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This mural is a fun take on ClusterTruck’s business, which is to provide a central preparation and to-your-door meal delivery service on behalf of its food truck partners.
The mural was designed by Phanomen Design, an Indianapolis-based interior design, architecture and marketing creative team with the mission to make environments more attractive and profitable. It was painted by Pamela Bliss, an Indianapolis-based muralist and sign painter. Learn more about the painter and her other work at https://www.facebook.com/PamelaBlissArt/
Cole Noble District Mural
The triptych mural, created by Shannon M. Johnson, depicts the past, present, and future vision for the Cole Noble District of downtown Indianapolis, Indiana. Funded in part by an Imagine Grant administered through Downtown Indianapolis, Inc., the mural was commissioned in 2011, installed in 2012, and dedicated on May 24, 2012.
Located on the north wall of the Flanner & Buchanan Funeral Center at the corner of College Avenue and Market Street, the Cole Noble District Mural uses three panels to represent the neighborhood. On the left side, the mural highlights the history of the neighborhood with the foundation of Cole Motor Cars. In the center, the mural draws attention to sports and entertainment in the area today. On the right side, the mural depicts community renewal and growth in the future. The mural was created using source photography and illustrations provided by the Indiana Historical Society and the Indianapolis Star.
The artist is an Indianapolis-based creative communications and marketing support professional. With a diverse experience in marketing, communications, and graphic design, Johnson has worked on a number of projects in the area, including client service, arts, civic, social, political, corporate, and private projects.
Find more information about the Cole Noble District here.
Color Fuses consists of 35 bands of painted color and corresponding illumination wrapping the base of the Minton-Capehart Federal Building. Commissioned by GSA’s Art in Architecture program in 1974, the piece emerged from collaboration between Glaser and building architect Evans Woolen, who shared the goal of making the austere building more appealing to the general public. Color Fuses celebrates the interplay of color and light to make the stark, heavy building appear to float weightlessly. To further this effect, Glaser programmed the exterior perimeter lighting, visible from dusk to dawn, to illuminate his mural in a slow rise and fall sequence at night. This rhythm alludes to the gradual rising and setting of the sun and the timeless wonder associated with the qualities of light as it shifts and reveals itself on the horizon.
At the time of its installation, Color Fuses was one of the world’s largest contiguous murals, measuring 672 feet in length. Although the effect of the lighting was minimal when it was originally installed and had to be abandoned, after a 2014 restoration with digitally-controlled LED technology the combination of color and light finally enhances and enlivens the pedestrian experience as the artist intended.
Milton Glaser (b. 1929) is a celebrated graphic designer, probably best known for inventing the iconic “I [heart] NY” logo in 1977. At the time he was commissioned to create Color Fuses, Glaser owned his own design firm and was one of the founders, and chief designer, of New York magazine (1968).
Read more about this artwork at http://www.gsa.gov/portal/content/141903 and http://blog.art21.org/2012/08/28/no-preservatives-restored-and-renewed-milton-glasers-1975-artwork-color-fuses/
Color Me Fishers
Located in the bistro area of the Fishers Kroger supermarket, Color Me Fishers is a whimsical celebration of the rich history, vibrant culture and close community of the City of Fishers. Within the artwork, viewers can find icons such as the year Fishers was established, the Conner House, Geist Reservoir, Fishers Station and even the city flag. Food shapes unite the design, in the same way that food brings people together. The mural is made from individual pieces of painted wood, assembled as if it were a giant puzzle.
William Denton Ray is an Indianapolis native, a mixed-media painter, sculptor and designer working with a variety of forms and approaches. He attended the Columbus (OH) College of Art and Design where he majored in Advertising Design before transferring to the Herron School of Art & Design, IUPUI, to focus on painting and drawing. In 2009 Ray received a coveted Stutz Residency Award and has had solo exhibitions in Indianapolis and Boston as well as numerous group exhibitions throughout the U.S. Ray has executed several public art projects in Indianapolis. His work is in many public and private collections in Indianapolis and in the U.S., France, and Australia. He maintains studios at his home on Indianapolis’ Northside and at the Harrison Center for the Arts in downtown Indianapolis. Read more about Ray at http://www.whimsicalfunk.com/
Color the County - Greenwood
Colorful circles and tree mural painted as part of the Johnson County Community Foundation’s 25th anniversary. In 2016, three murals were installed in three different cities and towns in Johnson County.
Color the County - Trafalgar
This mural was created as part of the Johnson County Community Foundation’s annual mural program, Color the County. It was designed by Chrissy Robertson and Patrick Tisdale, and painted by community members. The design is an ode to the important role pollinators like bees play in keeping our ecosystem healthy.
Color the County - Whiteland
In 2017, Whiteland received its first-ever piece of public art as part of the Johnson County Community Foundation’s “Color the County” program. The program was begun in 2016 to celebrate the Foundation’s 25th anniversary. Each year, at least two murals are designed and created by local artists for towns in Johnson County. For each mural, there is usually a community paint day where locals are invited to participate in the painting of the murals in a “paint by number” system that the artist(s) have created for them.
On the east wall of a local business in Whiteland, Bargersville artist Dave Windisch created a large Valentine’s-Day style heart in shades of red with yellow rays and a light gray shadow. A red pencil line underneath the heart leads to a large red pencil on the right of the mural.
Color the World with Love
The mural project–one of a number of murals under the banner “Color the World with Love”–was created to bring “harmony through geometry,” instilling beauty through art to neighborhoods such as this one on the Near East Side.
The artwork was created with neighborhood and youth group volunteers. Public participation not only offers a fun sense of pride for people working together on an art project, but the finished work becomes a source of peace and unity — a cherished community landmark.
Exploring shapes and patterns, the geometry of hyper-cubes and fractals, the proportioning, balance and their inherent uses as defined by the mysteries of the cosmos, artist Andrew Severns’ style is purely the reflection of his own curiosity. According to Severns, “Art and music are means for scientific discovery, and all truths shall be conveyed through poetry.”
Colors of Cancer
Lilly Oncology on Canvas (LOOC) has provided individuals affected by cancer with an opportunity to share their stories through art and narrative. Since its founding in 2004, in partnership with the National Coalition for Cancer Survivorship, thousands of LOOC participants have been inspired to share their journey with countless others.
This mural illustrates the journey taken by a mother and her daughter. The mother’s daughter was diagnosed with cancer and soon saw it spread to other parts of her body. Each petal brings awareness to the different areas cancer can grow in.
Colors of the White River
This Riverside mural project was coordinated by the Indianapolis Museum of Art (IMA) as a part of Indy Do Day 2016. The mural was designed for the Reconnecting to Our Waterways initiative by local artist Marc Anderson. IMA and IUPUI volunteers did the mural installation and painting. The mural was created partnership with Fusek’s Hardware, who donated the supplies used to create the mural, and Mo Eldin, the business owner of the building where mural is located.
Reconnecting to Our Waterways (ROW) is a grassroots initiative designed to catalyze and bundle neighborhood quality-of-life initiatives, neighborhoods assets, and opportunity for residents living in disadvantaged neighborhoods. The goal is to enrich the livability of Indianapolis and the well-being of residents by generating new and sustainable opportunities to learn about and experience art, nature, and beauty along targeted natural waterways and the neighborhoods around them.
Indy Do Day, a community partnership led by the Rotary Club of Indianapolis, is a “day of service” that helps the people of Indianapolis get to know their neighbors, take ownership of their neighborhoods, and take care of one another. Indy Do Day is described here as “decentralized, ground-up, people-powered community improvement…about building the most civically-engaged community in the nation where every day is a Do Day.”
Marc Anderson is an Indianapolis artist specializing in painting, sculpture, murals, and illustration. Anderson graduated from Washington University in St. Louis with a B.F.A in sculpture and has worked as an art preparator/packing specialist at Indianapolis Museum of Art (IMA) while pursuing is own artwork.
Featuring: Blue Dasher Dragonflies, a Red Ear Sunfish, a Great Blue Heron, a Red-Eared Slider Turtle, & a Green Frog.
Bordered by the White River, Fall Creek, & the Central Indiana Canal, the Riverside Neighborhood Waterways are home to these colorful, water dwelling animals.
Indy Do Day – September 29-30, 2016
Thank you to: Riverside Civic League, Reconnecting to Our Waterways, Indianapolis Museum of Art, Fuseks Hardware, Go Green Auto Recycling, Mo & all the volunteer painters, Mike & all the neighbors
Installed in 2018 as part of a larger project with Transit Drives Indy and the Arts Council of Indianapolis, Coming Soon…Seriously commented in a humorous way on the long process to bring the Red Line Rapid Transit to Indianapolis. The artist was inspired by signs in the environment to create a sign-like sculpture that worked all through the life cycle of the Red Line: the pre-construction publicity, the construction period, the period after construction but before service, and the new rapid service that started in September 2019, when buses began to arrive at the new station every 10-15 minutes. The artwork was intended to be temporary, and was deinstalled in early 2021.
A sound component remains, however, to continue to give Red Line riders a bright moment in their day. The sound element was installed in late 2019 and features musical and ambient sound clips. A highlight is the voice of Indianapolis journalist Jill Ditmire, who passed away in February, 2021 just before the sculpture was deinstalled.
Jamie Pawlus is a conceptual artist based in Indianapolis. She lives in the Fountain Square neighborhood, just blocks from where the sculpture was installed.
This piece, commissioned by The Glick Foundation, embodies the mission of Junior Achievement, which is to educate and inspire young people to value free enterprise, business and economics to improve the quality of their lives. The work depicts a virtual city that is rising vertically in response to the demand for new development and commercial space.
The design features an ornamental, geometric pattern threading together 26 columns representing the evolution of our alphabet.
The premise of the artwork is that there is a common thread linking all cultures. The columns decorated with colors and symbols represent the diversified personalities that make up our society. The bulkheads represent this common thread which we are typically unable to witness in its entirety.
Funding for Vibrant Corridors, a city-wide effort to create murals in key underpasses and gateways around downtown Indianapolis, is provided in part by the Lilly Foundation and the Glick Fund, a fund of Central Indiana Community Foundation, Keep Indianapolis Beautiful, the Arts Council of Indianapolis, and Downtown Indy.
This mural was completed during the 2014 Lilly Global Day of Service with the help of more than 200 Lilly Employees. J. Chin assisted the artist in creating the mural.
Community Canvas, located in the Martindale-Brightwood community, is an interactive art piece, a public mural, and a chalking canvas that allows neighbors and community members to engage and creatively chalk their visions inspired by the question, “To make the world a better place I…” Visitors can use the chalk provided to draw pictures, write quotes, and express themselves on how to positively impact their community. Although initially intended to be temporary, the community (through Circle Up Indy) contributed funds to build it as a permanent outdoor installation at their pride and joy, the new Martindale-Brightwood library branch. The artwork was purchased by the Martindale-Brightwood community after appearing for a year as a temporary installation with Indy Art & Seek, a 2020 project of the Arts Council of Indianapolis and Keep Indianapolis Beautiful.
Boxx the Artist is a self-taught artist, painter, body painter, art instructor, muralist, and entrepreneur. She has been actively practicing the medium of acrylic paint for approximately 4 years professionally, yet has been a lifetime artist in various other forms. Boxx’s visual practice uses acrylic, digital, and mixed mediums to capture different aspects of life in the African diaspora. She focuses on people and experiences, and often documents history as she sees it being created. People are used as metaphors to address relevant social issues and create a dialogue for change. Boxx is expanding the realms of her creativity through integrating technology, intersecting acrylic with mixed mediums, and exploring interactive and public art.
The mural, depicting one of Indiana’s most beloved native flower species being visited by bees, is located on the side of a building at The Forest Flower garden center. Echinacea purpurea (Eastern purple coneflower) is a showy, easy to grow perennial that tolerates moderate drought, and has many benefits including feeding important pollinators and holding soil. The flowers, when dried, can be used to make a tea that reportedly strengthens the body’s immune response system. The mural was painted during an informal artist’s residency in the summer of 2019.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.
Confederate Soldiers and Sailors Monument [removed...
The Confederate Soldiers’ and Sailors’ Monument was first erected in 1912 by the United States government to honor the 1,616 Confederate soldiers who died as prisoners of war at Camp Morton in Indianapolis. It is one of only four memorials to Confederates sponsored by the Federal government. The monument was originally placed in the old Greenlawn Cemetery, where the soldiers had been buried. In 1928, when the cemetery closed, the remains of the soldiers were moved to Crown Hill Cemetery. At the request of the Southern Club of Indianapolis, the monument was moved to a site in Garfield Park near the Southern Avenue entrance, making it more visible to the public. Names of the dead are inscribed on bronze plaques, including those of 24 African-American soldiers. On the north side of the monument, the following inscription is engraved: “Erected by the United States to mark the burial place of 1,616 Confederate soldiers and sailors who died here while prisoners of war and whose graves cannot now be identified.”
The monument became publicly controversial in 2017 after the Unite the Right rally in Charlottesville, Virginia, made the public more aware of the racism inherent in Confederate monuments wherever they appeared. Although there had been plans for years to eventually remove it to Crown Hill Cemetery and place it with the soldiers’ remains, nothing had been done because of the conflict between people who believed it should remain in place to remember Southern history (and who sought to refurbish it), and those who felt it glorified slavery and should be removed. A third faction believed a public interpretive project should contextualize the monument and its meaning, allowing all voices to be heard. 2017’s urgent public calls to remove the sculpture, including one incident of an individual attacking it with a hammer, resulted in more practical discussions about how it could be moved, but no action was taken until the summer of 2020. In the middle of nationwide protests over the killing of George Floyd in Minneapolis and increased public support of the Black Lives Matter movement, the hurtful symbolism of Confederate monuments was again brought to the forefront and the City of Indianapolis dismantled the monument. It is currently in storage.
Confluence was commissioned by the Art Center as a signature piece for ARTSPARK and one of the few permanent pieces in the landscape. One hundred tons of Indiana limestone was transformed into a design referencing ancient stone pillars and a contemporary vision of the White River. The stones were rough-shaped at the quarry and dressed at the Art Center by the artist along with students and volunteers in a collaborative, team-oriented workshop. The sculpture creates a place that connects the Art Center to the river with native stone. Robert Stackhouse is noted for his monumentally scaled watercolor paintings, drawings, and prints as well as his sculpture. By the early 1980s, when Stackhouse had installed major A-frame constructions in many outdoor and museum environments and his diverse serpent and ship forms had become increasingly well known, he had already been regarded as one of the country’s most prominent sculptors
Gift of Michael and Mary Ann Browning, Gradex Corp, Hoadley Quarries, Inc., Independent Limestone Co.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Congressional Medal of Honor Memorial
The Medal of Honor Memorial is a monument located in Indianapolis, Indiana, USA. It is dedicated in honor of all recipients of the Medal of Honor, the United States military’s highest award for valor. The memorial was unveiled May 28, 1999, during Memorial Day weekend.
The Memorial is located on the north bank of the Central Canal, adjacent to Military Park (Indianapolis), and consists of 27 glass panels set in concrete bases. Indiana Limestone in shades of buff, gray, and pink are also a part of the monument. The panels are arranged into 15 walls, each representing an armed conflict in which a Medal of Honor was awarded. The names of the recipients are etched into the glass. At the time of dedication, there were 3,436 Medal of Honor recipients etched into the monument.
The Memorial also contains an elaborate lighting system that illuminates certain panels to correspond with a 30-minute audio tour that is played over a speaker system. The audio tour is made up of stories about the wars, and accounts of living Medal recipients. Many of the stories were recorded by Medal of Honor recipients.
After reading an article in the New York Times written about a June 1998 meeting in upstate New York about an annual meeting of the Congressional Medal of Honor Society, Chairman of the Indianapolis based IPALCO John Hodowal and his wife Caroline, were inspired to assist in the creation of a memorial to honor these individuals whose courageous acts earned them the Congressional Medal of Honor, the United States’ highest military honor. The site that was chosen was the same area where Indianapolis’s first recorded Independence Day celebration was held. Additionally, the site was utilized as a military camp during the U.S. Civil War.
Site preparation began in November 1998, and construction of the memorial began in January 1999. 96 living Medal of Honor recipients attended the unveiling and dedication of the monument on May 28, 1999; the last Memorial Day of the millennium.
The designers of the monument were architect landscape artists Eric Fulford and Ann Reed of ROAMworks . IPALCO Enterprises sponsored the monument.
The Memorial received a 2001 Merit Award from the American Society of Landscape Architects.
Quoted from http://en.wikipedia.org/wiki/Medal_of_Honor_Memorial_(Indianapolis)
Northeast of the Christel DeHaan Fine Arts Center and near the Krannert Memorial Library sits Connected, a bronze and steel sculpture by Bernie Carreño. The steel portions represent individuals, countries, or groups and their tendency to be isolated. The cast bronze section is the connection that keeps these entities from floating completely apart. This is the state that keeps us from ever being disconnected from our past involvements and relationships. The bronze represents flexibility and can move closer and farther apart depending on time and situation.
The ceiling of the pedestrian bridge at the Indianapolis International Airport is covered with a field of interactive illuminated dot lights that display several colors and exhibit a range of intelligent and playful behaviors, accompanied by sounds.
Quoted from: electroland.net/projects/connection/
Convergence comprises two pieces. The street-level piece is a tall, vertical art work placed on the south side of the Indiana Avenue and Michigan Street bridge over the Downtown Canal. The canal-level art work is a rendition of an old canal lock and includes historical information, a water fountain, and a bench for Canal visitors to enjoy. This gateway serves as a highly visible, artistic place-marker, attracting residents and visitors from street down to the Canal. The artist team of Bernie Carreno, Luis Morales, and David Thomas designed, fabricated, and implemented this artistic gateway. Their proposal was chosen after a competitive process that involved public input on the top three proposals.
The Public Collection is a public art and literacy project developed to improve literacy, foster a deeper appreciation of the arts (and artists), and promote social and educational justice in the community.
Through a curated process, several Indiana-based artists were commissioned to design unique book share stations or lending libraries that are installed in public spaces around Indianapolis. Each book share station holds a varied selection of books for diverse audiences and age groups. The Public Collection stations are free and available to everyone. Passersby can borrow and return books at their leisure. Books are supplied and stocked by the Indianapolis Public Library.
Conveyance is intended to translate the transformative properties of reading into an immersive inhabitable environment. A person engaged with a book can transport themselves from one reality to another. Reading can provide new understandings, make connections between people and places, and provide an escape from one’s surroundings. A simple rectangular volume hides a world of information within that can transform a person’s experience. Similarly, inside of Conveyance’s simple, singular shell exists a vivid three-dimensional interior that represents the complexity and depth of human experiences and emotions through reading.
As the project is sited directly adjacent to The Alexander, it was important that it have a presence that compliments the collection of art that exists inside the hotel. All of the work is graphically interesting and visually impactful, framed and balanced by less complex architectural forms. This proposal takes a similar approach, where geometric shapes of a wide color range contrast a simple white volume. The interior form is created through Delaunay triangulation, where each pyramidal shape extrudes more as is gets higher in the space. At the lower portion they flatten out entirely to interfere less with users, while at the highest they become truncated and sunlight is allowed to penetrate the volume. The color transitions from magenta to cyan to yellow as it wraps the interior and onto the book storage, allowing the project to be experienced in various ways, from multiple vantage points. Integrated low voltage lighting will be embedded in the deck and on the storage units to up-light the interior at night, activating the project throughout the evening.
While it is seen and easily accessible by users from South Street, the project’s placement on the site also acts as a visual backdrop for potential events in the lawn of The Alexander. The scale of the project allows for multiple people to occupy the space, and the placement of the book storage units provides access from both sides of the project. Integrated seating elements will provide a temporary place to rest while perusing the books available. The project will attract users and provide an actual space to inhabit, instead of simply being an object in the environment.
Cool Books, Food For Thought.
Like a children’s book illustration, imagine the magic visitors will experience when they approach a stunningly crafted, wood refrigerator in the corridor off of the lobby of the museum. When they open the door, the light goes on illuminating the possibilities of books they can read.
A refrigerator may be the most often used item in people’s homes. It’s welcoming and draws one to it. It spontaneously inspires use, encourages togetherness and leads to good health.
It’s accessible art with an ulterior motive, feed your mind and heart, read a book.
Mac Blackout (born Mark Dunihue McKenzie on June 17, 1977) is an American visual artist and musician from Chicago, Illinois. The founding member of The Functional Blackouts, Daily Void, Mickey, New Rose Alliance and MBB (Mac Blackout Band), he’s also known as a prolific solo recording artist. His projects have been released by Sacred Bones, HoZac, FDH, Pelican Pow Wow and many other prominent independent record labels (see discography). These genre defying recordings range from lo fi noise punk to catchy glam rockers.
Mac was born in Bedford, Indiana, later attending college at the Herron School of Art in Indianapolis, Indiana where he graduated with a BFA in 1999. During his high school and college years he became a well known street artist in the midwest underground. In 1999 he moved to Chicago, Illinois channeling his creative energies into music and the music related art of posters and album covers. From 2000 to present day he has formed several bands releasing more than 10 full length albums as well as a slew of singles in which he has designed many of the covers. He continues to front MBB. Mac is currently a freelance illustrator, muralist, and fine artist creating album covers, posters, drawings, prints, paintings, murals, and mixed media sculptures.
Cottages of the Near Eastside / A Crossing Through...
The two sides of this simply-painted underpass mural highlight two of Indianapolis’ oldest Eastside residential areas. These neighborhoods were once home to the thousands of immigrants that flooded into Indianapolis during the late 19th and early 20th centuries in search of a fresh start.
Cottages of the Near Eastside, on the east wall of the underpass, showcases the facades of homes in the Holy Cross, Cottage Home and Windsor Park neighborhoods as well as in Fountain Square and irish Hill on the Southeast side. if you are familiar with the area, you can pick out the individual houses represented.
A Crossing through Irish Hill, on the west wall, depicts the history of the rail industry in Indianapolis since service first began in the mid-1800s. The Irish Hill neighborhood developed concurrently with the railway, and was historically considered one of the Midwest’s strongest Irish-American communities.
The artist, Jarryd Foreman, is an Indianapolis-based graphic and advertising designer. At the time of the mural’s commissioning, he worked for Angie’s List, headquartered adjacent to Irish Hill.
Counterpoint is architectural in form and dynamic in visual movement. The main body of the sculpture is approximately 10 degrees from the vertical. This tall slender form is precariously balanced by the outstretched stone that hovers above and to the side of the tilting column. The overall composition is a delicate balance of light and dark forms working in unison, creating visual tension and a structural dance. The work is made of powder-coated steel and limestone that is carved in a manner that accentuates the movement of the piece. Gold leaf adorns the form balanced on the cantilevered arm.
In April 2018, the piece was installed on the Washington Street Bridge in the White River Park. The installation is temporary (approx 3 years).
Dale Enochs is a mixed-media sculptor based near Bloomington, Indiana. He has executed numerous temporary and permanent public works in Indiana.
Coyote (1970) is a faithful replica, in limestone, of the 1970 Indy 500 car driven by AJ Foyt. Rendered in actual scale, the detail indicates the sponsorship of many companies like Ford, Firestone, STP. The car number is “7”. The sculpture was a gift to the Indianapolis Motor Speedway from Architectural Stone Sales and the Evans family of Bedford, Indiana.
A.J. Foyt (1935- ) is a legendary race car driver, the only one to have won the Indy 500 (four times), the Daytona 500, the 24 Hours of Daytona race, and the 24 Hours of Le Mans races plus the 12 Hours of Sebring race. He has been inducted into numerous racing sports halls of fame.
The Coyote was a brand of race car chassis designed and built by Foyt’s team for him to race. It was used from 1966 to 1983, with Foyt himself making 141 starts in the car, and winning 25 times. Two of those wins were at the Indy 500 race, in 1967 and 1977. Later, driver and race team owner Eddie Cheever obtained permission from Foyt to use the Coyote name for his new Daytona prototype chassis, debuting in 2007.
Crescendo is the successful implementation of the Art Center’s first National Endowment for the Arts grant. A national call was issued to find an artist who could create a sculpture for ArtsPark during a one-week residency with an interactive community component. Kansas City, Missouri artist Beth nybeck was selected to make the sculpture. Nybeck and the Art Center collected over 6,000 tiles in which members of the community wrote answers to the question “What have you discovered?” These tiles were attached to an armature by the artist and are the main component of the finished piece. Completed October 19, 2012 and on display for 3-5 years.
Made possible by a National Endowment for the Arts Art Works grant and the Efroymson Family Fund, a CICF fund.
Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Crown Hill Equatorial Sundial
The Equatorial Sundial was commissioned by Crown Hill in 1985, fabricated at Woolery Stone Company in Bloomington, Indiana in 1986 and 1987, and completed on site in 1987 by designer and sculptor David L. Rodgers. At the time, it was declared Indiana’s largest equatorial sundial. “We wanted to build something that would catch the interest of the public,” explained Stewart D. Tompkins, then executive vice president of Crown Hill Cemetery. “We also wanted the structure to be educationally stimulating.”
The sculptor incorporated several site-specific factors in his design. A dominant form in the sculpture is the circle. Its presence derives from its appearance in the late art deco style mausoleum, designed by D. H. Bohlen and Son, before which it stands.
The artist concentrates on the themes of man’s orientation in time and space and the natural order of things. By designing a sculpture that is a functional sundial, he establishes for Crown Hill Cemetery a visible relationship between human time and cosmic time. The sculpture, therefore, relates the cyclic birth, maturation and conclusion of each day to the beginning, development, and fulfillment of individual human life.
(the above text is quoted from http://crownhillhf.org/inmemoryof_sundial.html)
David L. Rodgers was a limestone sculptor based in southern Indiana, active in the 1980s and 1990s.
Crown Hill Neighborhood 1
When designing this box, the artist considered what “community” means to the largely Black Crown Hill neighborhood. He opted to use photographs of residents acting communally: picking up litter, enjoying each other socially, attending meetings to decide as a group what happens in their neighborhood. The result is a vivid portrait of the people and activities that makes a place a neighborhood, and just might turn people’s thinking around who believe that “nothing happens” in Crown Hill.
William Rasdell is a photographer and graphic artist based in Indianapolis. His images examine the ways that ethnic convergence can enrich cultures with foods, religions, languages and the arts, and he focuses on the impact of the African presence throughout the diaspora seeking to understand how these cultural relationships have evolved into contemporary societies. In addition to working in Black neighborhoods in his hometown, he has created pictorials that bear witness to the path of influence and retention in daily life and custom in Uganda, Israel, Zimbabwe, Ghana, Nigeria, South Africa, Cuba, Puerto Rico, Jamaica, Mexico, Barbados, Grenada, Trinidad/Tobago and across the United States.
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