OVPIA supports a variety of competitive funding opportunities that help IU faculty members advance their research and teaching through international engagement. These include a number of exchange programs as well as internal grant programs:
Global Gateway Seed Grants for ASEAN, China, Europe, India, and Mexico (deadline: minimum of 8 weeks prior to event)
International Short-Term Visitors Grants (deadline: minimum of 8 weeks prior to event)
Language Learning Grants (deadline: minimum of 8 weeks prior to start of program)
Overseas Conference Grants (deadlines: January 15, April 1, and July 1, 2019)
Overseas Study Program Development Grants (deadline: February 2, 2019)
President’s International Research Awards (PIRA) (deadline February 1, 2019)
Renmin University of China–IU joint research grants (deadline: April 1, 2019)
Watch for a Fall 2019 application deadline for Short-Term Exchange Programs for the 2020-2021 academic year. Exchange positions may be offered in Brazil, China, Germany, Ghana, India, Italy, Japan, Mexico, Poland, Russia, South Korea, and Thailand.
As you plan your international activities over the coming months, I encourage you to consider these opportunities. Follow this link for guidelines and on-line application forms:https://ovpia.iu.edu/faculty/index.html —and please feel free to email firstname.lastname@example.org with any questions.
Practitioners are often reluctant to ask about a patient’s spirituality for a variety of reasons. We will explore the reasons many say you should not inquire, then we will take a dive into why it is okay (and important) to inquire. We will look at the ways it can impact patient care, time in the hospital, and patient satisfaction. Finally, we will look at boundaries that do need to be respected when addressing spiritual issues.
1. Explain the Different between spirituality and religion 2. Identify 3 benefits of inquiring into a patient’s spirituality
3. Identify 2 boundaries to be respected when addressing spirituality
Presented by Robyn M. Axel-Adams, M.Div, BCC Manager and Faculty, Fairbanks Center for Medical Ethics
Come see the event Thursday, January 17th from 12-1pm in Campus Center CE409!
Submit your captions to November’s photo from University Archives in the Ruth Lilly Special Collections and Archives photo caption contest. Participants will be eligible to win a prize.
Congratulations to Andy Smith for his December winning caption,”With sagging and other signs of age showing, you know him today as the Poop Emoji. But in his younger years audiences everywhere knew him as the Healthy Red Blood Cell Emoji.”
The Madame Walker Theatre Center is more than a building. Distinctive architecture and a storied history make this regal structure at the intersection of Indiana Avenue and Dr. Martin Luther King Jr. Street part of the community’s narrative.
Although African-Americans settled throughout all of Indianapolis, the largest concentration of black residents and businesses was in northwest Indianapolis by 1900. The area had many black churches, businesses, and homes, particularly west of the canal, along Michigan Street, Indiana Avenue, West Street and stretching further north and west from there.
When an enterprising hair culturist and her hair product business arrived in Indianapolis in 1910, she took up residence in that part of town and left her mark. This woman was Madam C. J. Walker, the first black, female millionaire in the U.S. In addition to creating a prolific and successful business, Walker was a philanthropist, champion and community advocate, dedicated to the betterment of the black community.
Walker donated money toward establishing a YMCA in her adopted Indianapolis neighborhood and to a national anti-lynching initiative. She was appointed by a governor to a national education task force. And ultimately, her business provided more than 3,000 jobs for other African-Americans. She passed down her sense of obligation to the community to her daughter, who carried out plans for a theater and cultural center on Indiana Avenue years after Madam C. J. had passed away.
For the second year in a row, downtown Carmel has been transformed into a German winter wonderland.
Christkindlmarkt, which drew more than 150,000 people last year, is a holiday festival that features more than 40 intricately decorated booths selling German food, drinks, Christmas gifts and decorations at Carmel’s Center Green.
This year, Herron School of Art and Design freshman Emely Chacon was selected to help design eight of the merchandise booths, or “huts,” as they’re called at the festival.
Chacon, who already has an associate degree in graphic design, was looking for an opportunity to expand her knowledge in visual merchandising when her career counselor at Herron suggested the festival internship.
“It was exactly what I was looking for,” Chacon said. “I wanted to have a new experience and do something outside of school.”
The three-week internship began with Chacon sketching designs for two days to plan how the booths would be best laid out. Once her designs were approved, she and the other interns were able to begin decorating the huts and determining the best way to visually display the merchandise inside the small spaces.
“The festival actually expanded the number of items that were in each hut this year,” Chacon said. “We had to redesign the spaces to accommodate the larger quantities of merchandise.”
While the exterior structures of the huts were already set, Chacon and the other interns were tasked with physically building the shelves and designing the esthetics of the huts’ interiors.
“We had to create something that was visually appealing to guests and that would help drive traffic to the huts,” Chacon said. “Seeing everything come to life was my favorite part.”
Some of the items that visitors will be able see on display and purchase are nutcracker dolls, music boxes and ornaments, as well as German decorations such as Weihnachtspyramides (Christmas pyramids) and Schwibbogens (candle arches).
“This has been a great opportunity for our students to apply art and design tactics to building and designing displays,” said Colleen Rusnak, associate director of student services and career development at Herron. “I’m glad the school has built the connection with Carmel, because I am hoping more students can have this opportunity next year.”
In addition to the Christkindlmarkt festival, Herron has worked with the Carmel Arts and Design District on its fall festival and has students’ work showcased at its design center.
2018 has ended, marking both the conclusions of the fall semester and another calendar year. December 2018 also marked the end of an era with Associate Professor Paula Differding, who retired after 33 years of teaching visual communication design (VCD).
Over the decades, Differding has played an indelible role in shaping our VCD program and has transformed the lives of numerous Herron students. Though Differding will be missed, she will continue be a valued and esteemed member of the Herron community as Associate Professor Emerita, effective Jan. 1, 2019.
Here, Professor and Department Chair Eva Roberts shares a summary of Differding’s illustrious academic career, followed by a selection of praise from current students and alumni.
Paula Differding has had an exceptionally long relationship with Herron, one that began when she was a student. In 1979, she earned a second undergraduate degree, a BFA in visual communication that launched her award-winning professional career in Indianapolis. As her career advanced, she continued contact with Herron through students who worked under her guidance as design interns until 1985 when she was recruited to teach and joined the Herron faculty. She brought with her a deep commitment to foster professionalism in young designers. This remains her passion that promises to continue even in retirement.
Professor Differding was crucial in responding to the ever-evolving profession that is design and helped guide the program’s transition from a hands-on practice to one that is now dominated by digital technologies. She has worked continuously to develop curriculum during her decades of teaching and has been awarded development grants for her efforts by such programs as the Engaged Department Grant and the IUPUI–Near Westside Faculty Community Fellows. She has always dedicated her time and energy as a faculty member invested in the success of students and has been honored with the Harry Davis Teaching Award, the Trustees Teaching Award for Civic Engagement, and the Teaching Excellence Award from Indiana University.
She has taught virtually all of the students who have graduated from VCD. In doing so, she has given her caring support to thousands of students during her thirty-three years of teaching. Most telling perhaps is that she maintains contact with hundreds of her former students. As they depart for exciting futures, she tells them, “My class never ends.” Certainly, she has never stopped learning and growing as a teacher; and she is always welcoming of students, current or former, who seek her advice or just her kindness and bright smile.
In addition to teaching, professor Differding has served in many roles for the department, from director of the IRIS Center for Digital Arts (1996-2004) to coordinator of the department (1996-1998). Her service to the department, school, and university is extensive. She spent numerous years working at the university level on the Promotion and Tenure committee; she has worked extensively with community engaged projects and guided the design and production of work for non-profits ranging from IUPUI Urban Farm to AMPATH, IU Kenya.
Professor Differding is a truly special individual, who deeply values students and their success. She has been a warm and generous colleague whose energy will be missed.
“Paula was the teacher that convinced me to stay in design. She really encouraged my growth, and she helped me embrace the things that were special and quirky.” —Alyssa Hostetler, student
“The fact that Paula is lovingly known as ‘Momma P’ speaks to her natural inclination to care for others – students and colleagues alike. She is loved beyond words and will be missed immensely.” —Pamela Napier, assistant professor
“She made me feel welcome when I changed my major. She’s like the grandmother I never had. One time I mentioned that I liked unfrosted Pop-Tarts and from then on, she only brought in unfrosted Pop-Tarts. I also liked when she shared stories about her square husband and her ‘hippie’ self. She’s just super cool.” —Minh-Tri Dang, student
“She took such good care of us during our morning classes. She was super supportive and she always guided us through all of our projects. We all love her so much!” —Essence Jones, student
“I feel so lucky to [have worked] with Paula. I am so appreciative of not only the way she has shown a great positive attitude and motivation, but also her generosity with her time and resources. I want to thank her for all the support she’s shown me throughout my career at Herron, especially during our VC1 class, but more importantly … for her delicious apple pie.” —Gurkan Mihçi, assistant professor
“She always made us apple pie. She is like everyone’s grandma.” —Lexy Britt, student
“Just being around Paula makes me excited. It gets me ready to start designing and thinking of new ways to explore different ideas. She made me glad to join the Herron community as well as her class.” —Jennifer Edwards, student
“I was lucky enough to be paired with Paula during my first year at Herron. In the weeks before classes started, she excitedly emailed me, wanting to set up a lunch so she could meet my family and help me get acquainted to the school and courses we’d be teaching. Ever since that day, she has acted as my guide through life at Herron and IUPUI. I always know that I can turn to her for support, wisdom, or critique. I learned a ton from her about how to run a classroom and be a good colleague. We’ll never truly be able to fill the void that she’s leaving in our classrooms and our everyday lives around Herron.” —Aaron Ganci, associate professor
“One day, Paula was running late to class. She later came in with grocery bags and said, ‘I brought bagels for everyone!’ She then put the bag in the other room in the kitchen. When I looked in the bag, I also saw some Pop-Tarts. Later on, I gave her a hug and told her it’s like the kids waiting for mom to come home from the grocery store. She always has special treats for us that we weren’t expecting.” —Romarie Quinones-Perez, student
“[We] used [to] call Paula the ‘VCD Mom’. She was always loving and caring and wanted to see her students do well. She always brought in treats for her students. For our professional practice class, a peer had some trouble with a client and she was in tears from the difficult project. Paula was there and able to comfort her.” —Steven Musngi (BFA ’09)
“I wish I had her for more semesters, not just one.” —Kaitlin Bundren, student
“Paula is one of the most generous and loving souls. She truly defines what it means to be a teacher. She is invested in every single one of her students which you don’t see often.” —Zachary Camp, student
“Her enthusiasm is contagious, she motivates us just with her presence, and she enables us to feel empowered.” —Taylor Harsch, student
“Paula is seriously the most passionate person ever. That’s what I love most about her. It makes it so easy to talk to her and open up about projects and life.” —Alyson Love, student
“I was in Paula’s very first class. I had a lot of professors that were conceptual-based, but Paula was very community-based. She took us around to different studios and vendors, and it took away a lot of the mystery. I just remember her always being super fun and friendly. Our first year, she took a polaroid of each student (one smiling and one silly) and would write their name on it in order to remember everyone. […] Sometime after junior year, I got an internship and was super excited about it. I told Paula where it was and she gave [it] a look and told me I could not work there. She ended up connecting me to someone else, which ended up being one of the best studios in town.” —Jim Sholly (BFA ’87)
“The first time Paula helped me was when I had to go to a friend’s funeral in the middle of the semester. She was just so supportive. Another time, she gave me the opportunity to pursue an internship that I really wanted that allowed me to also take care of my son, who has Down syndrome. It was one of the most wonderful memories I have of her.” —Bob Waite, student
“My favorite memory of Paula has to be when she drove me, Karli, and Katie to the Printing Partners fieldtrip for our print production class. We spent the whole ride talking about life and cracking jokes. It was just great to connect with her – not just as designers, but as friends.” —Kourtney Hedges, student
“I can’t even begin to say how much [Paula has] changed my life. [She] will always be my design mom. The most important duties of ‘design mom’ are to be there when your students cry, make amazing pie, push everyone to make their best work [and] DO MORE SKETCHES, and most importantly, always ask questions and never give up. [Paula is] the reason I survived in school. [She is] the reason I myself want to be a ‘design mom’ one day. They say that you don’t leave a legacy for someone, you leave it within someone. I hope to be half the woman [Paula is] and leave my legacy within as many people as I can because the legacy [she’s] left within me is one I will live with the rest of my life.” —Haley Francis-Halstead, student
INDIANAPOLIS — The Galleries at Herron School of Art and Design at IUPUI will kick off the 2019 winter/spring season Jan. 9 with new and iconic works by Kota Ezawa, Christian Marclay and Peter Shear. The solo exhibitions — Ezawa’s “Tonya,” Marclay’s “Telephones” and Shear’s “Time Stamp” — offer three conceptual investigations into dance choreography and animated movement, communication and the transformative power of editing, and the formal qualities of mark-making in painting.
Headlining the school’s first exhibitions of 2019 is “Tonya,” Ezawa’s latest three-channel video based on the choreography and movements of contemporary dancer James Kirby Rogers of the Kansas City Ballet. The collaboration between Ezawa and Rogers brings together dance and visual arts disciplines by fusing human movements with the imaginative faculties enabled by digital animation. Included in the exhibition are videos and films by Nam June Paik, Yvonne Rainer, Kate Bush and Bruce Nauman to trace a history of dance recorded between the 1960s and 1980s. The videos and films also function as an ancestry to the artist’s own backstory as a Kate Bush fan as a teenager and a student of Nam June Paik at the Kuntstakademie Dusseldorf.
Also opening Jan. 9 in the Basile Gallery is Christian Marclay’s “Telephones,” an exhibition exploring the artist’s interest in telecommunications — a recurring motif in his work. The centerpiece of the show is Marclay’s 1995 video “Telephones,” in which Marclay, using the narrative arc of a telephone call, masterfully stitches together excerpts from well-known movies to craft a new narrative from film fragments. Through it, he presents a meditation on the mechanics, rhythms and sonic properties of our ever-changing technologies while also offering an astute observation on cinematic structure and outmoded social habits.
In the Marsh Gallery is “Time Stamp,” an exhibition of new paintings by Peter Shear, a self-taught artist based in Bloomington. Known for his small-scale, abstract compositions, Shear is introducing a new series of larger-format paintings together with a selection of other recent work. These new, larger canvases offer an exuberant exploration of the poetic and expressive possibilities of color and gesture and continue the artist’s sustained investigation into the varied and sometimes contradictory ways to make a painting.
“Tonya” is on view through Feb. 23; “Telephones” and “Time Stamp” close Feb. 21.
An opening reception will take place from 5:30 to 8 p.m. Jan. 9 at Eskenazi Hall, 735 W. New York St.
In-kind support is provided by Sun King Brewing. Parking is free in the Sports Complex Garage adjacent to Eskenazi Hall or on levels 5 and 6 of the Riverwalk Garage, courtesy of The Great Frame Up Indianapolis, with validation from the Herron galleries. Visit HerronGalleries.org for more information.
Located in Eskenazi Hall on the IUPUI campus, the Galleries at Herron are free and open to the public from 10 a.m. to 5 p.m. Monday through Saturday and 10 a.m. to 8 p.m. Wednesdays.
About Kota Ezawa
Born in Cologne, Germany, in 1969, Kota Ezawa is known for animating film and video footage of iconic moments from history and popular culture using a process involving freehand and vector-based digital techniques. Recent solo exhibitions include the Chrysler Museum of Art, Norfolk, Virginia; SITE Santa Fe, Santa Fe, New Mexico; the Mead Art Museum, Amherst, Massachusetts; and the Contemporary Jewish Museum, San Francisco. His work is held in the collections of the Museum of Modern Art, New York City; the Art Institute of Chicago; San Francisco Museum of Modern Art; Museum of Contemporary Art San Diego; and the J. Paul Getty Museum, Los Angeles. Ezawa is based in Oakland, California.
About Christian Marclay
Born in California in 1955 and raised in Geneva, Switzerland, Christian Marclay has explored the fusion of fine art and audio cultures for the past three decades, transforming sounds and music into a visible, physical form through performance, sculpture, installation, photography and video. His work is held in numerous collections, including the Museum of Modern Art, New York City; the Metropolitan Museum of American Art, New York City; Tate Modern, London; the San Francisco Museum of Modern Art; and the Centre Georges Pompidou, Paris, among many others. Marclay lives and works between London and New York City.
About Peter Shear
Peter Shear was born in Beverly Farms, Massachusetts, in 1980. His work has been shown in galleries nationally and internationally and has appeared in New American Paintings, The L Magazine and Whitehot Magazine. He has recently exhibited at George Lawson Gallery, San Francisco; 840 Gallery at the University of Cincinnati; Gavlak Gallery, Palm Beach, Florida; Fortnight Institute, New York City; Devening Projects + Editions, Chicago; and Elaine L. Jacob Gallery at Wayne State University, Detroit. Shear lives and works in Bloomington.
About Herron School of Art and Design
Founded in 1902, Herron School of Art and Design is the premier accredited professional school of art and design in the state of Indiana and is part of the thriving urban campus of IUPUI. Herron has more than 50 full-time faculty serving 11 undergraduate and three graduate programs and a curriculum that prepares graduates to be leaders in a world that requires a unique combination of creativity, conceptual skills and technical abilities. Herron is an engaged community and regional partner including five public galleries; youth and continuing education programs; and the Basile Center for Art, Design and Public Life.
INDIANAPOLIS — The experiences of refugees will be highlighted in a multi-arts exhibit that opens Jan. 9 at IUPUI, with affiliated events in Indianapolis and Bloomington.
“Art & Refugees: Shine the Light” brings together glass, photography and documentary art to create awareness of the refugee experience, telling stories of perseverance that transcend cultures, time and religion. The United Nations reports that refugee crises across the world have forced an unprecedented 68.5 million people from their homes.
The exhibit will be open Jan. 9-31 in the IUPUI Campus Center, 420 University Blvd. It is free and open to the public.
Pieces of the exhibit are housed in the Cultural Arts Gallery on the second level of the Campus Center as well as on the first floor. The gallery is open from 10 a.m. to 7 p.m. Monday through Saturday and from 11 a.m. to 7 p.m. Sundays. Visitor parking is available in the adjacent Vermont Street Garage.
Members of the campus and community will have a chance to meet the artists at an opening reception taking place 4:30 to 6:30 p.m. Jan. 9 in the Campus Center Atrium. The reception will include light refreshments and a short program.
The exhibit includes “Todesmarche Revisited” by Laura Donefer, an installation of cast glass and cement footprints, some of which were taken from Holocaust survivors, telling the story of the forced marches and displacement.
The glass installation is juxtaposed by German photographer Charlotte Schmitz’s “Take Me to Jermany” photography installation, capturing the faces and experiences of displaced refugees living in Europe, and excerpts of the “Finding Home” documentary by multi-Emmy Award-winning filmmaker David Marshall in collaboration with Deborah Haber, creator/playwright of the “Moses Man: Finding Home” musical.
“Exploring Stories of Holocaust and Displacement,” hosted by the Jewish Federation of Indianapolis, will take place from 7 to 8:30 p.m. Jan. 8 in the Laikin Auditorium at the Jewish Community Center, 6701 Hoover Road. This program will feature testimonials from local Holocaust survivors as well as a panel of visiting artists. Participants can also view a photography exhibit of and by contemporary refugees in Europe. The event is free. Preregistration is preferred at the JCC website, by calling 317-251-9467 or at the JCC membership desk.
An open house and panel discussion with the exhibit artists will take place from 3 to 5 p.m. Jan. 10 in Room 1060 of the Indiana University Global and International Studies Building on the IU campus in Bloomington.
“Refugees of the Holocaust, Refugees of Today” will take place from 7 to 8:30 p.m. Jan 29 in IUPUI’s Hine Hall Auditorium, 875 W. North St. The program will feature a panel discussion with Tamra Wright, director of diversity, equity and inclusion for the School of Public and Environmental Affairs at IUPUI, and will include IUPUI’s scholar-in-residence, Adam Strom, Director of Re-Imagining Migration; artist Debbie Haber, director of Shine the Light and daughter of Holocaust-survivor refugees; and Winnie Betili Bulaya, director of Refugee Welcoming Baskets.
The Lab Culture series explores the research, traditions and quirks in labs across the IUPUI campus.
The centuries-old art of printmaking still impresses in the digital age.
The Printmaking Lab within the Herron School of Art and Design was bustling Monday as students worked on semester-end lithography, screen-printing and etching projects within the space. But no work can be done without passing the program’s shrine full of mementos, totems and memories from current and past IUPUI printmakers.
“We joke around that if you’re getting ready to print your edition, you make a small offering to the print gods,” said Dominic Senibaldi, lab technician, instructor and co-founder of Cat Head Press. “If your printing went well, you give thanks with a trinket or a proof of your print. It represents the communal attitude in the shop. It’s a nice tradition.”
Playing off the shrine and supported by printmaking professors Meredith Setser and David Morrison, Senibaldi’s years in the lithography space have brought some interesting traditions and mascots to add to the creative atmosphere of the printmaking lab.
‘The One About Printmaking’
If and when “Friends” eventually leaves Netflix, you can get your Ross Geller fix by visiting the lithography space in the Printmaking Lab. Yes, the uptight paleontologist played by David Schwimmer is there to remind students to “Clean up your mess” and tell them where to find the dry-erase marker to schedule time on the lab’s five presses.
“For a long time, I was making signs with Nic Cage on them,” Senibaldi said. “The print mascot changes every once in a while. I started making signs with Ross Geller, and it just sort of stuck.”
Beats help prints
Each space in the Printmaking Lab is equipped with custom-made computer speaker cabinets. Students can plug in their mobile device or laptop with their Spotify playlist cued up to bring the rock, hip-hop or pop they need to help create images with ink. The lithography speaker cabinet is decorated with dozens of small felt pompoms — some with googly eyes, of course.
“The students get full access to the shop,” Senibaldi explained. “They’re working in here outside of classes, so they can hook up their music and rock out while working on their stuff — so it becomes really fun. My predecessor, former Printmaking Lab tech Lauren Kussro, built these boxes attached to the wall because other areas of the school kept stealing our speakers from here — because we’re the cool kids over here listening to music.”
Name that press
The five main presses for producing prints on paper or nontraditional surfaces like plastic and fabric display names like Big Rig, Excalibur and José. Senibaldi revealed there could be a student vote to rename the hand-operated machines in the near future.
“Everything has character in this shop,” he said. “Fine-art printmaking is always going to have a place in art. There is a tactile quality and hands-on process you can’t get with other processes. It’s very unique.”
The Moving Company has called IUPUI its home since 1983. The contemporary dance group will unpack “Home” this weekend.
The group will perform four original pieces in its fall showcase, titled “Home,” at 2 and 7 p.m. Saturday, Dec. 8, at the Campus Center Theater. The concert is free and open to the public. The Moving Company will be joined by Xiphos Corps, Create Freedom Arts Projects and Studio J2 Dance for the dance extravaganza.
One of the works, “Home Is Me,” showcases 16 of The Moving Company’s 20 performers dancing to up-tempo music and utilizing an array of dance expertise. Guest choreographer Adrienne D. Jackson scripted jumps, floor work and modern moves to tell the story of her “Home.”
“It’s just coming to terms with being who I am and being that person wherever I am,” said Jackson, an IUPUI alumna and current Indianapolis high school mathematics teacher. “It’s about settling into a comfortable space.”
The Moving Company dancers rehearsed all semester on the “Home” works while partaking in live special events around campus this semester like Regatta and the IUPUI 50th Anniversary kickoff event.
The student performers come from varied dance backgrounds, from ballet and jazz to modern and hip-hop. Student choreographers like Shay Sondgerath, a School of Health and Human Sciences junior, take full advantage of their dancers’ stylistic and physical flexibility. Sondgerath created a piece to Beyoncé’s “End of Time” that has been performed at IUPUI and Indiana Pacers basketball games.
“It’s our fun piece for the year, just to use throughout the semester,” Sondgerath said. “I love choreographing, seeing the dancers’ abilities and what all they can do. It’s awesome to see them do well.”
Meghan Nowels, president of The Moving Company, grew up dancing tap, ballet, lyrical, jazz and musical theater numbers, just to name a few. She wanted to continue her passion while studying tourism, conventions and event management at IUPUI. She found most of her fellow Moving Company dancers had similar stories, despite their different backgrounds.
“I found a home at IUPUI with The Moving Company and found friends,” said Nowels, a junior. “To be able to come together and dance and share a special time together is really amazing.”
All the sweat from spending hours practicing an eight-bar phrase and connecting the moves to an emotional level is worth it when concerts approach. Performing in front of an audience and sharing their effort is a big reason for The Moving Company’s longevity.
“The feeling you get when you perform is like nothing you can describe,” Nowels said. “I think that’s why a lot of people continue dancing with us.”