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ISU Bicentennial Catalog Copyright © 2016 University Art Gallery, Indiana State University All rights reserved. No part of this publication may be reproduced or transmitted in any form, or by any means, electronic or mechanical, without written permission from the University Art Gallery. Galleries and permanent collections the curators of this exhibition thoughtfully considered maintained by universities are subject to challenges the work of his in our collection and decided not to and opportunities that their independent counter include it. The students instead chose less well-known parts are not. The mission of a university gallery artists, especially those with backgrounds and points and collection is educational in the most direct way, of view typically underrepresented in exhibitions like and they must be resources that students can and this. The unique perspective of the students is also felt do utilize to enrich and broaden their classroom here, in this catalog, which was written and designed experiences. This Indiana Bicentennial project, which by students. In their research for the following essays, saw forty-five Indiana State University students curate, they chose to emphasize facts, stories, technologies, install, market, and contextualize – in this catalog – a and methodologies that spoke to them. retrospective of Hoosier art, challenged the traditional educational limits of a university gallery and collection. When we conceived of this project, we hoped it would be a valuable experience for students, instructing them Under normal circumstances, the University Gallery in the workings of the professional art world. It has Director and Director of the Permanent Art Collection proven to be a valuable experience for us as well. work together to curate exhibitions on campus that We often undervalue the importance of amplifying highlight facets of our collection while exploring different points of view. We assume that as professionals issues relevant to our community. In this project, well versed in the academic canon of history, theory, however, we ceded complete control to students, and criticism, our opinions and values are universal. breaking down the distinction between classroom This exhibition is a celebration of Indiana Art. It is and gallery and empowering students to evaluate for informed by theory and criticism, but it is also themselves what work their peers should see. challenged by the experiences, the curiosity, and, at times, the rejection of that academic canon by the Institutions across Indiana have marked the 200 year students involved. They have directed an exhibition anniversary of our statehood with exhibitions celebrating that shows us a plurality of ways to appreciate our rich artistic heritage. We assume that ours is the artwork. Let them lead, let us see. only one not to feature the work of T.C. Steele. While Steele is a towering figure in American landscape painting and the foundation of the Hoosier Group, Meredith Lynn Jason Krueger Director of the Director of the University Art Gallery Permanent Art Collection elebrate To do something special or enjoyable for an important event, occasion, holiday etc. On the 200th birthday of our state, we find ourselves celebrating many facets of Indiana. Every piece in this collection tells something of the history of the Hoosier state. Through its art and artists, this section specifically addresses elements of Indiana that they chose to celebrate. Although he left for Chicago at a young age, Robert Indiana still finds ways to commemorate his home state through his work. In the Decade Portfolio, he draws inspiration from locales across the state. Although he never visited Terre Haute, he loved the way the local farmers pronounced it “Terry Hut”, and decided to commemorate the town in the 1969 entry to the ten year long project. His feelings towards his home state may be notoriously conflicted, but he is undeniably loved by Hoosiers. “Robert Indiana Day” was dedicated on April 9, 2002 in honor of the Indiana Obelisk, a landmark at the State Museum where Indiana even requested to be buried. Celebrate VII John Laska (Wabash Valley,1918-2009) Prometheus 1963 Outdoor sculpture Robert Indiana (Henry County, 1928-Present) Robert Indiana (Henry County, 1928-Present) Decade Portfolio: Terre Haute No. 2 Decade Portfolio: The American Dream #1 1971 1971 Serigraphy Serigraphy Born on November 25, 1918 in Portchester, New York, John Like most sculptures from the 1960s, Laska chose industrial- Gift of the Class of 1972 Gift of the Class of 1972 Laska, while not a Hoosier by birth, heavily influenced Wabash type materials such as steel and concrete, as opposed to more Valley art. The Indiana State University graduating class of 1962 traditional materials like stone and cast bronze. A welded steel commissioned Prometheus to remind people of the hope that armature supports the carved concrete form of Prometheus. Laska always shines through chaotic and uncertain times. Laska created believed the construction to be a radical departure from the usual Born in New Castle, Indiana on September 13, 1928, Robert on throughout his travels. Terre Haute No. 2 was inspired by a the statue at a time when the United States was experiencing method of statue building, being perhaps the first piece of art ever Indiana is acknowledged as a leader of the Pop Art movement. trip to the Wabash Valley, whereas The American Dream #1 is social change driven by war, the Civil Rights Movement, space produced using this specific industrial steel working process. To differentiate himself from his peers, through his work Indiana almost an autobiographical statement with circles reflecting his exploration, and radicalism. often addresses social and political issues, referencing pop culture connection to Indianapolis and the four major Indiana Highways. - Julie Kapke as well as historical and literary themes. Prometheus, the Titan god from Greek mythology, was trusted Robert Indiana summed up his Decade: Autoportraits portfolio with the creation of mankind by molding man out of clay. Containing ten serigraphs and ten photographs, Multiples, Inc. stating, “These are multiple self-portraits in terms of chronicling According to legend, Prometheus gave man the gift of fire and published Robert Indiana’s Decade: Autoportraits series in 1971. these memories and events from my view point.” metalworking. Further, Prometheus taught man the skills of Inspired by different events he encountered during the 60’s, Indiana - Maxxwel Rance architecture, astronomy, math, writing, navigation, and medicine. used his Decades portfolio to commemorate the ten-year period The welding and shaping of the statue reference Prometheus’ that witnessed his rise to fame. most important gift - fire. The series of published prints are derived from an original series of thirty paintings Indiana made during the 1960’s. These paintings depict memories, events, or locations he happened Ryan, Susan. “Robert Indiana: Decade 1960s.” Love and Fame. Indiana State University Art Gallery. September 2012. Celebrate IX Homer Davisson (Vigo County, 1866-1957) On Ten Mile Creek c. 1953 Oil on canvas Garo Antreasian (Marion County, 1922-Present) Garo Antreasian (Marion County, 1922-Present) Florescent Formation Fruit 1956 1958 Gouche on cardboard Lithograph Tirey Memorial Student Union Purchase, 1966 Blue sky gradually fades to gray, while light falls on the grass Beginning in 1920, Davisson regularly summered in Nashville, and surrounding trees. Homer Gordon Davisson’s painting, On Indiana. Frequently painting during the autumn season, Davisson Ten Mile Creek, evokes a sense of peace, as if a storm has just was an active member of the local Brown County Art Gallery Born in 1922 in Indianapolis, Garo Antreasian is considered Fruit experiments with non-traditional inks through the chalky recently rumbled away leaving a bright, vibrant day in its wake. Association. His work has been shown at the Hoosier Salon, the grandfather of modern lithography in the United States. powder added to the colors of the fruit and bowls, giving them Well known for his Indiana landscapes, Davisson crafts his own Ohio Northern University, Depauw University, and the Fort Antreasian started his career at seventeen when he discovered a drastic change in texture, color, and dimension compared to version of impressionism. Wayne Art Museum. Davisson’s paintings are in a number of an abandoned lithography press in his local high school. He the background. Antreasian also uses subtle contour lines on the collections including the Ruthmere House Museum, Elkhart, went on to become the first master printer and director at the fruit to balance the less precise forms created with the chalky ink. Impressionist paintings often feature apparent and unmodified Indiana, and the Wabash Carnegie Public Library. Tamarind lithography workshop in Albuquerque. Prior to the The dark brown background incorporates another unique texture brush strokes. Davisson does not pursue a perfect shape, but founding of Tamarind, artists had to travel to Europe and train not often found in lithography, flat droplets of paint or water. thick color highlights important sections of the composition, and - Xiao Zhang under master craftsmen to be proficient in lithography. Fruit is a technical combination of Antreasian’s lithography skill contrasting colors establish the mood for the painting. Although and ground breaking experimentation with foreign materials. the overall tone is dark, the bright colors in the grass and trees Antreasian’s
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