Monthly Archives: November 2014
$1 million grant from The Efroymson Family Fund will support innovative museum programs and initiatives through 2018
Indianapolis Museum of Art is excited to announce the inventive new ARTx series, made possible with a $1 million gift from The Efroymson Family Fund, a fund of Central Indiana Community Foundation (CICF).
The ARTx series was developed by the IMA’s first-ever curator of audience experiences and performance, Scott Stulen, and offers smart, dynamic and highly interactive experiences for audiences on the IMA campus and within the local community. The robust lineup features new public programming and community initiatives, along with enhancements to existing campus programs and events. New offerings such as Grown-up Summer Camp, Art Crossfit and Avant Brunch continue to strengthen the IMA’s reputation for quality experiences and intellectual rigor, while creating playful and unexpected points of access for a variety of audiences.
It’s no time to be passive, says museum’s first curator of audience experiences.
Not knowing how the public will react to one of his unconventional ideas is no problem for Scott Stulen. As the first-ever curator of audience experiences and performance at the Indianapolis Museum of Art, Stulen is paid to program events that are engaging, provocative and far from routine. Failure, at times, is part of the process.”You’re setting up a platform for something that could happen,” he said. “Sometimes it works, and sometimes it obviously doesn’t.”
By Shelby Gilliland:
How would you define social practice as an art form?
I think social practice is a general term we’ve assigned to a lot of work that is performative and event based but I think it’s a very loose definition. For the purposes of this conversation it includes a whole range of work that is socially based and performative. The unifying elements are that the work has a collaborative nature and it takes place in the social realm — the public sphere — and needs public participation. It’s not an object, although it can include objects, but it needs people. 1990s installation work included anything that wasn’t sculpture and in some ways social practice is at the same stage now. A lot of this work has been happening for decades, going back to the 1950s and 1960s, going back to Fluxus. With the recent interest in defining social practice as a distinct discipline, and there is interest by young artists who are willing to define themselves in this practice. Another of the new developments is the increase in funding streams for this type of practice, which have not been in place in the past.
An All-Night Projection Festival
By Scott Stulen, Curator of audience experience and performance at the IMA
Screens are a ubiquitous presence in our daily lives, providing a constant backdrop in public spaces and a beckoning distraction on our smartphones. Our screen-filled environment provides a stream of vital information, but also becomes white noise, ever-present but unconsidered. What if, for one night, our screens became more than hosts for endless replays of SportsCenter and cat videos? Imagine a night illuminated by 10-story video projections on downtown buildings; secret, location-based cell phone viewing parties; stadium scoreboard takeovers; and entire sports bars becoming art-house cinemas. My idea is to launch an innovative, flagship cultural event for Indianapolis that becomes a source of civic pride.