Totem, is a public artwork by American-Spanish artist Rinaldo Paluzzi, located on the grounds of White River State Park, which is in Indianapolis, Indiana, United States. The sculpture is made of stainless steel and is a triangular shaped vertical “tube” with triangular and trapezoidal cut-outs in the steel. The piece sits centered atop a concrete circle, 40 feet in diameter, with a sundial face. The piece was constructed in 1982 and dedicated November 9, 1982. It is copyrighted 1983.
The sculpture also has a bronze plaque placed just south of it. The plaque reads: TOTEM/BY RINALDO PALUZZI (AMERICAN B. 1927)/FABRICATED BY MITCHUM-SHAEFER, INC./OF INDIANAPOLIS AND DONATED TO THE WHITE RIVER STATE PARK ON NOV. 9, 1982/INDIVIDUAL CONTRIBUTORS (33 names listed) INSTITUTIONAL CONTRIBUTORS (30 names listed).
White River State Park owns the piece, which was fabricated by Mitchum-Shaefer, Inc. based out of Indianapolis. Over 60 individuals and institutions contributed the $95,000 to install the piece.
Quoted from: http://en.wikipedia.org/wiki/Totem_(Paluzzi)
Dee Schaad, a professor in the Department of Art and Design at the University of Indianapolis, has installed a clay sculpture, Totem, outside the ceramics classroom. His work is included in a number of public and private collections, including the University of Evansville and the Sheldon Swope Art Museum located in Terre Haute, Indiana.
Quoted from: www.uindy.edu/arts/totem
This sculpture has sharply defined positive and negative shapes. What do you notice as you walk around the sculpture looking at it? Do the shapes seem to open and close? Totem was most likely intended to be viewed “inthe-round.” It is especially interesting viewed through time as you walk around it.
In memory of Irving and Frank C. Springer, Jr.
Gift of William L. Fortune, Jr. and Joseph D. Blakley
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
The totems stand between 9 and 13 feet tall. Each totem will possess unique characteristics, with steel, bark, and negative spaces that line up. The totems will direct each viewer’s eye between distances across the landscape.
“I am approaching this project using the totems in a sporadically calculated endeavor to enhance the landscape. I am exploring repetition, multiple perspectives, and hidden alignment of materials. Each totem is unique; sculptural marks are revealed to the viewer at different times from different perspective.”
Jason Bord, MFA Sculptor – Herron School of Art
Quoted from www.agreenerwelcome.org/art
Towards Flight is both humorous and nostalgic. The image of a lawn chair with balloons tied to it is emblematic of the wish for humans to fly and their history of attempting to do so in the most direct manner possible. This desire to experience flight in its purest form has been man’s desire for millennia; by placing the sculpture next to a state-of-the-art airport, the artist is connecting past to present and offering those who identify with the lawn chair a safe and enjoyable alternative.
Quoted from www.indfoundation.org/northgardensculpture.html
This sculpture, made of vintage and discarded bicycles, is meant to resemble the famed Indianapolis author Kurt Vonnegut Jr., and was inspired by a self-portrait sketch. Local artist Jeff Laramore, who designed the piece, had planned to use upward of 20 or 30 bikes, arranged in the three-dimensional shape of a head. The Vonnegut-like features were to come from bike-wheel eyeglasses, and a cluster of bikes that would create a big curly coif. The installed sculpture uses the equivalent of six or seven bikes.
The sculpture is somewhat controversial in the neighborhood, as residents have expressed the desire to remove it and reconstruct it as originally planned.
From the Franklin News (Oct 7, 2016, Abrahm Hurt):
During the planning and construction, Berg wanted to create a structure that conveyed the ideas of freedom and shelter.
“I want [viewers] to think and feel about the human condition,” he said. “I want them to ponder: ‘Why would somebody build a structure like this?’ There is sort of a weirdness to making things in the world that aren’t tied to function. So obviously, my motivation was to use aesthetics, to use form and to use the relationship of those two forms to convey a kind of unity and a kind of freedom—and also, at the same time, a kind of humanness.”
This public art work of an early canoe, standing on stilts is made from shiny metal and represents the history of rivers. It was temporarily on display at White River State Park as part of their rotating sculpture program.
The canoe is a vessel used for exploration; it is a marker we can use to consider what we know about our history, the environment, and how we want to proceed in the future.
Truck on a Steek
In 1998, Celadon Trucking Company began a 10-year sculpture collecting program in conjunction with the Herron School of Art, IUPUI. Art students could create outdoor sculptures and compete for placement at Celadon’s sculpture garden on Indianapolis’ far eastside.
In May 1999, five pieces were selected for placement and were revealed at the company’s anniversary celebration. This is one of the five originals. At least one piece was added annually thereafter.
This piece was created by Kevin Huff, who was a junior at Herron at the time. It is located on the north side of the building.
This bronze sculpture pits three girls against two boys in an epic “battle of the sexes” game of tug of war…without a rope! Like most of the artist’s depictions of children, it is an ode to the carefree days of youth, and is very appropriate for its current location.
One of two sculptures by the artist on The Children’s Museum campus, Tug o’War was originally cast in 1988 and is one of the artist’s most popular pieces. This version is dedicated “In Memory of Mary Jane Kruse Ruddell 1991.”
Glenna Goodacre (b. 1938) is a nationally-recognized figurative sculptor and the creator of many well-known bronze artworks, portraits, and monuments, including the Vietnam Women’s Memorial in Washington, DC; the Irish Memorial in Philadelphia; the over-life-sized, full-length portrait of Ronald Reagan at his memorial library; and the design for the Sacajawea U.S. dollar coin. Many of her works exist in multiple casts across the country. She attended Colorado College and the Art Students’ League in New York City, intending to be a painter, but discovered sculpture while she was there. A native of Texas, Goodacre has been an academician of the National Academy of Design since 1994 and a fellow of the National Sculpture Society since 1981. She currently lives in Santa Fe, New Mexico, and retired from sculpting in 2016 after destroying the molds for all her previous works so they could not be reissued after her death.
Tulip to Life
Tulip to Life is a public artwork formerly located on the grounds of the Indiana Government Center South in Indianapolis, but which now rests in storage. The functional sculpture is a drinking fountain made of stainless steel in the shape of a tulip tree leaf. Designed by Eric Ernstberger of Muncie, Indiana and fabricated by Tarpenning-LaFollette of Indianapolis, Indiana, the sculpture was installed in 1991 and was removed in 2014 due to physical deterioration. It is unclear whether it will be repaired and returned to its site.
The sculpture depicts an over-sized leaf of the American tulip tree, Indiana’s state tree. The sculpture consists of two main segments: the leaf, which forms the main body and majority of the piece, and the petiole-and-bowl segment, which houses the drinking fountain. Measured diagonally from the foremost tips of the leaf segment to the back of the fountain bowl, it is about 207 inches (530 cm) long.
An example of site-specific art, the tulip tree leaf was the main focal point of a below-ground-level rectangular courtyard surrounded by the Indiana Government Center South’s architecture.
For more information, visit http://en.wikipedia.org/wiki/Tulip_to_Life
The title of this sculpture, TURN, is the acronym for Transforming Urban Neighborhoods, the community revitalization initiative led by the Paramount School of Excellence (PSOE) and Community Health Networks. The steel and concrete sculpture symbolizes the important first steps taken in a positive change of direction. TURN was conceptualized, researched, and initiated by teacher Shay Atkinson’s 8th grade class. The artist, Doug Calisch, was chosen as lead artist to work closely with school staff and students to design and fabricate the final structure.
PSOE believes in the power of art as an active component of placemaking. PSOE is a 5.5 acre charter school with a drastically different approach to both structure and setting. The school grounds host installation art, and lessons have an artistic focus. PSOE made a commitment in 2014 to move away from the “arts and crafts” education model that most schools use. Instead, the art program at PSOE achieves state standards through real-world K-8 projects, and an installation project as the culmination of middle school.
Quoted from http://www.indianacharterschool.com/turn.html
John McNaughton’s furniture and sculptures are represented in over 250 private collections including the permanent collection of the Smithsonian Institution and the White House Collection of Crafts. In this piece he applied his knowledge of woodworking to turn the idea of a home (literally) on its head. Starting with a traditional dwelling base that twists until the roof ends upside down, the piece blurs the line between dwellings and fantasy. Everything, including the flowers, is made of wood.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
U.S.S. Indianapolis Memorial
This National Memorial is the climax of a 50 year dream by the crew members who survived the sinking of the cruiser USS Indianapolis in 1945. They worked continually to erect a fitting memorial to their missing shipmates. The Memorial is located at the North end of the Canal Walk. The Memorial is an outdoor site and is available to the public 24 hours a day, seven days a week. Engraved on the South face of the monument are the names of the ship’s company and one passenger who made up her final crew.
The USS INDIANAPOLIS (CA-35) National Memorial was designed, erected and paid for by The USS INDIANAPOLIS (CA-35) Survivors Memorial Organization, Inc., a not-for-profit (501-c-19) established in Indianapolis, IN., in 1990 for that purpose. No government funds per se were used. The Organization raised slightly more than eight hundred thousand dollars for the purpose. The Memorial was designated a National Memorial by an act of Congress in 1995, one of only 26 such memorials. The USS INDIANAPOLIS National Memorial was dedicated on August 2, 1995.
Quoted from http://www.ussindianapolis.org/monument.htm
Universal Continuum is a metal and glass sculpture by Beverly Precious, an artist internationally known for her site-specific large-scale pieces that incorporate dichroic glass to produce a dramatic kinetic effect.
Quoted from: www.uindy.edu/arts/universal-continuum
Untitled is a 16 foot tall abstract sculpture made of mild steel. It stands on two weight-bearing legs that are soldered to other geometric shapes, one section atop another. It is secured to the concrete sidewalk with four bolts.
Untitled (7 Rings)
This abstract, untitled aluminum piece is by James Darr, the winner of a student competition at the Herron School of Art to create a design for the site. The piece, consisting of seven vertical interlocking rings at various angles to one another was erected in 2001.
James Darr received his B.F.A. in Sculpture from the Herron School of Art, IUPUI and his M.A. in Sculpture from the University of Delaware. As of 2018 he was a Professor of Art at Warren Wilson College in Swannanoa, North Carolina.
Untitled (IUPUI Letters)
Untitled (IUPUI Letters) consists of a group of five letters spelling out IUPUI, the acronym for Indiana University-Purdue University Indianapolis. The five sculpture pieces have been installed at an angle from one another with several feet between each letter. The sculpture can be viewed as individual letters of the alphabet or together as one large group. The letter enclosures sit perpendicular to the full cabinets, giving each letter a multidimensional appearance.
TwoTwelve is a public information design firm based in New York City, also known as 212 / Harakawa Inc. The artwork was designed as part of the original construction of the IUPUI Campus Center as a wayfinding device and was fabricated by ASI Modulex of Indianapolis.
Additional information is available at https://en.wikipedia.org/wiki/Untitled_(IUPUI_Letters)
Untitled (Jazz Musicians)
Untitled (Jazz Musicians) is an outdoor sculpture by American artist John Spaulding. It is located on the border of Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana, at the corner intersection of Indiana Avenue and West Street. The sculpture faces the historic Madame Walker Theatre Center, which is located across the street.
Untitled (Jazz Musicians) is a quintet of linear jazz musicians formed in bronze. Each figure represents a jazz musician who was influential to the artist. Spaulding’s father, James, is playing guitar; his older brother, James Spaulding Jr., is playing saxophone; the bass-player figure represents Larry Ridley; Freddie Hubbard is on trumpet; and "Killer" Ray Appleton is on the drums. Each bronze linear figure has a circular bronze base welded at its feet that is then situated upon a riser of concrete block. The dimensions of the sculpture as a whole are 8’5" x 19′ x 19′ (3 x 6 x 6 m). Each sculpture base is circular, approximately 1’6" (46 cm) in diameter and 1" (25 mm) in height. Each figure, not including its base, has a height of 8’5" (2.6 m). The exception is the seated drummer figure, which is approximately 4’6" (1.4 m) in height. Each figure has different width as follows: The saxophone player is 1’5" (43 cm) wide, the bass player is 3’1" (94 cm) wide, the drummer is 3’11" (119 cm) wide, the trumpet player figure is 2’8" (81 cm) wide, and the guitarist is 2’3" (69 cm) wide.
Untitled (Jazz Musicians) was fabricated in 1995 and was commissioned by the Sexton Companies.
The sculpture stands at the corner of West Street and Indiana Avenue, across from the Madame Walter Theatre Center. The outdoor sculpture is displayed in an area in front of the Gardens of Canal Court apartments. It is a tribute to the rich Jazz heritage that was a part of the Indiana Avenue area. The location of Untitled (Jazz Musicians) reflects the spirit of this sculpture. Facing West Street, Indiana Avenue, and the Madame Walker Theatre Center, it reminds all those who pass the of the rich cultural heritage that was and is part of this area near the IUPUI campus. In addition, this sculpture stands near another of Spaulding’s sculptures, Jammin’ on the Avenue, which is installed at the entrance to historic Lockefield Gardens apartments, where the artist was born. Lockefield Gardens was the city’s first major public housing project, which was racially segregated at first, in the heart of Indianapolis’s African American community. New construction and renovation of Lockefield Gardens’ seven remaining historic buildings are home to IUPUI students, staff, faculty, and anyone wishing to live in this cultural area, known as the Indiana Avenue Cultural District.
In May 2011, the figure representing a saxophone player was broken off at the knees and stolen. The sculpture also suffered several other cuts. A local newspaper reported on June 13, 2011, that police recovered the piece after it was discovered in a trash bin and brought to a scrap yard for sale.
Quoted from: http://en.wikipedia.org/wiki/Untitled_(Jazz_Musicians)
Untitled (L’s) is a public sculpture by American artist David Von Schlegell. The sculpture is located on the campus of Indiana University-Purdue University, Indianapolis (IUPUI) near downtown Indianapolis, Indiana. Untitled (L’s) was created in 1978, installed in 1980, and dedicated on October 7, 1980. The Minimalist sculpture is composed of three identical steel L’s that were fabricated by a yacht manufacturer in New York. Each component has a steel core with an outer layer of brushed stainless steel that reveals its texture when light reflects off of the surface.
Untitled (L’s) was selected from 100 submissions to be accessioned into IUPUI’s permanent collection, an artist challenge suggested by former IUPUI Faculty Council Secretary, Phillis Danielson. Based on the Pythagorean Theorem of geometry, the University believed that Untitled (L’s) represented the tradition of math, logic, and wisdom at IUPUI. Untitled (L’s) was commissioned with partial funding from the National Endowment for the Arts (NEA) under the “Works of Art for Public Spaces” program while the rest of the funding came from private sources. The project took five years to complete.
David Von Schlegell (1920-1992) was born in St. Louis, Missouri and studied at the University of Michigan before entering the Air Force. As a member of the Arts Students League in New York, Von Schlegell rose to prominence in the 1960s as a sculptor. Working primarily in aluminum, steel, and wood, Von Schlegell was inspired by his wartime experience as an aircraft engineer. In addition to sculpture, Von Schlegell also practiced drawing and painting.
For more information, please see: https://en.wikipedia.org/
Urban Silos was part of the Arts Council of Indianpolis’ Great Ideas Competition.
“Urban Silos sprung from childhood memories of lying on the ground looking at the sky and asking questions like: Why is the sky blue? What are the clouds made of? Most adults stopped looking at the sky in that way a long time ago. I wanted to find a way to recapture that experience and share it with others. The project consists of two towers shaped to resemble grain silos. One is 28′ tall while the other rises to a height of 20′. Two benches/lounges are placed under each silo. When laying on one of these the viewer is forced to look straight up through the silo, which has an opening at the top. The inside of the silo is lined with reflective aluminum. This reflective lining forces the eye to focus solely on the sky they see through the opening at the top. Without any outside visual reference the space between the top of the silo and the sky is non-existent. The color is very intense and feels very close to the outside surface. A more dramatic show occurs during dawn and dusk when the viewer can watch as the circle of color changes hue relatively quickly. The goal is to give the viewer a brief reprieve from reality, to allow a loss of time and spatial relationships to occur and perhaps even trigger a memory of what it was like to be a child.”
The location of this project also plays an important role in its success. Jeff has chosen a space adjacent to the Indiana State Fairgrounds and right along the Monon Trail at 38th and Watson Rd. The Monon Trail, of course, is a popular city Greenway that once was a prominent railroad line transporting many things including grain and livestock to and through Indianapolis. Locating this project adjacent to the old rail line helps to emphasize the agricultural history of the State as well as speaks to the role that the railroad played in that development.
Urban Temple was a community-designed project, meant to serve as a gateway to the Cottage Home neighborhood on the Near Eastside. It forms the centerpiece of a small park. The benches, stone circle, and sculpture are all elements of the artwork. The three vertical elements of the sculpture, connected at the top, symbolizes the unified spirit of the community.
John Terrell Vawter (born January 15, 1830) was a businessman-banker from Franklin, Johnson County, Indiana. He donated the Civil War memorial monument, known as the Vawter Memorial, which features a sculpture by Rudolph Schwarz. The monument is located on the north lawn of the Johnson County Courthouse square in Franklin, Indiana.
The memorial features a sculpture of a standing male Union soldier, high atop a pedestal. He holds a rifle in his proper right hand and his proper left hand is shading his eyes as he looks into the distance. Weaponry includes a revolver on the proper right hip, a sword on the proper left hip, and a cartridge box on the belt. On the front of the pedestal in relief is a bronze eagle and a portrait of John T. Vawter, and on the rear is a flag. All four sides have bronze lions’ heads, which issue water into a semi-circular fountain basin.
Rudolf Schwarz (June 1866 – 14 April 1912) was an Austrian-born American sculptor. Schwarz emigrated to Indianapolis in December of 1897 to help complete the Soldiers’ and Sailors’ Monument, which was designed by German architect Bruno Schmitz. He lived a simple life, almost secluded, and was not well known by the public. For the last seven years of his life, however, Schwarz created and directed a class in sculpture at the John Herron Art School, now Herron School of Art and Design. Schwarz is known from at least 30 sculptural works throughout the state of Indiana, many of which are war memorials.
Verge is a nonrepresentational sculpture that, according to the artist, speaks about relationships and dependence. The central wood piece represents how far someone can push you before you break, while the metal pieces represent how much you can lean on someone before you can no longer stand on your own. The artist has said that most of her artwork comes from a negative place, and creating the work helps her work through her emotions.
Kylie Little was born in Goshen, IN and graduated from University of Indianapolis with a bachelor’s degree in Studio Art and Pre-Art Therapy, with a concentration in Sculpture. As of 2019 she is a MFA candidate at Georgia State University. Little is known for creating work on large scales using natural materials.
Veterans Memorial Obelisk
Veteran’s Memorial Plaza, once known as Obelisk Square, is located immediately north of the Indiana War Memorial. The Obelisk and Fountain rise from the center of the plaza, while flagpoles bearing the flags of each of the 50 United States stand on the east and west sides. Completed in 1930, the park was originally a broad concrete square, but was converted into a landscaped park with trees in 1976 as part of the celebration of America’s Bicentennial. In 2004, the park was again reconfigured to return the ‘line of sight’ aspect of the original architects’ plan. Large ordinance pieces, including tanks and eight World War I German cannons, originally sat at the outside corners of the plaza. During World War II, six of the cannons were melted down for scrap metal. The remaining cannons were moved to new locations when the plaza was converted into a park in the mid-1970s.
Centrally located in the plaza are the Obelisk and Fountain. The Obelisk is a 100-foot shaft of black Berwick granite, ornamented at its base with four bronze bas-relief tablets, each four by eight feet. The Obelisk represents “the hopes and aspirations of the nation, a symbol of the power of nature to reproduce and continue the life of the country.” The tablets represent the four fundamentals on which the nation’s hopes are founded: Law, Science, Religion, and Education. They were set into place in the fall of 1929 under the supervision of Henry Hering, the primary sculptor of the plaza. The pinnacle of the Obelisk is covered with gold leaf. The fountain is 100 feet in diameter and made from pink Georgia marble and terrazzo.
Henry Hering (1874-1949) was a New York-based architectural sculptor well known for his allegorical figures in traditional Beaux Arts and Art Deco style. His work can be found in most major U.S. cities.
The work of Greg Hull often involves movement, even incorporating light into some of his pieces. Both of these are evident in Vicarious (although the lights only come on at night). Vicarious was influenced by Hull’s visit to Scotland and Ireland, countries where his heritage lay. What relationships between Scotland and Ireland can you make to this installation? Hull also has a large installation in the parking garage at the Indianapolis International Airport.
Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Vietnam War Memorial
Designed by Indiana-born architect Patrick Brunner, this unique memorial dedicated to two different wars is made from one large cylinder that is divided proportionally to represent the number of casualties from each war. The Vietnam section of the memorial is slightly larger than the Korean section. The two sections are placed across from one another on the American Legion Mall, representing the distance in time between the two wars. Excerpts of letters written by Hoosier soldiers to family and friends at home are engraved on the convex sides of the cylinder sections, one of the most powerful components of this memorial.
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?
Villagers Bell Tower
There were 80 villagers who went to the school which was located on the site at the turn of the century. The school had a bell in a small tower that was rung three times a day. This project, honors the heart of that community the the history of the school, also has 80 bells (that move with the wind). All materials and labor were donated by the community. The bells were cut-out and welded by a local trade school. All the art (160 images) was created by the students.
As a part of PreEnactIndy, artist Quincy Owens installed four “stained glass” light sculptures on power poles near the Monon Trail at 16th Street and Yandes Street. These pieces glow at night, and may be permanent.
Sponsored by Harrison Center for the Arts, the collaborative theater event took place on October 7th, 2017. Through interactive performances, this preenactment envisioned through interactive performances what a neighborhood ought to be. This public event gave attendees fully-immersive experiences of the active, healthy, and well-designed neighborhood the area deserves, including inspiring public art.
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