In memory of Ruth Roberts and Ursula Kolmstetter

Art museums bear two potential burdens in the public eye: the words “art” and “museum.” The first can be off-putting to the uninitiated, for whom “art” may signify a self-indulgent pursuit, especially for those not needing every waking hour to provide for their families and themselves. And for others, the word “museum” conjures up sour memories of forced-march visits to places where touching, talking, and laughing are discouraged or forbidden.

Those millions fortunate enough to know that art is nothing less than a fundamental platform for conversation and exchange, and that museums are the welcoming treasure houses of our collec-tive inheritance, may have no need of a conversion experience. But for a large percentage of the public, a conversion experience is exactly what art museums require. And 100 Acres: The Virginia B. Fairbanks Art & Nature Park offers every resident and visitor to Indianapolis just such an opportunity—at no charge.

This place seeks to be a sanctuary, one that is as fine as any afford-ed in contemporary American life. It hopes to relieve visitors of the privations of urban, suburban, and rural life—both recreational and visual—and from the behavioral constraints of a museum filled with precious objects. It seeks to offer a fresh perspective for denizens of every context—paved streets, manicured lawns, and uncongested land. For each, there may be a new discovery, afforded by the freedom to picnic, run, jump, and play, or by en-counters with art that is as sophisticated as any in the world, or by chance meetings with people from different walks of life.

The origins of 100 Acres are well documented, including its transi-tion from farmland to industrial quarry to an uninhabited preserve and to its newest incarnation as a landscape modified to invite regular and extensive visits and participation in art experiences. What we have yet to document is its potential to change and am-plify the worldview of all who make the time to visit. What we hope it provides is a palpable impact on the lives of millions of people over the next decades. With this expansive canvas—the IMA’s largest—we seek to foster greater openness to new ideas expressed through art, an improved understanding of our collec-tive obligation to care for the environment we share, and a greater tolerance for each other—whether we hail from an urban, subur-ban, or rural life, and whether from Indiana or India.

Each person involved was indispensable to the realization of this extraordinary project, initially conceived by IMA Director Emeritus Bret Waller, and brought to fruition by hundreds of hard-working and passionate advocates.

The inaugural artists who took on this challenge were as free-spirited and imaginative as we could have asked. The patrons who made this majestic experiment possible were dream weavers who saw the Park’s potential to change lives. The staff and volunteers who worked to prepare this experience for all were as selfless and diligent as anyone could hope. There are too many of each to thank adequately in this foreword; the names of the key individu-als are listed inside.

Among the many donors who reached deep, I would simply single out The Richard M. Fairbanks Foundation for its pivotal $15 million contribution, which allowed us to push the “go” button on this long-awaited project. Mark Zelonis, The Ruth Lilly Deputy Director of Environmental & Historic Preservation, was an early champion of the project and saw to the provision of a hospitable place for art with the help of talented landscape architect Ed Blake and architect Marlon Blackwell. Dave Hunt, manager of construction, worked alongside architects, contractors, and staff to deliver on complex and overlapping planning phases. It was, above all, Dr. Lisa Freiman, the IMA’s chair of contemporary art, who conceived, along with her departmental colleagues Rebecca Uchill, Sarah Green, and Allison Unruh, the artistic vision of 100 Acres in its inaugural phase, from choosing and supporting the first round of artists to concep-tualizing the overall effect of the Park as a contribution not just to the art world but to the world at large.

And now it is our collective honor—that of the artists, patrons, and IMA’s protagonists—to open this place for reflection, play, respite, and engagement. And it is our collective hope that in the years to come 100 Acres: The Virginia B. Fairbanks Art & Nature Park may become a defining feature of Indianapolis, encouraging progressive policy favoring adventurous and visionary public art, environmental preservation, and a tolerant, international spirit and identity for our city.

Foreword Maxwell L. Anderson The Melvin & Bren Simon Director & CEO Indianapolis Museum of Art

The IMA’s 100 Acres: The Virginia B. Fairbanks Art & Nature Park is an ongoing proposition hinging on a primordial predicament. While the Park has been conceived, it is not predetermined or fixed. In spite of this open-endedness, there are certain features that determine some aspects of its creative possibilities. It is a floodway and a floodplain, and it is bounded by the White River and a manmade canal system; it contains wetlands, woodlands, a 35-acre lake, and a large meadow. Because of this constella-tion of realities, the Park necessarily relies on constant change and resilience, risk-taking, and problem-solving. It acknowledges that time passes and nothing lasts forever.

When I arrived at the Indianapolis Museum of Art in September 2002, my task was to jump-start the contemporary art depart-ment and also to develop a sculpture park on a large plot of land that had lain fallow for more than three decades. At the time, the proposed master plan for the Park emphasized a cultivated, somewhat predictable approach to the relationship between art and nature, with large-scale permanent sculptures dotted throughout the landscape. I was skeptical of that methodology for a number of reasons. The IMA’s 100 Acres did not have the benefit of existing in a major tourist destination. To be success-ful beyond the local community, it would have to stand out and make a strong case for why it mattered on a national and

international scale. How could 100 Acres set itself apart from the established model for museum sculpture parks found through-out the United States since the 1960s? How could it become a new model for a 21st-century sculpture park?

My desire for the IMA’s contemporary art program overall was to energize it by making it a leading example of how encyclopedic museums could find their place by engaging the art of our time, and the Park quickly became part of this vision. How could we encourage some of the most interesting and imaginative artists and art enthusiasts to make ongoing pilgrimages to the “Cross-roads of America,” and away from the obvious epicenters for contemporary art, such as New York and Los Angeles? And at the same time, how could we engage members of our immediate community, enabling them to have new aesthetic experiences unavailable anywhere else in the world?

I began by researching and visiting as many sculpture parks as I could identify in the United States and Europe and then catego-rizing them according to type. They existed in rural, suburban, and urban settings. The sculpture that these parks included was sometimes permanent, sometimes temporary, and the works were occasionally commissioned. It was alternately pre-exist-ing, site-specific, interactive, isolated, or a combination of

these characteristics. It soon became evident that there was no museum in the United States that focused entirely on temporary or permanent site-responsive, commissioned sculpture.

In 2003, as part of this preliminary research, I discovered a bril-liant project that stood out from all of the others I had studied. Diane Shamash’s Watershed: The Hudson Valley Art Project was remarkable. She commissioned 10 artists to consider the natural and cultural geography along the Hudson River between Bear Mountain and Hudson, New York. The goal of Watershed was to increase public engagement with contemporary art and bring together communities throughout the rural region (and beyond) at a time when the Hudson Valley was undergoing a major economic shift from manufacturing to cultural tourism. Although it was a temporary project in the Northeast, located along a 70-mile stretch of land, Watershed provided a successful example of how a nonprofit organization (Minetta Brook) could commission contemporary artists to mine history and geography and create challenging projects tied specifically to the communities in which they were situated.

After experiencing Watershed, I returned to Indianapolis with a clearer idea of how to approach 100 Acres. Around that time, while the IMA was expanding and renovating the main museum

100 Acres: A Living Sculpture Park for the 21st Century Lisa D. Freiman

Chair, IMA Department of Contemporary Art

building, I read a study that argued that changing exhibitions are the leading reason guests make return visits to museums. The combination of the Watershed model and the idea of ongoing, changing exhibitions led me to believe that we should develop a park that would embrace the notion of change itself.

In addition to studying museum sculpture parks, I also looked at urban public art initiatives across the United States. Anne Pasternak’s Creative Time, the nonprofit organization based in New York, stood out as the example that came closest to the approach to public art that I wanted to present in the Park. Creative Time commissions and presents groundbreaking contemporary art in the public realm with the belief that it can transcend the limitations of class, age, race, and education by creating provocative aesthetic experiences. The projects that Creative Time supports often challenge the notion of what an artist is or can be, allowing artists to explore creative, free expression through their engagement with the public.

The unexpectedly rich model produced by the combination of Watershed and Creative Time’s philosophies suggests one new route for redefining the sculpture park in the 21st century. With the inauguration of 100 Acres, a rural oasis in the midst of the 12th largest city in the United States, the IMA has declared its commitment to experimentation, risk-taking, transformation, temporality, and dynamism. We have chosen not to predeter-mine the length of time that each work will remain in the Park because 100 Acres is alive. As a living sculpture park, it will provide ongoing opportunities not just for artists, but for curators, conservators, designers, and the public to learn about the issues relevant to maintaining, presenting, and inter-preting an experimental artwork over a sustained period of time.

After we understand how well an object lives in the Park, we will make an informed decision about its removal. Each year a new project will be developed by an artist or artist collective from around the world, using the Park as a platform to create some-thing new that challenges us to think about the world afresh. Although inevitably tied to the art market, these works will not be subject to the constraints they would have to meet if they were to be sold in a gallery, resold at auction, or collected per-manently. Instead, we are inviting artists to explore their dreams with our various communities and present new interventions that will generate ongoing conversations about art, its context, purpose, audience, and history. Because the Park never will remain exactly the same, and will rely on regular transformation, 100 Acres can only be defined by acknowledging its flexibility.

The IMA’s 100 Acres: The Virginia B. Fairbanks Art & Nature Park comprises an expanse of land and water that has been uniquely shaped by both natural and man-made changes in the environ-ment. It is a landscape that speaks of continuous growth and adaptation. The physical terrain of the Park is notable for its variety—it embraces woodlands, wetlands, a meadow, lake, river and canal.

Situated in a floodplain that is defined by the distinctive curve of the White River on one side and the straight form of the man-made canal on the other, its landscape is shaped by the dynamic character of the water that runs through it. As a floodplain, it is a place of constant change, as the lake rises and falls through the seasons, in accord with the river’s flow. As a tributary of the Ohio and Mississippi rivers, the White River is part of the nation’s largest watershed, which stretches all the way from the Great Lakes to the Gulf of Mexico.

The landscape of 100 Acres has undergone significant changes in the last century. In the early 1900s, this land was cleared for agricultural use and was used by farmers for cultivation of crops and pasture through the 1940s. Later the site became a quarry and gravel was excavated for use in the construction of the nearby interstate highway, part of the network of superhighways that

connect the country (and which relate to Indianapolis’s nick-name, “The Crossroads of America”). The lake was created as a result of the mining excavations. After the completion of the highway, the land was abandoned and nature slowly reclaimed it, turning cleared fields into woodland. The landscape of 100 Acres is thus distinctive in reflecting the give and take between natural and man-made interventions.

As one of the important geographical features of the city of Indianapolis, the White River has been the focus of greenway development in the city over the past century. In 1885, two years after the founding of the Art Association of Indianapolis (which would evolve to become the Indianapolis Museum of Art), the city created a board of park commissioners who were assigned the task of developing a city-wide park system. The board hired John C. Olmsted—son of the famed Frederick Law Olmsted, who had worked on the influential landscape plan for New York’s Central Park in the mid-19th century—to develop a comprehen-sive plan for a series of parks located along Indianapolis’s river and streams. The rapid industrialization during this period, and the accompanying growth of cities, had resulted in a need for weaving nature into the fabric of the city. Indianapolis quickly grew outwards from the center point of its urban grid, starting at Monument Circle. The community of Woodstock was founded in

the early 20th century as part of a nationwide movement to create tree-filled suburban enclaves where the beauty of nature could be preserved. Between 1912 and 1913, the Oldfields estate was developed by Hugh McKennon Landon, an Indianapolis Water Company executive, who hired the Olmsted firm to plan and design the grounds of his estate in Woodstock, which over-looked the farmland that was then adjacent to the White River. In 1932, J.K. and Ruth Brinkmeyer Lilly purchased the Oldfields estate and lived there until 1966. That same year, the Lillys’ children, Ruth Lilly and J.K. Lilly III, donated the estate to the Art Association of Indianapolis, the organization which became officially known as the Indianapolis Museum of Art in 1969.

The 1970s were marked by a reawakening of interest in the value of parks and parkways to the quality of life in Indianapolis. In 1972, as part of that trend, 96 acres of White River floodplain were given to the Museum by the firm Huber, Hunt and Nichols, which had operated the quarry there. In the mid-1980s, the IMA’s Horticultural Society initiated the creation of a master plan for the landscape of the Museum campus, created by Sasaki As-sociates. While the land and gardens immediately adjoining the main Museum building and Lilly House were the initial focus of development, in 1996 the IMA’s strategic plan called for a sculpture park, which would capitalize on the expanse of land

A History of 100 Acres: The Virginia B. Fairbanks Art & Nature Park

had not yet been fully utilized by the Museum up to that point. This paralleled the develop-ment of the city’s greenways plan, and the IMA joined with Indy Parks Greenways and the Indianapolis Water Company to form a partnership to develop a nature trail and an art and nature park. In 2000, the first master plan for the Park was created by the landscape architectural firm Moore Iacofano and Goltsman (MIG), of Berkeley, California, which fo-cused on how the Museum could expand its audience by engaging the many people who walked, jogged, and biked along the canal pathway that ran through its campus. Four years later, the Museum invited The Landscape Studio and Marlon Blackwell Architect, in collaboration with Mary Miss, to begin developing the Park’s programs and design. Miss, known for her pioneering work in public art, developed a plan for an elevated walkway that would guide visitors on a path through the varied landscape. However, when the costs and environmental impact of her project were deemed prohibitive, the Museum’s leaders took the opportunity to rethink the master plan for the Park.

In reconceiving the vision of the Park—the future 100 Acres: The Virginia B. Fairbanks Art & Nature Park—the Museum sought to find a way to not only offer residents of the city a space in the urban landscape where they could experience the pleasure of being immersed in nature and art, but to also offer a new paradigm for what an art and nature park could be. While there are many outdoor art parks worldwide that have sprung up over the past several decades, they typically focus on inserting large-scale sculptures into a cultivated landscape. For the IMA’s Art & Nature Park, the untamed landscape itself would be a pri-mary focus of the visitor’s experience. To this end, landscape architect Edward L. Blake Jr., founding principal of The Landscape Studio in Hattiesburg, Mississippi, was brought in to carve out pathways that would allow visitors to explore the variety of natural beauty that could be found there. Calling the pathways he designed “Landscape Journeys,” Blake draws attention to the sense of discovery that is offered throughout the Park’s varied to-pography. Architect Marlon Blackwell’s visitor center offers a unique experience of the Park as well, with its architecture embracing the environment around it in unique ways. With its environmentally responsible LEED-certified design, it also serves as a model of thoughtful building practices.

The model of how art would be presented in the Park was reconceived by the Park’s di-rector, Lisa Freiman, who since joining the IMA in 2002 had advocated for site-specific art, which would allow artists to develop new projects conceived in response to the Park’s particular landscape. The notion of site-specific art has played an especially important role in contemporary art since the 1960s, when artists exploring the newly formed category of Land Art started taking the physical environment itself as a material for their art, drawing attention to a range of concerns about human beings’ place in their physical environment. Freiman and her team envisioned the Park as a unique place in Indianapolis’s commu-nity, where visitors could have new and meaningful experiences with nature and art. To accomplish this, she invited an international array of artists who worked with divergent creative practices to create newly commissioned site-specific works of art. Thus, the Park also provided artists with a significant creative opportunity, and the chance to work on a large scale. Each of the eight inaugural artists and artist collaboratives was invited to visit the Park, and each responded to distinctly different facets of the Park’s topography and its potential place in the cultural life of the city. Each year, a new artist will be commissioned to create a project for the Park, so that the varied content of artwork in 100 Acres will re-flect the dynamism of the natural world itself.

Nature has long provided inspiration to artists, and the natural environment is a refuge and space for discovery, relaxation, and inspiration for many people as a part of everyday experience. In the unique way that it brings together art and nature, the Park is meant to provoke a visceral, sensory response. It provides a space for looking at art and also for ex-periencing it in relation to the distinctive environment in which it is enmeshed. The imagi-native breadth of the projects presented here is aimed at sparking a sense of creativity and new possibilities in the diverse audiences who visit the Park. Whereas most sculpture parks are composed of a space where nature has been carefully cultivated, 100 Acres presents a very special combination of both a cultivated landscape and something that is more wild and unmediated, allowing for new possibilities of engagement with both the creative and natural worlds.

1937 1956

1974 2007

Marlon Blackwell Architect’s Ruth Lilly Visitors Pavilion, a model for environmentally harmonious design and construction, is situated in the northeast corner of 100 Acres, providing a place for reflection, questioning, and analysis of the processes—natural and cultural—at work throughout the Park. The Pavilion’s structure takes its inspiration from the form of a folded, desiccated leaf that Blackwell found on a site visit. The Pavilion serves as a threshold for those entering the Park from Indianapolis Greenways’ Central Canal Towpath and is nestled in the midst of the Park’s network of walking trails peppered with native Indiana plantings. A multipurpose facility meant to provide an intimate, secluded space for educational programs, artist talks, performances, lectures, and readings, the unique structure will help visitors gain a deeper understanding of the relationships between conditions made by nature and those that are man-made. The building is positioned lightly on the earth, detached, with column supports and a horizontal frame structure in tension as much as compression. Its continuous perforated surface of IPE wood slats forms a semi-transparent envelope of deck, wall, and roof, supported by a steel exoskeleton that allows light and moisture to filter through it. The low-slung form of the Pavilion, bathed in dappled light and hovering above the forest floor, acts as an apparition in the woods.

Environmental sustainability and energy efficiency were emphasized throughout the design and construction of the Pavilion, which will be LEED (Leadership in Energy and Environmental Design) certified. Water-saving fixtures fed by on-site wells are used in the restrooms, energy-efficient lighting is installed throughout the building, and a geothermal system provides heating and cooling.

Marlon Blackwell, FAIA, is an architect and Distinguished Professor of Architecture and department head at the University of Arkansas in Fayetteville, Arkansas. Work produced from his private practice has received national and international recognition through the AIA and The Architectural Review’s ar+d design award programs. The IMA selected Blackwell after a competitive process because of his site-sensitive approach to architectural design, seen in emblematic buildings, including the Moore Honey House in Cashiers, North Carolina (1998), the Keenan Tower House in Fayetteville, Arkansas (2000), and Blessings Golf Club House in Fayetteville, Ar-kansas (2005).

Landscape architect Edward L. Blake and the Landscape Studio collaborated with architect Marlon Blackwell to investigate the macro and microscopic forms found in the natural and man-made environment of the Park. They looked for opportunities to relate human-made and nature-made structures, exploring the similarity in structural relationships between the two. Blake embraced this human-nature synthesis, acknowledging the diverse histories of the property, including the conditions of abandonment, exploitation, erasure, and nostalgia.

At the project’s inception, Blake developed an initiative to remove invasive plant species from the Park and to introduce plants native to Indiana with the hope that they will proliferate throughout the Park once again. Networks of pedestrian paths, the Pulliam Family Landscape Journeys, move dynamically and responsively throughout the Park’s diverse landscape, allowing for the widest range of engagement with the natural envi-ronment. The Landscape Journeys provide a means of navigation from the Park’s entrances to some of the inaugural artworks, the Ruth Lilly Visitors Pavilion, and natural features of 100 Acres, including the lake, the marsh, and the meadow. Blake affirmed the important role that the meadow and lake play as central clearings within the Park’s waterland-woodland floodplain. An artifact of construction residue, the serpentine, contoured meadow heightens the sense of the floodplain’s horizontality and the verticality of trees emerging from it. So as not to diminish its sensual effect as sculpted and cultivated land, Blake choreographed the circulation paths so that they would surround, rather than traverse, the meadow. On the southeast edge of the lake, the Lake Terrace is a gathering space that not only frames the vista out onto the Lake, but also unifies the woodlands with the water. Blake reconsidered the relationship between the woodlands and waterlands in terms of a spatial joining of places. His interventions, which he has described as a kind of “teasing out” of the existing site, privilege qualities over quantities, the phenomenal over pictorial, and spirit over function.

Edward L. Blake Jr. is a landscape architect and founding principal of The Landscape Studio of Hattiesburg, Mississippi. He has pursued four decades of planning and design inquiry. His work is recognized for evoking the poetics of place and region, including projects such as The Crosby Arboretum at Picayune, Michigan, which received a Centennial Medallion Award commemorating the 100th anniversary of the American Society of Landscape Architects. Blake is also the recipient of ASLA’s LaGasse Medal for contributions to the management of natural resources and public lands.

Kendall Buster has created a platform overlooking the lake in 100 Acres titled Stratum Pier. Situated on the south side of the lake, Stratum Pier consists of a series of organically shaped layered platforms. The design of the emer-ald green fiberglass and steel structure was modeled on a section of a topographical map of the Park. With its stacked layers, which appear to be an extension or growth from the shoreline, Stratum Pier’s organic form reflects Buster’s interest in the merging of the natural and the built environment. Constructed from fiberglass grids placed on a support system at varied heights, the platform’s components suggest the processes of erosion or layered growth—ever-present cycles within the natural environment that may be observed from atop Stratum Pier.

Kendall Buster received a degree in medical technology before she pursued an education in art. She earned a BFA from the Corcoran College of Art and Design and an MFA in sculpture from Yale University and participated in the Whitney Museum’s Independent Study Studio Program. Buster’s large-scale “biological architecture” sculpture projects have been exhibited in numerous venues, including the Hirshhorn Museum and the Kreeger Museum in Washington, D.C.; the Kemper Museum in Kansas City, Missouri; and the Bahnhof Westend in Berlin, Germany. She is currently working on a project for architect Will Bruder’s Agave Branch Library in Phoenix, Arizona. Buster lives and works in Richmond, Virginia, and teaches at Virginia Commonwealth University.

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EDEN IIby Tea Mäkipää

The New York-based artist collective Type A created the sculptural installation Team Building (Align), which consists of two 30-foot-wide metal rings suspended from telephone poles and oriented so that their two shadows will become one at noon during the annual summer solstice. The designated time of alignment as well as the size of the rings were determined by a team of IMA staff members who worked with the artists over a two-year period on a real-time experiential art performance. From philosophical conversations about art and astronomy to physically rigorous challenge courses, Type A and the IMA team collaborated to develop a sculptural form that could metaphorically convey the spirit and complexity of their shared collaboration. The project also generated photographs, blogs, and videos, which can be seen on the IMA Web site: imamuseum.org/100Acres/TypeA.

Working together since 1998, Type A is the collaboration of Adam Ames (b. 1969) and Andrew Bordwin (b. 1964). Employing a variety of media, Type A creates artworks that address issues of masculinity, competition, and collaboration in contemporary society. They have been the subject of solo exhibitions at Addison Gallery ofAmerican Art, Andover, Massachusetts, and the MIT List Visual Arts Center, Cambridge, Massachusetts, and have exhibited in group shows such as the 2004 exhibition Will Boys Be Boys?, which traveled to the Salina Art Center, Salina, Kansas; Museum of Contemporary Art, Denver, Colorado; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; the Gulf Coast Museum Of Art, Largo, Florida; and the IMA. One of their videos will be included in the IMA’s exhibition Framed in 2010. Type A’s recent installation titled Barrier was presented at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, in 2009, and will travel to DeCordova Sculpture Park + Museum, Lincoln, Massachusetts, in 2010 and The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, in 2011.

Type A is the subject of a documentary video produced by the IMA, which can be viewed on artbabble.org, and a monograph edited by Lisa Freiman and published by Hatje Cantz and the IMA.

Andrea Zittel’s floating island, titled Indianapolis Island, is installed in 100 Acres’ 35-acre lake. About 20 feet in diameter, the island is inhabitable and serves as an experimental living structure that examines the daily needs of contemporary human beings. Each summer it will be occupied by one or two student residents who will collaborate with Zittel by adapting and modifying the island’s structure according to their individual needs. They will be outfitted with a row boat and will have access to an iPad that enables them to share pictures and to blog and Twitter about their island experience. The island residents will interact with visitors throughout the summer, sharing information about the living art experiment and the Park itself. The project blends elements of environmental art, sculpture, design, and performance in a unique way, offering a challenging and experimental forum for exploring ideas about individualism and self-sufficiency.

This summer the Indianapolis Island will be inhabited by Herron School of Art and Design student Jessica Dunn and recent graduate Michael Runge. Dunn and Runge will collaborate to implement their work titled Give and Take, which combines individual experiences of living and working on the island with community interaction and transparency of their daily activities. As residents, Dunn and Runge will provide 100 Acres visitors with the opportunity to tour their living space, ask questions via receptacles for floating messages, and attend perfor-mances planned by the artists. Additionally, visitors to Indianapolis Island are encouraged to bring an object to the artists, which they will be able to trade for another item either owned or crafted by Dunn or Runge. The artists will maintain an ongoing blog documenting their experiences to connect with local as well as broader audiences. Give and Take is the first of four island residencies to be commissioned each year from art students within Indiana. See Dunn and Runge’s blog documenting their island experiences at imamuseum.org/island.

Andrea Zittel (b. 1965) lives and works in Joshua Tree, California. She received her MFA from the Rhode Island School of Design in 1990 and a BFA with honors from San Diego State University. She has been the subject of one-person exhibitions at the Whitney Museum of Art at Altria and the New Museum of Contemporary Art in New York, the Milwaukee Art Museum, the Albright-Knox Art Gallery in Buffalo, the Museum of Contemporary Art in Los Angeles, and the Vancouver Art Gallery in Canada. Zittel has been included in numerous group shows at institutions such as Kunstmuseum Bonn in Germany, the Smithsonian American Art Museum in Washington, D.C., the National Art Center in Tokyo, Van Abbemuseum in the Netherlands, the Museo d’Arte Contemporanea in Rome, and the Museum fur Gegenwartskunst in Basel, Switzerland. Awards she has received include the AICA Award for Best Architecture or Design Show in 2007, the College Art Association Distinguished Body of Work Award in 2006, and the Lucelia Artist Award from the Smithsonian American Art Museum in 2005. Zittel has been the subject of a number of monographic works and has been included in numerous exhibition catalogues and other publications.

For more information about 100 Acres please visit: imamuseum.org/100Acres and artbabble.org

Published on the occasion of the opening of 100 Acres: The Virginia B. Fairbanks Art & Nature Park, June 2010

Artistic Director and Chair, Department of Contemporary Art » Lisa D. FreimanProject Manager » Dave HuntAssociate Curator » Sarah GreenCuratorial Assistant » Amanda YorkSenior Administrative Assistant » Gabriele HaBaradDesign » Matthew TaylorManaging Editor » Jane GrahamPhoto Editor » Tascha HorowitzPhotography » Hadley Fruits

Published by the Indianapolis Museum of Art4000 Michigan RoadIndianapolis, Indiana 46208-3326www.imamuseum.org

©2010 Indianapolis Museum of Art All rights reserved. Published 2010

4000 Michigan Road Indianapolis, IN 46208317-923-1331imamuseum.org