Grant Keeney, May graduate (B.F.A. in Furniture Design), went for playability and style in herron_posterhis designs when Brunswick Billiards asked for a new approach to table tennis. The purveyor of home game room products came back to Herron on the heels of its successful 2014 venture through the Basile Center for Art, Design and Public Life to create version six of the iconic Gold Crown billiards table. The winning design, by Colin Tury (M.F.A. in Furniture Design, ’14), is slated for production in 2017.

Keeney’s two concepts wowed Brunswick with their angles, clean lines and Mid-Century forms. “The legs fold up and the table folds in half, but you won’t want to put it away,” Keeney said, as he presented his prototype of the extruded aluminum “CL-1” table with soft-close accessory drawers for stowing the net, paddles and balls. His second design, the “Cornerstone,” features 360 degree pivoting casters built into the legs, and a low-slung, arched base. “There’s nothing out there like it close to this price point,” he said. “These designs target Millennials and everyone else.”

In addition to Herron faculty members, Brunswick representatives Brent Hutton (B.A. ’79 Bloomington), LifeFitness vice president of global consumer sales; John Kazik, vice president of business development; and Greg Tennis, manufacturing and sourcing engineer, were on hand for the April presentations from the six students who took on the challenge. Eighteen students had attended a March call for proposals where Hutton described the project in detail and called on them to bring their creativity to bear.

Brunswick also chose designs by seniors Ben Sallee and Vance Wilson as second and third place winners. The finalists earned $1,500, $1,000 and $500 awards, respectively, and each student who presented earned a stipend for their materials and time.

Cory Robinson, chair of the Department of Fine Arts at Herron, said, “For fine art and design students this kind of project is gold. Real professional practice that comes from working with an established company like Brunswick is not the same as a simulation.”

For this project, the school again brought in special expertise from Glen Fuller, who ran a customized class for the students who created designs for Brunswick. “Glen brings work experience as a professional industrial designer. He’s coming from a place of authority and put the students through their paces conducting in-depth market research on trends and competition in the leisure sports industry,” Robinson said.

Robinson encourages businesses that want to partner with Herron to begin the conversation well in advance. “The ideal situation is for us to accept a new project in the spring semester, so that we can use the summer to work on it as well, and then complete the assignment and present in the fall,” he said. “The businesses that partner with us seem very pleased and energized by the experience. They are learning something new, too.”

Art, Education, and the Making of Future Creative Thinkers: Anila Quayyum Agha

Anita Quayyum Agha: Associate Professor of Drawing and Foundation Studies,
A successful art practice need not be measured solely on commercial success but also on anila_agha_mainthe quality of life of the practitioner. Artistic excellence in creative fields is often the result of a great deal of time spent in research: analyzing, synthesizing and then producing well crafted art or design work that is heartfelt, layered and relevant to our times. The source of my own artwork has been interpretations of contrasts and similarities, within cultures/religions/rituals of people of myriad cultures. This subject matter requires deep intellectual introspection, concept development and research to assimilate it into the artwork. Having a disciplined approach to exploring a broad spectrum of ideas helps to formulate the foundations for a successful and self-sustaining long-term practice. Furthermore artistic training provides opportunities to explore a wide array of interests and to experiment and innovate with a variety of materials/processes along with conceptual development and a mastery of the visual language to deal with the challenges present in our current societies and which is essential for success in the world today. Such skills are transferable into myriad disciplines for professional advancement for students while simultaneously adding value to their lives through personal well being.

October 12, 2015
Reception: 4:30-5:30 PM
Lecture: 5:30-7:00 PM
IUPUI Campus Center Theater 420 University Blvd. Indianapolis, IN 46202

Award winning alumnus Rogelio Gutierrez returns to speak at Made in Mexico opening September 30

The photography and installation-based art of Herron School of Art and Design alumni who herron_posterwork and live in the United States but share cultural and familial roots in Mexico will be featured in Made in Mexico, opening on Wednesday, September 30 with an artist’s talk, live performance and reception beginning at 6:00 p.m.

The exhibition, in the Berkshire, Reese and Paul galleries, will feature works by Leticia Alvarez, Susana Cortez (M.F.A. in Sculpture, 2013), Rogelio Gutierrez (M.F.A. in Printmaking, 2011) and Tommey Reyes (B.F.A. in Photography, 2005), curated by Linda Adele Goodine.

A companion video installation by Goodine, Made in Mexico, her place, almost her place, not her place, will open in the Marsh Gallery.

New works by Meredith Knapp Brickell, associate professor of art and art history at DePauw University, will open in the Basile Gallery. Brickell is one of the recipients of the 2015-16 Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

Gutierrez will present the visiting artist’s talk in the Basile Auditorium, to be immediately followed by Cortez’s live performance.

Gutierrez went on from Herron to a tenure track as an award-winning professor of printmaking at the Herberger Institute for Design and the Arts at Arizona State University-School of Art, Tempe. “I was extremely honored and grateful to be selected for the Herberger Institute School of Arts’ Endowed Professor of Art Award, which provides funding for research and travel,” he said. It allowed him to create the solo exhibition FARMAS, which debuted at Arts Visalia Visual Art Center in California and traveled to Casa Siglo XIX Museo-Sebastian in Chihuahua, Mexico. Its next stop is scheduled for the Slocomb Galleries at Middle Tennessee State University in spring 2016.

The California native studied at Herron because he “wanted to get out of my comfort zone in the West and see what the Midwest was all about; Indianapolis was the perfect place for that. Herron has a strong reputation in the academic print world and I was interested in the public aspect of the curriculum.”

His focus is on printmaking because “It is a democratic art form that is meant for the masses. Printmaking has a rich history of important Mexican printmakers like Leopoldo Mendez and Jose Guadalupe Posada who were a big part of the Mexican Revolution Movement. Printmakers and artists associated with that movement truly had an important message; they are some of my favorite artists and inspire me to make work that connects to a wide audience including your non-traditional art goer,” he said.

There is likely to be some lively political discussion during his talk, given the season: “Politics always make an impact in my work,” Gutierrez said. “As you know, I am in the ring of fire here in Arizona when it comes to immigration and Latino issues. I have a project that I am working on that is related to these issues; I will share it during my lecture.”

Ari Kelman Speaks at Herron School of Art and Design on “Battle Lines”

Cover art for "Battle Lines" taken from Amazon.comA collaboration between the award-winning historian Ari Kelman and the acclaimed graphic novelist Jonathan Fetter-Vorm, Battle Lines is a completely original graphic history of the Civil War. The novel traces an ambitious narrative that extends from the early rumblings of secession to the dark years of Reconstruction, employing bold graphic forms to illuminate the complex history of this period. Richly detailed and wildly inventive, its stories propel the reader to all manner of unlikely vantages as only the graphic form can: from the malaria-filled gut of a mosquito to the faded ink of a soldier’s pen, and from the barren farms of the home front to the front lines of an infantry charge.

Join us as at Herron School of Art and Design as Professor Ari Kelman shares the experiences of creating Battle Lines, and learn about how writers and artists/illustrators can form exciting collaborations, transforming the written word into unique and compelling visuals.

About the artist:
Ari Kelman is the McCabe Greer Professor of History at Penn State University, where he teaches a wide range of courses, including on the Civil War and Reconstruction, the politics of memory, environmental history, Native American history, and America in the 1960s. He is the author, most recently, of Battle Lines: A Graphic History of the Civil War (Hill and Wang, 2015), as well as A Misplaced Massacre: Struggling Over the Memory of Sand Creek (Harvard University Press, 2013), recipient of the Antoinette Forrester Downing Book Award, the Avery O. Craven Award, the Bancroft Prize, the Tom Watson Brown Book Award, and the Robert M. Utley Prize, and A River and Its City: The Nature of Landscape in New Orleans (University of California Press, 2003), which won the Abbott Lowell Cummings Prize.

Kelman’s essays and articles have appeared in Slate, The Christian Science Monitor, The Nation, The Times Literary Supplement, the Journal of Urban History, The Journal of American History, and many others. Kelman has also contributed to outreach endeavors aimed at K-12 educators, and to a variety of public history projects, including documentary films for the History Channel and PBS’s American Experience series. He has received numerous grants and fellowships, most notably from the National Endowment for the Humanities and the Huntington Library.

Yasmine K. Kasem wins Outstanding Student Achievement in Contemporary Sculpture Award

The International Sculpture Center has announced that Yasmine K. Kasem (B.F.A. in sculptureSculpture, ’15) is a recipient of the Outstanding Student Achievement in Contemporary Sculpture Award for 2015 for her work El Qamesha El Wahida (The Lonely Cloth)

In a letter notifying associate professors of sculpture Eric Nordgulen and Greg Hull, who were Kasem’s faculty nominators, a center representative said there were “an exceptional number of nominees this year; 423 students … .” The nominees came from more than 158 college and university sculpture programs in North America and abroad.

The judges, all from New York, included sculptor Chakaia Booker, Dia Art Foundation Assistant Curator Kelly Kivland, and CUNY Professor of Fine Arts Maki Hajikano. They selected Kasem’s sculpture after deliberating over 952 images of sculptural works, the letter said.

The award includes an exhibition with catalog at Grounds for Sculpture—a sculpture garden on the former New Jersey State Fairgrounds in Trenton. The exhibition will take place October 2015 through March 2016 with an opening reception for honorees and their faculty sponsors on October 24. Sculpture magazine will also feature the awards in its October issue. Kasem’s work will be added to an archive of winners on the International Sculpture Center’s website.

“It’s very good for an undergraduate student to get this award,” said Nordgulen.

Although Kasem joins recipients from Herron including alumni Emily Stergar (B.F.A. in Sculpture, ‘04) and James Darr (B.F.A. in Sculpture, ‘03), they had already graduated from Herron and were nominated by the graduate schools they were attending at the universities of Arizona and Delaware, respectively.

Kasem said her experiences at Herron have been among the best of her life. “The faculty and facilities gave me the guidance and resources I needed to explore and develop. But not only that, I saw that Herron genuinely cares about its students and their ability to succeed. I owe so much of my success to Herron, my professors and peers. I’ve gotten the wonderful opportunity to work alongside so many talented artists and grow with them in the studio as well.”

“I’m truly grateful for being selected for this award,” she said. “If you would have told me four years ago that I would’ve accomplished what I have, I wouldn’t have believed you. I was so insecure about what I was making and how it held up in comparison to my peers. But all of the positive support, honest critiques and conversations I’ve had with friends, faculty and staff at Herron is what motivated me to keep working hard through any obstacle I encountered.”

As she got closer to applying for college, Kasem said, “I realized that I felt much stronger about visual art and that it would be a better fit for me than studying jazz,” as had been her initial intent.

Once she decided on Herron, there was no question she wanted to study sculpture. “Growing up, I always looked for ways to keep myself occupied,” she said, “which usually led me to building something in the back yard, or playing with the leftover clay my mom had from making beads for her jewelry. Kasem loved making something beautiful out of nothing, but “wanted to work with even more materials, so sculpture was the logical choice.”

Kasem has applied for residencies in Egypt and Switzerland and sees her future at an as yet undetermined graduate school. She’s making new work for a group show in the fall.

“Now that I’ve graduated, I haven’t slowed down at all,” she said. “After that, just continuing my process and hoping I can get my message across to as many people as I can” is the plan.

“Career wise, I’d love to teach, and that’s something I’ve discovered more recently. On the other hand, working at the Herron Galleries has really instilled a deep interest in what goes into running a gallery. But beyond all of that, I want to be a successful artist. That’s what I’m working towards and that’s what gets me up in the morning.”

Nontraditional Herron juniors help IMS embody ‘Back Home Again in Indiana’

The Indianapolis Motor Speedway featured work by Herron juniors Sarah Chumbley and alicia-for-blog_resizedAlicia Stephens in the official event program for the 2015 Indianapolis 500.

Chumbley, a visual communication design major, was a spring intern in creative services at the Indianapolis Motor Speedway, reporting to Dawn DeBellis. Working on the publication design, Chumbley asked Debellis to consider a painting for page 23, to illustrate a favorite Hoosier song, Back Home Again in Indiana. Debellis agreed.

Stephens, a painting major, had created Cross That Bridge, an oil on canvas, to fulfill a school assignment. She painted from a photo she’d taken in 2012 at Shades State Park. “My daughter, who was seven at the time, was afraid to cross a log over a creek. Her dad is on the far side of the log,” Stephens said.

Stephens entered IUPUI later in life than most students. “I’ve been painting for 20 years,” she said. “I had success in selling my work, but I was stuck in landscapes. I didn’t know how to get out of it. My husband suggested that I come to Herron.”

Chumbley came to Herron after three and a half years as a chemistry major. “It was senior year and I just wasn’t happy,” she recalled. “I finally just decided to do something about it. I had a meeting with my advisor and told her that my dream job would be to work somewhere like Hallmark, where I’d have a creative outlet in a business setting, and she referred me to [Herron academic advisor] Abbey Chambers. An hour later I was registered as a visual communication design major. It was terrifying at the time, but I honestly believe it was the best decision I’ve ever made.”

Stephens and Chumbley first met in a drawing class two years ago. “I think we clicked instantly in that we were both older than your average college student,” Chumbley said. “When Alicia showed me Cross That Bridge I felt like it was her strongest piece yet.”

Chumbley got the Speedway placement through Associate Professor Paula Differding. “She asked if I had an internship yet and told me I should apply for the one at the IMS because it sounded perfect for me. She knew I was familiar with the racing scene; my mom owns Hinchman Racing Uniforms.”

“I hadn’t put together a resume or portfolio,” Chumbley continued. “I was hesitant and intimidated, but she insisted and so I applied anyway. Looking back, it was just incredible luck. I can’t imagine loving an internship more than I love this one, and it basically fell in my lap. There’s a reason why we all call Professor Differding ‘Mama Paula’. She knows what she’s doing!”

The official event program was one of dozens of assignments Chumbley completed during her internship, which began in mid-March. “The event program is 100 pages plus,” she said, “so it’s pretty much all hands on deck. I had a lot of freedom to design, as long as it fit with the aesthetic of the rest of the pages.”

“I was looking through old Indy 500 programs for inspiration I could use for the Back Home Again page,” she said. “I saw one that had a landscape painting and I thought of Alicia immediately. I asked her to send me some pictures of her work. In the back of my mind, I already knew I’d choose Cross that Bridge. It went with the song lyrics. When I shared a draft of the page with my coworkers, they agreed that it was perfect.”

Stephens credits excellent instructors for her success as a student, but her work ethic plays a big part. She has earned multiple scholarships. “I could not tell my son and daughter to go to college if I did not have a degree. I’ve shown them that if they work hard, they can treat every project as job they were hired to do. They can receive recognition,” she said.

“I was a high school drop out in ninth grade,” continued Stephens. “I did not have a supportive environment. I didn’t think I was smart enough to go to college, so I never tried. My sister had encouraged me to get my GED in 1995. To come to IUPUI, I had to take extra math classes to resolve what I missed not finishing high school. My husband helped me get through those classes and I finally made it here.

“I have learned so much. I can’t wait for senior year. Color theory was so important from my first semester here. I learned how to create the illusion of depth. I look back at my paintings from before Herron and think wow, I really was an amateur.”

Editor’s note: In June, Alicia learned that she has multiple myeloma. She is facing multiple rounds of chemotherapy and a likely stem cell transplant. She has started a GoFundMe campaign to help her family offset the costs of her illness that are not covered by their insurance. To find out more and to donate, visit Myeloma Cancer chemo fund.

Terence Main is Herron’s 2015 Distinguished Alumnus

Terence Main (B.F.A. ‘76) is the 2015 recipient of the Distinguished Alumni Award. The herron_posterHerron Alumni Association gives the award to recognize outstanding alumni who have brought honor to their alma mater by distinguishing themselves professionally or through extraordinary service to the school and university.
Dean Valerie Eickmeier and Herron Alumni Association President Sara Love will present the award on Wednesday, October 28 at 6:00 p.m. in the Basile Auditorium in Eskenazi Hall.

Immediately following the presentation, Herron Gallery Director Colin Tuis Nesbit will lead a conversation with Main about works from Turning Line, an exhibition of his drawings that is opening in the Basile Gallery. Dean Eickmeier and Mark Rushman, curator of contemporary art at the Indiana State Museum, will join the conversation. A reception will follow.

Main went on from Herron to earn an M.F.A. degree from Cranbrook Academy of Art in 1978. His work is in the collections of the Metropolitan Museum of Art, the Brooklyn Museum of Fine Arts, the Denver Art Museum, the Museum of Fine Arts, Houston and the Indianapolis Museum of Art, among others.

Speaking of Main’s work, art critic Ronny Cohen described him as an “object-maker and sculptor who has been re-mapping the boundaries of design and art since the early 1980s.” The exhibit at Herron will provide insight to the role drawings play “in generating the fresh, bold and intriguing forms of the chairs, benches, tables and lighting structures that Main is known for.”

Main’s work is known around the world. Clodagh Design International commissioned him in 2014 to create Urban Dogs—cast stone, sculptural benches—for Abinginton House on the High Line in New York City. Via the Magen Gallery, Peter Marino commissioned Main to create Five, a cast aluminum bench that graces Dior showrooms from Florence to Shanghai.

Main joins recent recipients of the Distinguished Alumni Award including Steve Mueller (B.F.A. ’76), 2014; Lois Main Templeton (B.F.A. ’81 in Painting), 2013; Garo Antresian (’48 in Fine Arts), 2012; Mike Garber (B.F.A. ’97 in Visual Communications), 2011; David Bowen (B.F.A. ’99 in Sculpture), 2010; Leah Traugott (’46 in Painting), 2009; and Lois Davis (’47 in Painting), 2008.

In-demand Herron art therapists make life better for those in pain

Linda Adeniyi, Bonnie Burke and Heidi Moffatt all have graduated from Herron School of Art herron_posterand Design’s Master of Arts in Art Therapy Program within the last two years.

They were employed right away, even before graduation in Burke’s case. Beyond those achievements, the three share additional characteristics. Not only are they helping people who suffer from a variety of causes, they are forging understanding among their peers in mental health throughout Indiana, many of whom have had little exposure to Art Therapy applied in a clinical setting.

They were born in different places—Adeniyi in Aguadilla, Puerto Rico; Burke in Baltimore and Moffatt in Indianapolis.

Adeniyi came to Herron as a seasoned counselor, with a B.A. degree in art and psychology from the University of Evansville. She found the Art Therapy program through an online search. Burke and Moffatt came as Herron fine art alumnae; they had been students during the formative years of the program, as it was being developed and before it was launched.

Burke (B.F. A. in General Fine Art ‘11) had turned to her own artwork during a rocky past. “I’ve always been an artist,” she said. “Art had helped in my private life, so I knew it can help anyone.”

Moffatt (B.F.A. in photography ‘08) said, “I was already evaluating the reasons behind the art I was creating, and beginning to realize how important it is for me to take action in order to create positive change. The blend of psychology and art in art therapy seemed as though it would be a perfect fit.”

Burke is a therapist at Sycamore Springs in Lafayette. It’s a 48-bed inpatient facility and also serves outpatients seeking mental health and addiction treatment, or geriatric services. The average in-patient stay is seven to 10 days.

She has a 10-person caseload. She also runs group therapy sessions and plans discharges.

Moffatt works for Community Health Network, providing individual, group and family therapy. Much of her work is performed in schools in Marion County.

Adeniyi is a 13-year veteran of Legacy House. The Indianapolis agency provides counseling for adult and child victims of violence. “Our services are free and voluntary,” she said. She loves witnessing her clients’ resiliency and helping them to move forward from their trauma.

Burke gives an example of using art therapy as a part of the care for a veteran in his 60s. He had a brain injury from an accident he was in after his military service. He was admitted for a psychotic episode. “Art therapy gave him a form of expression and a here and now focus,” she said. “The art kept him from suffering.”

Moffatt said being an art therapist gives her the nonverbal means to transcend barriers to service such as language, culture, communication, developmental delays and trauma.

The three art therapists all agree that although the therapeutic use of art has been a distinct practice since at least the 1940s, it is not as well known and understood in Indiana.

Moffatt said sometimes “Art therapists are mistaken for artists and craftsmen who happen to work in therapeutic settings. In fact,” she said, “art therapists are masters-level professionals trained to assist individuals of all ages. We clinically observe their creative process and assist with the careful selection of art media based on unique therapeutic needs and goals.”

Burke appreciates being a pioneer. She noted that people “don’t understand the training and the multiple therapeutic philosophies, or our deep skill set, but that’s part of our job—to educate people.”

“Whether the person is naturally creative or just stuck,” Adeniyi observed, “Art Therapy helps give them words.”

Each of these practitioners noted the advantage that Herron’s program gives students by preparing them for the dual credentials of Art Therapist Registered (ATR) and Licensed Mental Health Counselor (LMHC). All three are logging the post-graduation clinical hours required to obtain both.

They were pleased with the amount of studio art they had to take to complete the degree, and think that having the program situated in an art school sets it apart. Moffatt’s advice to candidates considering Herron’s graduate Art Therapy program is to begin early on the requirements—at the end of sophomore or beginning of junior undergraduate year.

“The faculty support is just amazing,” Burke said.

“Herron has made close connections with a variety of internship sites and offers graduate students within the program great experiences in getting to know different settings and populations,” added Moffatt. “I had very beneficial experiences at my internship sites. They included Peyton Manning Children’s Hospital, St. Vincent Breast Center, and the Stress Center’s Therapeutic Day School and intensive outpatient programs.”

“Since I was the first art therapy intern within my program at the Stress Center,” Moffatt continued, “I was able to build an art therapy program and work alongside the designated teacher, clinician, social worker, nurse and activity therapist.”

Adeniyi noted that “the faculty continues to communicate opportunities and support” post graduation.

Burke observed that there is an entrepreneurial aspect to being an art therapist, even if a practitioner is not in private practice. “You have a great deal of autonomy,” she said. “You have to be your own boss, know what you are doing and what needs to be done.”

“Once we are registered art therapists and licensed mental health counselors, we have unlimited opportunities,” said Adeniyi, although she does not see going into business for herself. “I like having a team,” she said.

“I am very proud to have been in the first graduating class of the Herron School of Art and Design’s Art Therapy program,” Moffatt added. “We had a 100 percent employment rate within a month and a half of graduation. I recently celebrated my one-year anniversary as a therapist for Community Health Network. I feel proud to have helped carve the path for future graduate art therapy students and for the field in Indiana.”

Burke recounts her proudest clinical moment as “working with a client with Parkinson’s disease and severe speech impediment. She has a new identity as an artist. She has amassed a portfolio. It really helped her deal with her depression and Parkinson’s, with being where she was,” Burke said.

Adeniyi was deeply moved by being asked to speak at the [Indianapolis] Vet Center. “When they found out I am a veteran, they wanted me to facilitate at their staff retreat,” she said, as both a therapist and a veteran.

Burke advised students thinking of pursuing Art Therapy to “be dedicated and do all they ask of you. It is a serious program. You have no chance of having a career if you burn out.” She noted that all Art Therapy students are encouraged to get their own therapist. “Students in this program can’t be afraid to know who they are. If you don’t, you can’t help anyone,” she pointed out.

“Get involved! No matter how little time you have and how heavy the work,” is Moffatt’s advice. “Embrace the opportunities that come your way. Seek out established professionals, ask your supervisors questions, become a member of the Indiana Art Therapy Chapter and the American Art Therapy Association, attend opportunities such as the Spirit and Place Festival and Combat Paper, go to the National Art Therapy Conference if you can. Remember that time is limited and your two years as a graduate student will fly by.” She also cautioned near-graduates to begin the job search early. “I had several job interviews. The process can take awhile—two to three months—plus training, so be prepared.”

“Don’t be afraid to ask for help,” said Adeniyi. “Get proper rest, stay connected with your peers and manage your time wisely.”

Each of these Herron graduates imagines a future where Art Therapy continues to drive their career decisions. Adeniyi finds herself being drawn to working on sexual assault trauma with veterans, especially as women’s roles in the military are being expanded to include combat.

Burke wants to eventually be “running Art Therapy every day, transitioning away from care management.” She sees herself “continuing to provide Art Therapy wherever that may be.”

Moffatt imagines continuing “to learn and grow within the field of art therapy as I discover its many faces within different settings and populations.”

“People who graduate from this program now are the founders, continuing to educate Indiana,” said Burke. “The good thing is we are so new, facilities are grabbing us rather quickly.”

Summer Youth Program Fund feeds thinking and making at Herron Creativity Camps

At Herron School of Art and Design, if you can think it, you can make it. That holds true for herron_posterthe 147 youths who attended this year’s Summer Creativity Camps.

Camp Cartoon, Camp Tomorrow, Camp Noise and Camp Kinetics each ran for a week in Eskenazi Hall. Students explored, discovered and made things—often with digital technology in the school’s newly established Think It Make It Lab.

“These new camps are what the students are looking for,” said instructor Lauren Saunders (B.A.E., 2015). “Bringing together traditional studio art practices and digital technologies opens up a whole new set of skills for the students. It also takes them out of their comfort zone and results in great brainstorming and exploration.”

Hannah, a 13-year-old camper, tried all of the creativity camps. “I came to camp to learn how to do animation and broaden my experiences,” she said. She described the unfamiliar hand-to-computer processes in Camp Cartoon as really tough at first, but “the more I did it, the easier it got. I feel like I really pushed myself.”

A scholarship made it possible for Hannah to attend. “Scholarships are good,” she said, “because there are a lot of kids who want to come to camp but can’t. That’s too bad because they may not be able to become what they want to be. I feel lucky.”

Thanks to donors including the Summer Youth Program Fund—a collaborative coordinated by the Central Indiana Community Foundation and Lilly Endowment, Inc.—many Marion County youths had something fun to do this summer.

Sisters Nyela, 12, and Mesgana, 13, said their mother was looking for educational camps online when she found Herron. The pair said she was happy to learn that scholarships were available. The girls attended camp for two weeks. They both wanted to thank whoever made the scholarships possible. “It’s neat that two people from the same family got to come to camp,” Nyela said.

This year’s Summer Youth Program Fund partners included Lilly Endowment, Inc., Allen Whitehill Clowes Charitable Foundation and the Christel DeHaan Family Foundation.

The Lacy Foundation also supported Herron Creativity Camps through its support to Herron’s Community Learning Programs.

Herron’s Community Learning Programs have undoubtedly made a positive mark on the lives of aspiring artists. To learn more about these programs, visit

Goodine and Richardson say farewell to Herron after 59 combined years of teaching

There are a lot of meet-cute stories at Herron School of Art and Design. One belongs to goodine_richardson_mainthe departing duo of Linda Adele Goodine, former Chancellor’s Professor of Photography and Intermedia and Mark Richardson, former associate professor of Ceramics. A school secretary introduced them to each other a quarter of a century ago. “She said to Mark, ‘Look at that skinny photo instructor. She looks like she needs to be fed,’” recalled Goodine. They went to Some Guys, a popular place for pizza.

Their apartments were within walking distance of the school. Later, said Richardson, “We could have bought a small house, but we bought this crazy, empty church,” just a few degrees north on the same street in the historic neighborhood. The vast space, fronted by a lush garden today, became a hub for creative activity and socializing.

Richardson earned his M.F.A. degree from IU Bloomington in 1980. He started at Herron the same year as a visiting lecturer and stayed for 34 years. He retired in December 2014.

Goodine, who holds master’s degrees from Ithaca College (1981) and Florida State University (1983), was recruited in 1989 as a visiting artist. “I came with an established career and had 20 museum shows under my belt,” she said. Her 26-year career at Herron ended on May 31.

Both Richardson and Goodine have family on the east coast. His family is in Massachusetts. Although she was born in New York, Goodine said, “I came of age in the South as an artist and I go back down to the Gulf or the Everglades to do my work.” With their daughter, Ella Richardson Goodine, out of the nest and studying French theory and gendered sound art at Smith College, it was natural for the couple to look beyond the Midwest.

“I am well into my 50s, and I wanted to start spending more time in my studio,” said Goodine. “I probably would have stayed at Herron just a year or so longer.” However, a position in Greenville, North Carolina, caught her eye.

“It was as if the job description had been written for her,” Richardson said. So she has accepted the appointment as Carol Grotnes Belk Distinguished Professor in the School of Art and Design at Eastern Carolina University, beginning this August.

Goodine said she will be teaching three classes per year and have more time for research, including several book projects she has had in mind. “There’s a real connection fit-wise between there and Herron,” she said. “It has a very familiar feel.”

Richardson and Goodine said what they loved most about their time at Herron was their students.

“When you have a big group of curious people—for example, last semester’s junior class—I was so lucky to have them. They were ready to think differently at any moment,” said Goodine.

“You look at the art you make and the kids you teach as your children,” Richardson said.

Both professors empathize with parents’ varied reactions when students announce their plans to go to art school.

Richardson said his own parents were a little nervous but supportive.

“My dad wanted me to go to law school with my sister and start a family business,” said Goodine. “‘Why would you take a vow of poverty?’ he said. That worry for parents never changes—that connectedness to security and what that means for livelihood.”

“I try to teach my students to be full-brained, to reign in their intuition through technique and go past their craft,” she said. “If they never make another piece of art after they leave here is doesn’t matter. They have adaptability tenacity, and the ability to think critically.”

Richardson and Goodine still remember their early artistic influencers reverently. For Richardson, they were the international ceramicist Gregor Giesmann and folk potter Shoji Hamada. For Goodine, they were her grandfather, Arthur H. Richards, a photojournalist for Reuters and Gannett, and Roger Mertin, “a photographer’s photographer,” she said.

From Adele, I learned that good art starts from a place of questioning rather than knowing. Her great gift as an educator was to create a space where I could challenge what I thought I knew, about the world and myself, and use that inquiry as a basis for making better images.

She inspired this quest to really examine where the images come from inside yourself, and also to think more about how your art lives outside the classroom. A regular part of Adele’s curriculum was a public-service component; I loved finding out that art-making can go out of the studio and be a part of the community. It’s a wonderful way to keep your practice alive and fresh. In Adele’s classroom, we got this sense that what we do as artists is powerful and important. I’ve kept that feeling throughout my career.

“We will miss our colleagues. We’ve said goodbye to many people and been happy because they are going on to more adventures,” said Richardson.

A title from one of the airport commissions sums it up best for Richardson and Goodine: Bon Voyage, Fly, Perfect.