Impact of Indiana’s Opioid Epidemic Demonstrated Through Film by IUPUI Faculty


The documentary “The Long Run” focuses on former opioid user Wes Doty, who found recovery through running. The piece is funded by the IUPUI Arts and Humanities Institute. Image courtesy of C. Thomas Lewis, Indiana University

C. Thomas Lewis understands the power that video and filmmaking can have in addressing social issues. In 2015, he traveled to Kenya on a New Frontiers grant to film a series of short narrative films on confronting the stigma associated with HIV that is still being used in schools today.

“There is a real power in storytelling to address social issues and help people get beyond things like stigma,” said Lewis, a senior lecturer of video production in the School of Informatics and Computing at IUPUI. “This power has really captured my imagination and has me wanting to see how I can use video production and concentrate my creative efforts to work with communities in dealing with health issues.”

It was in Durban, South Africa, at the International AIDS Conference in the summer of 2016 that Lewis had a truly profound moment. He attended a presentation about the current state of AIDS worldwide, and he never expected to see Austin, Indiana — a Scott County town of just over 4,200 people greatly affected by an HIV outbreak and the opioid epidemic — included.

“Of course, I knew what was happening in Austin, but to see it in that context blew my mind,” Lewis said. “I knew in that moment that my next project wouldn’t be around the world — it would be in my own backyard.”

With that goal in mind, Lewis and Kyle Minor, associate chair and associate professor of English at IUPUI, applied for and received a grant through the IUPUI Arts and Humanities Institute that enabled them to tell the stories of the people and communities affected by the HIV outbreak and opioid epidemic in Indiana.

Hannah West, assistant camera operator and IUPUI alumna, adjusts the shot during the 2018 filming of the Scott County Stories project. Photo courtesy of Kyle Minor, Indiana University

“This funding enabled us to work collaboratively with students and community partners, and we’ve been hard at work ever since,” said Minor, who serves as script writer and producer. “In working on this project, I’ve come to learn how much I didn’t know about opioid use disorder and have cultivated a great compassion for those whose lives are impacted by it.”

Their project, highlighted on the Opioid Stories website, grew beyond the initial plan of using only narrative, scripted stories as Lewis had done in Kenya. The site also includes recovery stories and long-form interviews with individuals offering different views on the issue and sharing various paths to recovery. Two documentaries are also being produced, including “The Long Run,” a documentary about Wes Doty, who found recovery through running.

Three scripted films are in the works, with the second currently in production. Each is set in Scott County, and Lewis and Minor have worked hard to build trust within the community by meeting with locals who support the project and want to tell their stories. In the second film, nearly every character was cast from the county’s recovery community.

“The real story to me is that we’re working so closely with a local community to tell their own stories,” Lewis said. “Without that local support, this project wouldn’t happen, and we would be working on a totally different project.”

IUPUI students are also instrumental in the development and creation of the Opioid Stories content, with a team of two to four students signing up for independent study with Lewis each semester to help work on the project.

“Students are our creative and technical partners from start to finish,” Minor said. “They serve as line producers, camera assistants, sound recordists, editors, grips and production assistants.”

Lewis believes it is important for students to realize the many opportunities that exist for young filmmakers to apply their talents to engage with community issues — something that he has been able to show by example.

“If we can put a human face to the issue, so people can relate emotionally to the stories we produce, that’s a huge step toward combating stigma,” Lewis said. “We have come face-to-face with people involved with the crisis, devastated by it and recovering from it, and that has been really powerful and inspires me to keep moving forward.”

With so much work done and underway, Lewis and Minor are also looking ahead to the future. They plan to continue adding recovery stories and interviews to the Opioid Stories site, but they also want to begin outreach efforts in other communities working to address the opioid crisis.

“My whole hope is to make these films and then find funding that will allow us to take them around the state, where we can have panel discussions that use the films as motivation for opening up conversations about various issues surrounding opioids in Indiana communities,” Lewis said.

Lewis appreciates that he was able to find this niche at IUPUI, using a creative approach to serving the community, for both himself and his students.

“It’s important for our IUPUI community to take our talents, apply them to something bigger than ourselves and create a social impact,” he said. “Through a model of participatory filmmaking, I show students how their video skills can engage the community around an issue and incite positive change.”

This project reflects Indiana University’s extensive expertise and research regarding addictions. To build on this area of strength, IU President Michael McRobbie, along with Indiana Gov. Eric Holcomb, and IU Health President and CEO Dennis Murphy, announced the Responding to the Addictions Crisis Grand Challenge initiative in October 2017.

This Grand Challenge initiative engages a broad array of IU’s world-class faculty as well as IU’s business, nonprofit and government partners. The initiative aims to implement a collaborative, applied and comprehensive plan to reduce deaths from addiction, ease the burden of drug addiction on Hoosier communities, and improve health and economic outcomes. This statewide initiative is one of the nation’s largest and most comprehensive state-based responses to the opioid addiction crisis — and the largest led by a university.

Kelsey Cook is associate director of research communications in the Office of the Vice President for Research at IUPUI.

Young African leaders Gather at IUPUI for Collaboration, Inspiration

The exchange of ideas and perspectives has become a summer tradition between Indiana University and the Mandela Washington Fellowship for Young African Leaders.

For the past four years, the program ushered in by the Office of International Development and the Office of International Affairs at IUPUI has brought 25 young professionals from Africa to spend weeks at IUPUI before visiting Indiana University Bloomington. This year’s fellows were based at IUPUI from June 19 to July 5 and will be in Bloomington July 5-27. Their U.S. tour finishes with a visit to Washington, D.C., where they will take part in networking and panel discussions with U.S. leaders from the public, private and nonprofit sectors.

For many of the fellows, it’s their first trip to the United States. While here, they collaborate and network with their IUPUI counterparts, engage in academic coursework, and soak up Hoosier hospitality. The fellows take executive-leadership style seminars from the Kelley School of BusinessO’Neill School of Public Affairs and Lilly School of Philanthropy as well.

The Mandela Washington Fellowship for Young African Leaders is sponsored by the U.S. Department of State with funding provided by the U.S. government and administered by IREX, a global development and education organization. Find more information onlineabout the Mandela Washington Fellowship and join the conversation at #YALI2019.

Meet some of the 2019 Mandela Washington fellows:

Annah Ruwanika, Zimbabwe

Expertise: Marketing, financial services.

Career highlights: Social media coordinator for Special Olympics Zimbabwe, master’s degree from Edinburgh Business School.

On becoming a Mandela Washington fellow: “It’s a really big honor because the program is training young leaders from Africa so that we can grow, develop and bring back what we learn to our homes. It makes sure we make an impact.”

Elton Djon Goncalves, Cape Verde

Expertise: Community development, management and administration.

Career highlights: Secretary general for the Cape Verdian Paralympic Committee, national director of Special Olympics of Cape Verde.

On meeting his Indiana counterparts: “I think this will be great for me because Indiana is one of the sports states in America. I’m looking forward to meeting more people, learning as much as possible and trying to adapt the knowledge for back home — implement it into my community, try to engage people.”

Andrianiaina Sitraka Ratsimba, Madagascar

Expertise: Business development, digital marketing, enterprise management, online business.

Career highlights: Learned six languages, master’s degree from University of Science and Technology Beijing.

On what he hopes to gain from his Mandela Washington Fellowship experience: “I’m currently working as a digital marketer, but I’d like to focus more on business and entrepreneurship. We just created The First Toastmasters Club of Madagascar. It’s important to develop people’s confidence, and we do it in the club by overcoming fear. We are helping people speak in front of other people, especially in English.”

Adesola Ajayi, Nigeria

Expertise: Education, rehabilitation, and capacity-building among disabled communities.

Career highlights: Educator and mentor of rural school children, law degree from the University of LagosNigerian Bar Association member.

Justice for the visually impaired: A visually impaired lawyer is not just for comic books and Netflix series. Ajayi has almost a decade of experience in education, rehabilitation and capacity-building for disabled communities in Nigeria. By mastering Braille at a young age, he became the only person in his family to learn to read.

On why Ajayi chose law: “It was all about making a change. I saw that out of all the laws and acts we have in our country, there weren’t any provisions for persons with disabilities. There wasn’t anybody to litigate on their behalf. Advocacy for this area was poor. I said, ‘Maybe with this condition in this field, I’ll be able to defend — make a change for the benefit of — persons with disabilities.'”

Jackie Bomboma, United Republic of Tanzania

Expertise: Community development.

Career highlight: Started Young Strong Mothers Foundation in Morogoro, Tanzania.

May 20: Bomboma gave birth to her daughter on May 20, 2002, alone in a forest. The mental and physical anguish from the experience made May 20 a date full of mixed emotions and stressful memories. Then, on May 20, 2019, she received her travel visa to allow her entry into the United States. Coupled with her daughter’s 17th birthday, the date is becoming a more positive day for her.

On her first trip to the United States: “It’s very beautiful. I used to see a lot of things in movies about America, and a lot of things I learned — like English — I learned from the movies. I was so excited to see the things I saw in movies in real life. It’s been so amazing. Each and every second of being here is so amazing.”

On her work with young mothers in Tanzania: “Since 2016, we’ve helped about 760 young mothers with education, training, job training and job placement. The mothers also learn about issues in gender, human rights, nutrition for their babies, hygiene, sexual and reproductive health — life-skills education.”

Photos by Tim Brouk, Indiana University

Read the original story from IUPUI NewsTim Brouk 

Spring 2019 Herron Highlights

Herron students raising the IUPUI flag while studying abroad in Siem Reap, Cambodia. Robert Horvath

Summer has arrived in Indianapolis!

Here at Eskenazi Hall, after a brief moment of pause, staff are preparing to kick off another academic year while most of our students and professors are away soaking up sunshine, sipping lemonade, and enjoying the relaxation perks of IUPUI’s summer break.

Looking back at all that occurred between April and June, we’ve compiled a list highlighting many ways in which Herron artists and designers have recently informed and engaged with the world around us.

  • Amory Abbott (B.F.A. General Fine Arts ’04) was one of three artists-in-residence this summer at Glacier National Park in Montana. During his month-long residency in June, Abbott presented an artist talk and two public workshops in addition to creating new landscape drawings.
  • This spring, Associate Professor Anila Agha exhibited in three shows: “Tradition Interrupted” from April 11 to June 23 at the Bedford Gallery in Walnut Creek, California; “She Persists” from May 11 to June 11 at Heist Gallery’s satellite pavilion during the 58th Venice Biennale; and “Wheriko – Brilliant!,” which opened May 17 at Christchurch Art Gallery in New Zealand and continues through Feb. 16, 2020. During the Venice Biennale, Agha spokeabout contemporary Middle Eastern art on a panel discussion at the Navy Officer’s Club, organized by United Arab Emirates Ministry of Culture and Knowledge Development. Additionally, Agha’s sculpture “This is Not a Refuge” was among 50 outstanding public art projects to be recognized through the Public Art Network 2019 Year in Review. The roster of selected projects was announced at the Americans for the Arts’ Annual Convention held on June 14 in Minneapolis, Minnesota.
  • Herron students Gabriel AkreAliyah AlvarezMadison AndersonKionna ChaseJennifer HurleyAndrea JandernoaApril KnauberMadysen KoontzAbigail MendozaMaria MeschiClare SheehanJoelle StillePaul WilliamsStephanie Williams, and Samantha Wright participated in Student Research and Engagement Day, held on April 12 at the IUPUI Campus Center. Hurley received an award for her art history research on “The Hunt of the Unicorns” tapestries.
  • Isaac Arthur (B.F.A. Visual Communication Design ’09) spoke as a panelist on the topic of branding during California Craft Brewers Association’s Spring Conference, held on May 5-7 at Hilton San Diego Resort and Spa.
  • As part of the 2019 Indy Film Fest, twenty alumni created mash-up style movie posters for the annual Bigger Picture Show silent auction at Circle City Industrial Complex on April 12. Participating Herron artists were visual communication design alumnae Isaac Arthur (B.F.A. ’09), Kelly Bohnenkamp (B.F.A. ’17), Derek Dalton (B.F.A. ’16), Eugene Ernsberger(B.F.A. ’05), Eric Gray (B.F.A. ’12), Andrea Haydon (B.F.A. ’11), Holly Kanning(B.F.A. ’14), Brian Kumle (B.F.A. ’13), Christopher Keller (B.F.A. ’04), Peter Lockhart (B.F.A. ’10), Dustin Lynch (B.F.A. ’10), Parker McCullough (B.F.A. ’10), Eric Nolan (B.F.A. ’08), Lisa Sangiorgio (B.F.A. ’13), Ross Shafer (B.F.A. ’12), James Sholly (B.F.A. ’87), Jon Sholly (B.F.A. ’03), Jenny Tod (B.F.A. ’12), Krista Ward (B.F.A. ’11), and Nathan Zarse (B.F.A. ’05) and photography alumnus Christopher Walsh aka OhBeOne (B.F.A. ’01).
  • Audrey Barcio (B.A.E. Art Education ’07) was among 111 artists to receive the prestigious Pollock-Krasner Foundation Grant for the 2018–19 period. The Foundation’s mission is to foster the work of national and international visual artists with established studio practices.
  • Associate Professor Cindy Borgmann co-authored the article “Artful Spaces/Safe Places: A Gallery Provokes Voices that Interrogate Common Narratives of Latino Immigrant Children” in the inaugural issue of ENGAGE!, IUPUI’s first journal dedicated to community-engaged and community-based participatory research.
  • Zach Carrico (B.F.A. Photography ’19), Assistant Dean of Admissions and Student Affairs Shannon McCullough, and Jordan Nelsen (B.F.A. Drawing & Illustration ’18) were among 50 students, faculty, staff, alumni, and community members to recently be featured in the university’s “Faces of IUPUI” campaign. Read Carrico’sMcCullough’s, and Nelsen’s stories.
  • “Vija Celmins: To Fix the Image in Memory,” the first North American retrospective of internationally renowned artist and Herron alumna Vija Celmins (B.F.A. ’62), traveled from San Francisco Museum of Modern Art to the Art Gallery of Ontario (AGO) in Toronto. The exhibition opened May 4 at AGO and will remain on view through Aug. 5. Celmins’ work was also exhibitedin “America Will Be!: Surveying the Contemporary Art Landscape” at Dallas Museum of Art, which opened April 6 and continues through Oct. 6.
  • Aaron S. Coleman (B.F.A. Printmaking ’09), an assistant professor of art at the University of Arizona, exhibited in “True and Livin'” at Mesa Arts Center in Mesa, Arizona. The exhibition opened on April 26 and will remain on view through Aug. 4.
  • Senior Lecturer Stephanie Doty exhibited in the juried group show “Dear Earth” at the Woman Made Gallery in Chicago, Illinois. The exhibition opened June 29 and continues through July 20.
  • Erin K. Drew (B.F.A. Sculpture ’14), Samuel Levi Jones (B.F.A. Photography ’09), and Meredith Setser (B.F.A. Printmaking ’98) exhibited in “Soft Power,” a group show highlighting the strategic power of art and its unique ability to persuade and inspire. “Soft Power” was on view from April 18 through June 15 at the Columbus Area Arts Council’s 411 Gallery in Columbus, Indiana.
  • Assistant Professor Chad Eby, Associate Professor Vance Farrow, Senior Lecturer Anita Giddings, Associate Professor William Potter, and Senior Lecturer Sherry Stone chaired sessions during the 17th Biennial Foundations in Art: Theory and Education (FATE) Conference, hosted April 4-6 at the Columbus College of Art and Design in Columbus, Ohio. Samuel Ladwig(M.F.A. Visual Art ’14) and Herb Peterson (B.F.A. Photography ’06) also participated as panelists in the conference.
  • Five faculty members received research and professional development grants for the 2019–20 academic year. Associate professor Reagan Furqueron, Associate Professor Laura Holzman, and Chancellor’s Professor Jean Robertson received the Alice and Robert Schloss Faculty Support Fund Award. Aaron Ganci received the R.B. Annis Faculty Innovation and Development Fund Award. Associate Professor Cory Robinson received the Frank C. Springer Innovative Faculty Research Award. A special thank you to the individual donors who help make this support possible.
  • As part of the Arts Council of Indianapolis’s Public Art for Neighborhoods program, Associate Professor Reagan Furqueron installed a new sculpture, “Bounce,” in the ground floor lobby of Hyatt Place + Hyatt House, a contemporary hotel located across from Bankers Life Fieldhouse.
  • Indianapolis Monthly profiled the sign-and-mural work of Emily Gable (B.F.A. Painting ’11), who founded Bootleg Signs Co. in 2017.
  • Associate Professor Aaron Ganci hosted the “Aspiring Educators” roundtable discussion during this year’s AIGA Design Conference, held April 4-6 in Pasadena, California.
  • Senior Lecturer Anita Giddings, Assistant Professor Katie Hudnall, and Associate Professor Jennifer Lee co-led twenty students on a three-week study abroad program in Italy to explore the arts and culture of Rome, Florence, Siena, Assisi, San Gimignano, and Venice. Associate Professors Robert Horvath and Andrew Winship departed Indianapolis with 10 students to study architecture, art, and culture in Thailand and Cambodia. Explore both trips through the lenses of Katie BundrenElizabeth ClarkHannah GoldingRobert HorvathKatie HudnallSavannah JacobAndre Rivera, and Ryan Ross.
  • Danielle Joy Graves (B.F.A. Drawing & Illustration ’16) and Nick Witten(B.F.A. Sculpture ’15) exhibited a collaborative artwork in Wassaic Project’s annual summer show, “Ad Astra Per Aspera.” The group show opened May 18 and continues through Sept. 21 at the upstate New York art gallery.
  • Andrea Haydon (B.F.A. Visual Communication Design ’11) spoke on the topic of service design in architecture as part of Indy Design Week, a weeklong series of events held May 13-19 at various locations around the city. Jordan Ryan (B.A. Art History ’10), an architectural archivist at the Indiana Historical Society, spoke on the topic of Indianapolis’s architecture and led a pedal pub tour supported by the Pickled Pedaler and Sun King Brewery.
  • Cindy Hinant (B.F.A. Sculpture ’08) spoke as a panelist during P·P·O·W Gallery’s June 27 discussion on the past, present, and future of feminism and art in conjunction with the release of Kathy Battista’s newest book, “New York New Wave: The Lagacy of Feminist Art.”
  • Curiouser and Curiouser,” a solo exhibition of sculptures and ceramic works by Stacey Holloway (B.F.A. Sculpture ’06), opened June 14 at Edington Gallery in Indianapolis, Indiana. The exhibition continues through July 13.
  • In April, Temple University Press published Associate Professor and Public Scholar of Curatorial Practices and Visual Art Laura Holzman‘s first book, “Contested Image: Defining Philadelphia for the Twenty-First Century.” Read a Q&A with her about the origins of her research for the book. She also contributed an essay on the value of permanent exhibition space for Indianapolis Contemporary’s (formerly iMOCA) new Abstract! online dialogue series.
  • Melissa Hopson (M.F.A. Visual Art ’15) exhibited April 25–May 26 in “Sie Machen Was Sie Wollen (They Do What They Want),” a group show at Varna City Art Gallery in Bulgaria.
  • Dean Goggin awarded Professors Greg Hull the 2019 Herron Service Award and Eric Nordgulen the 2019 Herron Community Engagement Award.
  • Recent graduate Andrea Jandernoa (M.F.A. Visual Art ’19) was one of 22 graduate students to receive the 2019 William M. Plater Civic Engagement Medallion. Awarded by the IUPUI Center for Service and Learning, the Plater Medallion honors graduating IUPUI students who have demonstrated an exemplary commitment to Indianapolis communities and who have developed an ethic of civic mindedness.
  • In May, Galerie Lelong & Co. announced new representation of Samuel Levi Jones (B.F.A. Photography ’09) with his first solo exhibition in Paris, “Let Us Grow.” The exhibition opened May 18 and continues through July 13.
  • Yasmine Kasem (B.F.A. Sculpture ’15) exhibited April 26–May 3 in “Jihad of Bitter Petals,” a sculpture installation exploring her Islamic faith and queer identity, at the University of California San Diego.
  • A painting by Jeffrey Klinefelter was selected to adorn the 2020 Delaware Trout Stamp. Established in 1979 by the Department of Natural Resources and Environmental Control’s Division of Fish and Wildlife, the annual stamp art competition supports Delaware’s Freshwater Trout Program.
  • Paintings by Jonathan McAfee (B.F.A. Painting ’06) were featured in Issue 2 of Emergo Art Magazine, which can be purchased online.
  • Professor Craig McDaniel exhibited several paintings at the Southern Ohio Museum in “Moonlighting: Making Museums by Day, Art by Night,” featuring the artwork of seven current and former employees in conjunction with the museum’s 40th anniversary. McDaniel was founding co-director from 1978 to 1984. The exhibition opened June 29 and continues through Aug. 15.
  • “Absencexpresence,” a short film by Assistant Professor Gurhan Mihçi and Visiting Lecturer Asli Narin, was exhibited May 2–June 1 in “Light vs. Dark” at Gallery 263 in Cambridge, Massachusetts. The group exhibition was juried by Ruth Erickson, Mannion Family Curator at the Institute of Contemporary Art in Boston.
  • Ben Murray (B.F.A. Painting ’11) exhibited a series of new paintings and works on paper May 10–June 8 at Christopher West Presents in Indianapolis, Indiana.
  • Assistant Professor Pamela Napier presented on the topic of a people-centered approach to community design during the University and College Designers Association (UCDA) Design Education Summit on May 20-21 in Johnson City, Tennessee.
  • Visiting Lecturer Asli Narin was among 21 artists to create artwork in the form of a zine for “Project F,” which questions the concept of reproduction. Narin’s work was exhibited May 4–June 1 at Hayy Open Space in Izmir, Turkey.
  • Mejo Okon (B.F.A. Visual Communication ’75) exhibited in Desert Caballeros Western Museum’s 14th annual “Cowgirl Up!” group show and art sale, featuring more than 50 female American Western artists. The exhibition ran from March 29 through May 12 at the museum in Wickenburg, Arizona.
  • While on sabbatical, Associate Professor Stefan Petranek continued work on a new series exploring climate change impacts on American landscapes during a May 6-24 residency at PLAYA in Summer Lake, Oregon. Petranek also exhibited in “Collective Voices,” a group show emphasizing the power of art to give voice to commonalities, traumas, and triumphs of the human experience. “Collective Voices” was on view from April 18 through May 25 at Modella Gallery in Stillwater, Oklahoma.
  • Associate Professor William Potter, associate dean of faculty affairs, receiveda 2019 Indiana University Trustees’ Teaching Award. These awards honor faculty members demonstrating excellence in teaching, research, and service to the university.
  • In June, Bryan Richards, an adjunct instructor in visual communication design, co-taught a weeklong workshop in Bamako, Mali, on the topics of community development and nonprofit management skills using various design thinking and visual storytelling techniques. The cultural exchange resulted from a Mandela Washington Fellowship grant.
  • Associate Professor Danielle Riede exhibited April 1 at the IUPUI Campus Center in “BIG TENT,” a unique portable multimedia venue designed by Robin Cox and Benjamin Smith, music and arts technology professors in the Purdue School of Engineering and Technology at IUPUI. Riede also exhibited May 20-25 in the solo show “Body Electric” at TAKT in Berlin, Germany.
  • Marna Shopoff (M.F.A. Visual Art ’14) exhibited April 25-28 at Jonathan Ferrara Gallery’s booth during Art Market San Francisco. Her work was also published in Issue 11 of ArtMaze Mag.
  • Johnson Simon (M.F.A. Visual Art ’18) exhibited his paintings during the Stutz Artists Association’s open house on April 26-27 at the Stutz Business and Arts Center in Indianapolis, Indiana. The Indianapolis Star featured Simon in a moving story ahead of annual event.
  • Susan Tennant (M.F.A. Visual Art ’10) installed a new sculpture, “Visual Melody,” in the front entrance lobby of Zionsville Town Hall. Tennant’s sculpture is the first piece of public art to be installed in the building as part of a call for proposals by the Town Hall Art Task Force in partnership with the Arts Council of Indianapolis.
  • In June, Colin Tury (M.F.A. Visual Art ’14) co-founded Midwest Common, a Detroit-based independent design firm focused on creating products, packaging, identities, environments, and experiences for global and boutique brands. Plus, one of his chairs was featured in ASPIRE DESIGN AND HOME magazine’s Spring 2019 issue.
  • On April 12, Visiting Assistant Professor Megan Van Meter presented her paper “Creativity as an Agent of Neural Integration: The Expressive Continuum” during Mount Mary University’s Art Therapy Symposium in Milwaukee, Wisconsin.

Read the original story from Herron School of Art + Design

Imagining America 20th Anniversary National Gathering

Imagining America 20th Anniversary
National Gathering

Albuquerque, New Mexico
Friday, October 18 – Sunday, October 20, 2019

Register today for early bird rates which are in effect until September 6, 2019! 

The Imagining America Gathering is an annual convening of public scholars, artists, students, designers, and cultural organizers who are addressing the nation’s most pressing issues.
Mighty Dreams:
Designing and Fostering Belonging in ‘America’  
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.

Educational Art Exhibit Shows Promise In Improving Public’s Knowledge About Menopausal Hot Flashes

An educational art exhibit created by an Indiana University School of Nursing expert at IUPUI has been shown to positively affect people’s knowledge about menopausal hot flashes and increase empathy for women affected by them, according to three papers published in the peer-reviewed Menopause: Journal of the North American Menopause Society.

Janet S. Carpenter, associate dean for research, created “Hot Flashes? Cool!” to refute myths, provide accurate and culturally appropriate information, prevent use of unproven treatments, and spur dialogue about hot flashes. The exhibit comprises multiple pieces of two- and three-dimensional art, music, and film. One 3D exhibit piece uses flowers and dress form mannequins to show where women in different cultures feel hot flashes on their body.

Janet S. Carpenter

“In Bangladesh, women feel them on the top of their head because their headscarves trap body heat. In the United States, women feel them on their face and chest. In Mexico, women feel them as sticky sweat on the back of their neck,” Carpenter said. “The flowers symbolize the naturalness of hot flashes and also connote blooming and blossoming at menopause, which is a very positive message.”

Concept art for the exhibit, including graphics and miniature models, was shown to focus groups and the general public.

“These audiences’ reactions to the concept art were very positive, with participants noting that the exhibit was appealing and stimulated learning about menopausal hot flashes,” Carpenter said. “These findings provide support for building the ‘Hot Flashes? Cool!’ exhibit full-scale as a traveling educational resource that might change public discourse around menopausal hot flashes.”

Concept art and graphics from the exhibit are scheduled to be shown at the Colloquium for Women of IU, taking place Oct. 24-26 in Bloomington, Indiana, and at the South Dakota State University College of Nursing in Brookings, South Dakota, in March 2020.

Carpenter worked with the IU Innovation and Commercialization Office to copyright descriptions of exhibit pieces and to trademark the exhibit’s logo. Videos of Carpenter speaking about “Hot Flashes? Cool!” are online.

Read the original story from IUPUI NewsSteve Martin

Jane Fortune’s $4M estate gift to Eskenazi Museum of Art enables research on female artists

In recognition of the gift, the museum will name its gallery of American and European Art from Medieval to 1900 the ‘Jane Fortune Gallery’

The Sidney and Lois Eskenazi Museum of Art at Indiana University has announced an estate gift with an estimated value of approximately $4 million from the late Indiana philanthropist Jane Fortune, who was a passionate advocate for women in the arts and founder of the Florence, Italy-based nonprofit Advancing Women Artists.

Fortune’s gift includes a collection of 61 works of fine art as well as funds to establish the Dr. Jane Fortune Endowment for Women Artists and the Dr. Jane Fortune Fund for Virtual Advancement of Women Artists. The Eskenazi Museum of Art will recognize Fortune’s generosity by naming its first-floor gallery of American and European Art from Medieval to 1900 the “Jane Fortune Gallery.”

Jane Fortune. Photo courtesy of Advancing Women Artists

Born and raised in Indianapolis, Fortune was an author, art historian, art collector, philanthropist and cultural editor. Her commitment to supporting female artists has been recognized around the world.

Fortune, who passed away in 2018, founded the American nonprofit organization Advancing Women Artists Inc., which is dedicated to researching, restoring and exhibiting artwork of female artists, particularly in Florence, Italy. She served on the boards of directors for multiple organizations, including the Dean’s Advisory Board for the Herron School of Art and Design at IUPUI, the Indianapolis Museum of Art, the National Museum of Women in the Arts and the National Advisory Board of the Eskenazi Museum of Art. In 2010, Indiana University recognized her with its highest academic achievement, an honorary Doctor of Humane Letters.

Fortune’s gift of her collection includes works by female artists, photographs and contemporary art. Among the highlights are a rare drawing by Sister Plautella Nelli, whose work has come to light through Fortune’s tireless efforts to identify and conserve works by female Florentine artists; a rare cyanotype photograph by the 19th-century British pioneer of photography Anna Atkins; and a wall-mounted work by Ghanaian-born artist El Anatsui, the first work by that major contemporary artist to enter the Eskenazi Museum of Art’s collection.

Fortune’s most recent endeavor, A Space of Their Own, brings together research by Advancing Women Artists, the Eskenazi Museum of Art and IU to build the world’s largest database on international female artists from the 1500s to the 1800s. The efforts at IU have been led by Eskenazi Museum of Art Director Emerita Adelheid “Heidi” Gealt.

The Eskenazi Museum of Art. Photo by Indiana University

“Jane Fortune’s interest in women artists was profoundly inspiring to me,” Gealt said. “When she asked me to undertake A Space of Their Own in 2016, I was honored and delighted. I believe her gift to the Eskenazi Museum will leave a permanent legacy by providing substantive information on historic women artists. I deeply miss Jane and am thrilled to be part of this project.”

In August 2018, the museum began placing its collections online to allow people around the world to explore the breadth of the museum’s holdings and use them for research, teaching and more. This new portal will feature up-to-date information about each item in the collection, as well as high-quality images, presented via the museum’s accessible and informational website.

An initial launch with 500 select items from each of the museum’s five curatorial areas is planned in conjunction with the reopening of the building this fall. A Space of Their Own will enhance these efforts by providing the most comprehensive resource to date of information on female painters, printmakers and sculptors active in the United States and Europe between the 16th and 19th centuries.

“Jane Fortune is one of the great women of IU,” said Laurie Burns McRobbie, IU first lady and founder of the Women’s Philanthropy Leadership Council at IU. “Her tireless efforts to shine a light on Renaissance women artists and her beloved city of Florence are admired by her fellow alumnae as exemplifying the power of passionate philanthropy in action.

Jane Fortune at a screening of “Invisible Women: Forgotten Artists of Florence,” a documentary based on her book by the same name. The film was shown at IUPUI’s Herron School of Art + Design during a celebration in Fortune’s honor in 2013.

“Jane was a founding member of the Women’s Philanthropy Leadership Council, and we were honored to support A Space of Their Own with a WPLC grant last year. It is wonderful to know that her legacy will live on at the Eskenazi Museum of Art at Indiana University.”

As the museum enters a new phase with a renovated building that includes new areas for learning and teaching, it is committed to providing unprecedented opportunities for engaging with art. The renovation enhanced the museum’s mission as a preeminent teaching museum through the creation of four new centers that will provide more space for educational resources for university students, faculty and preschool through high school students. Fortune’s generous endowments will further enhance the museum’s ability to broaden its outreach.

“Jane’s passion and dedication to the arts, especially the under-recognized achievements of women artists, will live on at Indiana University through the seeds that she has planted with her generous gifts,” said David A. Brenneman, the Wilma E. Kelley Director of the Eskenazi Museum of Art. “The Eskenazi Museum of Art is extremely proud to be handed Jane’s torch and to continue Jane’s mission into the future.”

This gift counts toward the $3 billion campaign, For All: The Indiana University Bicentennial Campaign.

About the IU Eskenazi Museum of Art
Since its establishment in 1941, the Sidney and Lois Eskenazi Museum of Art has grown from a small university teaching collection into one of the most significant university art collections in the United States. A preeminent teaching museum on the Indiana University campus, its internationally acclaimed collection includes more than 45,000 objects representing nearly every art-producing culture throughout history.

The museum just undertook a $30 million renovation of its acclaimed I.M. Pei-designed building. When it reopens in the fall, the museum will be an enhanced teaching resource for Indiana University and southern Indiana. The museum is dedicated to engaging students, faculty, artists, scholars, alumni, and the wider public through the cultivation of new ideas and scholarship.

Read the original article from IUPUI News


MUS-E 536 Special Workshop in Music Education: Introduction to Arts Based Research, Theory & Methods

Art has historically been considered a unique means of accessing and sharing knowledge. Utilizing a blend of experiential workshops and online instruction, this course will investigate the various creative arts (music, movement, drama, written/spoken word, and visual art) and the theories and current practices that support their use as valuable means of constructivist inquiry in a post-positivist world. Prior knowledge of basic research methods and creative arts therapies will be beneficial, but not required.

Two mandatory on campus meetings are scheduled for: Friday, June 28 from 1 pm-4 pm and Saturday, June 29 from 9 am-3 pm in the IT building (535 W. Michigan Street) in room 057. (CMTE participants will be dismissed at 12 pm on June 29th.

Contact Natasha Thomas at for more information on this course, or for instructions on registering for CMTE credit.

2019 IU Online Conference

Don’t miss this exciting opportunity to share your online education expertise with your peers. The deadline to submit your proposal for the 2019 IU Online Conference is tomorrow, June 21.

We are currently seeking proposals for presentations related to the following areas:

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

Presentations may describe empirical research or share highlights of presenters’ work, best practices, innovation, or new opportunities to the IU Online Community. The presenters are responsible for driving conversation and encourage deep thinking about a topic, sharing practical applications of their work, or providing new and varying perspectives.

All sessions will be 45 minutes in length, including Q&A.

Apply Now!

Indianapolis Imam Warith Deen Muhammad Community Digital Archive Is Published

Indianapolis, IN — Three-dimensional images of a Fruit of Islam uniform and Muslim Girls Training headgear from the 1970s are just a few of the 1,344 unique items in the Indianapolis Imam Warith Deen Muhammad Community digital archive now available to anyone with an internet connection.

Curated by the IUPUI Center for Digital Scholarship, the archive brings to life the contributions of an African American Muslim community that has been part of Indianapolis since the 1950s. Established as “Muhammad’s Mosque” on Indiana Avenue, the community was first aligned with the teachings of Nation of Islam leader Elijah Muhammad and then after 1975, with Elijah Muhammad’s son and heir, Warith Deen Muhammad, also known as W. Deen Mohammed. Now called the Nur Allah [Light of God] Islamic Center, the community is one of a dozen or so Sunni Islamic congregations in central Indiana.

Muhammad Ali, André Carson, and Julia Carson, Oct. 31, 1996.

The archive features hundreds of photographs, including historically significant pictures of Muhammad Ali campaigning for Julia Carson, who won her 1996 run for the U.S. Congress. A few of the photos reveal a young André Carson, who succeeded his Christian grandmother as the second Muslim elected to Congress in 2008. But most images spotlight less well-known Muslims participating in parent banquets, lectures, weddings, funerals, and interfaith events. One series of photographs documents a 1982 demonstration in downtown Indianapolis conducted by the congregation’s local chapter of the Committee to Remove All Images of the Divine [from places of worship]. Invaluable sources for scholarly research also include 47 issues of the congregation’s newsletter published between 1979 and 1983.

CRAID, or the Committee to Remove All Images of the Divine, expressed both a traditional Islamic prohibition against depicting God and challenged white, racialized images of Jesus

“This open-access digital archive represents a major contribution to understanding Islam in the United States and the civic contributions of Muslims to Indiana,” according to Edward Curtis, the IUPUI religious studies professor who proposed and funded the archive. “I am proud to be a part of it, but most of the credit goes to members of Nur Allah Islamic Center, who were willing to share their personal photos and documents; community leaders Imam Michael Saahir and Judge David Shaheed; and to the staff at IUPUI’s Center for Digital Scholarship, who spent countless hours creating the archive.” The archive can be accessed at

Read the original article from Edward E. Curtis IV’s website!

OUR TOWN: Grant Program Description

Our Town is the National Endowment for the Arts’ creative placemaking grants program. Through project-based funding, we support projects that integrate arts, culture, and design activities into efforts that strengthen communities by advancing local economic, physical, and/or social outcomes. Successful Our Town projects ultimately lay the groundwork for systemic changes that sustain the integration of arts, culture, and design into local strategies for strengthening communities. These projects require a partnership between a local government entity and nonprofit organization, one of which must be a cultural organization; and should engage in partnership with other sectors (such as agriculture and food, economic development, education and youth, environment and energy, health, housing, public safety, transportation, and workforce development). Matching grants range from $25,000 to $200,000, with a minimum cost share/match equal to the grant amount.

FY 2020 marks the 10 year anniversary of the Our Town program. We are looking for projects that reflect a new and catalytic way of working, and demonstrate the potential for sustained support and recognition for arts, design, and cultural strategies as integral to every phase of community development.


We encourage applications for artistically excellent projects that:

  • Bring new attention to or elevate key community assets and issues, voices of residents, local history, or cultural infrastructure.
  • Inject new or additional energy, resources, activity, people, or enthusiasm into a place, community issue, or local economy.
  • Envision new possibilities for a community or place – a new future, a new way of overcoming a challenge, or approaching problem-solving.
  • Connect communities, people, places, and economic opportunity via physical spaces or new relationships.

The National Endowment for the Arts plans to support a variety of projects across the country in urban, rural, and tribal communities of all sizes.

Project Types

Our Town projects must integrate arts, culture, and design activities into efforts that strengthen communities by advancing local economic, physical, and/or social outcomes. Projects may include activities such as:

Arts Engagement:

  • Artist residency: A program designed to strategically connect artists with the opportunity to bring their creative skill sets to non-arts institutions, including residencies in government offices, businesses, or other institutions.
  • Arts festivals: Public events that gather people, often in public space or otherwise unexpected places, to showcase talent and exchange culture.
  • Community co-creation of art: The process of engaging stakeholders to participate or collaborate alongside artists/designers in conceiving, designing, or fabricating a work or works of art.
  • Performances: Presentations of a live art work (e.g., music, theater, dance, media).
  • Public art: A work of art that is conceived for a particular place or community, with the intention of being broadly accessible, and often involving community members in the process of developing, selecting, or executing the work.
  • Temporary public art: A work of art that is conceived for a particular place or community and meant for display over a finite period of time, with the intention of being broadly accessible and often involving community members in developing, selecting, or executing the work.

Cultural Planning: 

  • Cultural planning: The process of identifying and leveraging a community’s cultural resources and decision-making (e.g., creating a cultural plan, or integrating plans and policies around arts and culture as part of a city master planning process).
  • Cultural district planning: The process of convening stakeholders to identify a specific geography with unique potential for community and/or economic development based on cultural assets (e.g., through designation, branding, policy, plans, or other means).
  • Creative asset mapping: The process of identifying the people, places, physical infrastructure, institutions, and customs that hold meaningful aesthetics, historical, and/or economic value that make a place unique.
  • Public art planning: The process of developing community-wide strategies and/or policies that guide and support commissioning, installing, and maintaining works of public art and/or temporary public art.


  • Artist/designer-facilitated community planning: Artists/designers leading or partnering in the creative processes of visioning, and for solutions to community issues.
  • Design of artist space: Design processes to support the creation of dedicated spaces for artists to live and/or to produce, exhibit, or sell their work.
  • Design of cultural facilities: Design processes to support the creation of a dedicated building or space for creating and/or showcasing arts and culture.
  • Public space design: The process of designing elements of public infrastructure, or spaces where people congregate (e.g., parks, plazas, landscapes, neighborhoods, districts, infrastructure, and artist-produced elements of streetscapes).

Artist and Creative Industry Support:

  • Creative business development: Programs or services that support entrepreneurs and businesses in the creative industries, or help cultivate strong infrastructure for establishing and developing creative businesses.
  • Professional artist development: Programs or services that support artists professionally, such as through skill development or accessing markets and capital.

Please view our Tips for a Successful Our Town Application webinar, and review the list of grants on our website to see the types of projects that have been funded recently through Our Town. The online storybook ‘Exploring Our Town‘ has illustrative examples of Our Town grant projects and insights into doing creative placemaking for practitioners. You also may download our free publication How to Do Creative Placemaking, and look at additional creative placemaking resources on our website. Applications on projects resulting from Mayors Institute on City Design and Citizens Institute on Rural Design are encouraged.

National Environmental Policy Act and/or the National Historic Preservation Act Review

If you are recommended for a grant and your project may be subject to the National Environmental Policy Act  (NEPA) and/or the National Historic Preservation Act (NHPA), the National Endowment for the Arts will conduct a review of your project to ensure that it is in compliance with NEPA/NHPA.

Some of the common project types that garner a NHPA review are:

  • A project involving or occurring near a district, site, building, landscape, structure or object that is at least 50 years old or older and therefore included in or eligible for inclusion in the National Register of Historic Places (please note that in some instances, buildings or structures may be included in or eligible for inclusion in the National Register of Historic Places that are less than 50 years old).
  • The commissioning and installation of temporary or permanent outdoor furnishings such as benches or market structures or art such as a sculpture or mural.
  • An arts festival in a park.
  • Design planning and services for projects that may involve a historic site, structure, or district.

This review and approval process may take up to several months to complete and may delay your project’s start date. The results of the review may impact our ability to make a grant award/our ability to release grant funds. If you are recommended for an award which may have historic preservation or environmental concerns (NHPA/NEPA), you will be notified and asked to provide additional information. Your thorough and complete information for all project activities and locations will expedite the review. The NEA cannot release an award and/or grant funds until the historic preservation and environmental review is complete.

To learn more about what questions you will need to answer for the review of a project impacted by the National Environmental Policy Act and/or the National Historic Preservation Act, see here.

Required Partnerships 

A key to the success of creative placemaking is involving the arts in partnership with committed governmental, nonprofit, and private sector leadership. All applications must demonstrate a partnership that will provide leadership for the project. These partnerships must involve two primary partners, as defined by these guidelines:

  1. Nonprofit organization
  2. Local government entity

One of these two primary partners must be a cultural (arts or design) organization. The highest ranking official of the local government is required to submit a formal statement of support designating the project as the one of the up to two applications being submitted for the local government. See “How to Prepare and Submit an Application” for more information.

Additional partners are encouraged and may include an appropriate variety of entities such as arts organizations and artists, design professionals and design centers, state level government agencies, foundations, nonprofit organizations, educational institutions, real estate developers, business leaders, community organizations, councils of government, rural or regional planning organizations, transportation agencies, special districts, educational organizations, as well as public and governmental entities; and should engage in partnership with other sectors (such as agriculture and food, economic development, education and youth, environment and energy, health, housing, public safety, transportation, and workforce development).

You may find it helpful to contact your local or regional arts agency as you begin the process of identifying partners within your community. 

Strengthening Communities

Through Our Town projects, the National Endowment for the Arts Endowment intends to achieve the following objective: Strengthening Communities: Provide opportunities for the arts to be integrated into the fabric of community life.

Our Town project outcomes may include:

  • Economic Change: Economic improvements of individuals, institutions, or the community including local business growth, job creation/labor force participation, professional development/training, prevention of displacement, in-migration, and tourism.
  • Physical Change: Physical improvements that occur to the built and natural environment including beautification and/or enhancement of physical environment, new construction, and redevelopment (including arts, culture, and public space).
  • Social Change: Improvements to social relationships, civic engagement and community empowerment, and/or amplifying community identity including civic engagement, collective efficacy, social capital, social cohesion, and community attachment.
  • Systems Change: Improvements to community capacity to sustain the integration of arts, culture, and design into strategies for advancing local economic, physical, and/or social outcomes including partnerships with other sectors, civic and institutional leadership, replication or scaling of innovative projects, long term funding, training programs, and permanent staff positions.

For more information, visit the National Endowment For The Arts website