On Monday, April 13 from 5:30-8:00 pm, Nathan Alan Davis and cast-members will kick off the 2015 “Think and Drink” series at Sun King Brewery. This event will be subtitled “Think and Drink: Brews, Beats, and Rhymes,” and will feature DJ Kyle Long and Tatjana Rebelle (host of Lingo and Vocab). This event will feature some of the top beat poets and spoken word artists who will perform along with attendees and Sun King employees to create and spit their own rhymes. DJ Kyle Long will be spinning an eclectic fusion of international music throughout the evening. Donations will be taken at the door to benefit the Starfish Initiative.
Wednesday, April 23, 2014
6:00 – 9:00 p.m.
University Library, Lily Auditorium
755 W. Michigan St., Indianapolis, IN 46202
Admission free Reception with light refreshments to follow
Branwen Okpako is a highly talented and successful Nigerian-Welsh documentary filmmaker, who now lives and works in Berlin, Germany, where in 1999 she received a degree in Film Directing from the prestigious German Film and Television Academy in Berlin. Since 1995 she has produced several videos, mixed media installations, and films. Her work has been selected to be shown at film festivals in Europe, Great Britain, Africa, North America, and the Middle East. In addition to her work as a filmmaker, Okpako offers seminars, workshops, and projects in film studies and filmmaking and lectures at universities in the US, Canada, Europe, and other parts of the world. Topics of her presentations include: Intersections of Race, Gender, and Otherness in Film; Black Identity in German Cinema; Migration and Multiculturalism in Contemporary Europe; The Art of Filmmaking; The Theory and Practice of Screenplay Writing, to name just a few.
For her 2000/2001 film, Dreckfresser (Dirt for Dinner), Okpako received, among others, the German Next-Generation-First-Steps Award for Best Documentary Film. For her 2002 film, Sehe ich was du nicht siehst? (Do I see what you do not see?), she received the D-motion special prize for the city of Halle, Germany. Her most acclaimed film, The Education of Auma Obama, (Die Geschichte der Auma Obama) has brought Okpako much attention. The film is a captivating and intimate portrait of the U.S. president’s older half-sister, who embodies a post-colonial, feminist identity. Dr. Auma Obama studied German at the University of Heidelberg from 1981 to 1987 before continuing with graduate studies at the University of Bayreuth, earning a PhD in 1996. Her dissertation was on the conception of labor in Germany and its literary reflections. For The Education of Auma Obama, Okpako received the 2012 African Movie Academy Award for Best Diaspora Documentary, the Festival Founders Award for Best Documentary at the Pan African Film Festival in Los Angeles (both in 2012), and the Viewers Choice Award at the Africa International Film Festival (2011).
Her most recent project, Fluch der Medea (The Curse of Medea), a docu-drama about the life of the late German writer Christa Wolf, was shown at the Berlin Film Festival in 2014.
Okpako is currently a visiting professor of German at Earlham College in Richmond, Indiana. This event is co-sponsored by the IUPUI Arts and Humanities Institute and the IUPUI Max Kade German-American Center, with additional support from the Department of World Languages and Cultures and the German Program. For additional information contact: Jason M. Kelly, Director, IUPUI Arts and Humanities Institute, email@example.com, (317) 274-1689 Claudia Grossmann, Interim Director, IUPUI Max Kade German-American Center,firstname.lastname@example.org, (317) 274-3943
Since the dawn of civilization, access to freshwater, especially in river environments, has helped determine where human populations have flourished on planet Earth.
Over the past two centuries — an age that many geologists are now calling the Anthropocene — humans have reshaped the planet’s biophysical systems, threatening the availability of freshwater and consequentially the stability of ecologies.
This situation has created one of the most important and complex problems that humans will face in the 21st century, according to an international group of researchers convening in Indianapolis this month to launch a seven-year study of how to mitigate the threat of water insecurity.
The researchers will hold the Rivers of the Anthropocene Conference on Jan. 23 and 24 in the Klipsch Theater, on the lower level of the Campus Center at Indiana University-Purdue University Indianapolis in downtown Indianapolis.
The conference, which brings together 25 scientists, humanists, social scientists, artists, policy makers and community organizers from five countries, is open to the public and is the kickoff event for The Rivers of the Anthropocene Project, a long-range research effort. Leaders say the project will take a transdisciplinary approach to help us better understand the complex dynamics between humans and their river environments. Faculty from IUPUI are partnering with faculty from Newcastle University in the United Kingdom as project leaders. The IUPUI Arts and Humanities Institute is organizing the event.
“The majority of the world’s population is threatened by water insecurity and biodiversity loss,” said Jason M. Kelly, IUPUI Arts and Humanities Institute director and a Rivers of the Anthropocene Project director. “Even here in Indianapolis, we face potential water shortages in the next decades. We can solve these problems, but the solutions are not simply technological; they are cultural, social and political. They require experts from across the disciplines working hand-in-hand with communities and policy makers.”
By mapping the ecological, geographical, cultural, social, political and scientific histories of river systems, the Rivers of the Anthropocene Project will provide insight on issues of relevance to public policy, environmental conservation and heritage management.
For the January 2014 conference, presenters will offer case studies from around the globe, with particular emphasis on the Ohio and Tyne rivers. Topics for discussion and papers presented at the conference include human geography and river environments; the challenge of Anthropocene rivers; rivers on a human scale; earth systems; and the relationship between human systems and river systems.
Speakers include Bill Werkheiser, acting deputy director of the U.S. Geological Survey; and environmental artist Mary Miss.
Support for the conference comes from Keramida Inc., the IUPUI Arts and Humanities Institute, Indiana Humanities, IUPUI School of Science, IU School of Liberal Arts at IUPUI, the Center for Earth and Environmental Science at IUPUI, the Center for Urban Ecology at Butler University, the IUPUI Center for Urban Health, Newcastle University, the Newcastle Institute for Research on Sustainability, IU Office of the Vice President for Research, IUPUI Office of the Vice Chancellor for Research and IUPUI Office of the Chancellor.
Admission is $45. Registrants may purchase lunch. Discounted parking will be available on the ground level of the adjacent Vermont Street Garage.
Apr. 16, 2013
by Lynn Schoch, Office of the Vice President for International Affairs
Ian McIntosh is IUPUI’s liaison to universities and organizations around the world that have formal affiliations with the Indianapolis campus. His international interests began 30 years ago with a purely national interest: He wanted to learn more about his country’s Aboriginal peoples. In 1981, he took a position as a liaison and welfare office in Mount Isa, a rich mining community in Northeast Australia.
Abundant mineral resources made Mount Isa a pocket of wealth in Queensland, but McIntosh found hundreds of people living in poverty along a dry river bed that divides the city between “mineside” and “townside.”
In one section, they lived in huts without electricity or water, all sharing a single water tap. All of the residents were indigenous Australians.
Some had been dispossessed of their land by the mining operations.
Some had run away from a harsh Christian Brethren mission, or were part of the “Stolen Generation” of Aboriginal children whom the government deemed better off taken away from their families.
Some had been starved off their land in the neighboring state by the barbed-wire enclosure of water sources by large American ranch owners who did not want them around.
All of these “Long Grass People” needed help from the state welfare system that McIntosh, as a welfare office, represented.
McIntosh quickly learned that from the state government’s point of view, his mission had no social justice dimension. It was apparently not to improve the conditions of those in his charge, but to provide a public image of concern. Little money was forthcoming for improved living conditions, education or jobs; about all that was funded was his own job.
He was frustrated on the one hand that he could offer only a listening post or a hand in friendship to those in need of practical help, and on the other by their reasonable assertion that the money he was making really belonged to them.
Wards of the state
The urge for reconciliation between the Aborigines and the non-Aboriginal peoples was not strong in the Australia of 1981. Only 14 years before had the Australian government acknowledged them as persons to be counted as Australians. Previously, they had been considered as “wards of the state.”
Although government and industry knew they wanted to develop the resources under the regions where Aborigines lived, the political and economic forces were not hampered in their efforts by pangs of conscience, or a need for reparations, apologies or participation.
Things have improved by fits and starts since then.
In 1989, conscious that the interests of some Aborigines and non-Aborigines were beginning to merge, the government established the National Agenda for a Multicultural Australia and a Council for Aboriginal Reconciliation. It included explicit commitment to the acknowledgement of cultural identity, to social justice, and to economic efficiency and amelioration. But legislators quickly backed off many of these provisions or supported specious implementation.
“In 1993, Native Title legislation mandated that private companies that wanted access to Aboriginal land for mining and the like had to negotiate with the Aborigines who lived there or had historical or cultural ties,” McIntosh explained. “Aboriginal power ended there, however. If the negotiations did not go well, companies could proceed. Only in one area of Australia, the Northern Territory, did the Aborigines have actual veto power over private development of resources.”
National Sorry Day
The first decade of the new millennium saw increasing participation in National Sorry Day, a day committed to recognizing what had been done to Australia’s original populations and what needed to be done in reparation. In 2008, a new government issued a formal apology for the disruption caused to the Stolen Generation forced from their families. In 2013, Australian citizens will vote on a referendum to recognize Aboriginal and Torres Strait Islander people in the Australian Constitution.
His early experiences in Queensland led McIntosh’s research in two different, but related, directions. He met individuals who were willing to share some of the beliefs and traditions of one of the oldest continuous cultures on Earth. One in particular was the late David Burrumarra, whose own education was steeped in the Dreaming, the sacred code underlying the Aborigines’ cultural, legal and social behavior. McIntosh has written about this code and the history of its unfolding to Westerners. His biography of Burrumarra, “The Whale and the Cross,” is read by schoolchildren across northern Australia.
The other direction of McIntosh’s research grew out of the bureaucratic frustration of working in a world that was not ready or willing to confront its history.
“The problems in Australia are hardly unique; everywhere in the world you can find groups in various stages of conflict and reconciliation with one another,” McIntosh said. “Reconciliation Studies is just now beginning to take hold in universities around the world. It is based on the recognition that while details might be different, the problems to be resolved and methods of resolution have much in common. Those working in this field try to apply the lessons of successes in one part of the world to similar conflicts in other areas.”
For the past 20 years, McIntosh has been committed to the academic and practical applications and the teaching of Reconciliation Studies.
“We use the word in two ways: as a goal and as a process. I can’t point to any place in the world that has fully accomplished the goal of reconciliation, but there are many, many places where we can find successes in the process, case studies in atonement that can take your breath away.”
Although it is simplistic to think that the transfer of a successful strategy in one area in the world to a conflict in another will always provide positive results, there are common elements. “Groups who have been in conflict for a long time cannot begin to reconcile their differences until they have mutually acknowledged the truth,” McIntosh said.
As described in South Africa’s Truth and Reconciliation Commission report, truth comes in many shapes and sizes. It can be the history of the conflict between the two groups in a rendition that both sides would agree upon. With events like the Bridge Walk across Sydney Harbor Bridge in 2000, when 250,000 people marched to acknowledge the historical mistreatment of Aboriginal people, Australia has begun to acknowledge its common negotiated historical truth.
Another element essential to the reconciliation process is the recognition of mutual interest. This has been a sticking point in Australia for decades.
“The non-Aborigines see reconciliation in terms of economic parity; Aborigines should have the same responsibilities, rights, opportunities and benefits as other Australians. The Aborigines see the essence of reconciliation in the national recognition of their identity and culture, and also their land rights. From this perspective, formal apologies, explicit recognition in the constitution and a treaty or treaties are essential.”
“Reconciliation is hard. It’s messy. Peace is offensive,” said David Porter, director of Reconciliation for the Archbishop of Canterbury. “Becoming friends feels awful. Looks awful. But is the right thing to do. Reconciliation is a bastard — because it grabs you by the throat and says, ‘You need to live with this person who spent the last 40 years trying to kill your people.’ And that is the hardest thing on God’s earth to do.”
McIntosh is tracking the reconciliation process in more than 100 countries. His major projects have been in Mali, Kenya, Armenia and Australia and with the Rwandan diaspora. He has organized or participated in reconciliation events related to Zimbabwe, Guinea, South Africa, Native Americans in Canada and the U.S., Guatemala, Tibet and Israel/Palestine, to name a few.
He regularly teaches courses at IUPUI on truth and reconciliation. In spring 2012, he offered a class focusing on the Gaza Strip. The class enrolled students at IUPUI and at a private university in Gaza.
Students “met” in IUPUI’s Global Crossroads videoconferencing classroom.
“We advertised the course as a virtual study abroad program,” McIntosh said. Early on, students were asked to prepare six-minute videos introducing themselves, their families and their communities. Afterwards, students were paired. They learned about life in the Gaza Strip from being part of these virtual host families and from panels of Palestinian and Israeli speakers. Despite the 6,000 miles separating them, students were intimately in touch with the lives of their counterparts in the Gaza Strip, just as if they were taking part in an actual study abroad opportunity.
It is difficult to deny the value of reconciliation. When it works, there is less violence and fewer deaths. The study of reconciliation can have equally positive results, as reported by a student in the virtual study abroad class: “The interaction with our Gaza partners was most beneficial because I was able to gain an inside perspective of the situation, which is invaluable for learning how things really are on the ground. I was interested in the Palestinian-Israeli conflict prior to this class. However, now it has become a passion of mine, and I hope to pursue a career in peace, conflict and reconciliation studies, so that I may have an impact in the future.”
The Confucius Institute in Indianapolis will celebrate its fifth anniversary by doing what it has done since 2007: offering programs for Hoosiers that provide a window into China.
Beginning April 22, the weeklong celebration includes three Chinese films, a reception, followed by student performances and a symposium, “China in Africa: A New Model of International Development?” co-sponsored by the institute and the Sagamore Institute.
The films will be shown at 5:45 p.m. in IUPUI’s Taylor Hall, 815 W. Michigan St. The films, which are free and open to the public, are “Painted Skin: The Resurrection,” April 22; “Red Sorghum,” April 23; and “The Treatment,” April 25.
A nonpolitical and nonprofit organization, the institute was established at IUPUI through an agreement between the Office of Chinese Language Council International and IUPUI, in partnership with Sun Yat-Sen University in China. The Confucius Institute at IUPUI is one of about 90 institutes in the U.S. and 400 around the world.
The Confucius Institute at IUPUI facilitates mutual understanding between the people of China and the people of central Indiana by promoting Chinese language and culture, and it creates educational, business and community relationships, said Dr. Joe Xu, a professor of anatomy and cell biology at the IU School of Medicine and the founding director of the Confucius Institute at IUPUI.
“It’s important for people in Indiana to see and understand China, if only through the window provided by the Confucius Institute,” Xu said. “Helping people know each other reduces misunderstanding.”
Since it opened its doors, the Confucius Institute has engaged Indianapolis and central Indiana residents through numerous activities, including promoting business exchanges; facilitating government exchanges; teaching Chinese using a variety of methods, including multimedia and the Internet; training teachers to teach Chinese in primary schools, high schools and colleges; teaching Chinese courses of various types in a variety of arenas; sponsoring academic activities, cultural exchange programs and Chinese language competitions; and showcasing Chinese movies and television programming.
“Whoever wants to understand Chinese culture and language, we are there for them,” Xu said.
The institute has established three Confucius classrooms for students in grades K-8 or K-12: two in Indianapolis and one in Brownsburg. It offers summer study abroad programs in China for high school students, college students and the general public as well as a K-8 Chinese language and culture summer camp at IUPUI. One-on-one Chinese language and cultural tutoring are also available at the institute, as are translation and interpretation services.
The Confucius Institute has helped establish or participated in a range of cultural activities in Indianapolis, including a Chinese Language and Cultural Fair, the Indy 500 Parade, Indianapolis Chinese Festival and Chinese New Year celebration.
The partnership with Sun Yat-Sen University, a top-ten university in China with strong programs in the humanities, social sciences, business, law and life sciences, has produced a number of exchange programs at IUPUI, including programs at the Kelley School of Business and the Schools of Education, Informatics, Liberal Arts, Medicine and Public and Environmental Affairs.
NDIANAPOLIS — With their brilliant colors and their display of the Harvard University graduate’s understanding of science, Morton C. Bradley’s sculptures are full of life. When viewed, the mathematically inspired creations evoke words such as “crystal,” “kaleidoscope,” “prism” and “snowflake.”
The Cultural Arts Gallery at Indiana University-Purdue University Indianapolis, in partnership with the Indiana University Art Museum in Bloomington, invites the IUPUI campus community and the public to view an upcoming exhibit of Bradley’s work.
“Color and Form: Selected Works by Morton C. Bradley Jr.” opens Monday, Jan. 7, and runs through Friday, Jan. 25, at the IUPUI Cultural Arts Gallery in Suite 240 of the IUPUI Campus Center, 420 University Blvd. Nine of Bradley’s hanging sculptures and 11 sculptures mounted on pedestals will be on display.
Morton C. “Bob” Bradley, born in 1912, was the visionary behind the geometric sculptures that were created over decades by a workshop of talented artists and engineers. Bradley bequeathed the creations to Indiana University at his death in 2004.
“Bob Bradley’s works represent a complex combination of geometry and color theory,” said Sherry Rouse, curator of campus art at IU Bloomington. “He started simply but grew to love the more complex forms of the stellated dodecahedra and the icosahedra as he worked with his fabricators to create sculptures. Toward the end of his life, he began to experiment with minimal surface sculptures that are delightful to the eye and challenging to the viewer.”
Bradley’s first art pieces were paintings and drawings that were unrelated to the sculptures. His work evolved into an exploration of the Platonic solids and progressed to other polyhedrons, with his designs progressing over the years.
Much of Bradley’s inspiration came from traditional two-dimensional patterns from around the world, such as Italian cathedrals and Egyptian and Arabic architecture and textiles. His transformation of the two-dimensional patterns onto multiple intersecting planes resulted in the three-dimensional forms.
Bradley worked as a painting conservator at the Fogg Museum at Harvard and wrote “The Treatment of Pictures,” the 1950 book that remains a historic reference for painting conservators. He was also a researcher and theorist on subjects such as sentence structure, teaching methodology for foreign languages, anthropometry and music theory.
“Morton Bradley was a quiet genius whose accomplishments as an artist deal with great universal ideas,” said Heidi Gealt, director of the IU Art Museum. “It is a genuine pleasure to share Mr. Bradley’s beautiful legacy with Cultural Arts Galley patrons.”
Exhibit activities include a lecture and book signing featuring Lynn Gamwell, a leading author on the intersection of art, mathematics and science. Gamwell is the author of “Color and Form: The Geometric Sculptures of Morton C. Bradley, Jr.,” recently published by IU Press. Gamwell put Bradley’s unique fusion of color, form and mathematical ideas in its historical context in her earlier book, “Exploring the Invisible: Art, Science, and the Spiritual.”
Gamwell’s lecture will take place from 4 to 5 p.m. Tuesday, Jan. 22, in Room 450A of the IUPUI Campus Center. The book signing precedes the lecture, from 3 to 4 p.m., in the Barnes & Noble on the first floor of the IUPUI Campus Center.
“Color and Form,” a traveling exhibit previously on view at Indiana University Northwest, is made possible through IU’s Moveable Feast of the Arts Initiative, supported by the Lilly Endowment.
The IUPUI Cultural Arts Gallery is open to the public from 10 a.m. to 7 p.m. Monday through Saturday and 1 to 7 p.m. Sunday. Admission is free.
DATE: Friday, September 14, 2012
TIME: 8:00PM – 9:30PM
LOCATION: Crystal Terrace Ball Room, Columbia Club; 121 Monument Circle; Indianapolis, IN 46202
Tickets available here. $25 general, $15 students.
The IUPUI Arts and Humanities Institute (IAHI) and Butler University’s Jordan College of Fine Art are pleased to present the American premiere of this unique musical program featuring internationally acclaimed performer Tim Hardy of the Royal Academy of Dramatic Art in London, and piano accompaniment by Rebecca Edie.
The 2012 artist-in-residence at the IAHI, Tim Hardy has performed with the Royal Shakespeare Company, with the Opera Music Theatre London, and at prestigious theaters across the United Kingdom and Europe. he has narrated more than 300 television documentaries, and his extensive directing credits include Romeo and Juliet, Twelve Angry Men, and the Crucible.
Award-winning composer Geoff Page has created an impressive body of musicals that include Academy of Death, A Christmas Carol, and The Signalman.
Tickets available here.
DATE: Thursday, September 6, 2012
TIME: 7:30PM – 9:30PM
LOCATION: Basile Auditorium, Eskenazi Hall, IUPUI; 735 W. New York St.; Indianapolis, IN 46202
THIS EVENT IS FREE BUT SPACE IS LIMITED. TO RESERVE YOUR SEAT, CLICK HERE.
Tim Hardy looks at our seemingly constant need for drama of one kind or another — stories, theater, film, opera, literature. Concentrating principally on theater, he identifies how drama has changed through the centuries, reflecting the society it serves. By staying relevant to its audiences, theater still succeeds in “holding a mirror up to nature” in such a way that we can both recognize ourselves and be wonderfully surprised and informed.
As a professional actor since the mid-sixties, Tim Hardy argues that if we don’t keep an ever-vigilant eye out for lazy, repetitive theatre — and he offers examples — if we don’t truthfully and completely re-invent the means whereby we would excite, inform, and delight our audiences, then we are on the short route to what the great director Peter Brook calls “dead theatre.” From this there can be no recovery.
The IUPUI Arts and Humanities Institute is pleased to welcome internationally-acclaimed actor/director Tim Hardy as a 2012 artist-in-residence. Based in London, Mr. Hardy is on the faculty of the Royal Academy of Dramatic Art (RADA) and has performed with the Royal Shakespeare Company (in Peter Brook’s Marat/Sade and Peter Hall’s Henry V) and at prestigious theatres across the United Kingdom and Europe. A company member of Opera Music Theatre London, Mr. Hardy has also performed in numerous operas and musical theatre productions including La Traviata, The Magic Flute, and Guys and Dolls. He has narrated over 300 television documentaries, including series for The Discovery Channel and The History Channel, and his on-camera television work includes roles opposite Ian McKellen and Michael Gambon. Mr. Hardy’s extensive directing credits include Romeo and Juliet, Othello, Twelfth Night, Julius Caesar, Twelve Angry Men, The Crucible, Gaslight, Lady Windermere’s Fan, The Seagull, The Arcadians, and The Doll’s House.
This event is co-sponsored by the IU School of Liberal Arts at IUPUI and the The New Oxford Shakespeare at IUPUI.
For tickets, click here.
The Association of Midwest Museums has honored an Indiana University-Purdue University Indianapolis professor for long-term distinguished service to the museum profession.
Elizabeth Kryder-Reid, who teaches museum studies in the School of Liberal Arts at IUPUI, is the recipient of the 2012 Association of Midwest Museums Distinguished Service Award. The association’s awards committee unanimously voted to present the annual award to Kryder-Reid in recognition of her outstanding commitment to the association and her exemplary service to the museum profession.
The IUPUI professor accepted the award today during a ceremony at the association’s general conference, which takes place through July 26 at the Crowne Plaza Hotel in downtown Indianapolis.
The Association of Midwest Museums, established in 1927, provides programs and services to museums throughout an eight-state region in the Midwest. More than 400 museum professionals are attending this year’s association conference in Indianapolis. The three-day event features outstanding sessions, guest speakers, and tours and receptions at museums in the host city.
A new sculpture titled Passaggio graces the entrance to Asa Bales Park in downtown Westfield. The City’s Grand Junction Task Group commissioned the work through Herron School of Art and Design’s Basile Center for Art, Design and Public Life. Senior sculpture major Katey Bonar is the artist.
The public is invited to a Meet the Artist Event on Friday, July 27 from 6pm to 8pm at the sculpture in the park, which is located at 205 W. Hoover Street.
Three, 13-foot columns comprise the main sculpture. The columns are fabricated from steel tubing covered by polyurethane foam with a fiberglass skin and joined by concentric rings of steel tubing suspended inside the columns at the top. Near the columns are two ring groupings made of thermoplastic, flanking a sidewalk.
The name Passaggio references a passageway or turning point in a journey, which brings together the emphasis of history, present, and future. Passaggio, functions as an entry way, but also a space for visitors to explore and experience as part of the park itself.
“I feel like opening an art piece like this in Westfield gives an opportunity for residents to reflect on the past, as well as to examine where they are now and where they want to be in the future, both collectively and personally,” said Bonar.
All of the visual cues in Passaggio relate to natural visual patterns that reflect time passing. The concentric ring patterns mirror the growth rings in trees. The columns’ ridges and grooves echo eroded landmasses or stratified geologic forms. According to Bonar, the pavilion rings overhead are a way to examine the potential of looking up to the sky as an intangible place and as a possible map of the yet to come. In the two thermoplastic ring groupings, viewers have the opportunity to trace history.
Bonar will be available to discuss the sculpture and the details behind the meaning during the Meet the Artist Event. The City is encouraging residents to make an evening of it by stopping at the weekly Farmers Market on their way to the park across the street.
About the Basile Center
The Frank and Katrina Basile Center for Art, Design and Public Life is Herron’s laboratory for applying the talents and skills of Herron students and faculty to the needs of businesses, nonprofit organizations and government agencies. It connects artists in all media with community partners who are interested in providing real-world and professional practice experiences through public art commissions, art and design competitions and civic engagement opportunities. The skill and knowledge students gain from
conceptualizing and competing for community-based commissions better prepares them for the world outside college. Students often work with architects, engineers, electricians, fabrication design houses, printer companies and landscape architects to get the job done, resulting in an extraordinarily well-rounded practical experience. For more information, visit http://www.herron.iupui.edu/basile-center.