Mighty Dreams: Designing and Fostering Belonging in ‘America’

Rising global inequality, political instability, violence, food insecurity, climate change: these and other factors have resulted in a worldwide refugee crisis unprecedented in scale. From Syria to South Sudan, Myanmar to Guatemala, tens of millions of people around the world have left their homes in search of safety and survival. In the United States, fires, flooding, and lack of affordable housing and job opportunities are among the environmental crises and economic injustices influencing internal migration and sweeping demographic change within cities, states, and regions. With migration often painfully disrupting personal and collective understandings of culture and place, displaced, recently arrived, and changing communities are seeking new meaning and hope around what it means to live and belong in America and the world.

Despite the urgent challenges we face, we are also living in a time of renewed civic, activist, and human spirit. Indigenous peoples continue to fight for sovereignty, self-determination, and thriving ecological futures. Cross border and international immigrant rights coalitions are building sanctuaries and diverse coalitions to combat nativist ideology and violent state policy. Instead of giving up or retreating with despair, youthful and more seasoned artists, designers, scholars, and organizers are together creating spaces to heal, find a sense of belonging, and construct new ways of being, living, and working in community. This work requires compassion, courage, strength, experimentation, and an expansive imagination of the world as it could and should be.

This year Imagining America (IA) celebrates twenty years of supporting publicly engaged artists, designers, scholars, and organizers who imagine, study, and enact a more just and liberatory America and world. Inspired by the cultural landscape of New Mexico and the upcoming 2020 U.S. presidential elections, IA’s 20th Anniversary National Gathering will consider how we define, design, and foster belonging in our home communities and as a nation state. With belonging, indigeneity, and migration serving as framing concepts, IA invites proposals that advance public scholarship, dialogue, collaboration, research, programs, and advocacy on realizing an America that, as in Langston Hughes’ mighty dream, is the land it must be – a place of opportunity and equality for all. The gathering will explore such questions as:

●    How do our diverse relationships to land, displacement, and migration inform and interact with the ways we envision place and belonging – culturally, socially, politically, economically, spiritually, ecologically, and agriculturally?
●    How may Indigenous, traditional, cross-border, and community-based ways of knowing be used to shift how belonging is defined and designed, and who participates in this process?
●    In what ways can public memory, history, art, and design be used to address living legacies of oppression and to foster belonging within our institutions and communities?
●    Given that our own histories and narratives of land, belonging, and migration are often different from one another, how do we build cross-movement solidarities towards the long haul project of social change for a more just, equitable and liberatory future?

IA also welcomes proposals that provide participants with new skills or tools, create opportunities for collaboration, and/or more generally strengthen publicly engaged knowledge and practices that integrate the methodologies of arts, design, and the humanities.

For general questions on the proposal process before submitting your proposal, please join us on May 14, 2019 from 10-11 AM PT for an informational webinar.

Instructions on how to submit your proposal are available on IA’s website atwww.imaginingamerica.org >> National Gathering >> Submit a Proposal.
The submission deadline is Friday, June 7, 2019 at 11:59 PM PT.

Sponsorship Opportunity:
Would you or your organization like to sponsor event programming or travel to the IA 20th Anniversary National Gathering? Sponsorship comes with opportunities to promote your work while also supporting students and community based participation in the gathering. For more information on sponsorship, please contact Erika Prasad, Associate Director of Membership and Development: eaprasad@ucdavis.edu.

Learn more about the Session Format here.

Imagining America 20th Anniversary National Gathering
Albuquerque, New Mexico
Friday, October 18, 2019 – Sunday, October 20, 2019
Submission Deadline: Friday, June 7 11:59 PM PT

Contested Image by Laura Holzman

Join us May 22nd from 5:30-6:30 at Indy Reads Books to hear Laura M. Holzman discuss her new book, Contested Image!

About Contested Image
Thomas Eakins’s 1875 painting The Gross Clinic, the Rocky statue, and the art collection under the stewardship of the Barnes Foundation are all iconic in Philadelphia for different reasons. But around the year 2000, they emerged as subjects of extended – and heated – controversies about their “appropriate” location. By revisiting these debates, Contested Image demonstrates how public reception transformed prominent elements of Philadelphia’s visual culture. The book’s insights into the public envisioning of place will resonate with readers regardless of where they call home.

About Laura Holzman
Laura M. Holzman is an associate professor of art history and museum studies at Indiana University, IUPUI, where she is also appointed Public Scholar of Curatorial Practices and Visual Art. She holds a PhD and MA in visual studies from the University of California, Irvine, and a BA with highest honors from Swarthmore College. Her work is dedicated to activating art history, its methods, and its related institutions as tools for strengthening communities, expanding democratic discourse, and creating a more reflective society.

May 22 | 5:30-6:30 PM
Indy Reads Books
911 Massachusetts Ave.; Indianapolis, IN

We’ll see you there!

Charles Goodlett, Elizabeth Kryder-Reid Appointed Chancellor’s Professors At IUPUI

From left: Chancellor's Professors Charles Goodlett and Elizabeth Kryder-Reid. Photo by Liz Kaye, Indiana University
From left: Chancellor’s Professors Charles Goodlett and Elizabeth Kryder-Reid. Photo by Liz Kaye, Indiana University

IUPUI Chancellor Nasser H. Paydar has appointed Charles Goodlett, a professor in the School of Science, and Elizabeth Kryder-Reid, a professor in the School of Liberal Arts, as prestigious Chancellor’s Professors.

The Chancellor’s Professorship is the most distinguished appointment a faculty member can attain at IUPUI, recognizing extensive records of accomplishment and leadership in teaching, research and service. These senior faculty members retain the title throughout their appointments at IUPUI and comprise a special group of mentors and advisors for colleagues.

“Professor Goodlett and professor Kryder-Reid have dedicated themselves to outstanding research and education at IUPUI, serving as mentors, teachers and scholars for more than 20 years,” Paydar said. “Their appointments as Chancellor’s Professors honor all that they have done to enhance students’ educational experiences, to contribute to the vibrant intellectual community on our campus, and to support the advancements of their disciplines more broadly.”

Chancellor’s Professors are faculty who have demonstrated excellence in their support of IUPUI as an academic community of exceptional quality and integrity and have distinguished themselves in their disciplines through the creation and application of knowledge. Through their leadership and service in their departments, in their schools and across campus, they have reinforced and advanced IUPUI’s mission and vision.

Charles Goodlett
Goodlett, who arrived at IUPUI in 1993, is a professor in the Addiction Neuroscience program in the Department of Psychology in the School of Science.

Much of his research over the last quarter-century has focused on the effects of alcohol on the developing brain using quantitative neuroanatomy and behavioral methods in animal models of human fetal exposure. His work has shown that prenatal alcohol-induced brain damage and subsequent impairments in learning are directly related to blood alcohol content, with binge-like patterns of consumption proving especially damaging to the developing brain. His work showed that during early development of one important region of the brain, the cerebellum, there are relatively well-defined periods of enhanced vulnerability to damage from binge alcohol exposure.

Goodlett is continuing to research neurodevelopment disorders in a collaborative project with Randall Roper studying a mouse model of Down syndrome, while also fueling his passions for mentoring and teaching.

“Service to the campus is what I really value right now; I have dedicated a lot of time in the last five years working on faculty issues through faculty governance,” said Goodlett, who has also served for many years on the IUPUI Research Affairs Committee, including being chairperson in 2008-10. “Mentoring junior faculty is a concern of mine — making sure they’re given the right support and that they are able to navigate the academic landscape to achieve the full potential of their career trajectory.

“We have a very strong neuroscience undergraduate program, and one of the things that we are working on — that I’m taking a bit of a lead on — is developing a capstone research laboratory course that will allow students to gain experience in independent, hypothesis-driven behavioral neuroscience research.

“Being appointed as a Chancellor’s Professor motivates me even more to be a good academic citizen. It encourages me to continue and expand my efforts.”

Elizabeth Kryder-Reid
When Kryder-Reid, a professor of anthropology and museum studies in the School of Liberal Arts, arrived on campus in 1998, museum studies was only an undergraduate certificate program, and when a computer with a student roster was inadvertently sent to university surplus, she had to track down the 11 certificate students individually.

Today, thanks in large part to Kryder-Reid’s leadership as director from 1998-2013, the IUPUI museum studies program is one of the largest in the country, with undergraduate and graduate offerings and a number of dedicated museum studies faculty that few other schools can match.

Kryder-Reid is currently director of the Cultural Heritage Research Center. Her research explores how people appropriate the tangible and intangible remnants of the past and mobilize them in social relationships.

“I’ve always been drawn to questions about the connections of past and present — how we remember the past and represent it in the material forms of public history sites and landscapes as well as museum collections and exhibits,” she said. “The compelling part is trying to understand not just the stories we tell, but why we tell them and how they relate to our contemporary relationships.”

Last month, her book “California Mission Landscapes: Race, Memory, and the Politics of Heritage” won the 2019 Elisabeth Blair MacDougall Book Award from the Society of Architectural Historians, which recognizes the most distinguished work of scholarship in the history of landscape architecture or garden design. The book, published in 2016 by University of Minnesota Press, has enjoyed widespread acclaim with awards from groups in landscape studies, history and landscape architecture history.

“I thanked my students in the foreword to that book. Conversations in class about the missions, about these broader questions of narratives, memory, race and politics, as well as about museums and anthropology sites, shaped my thinking about the mission landscapes,” Kryder-Reid said. “Teaching and scholarship are integrally related; each one informs the other.”

Kryder-Reid’s current work includes an environmental justice project, part of a broader international collaboration with the Humanities Action Lab that will include an exhibit coming to Indianapolis’ Central Library next January and public programs developed by IUPUI students.

“I know some of the people from the School of Liberal Arts who have served as Chancellor’s Professors and have admired the way they have crafted their careers to produce important scholarship and be amazing teachers while serving the campus,” Kryder-Reid said. “I’m honored to work in their company.”

Read the original story from IUPUI News’ John Schwarb 

Virtual Reality Game Built By IUPUI Students Challenges Players To Escape Breakout High

Video by Samantha Thompson, Indiana University

Gamers in Indianapolis have a new virtual world to play in, one built by a team of IUPUI media arts and science students where players must use their puzzle-solving wits to escape the clutches of a villain who has locked them inside a school.

The game, “Breakout High,” is available for play at BlueWall VR, a virtual reality arcade at 5967 E. 82nd St. in Castleton.

After donning a VR headset, players find they have been locked inside a classroom in Breakout High by the villainous Mr. Jack. Players escape from a series of locked rooms, and eventually the school, by solving puzzles.

The students developed the game as part of a team-driven project-based learning course, N420 Multimedia Project Development. The student team was paired with BlueWall VR as a client, said Joshua Kottka, who led the student team as product manager.

“They wanted a VR game, so we met with them for a couple of weeks to brainstorm ideas about what type of game we should develop,” Kottka said. “We eventually narrowed it down to a puzzle-solving game, like an escape room.”

“I think we were all pretty excited to work on a virtual reality game,” Kottka said. “Virtual reality and augmented reality games are still not quite as popular as other types of video game genres, but they are new and emerging. The really interesting thing about virtual reality is that it is still super-new.”

Jonathan Renninger, who served as lead programmer, said learning the ins and outs of virtual reality programming was the most interesting part of the project. “I had to do a lot of research and learn how to program that kind of stuff,” he said.

That included designing puzzles that lead a player from one step to the next, such as a bookcase on which books have to be placed in a certain order, Renninger said.

“Breakout High” may be the first game Kottka and Renninger developed for a client, but it won’t be their last.

After he graduates from IUPUI May 11, Kottka said, he will be applying for internships at gaming studios around the country: “That’s really my goal after graduation, making more games and stuff.”

He believes his work on “Breakout High” will give him a leg up on that quest. “This will definitely help. For a year, I was project manager for ‘Breakout High.’ So I have that to put on my resume.”

Renninger, who is also graduating, hopes his experience developing “Breakout High” will burnish his portfolio. “It also helped me learn a bit more about how to work with a client. So I hope further on down the line this will help me deal with clients and with programming for other games in the future.”

Read the original story from IUPUI News’ Rich Schneider

 

Associate Professor Laura Holzman On How Public Art Can Redefine The Urban Identities Of Our Cities

 

Laura Holzman in her office at Herron School of Art and Design. Herron School of Art and Design

Laura Holzman, associate professor of art history and museum studies and public scholar of curatorial practices and visual art, has just authored her first book, which was eleven years in the making.

Published in April by Temple University Press, “Contested Image: Defining Philadelphia for the Twenty-First Century” investigates how Thomas Eakin’s 1875 painting “The Gross Clinic,” the Rocky statue, and the Barnes Foundation each helped create a new identity for the city of Philadelphia.

We sat down with Holzman to discuss her book, the origins of her research, and what it feels like to finally see it in print. The interview has been condensed and lightly edited for clarity.

HERRON: Tell us about your art historical approach for writing the book.

LAURA HOLZMAN: “Contested Image” is about contemporary visual culture, but it’s also about how historical objects from different points in time are contemporary to one another when we look at the roles that they’ve played more recently in regard to Philadelphia’s changing identity. I focus on big debates about where art belongs in the city from approximately 1990 to 2010. But some of the episodes start brewing in the 1980s and others trail into 2012.

I couldn’t have articulated this when I started working on the project, but the mode of art history scholarship that I am really interested in is public scholarship. What that means is doing scholarship that’s meaningful and shareable outside of academia and written in a way that is accessible. It can also mean scholarship that’s generated in collaboration with people outside of a university – that’s the work I do now.

My book looks like very traditional scholarship because it’s a book published by a university press and written by only one person. But my research questions didn’t come from conversations that were happening inside academia; they came directly from conversations that were happening outside in the world. I’d first heard about these issues on the radio and while sitting on the train in Philadelphia, listening to the people around me. People were having really passionate conversations about where art belongs.

Some of these conversations were divisive. They made me wonder, what’s really going on? How can I use my resources as a scholar to interpret this discourse constructively? My professional experience in Philadelphia’s arts and culture sector allowed me to develop a sensitivity to the issues at stake as well as understanding of who the major players are and how these stories unfolded. As I offer my own interpretation of each episode, I also try to honor the voices of the people who participated in these public exchanges about issues they cared very deeply about. I see this book as my way of contributing to those conversations.

HERRON: What’s your connection to Philadelphia?

HOLZMAN: I’ve spent a lot of my life in and around Philadelphia – visiting family, going to college, working with arts and culture organizations. My experiences there shaped how I approached the material in the book.

When I worked at the Philadelphia Museum of Art and so I walked up the Rocky steps almost every day on my way to work. It was hard not to think about the relationship between the Rocky statue and the site of the museum.

I was also working at the museum when Thomas Jefferson University sold “The Gross Clinic.” The university had made a deal with philanthropist and arts patron Alice Walton, who was collecting art for the Crystal Bridges Museum in Bentonville, Arkansas, and the National Gallery of Art in Washington, D.C. The university said, ‘Ok, you guys can buy the painting for $68 million, unless a local institution can match the price.’ Oh, and they told local institutions, ‘You have 45 days to match that enormous price.’ There was a massive fundraising effort and a huge public relations campaign to generate the interest and the dollars to purchase the painting. With support from that campaign, the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts jointly purchased the artwork.

I wasn’t thinking about it in an academic way at the time, but I was steeped in the environment of what was going on because of my job as a press relations coordinator. One of my responsibilities was to keep track of all the press clips that were generated about the institution. I’m a curious person, so I read them all. And then I didn’t really think much of it. When I went to graduate school, I revisited the newspaper articles and blogs about the painting. I thought, ‘There’s something going on here that people aren’t talking about’ and that was the hook for me and this research project.

HERRON: Is that what you went to graduate school to study?

HOLZMAN: Not at all. There’s a good story about that, actually. During my first quarter in the interdisciplinary PhD program in visual studies at UC Irvine [University of California, Irvine], I was waiting in the department office and one of the professors walked into the room. I casually mentioned that I’d noticed she would be teaching a seminar on museums, cultural memory, and history. She responded by saying, ‘I’m so glad you’ll be taking it!’ So, I enrolled in the class because I felt I’d made some kind of unintentional verbal commitment to take the course.

For the research project, we could write about anything we wanted that related to the subject of the seminar. I just kept thinking about “The Gross Clinic” and I had to get it out of my system. I wrote the paper and, I’m not kidding, it was the easiest first draft I’ve ever written. It was like the story was writing itself.

HERRON: What kinds of memories did you study during your research?

HOLZMAN: One of the things I noticed from reading all of those press clips and blog posts was that people were making it really personal when they were talking about “The Gross Clinic” and how it belongs in Philadelphia. For example, somebody said that it would be almost like losing a friend if the painting were to leave Philadelphia. There was this very personal language of memory and trauma that resonated with themes we’d examined in the class, so it came together as a really interesting example of memory practices related to museum collection practices.

HERRON: So, how did your short seminar paper turn into a 200-page book?

HOLZMAN: I ended up revising and expanding it fairly substantially for my master’s thesis. I revised and expanded it again for a chapter in my dissertation. Then, I revised and expanded it again for the book. Along the way, I added chapters about other prominent public conversations about where art belongs in Philadelphia, and I learned that the stories of “The Gross Clinic,” the Barnes Collection, and the Rocky statue are deeply intertwined with one another and with Philadelphia’s identity.

When I was trying to figure out what I wanted to write about, my dissertation advisor said, ‘Make sure it’s something you’re really okay with thinking about for ten years.’ I thought, ‘Pshh, ten years.’ The first words that I typed for this research were in 2008. It’s really been eleven years!

HERRON: How does it feel to finally see the book in front of you?

HOLZMAN: When I first held it in my hands I was like, ‘Oh my gosh, this is really a thing.’ There were definitely times when I thought this was not going to be a thing. Writing is really hard and the process of writing a book is very complicated. Enough of the steps are beyond the author’s control that it can feel like it might never manifest into anything. It is really cool to have this physical evidence that I completed the project.

I’m excited to have the book out in the world. I’ve published segments of the book previously, but now people can know the other parts of the story. It’s also a little bit scary, in part because of the way I’ve been doing scholarship for the past few years, which involves a lot of collaboration with stakeholders along the way. But with this, I’ve put it out in the world and, sure, it’s gone through academic peer review, but somebody might read this book and see their name in it because they gave a quote to a journalist and now it’s in the book. I wonder, is that person going to appreciate the way that I used their language? I hope that they will. I feel the weight of the responsibility of writing about people’s lives.

HERRON: What impact do you hope to make with “Contested Image?” What do you hope readers will take away from the book?

HOLZMAN: I think that people across the country and internationally can learn a lot from looking at my research in the book. We can learn about how people are using visual culture to define the places where they spend time. I also want to contribute to a shift in ways of thinking about which places are valuable for people to study from a distance. For example, you asked me earlier about my connection to Philadelphia. Would you have asked a similar question if this book were about New York?

Since I moved to Indianapolis, I’ve seen a lot of things that remind me of what I know about Philadelphia from the 1990s and the 2000s as the city started to change the way it was talking about itself and as the city started to invest in different areas. Philadelphia has major issues that it’s still working out, so I don’t want to imply that Philadelphia is perfect. But I think there’s a valuable lesson in the ways Philadelphia embraced the arts and culture sector as a major element of its new identity.

Indianapolis would really benefit from following a similar lead and recognizing that the arts and culture are central to making a place a vibrant and rewarding place to live, work, and visit. Arts and culture can look like different things for different people. We benefit from having a variety of those things, but we also benefit from truly embracing the possibilities that they offer.

Read the original story from Herron School of Art + Design

IU Online Conference

The fourth annual statewide IU Online Conference will be held October 30, 2019, at the Sheraton Indianapolis Hotel at Keystone Crossing.

Your conference hosts from the Office of Online Education, the Office of Collaborative Academic Programs, and eLearning Design and Services are seeking proposals from IU faculty, administrators, advisors, success coaches, and staff across the state who are innovators and collaborators in the online space.

We will consider proposals that address empirical research, showcase best practices, and/or describe lessons learned related to one or more of the following areas:

  • Program development and administration
  • Coaching, advising, student engagement, and co-curricular programming
  • Marketing, admissions, and recruitment
  • Teaching and learning innovation
  • Technology that advances digital learning

Of special interest are presentations describing intercampus and/or interdisciplinary collaborations and proposals that have application to multiple disciplines. Sessions will last for 30 to 45 minutes.

Proposals are due at 11:59pm on Friday, June 7th. Presenters will be notified in August.

Submit your proposals now! 

Mother Nature Inspired IUPUI Students’ Design For A Safer Football Helmet

The thick peel of a pomelo was one of nature's bio-inspired designs the students examined.
The thick peel of a pomelo was one of nature’s bio-inspired designs the students examined.

Two IUPUI students drew upon the wisdom of Mother Nature to create biologically inspired designs that could be used to create a safer football helmet.

Their research has been published in the Society of Automotive Engineering International Journal of Transportation Safety.

The student authors of the paper, “Cellular Helmet Liner Design through Bio-Inspired Structures and Topology Optimization of Compliant Mechanism Lattices,” are Jacob DeHart, a media arts and science student in the School of Informatics and Computing, and Joel Najmon, an engineering student in the School of Engineering and Technology.

Zebulun Wood, a lecturer in media arts and science, and Andres Tovar, an associate professor of mechanical and energy engineering and an assistant professor of biomedical engineering, are co-authors and co-directors of this research project.

“Our research and design algorithms show innovative, energy-absorbing cellular helmet liners,” Najmon said. “Cellular helmet liners are ideal for impact energy absorption, as their structures can mimic the excellent absorbing capabilities of foam and energy protective biological structures while maintaining the ability to be engineered for specific impact, dynamic responses.”

The two students were given the reins to experiment and explore different ways of making something that could be useful to people, DeHart said. “I took a more interpretative look at nature, mimicking functions and forms from nature, while Joel took a more scientific one, putting numbers into a program to get results.”

This work shows lessons learned from bio-inspired designs using protective structures such as pomelo peel, nautilus shell and woodpecker skull, Tovar said. “Our work explores a design approach to tailor the response of a cellular material subject to impact, an approach that offers the potential to mitigate head injury by decreasing acceleration, decreasing penetration and increasing specific energy absorption.”

“What this study really gets to is that nature, through millions of years of innovation and evolution, knows best,” Wood said. “We took some of nature’s hardest surfaces — surfaces that could be translated to helmet design — and re-created them in a way that can be simulated in engineering software.”

Nature may have provided inspiration for the cellular designs, but it took the students months to figure out how the bio-inspired shapes developed by DeHart could be re-created in a way that they could be used by Najmon in engineering simulation software that showed whether their helmet liner would reduce risk of injury.

The challenge the two students faced, Wood said, was to learn how to create geometric shapes that were inspired by nature but could also be simulated in engineering software. “Until our experiment, that was very difficult to do. It’s still difficult to do. Now IUPUI knows how to get those shapes to work together.”

The kind of collaboration that enabled the students to bridge the gap between the domains of media arts and science and engineering could only happen at a campus like IUPUI that encourages people in different fields to work together, Wood said.

The helmet liner study was supported by a grant from the Sports Innovation Institute at IUPUI.

Read the original article from IUPUI NewsJohn Schwarb and Rich Schneider

Apply to Participate in the 2019-20 Religion, Spirituality & the Arts Seminar

The Religion, Spirituality, and the Arts Program (RSA) is a program of the IUPUI Arts and Humanities Institute that brings together artists, religious leaders, religious communities, humanities experts, and a broad range of publics from diverse backgrounds and disciplinary perspectives for sustained study, analysis, and discussion of religious texts in a classroom environment. Directed by Rabbi Sandy Sasso, these textual discussions, which explore the varieties of religious experience and understanding, provide the inspiration for creating new artistic works (e.g. music, poetry, fiction, drama, visual art, dance). Artists share their creations through exhibitions and presentations to members of the Central Indiana community, including religious organizations, congregations, schools, libraries, and community groups.

2019-20 Theme

We will explore the story of Jonah in the Bible and the Quran and consider a variety of themes including the arbitrariness of unwarranted compassion and the desire to escape calls to human responsibility. When others cry out, Jonah runs away or sleeps. Might we see contemporary responses to crises through Jonah’s actions? What about the human desire to flee distasteful obligations? Through visual arts, poetry, and music we will explore the symbolism of the big fish as “reassuring womb” or “terrifying tomb” and the strange prophet who hates change but nevertheless brings it about in the end.

Faculty

The faculty list for the 2018-19 seminar is still growing. So far, the faculty include

  • Anila Quayyum Agha, Associate Professor of Drawing and Illustration in the Herron School of Art and Design at IUPUI

  • Julia Muney Moore, Director of Public Art for the Arts Council of Indianapolis

  • Sandy Sasso, Rabbi Emerita of Congregation Beth-El Zedeck

  • Steven Stolen Host of WFYI’s Stolen Moments

  • Shari Wagner, Author and Indiana Poet Laureate (2016-2017)

  • Joseph Tucker Edmonds, Assistant Professor of Africana Studies and Religious Studies at IUPUI

Meetings

Sessions will be held for 2 1/2 hours weekly for a total of eight weeks and will meet evenings from 6:00–8:30 p.m. on 9/19, 9/26, 10/3, 10/10, 11/7, 12/12, 1/9 or 1/16, 2/6

How to Apply

Applications for this seminar will be accepted from April 29 to May 28, 2019.

Applicants may be anyone in the community who is active (as a professional or amateur) in the artistic disciplines. Selected applicants must be able to make a commitment to attend all seminar sessions and engage in open and respectful dialogue. Seminar participants will produce creative work to be performed and/or exhibited in a public forum. Seminar participants will receive a $150 stipend at the conclusion of the group exhibition.

Application Form

To apply to be an artist-participant in the current seminar, please submit your application using the online form.

In addition to basic demographic information, the form asks you to answer the following questions:

      • How do you see your art form interacting with a religious text?

      • How do you imagine this experience will impact your creative work?

You will also need to upload

      • An artist resume

      • Three examples of your work

For more information, please visit our website! 

Herron’s Ninth Annual ‘Look/See’ Event Celebrates Indianapolis’s Emerging Artists, Art Therapists And Design Strategists