User talk:LoriLee/IMADraft

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.

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)
 * The Herron Chronicle. (2003).
 * "Spreading Its Wings." Lighting Design and Application. November 2005. (Overview of 2005 construction).
 * The Toby: Zaptown Mag. December 2009. (Extensive article about Toby programming).
 * "Architectural Jewel in the Midwest." The Christian Science Monitor. 1997. (Available through ProQuest.)
 * "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.)
 * Great summary of 2006 reopening."European art galleries set to reopen." News Gazette. 2006. (Available through ProQuest).
 * See architectural powerpoint for overview. (Emailed)

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.)
 * 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.)
 * "The museum's permanent collection includes the works of Rembrandt, Gauguin and Winslow Homer."
 * "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."
 * Great Collections & Acquisitions Overview.

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 Clowes Fund Collection of Old Masters Holliday Collection: Neo-Impressionism Pantzer: Turner Collection Josefowitz: Pont-Aven School
 * (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.
 * "The gift is especially significant because none of these artists 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.
 * 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.)
 * 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.
 * Birthday gifts to the IMA top 125. Indianapolis Star. 2009. (Available through ProQuest)
 * "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."
 * "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.)
 * 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)
 * "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  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.
 * "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.)
 * Every Way Possible, (p.222-223)
 * Guaguin and the School of Pont-Aven: The Samuel Josefowitz Collection Dialogue. Sep/Oct 1999.

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) Eli Lilly Collection of Chinese ceramics and bronzes Glick family: Studio-art glass
 * 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)
 * "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.)
 * 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.
 * "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.)
 * 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. (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) Boucher family: Baluchi rugs Fashion Arts Collection
 * 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.
 * Every Way Possible, (p.104-105)
 * Every Way Possible: (p.250-251)
 * "Beauty is the magic in woven carpets." Indy Star. 1997. (Available through ProQuest).
 * "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.
 * "Fashion Museums from NYC to LA." New York Times. February 2011. (Source for "7,000 fabrics and fashion arts items" online).

Paragraph 5: Contemporary/Design
Contemporary Collection Design Collection 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."
 * "Seeking a Lift From the Contemporary." New York Times. 2007. (Available through ProQuest.)
 * 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)
 * "A Wider Canvas". Indy Star. 2007. (Available through Proquest.)

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).
 * "Garage Sales, So to Speak, but with Cachet." New York Times. February 2010.
 * The Art Newspaper. "Art Market." (Quotes from Katie Haigh about reasons for deaccessioning)
 * CultureGrrl blog, March 2009 (Deaccession database)
 * TIME blog, March 2009 (Deaccession transparency interview)
 * IndyStar, March 2009 (Deaccessioning)
 * Artdaily.org, March 2009 (Deaccession Database)
 * ARTINFO, March 2009 (Deaccession Database)
 * Antiques & the Arts Weekly, March 2009 (Deaccession database)
 * Chronicle of Philanthropy, March 2009 (Deaccession database)
 * Courier-Journal, March 2009 (Deaccession database)
 * artsJournal, March 2009 (Deaccession database, transparency, Dashboard)
 * Modern Art Notes, April 2009 (Mention of transparency in deaccessioning)
 * Artnews. March 2009. (Max discussing 1970 line for provenance).

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.

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.

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."

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."
 * "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."

William S. Paley Collection

 * Every Way Possible, p.227
 * "Haven't seen the Paley exhibit?" The Indianapolis Star. November 9, 1992. (Available through ProQuest).
 * "This is a biggie, folks." Indianapolis Star. February 4, 1992. (Available through ProQuest)

Gifts to the Tsars

 * Every Way Possible, p.227
 * "Russian exhibit cultural coup for museum." Indianapolis Star. March 18, 2001. (Available through ProQuest).
 * 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).

Roman Art from the Louvre

 * Every Way Possible, p. 291
 * "IMA's toga party; The Louvre lent local museum some of its best treasures of ancient Rome". Indianapolis Star. September 2007.

Sacred Spain

 * IndyStar, Indy Sunday feature. October 2009.
 * IBJ. December 2009.
 * USA Today. December 2009.
 * NYTimes. December 2009. (Extensive article).
 * CBS News. December 2009. (Extensive article).
 * The Criterion. October 2009. (Also have a related story about conservation treatments)
 * NUVO Review. October 2009.
 * IndyStar. October 2009. (Gala and Sacred Spain)
 * Indianapolis Monthly. October 2009.
 * IBJ Review. October 2009.
 * Christian Science Monitor. October 2009.

Andy Warhol Enterprises

 * ARTINFO, December 2010 (print, pdf.)
 * IndyStar, October 2010 (Includes curator quotes) (print, pdf.)
 * IndyStar Best Bet, October 2010 (Short print, pdf.)
 * IndyStar, Flash Mob, August 2010 (print, pdf.)
 * IndyStar, October 2010 (Includes Nourish cafe, discusses Campbells, etc.)(print, pdf.)
 * IBJ, September 2010 (print, pdf.)
 * American Style, September 2010 (print, pdf.)

Hard Truths: The Art of Thornton Dial

 * ArtForum, January 2011 (pdf.)
 * Departures, Jan-Feb 2011 (pdf.)
 * IndyStar, Indy Sunday. January 2011.
 * "Letting His Life's Work do the Talking." New York Times. February 2011.
 * Modern Painters. February 2011.
 * Art and Antiques. February 2011.
 * TIME. iPad & print spread. March 2011.
 * "Big Museum Show for an Ex-Welder." Wall Street Journal. February 2011.
 * |topnews|text|Entertainment "IMA exhibit spotlights "Hard Truths: The Art of Thornton Dial." Indy Star. February 2011.

European Design Since 1985

 * "Living by design." Indy Star, April 2009. (Available through ProQuest)
 * Wall Street Journal, April 2009 (pdf.)
 * IndySunday, March 2009 (pdf.)
 * Home Miami, May 2009 (Detailed write up) (pdf.)
 * I.D. International Design, Mar-April 2009. (pdf.)
 * The Art Newspaper, March 2009. (pdf.)
 * DeTnk, March 2009. (Discusses design symposium) (pdf.)
 * Antiques and the Arts Weekly, February 2009. (pdf.)

Venice Biennale

 * "A Curator with a Penchant for the Collective." The New York Times. March 2011.
 * "Athletes to Bring Life to Venice Biennale." NYTimes. March 3 2011.
 * Artdaily.org. March 4 2011.
 * WNYC, NY Public Radio. December 6 2010. (Quotes from Lisa)
 * ARTINFO. December 2010. (Interview with artists).
 * ARTINFO. November 2010. (Lisa interview).
 * ARTINFO. September 2010.(Announcement)
 * "Art Team Represents U.S. at 2011 Venice Biennale." The New York Times. September 2010. (Announcement)
 * The Wall Street Journal. September 2010. (Announcement)
 * IndyStar. September 2010. (Announcement)
 * IBJ. September 2010. (Announcement)
 * The Art Newspaper. September 2010.
 * The Observer. September 2010.
 * W Magazine. November 2010.
 * Artdaily.org. September 2010. (Announcement)
 * |newswell|text|IndyStar.com|p|accessdate=11 March 2011 "Indianapolis Museum of Art, athletes team up for sculpture exhibition in Venice." IndyStar. March 2011. (Olympic theme announcement).

100 Acres

 * |topnews|text|Communities "City names winners of environmental awards." Indy Star. March 2011.
 * Landscape Architecture Magazine, January 2011. (Extensive article.)
 * Public Garden, 2007 (In depth article with 100 Acres landscape architect, Ed Blake)
 * TAXI, 2009 (Detailed overview.)
 * Modern Painters, May 2010 (Interview with Max.)
 * "100 Acres at the Indianapolis Museum of Art." The Architect's Newspaper. August 2010.
 * "Art and Nature:Hand in Hand." Wall Street Journal. June 2010.
 * "In Indianapolis, 100 Acres to Roam, No Restrictions." New York Times. June 2010.

Next Installation: Mary Miss
 * NEA Initiatives: MCID25, Indianapolis Museum of Art. IMA-Mary Miss NEA grant.
 * IBJ. July 2010. (Next installation, 2011, Mary Miss.)

Other
 * NYTimes, March 2009 (Museum Section, discusses delay.))
 * ARTnews, April 2009.
 * IndyStar, August 2009.
 * Artdaily.org, September 2009 (Curator quotes.)
 * Metropolis, September 2009.
 * Architectural Record, October 2009.
 * IndyStar, November 2009 (Basic description of each artwork.)
 * SCULPTURE, December 2009 (Brief.)


 * "IMA arts park will feature a 'castaway'." WTHR, November 2009 (Island)
 * Art in America, November 2009 (Type A) (print, pdf.)

Westerley

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

Conservation

 * Every Way Possible for history of department.
 * Criterion. October 2009. (Mainardi).
 * Dwell. Dec.-Jan.2011 (Richard quote).
 * "May Wright Sewall Memorial torches to ‘relight’ their original Herron site." Herron High School.
 * Walt Disney's Snow White and the Seven Dwarfs: An Art in Its Making. 1994.


 * Importance in establishing regional conservation resource and first site for organizing midwest regional conservation guild.
 * 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.
 * "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."
 * "The IMA's department handles a good deal of contract work from across the Midwest."
 * "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.
 * 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.

Conservation science

 * IndyStar, October 2008
 * ArtDaily.org, October 2008 (Good overview)
 * Courier-Journal, February 2009
 * IIC, October 2009 (Announcing Greg Smith appointment)
 * Artdaily.org, October 2009 (Announcing Greg Smith appointment)
 * "Profile: Conservation Scientist." Central Science. August 2010.

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).
 * "Hoosier reflections." Indianapolis Star. December 2009. (Mention of rehabilitation, accessibility of IMA) (Available through ProQuest).
 * PCMA Convene. June 2009. (IMA mentioned as part of cultural tourism in Indy).
 * 2008 Tax Info

Free admission

 * Indiana Daily Student. June 2009 (Free Admission during recession).
 * ARTnews. June 2009. (Lengthy article on implications of free admission, etc.)
 * "Letter to the Editor: Museums and Society." New York Times. January 2011. (Max editorial "museums can't charge themselves to solvency.")
 * "Museums Enjoy Their Free for All." The Baltimore Sun.
 * To art patrons, entry fee is in eye of beholder; Museum's admission charge of $7 per adult, starting May 2005, draws mixed reaction from public." Indianapolis Star. April 2004. (Actual date of admission change may be incorrect). (Available through ProQuest).

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.
 * 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.
 * Art Society rolls out new programming." Indianapolis Fashion Collective.

IMA Lab

 * "Four to Follow." The New York Times. March 2011. (Rob profile & general facts about the department).
 * "Q&A: Open Sourced Tools for Wired Museums." Refresh Blog. April 2010.
 * ArtDaily.org. February 2010. (Most extensive, also mentions new website).
 * ARTINFO. February 2010.
 * IMA Press Release. February 2010. (Good overview but don't use as main source).

Dashboard

 * The Art Newspaper. "Time to lose control." (IMA Dashboard, p.9)

TAP

 * "The Best Tour Guide May Be in Your Purse." New York Times. March 2010.
 * "The Handheld Guide." Technology in the Arts. October 2010.
 * |work=BalboaParkOnlineCollaborative "iPhone Mobile Tours for Everyone". Review of IMA's TAP platform for developing TAP tours.
 * "Tap-tours." Google Project Hosting. April 2010.

Art Babble
Partners
 * "The Spirit of Sharing." The New York Times. March 2011.
 * New York Times, April 2009.
 * ArtDaily.org, April 2009.
 * Globe and Mail, April 2009 (written by NYTimes writer, probably much of same info).
 * VOA, transcript of Broadcast. August 2009.
 * THR.com, September 2009 (Announcing IMA Dashboard/Art Babble as finalist in National Summit on Arts Journalism)
 * IndyStar, October 2009. (Rob Stein Interview)
 * Real Clear Arts, July 2009 (List of Partners)
 * San Diego Union-Tribune, August 2009 (MCASD)
 * MCASD Press Release, August 2009 (Thorough description)
 * Art Babble MW2010 Nomination. MW2010. April 2010.
 * Congratulations to the MW2010 Best of the Web Winners! MW2010. April 2010.

Art4Ex

 * "Italians Give Art, as Well as Take It Back." The New York Times. June 2010.
 * Vigna Codini Press Release. IMA Press Release: Use for info, not as source. June 2010.
 * "Ownership Isn't Everything: The Future Will be Shared" The Art Newspaper. September 2010. (Doesn't mention Art4Ex, but explains Max's views on ownership) (online).

IND Airport

 * "In a Stressful Setting, Artistic Treatment for the Traveler". The New York Times. March 2011.
 * Airports Council International. February 2011. (Mentions IND as best regional airport; but doesn't mention the IMA).
 * "Not-for-profits hang out consulting shingle". IBJ.com. December 2010.

Awards

 * IMA Receives Nations Highest Award for Community Service
 * National Medal: IMLS
 * National Medal: IBJ (print)
 * National Medal: IndyStar. October 6, 2009.
 * National Medal: Inside Indiana Business.
 * National Medal: Nuvo, October 2009 (Also includes mention of other awards).
 * Energy Star: MUSEUM (pdf.)
 * "Indianapolis Relaxes Climate Controls." The Art Newspaper. April 2010. (Climate controls & comments about being energy efficient)
 * "Climate control: time to change the settings." The Art Newspaper. June 2010.
 * "IMA Relaxes Environmental Controls." IIC. April 2010.

Other

 * "Indianapolis Museum of Art Focuses on Visitors with Disabilities." Accessibility.
 * "Interview: Linda Duke." IMA Education.
 * "Gather, Steward, Converse" The Art Newspaper. June 2010.
 * "Ownership Isn't Everything: The Future Will be Shared" The Art Newspaper. September 2010. (Doesn't mention Art4Ex, but explains Max's views on ownership) (online).

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

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

 * Sample of something to consider for later: Temporary exhibitions at the Art Gallery of New South Wales