User talk:LoriLee/IMADraft

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Source: Wikipedia, the free encyclopedia.

Process

  • We will all be editing on the DRAFT of the article, not the main article. (This will allow the community to OK it first and then they will make it live, not us).
  • You can feel free to begin editing on the draft page whenever you receive your sources. The headings can also be tweaked and added to. Just ask if you're concerned about headings/subheadings.
  • The bibliography is located on the TALK page of the DRAFT. The articles are listed by heading/topic. The reference code can be found on the edit screen. Copy and paste it to the main article draft as you use it. I added it so that you don't have to do it.
  • Being concise is more important than being thorough. Even though you may have 20 sources for a topic, you may only be writing one sentence, a couple of sentences, or a short paragraph (at most) on the entire topic. You will not use every source, I just send on (most of) what I have so you can get a good overview and know what main points to make.

Bibliography

Add potential third party sources here.
Note that Max lectures are primary sources and will be used to fill in later, but not to start. Policy: A primary source may only be used on Wikipedia to make straightforward, descriptive statements that any educated person, with access to the source but without specialist knowledge, will be able to verify are supported by the source.

History/Architecture

Note: Be careful of the year of the source when citing what collections are located in what pavilion. Alex should know if things are accurate or not.

  • Every Way Possible: 125 Years of the Indianapolis Museum of Art.(2008)[1]
  • The Herron Chronicle. (2003).[2]
  • "Spreading Its Wings." Lighting Design and Application. November 2005. (Overview of 2005 construction).[3]
  • The Toby: Zaptown Mag. December 2009. (Extensive article about Toby programming).[4]
  • "Architectural Jewel in the Midwest." The Christian Science Monitor. 1997. (Available through ProQuest.)[5]
  • "All other holdings are in a modern structure dating from 1970, with a wing by Edward Larrabee Barnes added four years ago." From "Hidden Treasure of the Midwest". Chicago Tribune. 1994. (Available through ProQuest.)[6]
  • Great summary of 2006 reopening."European art galleries set to reopen." News Gazette. 2006. (Available through ProQuest).[7]
  • See architectural powerpoint for overview. (Emailed)

Collections

Paragraph 1

Will compile curatorial input on highlights of the collection into one paragraph.

  • USA Today. May 2009. (States number of objects in collection) (pdf.)[8]
  • Six PR items regarding 125 gifts for 125 years, may include mention of specific artworks that would be helpful. (Ask for pdfs).
  • General Notes: "Among the major gifts is an important collection of Chinese art given in 1971 by R. Norris Shreve, followed in 1973 by Kurt F. Pantzer's initial gift of watercolors by Joseph Mallord Turner. (The balance was received in 1979, making the museum's collection of Turner material the largest in the United States.) In 1976, Herman and Elnora Krannert bequeathed an extensive collection of Old Master paintings and decorative objects. And in 1977, the museum was gifted with the W.J. Holliday Collection of Neo-Impressionist paintings, the largest of its kind in America." From "Architectural Jewel in the Midwest." The Christian Science Monitor. 1997. (Available through ProQuest.)[5]
  • "The museum's permanent collection includes the works of Rembrandt, Gauguin and Winslow Homer."Cite error: The <ref> tag has too many names (see the help page).
  • "The permanent collection at the Indianapolis Museum of Art features African, American, Asian and European art and the largest collection of watercolors by J.M.W. Turner outside of Great Britain."Cite error: The <ref> tag has too many names (see the help page).
  • Great Collections & Acquisitions Overview.[9]

Paragraph 2: European/American

Include 1-2 sentences on donor, important years in the development of the collection, artists or types of artwork that it's comprised of, number of objects in collection, on each of the following...
Fesler: 20th Century Modernism Collection/Exhibit

  • (20th-century modernism) (p.112-113) (Gifted in January 1961, Memorial Exhibit Nov 16-Dec 17).
  • "Six valuable paintings and $500,000 were left to the Herron Art Museum by Caroline Marmon Fesler, daughter of the late Daniel W. Marmon, founder of the Marmon Motor Car Co...In a preliminary accounting, value of the estate was placed at $1.6 million...The $500,000 bequest to the museum was left to the Art Association of Indianapolis with the provision that it must be used for improvements on the property located at 16th and Pennsylvania. The six paintings left to the museum are "Music" by Picasso; "Horse and Rider," Chagall; "Seated Girl," Matisse; "Still Life with Red Fish," Braque; "Street of Arcades," DiChirico, and "Circus Horses," Marie Laurencen. In addition, Mrs. Fesler directed that other paintings and art objects previously loaned to the museum were to become the museum's property." From "Fesler Will Gives Herron $500,000." Indianapolis News. January 1961. [10]
  • "The gift is especially significant because none of these artists <were> previously represented in the collection of the Museum...In November a special exhibition entitled "Tribute to Caroline Marmon Fesler, Collector," will give recognition to the discriminating taste of Mrs. Fesler in her selections of post-impressionist and modern paintings. Included in the exhibition will be works comprising the Marmon Memorial Collection, given to the Museum by Mrs. Fesler during her lifetime. Masterpieces in this group are by Ruisdael, Hobbema, Cuyp, Kalf, Corneille de Lyon, Cezanne, Van Gogh and Seurat." From, "Herron Receives 8 Modern Masterpieces." The Indianapolis Star. September 1961.[11]

Clowes Fund Collection of Old Masters

  • Every Way Possible (p.236-239). (p.226)
  • "...Dr. George Henry Alexander Clowes, a local collector of Old Master paintings. Among the standouts here are a sketch for Rubens' "Triumphant Entry of Constantine Into Rome"; self-portraits by Rembrandt and Frans Hals; and three El Greco paintings, one of which (a depiction of the apostle Matthew) is most important." From "Hidden Treasure of the Midwest". Chicago Tribune. 1994. (Available through ProQuest.)[6]

Holliday Collection: Neo-Impressionism

  • Every Way Possible, (p.202-203)
  • "Inspired by the Indiana industrialist's fondness for the work of Georges Seurat, the W.J. Holliday collection is the largest public assemblage of neoimpressionist paintings in America." From "Indianapolis: One of the oldest museums in the country constantly updates its image." USArts. June 1987.[12]
  • Birthday gifts to the IMA top 125. Indianapolis Star. 2009. (Available through ProQuest) [13]
  • "80 paintings, drawings, and watercolors were included in the IMA's exhibition The Aura of Neo-Impressionism:The W.J. Holliday Collection. The exhibit was open from January-March 1983."[14]
  • "The Holliday Collection of Neo-Impressionist Art is the largest representation in an American museum of the international movement that began in the mid-1880s with the work of Georges Seurat. Among the 96 pieces-many by artists little known in the United States-is one of Seurat's beautiful late "Gravelines" landscapes." From "Hidden Treasure of the Midwest". Chicago Tribune. 1994. (Available through ProQuest.)[6]

Pantzer: Turner Collection

  • Every Way Possible: (p.196-197)
  • "...most notably the J.M.W. Turner Collection, which Pantzer donated to the Indianapolis Museum of Art. The collection is the second-largest collection of Turner's work in the world, and is widely regarded as one of the museum's most important collections." "Anna Grace Ritchie assisted museum with J.M.W. Turner art collection."Indianapolis Star. January 2, 2000. (Available through ProQuest) [15]
  • "The museum's collection of Turners includes 51 watercolor and oil paintings and several prints. It was formed by Kurt Pantzer of Indianapolis and given <to> the museum in memory of Dr. and Mrs. Hugo Pantzer by their children. The works are displayed in a three-room suite on the second floor of Clowes Pavilion." From Indianapolis News. January 1979. [16]
  • "Its pride is a group of watercolors and prints by English Romantic artist Joseph William Mallord Turner. He is represented by about 50 watercolors-in America only the Mellon Center at Yale University has more-and each state of every one of his prints plus an enormous amount of work by precursors, contemporaries and followers." From "Hidden Treasure of the Midwest". Chicago Tribune. 1994. (Available through ProQuest.)[6]

Josefowitz: Pont-Aven School

Paragraph 3: Ethnographic/Objects

Include 1-2 sentences on donor, important years in the development of the collection, artists or types of artwork that it's comprised of, number of objects in collection, on each of the following...
Eiteljorg (African & South Pacific Art)

  • Every Way Possible, (p.210-211)
  • "Eiteljorg Gallery of African Art: When local businessman Harrison Eiteljorg donated 1,200 pieces of African art and artifacts to the IMA in 1989, he kick-started what has become a collection of more than 2,000 objects. While Eiteljorg collected primarily works from West Africa, the IMA has since expanded its holdings to include work from other regions of the continent. Included in the collection now are not only historical pieces from the 19th and 20th centuries, but contemporary works. In the gallery through July 15 is "West African Ceramic Vessels," which consists of 41 traditional earthenware vessels from several West African cultures." From [(Available through ProQuest) [18]
  • "Also exceptional is the Eiteljorg Collection of African Art, which occupies about 11,000 square feet in a pioneering installation that has pieces out in the open, juxtaposed with ethnographical photographs showing the objects' use. This is quite different from the more orthodox display in the museum's Asian galleries of the Eli Lilly Collection of Chinese art, whose 200 pieces constitute one of the widest ranging collections of Chinese material ever assembled by an individual in America." From "Hidden Treasure of the Midwest". Chicago Tribune. 1994. (Available through ProQuest.)[6]

Eli Lilly Collection of Chinese ceramics and bronzes

  • Every Way Possible(p.128-129)
  • "The three story Krannert pavilion houses the Eli Lilly Collection of Chinese art, along with American and European paintings and sculpture and traveling exhibitions. Lilly acquired the 150 pieces for donation to IMA in order to promote a "high appreciation of the beautiful tranquility and compassion" he so admired in the Chinese people." From "Indianapolis: One of the oldest museums in the country constantly updates its image." USArts. June 1987.[12]

Glick family: Studio-art glass

  • "On Sept. 4, (1997) the museum will open an exhibit of 74 works of glass studio art from the collection of Marilyn and Eugene Glick. The entire collection of more than 200 pieces already has been promised to the IMA. "I felt if we were to give something to the museum that it should be something that otherwise might not be there," Marilyn Glick said. "I'm glad the collection will have a home in the museum."" From "Art museum opens wallet for new work." IBJ. 1997. (Available through ProQuest.)[19]
  • Quote from article: In 1997, philanthropists Gene and Marilyn Glick donated more than 200 pieces of studio-art glass, which make up a part of the museum's European and American Decorative Arts collection.[19] (Add Resurrection.)

Paragraph 4 (Textiles & Fashion Arts)

Include 1-2 sentences on donor, important years in the development of the collection, artists or types of artwork that it's comprised of, number of objects in collection, on each of the following...
Eliza Niblack (textiles)

  • Fabrics in Celebration from the Collection was an exhibit in 1983, part of museum's 100th anniversary. Spanned 2,500 years, exhibit showed 185 items from the 7,000 piece collection, representing "virtually all of the world's traditions in fabric." Museum was one of the first art institutions to collect textiles... much of the collection was given by sisters Eliza and Sarah Niblack between 1916 and 1933, (who came to Indianapolis from) Vincennes." The museum's North African collection stems from the Niblack family, who also had a large lace and textile collection.[20]
  • Every Way Possible, (p.104-105)

Boucher family: Baluchi rugs

Fashion Arts Collection

  • "Yassin comments, 'We've become very successful... particularly in our fashion-design collection. We have donors from all over the country. IMA has become the place for fashion design.'...The museum specializes in twentieth=century, custom-designed costumes by such masters as Givenchy, Chanel, and Balmain, but includes virtually all of the world's greatest fabric traditions, as well." From "Indianapolis: One of the oldest museums in the country constantly updates its image." USArts. June 1987.[12]
  • "Fashion Museums from NYC to LA." New York Times. February 2011. (Source for "7,000 fabrics and fashion arts items" online).[22]

Paragraph 5: Contemporary/Design

Contemporary Collection

Design Collection

  • Every Way Possible: (p.290): Its connection to early IMA history. Mention traveling exhibit but leave details for below.
  • "Living by design." Indy Star, April 2009. (Available through ProQuest)[24]

Notes: "The European design show is not just an exhibit," he adds. "It is part of a much bigger design movement at the museum. The IMA is making a major commitment now to modern design. "We opened the Design Center last year, we opened a new post-World War II design gallery last year, and we are going to be acquiring the Miller House in Columbus this year. "The show is a way to announce locally, nationally, internationally that the museum has made this commitment to design."

Deaccession transparency

Can use a couple of these sources to note deaccession database and collection transparency, provenance research.

  • "The Permanent Collection May Not Be So Permanent." New York Times. January 2011. (Mention of IMA deaccession policy & Max quote). [26]
  • "Garage Sales, So to Speak, but with Cachet." New York Times. February 2010.[27]
  • The Art Newspaper. "Art Market." (Quotes from Katie Haigh about reasons for deaccessioning)[28]
  • CultureGrrl blog, March 2009 (Deaccession database)[29]
  • TIME blog, March 2009 (Deaccession transparency interview)[30]
  • IndyStar, March 2009 (Deaccessioning)[31]
  • Artdaily.org, March 2009 (Deaccession Database)[32]
  • ARTINFO, March 2009 (Deaccession Database)[33]
  • Antiques & the Arts Weekly, March 2009 (Deaccession database)[34]
  • Chronicle of Philanthropy, March 2009 (Deaccession database)[35]
  • Courier-Journal, March 2009 (Deaccession database)[36]
  • artsJournal, March 2009 (Deaccession database, transparency, Dashboard)[37]
  • Modern Art Notes, April 2009 (Mention of transparency in deaccessioning)[38]
  • Artnews. March 2009. (Max discussing 1970 line for provenance).[39]

Exhibitions

Saint Gaudens Memorial Exhibition

  • Every Way Possible, p.59
  • (Use as source:)"Saint Gaudens Exhibit Will Be Brought Here: Art Association Committee Reaches Decision, 50,000 Attendance Needed." The Indianapolis News. November 24, 1909.[40]

Dutch Paintings of the Seventeenth Century

  • Every Way Possible, p.106
  • Notes: "Sixty-five paintings including several rare Rembrandts and three originals to be sent by the Netherlands government, will make up the exhibit." From, "Dutch Artists' Collection to be Shown Here: 65 Paintings, Including Several Rembrandts, Will Go on Exhibition at herron Feb. 27." The Indianapolis Star. January 23, 1937.[41]

The Holliday Collection

  • Every Way Possible, p.194
  • "80 paintings, drawings, and watercolors were included in the IMA's exhibition The Aura of Neo-Impressionism:The W.J. Holliday Collection. The exhibit was open from January-March 1983."[14]

Art of the Fantastic: Latin America, 1920-1987

  • Every Way Possible, p.204
  • Traveled to New York, Miami, and Mexico City.
  • "The IMA launched the first major exhibition of works by Latin American artists to be seen in the United States in over twenty years. The exhibition and related programs will be the cornerstone of the city's Pan American Arts Festival...This summer, IMA will offer visitors a rare view of the art of Latin America with "Art of the Fantastic," opening June 28 and featuring twenty-nine artists from ten countries. "Fantastic art has found important expression in the twentieth century, most notably in surrealism," points out IMA curator of contemporary art Holliday Day, who organized "Art of the Fantastic' with chief curator Hollister Sturgis....Enhancing the colorful art works will be a film series, children's programs, and concerts. A symposium, "The New World Dialogue," will feature Latin American artists, writers, and scholars. An interdisciplinary course, offered for college credit at area universities and open to the general public as well, will be "a unique undertaking," Yassin comments."[12]
  • "Art of the Fantastic: Latin America, 1920-1987," the first major Latin American art exhibition held in the United States in 21 years - and the first ever to examine 20th-century Latin American artists. This cornerstone of the year-long Pan American Arts Festival opens at the IMA on June 28 and runs through September 13....Some of the artists are internationally known - Rufino Tamayo, Wifredo Lam, Frida Kahlo and Roberto Matta; the works of several others have never been viewed outside of their own country."[42]

William S. Paley Collection

Gifts to the Tsars

  • Every Way Possible, p.227
  • "Russian exhibit cultural coup for museum." Indianapolis Star. March 18, 2001. (Available through ProQuest).[45]
  • Notes:"Officials at the Indianapolis Museum of Art say Gifts to the Tsars, 1500-1700: Treasures from the Kremlin , which closed its four-month run on Jan. 13, was the most popular exhibition the museum has ever held. The exhibit, a joint effort between the IMA and the Kremlin's Armory Museum in Moscow, brought in a record 70,704 visitors, according to museum officials. Though attendance was below the 100,000 museum officials had hoped for, it still exceeded the previous high of 60,837, set i n 1992 by The William Paley Collection exhibit." From, "'Tsars' rules art museum record books." Indianapolis Star. January 2002. (Available through ProQuest). [45]

Roman Art from the Louvre

Sacred Spain

  • IndyStar, Indy Sunday feature. October 2009.[47]
  • IBJ. December 2009.[48]
  • USA Today. December 2009.[49]
  • NYTimes. December 2009. (Extensive article).[50]
  • CBS News. December 2009. (Extensive article).[51]
  • The Criterion. October 2009. (Also have a related story about conservation treatments)[52]
  • NUVO Review. October 2009.[53]
  • IndyStar. October 2009. (Gala and Sacred Spain)[54]
  • Indianapolis Monthly. October 2009.[55]
  • IBJ Review. October 2009.[56]
  • Christian Science Monitor. October 2009.[57]

Andy Warhol Enterprises

  • ARTINFO, December 2010 (print, pdf.)[58]
  • IndyStar, October 2010 (Includes curator quotes) (print, pdf.)[59]
  • IndyStar Best Bet, October 2010 (Short print, pdf.)[60]
  • IndyStar, Flash Mob, August 2010 (print, pdf.)[61]
  • IndyStar, October 2010 (Includes Nourish cafe, discusses Campbells, etc.)(print, pdf.)[62]
  • IBJ, September 2010 (print, pdf.)[63]
  • American Style, September 2010 (print, pdf.)[64]

Hard Truths: The Art of Thornton Dial

European Design Since 1985

  • "Living by design." Indy Star, April 2009. (Available through ProQuest)[24]
  • Wall Street Journal, April 2009 (pdf.)[74]
  • IndySunday, March 2009 (pdf.)[75]
  • Home Miami, May 2009 (Detailed write up) (pdf.)[76]
  • I.D. International Design, Mar-April 2009. (pdf.)[77]
  • The Art Newspaper, March 2009. (pdf.)[78]
  • DeTnk, March 2009. (Discusses design symposium) (pdf.)[79]
  • Antiques and the Arts Weekly, February 2009. (pdf.)[80]

Venice Biennale

Gardens and Grounds

100 Acres


Next Installation: Mary Miss


Other

  • NYTimes, March 2009 (Museum Section, discusses delay.))[106]
  • ARTnews, April 2009.[107]
  • IndyStar, August 2009.[108]
  • Artdaily.org, September 2009 (Curator quotes.)[109]
  • Metropolis, September 2009.[110]
  • Architectural Record, October 2009.[111]
  • IndyStar, November 2009 (Basic description of each artwork.)[112]
  • SCULPTURE, December 2009 (Brief.)[113]

Westerley

  • Press release: Can't use as source but can use for info if needed.

Conservation

  • Importance in establishing regional conservation resource and first site for organizing midwest regional conservation guild.[120]
  • 1973 article: Background of new museum and conservation lab in 1970, conservation department "one of the finest operations of its kind in the country." Spheeris as head conservator.[121]
  • "The Historical Bureau, the Indiana Historical Society, and the Museum collaborated to conserve the old and damaged portraits, resulting in an October, 1977, contract with the Museum's conservation Laboratory for the restoration of the paintings. Thorough documentation with written reports and photographs of the restoration will provide a permanent archival record to serve historian and resources of the future....Restoration of the portraits began in October 1977 and finished in December 1978 (15 months)...Photography under different lighting conditions was used to detect distortions of the canvas such as sagging or bulging. It also made visible any "tenting," a lifting-up of the paint caused by the shrinking of the canvas due to water damage. Ultra violet radiation was used to disclose overpainting and to determine the extent of varnish layers covering the portrait. The IMA's conservation laboratory employs five full-time conservators. They care for and maintain all objects in the Museum's collection, as well as contract work with private and public collections."[122]
  • "The IMA's department handles a good deal of contract work from across the Midwest."[123]
  • "Portraits and Painters of the Governors of Indiana" Exhibit from January 25, 1979-March 1979 (extended) after which they went on permanent view at the Indiana Statehouse. The 45 governors portraits underwent 15 months of preservation by the IMA's conservation department. Used UV radiation to show overpainting and levels of varnish. At the time, the IMA was one of only four museums in North American to own an Infra-red Vidicon System.[124]
  • By 1979, the IMA conservation staff and equipment "as good as any in the country" and known as regional center for conservation. The department became partially self-supporting through work done for other museums and galleries. Staff make on-site inspections and recommendations for priorities for the restoration of works.[125]

Conservation science

Administration

  • "A Wider Canvas". Indy Star. 2007. Great overview of IMA's changes, new ad campaign, welcoming atmosphere, drop admission fee, etc. Could also use in Lead section. (Available through ProQuest).[25]
  • "Hoosier reflections." Indianapolis Star. December 2009. (Mention of rehabilitation, accessibility of IMA) (Available through ProQuest).[131]
  • PCMA Convene. June 2009. (IMA mentioned as part of cultural tourism in Indy).[132]
  • 2008 Tax Info

Free admission

Affiliates

  • In 1979 the Alliance of the IMA gave $350,000 toward the $40 million centennial endowment campaign. "The Alliance is a unique volunteer group among American museums," with 1,300 volunteers working toward the endowment fund. They assist with permanent operating support for exhibitions, programs, and other community services. In 1979 they organized the Alliance Museum Shop, the Alliance Rental Gallery, the Better Than New Shop, and ran an annual consignment sale and organized a cook book.[138]
  • 70 examples of artwork in "The Print and Drawing Society Collections" exhibit, April 24, 1979. First major public presentation by the P & D Society, who at the time was the newest affiliate organization. Representing more than 500 years of graphic art. Found in, "Museum to display art collected by society," Plymouth Pilot-News, April 1979.[139]
  • "Fashion Art Society rolls out new programming." Indianapolis Fashion Collective.

Technology Initiatives

IMA Lab

Dashboard

  • The Art Newspaper. "Time to lose control." (IMA Dashboard, p.9)[145]

TAP

Art Babble


Partners

Art4Ex

IND Airport

Awards

Other

References

  1. ^ Berry, S.L. (2008). Every Way Possible: 125 Years of the Indianapolis Museum of Art. Indianapolis Museum of Art.
  2. ^ Warkel, Harriet G. (2003). The Herron Chronicle. Indiana University Press.
  3. ^ "Spreading Its Wings" (PDF). Lighting Design and Application. 35 (11): 52–56. 2005. {{cite journal}}: Unknown parameter |month= ignored (help)
  4. ^ Duncan, Andrew (December 16, 2009). "Let's Go Out To The Movies: The Toby". Zaptown.
  5. ^ a b "Architectural Jewel in The Midwest With its Hulman Pavilion, the Indianapolis Museum is lyric and quietly monumental". The Christian Science Monitor. August 8, 1990.
  6. ^ a b c d e Artner, Alan G. (Jul 17, 1994). ""Hidden" Treasure of the Midwest Beyond Our City's Limits, Museums House Masterpieces of Art". Chicago Tribune.
  7. ^ "European art galleries set to reopen today". The News Gazette. Dec 3, 2006.
  8. ^ Yancey, Kitty B. (May 22 2009). "Summer travel '09: Freebies across the USA". USA Today. {{cite news}}: Check date values in: |date= (help)
  9. ^ Mullinix, Donna S. (May 13, 1998). "Treasure HUNT; The Indianapolis Museum of Art displays pieces collected during the past 10 years in a new exhibit". Indianapolis Star. Retrieved April 12, 2011.
  10. ^ "Fesler Will Gives Herron $500,000". The Indianapolis News. January 11, 1961.
  11. ^ "Herron Receives 8 Modern Masterpieces". The Indianapolis Star. September 1961.
  12. ^ a b c d Wade, Marcia (June 1987). "Indianapolis: One of the oldest museums in the country constantly updates its image". USArts.
  13. ^ Marshall, Konrad (March 24, 2009). "Birthday gifts to the IMA top 125". Indianapolis Star.
  14. ^ a b "W.J. Holliday Collection". Art World. January 23, 1983.
  15. ^ "Anna Grace Ritchie assisted museum with J.M.W. Turner art collection". The Indianapolis Star. January 2, 2000.
  16. ^ "Watercolor By Turner Stolen From Museum". The Indianapolis News. January 10, 1979.
  17. ^ McQuiston, Julie P. (1999). "Guaguin and the School of Pont-Aven: The Samuel Josefowitz Collection". Dialogue. 22 (5): 23. {{cite journal}}: Unknown parameter |month= ignored (help)
  18. ^ "The art of diversity; Museums feature more works by Africans and by blacks of the New World". The Indianapolis Star. March 25, 2007.
  19. ^ a b King, Mason (August 25, 1997). "Art museum opens wallet for new work". Indianapolis Business Journal.
  20. ^ Van Nuys, Kathleen (August 3, 1983). "Museum Cares for Textiles". The Indianapolis News.
  21. ^ Berry, S.L. (April 13, 1997). "Beauty is the magic in woven carpets". The Indianapolis Star.
  22. ^ Harpaz, Beth J. (February 8, 2011). "Fashion Museums From NYC to LA, Paris and More". ABC News. Retrieved 11 March 2011.
  23. ^ Sheets, Hilarie M. (March 28, 2007). "Seeking a Lift From the Contemporary". New York Times.
  24. ^ a b Nancrede, Sally F. (Apr 4, 2009). "Living by design". The Indianapolis Star.
  25. ^ a b Lloyd, Christopher (September 9, 2007). "A wider canvas; Savvy ads and new exhibits boost IMA attendance and membership". The Indianapolis Star.
  26. ^ Pogrebin, Robin (January 26, 2011). "The permanent collection may not be so permanent". The New York Times. Retrieved 18 February 2011.
  27. ^ Rozhon, Tracie (February 17, 2010). "Garage Sales, So to Speak, but with Cachet". The New York Times. Retrieved March 11, 2011.
  28. ^ "Museum Sales Keep the Auctioneers Happy". The Art Newspaper. October 2009.
  29. ^ Rosenbaum, Lee (March 17, 2009). "Deaccession Heaven: Indianapolis Museum of Art Does It Right". Culture Grrl.
  30. ^ Lacayo, R (March 18 2009). "Talking to Neal Benezra". TIME blog. {{cite news}}: Check date values in: |date= (help)
  31. ^ Marshall, Konrad (March 15, 2009). "Art For Sale". The Indianapolis Star.
  32. ^ "Indianapolis Museum of Art Launches Searchable Database of Deaccessioned Artworks". Artdaily.org. March 17, 2009.
  33. ^ "Indianapolis Museum Launches Deaccessions Database". ARTINFO. March 16, 2009.
  34. ^ "Indianapolis Museum of Art Launches Database of Deaccessioned Artworks". Antiques and the Arts Weekly. March 27, 2009.
  35. ^ "In the Arts: Indiana Museum Demystifies 'Deaccessioning'". The Chronicle of Philanthropy. March 24, 2009.
  36. ^ Heilenman, Diane (March 22, 2009). "Indy museum opens the books on items up for auction Web: site lists available works". Courier-Journal, Louisville, KY.
  37. ^ Dobrzynski, Judith H. (March 10, 2009). "Deaccessioning in Public". artsJournal.
  38. ^ Green, Tyler (April 23, 2009). "Spring Deaccessioning Roundup". Modern Art Notes.
  39. ^ Seligson, Joelle (March 2009). "A Loophole for Loot?". ARTnews.
  40. ^ "Saint Gaudens Exhibit Will Be Brought Here: Art Association Committee Reaches Decision, 50,000 Attendance Needed". The Indianapolis News. November 24, 1909.
  41. ^ ""Dutch Artists' Collection to be Shown Here: 65 Paintings, Including Several Rembrandts, Will Go on Exhibition at herron Feb. 27."". The Indianapolis Star. January 23, 1937.
  42. ^ Alexander, Nancy (1987). "The Art of the Fantastic: The works of three generations of artists explore the Latin American exprience in a dazzling new exhibit at the IMA". Indianapolis Magazine. {{cite journal}}: Unknown parameter |month= ignored (help)
  43. ^ Nancrede, Sally F. (November 9, 1992). "Haven't seen the Paley exhibit?". The Indianapolis Star.
  44. ^ Mannweiler, David (February 4, 1992.). "This is a biggie, folks". The Indianapolis Star. {{cite news}}: Check date values in: |date= (help)
  45. ^ a b Berry, S.L. (March 18, 2001). "Russian exhibit cultural coup for museum". The Indianapolis Star. Cite error: The named reference "TsarsBerry" was defined multiple times with different content (see the help page).
  46. ^ Lloyd, Christopher (September 23, 2007). "IMA's toga party; The Louvre lent local museum some of its best treasures of ancient Rome". The Indianapolis Star.
  47. ^ Cope Saetre, Julie (October 4, 2009). "IMA Exhibit Explores Religious Symbolism". The Indianapolis Star.
  48. ^ "Rare sacred art exhibition boosts museum attendance". The Indianapolis Business Journal. December 2, 2009.
  49. ^ Kusmer, Ken (December 2, 2009). "Indianapolis museum displays art of 'Sacred Spain'". USA Today.
  50. ^ "Rare Exhibition Brings Together Spanish Sacred Art". The New York Times. December 2, 2009. {{cite news}}: Check date values in: |date= (help)
  51. ^ "Rare Exhibition Brings Together Spanish Sacred Art". CBS News. December 2, 2009.
  52. ^ Wyand, Mary Ann (October 23, 2009). "Connecting art and faith: Historic Catholic artwork and artifacts are celebrated in 'Sacred Spain' exhibit". The Criterion.
  53. ^ Hoppe, David (October 14, 2009). "Sacred Spain Art and Belief in the Spanish World". NUVO.
  54. ^ "In tribute to IMA exhibit gala has a Spanish vibe". The Indianapolis Star. October 18, 2009.
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Architecture notes

The architect for the original building was Ambrose Richardson (1917-1995) biblio record with oral interview from the AIC, 1970 " I said there's a lot of Mies in my eclectic art museum in Indianapolis. But I don't think anybody except the director and I—the then director, he's passed away—knew how Miesian it was. He wrote up in the book that I was one of Mies's first students, and the building was really based on Miesian principles. But I don't think that was taking Mies's principles any further, just because I brought it back to a kind of classic expression." He studied with with Mies.

Edward Larrabee Barnes, 1990.

2005 Addition was done by local architect Jonathan R. Hess of Browning Day Mullins.

For a good Max talk about the history of the IMA and its context of the city:

http://www.artbabble.org/video/ima/imagination-drives-innovation-and-knowledge

Strategic plan board room panels

Collection and program vitality

  • Acknowledge the importance of IMA's collections
  • Represent new collection areas methodically
  • Acquire new works that present new art historical narratives
  • Broaden presentation of contemporary art to reflect global trends in all media.
  • Strengthen the IMA's national and international reputation through its exhibition program
  • Create innovative, ongoing educational and public programming for the permanent collection, 100 Acres, Miller and Lilly houses, The Toby, and the Conservation Science Lab
  • Reinstall the permanent collection galleries
  • Maximize the educational value of the IMA's natural resources and grounds
  • Reach new online audiences by expanding content that highlights the IMA's permanent collections, exhibitions, and programs

Research Leadership

  • Establish the IMA as a research leader among its peers in the areas of art history, conservation science, information science, and visitor studies
  • Develop professional growth of staff as researchers within the institution, building the IMA's capacity to generate new knowledge and perform meaningful research
  • Make IMA a leader among museums promoting the production and sharing of open content and scholarship
  • Become an organization where models for evaluation are conceived, implemented, and shared; commit to long-term evaluation and the analysis of results as part of routine planning processes
  • Develop collaborative relationships with researchers and institutions that enhance IMA's research capacity internationally

Regional, national, and international initiatives

  • Art4Ex (Art for Expertise): Bringing great loans of art to Indianapolis in exchange for lending expertise
  • MCALS (Mellon Curators-At-Large): Furthering new research to support our collections and exhibitions by means of non-resident curatorial appointments
  • IMA Labs: Devising new technologically grounded solutions for museums including IMA that promote research and access while contributing to the bottom line
  • IMA Art Services: Providing technical and design expertise in the display of art for public and non-governmental agencies

Properties and projects

  • Permanent Locations
IMA Main Campus
100 Acres
Miller House
Westerley
  • Greater Indianapolis satellite operations
Indianapolis International Airport Art Program
(checking with Meg)
  • Potential satellite operations
(checking with Meg)
(checking with Meg)
  • National and international collaborations
IMA Lab clients: Art Institute of Chicago, Smithsonian, Atlanta History Center, Corning Museum of Glass
Art4Ex partners in place and in discussion: Rome, Museuo Nazionale Romano, Bogota, Museo de Arte Colonial and the Museo de Oro, New Delhi, Indira Gandhi Museum, Beijing, Ministry of Culture, Nairobi, National Museums of Kenya

For later

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