 2004 through 2008. He is currently an Associate Professor of Sculpture at Herron. He typically works in series or in transition from series to series. It is clear from his work that he enjoys exploring materials investigating the history of the materials.
Nordgulen is currently working with Dr. Andrew Hsu on a project involving sustainable energy and public art. Through their collaboration, Hsu and Nordgulen hope to create a functioning piece of artwork that will generate energy.
Quoted from: http://en.wikipedia.org/wiki/Antenna_Man_(sculpture)
Barrow consists of a molded fiberglass hemisphere with two entry ways. These entry ways are identical rectangular shapes with rounded edges. They are located directly opposite one another, with one located at the sculpture’s proper front and the other at its proper back. The fiberglass is molded so that it forms a double wall around an encased sheet of metal meshing. The wall of the fiberglass that is seen from within the sculpture has been allowed to develop darkly, while the outside is light and shiny. The double wall of fiberglass occupies mass, but also contains space. This alters the viewers a changing perception of light and color.
From the outside, the fiberglass has been molded so that the thin vertical ridges begin at the bottom of one side, ascend framing the entry ways, and descend down the other side. These strips continue over the dome, and frame the entry way on the opposite side. The metal meshing gives the fiberglass an interesting visual effect of texture, within being able to feel it.
The sculpture sits on a square concrete base at a 45 degree angle. Once inside the sculpture, there is a rubber mat on the base to allow viewers to move within the space safely. Upon entering the sculpture, one is inclined to look up at its ceiling. There is a bullseye shaped pattern consisting of a thin red outline, surrounding a large blue circle. Within the blue circle is a smaller red outline surrounding a much smaller yellow circle.
Barrow was commissioned for IUPUI in 2007. The sculpture was installed at the Herron School of Art on Wednesday, May 7, at noon. Barrow will remain on display for two years. Barrow was inspired by Viney’s visits to caves and burial mounds in Ireland and France. The word barrow means a prehistoric burial mound used by Celtic people of France, England, Scotland, and Ireland. Viney’s inspiration for the ceiling of Barrow came from her experience in an actual barrow in Ireland. While inside the mound’s central rounded space, a beam of light came streaming in through a slot in the ceiling. These slots were used to chart the solstices, and the paths of the sun and moon. The space also had empty niches in the walls, resembling the entry ways in Barrow.
While visiting the Peche Merle Cave in France along the Dordogne River, Viney discovered a cave with paintings and images lining the walls. The artists had crushed red oxide rock into a powder, and then blown it around their hands, leaving a negative imprint on the wall. The thumb and forefinger were touching, leaving behind a repeated circle pattern along the walls of the cave. This is red pattern is the influence for the red in Viney’s patterned ceiling of Barrow.
Jill Viney was born in a coastal town in California. She earned her Bachelor’s degree at Sarah Lawrence College, and her Masters of Fine Arts at Columbia University. Viney has used a quotation from Albert Einstein in her artist statement: "Look, look deep into nature and you will understand everything better." She is very interested in how advancements in technology allow us to see deeper into spaces that would otherwise be unseen. She alters the viewer’s perceptions of light, space, and color.
Broken Walrus I
Broken Walrus I, a mild steel sculpture with an orange-red painted matte finish, was an abstracted representation of a single walrus tusk broken into two pieces. Rather than a realistic, round tusk, it had squared edges and exaggerated, squared ends. To portray the sense of brokenness, the work had two pieces: a larger, main tusk and a smaller section resting against it. A black and white photograph of Broken Walrus I appears in the exhibit catalog Gary Freeman: A Decade of Sculpture 1979 to 1989.
From 1975 until it was removed around 2004, Broken Walrus I was located north of New York Street on the IUPUI campus; north of the IUPUI Lecture Hall and west of Joseph T. Taylor Hall (formerly University College) at 815 W. Michigan Street. Artist Brent Gann’s abstract piece, Orange Curves, was installed in the former location of Broken Walrus I. Around 2004 Broken Walrus I was removed and disassembled due to extreme rust. Because it was in great need of repair, IUPUI’s Campus Facility Services approached Valerie Eickmeier, Dean of the Herron School of Art and Design, who contacted Freeman and obtained the artist’s permission to remove and disassemble the sculpture.
Broken Walrus I was displayed outdoors for nearly thirty years, through cycles of harsh, midwestern winters and humid summers, causing the structure to become increasingly corroded until it was more efficient to remove the sculpture rather than repair it.
Note: The hand prints on the sculpture in the image below are not part of the original design.
This bronze cast of a 1965 statue by Rhoda Sherbell was made in 2000. It once stood on the IUPUI campus near the National Art Museum of Sport, but has since been moved to their new location within the Children’s Museum.
The sculpture honors Charles Dillon “Casey” Stengel (1890-1975), the baseball player and manager associated with various pro teams, most famously, the New York Yankees and the New York Mets. His outsize personality often overshadowed the sporting accomplishments of his teams. The inscription on the statue’s plinth reads “DEDICATED TO THE FOUNDER OF THE NATIONAL ART MUSEUM OF SPORT. GERMAIN G GLIDDEN. 1913-1999.”
The National Art Museum of Sport is housed within the Sports Legends Experience at the Children’s Museum. It is no longer free, but may be viewed with general admission to the Museum. NAMOS was founded in 1959 in New York City by Germain G. Glidden (GGG), a portrait artist and champion squash player with a strong belief in sport and art as universal languages understood and appreciated by all people. Its mission is to encourage sport artists in their efforts to create sport art, and to collect, preserve and share the best examples of sport art it can acquire. The museum occasionally assembles exhibitions from its 1000-piece collection and circulates them to other venues for display. For more information, visit http://nationalartmuseumofsport.org/
The sculpture is a symbolic, rather than accurate, representation of Deoxyribonucleic acid, (DNA), the blueprint of life. DNA is a double-helix molecule, and its distinctive shape is often described as a twisted ladder. The outside of the twisted ladder is composed of sugar and phosphate groups, while the rungs, or steps, of the ladder are formed by two nucleobases connecting to each other via hydrogen bonds. The sculpture is composed of 1,200 blown-glass globes and weighs a total of 3,000 pounds. Each globe has a different texture and weighs between 1 and 2 pounds. The mauve, green and blue globes represent the four nucleobases, while the yellow globes represent the double helix, or sugar and phosphate group, to which the bases are attached. The glass is held in place by a steel armature that is painted blue. The base support of the sculpture is surrounded and protected by a 5′ tall circular cherry wood base that is 5’5" in diameter. DNA Tower was commissioned to commemorate both the 100th anniversary of the IU School of Medicine (founded 1903) and the 50th anniversary of the discovery of the structure of the DNA molecule (discovered 1953) by 1950 IU alumnus James D. Watson and his colleague Francis Crick.
Additional info at http://en.wikipedia.org/wiki/DNA_Tower
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
Entangled, 2004, is an abstract sculpture created by Indiana-based artist Brose Partington (American b. 1979). The sculpture is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus at the Herron School of Art and Design, 735 W. New York Street in Indianapolis, Indiana in the United States. It was given to Herron by the Honorable Ezra Freidlander and Linda H. Freidlander in 2005.
Entangled is an abstract sculpture consisting of eight unique elements bolted together to create an enclosed form. The powder coated steel sculpture measures 108” x 88” x 98” and is constructed from rolled steel tubes and fabricated steel circles. The base of the sculpture is mounted on a 16′ diameter concrete pad in the Herron Sculpture Garden. The curved support structure at the base of the sculpture references the shape of a bird’s nest as it encloses and supports the sculptural elements.
The Freidlander donors contributed to the funding for a sculpture competition open to upper level Herron students. Partington’s maquette of Entangled won the competition. The sculpture was located on their private property from 2004–2008. It was moved to its current location on the IUPUI campus in 2008.
“I’m currently building structures as parallels to patterns of natural occurrences. My work examines the subtle movements around us, and the patterns those movements create. I am trying to compare the cyclical patterns found in nature with manufactured objects, environments, and modes of transportation." ~Brose Partington, 2009
Partington’s father owned a clock repair shop in Indianapolis during his childhood. The clocks, gears, and mechanisms of his father’s shop influence his sculptures today. Most of his current work is kinetic with references to the patterns of nature.
Quoted from: en.wikipedia.org/wiki/Entangled_(Partington)
Eve is a sculpture of a nude female figure standing on a circular bronze base which measures 17” in diameter and 2” tall. She is standing with her proper left foot pointed forward and her proper right foot is perpendicular to the left, pointing right. Her arms are crossed behind her head and she is looking down and to her left. Her hairstyle is such that all of her forehead and both of her ears are visible. “Robert Davidson” is visible on the proper left side of the top of the base.
Eve was commissioned by the Indiana University Nurses Alumni Association in 1931, was cast in 1932 for its public debut in the Indiana Building of the Chicago World’s Fair in 1933, and appeared in exhibitions around Chicago and Indianapolis before being brought to the IUPUI campus in 1937 and installed in the middle of the fountain in the Sunken Garden behind the Ball Residence Hall for IUPUI’s student nurses. The students affectionately called her “Flo” (for Florence Nightingale) and had a tradition of dressing the sculpture in a pink uniform for the pinning (graduation) ceremonies that took place in the Sunken Garden until the 1960s; later generations of IUPUI students continued to dress her in various costumes. The entire Ball Gardens complex deteriorated from lack of maintenance starting in the 1980s. Eve was removed for safekeeping in 1997 and was temporarily reinstalled inside the HITS building. Ball Gardens is currently undergoing restoration and is set to reopen in summer 2016, at which point Eve will be restored to its original location as the fountain’s centerpiece.
Robert Davidson, the artist, was a student at the John Herron Art Institute (now the Herron School of Art, IUPUI) at the time Eve was commissioned. He was a native of Indianapolis and had attended Shortridge High School. Eve was sculpted while Davidson was studying in Germany and was cast in Munich in 1932 by Priessman, Bruer and Company.
Give and Take
Give and Take, a sculpture by American artist Michael Smith, was located on the campus of Indiana University-Purdue University Indianapolis in downtown Indianapolis, Indiana. It is situated on New York Street in front of the Herron School of Art and Design. The sculpture was made in 2005.
Give and Take is made of stone and is painted yellow. It is on a metal sheet, which is situated on top of an 8-inch concrete platform. The sculpture was placed along New York St. in front of the Herron School of Art and Design in 2005, the same year that Eskenazi Hall, the building housing Herron, was completed. Originally the school was located at 16th St. and Pennsylvania St. in Downtown Indianapolis. The sculpture was removed in 2018 due to conservation issues.
A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Give and Take was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.
Horizons is an installation that encompasses 12 life-sized, cast-iron androgynous figures, each embedded with horizontal lines of glass. The rough surface of these sculptures echoes the texture of the tree trunks, while bands of transparent glass allow the daylight to show through their lean bodies. The use of iron, which ages and weathers to develop a patina over time, connects the work to its natural environment. Since its creation, the group has previously been installed in such contexts as fields, forests, galleries, and gardens. The distance and relationship of the figures to each other and to the viewer change with each new installation.
According to the artist, the glass lines are meant to evoke the endless horizon she sees at her oceanside studio, the line where sky meets sea. “Glass as a material has a lot of different connotations. It can be fragile, yet dangerous. It can be translucent, or solid . . . It’s like water, but also like air.”
The exhibit was showcased in the documentary Horizons: The Art of Steinunn Thórarinsdóttir directed by Frank Cantor and featuring music by Björk. The film, exploring the human condition through Steinunn’s work, was awarded a Cine Golden Eagle, Special Jury and Masters Award from the International Cine Festival in Washington, D.C. in 2009.
Steinunn Thórarinsdóttir (pronounced Stay-nun Thorens-daughter) is an Icelandic artist who has used the human form as her main means of expression throughout her career. She works with reliefs and free standing sculpture in various materials such as cast iron, aluminum, plaster, glass and concrete. Thórarinsdóttir has done numerous commissions both for specific indoor spaces as well as outdoor works and monuments. She has been working professionally for over 30 years and has exhibited widely in Europe, Japan, USA and Australia. Her works are in private, public and corporate collections worldwide. She currently lives and works in Reykjavik, Iceland. Read more about her work at http://www.steinunnth.com/
This public artwork consists of a solid piece of limestone carved in a curvilinear, organic form. It is attached to a limestone base with a cement grout. This base is grouted to a concrete pad. At the front bottom is a plaque that reads, “ADOLFO DODDOLI / Herron School of Art Faculty / Indiana Limestone / 1978”.
Indiana Limestone, a public sculpture by Italian-American artist Adolfo Doddoli, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is located on the East corner of the North side of the Lecture Hall under the overhang. The Lecture Hall is located at 325 University Boulevard. The sculpture was commissioned for the Indianapolis University-Purdue University Indianapolis’s (IUPUI) campus in the mid-1970s. It was installed by the artist.
Indiana Limestone was carved out of one 42″x40″x17.5″ piece of limestone obtained from the Wooley Stone Company Inc. located in Bloomington, Indiana. The sculpture was complete as of February 1976 and sat in storage at the Herron School of Art until its installation in 1978.
The shape of the sculpture is roughly oval with rounded and organic detailing. There is a channel-like indentation carved into the front of the sculpture. The edges of the top and bottom of both the sculpture as a whole and the channel are scalloped giving the impression of a clam opening. The fluid structure of the shape contrasts with the hardness of the material used. Doddoli favored this juxtaposition using it as a reference to the industrial age. A plaque bearing the title, name of the artist and date is located on the proper left front corner of the base of the sculpture just above the concrete base pedestal.
Stone sculpture is generally carved in three steps: roughing out, intermediate carving and final finishing. The first step is generally carried out with a large hammer and chisel. Large chunks of rock are taken off and the basic shape is formed. The next step is commonly undertaken with some sort of mechanical instrument to further refine the shape and add detail. Final finishing can be undertaken with a small hammer and chisel combination or through some method of abrasion. A photograph in the Digital collection of IUPUI University Library shows Adolfo Doddoli engaging in an abrasive technique to finish a sculpture.
This sculpture was one of four commissioned by IUPUI in the mid-1970s for installation around Cavanaugh Hall and other high-traffic areas. The proposals/works were selected by an internal committee and funded by national grants from the National Endowment for the Arts and matching funds from Friends of the University. Other artists selected at the time were Gary Edson, Gary Freeman and Charles Hook. Each artist was given $1000 for materials and production.
The artist requested its placement at the North side of the Lecture Hall under the overhang so as to protect the sculpture from corrosion. He also requested a 3 foot high pedestal base to be used to mount the sculpture. A request was issued for the creation of this base in February 1976, citing the space the finished sculpture was taking up in Herron’s art studios, but there is no evidence that it was made until the installation in 1978.
The sculpture was installed in 1978 without a label. Arthur Weber, Dean of the Herron School of Art, indicated that each of the sculptures commissioned for campus should be clearly labeled. Through a series of memorandums in 1978 and 1979 between Weber, Vice Chancellor Moore, Gary Freeman and Adolfo Doddoli, a plaque was made and eventually installed on the base of the sculpture some time after June 5, 1979.
Adolfo Doddoli is originally from Florence, Italy, where he studied at the Instituto Statale D’Arte. He obtained his maestro d’arte at the age of 18 and furthered his studies at the same institution, obtaining a second degree which allowed him to teach. In 1960 he emigrated to the United States of America to study at the Colorado College in Colorado Springs with a foreign student scholarship. After a short break from school to teach, Doddoli attended the University of Kentucky at Lexington where he obtained a MFA in 1969. Alternatively, The Herron Chronicle, a book detailing the first 100 years of the Herron School of Art, lists Doddoli’s MFA as coming from Northern Illinois University.
After studying at Colorado College for a year Doddoli taught at Southern Colorado State College at Pueblo. He later worked in a casting house in New York state before attending the University of Kentucky. In the fall of 1969 Doddoli joined the Herron School of Art where he taught fundamentals of Design on a one-year contract. He returned the next year as a full faculty member, staying at Herron until 1999, when he retired as Associate Professor Emeritus. While at Herron, Doddoli chaired the 1988 Herron Building Committee. This committee compiled a needs assessment plan proposing a new building for the School. It would take more than 10 years for the work indicated in the needs assessment to come to fruition.
In 1987, two chairs designed by Adolfo Doddoli were included in the exhibition “Topeka Kansas 1987.” This exhibition featured furniture designs by thirteen artists and was held in the LimeLight gallery in Dearborn, Michigan.
When speaking of his sculpture Doddoli has said: “In my work I am trying to visualize an impression or a feeling which I have experienced while observing life.”
Job is a bronze sculpture, created by American artist Judith Shea. It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus in Indianapolis, Indiana. The piece was created in 2005 and placed on loan at Herron School of Art and Design for the school’s first Public Sculpture Invitational, held between May 2005 and August 2006. In 2008, Herron acquired Job and it was acquired with financial support from Jane Fortune, Dr. Robert Hesse, William Fortune Jr., and Joseph Blakley.
Job is a single standing bronze figure placed at the Allen Whitehill Clowes Pavilion main entrance of Herron School of Art and Design, just off of New York Street. Job portrays a bald man looking upward while wearing a long open overcoat. The figure is shirtless with his palms facing outward. It is likely that this figure represents the Biblical character Job, who is the central character of the Book of Job in the Hebrew Bible, as well as a prophet in Islam. The sculpture measures 75” X 38” X 30”.
Job was temporarily uninstalled in 2007 from Herron School of Art & Design’s grounds due to it being a temporarily loaned piece. After nearly a year in 2008, Job was reinstalled due to the support of Jane Fortune, Dr. Robert Hesse, William Fortune Jr. and Joseph Blakley.
Judith Shea was born in 1948. Shea’s work has been shown at the Whitney Biennial and her work is within collection’s of the Whitney Museum of American Art, Metropolitan Museum of Art, Brooklyn Museum, and National Gallery. Shea also has received many awards including, The Rome Prize Fellowship, the Saint-Gaudens Fellowship, and two NEA fellowships for Sculpture.
Quoted from http://en.wikipedia.org/wiki/Job_(sculpture)
Luminary was a sculpture installed at the IU Simon Cancer Center after extensive consultation with a group of cancer patients, families of cancer patients, caregivers and cancer survivors. It was designed to capture the spirit of hope, with a spherical design that represents an eternal flame, intended to evoke the light within each person. It was deinstalled in the summer of 2021.
The sculpture consisted of a sphere shape sculpture surrounded by a concrete wave design. The central sphere was made from thin tiles of onyx stone, specifically sardonyx, a variety of agate with reddish-brown dark and light bands of color. Each of the stone tiles ranged in size from 2 to 4 inches long with varying widths and are arranged in a swirling pattern. The sculpture was neutral in color with the stone varying from light flesh tone shades of beige to softer pink and reddish hues.At nighttime the central sphere is illuminated by an internal light source. The glow of this light shines through the thin opaque onyx and creates the appearance of a luminary, a body or object that gives light. Two large “waves” of concrete embrace the central sphere. These concrete supports are approximately 18 feet long and have a groove pattern that matches the flower beds surrounding the sculpture.
The artist, Jeff Laramore, was associated with, and the co-founder of, 2nd Globe Studios in Indianapolis at the time the work was commissioned. He is an Indiana native and a 1980 graduate of the design program at Herron School of Art, IUPUI. Laramore has created many corporate sculptures in his career that are simultaneously artworks, landmarks and investments.
Additional information is available at https://en.wikipedia.org/wiki/Luminary_(Laramore)
This project began with an interest in challenging the typical notion of the parking structure as an unappreciated infrastructural typology by transforming the new Eskenazi Hospital parking structure into a binary, synthetic terrain. During the design process, an interest in camouflage evolved into an approach that would create a very large dynamic, interactive element for the City. Rather than an actively kinetic approach, with all of the inevitable maintenance and longevity concerns that accompany those types of project, we were instead working towards an approach that capitalizes on the fact that most viewers would, themselves, be moving on bicycles or in automobiles. Thus, the design ultimately became something that offers a degree a variability of color and form as one passes by the project. The awareness of this, interestingly enough, occurs whether someone is directly watching or even just seeing it out of their periphery of vision
The effect of a field of 7,000 angled metal panels in conjunction with an articulated east/west color strategy creates a dynamic façade system that offers observers a unique visual experience depending on their vantage point and the pace at which they are moving through the site. In this way, pedestrians and slow moving vehicles within close proximity to the hospital will experience a noticeable, dappled shift in color and transparency as they move across the hospital grounds, while motorists driving along W. Michigan Street will experience a faster, gradient color shift which changes depending on their direction of travel.
To facilitate the effect, a total of 18 different panels sizes/angles are used throughout. They range from 300mm tall x 600mm long to 300mm tall x 1m long. There approximately 7,000 of these panels. The color scheme is quite simple as the west side received a deep blue color, while the east side receives a golden yellow color. The angles, alone, create the illusion of different hues.
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
This public artwork is comprised of multiple sections of brushed stainless steel that are welded and bolted together. Resting atop four extended legs is a baby’s high chair. This high chair cradles the midsection of a cross. At the head of the cross are two bronze objects: a baby and a cast of the “Webster’s New Collegiate Dictionary.” The sculpture is signed “DLC” at the bottom spine of the dictionary. The sculpture is bolted to a rectilinear concrete pad. A signpost in front of the sculpture reads: “Derek Chalfant / “Mother’s Helper” // Herron School of Art”.
Derek Chalfant was born in Danville, Indiana, and received his B.F.A. from the Herron School of Art, IUPUI, in 1990. He subsequently earned his M.F.A. from the University of Notre Dame in 1994. In 1995 he served as a sculpture instructor at Herron and taught at Notre Dame from 1995-2003. He has been teaching Art and Art History at Elmira College in Elmira, New York, since 2003.
If you’ve been around, or driven through, the IUPUI campus you may have seen a towering, somewhat whimsical sculpture located in the courtyard at the Glick Eye Institute. The piece is Open Eyes by Don Gummer, a former Indianapolis resident and Herron School of Art and Design alumnus now living in New York City. Open Eyes was privately commissioned to honor the Indiana University Department of Ophthalmology and was dedicated at the opening of the Glick Eye Institute in 2011. It is made from stainless steel and incorporates glass to communicate the range of colors that the human eye can perceive, so it looks best on a sunny day or at night when spotlights make the colors glow.
Gummer, a graduate of Ben Davis High School, has two other pieces in Indianapolis: South Tower, located at Eskenazi Hall (the home of the Herron School of Art) on the IUPUI campus, and Southern Circle, located near the intersection of Meridian and South Sts. He was also commissioned to create a piece for Indiana University’s Bloomington campus in honor of the late Myles Brand, a former president of IU. All share the signature “Gummer look” of flat ribbons of steel, arranged in parallel series and seemingly defying the forces of gravity.
More about the artwork: http://www.publicartarchive.org/work/open-eyes#date and https://en.wikipedia.org/wiki/Open_Eyes
More about the artist: http://www.dongummer.com
This sculpture is comprised of three curved steel elements that are welded together into a single form. They have been hand painted with orange paint (likely with a primer coat first). There are three mounts that are bolted into a concrete base. There is no signature on the sculpture, and no plaque associated with it.
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.
Procession of Ants
This installation consists of 15 individual sculptures in the form of ants situated in the sunken garden at the front of Taylor Hall. The ants are in procession from the middle point of the garden towards the west wall. The sculptures are made from bent rebar and bent sheets of steel. Each has a central horizontal rod that has curved elements for the head and tail attached at either end. The thorax is also made from a piece of curved steel that is braced with a metal rod and a fin on the underside. Welded to the middle section are three bent pieces of wire on either side. While all of the ants appear similar, it appears as if each was made by hand so there are small differences on each element, most noticeably in the curve of the mouth. There are twelve ants on the ground and three attached to the wall. These three have their legs secured to the brick wall with cement. The twelve on the ground are at rest in the gravel. A plaque near the eastern end of the procession reads: “David Bowen / “Procession of Ants” / Herron School of Art”.
The object is composed of four separate sections that are bolted together with tabs that are hidden behind wood panels. There is an inner steel or wooden core around which the panels have been attached. The cladding of the sculpture consists of eight-ply birch plywood and Honduras mahogany. The four sections of the column are designed with punctuation marks in a font of the artist’s design. Section one is a question mark; Section two is a set of parentheses that enclose a forward slash and a semi colon with an m dash – on top; Section three is an asterisk with brackets that enclose a colon; Section four is a set of quotation marks with an exclamation point and a period on top.
According to the artist, the sculpture was finished with Deft Clear Wood Finish as a sealer, then a layer of Deft Clear Wood Finish (Gloss) and then 2 coats of Deft Clear Wood Finish (Semi-Gloss).
Punctuation Spire was originally commissioned in 1981 by A. Alfred Taubman for the Beverly Center, an eight-story shopping mall in Los Angeles, California. It was later gifted to Herron School of Art and Design. The sculpture was initially intended to be displayed in the foyer of Eskenazi Hall, the building containing Herron, but it was found to be too tall for the space. It was then placed in storage until the completion of the IUPUI Campus Center, which provided a more spacious area for the 28-foot tall work. In July 2010, Punctuation Spire was installed in its current location within the foyer of the Campus Center
Punctuation Spire represents the English language and its importance throughout the development of civilization. It is one of a series of four monumental works, including Alphabet Spire (Westfarms Mall, Corbins Corner, Connecticut), Countdown (Short Hills Mall, Short Hills, New Jersey) and Wish (Marley Station Mall, Glen Burnie, Maryland).
William Crutchfield was born in 1932 in Indianapolis, where he earned his B.F.A. in painting from the John Herron Art Institute (later the Herron School of Art & Design, IUPUI) in 1956. He received his M.F.A. from Tulane University and later returned to Herron to teach foundation studies and advanced drawing from 1962-1965. A former Fulbright Scholar, Crutchfield is an internationally known artist working in a variety of mediums, from drawings, paintings, and lithographs to monumental sculpture. He has been featured in exhibitions around the world, with works in collections such as the Museum of Modern Art, New York; the Indianapolis Museum of Art, Indianapolis; the Los Angeles County Museum of Art; and the Tate Museum, London. Crutchfield died April 20, 2015, at his home in San Pedro, California.
Additional information is available at https://en.wikipedia.org/wiki/Punctuation_Spire
Reunion was created in 1992 as a model for a larger Reunion sculpture now located in Kitakyushu, Japan. Originally made in balsa wood and foam core, it was later cast in bronze.
Originally, Reunion was located outside of the Indiana State Museum when the Museum was located at 202 N. Alabama Street, Indianapolis. The sculpture then moved to the original Herron School of Art location at 16th and Pennsylvania in Indianapolis. When Eskenazi Hall for the Herron School of Art was constructed in 2005, Reunion was then moved to the grounds of the new building. It is no longer on view, and was replaced by Gummer’s South Tower sculpture.
Don Gummer was born in Louisville, Kentucky on December 12, 1946. He attended Herron School of Art from 1964 to 1966, prior to attending the School of the Museum of Fine Arts, Boston. He also attended Yale University, where he received his BFA and MFA. Gummer, who is married to the actress Meryl Streep, currently lives in New York with his wife and children.
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.
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.
Spirit Keeper is a stainless steel abstract sculpture consisting of a leaf-shaped form perched atop a form that is rectangular at the bottom and narrow at the top. These two pieces are welded together to create the sculpture. The entire sculpture is 78 inches tall and sits on a metal base 40 inches square, which is bolted to a concrete slab. The surfaces of the sculpture are shiny stainless steel but have been lightly sanded to create a pattern in the steel. There is an inscription on the proper left side of the sculpture in the lower proper right corner, which reads “SPIRIT KEEPER, S. WOOLDRIDGE, 2007.”
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).
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/
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 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
Statement from the artist:
The Arch was based on a droplet and inspired by the concept of a Japanese Shinto gate, “when you pass through the gate you are entering from the profane into the sacred realm”.
James Wille Faust 2005
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