Hours: Tuesday – Saturday: 10:00 – 5:00 p.m. Sunday: Noon – 5:00 p.m.

New in the Galleries:

Onya LaTour: Pioneering Modern Art in Indiana
Continuing through May 10, 2015
Gallery of the Art of the Western World, Doris Steinmetz Kellett Endowed Gallery of Twentieth-Century Art, first floor
In 1941 Onya LaTour opened the Indiana Museum of Modern Art near Nashville, Indiana, creating a stir in local art circles. Two works from her personal collection are featured in this installation presented in conjunction with Onya LaTour on view at the Indianapolis Museum of Art this fall, to which the IU Art Museum loaned four pieces.

WWI War Bond Posters
Continuing through May 24, 2015
During World War I, mass-produced color posters encouraged enlistment, helped raise capital for the war effort, and solidified public opinion against the enemy. Two vintage posters for war bonds, one American and one French, are featured: although both depict a German soldier, they have very different styles and impacts.

Nature’s Small Wonders: Photographs by Ansel Adams
Continuing through May 24, 2015
America’s most famous nature photographer, Adams was also an ardent conservationist who served on the board of directors for the Sierra Club for thirty-seven years and was active in the Wilderness Society. He used his dramatic black-and-white photographs to encourage the preservation of America’s natural wonders, particularly those found in the U.S. National Parks.

This installation is on view from January 13 through May 24, 2015, in the Gallery of the Art of the Western World, Doris Steinmetz Kellett Endowed Gallery of Twentieth-Century Art. It is presented in conjunction with the twenty-fifth anniversary of the Sycamore Land Trust, whose mission is to protect the beautiful natural and agricultural landscape of southern Indiana.

Finding Atget
Continueing though May 24, 2015
French photographer Eugène Atget’s imagery mixed a nineteenth-century aesthetic with a modern sensibility, garnering him admiration and respect from the young Berenice Abbott, who became his champion. This installation features a vintage print by Atget and several later prints from his original negatives.

Women behind the Camera
Continuing through May 24, 2015
The world of professional photography in the early- to mid-twentieth century was largely a men’s club, but a small group of talented women paved the way for future generations of female “lensmen.” Portraits by three of these pioneers—Imogen Cunningham, Berenice Abbott, and Toni Frissell—are featured.

Pop Textiles
Continuing through May 24, 2015
Textiles designed by Pop artists Roy Lichtenstein, Richard Lindner, and Claes Oldenburg are featured. These bold and inventive compositions on fabric blur the boundaries between fine art, craft, and industrial production.

Robert Salmon: Romantic Painter
Continuing through May 24, 2015
Two paintings by Robert Salmon help elucidate the artist’s foundation in English Romanticism, which continued to inform his painting after his move to Boston in 1828.

Focalpoint: Fantastic African Hats: Power, Passage, and Protection
Continuing through May 24, 2015
These twelve richly embellished African hats celebrate the prestige of their owners, evoke complex histories of trade and commerce, and provide protection from harm. Organized by Brittany Sheldon, graduate assistant for the arts of Africa, the South Pacific, and the Americas.

“Moco’s Prehistoric Past”
Come see and examine fossils of plants, organisms, and animals found in the Hoosier state and learn how they contributed to Southern Indiana’s natural landscape. The history center is open Tuesday-Saturday from 10:00am-4:00pm. Runs through March 31.

The History Center is open Tuesday-Saturday from 10am-4pm.

In the 1980s a strong group of women photographers emerged on the international art scene. Many moved away from straight documentary or modernist photography to create a new type of imagery based on the use of costumes, props, or still-life arrangements. Constructed views by Olivia Parker, Laurie Simmons, and Ruth Thorne-Thomsen are featured in this installation, presented in celebration of Women’s History Month.

Museum Hours: Tuesday – Saturday: 10:00 – 5:00 p.m. Sunday: Noon – 5:00 p.m. Please check the Museum Calendar for holiday hours or visit artmuseum.iu.edu

Although their works were in high demand before the advent of halftone photographic reproduction, the names of popular illustrators from the Victorian era are often less well known to us today. Several original drawings by Englishman William Hatherell, Italian Enrico Coleman, and American Frederick Stuart Church are on view.

Museum Hours: Tuesday – Saturday: 10:00 – 5:00 p.m. Sunday: Noon – 5:00 p.m. Please check the Museum Calendar for holiday hours or visit artmuseum.iu.edu

The Kinsey Institute art and library collections contain thousands of examples of erotic imagery produced over centuries by artists around the world. Secret Impressions presents a selection of lithographs, engravings, etchings and woodblock prints from the mid-19th century and earlier. These artworks from France, England, Italy, Germany, Holland, and Japan illustrate the means by which pornographic and erotic images were mass produced before the invention of the camera. Wealthy collectors could commission paintings, but others could purchase prints at a lower cost. Once photography was invented in the 1830s, it quickly became a popular medium for depictions of the nude figure, as well as erotic imagery. The first photographic process to become widespread was the daguerreotype, which produced a unique image. With the invention of a process that used a negative to make multiple photographs, the mass production of erotic images became possible. Hold That Pose features daguerreotypes, tintypes, albumen and gelatin silver prints, stereocards, and other examples of photographic processes that were used in the 19th century by professional photographers to produce and distribute erotic material.

The Kinsey Institute is open to visitors from 1:30 to 5:00 pm weekdays or at other times during office hours by appointment only. Admission is free. Due to adult content, visitors should be 18 years of age or older, unless accompanied by a parent or guardian. To schedule a group guided tour of The Kinsey Institute, please call 812-855-7686.

Peter Weir
Known for making moody, complex dramas that often focus on the emotional struggles of men caught up in social change and/or upheaval, Australian director Peter Weir is regarded as one of the most solid directors in both his native country and in Hollywood. His many accomplishments include making vehicles that promoted such stars as Harrison Ford, Mel Gibson, Robin Williams, and Jim Carrey into the realm of “serious” acting, something that further established Weir as one of the foremost interpreters of the inner lives of men.

The son of a real estate agent, Weir was born in Sydney on August 21, 1944. After giving his father’s business a try, he spent time traveling around Europe. Upon his return to Australia, Weir secured a job with the Commonwealth Film Unit, where he learned his craft on the sets of documentaries and educational films. He made his directorial debut in 1971 with Three to Go, an effort that went largely unnoticed by audiences and critics alike. His next feature, The Cars That Ate Paris (1974), was a horror comedy with decidedly black overtones and fared considerably better than his previous effort. Even more successful was Weir’s adaptation of Picnic at Hanging Rock the following year. A haunting, surreal tale of schoolgirls gone missing in the outback, it received critical acclaim and became something of a cult classic. The same could be said of The Last Wave (1977), a similarly dreamlike murder mystery set in Sydney.

Weir first achieved international recognition (as well as an Australian Film Institute Best Director award) with Gallipoli in 1981. Starring a then relatively obscure Mel Gibson as one of two friends who go off to fight in World War I, it was hailed by international critics and established Weir’s reputation outside of Australia. His reputation was further enhanced the next year with The Year of Living Dangerously, which also starred Gibson, as well as Sigourney Weaver. A romance set against the backdrop of the toppling of Indonesia’s Sukarno regime in 1965, it was screened in competition at the Cannes Festival and proved to be Weir’s first big commercial success.

With Witness (1985), Weir made his first excursion onto American soil, documenting a culture clash viewed from the eyes of a wounded Philadelphia cop (Harrison Ford) recovering from his injuries on the farm of an Amish family. Aside from establishing Ford as an actor capable of more than big-budget action flicks, Witness earned Weir his first Best Director Academy Award nomination. Less successful was his next film and second collaboration with Ford, an adaptation of Paul Theroux’s The Mosquito Coast (1986). Despite strong material and an excellent cast that included Ford, Helen Mirren, and River Phoenix, the film failed to find success with either critics or audiences.

Weir rebounded in 1989 with Dead Poets Society. Doing for star Robin Williams what Witness had done for Ford, the film earned Weir his second Oscar nomination, won a French César for Best Foreign Film, and became a stock reference point in the teen angst film lexicon. Weir subsequently went in a different direction altogether with Green Card. A romantic comedy starring Gérard Depardieu and Andie MacDowell, it was largely deemed a pleasant, if inconsequential, excursion, although it did earn Weir a Best Original Screenplay Oscar nomination.

After a disappointing reception for Fearless, a 1993 film starring Jeff Bridges as an airplane crash survivor trying to make sense out of his life, Weir rebounded strongly in 1998 with The Truman Show. Starring Jim Carrey in his first serious role as a man trapped in a TV show about his own artificially constructed life, the film was a surreal, darkly humorous take on contemporary society’s obsession with the media and celebrity. It was embraced by both critics and audiences, earning Weir his third Best Director Oscar nomination, as well as a host of other honors.

Weir took five years to follow up The Truman Show, but when the Napoleonic-era naval epic Master and Commander: The Far Side of the World came along in 2003, it was greeted with many rapturous reviews and earned multiple Academy Award nominations, including Best Picture and yet another Best Director nod for Weir. The film starred Weir’s fellow Aussie Russell Crowe.

He took seven years before returning with his next project, The Way Back, a WWII film with Jim Sturgess, Colin Farrell and Ed Harris.
All Movie Guide: Rebecca Flint Marx, Rovi

Nia is designed for every ability level, every age and every body. It is an exhilarating, FUN workout that combines dance, martial arts, and healing arts. Practiced to soul-stirring music, Nia conditions the entire body while empowering you to positively shape the way you feel, look, think, and live. This dynamic fitness and lifestyle practice will change how you exercise and experience yourself, by creating a stronger body, steady mind, and free spirit through movement. Try something new in your search for fitness, health, and wellbeing. Step in to Nia, and experience transformative, powerful and playful movement. Love your Body. Love your Life! Classes are open to all fitness levels.

About the Instructor: Angela Williams is a Certified Black Belt Nia Instructor. She holds a degree in Gender Studies from Indiana University, connecting her with research on the body and body image. She teaches Nia to connect people with the healing power of their own body. She shares the freedom that comes from living in a body that you love. Angela’s classes are fun, powerful, playful, and transformative.

Tuesdays, 4-5 pm, (beginning January 20) – Join any time!

One of director Peter Weir’s most spellbinding and impenetrable films, Picnic at Hanging Rock mesmerizes audiences with questions and lurking clues. During a picnic in the Australian bush in 1900, three students and one teacher from a girls school disappear without a trace, with one eventually found but unable to remember any events from that day. With stunning cinematography, an unsettling soundtrack, and increasingly hypnotizing rhythm, the film explores the coupling of sexual repression with the mysterious outback where logic and time are maddeningly elusive. Director Peter Weir is scheduled to be present.(35mm presentation)

35mm film print courtesy of the National Film and Sound Archive of Australia.

In Shakespeare’s beautifully tragic tale of love at first sight, Romeo and Juliet secretly wed despite the sworn contempt their families hold for each other. A chain of fateful events changes both families forever.

“Two households both alike in dignity, In fair Verona, where we lay our scene…”

The show runs February 27, 28, March 3-6, 2015 @ 7:30 p.m. and March 7 @ 2:00 p.m. and 7:30 p.m.

Ticket prices are $25 for adults, $20 for seniors, and $15 for students.

In Shakespeare’s beautifully tragic tale of love at first sight, Romeo and Juliet secretly wed despite the sworn contempt their families hold for each other. A chain of fateful events changes both families forever.

“Two households both alike in dignity, In fair Verona, where we lay our scene…”

The show runs February 27, 28, March 3-6, 2015 @ 7:30 p.m. and March 7 @ 2:00 p.m. and 7:30 p.m.

Ticket prices are $25 for adults, $20 for seniors, and $15 for students.