How do you define contemporary art?

Chances are, your answer will be very different from the person standing next to you in the gallery, from the gallery owner, and from the artist whose work you're viewing.

"There is no single definition or theory for art of any period, let alone contemporary art," says Lisa Freiman, curator of contemporary art at the Indianapolis Museum of Art.

"Contemporary art is the result of deeply engaged human creative expression -- be it analytical, emotive, critical or formal -- produced in real time or during the recent past. It may be comprised of any material -- paint, found objects, new media, pure ideas, graphite, body movements, sound, language or photography."

The complexity of its defining characteristics reflects the nature of contemporary art itself, which addresses a range of issues, often in forms that challenge the viewer. And that inherent degree of difficulty is what makes contemporary art such an integral part of the city's cultural fabric.

"(Contemporary art) is a product of the world that we live in, and as such, it offers a creative vehicle for perspective and analysis, allowing us to grapple with complexities and nuances, rather than thinking in strict black-and-white terms," says Freiman.

The IMA gives much more than lip service to the importance of contemporary art. It has devoted 25,000 square feet of space on its third floor to contemporary works, as well as the Efroymson Entry Pavilion, an endowed space, which spotlights newly commissioned artworks twice a year. The museum also is developing the 100-acre Virginia B. Fairbanks Art & Nature Park -- scheduled to open in 2009 -- which will focus on commissioned projects.

But the IMA isn't alone. Contemporary works are more accessible in the Circle City than ever before, from exhibits at the Indianapolis Museum of Contemporary Art (iMOCA), which acquired permanent space Downtown on Senate Avenue in 2004, to the Indianapolis Arts Council's Public Art Indianapolis program, which has brought modern artists such as Tom Otterness and Julian Opie to Indianapolis sidewalks.

"Now you don't even have to go into the institutions (to see contemporary art)," says Kathy Nagler, iMOCA's executive director. "Now you can just see it out on the street."

Artist Nicole Yalowitz, who specializes in abstract works, says that public art is important for both artists and the general public.

"Once you beautify an area, you bring something besides the sterility of a building," says Yalowitz. "If you go on Mass Ave. and you take a look at a (sculpture of) a raft that's on stilts, that's not in water, that has oars coming out of it, you're like -- Wow! You could actually have a dialogue about this. . . . Indianapolis thinks we're smart enough to appreciate this."

Individual galleries throughout the city also spotlight contemporary works, and the VisualFringe component of this year's IndyFringe attracted 57 artists, with up to 171 works displayed in galleries along Mass Ave. Also scheduled to open this fall in the Carmel Arts and Design District is the Midwest Museum of Contemporary Art (MiCo), with several thousand square feet of space.

Despite Indianapolis' reputation for conservatism, there are plenty of arts patrons ready to take on the challenges that contemporary arts present.

"Indianapolis has embraced the contemporary program with open arms and enthusiasm," Freiman says. "All of our openings since the reopening of the contemporary galleries in November 2005 have been extremely well-attended. . . . Of course, numbers are not the only measurement of success or demand, but they certainly point to a growing, enthusiastic community."

Nagler also sees that type of response firsthand at iMOCA. "We get between 200 and 400 people at our openings," she says.

That's not to say there aren't a few challenges involved in reaching out to expand that patron pool, however.

"Contemporary art is a hard sell," Nagler says. "I think the reason is that it's difficult. And it's meant to be difficult. . . . It's provocative, and its meaning isn't always apparent. (And) there isn't always a meaning."

Arts executives also have to overcome the hurdle brought on by media coverage of controversial exhibits in other cities. In 1999, the Brooklyn Museum of Art's "Sensation" exhibit sparked controversy over artist Chris Ofili's infamous "The Holy Virgin Mary" painting that depicted a black Madonna adorned with elephant-dung accents. New York City's then-mayor Rudy Giuliani sued. Such "shock factor" pieces sometimes make newcomers wary of giving contemporary art a try.

"I think that there is definitely a stereotype here of what contemporary art is -- that it's sensationalist, that it's shocking," says Mary Lee Pappas, associate director of MiCo. "Certainly, there are stereotypes . . . (but) I think that quality art, whether it's shocking or not, speaks for itself."

In fact, at iMOCA, "the more provocative shows have been better received than the less provocative shows," Nagler says. The museum's current "Xanadu" exhibit, a video installation billed as "Armageddon set to a disco beat," drew 300 people to its July opening.

Since joining the IMA as director and CEO in 2006, Maxwell Anderson has seen scant evidence of negativity from patrons.

"I've had next to no blowback from any of the works we've presented. . . . I don't think an artist should be asked to stay away from issues that are integral to real life."

That sense of immediacy actually adds to contemporary art's appeal, Pappas says.

"America is culturally pluralistic. . . . So many crises are happening right now, (and) artistically expressing these crises, whether it's advocacy or protest, is going to push boundaries by default. Art should have a purpose now more than ever, and people respond to purpose."

Another plus for contemporary art, Freiman says, is that the artists usually are alive and accessible to their audiences. "People can come together individually or socially to see the work of living artists, hear artists talk and broaden their perspectives on the world, leading them to new ideas and explorations."

A thriving contemporary arts scene also contributes to the overall cultural dynamics of the city. Richard Florida's best-selling book "The Rise of the Creative Class" detailed a connection between a community's thriving creative scene and its economic success.

"According to his model," says Nagler, "people are attracted to cities that are interesting and culturally exciting and diverse."

From an artist's standpoint, that connection is crucial, Yalowitz says.

"Not only have the concerted efforts to bring art to the forefront of the city revitalized some things Downtown, but I think that it also has revitalized the people. . . . Once you give (artists) that validation that we really do care about what you're doing, they're going to create better work, they're going to create more work, and they're going to stay here in Indy, which is so important."

--Julie Cope-Saetre / Star Correspondent