Friday, Nov. 2
Playing in the Streets @ Harrison Center for the Arts (6 p.m, free)
Another spectacular First Friday at the Harrison features Kyle Ragsdale in the Harrison Gallery, LISC's 20th anniversary party in Gallery No. 2 and all manner of S&P partner organizations hanging out in the gym.
Saturday, Nov. 3
Miracles, Myths, Lyrics & Lies @ Christian Theological Seminary (6:30 p.m., $20 general, $15 students/retirees)
Some of the state's finest wordsmiths — singer-songwriters Carrie Newcomer and Krista Detor, and writers Phil Gulley and Scott Russell Sanders — gather to share their work, in a sort-of modified songwriter's circle format they first tried out at Danville's Royal Theatre.
Sunday, Nov. 4
Moonlit Nigerian Square @ The Athenaeum (3 p.m., free)
Fried plaintains, traditional dance and all manner of Nigerian games, including ludo ayo opon (mancala), okoto and ige (similar to jacks), add up to an afternoon of Nigerian culture, presented by the Global Vision Childrens Network and Girl Scout Troop 1998.
It's More than a Game @ The Athenaeum (4 p.m., free)
Bill Littlefield, host of NPR's Only a Game, devoted to self-aware sports reporting, chats with the audience about the ways in which competition informs our lives. The theater opens at 1 p.m. for a screening of the Colts game.
Monday, Nov. 5
Jazz Meets Klezmer @ Indianapolis Hebrew Congregation (7 p.m., donations requested)
Those bosom buddies, jazz and klezmer, meet up as the Icarus Ensemble (a jazz group mostly comprised of ISO players) and the 65th Street Kelzmorim share the stage.
Tuesday, Nov. 6
Games through the Ages @ Conner Prairie (6 p.m., free)
A chance to play board games and party games from the 19th century, with Terry Zoubal from the Benjamin Harrison YMCA leading the charge. For ages 10 and up, but Conner Prairie will provide activities for younger kids.
Art & Play in Child Psychiatry @ Indiana Medical History Museum (6:30 p.m., donations requested)
A panel discussion on play therapy over the ages, featuring top local experts, including professional play and dance movement therapists, an adolescent psychiatrist and the director of the art therapy program at Herron.
A day at the Coroner's office
Come along for a pre-Halloween visit to the Marion County Coroner’s Open House.
An open house Saturday at Marion County Coroner's Open House offered rather unconventional, yet educational way to spend pre-Halloween weekend. The event gave a chance for the public to meet Coroner Dr.Frank P Lloyd, Jr., MD and his staff, tour the facilities and learn the role of the Coroner's office in death investigations.
There are on average 9000 deaths each year in Marion County. The Coroner's office performs 1500 to 1700 autopsies per year, determining both cause of death and manner of death.
A mock crime scene for visitors to solve, informational presentations and games were all part of the day's activities. In addition to brochures and reading material, wrist bands and toe tags were provided for visitors to take home.
The recipe: 19 speakers, sprinkled with a few TED videos and a dash of artistic/interactive performances and activities stirred, all emceed by Megan McKinney. The result: a day of inspiring ideas and connectivity for the Indianapolis community.
Of course at any given TED event, the range of presenters selected to speak are meant to represent a broad range of ideas and disciplines. Given that diversity, what inspires one may bore another. The following is a selective list of lecturers who touched a chord with me.
Michael Indinopulous, general manager and chief customer officer at SocialText, spoke to bringing social back into the workplace, arguing that today the majority of our work is disembodied, occurring in a virtual network of people. Our modern professional exchanges have become entirely transactional, as opposed to the social interactions that were necessary for the exchange of information in our grandparents’ workplaces.
Indinopulous suggested that by bringin social media tools into the workplace, our professional interactions will become more collaborative. In addition, by designing office spaces that enhance our ability to communicate and collaborate (e.g. by knocking down cubicle walls), our work will improve.
John Nash explained our triune brain structure in a talk, “The Civil War in Our Brain," that first laid out the three parts of the human brain and their functions, as proposed by neuroscientist Paul D. McLean: the reptile brain (basic survival), the limbic brain (emotional intuition) and the neocortex brain (logic). Nash’s hypothesis suggested that our culture places emphasis on the logical thinking of the neocortex, which oftentimes contradicts the emotional intuition of our limbic system. Perhaps a reliance on our limbic resonance will allow us to find more user-friendly design within our lives.
Several other speakers shifted my mindset with their ideas. Scott Stulen’s presentation on the Open Field program at the Walker Art Center in Minneapolis revealed the potential for a consumer-driven art space. Joanna Taft showed that if cultural entrepreneurism can work for Herron High School students, who have made an impact in our city with their projects, then it can work for anybody willing to put in the time and effort. Lucian Vattel spoke to the advantages of bringing play into the classroom as a means of explaining complex ideas in an organic way that allows students to think intuitively.
In all, the sold-out event was managed well by organizers: Big Car, the Indianapolis Museum of art and the International School of Indiana. The four lecture sessions were interspersed with breaks filled with interactive activities that promoted communication with fellow TED attendees.
From art activities to TED fortune cards randomly passed around to spur conversation, connectivity was a key theme of the event. While it seemed the order of talks was thematically more cohesive in the first half of the day than the second half, this inaugural TED event is hopefully only the first in a long series of opportunities for Indianapolis to think critically and collaboratively about how to improve our fair city.
Video from all lectures will eventually appear at tedxindianapolis.com.
Every year, 5000 deranged cyclists descend on Ellettsville, Ind., to take part in a rolling two-wheeled symphony of fall foliage, music, and serious leg cramps — it’s called the Hilly Hundred, and the Hoosier state just saw its 45th. I rode this year. I’ll ride next year, too, but probably on a softer saddle.
The hills are named — Skull Cap, Beanblossom, Salt Wound, the evil Mt. Tabor — and strung together over two days; this year, day 1 covered 57 miles with day 2 clocking in at about 43. Anyone who tells you that Indiana is flat flyover country has never explored the terrain outside Bloomington — these are the kinds of hills where Dennis Hopper’s 'Shooter’ lived in Hoosiers — vicious, unforgiving things, laid out in a course that aesthetically was designed by Claude Monet, athletically designed by the Marquis de Sade.
Day one dawned cloudy with a bit of sprinkling, annoying drizzle; my crew and I - Chuck, Matt and Dave registered and pulled on layer after layer. The forecast had said we’d see a break in the clouds —we never got that lucky. The dampness continued all day, a persistent chill that kept the temps easily below 50.
This was my first Hilly. I’d been given two pieces of advice; the first, from an old hand at the trek: “I never met a hilly I couldn’t walk”. Dismounting was not dishonorable. The second was from Chuck; “Somebody who shouldn’t is always gonna pass you.”
Both bits came in handy. The cold must’ve crept into my calves — about 20 miles in, hydration and a constant diet of bananas, bananas, bananas couldn’t stop the Little Man with the Brass Knuckles that was punching me in the backs of the legs. First the right seemed to seize — I rode it out. Five minutes of relief, and the left began squawking. Ride it out, ride it out, I told myself. I thought of Herb Brooks, the guy who coached the 1980 US Olympic Hockey team to gold: “The leg’s a long way from the heart. Candy ass.”
The rain began slapping us all in earnest. My internal monologue, my mantra of 'ride it out’ soon became 'sonofabitchsonofabitchsonofabitch... ’ Halfway up a short, steep, mother a climb called 'Knot Hole’, I had to pull my feet from the clips and walk.
For the Hilly, you see, some folks wear costumes — beyond the typical neon-scuba-suit most bikers wear. There’s even a contest. And the person who I’m sure had to be the eventual winner rode by me as I walked my bike slowly up that asphalt grade.
The rider that passed me was wearing a little red-riding-hood outfit resplendent with a short skirt, cape, white stockings, and red high heels. As Red passed, the voice that emitted the courteous 'On your left’, the common declaration of intent to pass, was decidedly male.
I had just been smoked by a crossdresser — well, at least for the day, anyway - pedaling in heels.
Let me repeat that — pedaling in heels.
Your 500 dollar clipless shoe and platform combo be dammed, Little Red Riding Hood was climbing in heels.
It wouldn’t be the last time I’d been shown up that weekend — old ladies, fourteen-year-old kids — there were times when somebody who simply was a better rider would ride better than me. To my credit, though, there were moments when the old bloke with a knack for finishing strong would sail past younger, stronger folk who’d drained themselves early.
Day one ended as it began — dank, raw, miserable. I hurt — everything from the waist down seemed to have an issue. The chill had entered my bones and radiated outward. Chuck’s good friend, a local named Jim, opened his home to us, fed us, gave us a bunk and the chance to meet his family, and ultimately joined us for day two.
My mood when I woke for Sunday’s ride - extreme pessimism. The cramps had seemed to settle in the back of my calves. Walking up a stupid flight of steps was bugging me. Matt and Chuck were fighting the same issues.
But the sunlight, the coffee, my host’s amazing culinary skills and a blast of ibuprofen helped me saddle up for the second day as we departed from the local high school. Past the vendors and the merch tents, past some riders and slower than others, I found myself at the first rest stop feeling stronger than I had at any point in the last 24 hours. The locals, some seemingly aggravated by the traffic tie-ups in their neighborhoods on day 1, now seemed as sunny as the weather on this stretch. One family had even painted a giant sign and propped in their yard: “WHERE ARE YOU FROM?” Indy, Maryland, Arizona, St. Lou, we all called out to them as we hurtled by.
Bands played at each stop — bluegrass, folk, blues — and the crowd, driven by vitamin E and foliage that couldn’t be believed, began to seem to share that mood of cellular-level camaraderie that I’d heard about when it came to the Hilly. The correct response to every 'How are you?’ offered to a stranger was simply — 'I’m great man. Just great.’
Just after 1, we found ourselves at the final stop, glass of cider in hand, breathing deep and reminiscing about the canopy of yellow we’d ridden under at the top of Bean Blossom Hill. There were a little over 9 miles to go.
We’d seen amazing folks, folks lugging heavy mountain bikes up these, folks riding three seaters, a homemade tandem bike built out of wood, and then we saw a couple we’d seen several times both days pull in.
They wore matching jerseys on their bike built for two. They both wore sunglasses. The gent, riding up front and steering, communicated gently to his female partner that he was stopping. In unison, both of their right feet touched the ground, and he helped her off — she stood stock still as he laid the bike down, the she took a white cane with a red tip out of the pocket in the back of her jersey and unfolded it. He placed her hand in the crook of his arm and led her to the waiting boxes of cookies and fruit as she tapped ahead gently, careful not to step on another rider’s bike in her personal darkness.
Zombie Walk (Slideshow)
The Zombie Walk, sponsored by IndyMojo, is held each year to help raise canned goods for Gleaner’s Food Bank.
Broad Ripple Zombie Style
Blood was everywhere Saturday night in Broad Ripple, arriving in buckets, spray bottles and dribbling from fake wounds. Broad Ripple's 8th Annual Zombie Walk has grown into one of the Halloween season's must-see events and this year one thing was obvious. Some walkers take their zombification seriously. Many in attendance arrived with their game face painted on. After all, just because you've become one of the living dead doesn't mean that style isn't important.
The Zombie Walk, sponsored by IndyMojo, is held each year as a venue to help raise canned goods for Gleaner's Food Bank. Last year, 5349 pounds of canned food were collected and over 1000 zombies participated in the walk down Broad Ripple Avenue.
From a strictly fashion standpoint, the night provided many hits as well as a good number of misses. Some interpretations of what qualified as "zombie" was at times a bit confusing - zombie Hitler, Snow White and the 7 dwarf zombies and zombie video game characters mingled freely with the more traditionally recognized walking corpses. This anything goes approach worked well for some, and not so much for others, although the one rule for costuming was that there are no rules.
Pictured are some of what represented zombie-izm at it's best, based only on the premise that "we like what we like."
The Indianapolis Symphony Orchestra players' lockout is over. Everything picks up this week right where it left off. The grousing we've seen and heard from all sides via all media over the last five weeks can at last stop. The Indiana Symphony Society and the Indianapolis Musicians, Local #3 of the American Federation of Musicians reached an agreement late Monday evening. They ratified two contracts, a "bridge" agreement, effective Oct. 16, 2012 - Feb. 3, 2013, and the major financial terms of a five-year contract beginning Feb. 4, 2013 and expiring on Sept. 3, 2017.
"This agreement wouldn't have been possible without significant sacrifices by our musicians, and we sincerely appreciate their willingness to find a common ground at this crucial point in the ISO's history," said John Thornburgh, ISO board chairman. "We have seen the numbers of people willing to sign petitions, send in letters of support and demonstrate their admiration for our music and educational programs. We now need to convert that support into tangible financial commitments from our community."
"The last month has been a challenging and trying time for our musicians, and the support we have received has been both uplifting and sustaining," said Rick Graef, chairman of the ISO musicians' negotiating committee. "The musicians are doing our part to save this great orchestra we all love. For now, we return to the Hilbert Circle Theatre stage to perform the beautiful symphonic music that inspires us all."
To enhance the five-year contract's successful outcome, the "bridge" contract puts the musicians back to work immediately. The terms of the five-year contract include a salary range of $53,000 in year one to $70,000 in year five and the continuation of health care and most pension benefits. While the musicians have agreed to work eight weeks less than in previous seasons in the first two seasons of the new contract, over the five-year period there will be a 38 to 42 week performance schedule. This maintains the ISO's classical, pops, family, holiday and summer concert series under the ISO's artistic leadership of Krzysztof Urbański and pops director Jack Everly, as well as new programming created by the ISO's artists-in-residence, Time for Three.
At 7:00 pm, white sheets went up over the windows of the French Bleu Gallery.
Here, in this gallery on Carmel’s Main Street, seven artists met last Tuesday for a three hour session of painting and drawing from a nude model—and for a glass of wine or two. The artists come from a variety of backgrounds: some are professional painters, some are not. They range in age from their twenties to their sixties.
The one thing they have in common: a high level in skill in portraying the human figure on paper or canvas.
Susan Mauck is the organizer of this by-invitation figure session; she’s also owner and major exhibitor of the French Bleu Gallery. Mauck, who had formerly housed her studio in the Stutz, relocated to Carmel about a year and a half ago. Her gallery also serves as her own studio space as well as a community gathering place.
The model for last Tuesday's session was a young bartender by the name of Adrienne Krantz. At 7:00 pm this petite brunette slipped out of her red kimono to the tune of Lou Reed’s “Sweet Jane,” blaring out of a MacBook. She was wearing nothing underneath.
To start off, Krantz struck a three-minute pose with her hands in her hair. She was directed to do so by Andrew Bridges who, in addition to being a painter and a photographer in his own right, is interim manager at the Evan Lurie Gallery down the street.
Meanwhile the seven artists, including Mauck and Bridges, set to their easels—all except one Fred Gissubel who got busy with pencil and acrylic on a flat table.
The next pose that Krantz was directed to strike was a standing position. She was given a blue shawl to hold behind her.
Mauck was working with oil paint, on paper. Quickly she painted three figures loosely on Krantz’s form. A blitzkrieg of brushstrokes fell together on the paper before her. In a very short time she had multiple figures portrayed in a variety of poses. A blue shawl appeared, as if by magic, between two of the figures. The colors were mostly soft pastels, and the skin colors of the figures ranged from rosy to light brown.
After twenty minutes or so Mauck was done; she detached the painting from her easel and moves onto a new composition.
Later there were a series of longer poses with the model wearing her kimono, partly disrobed. As hours went by a freeform conversation took hold in the gallery space. It ranged in topic from types of music the artists like to listen to while making art to the effect of the Internet on education.
Carmel resident Fred Gissubel, a participant in this session, really appreciated its relaxed nature.
Gissubel is a thirty-four year old apparel designer and illustrator recently transplanted from Pennsylvania. For him, Mauck’s Gallery—in the heart of the Carmel Arts & Design District—is just a short drive away. But it’s not the proximity of this particular venue that is the main draw for Gissubel, a veteran of open figure drawing sessions held by the Society of Illustrators in New York City.
“This is close to what that was like,” he said. "People are doing own thing rather than students putting too much pressure on themselves.”
French Bleu Gallery address: 111 W. Main Street, Suite 145, Carmel, IN.
For gallery hours call 317.331.3734 or email firstname.lastname@example.org
A tit-for-tat battle for control of the narrative continues between union and management as we head into the fifth week of the Indianapolis Symphony Orchestra lockout.
The key issue, upon which neither side will compromise, is a “termination clause” that would allow either union or management to end a proposed five-year contract after three years. Early last week, the musicians' union rejected a contract including the termination clause; last weekend, ISO management, in turn, rejected a proposal by the union without the clause.
Richard Graef, chairman of the ISO musicians' negotiating committee, describes both sides as largely agreeing on the main points of the contract — wages, season length, orchestra membership, pensions — but for the clause.
The failure to reach an agreement has led to the cancellation of this weekend's concerts. It would have been the first of two weekends in October to feature conductor wunderkind Krzysztof Urbanski. ISO musicians played their second, freelance concert during the lockout Oct. 7 at the Palladium, raising money for the New World Youth Orchestras, as well as to fund future concerts by ISO musicians.
Management acknowledged in a press release issued Monday that union and management have “mutually exclusive positions” on the termination clause. They also raised the issue of the union's “secret” list of demands. “There also is a list of yet unidentified obstacles to reaching an agreement — 'unidentified' because the musicians acknowledge to having a list of items that still divide the parties but have refused to provide that list to the ISO.” ISO interim CEO Jackie Groth is quoted as saying that the union's withholding of the list has made reaching a deal “challenging.”
Graef responded that such a list does exist, in a sense, but that because the union's negotiating team wants to reach agreement on key points like wages, orchestra size, season length and benefits before moving on to any other issues, they've thus far withheld a rundown of other concerns with the ISO's contract proposals. “There's no point in discussing how many rehearsals we have until we know if we're taking a 50 percent or 20 percent pay cut,” he said.
And there are more secrets: The union contends that an agreement on a contract acceptable to both sides was reached, according to a union press release, “in a meeting on Sept. 11 between John Thornburgh, chairman of the ISO Board, and Jackie Groth, interim president and CEO, representing the [Indiana Symphony] Society, and Rick Graef, chair, and Jerry Montgomery, associate chair, of the musicians’ negotiating committee.” The union says that the ISO then “reneged” on the agreement, adding the termination clause. ISO spokesperson Jessica di Santo told NUVO last week that this scenario is “simply untrue.”
The Sept. 11 meeting was unique and off-the-record, according to Graef; legal representatives for both sides were absent, as were members of both side's negotiation teams. However, he expected ISO management to abide by agreements reached in the meeting, and felt “totally betrayed” when the ISO introduced the termination clause during a subsequent, on-the-record Sept. 19 meeting with legal representation present.
Locked up with Vonnegut (Slideshow)
A visit with Corey Michael Dalton, locked up in the Kurt Vonnegut Memorial Library to celebrate the 30th Anniversary of Banned Books Week
ISO management made public its latest contract proposal late Monday night, noting in a press release that because management “simply can't wait to hear from our musicians and risk losing any more of our season,” an official offer had been submitted to the union on Oct. 1 with a deadline of Oct. 6.
Key components of the proposal include a minimum base salary in the first year of $53,000, with gradual increases to $70,000 by year five, a 38 to 42 week season, an orchestra size of 74 musicians (a number allowing for the hiring of two full-time musicians ) and a defined benefit plan for current musicians with a 403(b) for new hires.
The five-year contract would allow for a one-time termination option at the close of year three, whereby either party could elect, at the end of year two, to opt out of the contract. “This allows the ISO Board and the management to make a stretch offer while not exposing the organization to excessive risk if the ISO is unable meet the new, ambitious fundraising goals,” according to the release.
However, as part of the latest proposal, the ISO has offered to remove the termination clause of the contract if $5 million is raised from new sources by March 31, 2013.
Union negotiating chair Rick Graef told NUVO Tuesday at noon that the termination option was unacceptable to ISO musicians — and that, moreover, they had rejected the ISO's proposal on Monday before it had been released to the public. They rejected the proposal publicly on Tuesday afternoon via press release.
ISO spokesperson Jessica DiSanto noted Tuesday that the offer to remove the termination clause if the $5 million fundraising goal is met “was offered for the first time yesterday to try to address the musicians’ concerns regarding the termination clause,” thereby differentiating the latest proposal from all that preceded it. “After the offer was delivered, we moved forward with updating our community on our current offer, with the hope that it demonstrates how far we’ve come in a difficult negotiation process and how much we want to reach an agreement as soon as possible. Unfortunately, the musicians rejected our offer in a short time frame.”
Graef says the union and the ISO had come to terms on wages, pension, health care and benefits in mid-September in a behind-the-scenes meeting with a federal mediator. But before the contract could be signed, according to Graef, those terms were “regressively bargained away,” with the addition of the termination clause and reduction of pension benefits that had been agreed upon in a preliminary sense. DiSanto countered that these claims are “simply untrue.”
And so here we are, with another week of concerts canceled (that makes a month's worth, with no chance of a concert before Oct. 12), and with pianist Andre Watts signing on to perform with the ISO players, in exile, at an impromptu show at the Palladium Sunday (Oct. 7, 7 p.m., $10-35, isomusicians.com).
Watts will play Beethoven's “Emperor” Concerto, with Mussorgsky's crowd favorite, Pictures at an Exhibition, also on the bill. Samuel Wong is on the podium and partial proceeds will head to the New World Youth Orchestra.
[A+E] Film + TV
[A+E] Classical Music
[A+E] Classical Music
[A+E] Classical Music
[A+E] Classical Music, Theater + Dance