A concert of contemporary chamber music performed by the Boston-based Callithumpian Consort will occur on Thursday, April 2 at the Indiana Historical Society. Noted American composer Christian Wolff, who has composed a new work for the group’s spring 2015 tour, will be present to give a pre-concert lecture. Admission is free and open to the general public. The Consort, configured for this tour in a quartet of two pianos and two percussionists, will also perform works by Bela Bartok, Earl Brown, and Lee Weisert. The Callithumpian tour and Wolff lecture is made possible with funding from the IUPUI Arts and Humanities Institute, the Donald Tavel Arts and Technology Research Center at IUPUI, the New England Conservatory, and Georgia State University.
Founded by pianist and conductor Stephen Drury in the 1980s, the Callithumpian Consort is a professional ensemble producing concerts of contemporary music at the highest standard. Flexible in size and makeup, its repertoire includes the classics of the last 100 years and new works in the avant-garde and experimental traditions. It is grounded in the musical discoveries of John Cage, Karlheinz Stockhausen, John Zorn, Giacinto Scelsi, Morton Feldman, and Iannis Xenakis. With grants from the Fromm Foundation, Meet the Composer, the Ernst von Siemens Music Foundation and the French American Cultural Exchange, the Callithumpian Consort has commissioned new works from Christian Wolff, Tristan Murail, Chaya Czernowin Lee Hyla, Alvin Lucier and Lei Liang as well as a substantial number of younger composers. The Consort has also worked closely with John Cage, Steve Reich, Frederic Rzewski, Helmut Lachenmann, Michael Finnissy, Jonathan Harvey, John Zorn, John Luther Adams, Brian Ferneyhough, Jo Kondo, and many others. The Boston-based group’s 2015 spring tour will see them premiering a new Christian Wolff work in Boston with throughout the Eastern US, with a final concert in Indianapolis. Indianapolis-based percussionist Scott Deal, who is a professor of music at IUPUI, will be performing with the Consort throughout the tour.
American composer Christian Wolff (b. 1934) was a primary force in a musical movement historically known as the New York School, consisting of composers who revolutionized music in the 20th century. Along with John Cage, Morton Feldman, and Earle Brown, Wolff helped to change the way musicians across a broad spectrum of genres think about composition and performance. Most profoundly, Wolff has impacted how classical musicians interpret their own craft. A particular feature of his music is the various freedoms it allows performers at the time of performance as well as the variable results possible for any one particular piece, for which various new notations have been invented. He has received awards and grants from the American Academy and National Institute of Arts and Letters, the Ford Foundation, DAAD Berlin, the Asian Cultural Council, the Fromm Foundation, the Foundation for Contemporary Performance Arts (the John Cage Award for music) and the Mellon Foundation. He is a member of the Akademie der Kuenste in Berlin and the American Academy of Arts and Sciences. In 2004 he received an honorary Doctor of Arts degree from the California Institute of the Arts. Academically trained as a classicist, Wolff was professor of classics and music at Dartmouth College from 1971 to 1999.
Pianist and conductor Stephen Drury has performed throughout the world with a repertoire that stretches from Bach to Liszt to the music of today. He has appeared at Carnegie Hall, the Kennedy Center, the Barbican Centre and Queen Elizabeth Hall in London, the Cité de la Musique in Paris, and the Leipzig Gewandhaus, and from Arkansas to Seoul. A champion of contemporary music, he has taken the sound of dissonance into remote corners of Pakistan, Greenland and Montana. Drury has performed or recorded with the American Composers Orchestra, the Cologne Radio Symphony Orchestra, the Vienna Radio Orchestra, and the Brooklyn Philharmonic. His performances of music written in the last hundred years, ranging from the piano sonatas of Charles Ives to works by György Ligeti, Frederic Rzewski and John Cage have received the highest critical acclaim. Drury has worked closely with many of the leading composers of our time, including Cage, Ligeti, Rzewski, Steve Reich, Olivier Messiaen, John Zorn, Luciano Berio, Helmut Lachenmann, and Christian Wolff.
Yukiko Takagi received Bachelor’s and Master’s degrees from the New England Conservatory where she studied with Veronica Jochum and Stephen Drury. While a student at the Conservatory she was selected to perform in several Honors programs and appeared regularly with the NEC Contemporary Ensemble. Ms. Takagi has performed with the orchestra of the Bologna Teatro Musicale, the John Zorn Ensemble, the Auros Group for New Music, Santa Cruz New Music Works, the Harvard Group for New Music and the Chameleon Arts Ensemble. She performs regularly with the Eliza Miller Dance Company and the Ruth Birnberg Dance Company and gives frequent duo-piano concerts with Stephen Drury. Ms. Takagi is a featured performer with the Callithumpian Consort. Her recording of Colin McPhee’s Balinese Ceremonial Dances was released by MusicMasters. At New England Conservatory, Ms. Takagi is a teacher and guest artist for NEC’s Summer Institute for Contemporary Piano Performance.
Lauded as having “consummate virtuosity” by The New York Times, Stuart Gerber has performed extensively throughout the US, Europe, Australia, and Mexico as a soloist an chamber musician. He is Associate Professor of Percussion at Georgia State University in Atlanta. As an active performer of new works, Stuart has been involved in a number of world-premiere performances. He gave the world premiere of Karlheinz Stockhausen’s last solo percussion work Himmels-Tür in Italy, and his percussion trio Mittwoch-Formel at the annual Stockhausen-Courses in Kürten, Germany. He has also given the US and Australian premieres of Stockhausen’s duo version of Nasenflügeltanz for percussion and synthesizer, and the US premiere of his solo percussion work Komet. Dr. Gerber has been the faculty percussionist for the Stockhausen-Courses since 2005 and has recorded a number of pieces for the Stockhausen Complete Edition released by the Stockhausen-Verlag. In addition to his work with Stockhausen, Stuart has worked with many other notable composers, such as Kaija Saariaho, Steve Reich, Tristan Murail, Frederic Rzewski, George Crumb, Tania Lèon, Michael Colgrass, Ricardo Zohn-Muldoon, and John Luther Adams.
Performer, composer and media artist Scott Deal engages new works of chamber music, computer interactivity, networked systems, electronics and percussion. His percussion performances have been described as “riveting” (Sequenza21), and executed with “phenomenal virtuosity” (Artsfuse). His recordings have been described as “soaring, shimmering explorations of resplendent mood and incredible scale”….”sublimely performed”, and his recent recording of Pulitzer Prize/Grammy Award-winning composer John Luther Adams’ Four Thousand Holes, was listed in New Yorker Magazine’s 2011 Top Ten Classical Picks. He has performed at venues worldwide, including Musicacoustica Beijing, Almeida Opera London, Arena Stage Washington, Supercomputing Global, Zerospace, SIGGRAPH, Chicago Calling, IEEE CloudCom, Ingenuity Festival, ICMC, NIME, SEAMUS, PASIC, SICK PUPPY, and with groups that include ART GRID, Another Language, Digital Worlds Institute, Callithumpian Consort, Percussion Group Cincinnati, and the Helsinki Computer Orchestra. He is the percussionist for the computer-acoustic trio Big Robot, who have performed to audiences worldwide. In 2011, Deal and composer Matthew Burtner won the coveted Internet2 IDEA Award for their co-creation of Auksalaq, a telematic opera called “an important realization of meaningful opera for today’s world”. Deal’s work has received funding from organizations that include Meet the Composer, Lilly Foundation New Frontiers, Indiana Arts Council, Clowes Foundation, IUPUI Arts and Humanities Institute, and the University of Alaska. He resides in Indianapolis, Indiana where he is a Professor of Music and Director of the Donald Louis Tavel Arts and Technology Research Center at Indiana University Purdue University Indianapolis (IUPUI).
Two acclaimed TV and film personalities are headed to Indianapolis to take the podium as guest speakers for the 2014-15 Steward Speakers Series.
The Steward Speakers Series presents award-winning actress Viola Davis and popular talk show and game show host Steve Harvey as keynote speakers for the lecture series that seeks to enhance the community by providing opportunities to engage with America’s best leaders and brightest luminaries.
Davis, currently starring in the ABC hit “How to Get Away With Murder,” is the featured speaker for the March 2 talk. Harvey, who has found success as an actor, writer and producer, as well as TV host, will headline the April 20 lecture.
Activities during both evenings include dinner from 6 to 7 p.m., followed by a lecture at 7:30 p.m. in the second-floor ballroom at the Marriott Downtown, 350 S. Maryland St.
During the March 2 lecture, Davis will discuss her career and how overcoming adversities and preconceived restrictions have all contributed to reinforcing her abilities as an artist and to her becoming a stronger woman.
The Tony Award-winning actress was thrust into the spotlight after her Oscar-nominated portrayal of Aibileen Clark in “The Help,” a big-screen drama about the struggles of black housekeepers working for white families in 1960s Mississippi.
In addition to hosting his TV shows, Harvey is a fashion entrepreneur and bestselling author. The 2012 box office hit, “Think Like a Man,” was adapted from Harvey’s No. 1 book, “Act Like a Lady, Think Like a Man.”
While he is known as a funny man, Harvey’s serious side shows in his longtime dedication to philanthropy. His current projects include The Steve Harvey Mentoring Weekend for Young Men, a camp that shares insights and manhood skills with teenage boys who are without fathers.
Tickets for each dinner and the following lecture are $100 per person. They can be purchased online.
Indiana University-Purdue University Indianapolis is a title sponsor for the Steward Speakers 2014-2015 season that opened with Nov. 20 and Feb. 9 events featuring Michael Eric Dyson and T.J. Holmes as guest speakers.
The Steward Speakers Series provides continuous education and awareness to Indianapolis residents interested in empowerment topics. The program allows the community to dialogue on important issues of the day with celebrities, leaders and experts in particular fields.
Ray Bradbury, one of the best known science-fiction and fantasy writers of our time, will be the focus of a special four-day film series at IU Cinema on Indiana University’s Bloomington campus beginning March 24.
“Ray Bradbury: From Science to the Supernatural” is intended as an exploration and celebration of his works on screen. The series, which includes lectures and panel discussions, was programmed by the Center for Ray Bradbury Studies, part of the IU School of Liberal Arts at Indiana University-Purdue University Indianapolis.
In addition to being the author of such enduring books as “The Martian Chronicles,” “The Illustrated Man,” “Fahrenheit 451,” “Dandelion Wine” and “Something Wicked This Way Comes,” Bradbury was a successful screenwriter whose works were also adapted for film and television by other writers.
IU Cinema, an internationally recognized center for the study, presentation and preservation of film, will offer the following events:
- 7 p.m. March 24, “Bradbury TV and Shorts Program” — The series kicks off with a unique gathering of short subjects, including the 1962 Oscar-nominated “Icarus Montgolfier Wright,” scripted by Bradbury and George Clayton Johnson. This animated film showcases paintings by Joseph Mugnaini, the illustrator closely associated with Bradbury’s books. Other short items include Bradbury stories adapted for “Alfred Hitchcock Presents” and “The Twilight Zone.”
- 7 p.m. March 26, “It Came From Outer Space” — Bradbury fans and scholars will have the opportunity to view the 1953 feature film based on an original Bradbury concept and screen treatment. Paper optic glasses will allow the audience to watch the film in 3-D — a unique opportunity to see this classic Jack Arnold-directed film as it was originally intended.
- 6:30 p.m. March 27, “A Sound of Different Drummers” and 9:30 p.m. March 27, “Fahrenheit 451″ — This double bill showcases two adaptations of Bradbury’s classic novel “Fahrenheit 451.” The evening begins with “A Sound of Different Drummers,” an uncredited television adaptation of Bradbury’s novel for the 1957 season of “Playhouse 90,” followed by a screening of the well-known 1966 film adaptation by François Truffaut. The intermission will include a panel discussion of the fascinating history surrounding these two landmark productions. Separate tickets are required for each film.
- 3 p.m. March 28, “Moby Dick” — On its final day, the series closes with two films that showcase the broad range of Bradbury’s own screenwriting talents. The first is John Huston’s 1956 production of the classic novel, which was an early success that secured Bradbury’s Hollywood reputation. A panel discussion will be held following this film and before the evening screening of “Something Wicked This Way Comes.”
- 6:30 p.m. March 28, “Something Wicked This Way Comes” — Directed by Jack Clayton, this is the result of a 30-year arc of creativity that transformed an original Bradbury short story into a script, a novel and finally a successful film production.
IU Cinema director Jon Vickers has worked closely with Bradbury Center director Jonathan Eller and the center’s senior advisor, Phil Nichols, to develop the program for the Bradbury film series.
“Every session has fascinating cultural connections,” said Eller, an IUPUI Chancellor’s Professor who is also the editor of Bradbury’s early collected stories and the author of two Bradbury biographies. “The Academy Award-nominated ‘Icarus Montgolfier Wright,’ a story of our quest to reach the moon, was screened in the Kennedy White House just as those dreams were beginning to move toward reality.”
The Bradbury Center has preserved Bradbury’s master 35mm reel of that animated film, along with thousands of other Bradbury artifacts, books and papers.
“The highlight of the week may be the chance on Friday to view John Frankenheimer’s masterful direction of ‘A Sound of Different Drummers’ as a prelude to the screening of Truffaut’s adaptation of ‘Fahrenheit 451,'” Eller said. “The uncredited ‘Playhouse 90′ adaptation led to legal actions and appeals that Bradbury eventually won, but these events are outweighed by the unique opportunity to compare the Truffaut film with Frankenheimer’s seldom-seen television precursor. Frankenheimer was not involved in the legal actions, and his acknowledged mastery of television drama would soon translate into a major Hollywood film career.”
“These screenings offer the first curated overview of Bradbury’s legacy in film and television,” said Nichols, a well-known Bradbury media scholar on the Faculty of Arts at the University of Wolverhampton in the United Kingdom. “Selecting the films for this event has been a challenge, because of the range and diversity of Bradbury’s work.”
In discussion panels March 27 and 28, Nichols will reveal some of the findings from his research among the papers in the Bradbury Center.
All “Ray Bradbury: From Science to the Supernatural” events are free and open to the public, but tickets are required for IU Cinema film screenings. Due to expected demand and limited seating, tickets should be secured in advance.
Tickets can be obtained at the IU Auditorium box office from 10 a.m. to 5 p.m. Monday through Friday; or by phone at 812-855-1103 for a $10 service fee per order. If seats remain, tickets also will be available in the IU Cinema lobby 60 minutes before each screening.
“Ray Bradbury: From Science to the Supernatural” is sponsored by IUPUI’s Center for Ray Bradbury Studies; IU Bloomington’s College Arts & Humanities Institute; IUPUI Arts & Humanities Institute; IU’s Advanced Visualization Lab; Science on Screen, an initiative of the Coolidge Corner Theatre Foundation with support from the Alfred P. Sloan Foundation; and IU Cinema.
The symposium and series will take place at the IU Cinema, a 260-seat, THX-certified cinema that is dedicated to the scholarly study of film and the highest standards of exhibition. IU Cinema is one of a small percentage of theaters still able to project 35mm and 16mm films properly, as well as using the latest digital technology.
April 2, 2015 | 6:30-7:00
Marsh Gallery, Eskenazi Hall
Fjord/Glacier/River presents Rebecca Allan’s most recent paintings which have emerged from her travels in Norway. In Geirangerfjord, Allan made extensive drawings and studies of the waterfalls, rocks, and night skies that distinguish this majestic World Heritage site. These paintings reflect a response to the Norwegian landscape which is both exuberant and joyful but also reminds us of how urgent it is to preserve and protect our Earth’s natural resources, especially its water. Fjord/Glacier/River is presented by the IUPUI Arts and Humanities Institute (iahi.iupui.edu) and the Rivers of the Anthropocene Project (rivers.iupui.edu).
Known for her richly layered and chromatically nuanced abstract paintings, Rebecca Allan has for many years concentrated on rivers and watershed environments as primary sources of investigation. Her work explores the ecology, meteorology, and geology of the Northeast, Pacific Northwest, and the Gulf Coast, among other sites. Working from a studio that overlooks the confluence of the Harlem and Hudson Rivers in The Bronx, Allan is inspired by a deep appreciation for the beauty of the natural environment overlaid with an awareness of its fragility and endangerment.
Fjord/Glacier/River presents Rebecca Allan’s most recent paintings which have emerged from her travels in Norway. In Geirangerfjord, Allan made extensive drawings and studies of the waterfalls, rocks, and night skies that distinguish this majestic World Heritage site. These paintings reflect a response to the Norwegian landscape which is both exuberant and joyful but also reminds us of how urgent it is to preserve and protect our Earth’s natural resources, especially its water.
Exhibiting in the United States and abroad for more than 25 years, Allan’s most recent solo exhibitions were presented at Hudson Opera House Gallery (Hudson, New York), ArtLab78 (New York), The American Church in Paris, Ringling College of Art and Design/Longboat Key Center for the Arts; Seattle Art Museum Gallery; John Davis Gallery (Hudson, NY); and Gallery 2/20 (New York). Allan has been a Fellow at the Hermitage Artist Retreat, Virginia Center for the Creative Arts, and Dorland Mountain Arts Colony. She received her MFA from Kent State University and BA from Allegheny College. From 2006 to 2014 she was Head of Education at the Bard Graduate Center for Studies in the Decorative Arts, Design History, and Material Culture in New York City.
“My paintings are rooted in the dramatic cycles of nature as well as a deep curiosity about science, and the forces underlying what we observe on the surface of things. Even when it is grounded in the visible world, a painting is a sensual invention that conflates real and conjured experiences. Rivers, glaciers, and fjords are central to this dialogue with nature and culture. They are complex arteries of history, culture, commerce, and ecology. This exhibition explores my relationship to particular landscapes from Norway to the Atlantic Northeast.
My process involves mixing pigments and layer color over time, in response to observed and felt experience. The language of color is a sanctuary within which the questions and problems of artmaking — indeed, of life — are confronted. I work within a transcendental American landscape tradition that includes painters such as Frederic Church, Charles Burchfield, Joan Mitchell, and Neil Welliver but I also draw from the works of Renaissance masters such as Giovanni di Paola and Pieter Breughel in my desire to invent a new, cosmological landscape.”
Co-sponsored by the Herron School of Art and Design.
Twitter. Facebook. Instagram. Reddit. What do these platforms have to do with scholarly research? As it turns out, quite a bit. Scholars are turning to these platforms to expand the reach of their work — communicating with networks of specialists, students, and non-specialists alike. In this workshop, attendees will learn about the various social media platforms and how to use them in a scholarly capacity. Skills learned in this workshop will have relevance to research, teaching, and public engagement.
Dr. Ray Haberski, Director of the American Studies Program and a Professor of History in the IU School of Liberal Arts at IUPUI, will lead this workshop.
Co-sponsored by the IUPUI Library Center for Digital Scholarship.
Contemporary education ideals in the United States and Germany are the product of a set of key values propagated in the age of enlightenment: self-responsibility and autonomy of the citizen, religious toleration, individual rights of freedom and a broad general education available to all people as a sign of their human dignity. This lecture examines the genesis and development of these ideals through the multifaceted interrelationships between German and American pedagogues, school founders, and educational theorists from the colonial period up to the 21st century. This common history helps us understand the shared values of a transatlantic community committed to common educational ideals in theory and practice.
Dr. Jürgen Overhoff is Professor of the History of Education in the Institute of Educational Sciences at the Westfälische Wilhelms-Universität Münster
Co-sponsored by the Center for German-American Educational History (CGAEH), University of Münster, Germany and the IUPUI American Studies Program.
When most Americans think of environmentalism, they think of the political left, of vegans dressed in organic-hemp fabric, lofting protest signs. In reality, writes Jacob Darwin Hamblin, the movement–and its dire predictions–owe more to the Pentagon than the counterculture. In Arming Mother Nature, Hamblin argues that military planning for World War III created “catastrophic environmentalism”: the idea that human activity might cause global natural disasters. This awareness, Hamblin shows, emerged out of dark ambitions, as governments poured funds into environmental science after World War II, searching for ways to harness natural processes–to kill millions of people. Proposals included the use of nuclear weapons to create artificial tsunamis or melt the ice caps to drown coastal cities; setting fire to vast expanses of vegetation; and changing local climates. Oxford botanists advised British generals on how to destroy enemy crops during the war in Malaya; American scientists attempted to alter the weather in Vietnam. This work raised questions that went beyond the goal of weaponizing nature. By the 1980s, the C.I.A. was studying the likely effects of global warming on Soviet harvests. Driven initially by strategic imperatives, Cold War scientists learned to think globally and to grasp humanity’s power to alter the environment. Arming Mother Nature changes our understanding of the history of the Cold War and the birth of modern environmental science.
Dr. Jacob Darwin Hamblin is Associate Professor of History of Science, Technology, and Environmental History at Oregon State University. His most recent publication is Arming Mother Nature: The Birth of Catastrophic Environmentalism, published by Oxford University Press in 2013. He has also published Poison in the Well: Radioactive Waste in the Oceans at the Dawn of the Nuclear Age, published by Rutgers University Press in 2008, and Oceanographers and the Cold War, published by University of Washington Press in 2005. Dr. Hamblin’s current work explores the promotion of nuclear-related science and technology so-called developing countries, blending the histories of science, environment, and international relations.
Co-sponsored by Earth Charter Indiana and PrintText.
March 5, 2015 | 12:00-1:30
1500 North Delaware Street
Are the arts and humanities in crisis? What do financial cuts ultimately mean for arts and humanities institutions and their publics? What role should governments play in supporting the arts and humanities? What does the future look like for arts and humanities in this country and around the world? What functions do the arts and humanities provide in sustaining a democratic society?
This roundtable will discuss these and many other questions in this can’t-miss event featuring several of central Indiana’s leaders in the arts and humanities.
Keira Amstutz is the President and CEO of Indiana Humanities.
Dr. William Blomquist is the Dean of the IU School of Liberal Arts at IUPUI.
Dr. John Dichtl is the Executive Director of the National Council on Public History and an Adjunct Assistant Professor in History in the IU School of Liberal Arts at IUPUI.
Dr. Valerie Eickmeier is the Dean of the Herron School of Art and Design.
Dr. Jonathan Elmer is the Director of the College of Arts and Humanities Institute and a Professor of English at IU Bloomington.
David Lawrence is the President and CEO of the Arts Council of Indianapolis.
This event is co-sponsored by Indiana Humanities