WEBVTT 00:00:12.002 --> 00:00:19.488 - Thank you. I know a lot of people here don't know me, so I'll introduce myself. My name is Jerry Bepko. 00:00:19.488 --> 00:00:26.686 - I'm privileged and honored to be serving as interim president. It's still not loud enough, I think. 00:00:43.074 --> 00:01:04.124 - Is it getting better? No, I've got people in the left rear there who can't hear anything. I haven't 00:01:04.124 --> 00:01:11.070 - said much yet, but. How is this? 00:01:13.090 --> 00:01:22.585 - We're getting there, thank you. Maybe I should try to get as close as possible to the microphone, like 00:01:22.585 --> 00:01:32.265 - the rock singers do. As I tried to say a moment ago, many of you may not know me and I want to introduce 00:01:32.265 --> 00:01:41.576 - myself. I'm Jerry Bepko, I'm privileged to serve you in these months, in this spring term as interim 00:01:41.576 --> 00:01:42.590 - president. 00:01:42.850 --> 00:01:50.653 - of IU and I'm very happy to be here this afternoon to be a part of the group that is opening Arts Week 00:01:50.653 --> 00:01:58.228 - 2003. I'm very excited about this because I think it goes to the heart of who we are and what we do 00:01:58.228 --> 00:02:05.955 - as members of a university community. We often talk about the three missions of the university. These 00:02:05.955 --> 00:02:12.318 - are first to provide the best education possible to the broadest range of learners. 00:02:12.834 --> 00:02:21.582 - Secondly, to discover new knowledge and break new ground in all fields, including the arts. And finally, 00:02:21.582 --> 00:02:29.997 - as a public university, to be actively engaged with the publics we serve. We have a clear obligation 00:02:29.997 --> 00:02:38.913 - to improve and enrich the lives of the citizens whose tax dollars and philanthropy support our enterprise. 00:02:38.913 --> 00:02:41.662 - Arts Week showcases our progress 00:02:42.050 --> 00:02:49.151 - in each of these three mission areas. And it does so in really dramatic and dynamic ways. But 00:02:49.151 --> 00:02:56.706 - most importantly, Arts Week points to what is the essential work of a great university like Indiana 00:02:56.706 --> 00:03:04.563 - University, and that is to inspire our students and our friends and our supporters. IU has long adhered 00:03:04.563 --> 00:03:11.966 - to the proposition that learning about and appreciating the arts is an essential part of becoming 00:03:12.578 --> 00:03:20.581 - a well-educated person. As David Starr Jordan, the IU president who instituted our liberal arts curriculum, 00:03:20.581 --> 00:03:27.991 - once noted, the whole of one's life must be spent in one's own company, and only the truly educated 00:03:27.991 --> 00:03:35.401 - person is good company for himself. Acquaintance with the arts not only makes us better company for 00:03:35.401 --> 00:03:42.366 - ourselves, but also for others. It makes us better citizens because it raises fresh questions 00:03:42.754 --> 00:03:49.771 - about our relationship to others and to the social and natural world. As teachers and researchers, our 00:03:49.771 --> 00:03:56.720 - job is to ask good questions and to come up with good answers whenever possible. Knowledge production 00:03:56.720 --> 00:04:03.533 - in a research university like IU is most often associated with scientific discoveries, but one need 00:04:03.533 --> 00:04:08.574 - only tour the exhibition of faculty and student art that is opening today 00:04:09.218 --> 00:04:17.195 - or attend the premier performance of an original music composition by an IU faculty member, or to grasp 00:04:17.195 --> 00:04:25.556 - an important truth about, in order to grasp an important truth about the arts. In the same way the discovery 00:04:25.556 --> 00:04:33.303 - of a new subatomic particle can alter our understanding of the world and our place in it, so can the 00:04:33.303 --> 00:04:37.598 - creation of a new novel or sculpture or piece of music. 00:04:38.946 --> 00:04:48.414 - John Kennedy in his October 1963 tribute to Robert Frost put it this way, when poetry leads, with apologies 00:04:48.414 --> 00:04:57.620 - for the gender references, when power leads man toward arrogance, poetry reminds him of his limitations. 00:04:57.620 --> 00:05:06.650 - When power narrows the areas of man's concern, poetry reminds him of the richness and diversity of his 00:05:06.650 --> 00:05:07.614 - existence. 00:05:08.258 --> 00:05:16.069 - When power corrupts, poetry cleanses. For art establishes the basic human truths, which must serve as 00:05:16.069 --> 00:05:24.340 - the touchstones of our judgment. Arts Week is also a wonderful example of civic engagement and partnerships 00:05:24.340 --> 00:05:32.075 - in a knowledge-based economy that places a high premium on innovation. The arts provide an essential 00:05:32.075 --> 00:05:34.526 - model for the creative process. 00:05:35.202 --> 00:05:42.402 - I'm sure many people here attended Richard Florida's lecture about the rise of the creative class, which 00:05:42.402 --> 00:05:49.328 - he identifies as the major growth sector of the economy. Like Arts Week as a whole, that lecture was 00:05:49.328 --> 00:05:56.185 - a partnership enterprise jointly sponsored by the university, local businesses, and the Bloomington 00:05:56.185 --> 00:06:02.494 - Economic Development Corporation. Thanks to work like that, which Richard Florida is doing, 00:06:03.042 --> 00:06:10.197 - we've become aware of the fact that building a 21st century economy in Indiana requires us to make use 00:06:10.197 --> 00:06:17.144 - of our cultural capital and to use it to attract this growing creative class. As a result, cultural 00:06:17.144 --> 00:06:24.091 - tourism efforts with events such as Bloomington's Loftus World Music Festival or the Indy Jazz Fest 00:06:24.091 --> 00:06:31.038 - in Indianapolis as magnets have become essential features of economic development across the state. 00:06:32.034 --> 00:06:39.699 - I've become especially focused on these thoughts since being appointed to the Indianapolis Mayor's Commission 00:06:39.699 --> 00:06:46.667 - on Cultural Tourism. The creative class has always found a home at IU. That is true in part because 00:06:46.667 --> 00:06:53.705 - IU embodies the diversity of gender, class, ethnicity, and sexual orientation that Florida points to 00:06:53.705 --> 00:07:01.022 - as one of the prerequisites for creativity. We value that diversity and we're committed to nurturing it. 00:07:02.018 --> 00:07:10.098 - Another aspect of this diversity is IU's outstanding achievement in a wide variety of the arts and sciences, 00:07:10.098 --> 00:07:17.065 - from theater to creative writing to information technology. This enables the kind of fruitful 00:07:17.065 --> 00:07:24.774 - cross-pollination that is apparent, for instance, in computer-generated visual art or music. Excellence 00:07:24.774 --> 00:07:31.742 - in the arts and humanities is a bright and strong motif in the rich tapestry of IU's history. 00:07:32.706 --> 00:07:41.391 - Our grand traditions in the liberal arts promote the ideal of knowledge as an end in itself, as an experience 00:07:41.391 --> 00:07:49.838 - that ennobles our lives. As John Kennedy also said, the nation or the community which disdains the mission 00:07:49.838 --> 00:07:57.734 - of art invites the fate of Robert Frost's hired man, the fate of having nothing to look backward to 00:07:57.734 --> 00:08:01.918 - with pride and nothing to look forward to with hope. 00:08:02.786 --> 00:08:10.273 - As humanists and artists, we have a sacred trust to transmit the past to the future and to add our own 00:08:10.273 --> 00:08:17.541 - creative voices to the continuing dialogue about our shared humanity. Arts Week illustrates some of 00:08:17.541 --> 00:08:24.809 - the many ways we are doing that, and it shows how we are remaining true to that trust. It is indeed 00:08:24.809 --> 00:08:29.534 - an example of our pride in the past and our hope for the future. 00:08:30.210 --> 00:08:37.952 - But most of all, it is evidence of our ability to continue to inspire and delight one another. Before 00:08:37.952 --> 00:08:45.769 - moving on in the program, I'd like to offer my compliments and the university's gratitude to Professor 00:08:45.769 --> 00:08:53.663 - Kim Walker, who is Director of Artistic and Cultural Outreach. Thank her for her fine work on Arts Week 00:08:53.663 --> 00:09:00.190 - and thanks also to the City of Bloomington and Mayor John Fernandez for collaborating 00:09:00.770 --> 00:09:08.654 - to make this a genuine town gown enterprise. And now it's my great pleasure to introduce Sharon Brim, 00:09:08.654 --> 00:09:16.538 - our excellent chancellor of the IU Bloomington campus, whose devotion to the arts is an encouragement 00:09:16.538 --> 00:09:18.238 - to all of us. Sharon. 00:09:30.530 --> 00:09:37.997 - President Betko. It's a great pleasure to be here with all of you. And I just want President Betko to 00:09:37.997 --> 00:09:45.317 - know how very, very much we on the Bloomington campus appreciate his leadership during this crucial 00:09:45.317 --> 00:09:53.223 - transition for Indiana University. We are extremely fortunate to have such a knowledgeable, highly skilled, 00:09:53.223 --> 00:09:59.518 - dedicated, and now here's the most important characteristic for tonight, arts-loving, 00:09:59.714 --> 00:10:08.267 - interim president. So we're so glad to have you here with us tonight. There is of course plenty of art 00:10:08.267 --> 00:10:16.571 - to love throughout Indiana and in Indianapolis, but tonight it's just such a special pleasure to be 00:10:16.571 --> 00:10:24.958 - here gathered together to celebrate the arts in Bloomington both on the campus and in the community. 00:10:25.666 --> 00:10:33.378 - As we all know, the treasure trove of Bloomington art is a very large one, filled with all sorts of 00:10:33.378 --> 00:10:41.476 - precious objects and performances, constantly replenished by our active, creative, and prolific artists. 00:10:41.476 --> 00:10:49.343 - Speaking personally, the arts in Bloomington have been an enormous source of pleasure and inspiration 00:10:49.343 --> 00:10:53.662 - for me ever since I came to town in the summer of 2001. 00:10:53.986 --> 00:11:00.775 - It is a great joy to be able to support and encourage the arts here. And I am particularly impressed 00:11:00.775 --> 00:11:07.765 - by the increasing ability of the town and gown to work together on arts projects. And so I, too, I want 00:11:07.765 --> 00:11:14.756 - to join with Interim President Bebko in thanking both John Fernandez and Kim Walker for their excellent 00:11:14.756 --> 00:11:17.310 - work in promoting this collaboration. 00:11:17.730 --> 00:11:23.896 - I know that John cannot be here tonight, but I'm sure Tom Gravera will let him know that we are very 00:11:23.896 --> 00:11:30.000 - grateful for his excellent work as well on this endeavor. You do know, I hope, that if you give the 00:11:30.000 --> 00:11:36.105 - podium to a chancellor, she's likely to use it. And so tonight, in addition to welcoming all of you 00:11:36.105 --> 00:11:42.575 - to Arts Week and indicating my strong support for the arts in Bloomington, I want to announce the opening 00:11:42.575 --> 00:11:46.238 - of a major fundraising campaign for the Bloomington campus. 00:11:46.690 --> 00:11:54.400 - one that fully embodies IU's commitment to diversity as just stated by President Bebko. As many of you 00:11:54.400 --> 00:12:01.960 - know, last spring the campus went through yet another controversy about the Benton mural in Woodburn 00:12:01.960 --> 00:12:09.445 - 100. I say yet another because this one was not by any means the first such controversy. In talking 00:12:09.445 --> 00:12:15.358 - with students, faculty, and staff about the mural, it became quite clear to me 00:12:15.746 --> 00:12:24.437 - then in order to make it the last such controversy, we must have more art, not less art, on the campus. 00:12:24.437 --> 00:12:32.794 - Specifically, we must have more art that recognizes, celebrates, and memorializes the multicultural 00:12:32.794 --> 00:12:41.402 - past and future and present. And we must have more multicultural artists, including students, faculty, 00:12:41.402 --> 00:12:43.742 - and visitors on our campus. 00:12:45.026 --> 00:12:52.314 - For more than half a century, Bloomington has been on the National Arts Map for many of its programs, 00:12:52.314 --> 00:12:59.460 - artists, and facilities. Now, in this new century, Bloomington also needs to establish its place on 00:12:59.460 --> 00:13:06.819 - the National Arts Map for its multicultural art and its multicultural artists. To help us achieve this 00:13:06.819 --> 00:13:13.822 - goal, the Bloomington campus, with the excellent assistance of the Indiana University Foundation, 00:13:14.242 --> 00:13:23.394 - has established the One for Diversity Fund. As I said last spring in my statement on the mural, by calling 00:13:23.394 --> 00:13:32.033 - the fund One for Diversity, we emphasize that each of us on this campus must take responsibility for 00:13:32.033 --> 00:13:40.844 - enhancing respect for and commitment to diversity. We build diversity one by one, step by step, person 00:13:40.844 --> 00:13:44.094 - by person. And starting this evening, 00:13:44.450 --> 00:13:52.774 - we will build the One for Diversity Fund contribution by contribution as individuals and organizations 00:13:52.774 --> 00:14:01.179 - join in this effort and demonstrate their support for diversity in the arts. We will begin our campaign 00:14:01.179 --> 00:14:09.907 - by focusing on the campus and the local community. The extent of our generosity will reflect our commitment 00:14:09.907 --> 00:14:12.574 - and the extent of our commitment 00:14:12.994 --> 00:14:21.052 - will influence our friends and alumni who live at a distance from Bloomington. We will want them to 00:14:21.052 --> 00:14:29.191 - join us in the One for Diversity project. But first, we must make our own dedication to this project 00:14:29.191 --> 00:14:37.813 - unmistakably clear. So far, the signs are auspicious. Even before this announcement, the fund has received 00:14:37.813 --> 00:14:41.278 - contributions from the president's office, 00:14:41.634 --> 00:14:49.711 - the Indiana University Foundation, President Bebko, Vice President Nelms, Dean Dan Dalton, and myself. 00:14:49.711 --> 00:14:57.944 - This, of course, is just to get us started. Over the next three years, we will focus on two major goals. 00:14:57.944 --> 00:15:06.021 - First, we seek a very large participation rate. It is my hope that the fund will receive contributions 00:15:06.021 --> 00:15:10.334 - from the vast majority of IUB students, IUB employees, 00:15:10.530 --> 00:15:19.135 - and those individuals in the city and surrounding counties who enjoy the artistic resources of the campus. 00:15:19.135 --> 00:15:27.339 - Each contribution, whatever the amount, is of great value because each contribution sends the message 00:15:27.339 --> 00:15:35.703 - that we, in the town, in the gown, and in the counties, are committed to diversity in the arts. Second, 00:15:35.703 --> 00:15:40.126 - we have set a campaign goal of half a million dollars. 00:15:41.122 --> 00:15:48.517 - This is an ambitious goal. It will be hard to reach. But I believe that it is within our power not only 00:15:48.517 --> 00:15:55.628 - to meet it, but to exceed it. There's a brochure about the fund that will be available in the lobby 00:15:55.628 --> 00:16:02.811 - and also we'll have some in the art museum. And I hope that you will pick up copies for yourself and 00:16:02.811 --> 00:16:09.922 - for others. The One for Diversity Fund is an incredibly important initiative for Indiana University 00:16:09.922 --> 00:16:10.846 - Bloomington. 00:16:11.010 --> 00:16:19.506 - and for our local community as well. I hope you will give it your strong support, both moral and financial, 00:16:19.506 --> 00:16:27.688 - and urge your friends and colleagues to join you. This fund gives us the opportunity to take the Benton 00:16:27.688 --> 00:16:35.555 - mural controversy and turn it into a constructive, productive, and wonderful project that will help 00:16:35.555 --> 00:16:39.646 - to create an artistically rich, inclusive community 00:16:39.906 --> 00:16:47.507 - at Indiana University Bloomington. Just think how proud we will all be when three years from today it 00:16:47.507 --> 00:16:55.108 - is announced that tens of thousands of people have contributed to the One for Diversity Fund and that 00:16:55.108 --> 00:17:02.560 - we have surpassed our stated goal. Imagine the celebration that we will have, and I look forward to 00:17:02.560 --> 00:17:08.670 - seeing you there. And now it's my great pleasure to introduce to you Tom Gravera, 00:17:08.770 --> 00:17:19.865 - Comptroller of the City of Bloomington, and as you all know, a very strong supporter of the arts in 00:17:19.865 --> 00:17:31.293 - Bloomington. Tom. Thank you Chancellor Brim for that most gracious introduction. Mayor Fernandez would 00:17:31.293 --> 00:17:37.950 - like to be here. I know he very much would like to be here. 00:17:38.274 --> 00:17:45.054 - But he did have a scheduled conflict. He is attending the U.S. Conference of Mayors. And as you know, 00:17:45.054 --> 00:17:51.900 - there are very important and pressing issues that face our communities for which the mayors across our 00:17:51.900 --> 00:17:58.614 - nation must collectively address. And so he does send his regrets for not being able to be here. And 00:17:58.614 --> 00:18:05.327 - hopefully I will be able to stand in his place adequately. As a preamble to my remarks, I would like 00:18:05.327 --> 00:18:07.454 - to relate to you a little story 00:18:08.482 --> 00:18:16.195 - This story really is something that concerns a memory that I have in a previous job. Prior to coming 00:18:16.195 --> 00:18:23.984 - to the city, I worked as a consultant for a management and technology consulting firm. Part of my job 00:18:23.984 --> 00:18:31.621 - responsibilities was to interview students who might become prospective employees of our companies, 00:18:31.621 --> 00:18:32.766 - and I traveled 00:18:33.442 --> 00:18:40.512 - across the Midwest and East Coast to several universities interviewing both graduate and undergraduate 00:18:40.512 --> 00:18:47.993 - students. One memory stands out in particular, and this was an undergraduate student whom I was interviewing 00:18:47.993 --> 00:18:55.132 - at the University of Rochester. This student was a computer science major and he was seeking a position 00:18:55.132 --> 00:19:02.270 - as a computer programmer in our company. As I looked at his resume, I also noticed that he was enrolled 00:19:02.850 --> 00:19:11.079 - in the prestigious Eastman School of Music studying piano. And I commented to him that I thought it 00:19:11.079 --> 00:19:19.801 - was a bit of an unusual combination, a computer programmer and a pianist. Well, to summarize his response 00:19:19.801 --> 00:19:28.030 - to me, which I thought was just absolutely remarkable, he said, really, the study of piano helps me 00:19:28.030 --> 00:19:30.334 - become a better programmer. 00:19:31.650 --> 00:19:40.151 - He said, to learn music and to be good in the art of music, one must have the discipline to be able 00:19:40.151 --> 00:19:48.822 - to study the basics of music. Yet at the same time, to be a good musician, one must also be creative. 00:19:48.822 --> 00:19:57.494 - Computer programming really is much like that. Our greatest advances in technology have come not just 00:19:57.494 --> 00:20:00.894 - through the rigid application of rules, 00:20:01.762 --> 00:20:09.831 - that are most often associated with computer programming, but really have come through creativity. And 00:20:09.831 --> 00:20:18.213 - I thought his answer was remarkable because he really emphasized the essence of advancement in technology. 00:20:18.213 --> 00:20:26.517 - And so I know as I left that this student, regardless of his chosen path, would be successful at whatever 00:20:26.517 --> 00:20:29.886 - he undertook, or I think he really got it. 00:20:33.698 --> 00:20:42.172 - Since Mayor Fernandez was first elected and had taken office, one of his major priorities was to improve 00:20:42.172 --> 00:20:50.645 - and enhance the quality of life for the citizens and visitors to Bloomington. I believe that our quality 00:20:50.645 --> 00:20:58.796 - of life here is largely based on a culture that is colored, textured, and flavored with an abundance 00:20:58.796 --> 00:21:02.750 - of arts and humanities that are available to us. 00:21:05.186 --> 00:21:13.458 - Over the next two weeks, Arts Week events will take place in about 25 different venues. 40% of those 00:21:13.458 --> 00:21:22.140 - venues are not on the campus, but are on locations throughout the city of Bloomington. This extraordinary 00:21:22.140 --> 00:21:30.495 - outreach and collaboration between the university and community could not be done without the support 00:21:30.495 --> 00:21:34.590 - and work of several people. I would like to thank 00:21:35.714 --> 00:21:44.277 - former President Miles Brand, current Interim President Jerry Bebko, Chancellor Bram, and especially 00:21:44.277 --> 00:21:52.839 - Professor Kim Walker for extending the hand of partnership and working with several of our community 00:21:52.839 --> 00:22:01.317 - organizations to make Arts Week the great midwinter celebration that it is. The city of Bloomington 00:22:01.317 --> 00:22:04.030 - is indeed devoted and committed 00:22:04.450 --> 00:22:12.646 - to a working collaboration with the university for cultural outreach and enhancement. And in fact, in 00:22:12.646 --> 00:22:20.762 - the next several weeks, we will be discussing before city council an appropriation that the mayor is 00:22:20.762 --> 00:22:29.279 - seeking that is close to $150,000 that will be combined with a $50,000 commitment from Indiana University 00:22:29.279 --> 00:22:32.734 - to establish a not-for-profit organization 00:22:33.602 --> 00:22:42.161 - that is dedicated and devoted to enhancing cultural tourism in our area. On behalf of Mayor Fernandez 00:22:42.161 --> 00:22:50.971 - and the City of Bloomington, I extend my greetings and welcome to all of you and encourage you to invite 00:22:50.971 --> 00:22:59.698 - a friend, invite a neighbor, to come out and visit and experience all of the wonderful things that this 00:22:59.698 --> 00:23:03.390 - university and this community has to offer. 00:23:04.290 --> 00:23:15.359 - With that, I'd like to turn it over to Kim Walker. Continue on. Well, I want to thank everyone for their 00:23:15.359 --> 00:23:26.217 - lovely compliments and their support. Really, my great pleasure is coordinating all of these marvelous 00:23:26.217 --> 00:23:30.750 - talents. When I first began this position, 00:23:30.978 --> 00:23:36.706 - I asked, what is Arts Week about? And they said, it's about the faculty. So I spoke with the faculty, 00:23:36.706 --> 00:23:42.547 - and they said, it's about the students. I spoke with the students. They said, it's about the community. 00:23:42.547 --> 00:23:48.163 - And this year, we have all of those players involved, heartily, as well as alumni. So tonight is my 00:23:48.163 --> 00:23:53.891 - great pleasure to invite a panel discussion on beauty and contemporary art. And moderating this panel 00:23:53.891 --> 00:23:57.822 - is Anya Royce. And right next to her, well, she's in anthropology and 00:23:57.922 --> 00:24:04.568 - a former ballet star, I should say, in all of the world. And next to her, Georgia Strange, who I tend 00:24:04.568 --> 00:24:11.669 - to meet in blockbusters checking out videos every now and then. But you wouldn't know that by the incredible 00:24:11.669 --> 00:24:18.315 - sculpture she creates. And Howard Jensen, wonderful producer. I hope you've seen some of the plays in 00:24:18.315 --> 00:24:24.830 - the theater department. And Karen Hansen, our wonderful new dean of, oh my gosh, I'm doing a blank. 00:24:25.730 --> 00:24:32.036 - Honors, thank you. I've known her in many roles, that's why. But we're delighted to have her background 00:24:32.036 --> 00:24:38.100 - in philosophy joining us. And there's one surprise guest who will appear rather late, untimely, and 00:24:38.100 --> 00:24:44.589 - of course it's the musician. And Imre Pala will join us shortly. He's involved in the Miraculous Mandarin, 00:24:44.589 --> 00:24:48.894 - which will be performed next week. So thank you very much and welcome. 00:24:58.306 --> 00:25:04.679 - Thank you, Kim. I want to add my welcome to all of you and encourage all of you to take advantage of 00:25:04.679 --> 00:25:11.305 - the many, many performances, exhibits, lectures, and events that are packed into these two weeks brought 00:25:11.305 --> 00:25:17.867 - together for Arts Week 2003. This is a panel of extraordinary individuals. Actually, we had a rehearsal 00:25:17.867 --> 00:25:23.672 - this morning and I found out how extraordinary they are. They include practitioners of art, 00:25:23.672 --> 00:25:25.502 - former practitioners of art, 00:25:26.466 --> 00:25:34.175 - philosophers and scholars. So we have different experiences and different viewpoints from which to tackle 00:25:34.175 --> 00:25:41.665 - some of the thorny questions embedded in the title or should I say titles and theme of the panel. Some 00:25:41.665 --> 00:25:49.156 - of those questions might include, what is the relationship between art and beauty? Are they linked and 00:25:49.156 --> 00:25:53.374 - do they need to be? Do all societies need either or both? 00:25:54.274 --> 00:26:01.338 - And how does art satisfy that need? Are there some fundamental qualities that define beauty no matter 00:26:01.338 --> 00:26:08.540 - what the artistic genre? And finally, can beauty be out of fashion and why? We're each gonna take about 00:26:08.540 --> 00:26:15.465 - four minutes to make one or two points that we think are the most important to begin with. And some 00:26:15.465 --> 00:26:19.966 - of us will have examples to illustrate the points, but I want to 00:26:20.290 --> 00:26:28.365 - want to say that these are not formal presentations. We would like to think of this as a conversation 00:26:28.365 --> 00:26:36.836 - once we get some things out on the table. And we will invite you toward the end to join us with questions, 00:26:36.836 --> 00:26:44.991 - challenges, not too many of those. Observations, congratulations are always welcome. And there are two 00:26:44.991 --> 00:26:49.662 - mics out there. So without any more introduction, Georgia. 00:26:53.410 --> 00:27:03.030 - Anya and I have to share this. Thank you. Referring to our meeting this morning as a rehearsal was rather 00:27:03.030 --> 00:27:12.468 - generous on your part, but we are emphasizing spontaneous interaction with all the constituents on this 00:27:12.468 --> 00:27:22.270 - panel as well as our audience. So we do want to encourage discussion. I want to begin my brief remarks with 00:27:22.562 --> 00:27:35.874 - two images. I've chosen examples of masks from the Dan culture in Liberia, West Africa, also in the 00:27:35.874 --> 00:27:49.319 - region of Ivory Coast. These masks represent somewhat of a polarity of a visual sensibility. I think 00:27:49.319 --> 00:27:51.582 - both of them are 00:27:52.034 --> 00:28:00.838 - incredibly beautiful images. They achieve beauty in different ways, using the elements and principles 00:28:00.838 --> 00:28:09.556 - of design. They achieve beauty in radically different ways. One appears rather rhythmic, and there's 00:28:09.556 --> 00:28:18.878 - a certain elegant quality to that mask. The other one is a little more intimidating. It has shotgun shells, 00:28:19.298 --> 00:28:28.044 - There's a kind of exaggeration that's very different in the abstraction and how abstract language plays 00:28:28.044 --> 00:28:36.453 - out. So there's kind of an intimidating, aggressive quality to one of these masks. Yet both of them 00:28:36.453 --> 00:28:45.030 - are beautiful. And the reason I'm showing this is because I think it's not so important how we define 00:28:45.030 --> 00:28:48.478 - beauty because that is endless argument. 00:28:48.962 --> 00:28:57.492 - but that we value it. And I think in the 20th century, there's been a real disenchantment with beauty. 00:28:57.492 --> 00:29:05.773 - And I could probably point to Duchamp early in the century, where he emphasized idea as critical to 00:29:05.773 --> 00:29:14.137 - art. And of course, ideas are critical to art and always have been. But the emphasis on idea and the 00:29:14.137 --> 00:29:17.118 - conceptual content to the exclusion 00:29:17.410 --> 00:29:26.103 - of the visual concerns is problematic. And that's why I use the word disenchantment. And we see this 00:29:26.103 --> 00:29:35.140 - culminating in the move in the 70s of conceptual art. And for myself as a visual artist and as a teacher 00:29:35.140 --> 00:29:43.746 - of visual art, this language, this visual language seems to be crucial to visual thinking. And so I 00:29:43.746 --> 00:29:45.726 - want to emphasize that 00:29:46.146 --> 00:29:54.830 - that I think it's important to value beauty and to be involved in that discussion and bringing it back 00:29:54.830 --> 00:30:03.261 - into the discussion about art. And I'm happy to say that it is actually returning in the discourse. 00:30:03.261 --> 00:30:11.692 - And one of the reasons we chose this title was the fact that calling something beautiful was almost 00:30:11.692 --> 00:30:15.486 - a critique of something or a criticism as if 00:30:16.098 --> 00:30:24.502 - being concerned with beauty was somehow vapid, that it was almost decorative. And somehow it didn't 00:30:24.502 --> 00:30:33.074 - have the deep meaning that something that's maybe more political or provocative or somehow aggressive 00:30:33.074 --> 00:30:41.562 - in terms of how we view things. And so I want to just emphasize the importance of the re-enchantment 00:30:41.562 --> 00:30:42.654 - with beauty. 00:30:50.690 --> 00:30:59.031 - This past week, a grand old man of the theater died in that he was almost a hundred years old when he 00:30:59.031 --> 00:31:07.291 - died. He has probably seen more plays than any other American. And I'm speaking of Al Hirschfeld and 00:31:07.291 --> 00:31:15.714 - I'd like to quote from his obituary in the New York Times. He wrote a letter in 1986 and expressed his 00:31:15.714 --> 00:31:17.758 - opinion about an article 00:31:18.274 --> 00:31:26.305 - in the science section on defining beauty. And I quote, beauty is incapable of being defined scientifically 00:31:26.305 --> 00:31:34.114 - or aesthetically. Anarchy takes over. Having devoted a long time to the art of caricature, I have rarely 00:31:34.114 --> 00:31:41.624 - convinced anyone that caricature and beauty are synonymous. Beauty may be the limited proportions of 00:31:41.624 --> 00:31:48.094 - a classic Greek sculptured figure, but it does not have to be. It could be an ash can. 00:31:48.930 --> 00:31:58.732 - And I think that's where you get into maybe the area of anarchy, what is beautiful. Talking with many 00:31:58.732 --> 00:32:08.438 - colleagues and students, I discovered that beauty is not greatly discussed anymore in the theater. I 00:32:08.438 --> 00:32:16.126 - think it should be, but it isn't. It was to a great degree in the 19th century. 00:32:16.834 --> 00:32:30.762 - I suspect that because of the advent of naturalism and realism, that beauty maybe became seen as superficial. 00:32:30.762 --> 00:32:43.550 - With naturalism, the truth was stressed much more than beauty. And also with naturalism and realism, 00:32:44.994 --> 00:32:55.551 - ugly aspects of human existence were treated realistically. Now I think those plays that fall into that 00:32:55.551 --> 00:33:05.804 - category, such as Ibsen, Strindberg, Miller, Williams, Albee, because those writers are indeed poets 00:33:05.804 --> 00:33:13.214 - in their own way, the works survive. But I rarely hear people talk about 00:33:13.570 --> 00:33:27.042 - beauty in the theater. I believe that if a theater practitioner were told that their work was beautiful, 00:33:27.042 --> 00:33:39.102 - it would be taken as a compliment. But once again, we just don't talk much about it. My turn. 00:33:39.458 --> 00:33:46.774 - I wasn't sure, and you can see two titles down there. I wasn't sure whether to speak as an anthropologist 00:33:46.774 --> 00:33:53.952 - tonight or as a dancer, and I couldn't resist Baryshnikov, so it's going to be dance. Human beings need 00:33:53.952 --> 00:34:01.199 - more than the living out of their days. They need to be able to reflect. They need to be shown the world 00:34:01.199 --> 00:34:08.446 - in a different way to be transported and transformed, and that's what art does. When it doesn't do that, 00:34:08.706 --> 00:34:15.950 - It's technique without the ability to generate reflection or dreaming. Beauty and art, and I say art 00:34:15.950 --> 00:34:23.193 - because it exists in nature, has certain qualities. Simplicity, economy, selection, balance, rhythm, 00:34:23.193 --> 00:34:30.581 - symmetry, harmony. And I think that these cut across genres, cultures, and times. And people recognize 00:34:30.581 --> 00:34:38.398 - that. They recognize the beautiful even if it's not in their own traditions. I think what Georgia was saying 00:34:38.722 --> 00:34:46.135 - is absolutely true. People value beauty even if they can't define it or put a label on it. They recognize 00:34:46.135 --> 00:34:53.828 - those kinds of qualities. Dance in the 20th century has gone back and forth and back again between portraying 00:34:53.828 --> 00:35:00.821 - the beautiful coming out of the 19th century classical ballet into modern dance with Isadora Duncan 00:35:00.821 --> 00:35:08.094 - and Martha Graham. Abandoning conventional notions of beauty but I think what in fact they have done is 00:35:08.194 --> 00:35:14.685 - in every instance is to come around creating new genres, which still have those kinds of qualities of 00:35:14.685 --> 00:35:21.430 - beauty about them. It's a different kind of beauty, but it still has those things of symmetry and balance 00:35:21.430 --> 00:35:28.366 - and economy. Modern dance in this country, ballet in this country, Japanese buto, which was an extraordinary 00:35:28.366 --> 00:35:34.793 - fluorescence of Japanese modern dance. I'm going to show you a very short video. It comes from Twyla 00:35:34.793 --> 00:35:36.702 - Tharp, who if you don't know, 00:35:36.866 --> 00:35:43.600 - is a native of Richmond, Indiana. And we gave her an honorary degree. And she created this piece, Push 00:35:43.600 --> 00:35:50.268 - Comes to Shove, to music of Haydn. And she created it for American Ballet Theater in 1976. And that's 00:35:50.268 --> 00:35:57.198 - one of the things you can see in the next two weeks in Art Week, is not Push Comes to Shove, but American 00:35:57.198 --> 00:36:03.735 - Ballet Theater. This is a piece, and I show it because it plays on the conventions of the classical 00:36:03.735 --> 00:36:05.566 - ballet of the 19th century. 00:36:05.826 --> 00:36:12.708 - formal presentation, neat ends to steps, centeredness and always pulled up body and a particular kind 00:36:12.708 --> 00:36:19.523 - of body, staying in the frame and costuming that's as formal as the steps and the expectation of the 00:36:19.523 --> 00:36:26.406 - audience is that the audience will also sit out there and be formal. And what she does is create this 00:36:26.406 --> 00:36:32.816 - wonderful spoof on all of those, those kinds of things. It's very subtle. When they came here, 00:36:32.816 --> 00:36:35.582 - I don't know, 10 years ago and did this, 00:36:35.970 --> 00:36:43.192 - I was part of the audience and I began seeing these very funny things and I started laughing and the 00:36:43.192 --> 00:36:50.558 - people on either side of me looked at me like, this is ballet, this is serious, what's the matter with 00:36:50.558 --> 00:36:58.352 - you? Finally at the end they found it was funny too. So I want to show you that. This is Mikhail Baryshnikov 00:36:58.352 --> 00:37:03.358 - and if I can ask my panelists in the middle to move. We can see more. 00:37:05.346 --> 00:37:06.398 - Okay. 00:39:07.330 --> 00:39:15.493 - makes most of the points that I wanted to make. Tharp has certainly challenged our notions of classical 00:39:15.493 --> 00:39:23.421 - ballet, but still staying within all of those qualities that I think define beauty. And Baryshnikov, 00:39:23.421 --> 00:39:31.506 - nobody but Baryshnikov could do that. I want to tell you that. So. Emry. Yes. Emry Palo is our mystery 00:39:31.506 --> 00:39:35.902 - guest. Was I a mystery guest? You were a mystery guest. 00:39:36.514 --> 00:39:45.688 - You were going to be our inner beauty. Well, thank you. I apologize for being late, but I had to do 00:39:45.688 --> 00:39:54.954 - with beauty. I was rehearsing music for an upcoming concert, so it took me a few moments to get over 00:39:54.954 --> 00:40:04.862 - here after finishing the rehearsal. Today, somehow, everything is a little bit against me. I think the only 00:40:05.154 --> 00:40:14.032 - non-native speakers, so I will be searching for words occasionally, and I have a cold, so forgive me 00:40:14.032 --> 00:40:23.261 - for that, please. Beauty in music. Just thinking about the program I'm going to do next Wednesday, which 00:40:23.261 --> 00:40:29.150 - I just came from the rehearsal, there is Brahms' Hungarian Dances, 00:40:30.178 --> 00:40:42.782 - there is Glier, Harp Concerto, and Bartok, Miraculous Mandarin. Rather contrasting pieces. If you think 00:40:42.782 --> 00:40:55.265 - about Hungarian or pseudo-Hungarian music of Brahms and the very deeply Hungarian music of Bartok, the 00:40:55.265 --> 00:40:59.870 - difference of beauty is very obvious. 00:41:00.386 --> 00:41:12.201 - between the two pieces, and you may come to a concert and you say, well, I went to that symposium and 00:41:12.201 --> 00:41:24.131 - Paulo said that the Bartók is beautiful. I don't think so. But one of us may be wrong. Because beauty 00:41:24.131 --> 00:41:30.270 - is in the eye of the beholder, ladies and gentlemen. 00:41:31.426 --> 00:41:42.244 - Also the development of the appreciation of Bartok's music, I think also shows the change of perception 00:41:42.244 --> 00:41:53.061 - of beauty. When that music first appeared, I don't think anybody at that time in their right mind would 00:41:53.061 --> 00:41:58.366 - have considered even to call that music beautiful. 00:42:00.194 --> 00:42:09.574 - Today you question the sanity of the person who doesn't call it beautiful or most of it beautiful. So 00:42:09.574 --> 00:42:18.954 - it changes. What are the beauties in music? Which aspects of beauty in music do you take as important 00:42:18.954 --> 00:42:28.703 - or not important? There is the beauty of the form. There is the beauty of the melody. There is the beauty 00:42:28.703 --> 00:42:30.174 - of the harmony. 00:42:30.402 --> 00:42:41.961 - There's the beauty of the disharmony. So if you are thinking, let's say a Beethoven symphony. A Beethoven 00:42:41.961 --> 00:42:53.520 - symphony, the main beauty in my mind, and please let's understand that opinions are of course subjective. 00:42:53.520 --> 00:42:59.518 - As they say in Hungary, everybody has the right to his 00:42:59.650 --> 00:43:14.459 - stupid opinion. So in my opinion, we look at the Beethoven symphony and first of all, and mainly of 00:43:14.459 --> 00:43:26.750 - all, you admire the beauty of the form. You experience listening to it, the battle 00:43:27.618 --> 00:43:35.943 - with the material, he really reworked and reworked and reworked the pieces, his symphonies, 00:43:35.943 --> 00:43:45.081 - but the shape, the form, is what makes those pieces very, very special. You wouldn't say this is the 00:43:45.081 --> 00:43:54.492 - melody. Now, think melody. Who may come first? Melody, you think, probably a little bit more opera than 00:43:54.492 --> 00:43:56.030 - you would think. 00:43:56.354 --> 00:44:06.686 - symphonic music, then within the operatic music, you think Verdi, of course, you think melody, but probably 00:44:06.686 --> 00:44:16.349 - the true melody person was Bellini, whose music may not be as well known, but if you think beauty of 00:44:16.349 --> 00:44:25.438 - melody, you think Bellini. Now, let's come to the, let's say, second half of the 20th century. 00:44:26.498 --> 00:44:42.241 - Boulez, wonderful composer. What comes first into your mind? Beauty of the melody, beauty of the harmony, 00:44:42.241 --> 00:44:56.350 - beauty of the form. Why would you find a specific, or I don't want to get really into details, 00:44:57.346 --> 00:45:08.296 - A work of Boulay is beautiful. Why would it speak to you in the understanding of today's, not even musician, 00:45:08.296 --> 00:45:18.644 - because a musician gets much deeper into the materia and as a listener of a music piece, of a concert, 00:45:18.644 --> 00:45:21.758 - of an opera, you want, you get 00:45:21.986 --> 00:45:30.277 - the first impression and after that first impression, you taste the soup, you either like it or you 00:45:30.277 --> 00:45:38.818 - don't have a second spoonful. Either that music will speak to you in one way or the other, or you say, 00:45:38.818 --> 00:45:47.772 - I don't like it, I don't want to go again. So the 20th century and now 21st century as we proudly pronounce 00:45:47.772 --> 00:45:51.006 - it, but basically, at least at my age, 00:45:51.298 --> 00:45:59.294 - believe most of my life. I have lived even in my necrology, it will be said that he lived most of his 00:45:59.294 --> 00:46:07.133 - life in the 20th century. So somehow I relate maybe a little more to that than the last three years 00:46:07.133 --> 00:46:15.364 - of the new century. And probably in the hundred years of the past century, you find a little more beauty 00:46:15.364 --> 00:46:21.086 - in music, in art, and in everything else than what this last three years 00:46:21.858 --> 00:46:34.320 - gave us, returning to beauty music, beauty in a composer of today. And you arrived, Boulez, in particular. 00:46:34.320 --> 00:46:45.966 - You arrive to the unfortunate solution, and please don't hit me for that, you can't explain it. And 00:46:45.966 --> 00:46:50.974 - there is no verbalization, there is no way 00:46:51.394 --> 00:47:00.726 - And that's what I really wanted to point out at the very end. You can't explain why you will find something 00:47:00.726 --> 00:47:09.540 - truly beautiful. For me, the final realization, if I find something beautiful 20th, 21st, 16th, 17th, 00:47:09.540 --> 00:47:18.353 - 18th century, if I fall in love with it, it's beautiful. Art, if it's a statue, if it's a picture, if 00:47:18.353 --> 00:47:19.390 - it's music, 00:47:20.354 --> 00:47:29.761 - do I have to explain why I find it beautiful? No, I don't think so. I don't think so. And you may find 00:47:29.761 --> 00:47:39.443 - it ugly and I may find it beautiful and we are both right. I think that's where I want to leave my little 00:47:39.443 --> 00:47:41.726 - contribution. Thank you. 00:47:49.154 --> 00:47:56.137 - You get to follow that. Thanks. You're welcome. Philosophers, of course, have spent a lot of time, since 00:47:56.137 --> 00:48:02.920 - they can't create the art, in trying to come up with the definitions. And I want to just say a little 00:48:02.920 --> 00:48:09.637 - bit about the history of Western philosophy on this point. Philosophers have paid a lot of attention 00:48:09.637 --> 00:48:17.086 - to the concept of beauty. And their business is not the creation of it, but the conceptual clarification of it. 00:48:17.730 --> 00:48:24.922 - It's probably fair to say that throughout the history of Western philosophy, there's been more attention 00:48:24.922 --> 00:48:31.772 - to the concept of beauty than there has been to art, in part because philosophers took beauty to be 00:48:31.772 --> 00:48:38.621 - a manifest not only in art, but in other contexts, in people, for example. The falling in love with 00:48:38.621 --> 00:48:42.046 - analogy is very important for someone like Plato. 00:48:42.498 --> 00:48:48.921 - It's not an analogy for him. He thinks this is where you begin to see beauty in people, in what we might 00:48:48.921 --> 00:48:55.161 - call other natural phenomena, in forests, flowers, seashells. Philosophers were just as interested in 00:48:55.161 --> 00:49:01.279 - beauty manifest in natural objects. There's a kind of divide, though, that's worth noticing between 00:49:01.279 --> 00:49:07.397 - the ancients on the issue of beauty, say Plato and Aristotle, and more modern philosophers, not yet 00:49:07.397 --> 00:49:11.006 - to say contemporary philosophers, but modern philosophers. 00:49:11.682 --> 00:49:19.090 - Plato and Aristotle didn't share very many views, and they certainly argued about the nature of beauty. 00:49:19.090 --> 00:49:26.355 - But they both assumed it was an objective property. For Plato, and maybe significantly for Florentine 00:49:26.355 --> 00:49:33.977 - neo-Platonists, who brought Plato back, and in part because of the importance of beauty for the Platonists 00:49:33.977 --> 00:49:41.598 - as a real quality, a real metaphysical quality, there was a kind of rise in the status of the visual arts. 00:49:42.050 --> 00:49:50.029 - For Plato, beauty was a kind of objective property underlying everyday reality. For Aristotle, who didn't 00:49:50.029 --> 00:49:57.632 - believe that there was a kind of another world where there are ideal forms of such things as beauty, 00:49:57.632 --> 00:50:05.160 - beauty was nonetheless an objective property of everyday objects. Modern philosophers, however, now 00:50:05.160 --> 00:50:09.150 - I'm thinking about the time around the 17th century, 00:50:09.954 --> 00:50:18.729 - are struck by the subjective character of experience, and in particular, well, that's not fair to say. 00:50:18.729 --> 00:50:27.420 - It's not in particular. It includes the experience of beauty. They're struck by its subjectivity, and 00:50:27.420 --> 00:50:36.025 - they didn't come up with any lines like everyone has entitled to his own stupid opinion, but it kind 00:50:36.025 --> 00:50:39.518 - of amounts to that. There is nonetheless 00:50:39.682 --> 00:50:46.406 - for them than a struggle to account for the idea of there being a kind of standard of taste. Now, some 00:50:46.406 --> 00:50:52.934 - of these philosophers, such as David Hume, who's essentially an 18th century philosopher, died just 00:50:52.934 --> 00:50:59.723 - about the time of the American Revolution, took judgments of taste to be, took everything else, matters 00:50:59.723 --> 00:51:06.381 - of fact. We all have an experience. There's no denying that there's an experience, and all we have to 00:51:06.381 --> 00:51:08.862 - go on are these kinds of experiences. 00:51:09.186 --> 00:51:14.992 - But he did want to say that there were experts. So there's room for saying your judgment's stupid. The 00:51:14.992 --> 00:51:20.630 - experts, he has to figure out how to delineate that class. He says that they're people who are free 00:51:20.630 --> 00:51:26.492 - of bias. They have a lot of experience with the objects in question. They go back to it. They encounter 00:51:26.492 --> 00:51:32.130 - them in certain cool, calm, collected circumstances. They don't have vested interests. All kinds of 00:51:32.130 --> 00:51:35.230 - things related to what can make some people an expert. 00:51:35.426 --> 00:51:42.930 - and why it might sometimes be wise to defer to the judgment of an expert. All in all, though, the experts 00:51:42.930 --> 00:51:50.576 - are people who are most likely to bet right about what experiences most people will have. The real standard 00:51:50.576 --> 00:51:58.080 - of taste is in the end durable admiration, admiration that lasts over time. But the idea is that nobody's 00:51:58.080 --> 00:52:04.734 - experience is right or wrong. I mean, it's akin to sort of the experience of something sweet. 00:52:04.930 --> 00:52:10.698 - That's in part because of, you might say it's in part because of chemical properties of, say, sugar 00:52:10.698 --> 00:52:16.524 - or something like that, but it takes tasting it for the sweetness to be there. Similarly for beauty, 00:52:16.524 --> 00:52:22.523 - there might be features in the world that contribute to having a certain experience, but it's dependent 00:52:22.523 --> 00:52:28.292 - upon the experiencing for the beauty to be there. And that's a kind of, you know, slightly off, but 00:52:28.292 --> 00:52:33.310 - close enough account of Hume's view. And if we all basically have a normal physiology, 00:52:33.858 --> 00:52:39.598 - we'll all find sugar sweet. But some of us don't. Now, they're not lying when they say something isn't 00:52:39.598 --> 00:52:45.170 - sweet. They just have a different set of taste buds, perhaps. And that can happen with people, too. 00:52:45.170 --> 00:52:50.966 - But there is something like a norm, what most people, over time, throughout a variety of cultures, will 00:52:50.966 --> 00:52:56.538 - find beautiful. So that accords with the sort of thing that Anya was saying, that there are certain 00:52:56.538 --> 00:53:02.334 - features designed to produce an experience of beauty in people over time. And the experts are those who 00:53:03.586 --> 00:53:14.276 - examine things enough and long enough to have the right judgment. Now, another important figure along 00:53:14.276 --> 00:53:24.862 - this line is Immanuel Kant, who did not like this very subjective, personalized view. Beauty for him 00:53:24.962 --> 00:53:31.615 - was not an expression of personal inclination. He didn't want to say it's just sort of that it set something 00:53:31.615 --> 00:53:38.024 - off in me and I like it. He wanted to find some other way around this problem that Imre has highlighted. 00:53:38.024 --> 00:53:44.128 - And he came up with the idea that a certain kind of disinterested grasping of something was crucial 00:53:44.128 --> 00:53:50.476 - to experiencing it as beautiful. He had to parse away all kinds of inclination and emotion and thoughts 00:53:50.476 --> 00:53:53.406 - of other things like the morality of something. 00:53:53.730 --> 00:54:00.842 - judgments of beauty were very special sorts of judgments. Again, they're related to, they require the 00:54:00.842 --> 00:54:08.372 - experiencing self. But what Kant wanted to say is we all have the same kind of basic capacity to experience 00:54:08.372 --> 00:54:15.553 - certain kinds of things in the right way if we free ourselves from our emotions, which may differ, and 00:54:15.553 --> 00:54:17.854 - our interests, which may differ. 00:54:18.306 --> 00:54:23.889 - And we get in the right frame of mind. In the end, he does give a definition of beauty that I'm just 00:54:23.889 --> 00:54:29.472 - sure no one on this panel will buy. But he came up with something, purposiveness of an object so far 00:54:29.472 --> 00:54:35.055 - as it's perceived in it without any representation of a purpose. I mean, the idea there is something 00:54:35.055 --> 00:54:40.638 - looks like it was made for some purpose, but really, you're not going to use it for that purpose. It 00:54:40.638 --> 00:54:46.220 - looks like it's all meant. Even the seashell that has a certain design, it looks like it's designed. 00:54:46.220 --> 00:54:47.934 - This is, of course, before the 00:54:48.226 --> 00:54:54.480 - theory of evolution. So the natural object account works better there. But you know what he means about 00:54:54.480 --> 00:55:00.734 - a work of art as well. It looks like the parts are meant to go together, but you don't have to say what 00:55:00.734 --> 00:55:06.868 - they're meant to go together for. Now, at the end of the 19th century and into the 20th then, certain 00:55:06.868 --> 00:55:13.001 - philosophers, and very importantly, I think here in Nietzsche, criticized what they regarded as these 00:55:13.001 --> 00:55:15.166 - overly intellectualized accounts of 00:55:15.298 --> 00:55:22.070 - of beauty, understandings of beauty. And they returned in part to people like Plato and an interest 00:55:22.070 --> 00:55:29.248 - in the eroticism of beauty. Again, the sort of thing that Imre brought up and connected it with desiring, 00:55:29.248 --> 00:55:36.290 - falling in love with. And that sort of freed up another space for values besides beauty being important 00:55:36.290 --> 00:55:43.197 - in the experience of art, being aesthetically important. Expressions of emotion, for example, whether 00:55:43.197 --> 00:55:44.958 - they're beautiful or not. 00:55:45.186 --> 00:55:53.560 - perhaps moral values, perhaps political values, and certainly ideas, as Georgia mentioned. I mean, artists 00:55:53.560 --> 00:56:01.621 - became interested in expressing ideas, not just presenting beauty. I didn't mean not just. Instead of, 00:56:01.621 --> 00:56:05.534 - or at that moment, or truth, as Howard mentioned. 00:56:05.762 --> 00:56:11.612 - In fact, there were then lots of theories of art that just kind of left out beauty altogether, that 00:56:11.612 --> 00:56:17.521 - art was aiming at other kinds of things, like metaphysical truth. So how could attribution of beauty 00:56:17.521 --> 00:56:23.663 - be a criticism? Well, if you're in this frame of mind or at that historical moment, there could be other 00:56:23.663 --> 00:56:29.630 - aims that you take art to have that you take at that moment to be more important, or you think you've 00:56:29.630 --> 00:56:33.374 - got a theory for all time that makes other aims more important. 00:56:33.602 --> 00:56:40.316 - I think one of the things that the panel suggests is that these things do shift over time. There are 00:56:40.316 --> 00:56:47.096 - various emphases that artists might want to have for various reasons, not unrelated to the history of 00:56:47.096 --> 00:56:53.810 - their art up to that moment. And that's why at certain times, I do think, beauty falls out as one of 00:56:53.810 --> 00:57:00.657 - the aims of art. But I think it's coming back. This is going to be a devil's advocate kind of comment. 00:57:00.657 --> 00:57:03.582 - And I'm going to raise the issue of critics 00:57:04.258 --> 00:57:12.351 - Nobody's favorite who's in the art or any kind of art. But what Emory was talking about, about new genres 00:57:12.351 --> 00:57:20.063 - basically, challenge old paradigms and old expectations and old assumptions. And so people object to 00:57:20.063 --> 00:57:27.774 - that because they're not familiar with it. Is it the critic's role then to try to educate audiences? 00:57:28.034 --> 00:57:37.459 - And what Karen was talking about when she was talking about Hume and the disinterested expert, perhaps 00:57:37.459 --> 00:57:46.244 - the critics, played that role as well. I'll just throw that out. May I? As a performing artist, 00:57:46.244 --> 00:57:54.846 - you are also. But I was thinking about that because I was just thinking the disinterested who 00:57:55.074 --> 00:58:05.826 - criticizes it from outside. I mean, just think about Hans Lick who was a great fan of Brahms and the 00:58:05.826 --> 00:58:16.685 - total contrary of Wagner and they really didn't like it. So I believe that the person who thinks that 00:58:16.685 --> 00:58:24.350 - he, she is outside of it and just criticizes it per se without emotion, 00:58:24.738 --> 00:58:34.997 - so to say, can be just as long and can miss the goal just as well as somebody who just purely emotionally 00:58:34.997 --> 00:58:44.676 - comes. So which is the better? I don't think we can decide that approach, beauty, art in altogether 00:58:44.676 --> 00:58:51.838 - from the more emotional point of view or we want to approach it more from 00:58:52.162 --> 00:59:00.874 - Clearly, I am just believing that these are the rules to find something beautiful, to find something 00:59:00.874 --> 00:59:09.500 - good. Music, art, and so on can be good without being beautiful or vice versa. Love beautiful which 00:59:09.500 --> 00:59:18.298 - is not good. Anyway, which is the correct? Let's hear it from the knowledgeable lady. The involved or 00:59:18.298 --> 00:59:19.678 - the uninvolved? 00:59:22.402 --> 00:59:31.326 - I just want to say that critics play a really important role, particularly for forms of art or art expression 00:59:31.326 --> 00:59:39.195 - that's not language-based. Whether it's a historian or a critic, they're trying to use language, 00:59:39.195 --> 00:59:48.606 - which is, for all of us, our primary means of communication. I think it's really important to have critics, whether 00:59:49.698 --> 00:59:58.822 - They're constantly evaluating or judging, but it really adds to the discourse. I referred to Duchamp 00:59:58.822 --> 01:00:08.398 - early on, and hopefully it didn't sound that I don't revere him, because I do. He just had a major impact 01:00:08.398 --> 01:00:17.884 - in terms of this emphasis on idea over the visual. Duchamp talked about the creative act, which involved 01:00:17.884 --> 01:00:18.878 - the artist 01:00:19.490 --> 01:00:28.551 - the audience and the object. And that's really about how that interaction is so critical to the aesthetic 01:00:28.551 --> 01:00:37.697 - experience. It's the tree falling in the forest. So it's that interaction that's really key. But something 01:00:37.697 --> 01:00:46.843 - else that critics do, I talk about this language, they put things in a language, a verbal linear language. 01:00:46.843 --> 01:00:48.638 - A lot of art making, 01:00:48.770 --> 01:00:56.723 - is more phenomena. If I could say the word phenomena, whatever that word is, I'm sure Karen can say 01:00:56.723 --> 01:01:04.836 - it, I can't say it, but it's phenomena and it's more holistic than language, which tends to be linear 01:01:04.836 --> 01:01:12.948 - thinking. Just listening to people talk about it, it's this idea that there are parts just like there 01:01:12.948 --> 01:01:16.766 - are sounds that make words and that those parts 01:01:17.154 --> 01:01:25.041 - have to be put together to make words, and then they have to be put together in larger relationships 01:01:25.041 --> 01:01:33.396 - to make sentences, then to make paragraphs. Well, the same kinds of things are going on in visual formats, 01:01:33.396 --> 01:01:41.439 - whether it's a line or plain color, or whether it's movement in Baryshnikov. It's a language that has, 01:01:41.439 --> 01:01:46.046 - to some degree, moved toward, maybe it doesn't have rules, 01:01:46.626 --> 01:01:53.033 - some of the things that these principles that we've talked about or we've alluded to, whether 01:01:53.033 --> 01:02:00.054 - it's compositional balance in whatever form, whether it's visual or sound, that these are how we judge 01:02:00.054 --> 01:02:06.870 - as artists, as performers, whether what we've done is complete, that has that idea of it's meant to 01:02:06.870 --> 01:02:13.822 - be, that things that are in there aren't superfluous. It's meant to be there. There's a sense of fit. 01:02:14.594 --> 01:02:23.769 - a sense of wholeness in the composition. Exactly, and the wholeness of a composition, the shape of it. 01:02:23.769 --> 01:02:32.587 - If you are in the business, let's say, in music business, there is a form, there is a sonata form, 01:02:32.587 --> 01:02:41.940 - let's say, you know it. The person who listens to it feels the form, though doesn't know it. And I think 01:02:41.940 --> 01:02:43.454 - that's why form, 01:02:43.586 --> 01:02:51.494 - is a very important and crucial element of art because even if you don't realize that it's there, if 01:02:51.494 --> 01:02:59.403 - it is there, you understand the feeling of it. It's just you feel that there is a shape to it or you 01:02:59.403 --> 01:03:04.414 - feel that there is no shape to it. I think it's very important. 01:03:13.218 --> 01:03:21.760 - Well, I'm struck by the it's very important line. I think that's why, among other things, but it's one 01:03:21.760 --> 01:03:30.220 - of the reasons why all of these folks, once they got into this idea that the experience of beauty was 01:03:30.220 --> 01:03:32.542 - a subjective thing, were so 01:03:33.410 --> 01:03:39.553 - keen on finding some ways of restoring the idea of a standard. Because they did want to say that some 01:03:39.553 --> 01:03:45.757 - things were more important than others. Some things were better than others. They didn't want to leave 01:03:45.757 --> 01:03:51.900 - art in the position of, say, hors d'oeuvres, where one might say, well, I like green olives. You like 01:03:51.900 --> 01:03:58.163 - black ones. I mean, there's no disputing the taste. Who really cares? But with respect to certain works 01:03:58.163 --> 01:04:03.102 - of art, people do become passionate. And you're quite right, I think, that people 01:04:03.266 --> 01:04:10.243 - Critics and philosophers often come up with theories about what is crucial to art based on the art they're 01:04:10.243 --> 01:04:17.023 - responding to, the ones that they already love. I think that one of the distinctions between art, which 01:04:17.023 --> 01:04:23.674 - is for nothing except itself, and I'm going to get into trouble here, figure skating or gymnastics or 01:04:23.674 --> 01:04:30.846 - things like that, which are judged, and they're judged on the basis of points for particular kinds of things. 01:04:31.202 --> 01:04:39.169 - Someone in one of my classes said, well, why can't you have a point system for ballet? And it just chilled 01:04:39.169 --> 01:04:46.987 - my blood to think about that, because then you're breaking things, you're ruining the sense of the whole 01:04:46.987 --> 01:04:54.730 - of the work, actually, and you're coming to look at it bit by bit by bit, which is not the way in which 01:04:54.730 --> 01:04:58.974 - most of us appreciate or fall in love with art, I think. 01:05:02.594 --> 01:05:09.682 - Okay, I'm going to... We've reduced the time where they can talk. Yeah, we have. It's safe enough. We 01:05:09.682 --> 01:05:16.770 - can invite your questions and comments, and there are two microphones, one on either side. Or you can 01:05:16.770 --> 01:05:23.997 - probably just, if you have a voice like Emory, you can probably just sit there and say it. Yes? We just 01:05:23.997 --> 01:05:31.294 - saw two slides. We saw a recording and a videotape, and a lot of children watch television all the time. 01:05:31.682 --> 01:05:39.763 - And children listen to recordings of music all the time. What effect do you think this is going to have 01:05:39.763 --> 01:05:47.767 - on people experiencing beauty when they're really seeing facsimiles? We didn't see art up here. We saw 01:05:47.767 --> 01:05:55.615 - something that was really unattractively lighted and way too big for us to experience. What are your 01:05:55.615 --> 01:06:00.510 - thoughts along these lines? I might also add that we have just 01:06:00.738 --> 01:06:10.530 - We have just set up a new informatics school which promises to do more of this for us. I don't think 01:06:10.530 --> 01:06:20.226 - it's all that helpful, frankly. I originally brought a DVD of a Bergman film, a section that I find 01:06:20.226 --> 01:06:29.630 - especially beautiful. I finally, since I wanted to confine my remarks mainly to theater, did not 01:06:30.370 --> 01:06:39.131 - did not show it because that's not theater, it's film, even though Bergman is known in his own country 01:06:39.131 --> 01:06:48.063 - more for his theater work than his film work. The only way you can experience theater is the live event. 01:06:48.063 --> 01:06:56.739 - As soon as it is filmed, it is not theater, it is something else. I think a lot of people come to the 01:06:56.739 --> 01:06:58.270 - theater expecting 01:06:58.818 --> 01:07:07.947 - an experience like film or TV, and it's not. If they keep coming, I think we can get them hooked. I 01:07:07.947 --> 01:07:17.076 - wish we could get more young people into the theater, and we're constantly trying to see how we can 01:07:17.076 --> 01:07:26.205 - do that. One of my colleagues had recommended that I actually bring masks. There are several people 01:07:26.205 --> 01:07:28.670 - in the School of Fine Arts 01:07:28.866 --> 01:07:38.567 - And I decided that it was too big, this room, and I just didn't think people can see it. But I also 01:07:38.567 --> 01:07:48.754 - think that this is a format that is very language-oriented. I was thinking earlier about how interacting 01:07:48.754 --> 01:07:56.030 - with art is a very sensory way of knowing, and it's a body way of knowing. 01:07:56.482 --> 01:08:05.926 - We, yes, we're looking at facsimiles, but I think for this format, this is the kind of things that we're 01:08:05.926 --> 01:08:14.920 - going to be using. Fortunately, this is gonna be followed by an exhibition, a gallery, where people 01:08:14.920 --> 01:08:24.094 - can physically sense the work. So they'll be reflecting and sensing with their body, with their eyes, 01:08:24.418 --> 01:08:33.436 - And we're using the format of the eyes to talk to all the senses as a visual artist. And you think about 01:08:33.436 --> 01:08:42.367 - how different forms of art maybe uses one or two senses to essentially talk to the entire person, which 01:08:42.367 --> 01:08:50.526 - is very physical. We're physical beings. I very much agree, and I very much agree with Howard. 01:08:50.882 --> 01:08:59.209 - I think the media should be just an appetizer, so to say, for the real thing. The real theater experience, 01:08:59.209 --> 01:09:07.304 - the real concert experience, the real opera experience, the real experience, if you go and see the real 01:09:07.304 --> 01:09:15.164 - Sistine Chapel in Rome, you will never be able to, you can see it on TV, you can see it on whatever, 01:09:15.164 --> 01:09:19.678 - but when you walk into that room, I never forget my first 01:09:20.162 --> 01:09:27.409 - and I just almost fell on my knees. The real experience is never comparable with the way it's being 01:09:27.409 --> 01:09:34.873 - shown in the media. I never forget a wonderful experience I had years ago in Washington. We were there 01:09:34.873 --> 01:09:42.192 - with the City Opera and I went to an opera performance of Turandot. In the intermission at that time 01:09:42.192 --> 01:09:48.062 - I was still a sinful smoker. Somebody came up to me and said, do you like opera? 01:09:48.674 --> 01:09:57.775 - I said, well, it's a living. He says, I just fell in love with it. I saw on TV La Boheme, and I decided 01:09:57.775 --> 01:10:06.525 - the next time wherever I can see live opera, I'm going to go there. Now, if media does that, that's 01:10:06.525 --> 01:10:15.626 - the most wonderful thing they can do for us. Let me just give you one tiny story. I taught anthropology 01:10:15.626 --> 01:10:17.726 - of dance last semester, 01:10:17.954 --> 01:10:24.843 - many of the students had never been to a concert. And in the class, I used a lot of videos. But their 01:10:24.843 --> 01:10:31.732 - one requirement of the class was to go to a performance and to review it. And there were four or five 01:10:31.732 --> 01:10:38.485 - students in the class who had never been to a ballet, never been to a dance performance at all, and 01:10:38.485 --> 01:10:45.239 - went and fell in love with it. So I think using media in that way to give people a sense of what is 01:10:45.239 --> 01:10:46.590 - possible to look at 01:10:46.786 --> 01:10:55.864 - probably very important. Also I think in terms of dance, even more than music, it's such an ephemeral 01:10:55.864 --> 01:11:04.763 - art that the performance then is gone and it's never the same again. And so for purposes of history 01:11:04.763 --> 01:11:13.930 - and kind of having a record of what a particular thing looked like, media is probably very useful. One 01:11:13.930 --> 01:11:15.710 - last question. Yes? 01:11:16.098 --> 01:11:32.937 - I saw the videotape that Anya showed earlier and she physically reacted to a certain thing that Baryshnikov 01:11:32.937 --> 01:11:45.566 - did and she just turned to me and said, you have no idea how difficult that was. 01:11:46.114 --> 01:11:55.047 - So then we started talking about how practice informs appreciation. I began as an actor, and I was often 01:11:55.047 --> 01:12:03.725 - asked what I liked about it. And I couldn't verbalize it much any more than it's a feeling I get when 01:12:03.725 --> 01:12:12.147 - I act that I can't get anywhere else. And on a good night, it's glorious. On a bad night, less so. 01:12:12.147 --> 01:12:15.550 - But yes, it's absolutely true, I think. 01:12:15.714 --> 01:12:21.368 - Like a colleague of ours said, in a lifetime, maybe four or five times in a lifetime, God is sitting 01:12:21.368 --> 01:12:26.462 - in the audience. And if you have those evenings, then it's the most incredible experience. 01:13:41.378 --> 01:13:47.907 - That's a very good point, Dale, and I think that it's hard when you take a little snippet out of a whole 01:13:47.907 --> 01:13:54.436 - piece. I think if you saw the whole piece, then you would have a sense of the whole and where everything 01:13:54.436 --> 01:14:00.779 - fit, and you would be able to make judgments that you can't make when you see just a very small piece 01:14:00.779 --> 01:14:06.686 - of it. So on top of it being not the real thing, it's also just a piece of not the real thing. 01:14:07.202 --> 01:14:17.946 - I'm going to turn this, thank you very much for being a wonderful audience and turn it over to Heidi. 01:14:17.946 --> 01:14:28.479 - Heidi Gilt. Heidi Gilt. Thanks Anya and thank you to the panelists. We've been talking about beauty 01:14:28.479 --> 01:14:35.326 - and the aspects of beauty and the importance of it in our lives. 01:14:36.162 --> 01:14:43.399 - And I'm here to talk about someone who brought that into our lives and continues to do so even though 01:14:43.399 --> 01:14:50.494 - she's no longer here. And I'm talking about Sally Hope Davis, who passed away this summer. Sally is 01:14:50.494 --> 01:14:57.873 - one of those remarkable people whose legacy is going to last for generations. She married Henry Radford 01:14:57.873 --> 01:15:04.542 - Hope in 1944, three years after he became the director of the school that now bears his name. 01:15:05.570 --> 01:15:12.163 - He and Henry were definitely united in a personal passion, but they also had a passion for the arts 01:15:12.163 --> 01:15:18.822 - and for collecting and for friendships with artists, and it shaped their entire lives. In the summer 01:15:18.822 --> 01:15:25.678 - of 1944, that's the summer in which they were married, they purchased Picasso's L'Atelier or the Studio 01:15:25.678 --> 01:15:32.337 - of 1936. It's the final and most ambitious painting inspired by Picasso's liaison with Marie Therese 01:15:32.337 --> 01:15:34.974 - Walters. And Sally bought that painting 01:15:35.490 --> 01:15:42.577 - She preferred it to the mink coat that Henry suggested she might want to buy. That same summer, she 01:15:42.577 --> 01:15:50.018 - and Henry purchased a brock entitled Napkin Ring, a major oil of 1929. And in 1947, as the war was going 01:15:50.018 --> 01:15:57.388 - on, they had fallen in love with the work of Henry Moore and purchased his reclining nude directly from 01:15:57.388 --> 01:15:58.238 - the artist. 01:15:58.786 --> 01:16:05.528 - Over the years of their collecting, they purchased many other important works, a Marino Marini, Marcent 01:16:05.528 --> 01:16:12.140 - Hartley, Deran, Dubuffet, a wonderful 18th century work by the Italian Solamena. All of these are now 01:16:12.140 --> 01:16:18.946 - and many more cornerstones of the art museum's collections. The Hopes also befriended artists, including 01:16:18.946 --> 01:16:25.558 - Max Beckmann. And in 1947, Henry tried to lure him to Bloomington with a job. And I think he was here 01:16:25.558 --> 01:16:28.670 - briefly, decided ultimately to go to St. Louis. 01:16:29.186 --> 01:16:35.871 - But they loved Beckman, purchased his work, and ultimately commissioned what would become Beckman's 01:16:35.871 --> 01:16:42.556 - last portrait. It was done of the Hope family. It was completed in the summer of 1950, delivered to 01:16:42.556 --> 01:16:49.374 - the Hope family in the fall, and Beckman died just a few months later in December of that year, 1950. 01:16:49.374 --> 01:16:56.126 - Many of you in this room still remember Henry Hope's dramatic demise in the atrium of our new museum 01:16:56.450 --> 01:17:03.543 - on the occasion of the dedication of the Tony Rosenthal sculpture in his honor in the fall of 1989. 01:17:03.543 --> 01:17:10.636 - After 45 years of marriage, focused around a thriving family, her husband, and a love of art, Sally 01:17:10.636 --> 01:17:17.729 - became a widow. Less than a year later, in fact the following spring, Sally returned to Bloomington 01:17:17.729 --> 01:17:24.254 - as a new bride, bringing her childhood sweetheart with her, Charles Davis, as she dedicated 01:17:24.482 --> 01:17:30.252 - the gift of a my old sculpture, Ile de France, in Henry's memory. The time that Sally came to visit, 01:17:30.252 --> 01:17:36.250 - she took me aside and she said, you know, a lot of people are probably going to say I should have waited 01:17:36.250 --> 01:17:41.962 - a year, but at my age, you can't afford to wait. Every spring after that, Sally and Charlie made an 01:17:41.962 --> 01:17:47.732 - annual pilgrimage from Fort Lauderdale, Florida, which was their winter home, to Michigan, which was 01:17:47.732 --> 01:17:51.102 - their summer home. And they always stopped in Bloomington. 01:17:51.586 --> 01:17:57.425 - Sally would always come to see us and sit with her art collection. She would simply ask for the chance 01:17:57.425 --> 01:18:03.151 - to sit. And she mainly sat on the bench where the Stuart Davis and the Marino Marini and the Picasso 01:18:03.151 --> 01:18:08.990 - and the Marston Hartley and the Dubuffet just surrounded her. In one of those visits, Sally and I were 01:18:08.990 --> 01:18:14.716 - walking together through the museum and I just sort of gently asked her if she liked Michigan, where 01:18:14.716 --> 01:18:20.158 - Charlie had his summer home, as much as she liked the Cape, where she and Henry had a compound. 01:18:20.770 --> 01:18:28.395 - me aside and she said, my next husband is not going to have his own summer home. For the next few years, 01:18:28.395 --> 01:18:35.947 - for the past few years, this elegant and beautiful woman began to slow down. She didn't make her annual 01:18:35.947 --> 01:18:43.499 - visit last summer, and towards its close, Honey McLennan Dale, one of her daughters, telephoned me with 01:18:43.499 --> 01:18:46.622 - the sad news. Sally's ashes were scattered 01:18:47.138 --> 01:18:54.657 - at her beloved cape in a family ceremony. Many of us here said flowers and condolences and remembered 01:18:54.657 --> 01:19:02.324 - a lady of elegance, style, grace, and a love of art, as well as a sharp sense of humor. The family also 01:19:02.324 --> 01:19:10.286 - wanted to remember her, and they chose a wonderful gift. It takes the form of Max Beckmann's last portrait, 01:19:10.286 --> 01:19:16.478 - the portrait of the Hope family, and at its heart stands Sally, blonde and radiant, 01:19:17.026 --> 01:19:23.906 - at the height of her strength and beauty. This painting will be the focus of an exhibition in our hexagon 01:19:23.906 --> 01:19:30.397 - gallery being organized by Jenny McComas, a graduate student in the Hope School. It will be on view 01:19:30.397 --> 01:19:37.018 - from April 2nd to May 11th. Jenny is gathering recollections about the portrait from Sally's sons and 01:19:37.018 --> 01:19:44.158 - daughters, all of whom are in the painting, and these personal reminiscences together with drawings and other 01:19:44.418 --> 01:19:50.923 - Diary entries and other information we can glean will be part of this focus exhibition. It will be a 01:19:50.923 --> 01:19:57.428 - gem and it will be a fitting tribute to Sally. But mostly I stand here now because we are dedicating 01:19:57.428 --> 01:20:03.868 - the whole semester's worth of exhibitions to Sally's memory because she loved art and she supported 01:20:03.868 --> 01:20:10.631 - the works of her contemporaries and she loved the Hope School. They always wanted to know what was going 01:20:10.631 --> 01:20:14.302 - on with the studio faculty. They believed wholeheartedly 01:20:14.594 --> 01:20:21.177 - in the importance of visual creativity, and they set the high standards which the Hope School has maintained 01:20:21.177 --> 01:20:27.578 - for decades with its top ranking among art schools. One of the school's great strengths is its commitment 01:20:27.578 --> 01:20:33.799 - to tradition while always being open to innovation. It's a very, very tough balance, easily tipped too 01:20:33.799 --> 01:20:39.959 - far in either direction, but that balance is perfectly maintained here. Henry and Sally both believed 01:20:39.959 --> 01:20:44.126 - in the fundamental issues of seeing, learning, and training the eye. 01:20:44.354 --> 01:20:50.957 - and both of them pursued this with a passion for the art that was contemporary in their own day. The 01:20:50.957 --> 01:20:57.560 - strength of their vision and taste is borne out by the masterpieces which they've acquired and which 01:20:57.560 --> 01:21:04.162 - remain the stars of our museum. Sally gave us her treasures so that faculty could teach and students 01:21:04.162 --> 01:21:10.046 - could learn from the best. Sally would have absolutely admired the outstanding exhibition 01:21:10.626 --> 01:21:16.477 - put together by the creative faculty of the Hope School of Fine Arts this year. All the shows, 01:21:16.477 --> 01:21:22.698 - as I said, both faculty in MFA and the Beckman Show are dedicated to her memory and to remind us all 01:21:22.698 --> 01:21:28.981 - of Sally's fundamental importance to Indiana University. I thank the Hope family for their generosity 01:21:28.981 --> 01:21:35.201 - and I thank Janet Kennedy and Georgia Strange for partnering with us on this important collaboration 01:21:35.201 --> 01:21:36.926 - to honor Sally in this way. 01:21:37.474 --> 01:21:44.302 - And I especially thank the Hope School of Fine Arts faculty for their unstinting hard work and hard-won 01:21:44.302 --> 01:21:50.932 - achievements in their creative endeavors. On the occasion of Arts Week, which is the opening part of 01:21:50.932 --> 01:21:57.497 - the celebration of the biennial Hope faculty exhibition, our dedication of this exhibition to Sally 01:21:57.497 --> 01:22:01.502 - Hope is a truly fitting tribute. Thank you all so very much. 01:22:15.554 --> 01:22:23.075 - Imre, Karen, Howard, Georgia, and Anya, I want to thank you again. And I'm sure the audience would like 01:22:23.075 --> 01:22:30.740 - to. Thank you very much. I feel like one of those little old ladies that can just see over the dashboard. 01:22:30.740 --> 01:22:38.043 - But yeah, I'll grow for next year, perhaps. Anyway, please, I encourage you to enjoy one of the next 01:22:38.043 --> 01:22:44.190 - 56 events that are going on in the town and gown celebration here, the welcome table 01:22:44.290 --> 01:22:50.551 - tomorrow night is one of the most unusual creations Malcolm Dalglish and Lotus have produced for Arts 01:22:50.551 --> 01:22:56.751 - Week. There is a beautiful limestone table. There will be a fire cooking pies and a one hour theater 01:22:56.751 --> 01:23:03.074 - production with music and artists from the community and Indiana University never been seen before and 01:23:03.074 --> 01:23:09.397 - never to be seen again. So it's your one opportunity. And if you've had not enough of these videos and 01:23:09.397 --> 01:23:10.686 - enticements tonight, 01:23:10.786 --> 01:23:17.270 - tomorrow morning at 10 o'clock, Anya Royce is giving a talk about the superstars of the performing arts. 01:23:17.270 --> 01:23:23.940 - And tonight, we didn't make that distinction between creative and recreative arts, but one of my colleagues 01:23:23.940 --> 01:23:30.301 - has a nice saying in the School of Music. He says, in the morning, as we're teaching, we pretend we're 01:23:30.301 --> 01:23:36.723 - God. And in the evening when we perform, we prove we're not. So anyway, please join us next door. There 01:23:36.723 --> 01:23:39.070 - are wonderful treasures awaiting you. 01:23:39.234 --> 01:23:43.838 - So thank you, Heidi, and everyone else, Tom, Jerry, and Sharon. Thank you.