Since its formation in 1934 as the Indianapolis Art League, the Indianapolis Art Center has grown into one of the finest facilities in the nation. Decades ago there was no modern building designed by Michael Graves and there was no ARTSPARK. If you talk with local artists and others in the arts community, many of them will tell you that one person has been the beacon showing the way to the future: Joyce Sommers.

Born just two miles from today's Art Center, Joyce's blood runs Broad Ripple black and orange. Her father, husband and most of her children went to BRHS; Joyce went there with fellow student and future architect Michael Graves, who graduated in 1952. She got her diploma in 1953, and they still stay in touch. One of her most vivid memories is when the school went to the basketball finals and lost - Joyce still can see that missed basket.

After completing her education, Joyce secured a job as a dental assistant in the Village for Dr. Irwin. (If anyone has any memories of Dr. Irwin, please send an e-mail or call the Gazette.) The office was above where Starbucks is today (Ladies, remember shopping at Abigail's?), and she remembers taking first the street car and then the new trackless trolley. Feature movies were at the Vogue, and grocery shopping was a weekly event at Standard.

Later, as a mother of four living in Meridian-Kessler, she worked for UNICEF and came into contact with the art community. UNICEF encouraged her to think globally, and a global view would become a valuable asset in her future. A friend, Marilyn Price, pushed the busy mother to go to the Art League and expand her artistic leanings. After taking forty classes, she was invited to become a member of the board, but she declined. Ms. Sommers explains, "I was not a joiner." But the die was cast, and this non-joiner would soon be propelled onto a path that led to leadership.

By the 1970's the Art League had outgrown its location. Joyce headed a focus group to plan the future, find a location, and build a new space. One acre was available in Broad Ripple and in 1975 the Art Shack was opened. At that time, Herron was not equipped to teach outside the student body and the Indianapolis Museum of Art wanted to emphasize their collection through art history, so the arts community became supportive for the planned expansion. Raising capital was a continuing challenge. During that time her mentor, Steele Churchman, encouraged her to become a fund raiser. Although nervous, Joyce succeeded in raising $1,000. Eventually the growing organization realized that it needed a paid Executive Director. Ms. Sommers wrote the grant, but when her friends pushed her to apply, Joyce did not think that she was the right person. Her husband finally convinced her to apply with the argument, "You are already doing it." In 1976, Joyce Sommers became the first paid Executive Director; she had a $20,000 annual operating budget. Her thirty-year track record shows that her friends and husband were right. This lady had a talent for developing the Indianapolis Art Center into one of the few private not-for-profit organizations of its kind in the nation.

When asked about her achievements, Joyce Sommers gives most of the credit to the hard work of the staff and volunteers, as well as to the community of artists that makes things happen. As she speaks of her philosophy and how proud she is of the glass blowing studio and the award winning Outreach Program, you can see the vision that makes her that beacon to the future. Bringing people closer to art is her goal - think of the accessibility of the sculpture in the ARTSPARK to everyone. Her vision has become reality. She says, "Creativity is essential for human development, which brings vitality and humaneness to a community." Watch a child's wonder at a potter's demonstration during the fair and the vision is realized. When asked what she sees as the future of the Indianapolis Art Center in relationship to Broad Ripple, Joyce Sommers replies, "an oasis for Broad Ripple with more plantings, green space and areas to watch artists at work." Many residents and artists would agree that the oasis is here today and shines along the White River, not far from the Monon Trail.