In partnership with the Indianapolis Airport Authority, the Arts Council of Indianapolis manages the award-winning temporary exhibition program at Indianapolis International Airport. The Arts Council curates rotating installations in closed cases in the main terminal, commissions new work for the video screens above the main escalator/staircase, and operates a long-term loan program for large sculpture outdoors in the North Terminal Garden.
Currently on view:
Katrina J. Murray: People I'd Like to Meet
Katrina J. Murray’s practice explores American civil liberties and internalized cultural biases. Her experiences with bias, both personally-held as well as observed, have shaped her artistic investigation of the differences and similarities between us.
According to Murray, “my work begins with me.” In her study and research, she has found that bias is part of human biology and acts as a shortcut to decision- making. In certain circumstances those shortcuts preserve lives or speed decision making, but in today’s society such shortcuts can be obsolete. It is up to each of us to unravel those deeply held biases, and those taken-for-granted notions, that compel our actions.
“I’m presenting objects and experiences that can be taken with dual meaning in the hopes that someone who has the opposite view will perceive the other’s meaning or understanding,” she says.
Murray's Flower or Vase ceramic work is also on view in the North and South Ticket Hall cases.
About Katrina J. Murray:
Murray is a cross-disciplinary, conceptual artist with a deep interest in the emotional and physical aspects of the human condition. She explores ideas around human nature, power, and vulnerability, focusing primarily on the way we frame our sense of self regarding current cultural discourse.
Educated at Herron School of Art and Design in Indianapolis Indiana, Murray graduated with a major in painting and a minor in art history. She now lives and works in Indianapolis.
Murray lived on a military base in West Germany in the mid-1980s. At that time, demonstrations against the “American occupation” occurred during the birth of her youngest daughter, which took place in a German hospital rather than on the base. Murray found herself in a room with two other expectant mothers, each of whom spoke different languages but had the same needs. This poignant experience made a lasting impression on her.
The direction of Murray’s current work began in 2005, after her son was killed in the Iraq war by an IED. She went back to college (Herron School of Art and Design) to use art to heal and learn a new way to live with her pain.
Mirvia Sol Eckert: My Island HeART
Mirvia Sol Eckert's work is unified by a celebration of beauty that embraces different cultural backgrounds, details in nature, and even moments of emotional turmoil and sorrow.
These ideas manifest themselves in bright, vibrant color as well as dramatic grayscale compositions, all connected by a visual style drawing from Eckert's career as a graphic designer.
Crisp lines and defined shapes of color depicting movement and harmony that consist of realistic imagery and stylized and abstract elements convey an underlying narrative of the subjects. That narrative reflects her Puerto Rican heritage, dance, spirituality, love of family and friends, and fascination with nature.
Look for hidden images or symbols in Eckert's paintings, you never know what you will find.
About Mirvia Sol Eckert:
Mirvia Sol Eckert is a Puerto Rican artist living and working in Indianapolis. Celebrating beauty is the fundamental concept that unifies her work.
Eckert is a recipient of the 2019 – 2021 Creative Renewal Arts Fellowship from the Indy Arts Council, co-founder and logo designer of Indy Latina Artists, and a member of Indiana Artists Club, Inc. She stays active in group, juried, and solo shows.
Her art and prints are in homes across the U.S., Puerto Rico, and Spain. She's proud to have honed a painting style that people recognize as her own.
TICKET HALL (NORTH)
Willard Johnson: Comfort Zone
In Comfort Zone, painter Willard Johnson asks us to look at Indianapolis in a different way. He wants us to remember that cities are living organisms. In addition to being a conglomeration of people, streets, and buildings, cities are also home to a great deal of flora and fauna. Thinking in this manner provides a glimpse into the complex relationship between the natural and man-made worlds. Johnson turns a microscope on the plant life of Indianapolis (in particular its native and invasive species) and uses plants as a metaphor for the larger story of who we are, who we were, and what we think about this place we call home.
In 2015, Johnson moved to Indianapolis to direct the art department at The Oaks Academy. His work teaching art to young people and his efforts to establish a home for his growing family have caused him to consider deep questions about community, rootedness, gentrification, and gardening. Johnson thinks carefully about the terms “native” and “invasive” and how they are sometimes applied to people as well as plants. His favorite species, Japanese honeysuckle, is at the top of the Indiana Department of Natural Resources’ DO NOT PLANT list. Once a valued exotic ornamental, it is now one of the most unwelcome plants in our state.
Johnson mixes his vivid oil paint with cold wax, an old technique that facilitates the creation of thick layers of separate colors. Johnson uses the combination of wax and resin to build up layers on his surfaces like topography. He often carves through layers or creates play with shadows, texture, and surface quality. Deep applications of color and texture are built upon foundations of airbrushed drawings, paper collage, and distressed fabric.
About Willard Johnson:
Willard Johnson (b. 1987, Seoul, Korea) is a visual artist working in painting, drawing, and collage. His work explores the language of abstraction, reassembling fragments from the collision of worlds and cultures to create the tension and paradox of cross-cultural intersectionality. After completing his BA from Anderson University in 2010, he received his Masters of Fine Art, Painting at Cranbrook Academy of Art. His work has been shown nationally and internationally. Johnson lives and works in Indianapolis, IN.
TICKET HALL (SOUTH)
Christina Hollering: Suburbia
Hollering’s cut-paper collages call into question the norms of American land development and its impact on the environment, beginning with our backyards. She grew up in the suburbs and currently lives in a cookie-cutter home similar to the one she was raised in. While she appreciates the suburbs for their predictability and security, she wrestles with their environmental price. Creeks are covered or redirected, requiring retention ponds that reduce the chances of flooding and filter out lawn care chemicals, preventing them from entering nearby waterways. Although these ponds develop their own ecosystems, the pollution and runoff they contain render the water unsafe for wildlife or recreational use.
Each of the shadow boxes, shaped like retention ponds from Hollering's own neighborhood, contain silhouettes of fish, fishing lines, wildlife netting, and other imagery she photographed during daily walks. The neon zip ties, vinyl, and marking tape collaged into the compositions are chosen for their association with the construction and maintenance of housing developments.
The question the artist asks is this: in a world where all aspects of the natural world can be manipulated, where does nature end and artifice begin? Will human intervention create a new type of nature that can only exist with our assistance? How long can we continue manipulating nature before we forget entirely what untouched nature looks like?
About Christina Hollering:
Christina Hollering is an interdisciplinary studio artist working in Indianapolis. She recently received her MFA in painting and drawing from Herron School of Art and Design, where she also teaches. Her work has been continuously exhibited throughout the US since 2008 and recently in Australia. Growing up in a well-traveled military family fostered an appreciation for each location’s native landscapes, fauna, and flora. Hollering utilizes cut-paper collage to illustrate the impact of non-sustainable land conversion and habitat loss, focusing on ecosystems within suburban developments. She reminds us that our home landscapes are mini-ecosystems essential to achieving good global environmental health.
KIND Gallery (Concourse A)
Bigger Picture Show
Local arts organization Indy Film Fest showcases highlights from the past three years of their annual Bigger Picture Show project, in which local graphic artists re-imagine classic movie posters. It’s a great opportunity to get to know part of Indy’s lively film scene.
Jan Michael Bennett
Jingo de la Rosa
Concourse Vinyl Murals
Indianapolis International Airport
The murals in the airport’s concourse connectors and parking garage, coordinated by the Arts Council in partnership with the Indianapolis Airport Authority, showcase the work of artists based in Indianapolis and the surrounding area. They are elements of larger artworks, selected through a competitive process for the stories they can tell about life in this place and at this time. The murals provide inspiration for travelers, whether they are visitors to the city or are returning central Indiana residents.
Life in the Time of COVID, 2020
Original artwork: encaustic and burned shellac on birch panel
Reproduction located in the Level 3 lobby of the Parking Garage
[Image coming soon]
“This work is abstract like all my paintings. It encompasses my thoughts working from March to September 2020: dealing with feelings of overwhelm, but with splashes of hope and positivity mixed in.”
Ritch Hanna is an Indianapolis-based painter. He first received a degree in theatre arts, then received his B.A. in Art History from the Herron School of Art & Design, IUPUI. Working primarily in encaustic (liquid wax) paints, he is a member of the Stutz Artists Association and exhibits frequently in the Indianapolis area.
Finding Joy, 2020
Original artwork: acrylic on canvas
Reproduction located in the Concourse B connector
“Finding Joy represents a visual processing of emotions through painting. Layering paint and oil pastel and then scraping parts away is symbolic of the emotional work we do every day as humans. Some colors and lines are thinly veiled, while others are bold and bright. The landscape of our emotions is expressed here through the colors playing off of each other, some raw and rugged when we are struggling, while others are filled with energy and vibrancy on our best days.”
Molly Meier is an Indianapolis-based artist who is a Licensed Mental Health Counselor and a Registered Art Therapist, careers which strongly influence her expressionistic style. Her abstract art is a response to the healing work she does with her clients and helps her to restore her own balance and grounding. Molly has a bachelor’s degree in Studio Art with a focus in Ceramic Sculpture from Illinois State University and a master’s degree in Art Therapy from the University of Illinois at Chicago.
Kevin James Wilson
Kings of the Castle, 2008
Original artwork: Prismacolor on matte board
Reproduction located in the Concourse A connector
Kings of the Castle was inspired by the men the artist used to see playing checkers in the barber shop as he grew up. It was like a “country club” where Black men could speak their minds about politics. religion, women, America, etc without repercussions. Years later, he noticed that similar men habitually gathered at the White Castle at 38th and Keystone, and to him the restaurant seemed to serve the same function. The composition pays homage to Norman Rockwell, a great influence on the artist’s work.
Kevin James Wilson is a graphic and commercial artist and art teacher who also creates works of fine art. He has taught at International Business College for 22 years, currently holding the position of head of the Graphic Design Department, and also teaches art at community-based arts institutions. Wilson’s specialty is creating works in graphite and colored pencil.