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Prime Commonality - U of Indy
The ancestral commonality between humans and chimpanzees is undeniable, with dramatic evidence exhibited in our chromosomal similarities. Prime Commonality is visually inspired by this high degree of correlation as shown in human and chimpanzee chromosomal banding patterns. The sculptures are internally lit and change colors to produce intense visual effects that take advantage of the physical interaction between colored light and translucent filters. The installation is sonically accompanied by a 14 channel surround sound art piece composed entirely of manipulated samples of both the human singing voice and chimpanzee vocalizations. Prime Commonality highlights both our similarities and differences with the shared natural world.
Each of the 2 pillars is approximately 10”W x 10”D x 7’H and is styled to represent human and chimpanzee chromosomal banding using panels of wood and translucent acrylic. Light emanates from within each pillar from internal LEDs. Each pillar also contains a stereo set of audio speakers, player, and amplifier, for a total of 14 independent channels of sound from which a sound art piece plays, composed of digitally manipulated samples of both the human singing voice and chimpanzees. The chimpanzees were recorded at the John Ball Zoo in Grand Rapids, Michigan. Viewers are engulfed in a stunning visual and aural experience as they are awash in vibrant, evolving color and sound from all directions.
The spirit of the American soldier is celebrated in this beautifully-rendered sculpture of a young man draped in a flag. While the piece reflects both aspiration and valor, the artist, Henry Hering, suggested that the man reaching upward in exultation may also be interpreted as a soldier grasping for the olive branch of peace. The sculpture sits on the steps of the World War Memorial in downtown Indianapolis. The phrase pro patria means “for country” in Latin; a famous ode by the Roman poet Horace (1st c. B.C.E.) has the line “Dulce et decorum est pro patria mori,” which means “it is sweet and honorable to die for one’s country.” The line from Horace is also used, sarcastically, as the title of a poem by Wilfred Owen about the horrors of World War I, published in 1920. The dual implication of the phrase may well have been intentionally used by the artist, who would have been well familiar with both poems.
Henry Hering was an American sculptor born in New York City. He was a student of Augustus Saint-Gaudens at Cooper Union and of Philip Martiny at the Art Students League of New York. He then went to Paris where he studied at the École des Beaux-Arts. In 1928 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1937. Hering is well known for his work as an architectural sculptor. Much of his work consists of allegorical figures done in the Beaux-Arts tradition, although a few of his later works, such as the detailing in Severance Hall and the Lorain-Carnegie Bridge in Cleveland, Ohio, were done in the Art Deco style. Hering’s reputation as a sculptor decreased as International Modernism dispensed with architectural, figurative and allegorical work. As with many other such artists, Hering’s oeuvre is now being reexamined in a more positive light.
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”.
Prospect Falls Mosaic Column
The site of this sculpture, at the juncture of the WE-CAN, Norwood Place, and Twin Aire neighborhoods, is also in close proximity to the Community Justice Campus. The neighborhood felt that the location needed to express its identity as well as provide a spot of beauty. Planned to be the central element of a colorful butterfly garden at a rest stop on the Pleasant Run Trail, the design focus is on nature: the column has a side dedicated to the flowers that can be found in the garden at peak season, and a side visually drawing attention to its proximity to Pleasant Run Creek. The other two sides incorporate floral and butterfly tiles created by the community.
Purpose Park Bonneville
Keep Indianapolis Beautiful collaborated with NOPAL Cultural Center, and ENGINE Initiative, two organizations who promote the engagement of youth in their community, by opening a park in Indy’s Hawthorne neighborhood. The Purpose Park, a once vacant lot now features a retaining wall, seating area, raised flower beds, and decorative paving. The focal point of the park is a restored, bright yellow 1964 Bonneville, a nod to the cultural heritage of the historic area.
Quaestio Librae (A Question of Balance) was an abstract, geometric public sculpture by American artist Jerry Dale Sanders, formerly located on the south side of the Indianapolis City–County Building. It was a metal sculpture, by the end of its life painted a dark charcoal-gray, consisting of nine rectangular forms attached to each other in a composition that makes them seem both solid and weightless.
The title derives from the placement of the sculpture in front of the building where most city government functions take place; although it is an artwork of pure form, one interpretation is that it serves as a reminder to city officials to continually think about what they are doing and work to balance the needs of governing with the needs of the people governed. The sculpture is important because it was the first contemporary-style sculpture to be permanently installed in downtown Indianapolis. Sanders was an Indiana University M.F.A. student when he proposed to create the sculpture at his own cost if the City of Indianapolis would agree to own it after he was done. The process of raising cash, finding donated materials, designing and fabricating the sculpture, obtaining permissions, and installing the sculpture was his thesis project. It was not completely installed until after he had left school.
The piece was de-installed in 2017 as part of the renovation of the City-County Building Plaza into Lugar Plaza. Due to its state of disrepair and the expense of restoring it, a decision on whether to reinstall it elsewhere was tabled. In 2019, artist Nina Elder reclaimed the history of the sculpture as well as its metal as part of her commissioned neo-monument called The Score, fashioning the pieces into metal quarrying tools that she handed out to community members as a symbol of the change they were making in the community. The community members were invited to use the tools to mark the limestone element of The Score when they felt they had made a significant impact, over time destroying the limestone as the community changed.
For more information about the artwork, visit http://en.wikipedia.org/wiki/Quaestio_Librae
Radar No. 3
Arnaldo Pomodoro designed this bronze work in 1962. It is a gift from the Lannan Foundation. The Lannan Foundation is ” a family foundation dedicated to cultural freedom, diversity and creativity through projects which support exceptional contemporary artists and writers, as well as inspired Native activists in rural indigenous communities.”
Southwest of Martin Hall is Rain by Kevin Lyles. Rain uses steel and stone to capture Lyles’s impression of a rainstorm. His work is inspired by the inherent patterns, contrasts, textures, and contradictions in nature. He combines natural properties with the elements and principles of art and design to create work that interests and challenges him. Lyles has been a professor of art at the University of Rio Grande in southwest Ohio since 1990. He has a BFA from Abilene Christian University and an MFA in sculpture from Bradley University. Lyles’s work is included in private and public collections both regionally and nationally.
Quoted from: www.uindy.edu/arts/rain
Located near the west entrance to the Capital Center, this sculpture is the original cast of this work. A second cast was created by the artist and submitted for consideration in the 3rd Rodin Grand Prize Exhibition in 1990. The invitation to participate in this exhibition came after the president of the Hakone Open-Air Museum in Japan saw an image of this piece installed in Indianapolis. Frudakis won the Hakone Award for the work, and the second cast was purchased by the museum for its permanent collection.
More info here: http://en.wikipedia.org/wiki/Reaching_(sculpture)
The word “reckon” is a slang term for the process of thinking. To reckon is to arrive at a deduction or conclusion using intuitive thinking and approximate guessing. The structure of the sculpture, with its bold shapes and vibrant colors, is that of a radiant energy – both a sun and a flower, both provider and receiver. It implies reaction and expansion, and the vitality of living energy. The artwork not only adds to the aesthetic value of the landscape, but also serves as a visual barrier to help keep motorists’ attention directed to the left as they enter the roundabout.
The artist, Brad Howe, began his career in Brazil after studying history at the University of Sao Paulo. His work presents the influence of inquiry into the aesthetics of various cultures and distinct movements in the continuum of art history. He is a native of Riverside, California and makes his home in Los Angeles. Reckon was purchased by the City of Carmel from the artist.
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.
Using wood as a primary material, Lowe creates sculptures that reference the myths and stories of his Ho-Chunk heritage. Based on the Woodlands landscape, his work explores the patterns of nature as it responds to generations of human intervention. “As a woodland Indian, I can’t ignore my environment . . . that’s what my work reflects,” he said. He hopes his emphasis on nature will encourage his audience to pay attention to environmental destruction. The “wood” structure in this piece is actually made of cast bronze and cast glass, which was completed at the Indianapolis Art Center with supervision from Lowe.
In memory of Sonja Eiteljorg from the Eiteljorg Family with support from Public Art Fund, Arts Council of Indianapolis, Indianapolis Cultural Development Commission
Quoted from: indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
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.
Richard and Annette Bloch Cancer Survivors Park
Consisting of approximately .98 acres and established in 1995, Bloch Cancer Survivors Park was located at 985 Indiana Ave until December 2017, when the sculptural elements were removed and placed in storage. The move had been anticipated for the previous five years, when it was determined that the cost to repair the deteriorating site would exceed the cost to move and reinstall it. It is anticipated that the park will be reconstructed on Indianapolis’ north side.
At the time of the original dedication it was one of the first parks established by Richard and Annette Bloch; Richard Bloch was a 24-year cancer survivor and the pair donated millions of dollars through the R. A. Bloch Cancer Foundation (now the Richard and Annette Bloch Family Foundation) to cities so they could build 25 similar parks in the U.S. and Canada. The goal in constructing the parks was to communicate that cancer is survivable, that fighting cancer is possible, and that a cancer diagnosis should not inspire fear. The parks were constructed by the Bloch Foundation until 2012. The Bloch Family Foundation continues to provide assistance to help people coping with cancer.
There are three identical elements in each of the Cancer Survivors Parks: a ‘positive mental attitude walk’ with 14 bronze plaques; a sculpture of eight life-size bronze figures passing through a maze representing cancer treatment; and a “Road to Recovery” path consisting of seven plaques explaining what cancer is and basic actions to successfully overcome the disease. Beyond these elements, every Cancer Survivors Park is different and conforms to the nature of the site and the community in which it is located.
The figurative sculptures in the Cancer Survivors Park were designed by the Mexican artist Victor Salmones in 1989 and are collectively entitled Cancer… There’s Hope. They represent the last commissioned works by the artist, who died of cancer shortly after completing the original models. The sculptures are cast bronze.
The Indianapolis park, which was the fifth to be built, received two 1996 Monumental Awards: a merit award for community development, and an achievement award for downtown development. The park is owned by the Indianapolis Parks Foundation.
The White River has been undergoing revitalization, and it is now known for its beauty and the wildlife that inhabits the river. River Fish pays homage to that wildlife, in particular to four species of fish that are native to the White River: bass, bluegill, crappie, and catfish. The sculpture also celebrates the fishing culture that has been part of the Westside community for decades, as evidenced by the Westside Bait and Tackle Shop, located adjacent to the sculpture and in business for 67 years (as of 2019). The 12 kinetic elements are placed along the banks of the river in such a way that the water is seen behind them–as if they were part of the habitat–and when the wind blows just right, the fish move as if they were swimming.
River Fish was a collaborative project between the University of Indianapolis and the adjacent Riverview Apartments (developed by Strategic Capital Partners and Goodwill), and facilitated by the City of Indianapolis’ Public Art for Neighborhoods program. The project artists, James Viewegh and Nathan Foley, were members of the Art & Design faculty at the University of Indianapolis. Additional assistance was provided by the university’s engineering program and Maya Johnson ’20, a student in the university’s sculpture B.F.A. program.
Robert Dale Owen Memorial
Robert Dale Owen Memorial is a public artwork located at the south entrance of the Indiana Statehouse along Washington Street in Indianapolis, Indiana. The memorial was dedicated to the state of Indiana in 1911 in honor of the politician Robert Dale Owen (1807–1877). The bronze portrait bust by Indiana artist Frances Goodwin has been missing on this memorial since 1970. The remaining memorial pedestal is made from three stone blocks. The top pedestal includes a commemorative plaque.
The 200 pound bronze bust is in the likeness of a bearded Robert Dale Owen. The portrait bust sat on the top of the pedestal, in the center, facing the south entrance of the Statehouse. Presently, the bust is missing. The remaining memorial pedestal is composed of three stone blocks and stands 70 inches high. The lowest block is 45.5 inches wide, 42.5 inches deep, and 10 inches tall. The middle block measures 32" x 28.5" x 10". The top block is 24" x 21.5" x 50" .
A memorial plaque is centered on the face in the middle of the top block and measures 20" x 24". It reads:
1801-1877 / An Appreciation / Erected in the honor of Robert Dale Owen by the Women of Indiana in recognition of his efforts to obtain for them educational privleges and legal rights. / author, statesman, politician, philanthropist / "Write me as one who loved his fellow man."
In 1905, the Robert Dale Owen Memorial Association was granted permission from the state to place the future memorial in the rotunda of the Statehouse. Today the memorial sits outside of the Statehouse walls, facing the southern entrance to the building where it was dedicated in 1911.
When fundraising efforts began in 1905 for the Robert Dale Owen Memorial, it was called "a woman’s movement" and was meant to draw attention to the ongoing struggle for women’s sufferage. The Memorial Association intended to raise $2,000-$2,500 for the commission of a bust and memorial. Artist Frances Goodwin was chosen for the creation of the bust. After Goodwin’s clay model was approved by the Memorial Association and by Owen’s son, Ernest Dale Owen, the final bronze bust was cast in Paris.
The completed work was presented to the state on March 8, 1911, "as a lasting memorial to a man who for many years persistently labored to secure just laws concerning the educational and property rights of women." The governor, state legislature and Owen’s great grand niece, Martha Fitton, were in attendance at the dedication.
In 1905, the Robert Dale Owen Memorial Association was granted permission from the state to place the future memorial in the rotunda of the Statehouse. Today the memorial sits outside of the Statehouse walls, facing the southern entrance to the building where is was dedicated in 1911. The original memorial includes a portrait bust of the politician on a pedestal with commemorative plaque. On September 19, 1970, the portrait bust was stolen.
The Robert Dale Owen Memorial Association was formed on June 30, 1905 by the Federated Women’s Club of Indiana to urge the women of Indiana to help raise funds for the Robert Dale Owen Memorial. The Association was made up of ten women from around the state and led by Julia Conklin. The group published at least two pamphlets that were distributed around the state to educate women about their efforts. Robert Dale Owen and What He Did for Women of Indiana offered a brief biography of the politician. Another pamphlet appealed to the women of the state to help in fundraising efforts, detailed why women should care about a memorial for Owen, and presented many avenues for donation. To women’s clubs dedicated to raising funds, they offered to send Association members to meetings to speak about the life and legacy of Robert Dale Owen. George B. Lockwood sold autographed copies of his book New Harmony Communities and donated the proceeds to the cause. Julia Conklin did the same with her The Young People’s History of Indiana. The Women’s Club of New Harmony was the largest contributing group, raising $50 for the fund. In their final meeting on December 30, 1912, Association member Julia Sharpe presented her official record of the work accomplished by the group. The volume included illustrations of each member and a reproduction of the memorial bust. The group gave the book to the Indiana State Library as a reference for future generations.
Frances Murphy Goodwin (1855–1929) was born in Newcastle, Indiana to one of the city’s oldest families. Both she and her sister, Helen Goodwin, were well known in Indiana artist circles. Goodwin briefly attended The Indiana Art School before moving to the Art Institute of Chicago to study painting. She soon discovered her love for sculpting and eventually worked as a student under the sculptor Lorado Taft while at Chicago. She also studied sculpture at the Art Student’s League in New York City with the sculptor Daniel Chester French. Goodwin eventually traveled and studied art around Europe for four and a half years and set up a studio in Paris with her sister. She died in Newcastle at the age of seventy-four. A year later, in 1930, the Henry County Historical Society planned to commission a memorial for their grounds dedicated to Frances Goodwin and modeled after a bird fountain she had created at the Newcastle Public Library.
Frances Goodwin’s first commission was for Education, a sculpture displayed in the Indiana building at the World’s Columbian Exposition in 1893 for which she earned an honorable mention. The statue later found its way into the Office of the Governor of Indiana. Goodwin’s other works include a marble statue of Schuyler Colfax in the senate gallery at the U.S. Capitol and a bronze memorial of Captain Everet Benjamin in New York. Her busts of Newcastle poet Benjamin S. Parker and Indianapolis rector Reverend James D. Stanley were on display both at the Historical Society of Henry County and at Herron School of Art in Indianapolis. She also sculpted many studies of baby hands, which were popular with the public. After living in Paris for a few years, she returned to the U.S. to compete for the commission of the Robert Dale Owen Memorial and opened a temporary studio in Indianapolis to create the clay mold of the future artwork. She returned to Paris to cast the final bronze bust.
Quoted from http://en.wikipedia.org/wiki/Robert_Dale_Owen_Memorial
Sail was commissioned by the City of Carmel to be an iconic landmark for its new Midtown plaza. The forms are inspired by ships’ sails or kites and incorporate signature elements of the artists’ work, including colored stripes and internal, programmed lighting.
Owens + Crawley is the public art joint venture of Indianapolis-based artist Quincy Owens and Luke Crawley, a math and science teacher at University High School in Carmel. They met while they were both teaching at Herron High School and found they had complementary skills and interests.
Salute honors the military veterans who are served in this YMCA facility, the first one ever to include a fully staffed VA clinic as part of the program. Created by Colorado artist Clay Enoch, the sculpture design arrays figures representing each branch of the military (distinguished by their characteristic headgear) as they salute each other as well as the flags representing their respective service. “Service members have deep respect for each other,” stated Enoch. “I wanted to portray that respect as an important part of why we appreciate the service of all veterans.” The sculpture includes small plaques bearing the names of current and former military veterans and their branch of service, reflecting the deep commitment Pike Township residents have made to serving the country.
Clay Enoch is a Fellow of the National Sculptors’ Guild, a service representing over 200 artists committed to creating fine public sculpture. His figurative work gravitates toward uplifting and inspirational themes, drawing out transcendent truths and sending contemporary messages of hope and redemption. The realism of his figures is important to him, and he does extensive research to ensure that even the smallest details are correct and respectful.
This sculpture commission was realized by the YMCA with the assistance of the Arts Council of Indianapolis.
This sculpture references the Scholar’s Stones, Gongshi of China and the Suiseki of Japan. Both cultures elevate the selected stones on pedestals, which denies their gravity and identifies them as unique objects. These stones are considered sources of reflection and contemplation that embody an individual spirit. Traditional Scholar’s Stones are most often natural-found stones, whereas the artist’s contemporary interpretation is fabricated and totemic in form. This adaptation, set within a steel pedestal, displays the carver’s hand in unity with the natural surface of the material.
Scholar’s Stone is temporarily on display outside the Conrad Indy hotel along the Indianapolis Cultural Trail. It was selected as part of the Hilton Hotel’s 100th Anniversary festivities in June 2019.
The artist, Dale Enochs, attended Indiana University for both his B.F.A. and his M.F.A., and currently lives near Bloomington, Indiana. He has created sculpture for private, corporate, and civic collections since 1984.
This sculpture is a portrait of and memorial to Schuyler Colfax (1823-1885), an Indiana-bred politician who served as the 17th Vice President of the United States during Ulysses S. Grant’s first term. He was the first-ever vice president from Indiana. Colfax also served Indiana as a representative in Congress and rose to be Speaker of the House under President Abraham Lincoln. Before taking office he had worked as a journalist for the Indiana State Journal, the South Bend Free Press, and the St. Joseph Valley Register. Known for his genial attitude and anti-slavery stance, Colfax was highly popular in the then-new Republican Party and was nicknamed “Smiler” Colfax by his fellow representatives. After his political career was over, Colfax was well regarded for his public speaking about the Lincoln years.
The sculpture, originally placed in the southwest quadrant of University Park, now resides on the eastern side of the park, facing Pennsylvania Street. It was commissioned by the Independent Order of Odd Fellows in 1887: Colfax had been active in the organization and had designed the Rebekah Degree, the Odd Fellows’ first affiliated organization for women. The relief plaque on the base of the sculpture depicts the Biblical story of Rebecca and Eliezer at the well, in reference to this accomplishment. On the northwest and southwest sides of the pedestal are additional I.O.O.F. emblems, a shield and a medieval tent with crossed staves.
The artist, Lorado Zadoc Taft, was a young Chicago-based sculptor at the time of the commission. Taft eventually became renowned for his technical expertise and his traditional European style, which he applied to architectural ornament, fountains, and decorative sculpture. In addition to being a beloved teacher at the School of the Art Institute of Chicago, Taft was known for welcoming and encouraging female students and apprentices, a group that few other sculptors of his time were willing to take on.
Portrait of Lincoln seated in a chair, his proper right hand raised in a gesture of peace. Behind the chair is his stove pipe hat with a pair of gloves resting on top. The sculpture is mounted upon a graduated base of polished granite.
Seeds of Light
Seeds of Light is located in Speedway Trailhead Park along the P&E Trail and honors the history, traditions and values of the Town of Speedway as well as its relationships with its two Sister Cities, the motorsports towns of Motegi, Japan and Varano de’ Melegari, Italy. The trailhead is an iconic space welcoming both students from its Sister Cities exchanges and all international visitors to the town.
From a distance, Seeds of Light appears as a tall, single-stemmed, flower-like structure approximately 18 feet high. Its form was inspired by heracleum maximum; a native plant known variously as cow parsnip, Indian celery, or Indian rhubarb and which appears in the trailhead’s landscaping. Each lit “floret” symbolizes the exchange experience of Speedway’s Sister Cities students, their connections with their hosts, and their potential as global citizens. The floret’s interconnected, three-part form also references the students’ growth in terms of head, heart, and hands, and the three connected Sister City communities of Speedway, Motegi, and Varano.
In addition to the Sister Cities symbolism, Seeds of Light also honors Speedway’s industrial heritage, with its embedded LED lights and reflective dichroic glass symbolizing its commitment to new technology and its forward-facing attitude. At the same time, the overall shape of the piece refers to the quiet, natural beauty of a common Indiana flower.
The artist, Arlon Bayliss, is based in Anderson, Indiana. Originally trained as a studio glass artist and the former founding director of the glass program at Anderson University, since 2014 he has moved his practice to architectural-scale projects in metal, glass, and light.
Seeds of Light was commissioned by the Town of Speedway as part of its participation in Keep Indianapolis Beautiful’s 2016 IPL Project GreenSpace, which created Speedway Trailhead Park. The Arts Council of Indianapolis provided funding and project supervision.
Pontiac, Michigan artist Ray Katz has worked in many mediums, but metal remains his passion. Metal is best suited for his work because of its strength, malleability, and inherent beauty.
Katz combines geometric and organic elements to create compositions that convey the implied energy found in his work. He uses the abstract manipulation of form and shape in space to create visual balance, using rhythm, action, and movement. The implied energy of his composition structures has become a hallmark of Katz’s work and is a metaphor for an evolutionary process that he associates with human experience.
From the artist: “Shard Wall is a sculpture incorporating a fire element integral to the artwork concept. It was designed to fuse with the industrial elements of the Hyatt architecture and rhyme with the strong silhouettes of the surrounding column structure, which can all be seen from the street. It also serves to establish an intimate corner within the urban, loft-like space that creates a true communal space in a way that only fire can do. The marriage of the hearth and home is an ancient one. A hotel is a person’s home on the road where any sense of warmth, both physical and emotional, can provide an experience that is highly coveted and memorable. Fire becomes an immediate destination, a meeting spot, a place to eat drink and be merry, or a calm place to decompress. Everyone has their own personal relationship with fire, and it is an endless loop of mesmerizing, ethereal sculpture. It is difficult to leave.” Shard Wall was commissioned as part of the hotel developer’s contribution to the City of Indianapolis’ Public Art for Neighborhoods program.
Elena Colombo is a classically trained sculptor & architectural designer who owns and operates COLOMBO CONSTRUCTION CORP, a design/build firm specializing in fire features, fire accessories, and custom site specific work: memorials, markers, water and wind features, and environmental sculpture. She creates work that extends architecture further into the landscape by creating forms which address our primal need for the elements earth, fire, water and wind; and that are at once ancient and modern; simple, and elegant. Colombo’s fire sculptures have been commissioned by the Barnes Foundation in Philadelphia, Pebble Beach Golf Resort, Paul Hobbs Winery, and numerous hotels, spas, and resorts. She lives and works in Brooklyn, New York.
Siege the Day
Siege the Day is located on the southeast corner of the Meyer Najem building in Fishers. The gray-painted, two-piece sculpture features stretched triangles bending back towards the ground while each balances a ring. The representation is intentionally ambiguous, as the artist wishes each viewer to interpret the forms in a way that is meaningful to them.
The artist, Kevin Huff, lives in Noblesville, Indiana and attended the Herron School of Art & Design at IUPUI. The project was facilitated by Nickel Plate Arts.
The Silent Messenger sculpture is a common addition to many Shrine Temples and represents the association of the fraternal organization with the Shriners’ Hospitals for Children, their primary service and philanthropy recipients, and their concern for the well-being of children everywhere. They sculpture also symbolizes the hope children have in adults to help them when they need it.
In most locations the sculpture has been painted or otherwise enhanced with color; however, the sculpture here is left in its original cast fiberglass condition.
The sculpture was inspired by a photograph, called the “Editorial Without Words,” taken in 1970 by Randy Dieter at an outing for young patients at Evansville, Indiana’s Mesker Park. The figure is of a shriner Noble named Albert Hortman, carrying a little girl named Bobbi Jo Wright, whom he noticed was having difficulty getting around. Wright eventually recovered from her surgeries, attended Anderson University, and now tours the country speaking about that day and the work being done at Shriner’s hospitals. Hortman passed away in 2009.
The artist of the sculpture, Fred Guentert, was a Shriner and a lifetime devotee of Egyptian art. He was born in 1922, the same year Howard Carter discovered the tomb of Tutankhamen. Guentert, who died in 2015, built and decorated his own Egyptian-style coffin.
Silver Fall II
Scott Westphal’s latest artwork, Silver Fall II, is installed at the intersection of Delaware Street and Fall Creek Parkway in the Mapleton-Fall Creek Neighborhood. The sculpture is part of Destination Fall Creek, a neighborhood initiative addressing several improvements including bridge repairs, area safety, improved commuting, and better access to nature and the Fall Creek waterfront.
The 1,200 pound sculpture consists of 10′ tall, curved aluminum panels which feature a falling maple leaf motif, inspired by the Arts and Crafts era. In the evening, light escapes through the cut-out leaf shapes, creating a nighttime focal point of soft, dappled light.
Single Sail Roundabout
As part of an effort to reinforce the identity of certain “waterside” neighborhoods, public art was installed in the centers of three roundabouts in Fishers and Geist. These gateways take the form of sailboats, and are abstracted versions of single-sail, double-sail, and triple-sail craft.
For the roundabout at Fall Creek and 96th Street, a single sail ship was selected for the installation. The large size is intentional, as a traffic-calming measure: motorists are not be able to see around the artwork and are therefore subtly encouraged to slow down as they approach the roundabout.
Rundell Ernstberger Associates, an Indianapolis-based urban design and landscape architecture firm, designed all three roundabout installations. A team of local residents and stakeholders recommended the designs to the Fishers Town Council, who approved them. For visual consistency, all of the sculptures are made from colored architectural acrylic panels with LED lighting to create interest.
Originally, Sky Waltz was part of the Sculpture in the Park temporary exhibitions. At the conclusion of its program, the Park added the piece to its permanent collection of sculptures.
The linear shapes of the piece suggest the jet engine trails that are often seen in the sky. The sculpture is also kinetic, as the top turns in the wind and passes through the stationary part of the piece. The sculpture is made of textured welded aluminum, much of which has been recycled. The round aluminum tubes were originally light poles.
Mishler, a nationally renowned sculptor living in Goshen, Indiana, specializes in using common metals to create his symbolic and abstract works of art. Sculptures that incorporate kinetic energy and moving parts are his signature. He has many works in public and private collections, including Chicago. Learn more about the artist at http://www.johnmishler.com
Slightly Romanesque/Newhall 43
Sometimes the titles of artwork give us clues as to their meaning. Do any of the shapes remind you of Roman architecture? The concrete resembles an arch. Some of the steel also looks like ancient architecture. The additional steel elements seem to suspend the Roman elements in space as if they are holding up a memory of an ancient space in time.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
The portion of the title “Newhall 43” refers to the artist’s 43rd project at his Newhall Studio in Milwaukee. The piece was purchased and donated to the IAC around 1987-8 time period.
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