Table of Contents by Dale Enochs

Table of Contents by Dale Enochs

TITLE: Table of Contents
ARTIST: Dale Enochs
DATE: 2008
MATERIALS: limestone
DIMENSIONS: 42′ x 20′ x 50′
TYPE: sculpture

Table of Contents (1999) features an orb, a box, a pyramid, and a crescent cylinder carefully arranged on a hefty table, each fashioned from limestone. In some places there are fissures and lines; in other areas, it is smooth. The word “terrae” has been carved into the stone. “Terrae” refers to a vast highland region of a planet.

In choosing this word, Bloomington-based artist Dale Enochs may be asking us to think about connections between planetary and human scales, and how we mold one into the other. According to what values, laws, desires, and dreams do we fashion the world? Enochs’ provocative public work can be found throughout Indiana. He is based in Bloomington, where he earned his Masters of Fine Arts at Indiana University.

To learn more about this artwork, visit https://en.wikipedia.org/wiki/Table_of_Contents_(Enochs), which includes information created by Herron School of Art and Design and IUPUI Museum Studies faculty and students in 2009 as part of “A Survey of IUPUI Public Art.”

Luminary by Jeff Laramore

Luminary by Jeff Laramore

TITLE: Luminary
ARTIST: Jeff Laramore
DATE: 2008
DIMENSIONS: 4′ x 41′ x 5′
TYPE: sculpture

The design for Luminary (2008) came out of conversations and focus groups with cancer patients and caregivers. A white sphere composed of thin tiles of onyx inscribed with bands of reddish-brown agate is held, tenderly, by a wave design resembling a pair of hands.

Luminary appears to remind us how important it is to be held, especially during times of illness. In the darkness of night, caregiving reveals itself as a beacon of warmth, as light emanates from within the sphere.

Jeff Laramore of 2nd Globe Studios was lead designer for the sculpture, which was commissioned by Clarion Health Partners.

To learn more about this artwork, visit https://en.wikipedia.org/wiki/Luminary_(Laramore) , which includes information created by Herron School of Art and Design and IUPUI Museum Studies faculty and students in 2009 as part of “A Survey of IUPUI Public Art.” This sculpture was removed in 2022.

Horizons by Steinunn Thórarinsdóttir

Horizons by Steinunn Thórarinsdóttir

TITLE: Horizons
ARTIST: Steinunn Thórarinsdóttir
DATE: 2007-08
MATERIALS: glass, iron
TYPE: sculpture

How do you encounter Steinunn Thórarinsdóttir’s provocative Horizons (2008)? Does the work invite you to stray off your narrow path or does it quicken your step? Does it turn your head or fix it to the ground? Do you identify with one figure more than another? Or do they repel you? In other words, how do we square with these strange entities?

These life size cast iron figures are designed to age and weather over time, developing a patina that connects them, more and more, to the natural world. In their transformation, they invite us to connect our own aging processes to those of the earth.

But why are these figures, as a group, named Horizons? Look closer and find insets of green glass slipped into each body (except one!), references to the vast horizons that exist outside of Thórarinsdóttir’s Icelandic studio.

“The horizontal glass lines in the figures connect them to each other,” she explains. “But the glass also opens them up to daylight. So, it’s like a window that allows us to look into the inner world, the core.”

A temporary installation, this sculpture lived at IUPUI from 2018 to 2021.

Horizons the Art of Steinunn Thórarinsdóttir by Frank Cantor

Barrow by Jill Viney

Barrow by Jill Viney

TITLE: Barrow
ARTIST: Jill Viney
DATE: 2008
MATERIALS: fiberglass, metal mesh
TYPE: sculpture

New York-based artist Jill Viney was inspired by visits to European caves and burial mounds when she composed Barrow (2007), an 8’ by 8’ ridged dome made from a double wall of fiberglass encasing a sheet of metal meshing.

Barrows are prehistorical burial sites, shallow pit structures where the remains of the dead are filled over with stone or earth. Viney’s Barrow invites you to enter the sculpture through one of two entrances. “The dark inside with the silver exterior creates a luminous covering as the viewer enters the mound, explained Viney. “Overhead, as in a night sky, three rings of color hover above,” a pattern that evokes the ancient mysteries of prehistoric cave paintings.

How does the domed structure reveal tensions between the world inside and the world outside? How does it negotiate tensions between what hovers above and what lies below?

What does it mean to inhabit a barrow only temporarily? What kind of rest does it afford?

To learn more about this artwork, visit https://en.wikipedia.org/wiki/Barrow_(Viney) , which includes information created by Herron School of Art and Design and IUPUI Museum Studies faculty and students in 2009 as part of “A Survey of IUPUI Public Art.”