ArtScene (The)

              IPFW's fine arts department. above. will move to the main campus.
Farewell, Berry Street
By John M. Morris
In fall 1991, IPFW
Department of Fine Arts
students will take classes in
the new fine arts building at
the north end of the campus.
For fine arts faculty, this
change is the realization of
long-held dreams. The new
facility will offer state-of-the­art
equipment, from kilns to
computers.
the back of C Building that
sporadically ranged in tone
from beige to mahogany. The
same vending machines that
featured Choc-cola and coke in
little glass bottles. I remember
seeing the first nude model I
ever drew; she had a blue,
five-sided star tattooed
around her left nipple. I recall
listening to steam radiators
hiss throughout winter.
home. In the middle of ultra­conservative
Fort Wayne, the
art school was a little patch of
bohemia. I learned more there
than the rudiments of
perpective or contour shading,
how to glaze a pot, or make a
silkscreen. I learned people
really could march to the beat
of a different drum and
survive, even flourish.
Memory is subjective. What
I recall was a schoolboy's lark.
For others-students who
spent several years there
receiving advanced fine arts
training, or the faculty who
strove to balance the
challenges of teaching and
creating art-the memories
will differ. Looking at the
three Berry Street buildings, so
long neighborhood fixtures,
one senses that this is a place
of a thousand stories (not to be
attempted here). With advance
apologies to those
inadvertently omitted, a brief
history of the art school
follows.
The Fort Wayne Art School
and Museum began in 1888
when Mrs. Robert C. Bell, wife
of a prominent lawyer,
persuaded Muncie-born and
Munich-trained painter J. Ottis
Adams to travel to Fort Wayne
once weekly to give lessons.
Although he soon thereafter
wed Mrs. Bell's niece, Miss
Winifred Brady, he was unable
Continued on page 7
Volume 3, Number 4
IPFW School of Fine and
Performing Arts
Aprll1991
the Art Scene is the newsletter
of the School of Fine and
Performing Arts at Indiana
University-Purdue University
at Fort Wayne.
What's Inside?
Speaking of the Dean
Comments From the
Community
SF&PA Calendar
On Stage
3
2
2
2
Workshops & Auditions 4
Special Events
On Screen
Music & Dance
Faculty Activities
On Exhibit
4,6
6
6, 10
10
12,14
School of Fine
& Performing
Arts
481-6977
481-6880, FAX
Abe J. Bassett, Dean
Suzanne Echtenkamp
Administrative Secretary
481-6025
John M. Morris
Assistant to the Dean
the Art Scene Editor
481-6714
James D. Ator, Chair
Department of Music
481-6705
Leslie P. Motz, Acting Chair
Department of Fine Arts
481-6551
Steven T. Sarra tore, Chair
Department of Theatre
481-6714
Suzuki Music Program
(3 and up)
Prep Music Program
(ages 8 and up)
481-6555 PIT Box Office
ArtScene Staff: Marci Copsey,
Asst. Editor; Andrea Moore,
Editorial Asst.
The prospect of moving to a
new building is an
indisputably happy one--a
cause for celebration-yet if a
shred of sentiment exists
among those concerned, this
event has a bittersweet
element. After nearly 70 years
of service, IPFW's Berry Street
campus, the three converted
residential structures and
assorted outbuildings that
made up the former Fort
Wayne Art School, will be
vacated.
On hot spring and summer
days the classrooms were
stifling, even with all the
windows open. The teacher
might lead the class outdoors
to stroll alleys of the West
Central neighborhood to find
interesting scenes to sketch.
Mom was a Saturday school
instructor. On nice days we'd
hop into Emily Cook's car (she
was the school secretary and
unofficial guidance counselor
for more than two decades)
and drive over to lindenwood
Cemetery for a picnic lunch.
1991-92 PIT and Faculty Artist Season Subscription, pages 15-16
Sometimes memories take
the forms of names, numbers,
dates; more often they are
related to the senses. From
grades 2-12, I attended
Saturday classes at the art
school (and although Indiana
University absorbed the
institution in the late '70s, to
me and many others the Berry
Street Campus remains the
"art school"). I remember the
smells: a mixture of paint,
falling plaster, coffee, nicotine
and hot cocoa-hot cocoa
from the vending machines in
It seemed the place for
spontaneity, the unexpected,
even the slightly daring.
Teachers smoked cigarettes in
class, but at least one teacher
smoked a corn-cob pipe for a
spell to kick cigarettes (it
worked). It was where I first
saw hippies: boys with long
hair and girls with granny
glasses and dresses, and a
herd of free-ranging cats
whose progeny still make the
Berry Street campus their
School of Fine and Performing Arts
Indiana University-Purdue University
at Fort Wayne
2101 Coliseum Boulevard East
Fort Wayne, IN 46805-1499
NONPROFIT ORG.
U.S. POSTAGE
PAID
PERMIT NO. 92
FORT WAYNE, IN
46805
School of Fine and
Performing Arts
Calendar
March
4-29 Student Competitive Show,
Fine Arts Auditorium
April
7 Faculty Artist Series: cellist
Margery A. Vlswat. Neff
Recital Hall, 2:30p.m.,
481-6714
7 University Singers. Neff
Recital Hall. 8 p.m., 481-6714
12-13 The Tragical History of Doctor
Faustus by Christopher
Marlowe, PIT, also April 18-20.
25-27 .. 481-6555
14 Symphonic Winds. Neff
Recital Hall. 2:30 p.m..
481-6714
19 Music Therapy Clinic Concert
Neff Recital Hall. 7 p .m ..
481-6714
19 Fine Arts Department Senior
Show to May 7. Chamber of
Commerce Bldg., 402 West
Wayne St.. Opening
Reception April20. 6-9 p.m.
For more. cali481-6705.
21 Faculty Artist Series: pianists
Joyanne Outland and Mary
Rich, Neff Recital Hall,
2:30 p .m .. 481-6714
21 Music Therapy Open House
Classroom-Medical Building.
Room G 16. 4-5:30 p .m .•
481-6714
22 IPFW Community Orchestra,
Neff Recital Hall. 8 p .m.,
481 -67 14
24 Lecture by Author/Scholar
Martin Esslin: ~The Absurd and
After· and other modern
theatre movements,
7-9 p .m .. Neff Recital Hall; for
more. call481-6977.
25 Jazz Ensemble. Neff Recital
Hall, 8 p.m .• 481-6714
On Stage
April
5.6 .12 The Hightower Mystery
13,19.20 Arena Dinner Theatre
box office: 493-1384.
27,28 Sugar Water Sunday
Sat. 11 a .m .• 2 p.m.
Sun. 2 and 4 p .m .. Fort
Wayne Youtheatre, box
office: 422-6900.
12,13,18 The Trag/co/ History
19,20.25 of Dr. Faustus, PIT,
26:2.7 box office: 481-6555.
May
3-19 Princess Ida. weekends
First Presbyterian
Theatre, box office:
422-6329.
31 Steel Magnolias, through
June 9, CMc Theatre,
Performing Arts Center
box office: 422-864 1.
July
11-13 Annie, Center stage
Theatre, Paul
Harding H.S .. Wayne
Trace. For more
Information. call Jim
Schmidt at 632-5392.
Headwaters On Exhibit
In 1988, a jury panel of
internationally renowned
architects, engineers, city
planners and critics bestowed
on archi teet Eric Kuhne the
Progressive Architecture Award
for his Head waters Park
designs. Although the park
has not yet been developed, a
special exhibit at the Fort
Wayne Museum of Art
through June 16 displays
Kuhne's drawings and
models, and also documents
the proposals for developing
such a park throughout the
past century.
The proposed Head waters
Park would consist of the
present-day Lawton Park;
Historic Fort Wayne; the
Three Rivers Filtration Plant;
the 'Thumb," a peninsula-like
area south of the St. Marys
River that includes Calhoun,
Clinton, and Barr Streets
north of Superior Street in the
vicinity of the Allen County
Jail and the Armory; and
connecting greenway areas
that include the St. Marys, St.
Joseph, and Maumee Rivers
and Spy Run Creek.
The concept for a mod ern
Headwaters Park was
proposed in the early 1980s.
During that decade it was
hoped that the proposed park
might be a state park, but the
state legislature was not
prepared to fully fund a
project of that magnitude.
Some of the features that have
been proposed include a
frontier village adjacent to the
fort, a ball park, a municipal
boathouse, a 280-foot
fountain, European- style
gardens with gravel
walkways, boxwood hedges
and floral displays, and
Science Central, an adaptive
use of the City Light power
plant that would house
educational exhibits. From its
inception, the project's design
has incorporated erosion and
flood control elements.
The exhibition also includes
drawings and plans for
proposed uses for this area of
Fort Wayne from as far back
as 1871. Headwaters Park:
Drawings and Models has been
made possible through the
generous support of The
Essex Group, Inc.
2
Currently, the City of Fort
Wayn~ is engaged in a project .
whichshows lio'Vrealistic •... ·
civic improvement _can be
promoted on a somewhat
grand~r ~le. This js the
_H~~w~ters Par~' project,
. which· will transform
d~p~ commercial
properties in a flqooplain int9
. ah urban park that will .. ·• ./
srenically reunite .the city's
one distinctive natural
featuro---the confluence of its .
three river~withits
downtown.
The strategies being used to ·
bring this park to fruition
show how the Art of Urban
Design can be pursued in the
context of practical politics
and economic realities. First,
specific goals have been .
matched to their respective
supporters: state government
is willing to support flood .
control measures. put not park
development; local private ,. ·
foundations and corporations
are eager to support a park
but not to pay for:Jlood
control, which they see as a
· publi~ sector resp<?nsibili ty. ·
The Headwaters Park
Cor:u~,i~sion, the}I\dependent
but pub lid y accoi.u\table .... , .
authority which is responsible
forth~ park's development, is
. perfectly situat~ t~ guarantee
. to ead\'that their funds will
go only to their specifically
designated uses.
Seco!!dly# a gra:·n~ vision ·
has been broken down into
. relativ_~ly small~ ~egotiable
elements. Altho~gh a
rom~itmentwas ~ade to .· ...
preserVe the hope for fulfilling
the grand, 250,.a~~ ·
Prcigfe$sivt! Architec,ture
Award~winning design in the
long term, for the next five
years the forus is on
development of just 25 of . 0: ·
those acres. The third strategy
was to begin with the most
~st effective, and therefore ·
most ~oliticilll y palatable;.
. element. The sc>~lled
"Thumb" surrounded by the
St. ~.rys River on three sides
and bol)iering th~; old Arm()ry ·
on tne fourth, was chosen .
because it presented _the
. greate~tneed for flood control
(andJnus stood.;tcH>cst attract
publiq·fi~ con:trol doll~),
woul~ provide the greatest,
dvicitnpact for the dollar, and
cont:tlincd no controversiar
elemehtS. Thus avery saleable
case rould be made both to
state and local governments
and to private se¢tor
supporters that for a moderate
expense the city stands to re~p
extraordinary esthetic and
OCQnoritic benefits; and as a
result~ despitebu.dget
constraints at all levels, it has
strong support and a realistic
pros~ for suc~ss~ ..
H some trend~ represent
vicious cycles of decay,
projcgs such as this one can
engen.~er a self reinforcing · ·
cyde·of hnproveinent the ··.~ '
civic pride this w~n generate .
may in tum enei'gize other
effor,ts.to impr~yc the · ·
livabi~ty of the city. Through
such Steps as theSe# the city
that once took pride in being
11the City that say~ i~self" ·•· ~,
could Become th~ _dtf' that · ·
will take pride in having at its
center one of the county's
really special -ur~n
landscapes. · ·
Drawings for Headwaters Park are on display at the Fort Wayne
Museum of Art to June 16.
Actors 'Break a Leg' and
Fracture the Classics this Summer
By Marci Copsey
Mention the word summer,
and words like "vacation"
and "fun" pop into many
people's minds. But for
Purdue-Indiana Theatre, the
phrase "business as usual"
may be more appropriate. For
many years, PIT has offered
summer audiences a
lighthearted look at classics
such as Shakespeare's As You
Like It, A Midsummer Night's
Dream, and Comedy of Errors.
This summer is no
exception. In August, Larry L.
Life, associate professor of
theatre, will direct Oscar
Wilde's The Importance of
Being Earnest. Life played the
part of Lady Bracknell when
PIT last presented the comedy
in 1982, and he also designed
costumes for it while in
graduate school.
According to Life, many
people consider Wilde's play
to be the "finest example of
corned y of manners ever
written," and he explained
that this is a satiric look at a
society and its lifestyle-in
this case, Victorian society's
notion of what is and what
isn't proper.
Lady Brackriell, the grande
dame of propriety, isn't sure
her daughter's suitor is
suitable, not to mention the
young man's incompre­hensible
refusal to change his
name to Ernest. Mistaken
identities and obscure
lineages add to the farcical
nature of the play.
In accordance with PIT's
philosophy of summer
theatre, this production may
be updated to make it
relevant to modem society.
''In the past," explained Life,
"we've gotten kind of a
reputation for 'fracturing' the
classics in the summer." This
tongue-in- cheek, delightfully
irreverent practice of PIT's
promises a new slant on
Wilde's acerbity, with
Victorian society replaced by
Speaking of the Dean
Giving Makes Growth
Po$.si.ble., Dream~ Redl
by Abe IF!3assett
A stronger and enriched ·. programs in the fu\e arts,
arts arid Cu:ltpral force is 'theatre arts, and ml]Sic will
emerging in }I()rt Wayne fqr to benefit'ifrea .·
thebc~efit f'f ou~fegion. ~t me s~ some
Years ofl'l~nt;ting ~ about to . tne'inspirihg d~.t\liis a~ut
. · y.!~lq majCir.peneij~: " . our benefactorsiil, th(fgreater
Northea~teril Indiana and F~rt Wayne anrimutiio/ with
.lPFW' s School of Fme and you.
Performing f.\rts are seeing "Major gifts" arid pledges.
the~ali2:~tion of long-hoped- of $1,000 OF Il'K)re S~~last .
. for goat~:''l;!t~~indude · June total moretl\an$565,000.
'~clc;o·ma. sps.}r o.e·. ot.•• ·m.i·" ;·<o.·.r.•:.· . ·a ;.·n~.· t.:. ts.·t~.·•a.l ~l. n· oe Art:s.t·" . ~n~s at:e ~$~by th~
" ~l.l tdonlrlrs fpr cctris~~~ne~
.. ·· o~·~at;l~ij~! .~i~ding f~r ·•· " ···t•}l· lal:.ilities·, b~ying~~ ·
consb}tt.tion of the · equipmei1f not
n~w tbe~iTe; and ·· funded ~ftli~state,
establishm.entof and ~~1ishfug or
ne~ a~e ! ,··~ ... increasing
...•.. aug~u~n;.~·::..... sd:to~t? funds
ili-~~ · ~w~~:
stt.Idcmt~ .~ . :.:~, ~tudents~ ··
.. 'Asa.~~~Jt/the A loml
School o,£ Ene and anon~~u$ donor
Perfo~~g·J\rts has made il'
· will be forever substantial
. transformed. Curricular . co!ltribution that W:rif help
devi.!,Joprn~nts of the past few. m~}<e the new thea~ a reality.
ye.ars ~Y~ .peeil equally · Qf the $4.65 millioif tOtal cost,
importallt. The school nea.rly 80 percent comes from
continues to place the highest private sources.
emphasis on the quality of The late Miss Helene
teaching and the productivity Foe'Uinger, a devotee of all the
of our artist-scholars. . arts, and of theatre in
Other dreams are on the particular, long felt that IPFW
verge of coming true. should have an appropriate
Eventually.. if one or more theatre, and she directed her
donors step forward, an art foundation to set aside $3
gallery for student and faculty million for that purpose. The
work, an essential feature for Knight Foundation made a
a collegiate fine arts grant to assist with the
department, will connect the furnishing and equipping of
new theatre and art buildings the theatre. This foundation,
1om ted in a beautiful setting based in Akron, Ohio, often
near the banks of the St. supports educational projects
Joseph RiVer. in dties like Fort Wayne
the country club and yuppie
set.
With a grin, Life
commented that the theatre
receives few negative
reactions from this practice of
"fracturing." However, PIT is
not known for its reluctance
to tackle what Life called
"nonsafe" theatre, but is free
to explore productions that
may be considered
controversial outside a
university setting.
In addition to The
Importance of Being Earnest,
Life will direct Little Mary
Sunshine in Flint, Mich.;
Tintypes at the Black Hills
Playhouse in S. Dak.; and
Hair at the University of
Nevada at Las Vegas.
Audience members who attended the 1982 PIT producHon of Eamesl
will enjoy comparing It to this summer's treatment.
For Life and PIT, summer
fun is a busman's holiday of
theatre, and Fort Wayne
audiences are not unhappy
with this arrangement at all.
Marci Copsey is an IPFW
student and freelance writer who
recently joined the ArtScene
staff as Assistant Editor. In
January, she won first place in
the Critical Competition (theatre
criticism) for the American
College Theatre Festival Region
III, which was conducted at
IPFW and the Grand Wayne
Center. Copsey competed with
other student-critics from
where journalistic ventures of A perpetual endowment,
its founders exist. The rest of by the way, may still be
the theatre funding will come established for a minimum
from IE~ funds. The f1ne gift of $5,000 in memory or in
Arts BU:il~!Jtg, on th~ other honor of someone. The fund
hand, wa$builtWith 99 may name an ann~~ prize
percentgf ~fu,rtds ..• instead of a scholarship~
appropriated by the state Yet scholarship gifts are not
legislatp1oe: , always in the ·form of
Sevefal substantial gifts perpetual endowments.
will help ~den~ finan~ C1ll"rent or operating fund
s¥ies+~C,Plogsterth . scholarship gifts are equally
Foun.~~~~~s~so led~.n vital to the School!Ariotable
· this ~~m~ an enaow(ii \i 'example is the porothy
fund £of~~- $cholatships·(~s _·.. Whitney Memorial
well as eufrent funds for the Scholarship for music
purcha~ ofart library· students. Mr. and Mrs. Robert
mate~~): Eleanor Gold~ni a ' Panish have been consi~tently
f1ort \\'ayt)e artis.t who has .····· . generous in providing funds
lo~g~ ~])o~t edt;tcati.o~~ ••. . for this scholarshiR! Also, the
·· opJx.>rtUhlties in the arts~ has ' · i>~rt Stu~ents JA:~gpe has
:-~£e~:ct~:==n::ott;ons
The late Miss
Helene Foellinger, a
devotee of all the
arts, and of theatre
in particular, long
felt that IPFW
should have an
appropriate theatre,
and she directed
her foundation to
set aside $3 million
for that purpose.
One of the newest endowed
scholarships is that
established by Samuel S. and
Bronnica W. Weinberg in
memory of Mrs. Weinberg's
sister, Gertrude Weigler
Brateman. The fund will aid
degree- ~king students in
any of the. three departments
of the SchooL
3
Without the private · ..
s~pport, the SchOQ! could not
grow and flourish~J?.ven when
J he ~$Clte en)?ys~cO,p~mic
· ;tb,purit.Y, supportf(!B:t~~~·
;; lag~ behind com~}!eity .·
\ n®ds .. Thus we miist
. 'p{~a~ingly tu.t'l! to~ friends, ·
· .alumni, faculty, b~~inesses,
and corporations for
supplemental funds: For
example, mainte~utnce and
replacement of musical
· instruments is an ongQing
need. A concert grand piano
costs $45,000; a sorely needed
lighting system for PIT costs
$50,000. The student and
faculty art gallery will likely
require at least $800,000 for a
worthwhile facility. Some
.• $50,000 in equipment is
necessary to provide
instructional resources for the
Music Therapy Clinic. The
fine arts building will open
lacking $25,000 in equipment
for a color photography
laboratory. ·
I urge you to consider your
ability to make a gift, and to
Wisconsin, nlinois, Michigan,
Ohio ,and Indiana. The judges
cited her astute and incisive
critique of White Boned
Demon, a production from
Rlinois State University. Her
review of White Boned Demon
will be entered in the National
American College Theatre
Festival competition this month
at the Kennedy Center in
Washington, D.C.
talk it over with your friends,
too, in the interest of our
community. There are many
choices according to one's
persq~l interests and .. 4·
priorities. qur students' needs
are particUlarly great for
scholarship help. The School
depends .on scholarship
grants ,to attract and retain
qualitY students. Our local'
and highly qualified st,udeJ1ts
want to attend IPFW, but wet .
lose some of them to o~~er . <• ••
universities at which these ...•. ····'· ...
stud en~ are offered greater
finanpal aid, enabling themto ·
complete their degrees ir\ les~
time. , .
I urge you to
consider your
ability to make a
·gift, and to talk it
over with your
friends, too, in the
interest of our
community.
Th~ form on page 4 will ciid
you i~ :tnaldng a gift this
spring !>efore the 1991 fiscal
year closes on June 30. For · ,
information on special; named
gift opportunities, call me at
481-6977.
Information on planned
gifts, bequests, life insurance,
life income plans, and other
giving vehicles is available at
no cost or obligation through
the mmpus development
office (phone the director at
481-6659).
Thanks to all for their
support; And plan to visit us
in our new quarters soon!
Workshops and
Auditions
IPFW music department auditions
for students who wish to enter
music department programs, will
be held April 13 and June 8. For
more information, call481-6714.
Room on the Organ Bench. a
June 1 W'Orkshop sponsored by the
Fort Wayne chapter of the
American Guild of Organists. Is for
plano students In grade 5 and up
who are Interested In learning
more about the organ. June 1,
9 a .m. -3 p.m. For more
information, call Wayne Peterson,
423-1693 or 456-4038; Mr. Peters at
45lr5612.
Purdue-Indiana Theatre
The Importance of Being Earnest
Auditions scheduled for spring; Call
481-655 1 for information.
Center Stage Theatre
Annie, May 19-20 Paul Harding
High School Wayne Trace, Call Jim
Schmidt at 632-5392.
The following theatre groups
conduct auditions; call for
information.
Civic Theatre
422-8641
First Presbyterian Theatre
422-6329
Fort Wayne Youtheatre
Performing Arts Center
422-6900
The Towns of Harmony Chorus
A four-part harmony singing group
for women. conducts open
auditions every Monday. 6:30-
9:30p.m. at the Tillman Road
Churchof God.3710TIIImanRd.
436-3479.
Summit City Barbershop Chorus
Practices open to public; Auditions
are Mondays, 7:30 p.m .• Simpson
United Methodist Church. 2501
South Harrison st.
Fort Wcyne Community Bond
Auditions can be arranged by
contacting George Cavanagh,
conductor, at 481-6727 or 481-6714.
Special Events
April
13-14 Spring Rendezvous at Historic
Fort Wayne, 211 South Barr St .•
426-2882
20 Third Annual WBNI Spring Caalc
Bike Tou-: Registration, 8 p.m.
Leo High School; Brochures
available at Koehlinger Cycling
and Fitness, Summt City
Bicycles, and WBNI-fM,
423-1629.
27 Semers 20th Anniversary
Celebration and Open House,
~:30 p.m., at Swinney
Homestead. 1424 West Jefferson
Blvd.; Dinner. 7 p.m. at Allen
County-fort Wayne Historical
Society Museum, 302 E. Berry St.
Cal 486-3842 for more
Information.
8 SeHiers Annual Herb Sale,
11 a.m.-3 p.m., Swinney
Homestead. 1424 West Jefferson
Blvd .. 672-3602.
8 SeHiers Membership Tea, noon-
3 p.m .. Swinney Homestead,
1424 West Jefferson Blvd.,
744-1633.
June
29-30 Revolutionary Wot
Encampment, Historic Fort
Wayne. 211 South Barr St ..
426-2882.
July
4 The Glorious Fourth. Historic Fort
Wayne. 211 South Barr St.,
426-2882.
Continued on page 6
Student Profile
Theatre
Student Acts
on Design
by Julie Herman
Somewhere between fine
art, fabric, and fantasy is
where you'll find Christine
Tabacoff. But from within her
dramatic world of costume
design, pragmatism peeks out.
She belies the stereotype of
the other-worldly, dream­driven,
gifted "theatre artist."
While she is all of those
things, she is also articulate,
grounded, and enamored of
very ordinary things, like a
home and children.
'1 thought about being an
actress for awhile," she said,
"but I chose costume design
because I believe it is what I
do best. I also think I can have
a more normal life."
Tabacoff, 22, is completing
her undergraduate education
after five years of self-molded
study in theatre, fine arts, and
humanities. After her June
wedding, she and her new
husband, Paul, will move to
California where she has been
accepted in the three-year
Master of Fine Arts (M.F.A.)
program at the University of
California-Long Beach.
She's scrambling to get
California residency to keep a
lid on tuition costs. Already
she has a bank account there,
a California driver's license,
and voter's registration.
The UC-Long Beach faculty
who screened her application
had never heard of IPFW, but
were impressed by Tabacoff' s
portfolio.
"At first, they thought I
went to IU, but it really didn't
matter. They just looked at
my work," she said.
The work included
renderings that won her a
regional award from The
American College Theater
Festival in 1990 as well as
designs that were built for
shows in Fort Wayne, such as
the You theatre production of
The Wizard of Oz.
She also designed
costumes at Purdue-Indiana
Theatre (PIT) for Working, the
musical hit based on a book
by Studs Terkel; DeJZthtrap,
during which she "basically
raided Larry Life's closet''
(Life starred in the show); and
Tremor Cordis, an original
script by former faculty
member Joel K. Murray. Her
latest work is for The Tragical
History of Doctor Faustus,
which opens this month,
directed by Ruth Laurion
Bowman, visiting assistant
professor of theatre and PIT
costume designer.
"Ruth taught me that you
can say things as a designer.
You don't necessarily have to
be only a seamstress."
Indeed, in Doctor Faustus,
Tabacoff will even be more
than a designer- she'll be
part of the show, helping
actors change costumes on
stage. The visible costume­changing
is part of Bowman's
presentational aesthetics
concept in directing.
While the directorial view
of the production has modem
twists, the costumes will be
traditional, historical pieces.
Tabacoff was able to find
much of what she needed in
stock.
'We're not building too
many (costumes) for this
show," she said. 'We wanted
all of this antique fabric, and
you just can't get that look
with new material." All in all,
there will be about 35
costumes.
Her favorite work is
designing historical costumes.
She loves period clothing,
romance, and lace.
A graduate of Elmhurst
High School, she originally
wanted to be a fashion
designer, but now says "I
don't care much for modern
clothes. I don't think I could
design clothes because it's
about marketing and reading
the public as a whole.
Anything I'd design would
probably be a little eccentric."
Besides, "I just love the
theatre too much," she said. '1
want to be a part of it."
Though she chose not to
pursue acting as a career, she
nevertheless made strides
toward perfecting that craft,
too. Her last role at PIT was
the female lead in the
Mid western premiere of
Tennessee in the Summer, a new
play by Joe Besecker about the
life of playwright Tennessee
Williams.
'1love Tennessee Williams,
and I never got the
opportunity to play one of his
characters. At first, I was
terrified to ~o this show. I
thought, 'What am I doing
here? I'm not an actress!' I
hadn't acted in two years. I
had been so busy with design
and other things. But I had
two years to watch other
people, and to reflect, and I
think it made me a better
actress."
4
ChrlsHne Tabacoff as Woman In TennessHin the SUmmer, Jan. 1991.
Her role was 'Woman," an
embodiment of the female
side of playwright Tennessee
Williams in this exploration of
Williams' inner struggles.
"On opening night, I was
less nervous than I'd ever
been. I felt comfortable on
stage. I knew this was the last
acting I'd be doing for awhile,
and I'd made the decision to
focus on costume, so it wasn't
as if I was up there thinking 'I
want to do this, please like
me."'
After five years of both
acting and designing, design
Fund .
Departmeptof Theatre·
Fund ·
Construction of the Art
Gallery
Other (please
specify)."''"··-·....,;._...:.:.,_ _
Special recognitic:m level
desired:
Chancellor's Society
($1,000 and above)
Dean's Sodety
($500-$999)
Century Group
($1 00-$499)
IPFW "Minute" ($72.70)
IPFW "Academic
Minute" ($42.65)
My company will match
my gift
won out. "I think you have to
pursue your natural talent,"
she said. She has dreams of
designing for feature films
and opera, but not for
television.
"All the people at the
graduate schools told me that
costume design in TV is
glorified shopping," she said,
"and I don't think I want to
be just a shopper, even if it
does pay well!"
;;·. :::
1 enJarterllv for instaUxnerits
___ each periOd.
Street Address
City State Zip
(__) ___ (__) __
Daytime Phone Evening Phone
Please return this form to:
IPFW Development Office I
2101 Coliseum Boulevard East I
Fort Wayne, IN 46805.-1499 I
L--------·-----...; ___ ._ ____ .... I _.J
Spring Shows Conclude PIT and Music
Department Seasons
Winding up the 1990-91
PIT season is a play that has
traditionally provided
directors with a departure
point for interesting new
treatments. Ruth Laurion
Bowman, visiting assistant
professor of theatre, directs
The Tragical History of Doctor
Faustus, Christopher
Marlowe's cautionary story
of a scholar who sells his soul
to the devil for knowledge of
the unknown, on stage April
12, 13, 18-20 and 25-27.
Costumes for the production
will be designed by award-winning
costume designer
Christine Tabacoff (see the
related story by Julie Herman
on page4).
Single general admission
tickets are $8; senior citizen
and student tickets are $7;
IPFW students with activity
cards may purchase tickets
for $5. The PIT box office,
(219) 481-6555, is open during
weeks of performances,
Monday-Saturday, 1:30-
5:30 p.m., and one hour
before curtain time. Reserved
tickets must be picked up 15
minutes before curtain time.
Among music department
offerings, duo pianists
Joyanne J. Outland and Mary
R. Rich round out the Faculty
Artist Series with a concert on
April21. This diverse
program includes Aaron
Copland's Billy the Kid,
sonatas by Mozart and
Poulenc, Dvorak's Slavonic
Dances Opus 46, and Johannes
Brahms' Variations on a Theme
by Haydn.
Spring music department
concerts include the IPFW
Wind Ensemble together with
the IPFW Community Band,
Feb. 26 at 7:30 p.m.; the
University Singers, April 7 at
8 p.m.; the University
Orchestra, April 10 at 8 p.m.;
the Symphonic Winds, April
14 at 2:30p.m.; the Music
Therapy Clinic Concert, April
19 at 7 p.m.; and the Jazz
Ensemble, April 25 at 8 p.m.
All music performances are in
Neff Recital Hall. For more
information, call the music
department office at 481-6714.
Music Therapy Open House, April 21
The IPFW Music Therapy
Program invites interested
prospective students and their
families to attend an open
house, Sunday, April21,
4-5:30 p.m. This session will
include videotapes that
demonstrate how music
therapy is used in group
homes, special education
schools, general hospitals,
and nursing homes. Skills and
methods music therapists use
to help their clients will be
presented.
The open house features an
overview of the IPFW music
therapy curriculum, and
information on admission
procedures, financial aid, and
scholarships.
The open house is for high
school students and their
parents, teachers, guidance
couunselors, and those who
want information about
professionial registTation with
the National Association of
Music Therapy. Faculty and
music department chair James
D. A tor will tell you about
IPFW' s music therapy
program, the only one in
Indiana that is offered by a
state-supported university,
and its unique levels system.
The levels system allows
students to progress at their
own pace in this competency­based
program. The open
house is in the clinic, Room
G16, IPFW Classroom­Medical
Building. Those who
attend are cordially invited to
be guests at the Faculty Artist
Series concert at 2:30p.m. on
April21 in Neff Recital Hall.
Please call (219) 481-6714 to
reserve a place at the open
house and concert tickets.
The rewards of a career In music therapy are many. Music Therapy
Program Director Linda M. Wright, pictured far right, will be happy to
explain.
5
Pianist Joyanne OuHand (above)
will perform with Mary Rich on
Aprll21.
Music
Therapy
Clinic
Concert,
April 19
Please join us for one of the
music department's unique
events, the annual Music
Therapy Clinic Concert on
Friday, April 19 at 7 p.m. in
Neff Recital Hall. Once each
year, all the children and
adults who have participated
in the Music Therapy Clinic
Program, guided by Director
of Music Therapy Linda M.
Wright and Clinic Supervisor
Katrina Boedeker, share their
special musical experiences
with parents and the public.
IPFW music therapy
students use music in many
ways to touch the lives of
people with particular needs.
For many clients, music
becomes a means through
which academic and basic
communication skills can be
learned. Clients also learn to
perform on musical
instTuments through specially
designed techniques and
adaptive equipment.
The IPFW music
department is proud to offer
music therapy services at no
cost to clients, and hopes to
continue the program free of
charge. While tuition for clinic
services is currently free to
clients, tax deductible
donations are greatly
appreciated- donations such
as those recently made by
Neil E. Borgstrom, Andrea
Farbman, Gini Ranasingher,
Mimi & Ian Rolland, Theresa
Rust, Judith A. Sharp, and
Warren J. Zwick. These
donations allow the
continuation of an important
community service that
benefits both the clinic's
clients as well as students
pursuing a career in music
therapy.
Special Events
(continued)
August
31 WBNI Bus Trip to the Chicago
Jazz Festival at Grant Park.
Musicians who have
performed In previous years
Include Herbie Hancock. the
McCoy Tyner Big Band. Shorty
Rogers and his Gian1s. the
Horace Silver Quartet; this
year's concert is sure to include
artis1s of similar caliber. Bus will
leave WBNI parking lot. paid
reservations must be made by
Aug . 28. caii 423-162Q for more
information.
On Screen
IPFW Student Activities Board
48 1-6590. Classroom-Medical
Build ing . Room 159.8 p.m.
April
3 Narrow Margin
1 0 Pump up the Volume
1 7 Flatliners
24 Sibling Rivalry
May
Avalon
Fort Wayne Cinema Center,
7~3456
Museum of Art Auditorium.
311 E. Main St.
April
5,6 .7 Henry and June
Fri .• Sat. 8 p.m.,
Sun. 4:30 p .m.
12.13.14 The Icicle Thief
Fri .. Sat. 8 p .m ..
Sun. 4:30 p.m.
20.21 Where the Heart Is
Sat. 8 p .m .• Sun. 2 p .m.
27. 28 The Unbelievable Truth
Sat. 8 p.m .• Sun. 2 p.m.
May
4 ~ Wea,cx:ms of the Spirit
Sat. 8 p.m., Sun. 2 p.m.
11. 12 Landscape In the Mist
Sat. 8 p.m .• Sun. 2 p.m.
17,18.19 The Nasty Girl
Fri .• Sat. 8 p.m .•
Sun. 4:30p.m.
25. 26 Tom & Jerry's 50th
Annlversery Celebration
(animation) Sat.. Sun. 2
and 4 p.m.
Embassy Theatre, 424-5665
121 West Jefferson Blvd.
April
19. 21 Bye Bye Birdie
Fri. 8 p .m .• Sat. 2 p.m.
May
17. 19 Ca//MeMadam
Fri. 8 p .m. , Sat. 2 p .m.
Music & Dance
Fort Wayne Philharmonic. 424-4134
April
6 Pops Series. The 5th Dimension.
8 p.m. Embassy Theatre
13 Grand Concert Series featuring
cellist Nathaniel Rosen.
Embassy Theatre.
17. Freimann Chamber Series
21 Fort Wayne Museum of Art
May
4~ Spectrum Series
Performing Ar1s Center
11 Grand Concert Series
Embassy Theatre
BEFORE-Pictured is the 1991 ~igners S~pvJHouse; ...•..
sp<>nsored by the Fort Wayne Museum of Art Alliance, at 2301
Forest Park Blvd. Presently owned by Mrs. Leo B. Hinsey, the
1913 Georgian Colonial Revival home was b~ilt by Mr. Robert
Fox, who, in partnership with his father Louis Fqx,pwned Fox
Realty, the company responsible for building suqi: F~ry Wayne
landmarks as the Embassy Theatre, Indiana Hotel; and the old
Wolf &: Dessauer' s. ·
At the Bare \Valls Preview PartyopMarch 1, tll.e curious
were treated to German cuisine, an aCcordionist in lederhosen,
and a peek at the home's 10 rooms and several baths, poplar
woodwork and staircases, and more than 80 windows and
doors. See howJhis houseJnspi~ th~ designer~ when it'.s
open to the public April 27 .. May 12. T:he house will also feature
a consignment boutique arid a tea room with luncheon service.
Proceeds benefit ~he Fort Wayne Museum of Art. Call422-6467.
Innovation, Quality Sustained
by 1991-92 PIT Season
As it has in the past, the premise of Candide, a Tony- stage March 4-7. As student down and starting all over
1991-92 PIT season will offer award winning musical farce director Gregory Stieber again." He sees this as
Fort Wayne audiences a based on Voltaire's book, with reveals, "The piece is very, necessary because "the Elia
diverse selection of thought- music by Leonard Bernstein very theatrical, yet it's also Kazan production has become
provoking theatre and lyrics by Richard Wilber, something of an anti-play. It's icon, myth .. It's always staged
experiences. Season ticket Stephen Sondheim, and John a comment on British culture very much as he staged it, and
holders have the opportunity La Touche. The plot subjects that deconstructs the domestic his interpretation is so
to see all five plays for $32 (a Candide and his beloved lifestyle. Ionesco explores the entrenched in myth." Life
20 percent discount off the Cunegonde to everything devolvement of language feels it's time for a new
regular price). On the boards from earthquakes to using stichomythia-a approach.
next season are Rosencrantz shipwrecks. In cooperation dialogue technique from "The piece is so rich in
and Guildenstem Are Dead, with the Fort Wayne Greek drama in which symbol and imagery, and the
Gzndide, A Voice of the Prairie, Philharmonic, this is the only characters deliver their lines Kazan production diminished
The Bald Soprano, and A PIT production that will not with rapid-fire pacing, almost that." In his deconstruction of
Streetcar Named Desire. be staged at IPFW; shows will simultaneously, to a hysterical Streetcar, Life is considering
Rosencrantz and be at the Performing Arts climax." He adds that the play elements such as post-
Guildenstern Are Dead is the Center, Nov. 22-24. Larry L. can be interpreted in both an modernist costumes and
play which brought its writer, Life directs: "Two years ago abstract or naturalistic vein, nontraditional casting. "Now
Tom Stoppard, to prominence we put on Sondheim' s Follies alternatives he is weighing as that we're in the 1990s,
in the 1960s. Visiting Assistant with the Philharmonic. That he plans the staging of this perhaps we can finally deal
Professor of Theatre Lorraine was a most happy collabor- classic from the Theatre of the with the themes Williams was
E. Sauter directs this play that ation-and tickets sold out a Absurd. actually writing about.
comically explores the month in advance." A similar Last, but certainly not Blanche is Williams-the
possibilities of what might reception is anticipated for least, comes Life's production sensitive, the spirit. So too is
happen if characters had lives Gzndide, so consider reserving of Tennessee Williams' A Stanley a part of
outside of the play's text. your seat now. Streetcar Named Desire, a play Williams-the animal, the
The two characters appear John Olive's The Voice of the that has now reached the flesh." Performances are April
in scenes both within and Prairie, directed by Sauter, is a stature of modem American 17-18,23-25,30, and May 1-2.
without the boundaries of poignant, touching drama classic. Clearly, Purdue-Indiana
Shakespeare's Hamlet. about the ad ventures of a "More than a classic, Theatre has again lined up a
Stoppard hilarious! y pushes runaway boy in early 20th really," notes Life, ''but now season of productions that,
the boundaries of language, century America. Now grown an iron, not only an icon of though varied, are each
structure, imagination. The up and hosting his own radio theatre, but of the whole thought provoking in their
play was produced once show, he shares his past and culture. How many times a own right. Groundbreaking
before at PIT and the film present, telling of his month do you hear 1've theatre will sustain PIT's
version, directed by Tom adventures of hopping trains always depended on the reputation of providing
Stoppard and starring Richard and seeing the country with a kindness of strangers,' just on unrommon experiences, the
Dreyfuss, will be released young blind girl he meets- TV alone? It's now part of the likes of which are not often
soon. and then loses-along the popular culture's idiom." seen on other Fort Wayne
11£verything is for the best way. Performances are Jan. 31 Life, too, is concerned with stages.
in the best of all possible and Feb. 1, 6,-8, and 13-15. deconstruction, "a term For more information, see
worlds." Exploring the Eugene lonesco's The Bald everybody uses but nobody page 15.
implications of this maxim to Soprano provides a complete can tell you what it really
their ultimate limits is the change of pace on the PIT means. Basically it's tearing
6
Farewell
Continued from page 1
to continue teaching and
turned the instruction over to
his friend , William Forsyth,
who also had studied in
Munich. In these early years,
classes were in buildings all
long gone at Wayne and
Calhoun Streets, on Calhoun
across from the Cathedral, at
the corner of Lewis and
Calhoun, and where the
Lincoln Tower now stands.
In 1892 Miss Margaret
Hamilton (sister of Edith
Hamilton, author of The Greek
Way, and Alice Hamilton,
founder of modern industrial
medicine) arranged to have a
carriage house on the Hamilton
estate, at the comer of Lewis
and Barr (now the site of
Anthis Career Center)
remodekxi for the purposes of
art classes. This studio was ivy­covered
and surrounded by
lilacs. After Mr. Forsyth's
departure, Margaret's nieces
Jessie, Agnes, and Norah
Hamil ton (the latter
subsequently studied with
Whistler in Paris) continued the
instruction until Miss Ottilia
Hollensleben from the Chicago
Art Institute was recruited in
1897. That same year the Art
Students League (an
organization still in existence at
the IPFW fine arts department)
was founded; a board of
directors came into being, The
Fort Wayne Art School name
was officially adopted, and Mr.
J. Ross McCulloch was named
its first president.
Other students at this time
included Edith Hughes,
Charlotte Haberkorn McCrary,
Katherine Wagenhalls, May
Griffiths, Jacob Calhoun, Lee
Foster Hamilton (later editor of
Harper's Magazine), Winifred
Randall, Ethel Hanna, Fanny
Winch, Miss Abigail Keegan
(aunt of Margaret Ann
Keegan), Katherine Blynn,
Gertrude Morris, Alfred
Cressler, Esther Griffiths,
Edmund ria mil ton, Cecilia
Foly, William Nutting, Hugh
Preston, Rose Weber, Stiles
Dickinson, and Grace Bass
(grandmother of Les Motz,
acting chair of the IPFW fine
arts department).
In 1901 Miss Hollensleben
was succeeded by a Miss
Moesner, also from the Chicago
Art Institute. In 1904 Pearl
Cook from the Pratt Institute
took over, followed by Emma
Buchman who was replaced by
Homer Davisson in 1911. Mr.
Davisson continued teaching
for many decades. During this
period the Art School barely
scraped by financially. In 1903,
81 patrons raised $3,200 and
purchased the Peter Kiser
residence at Wayne and
Webster (now a vest-pocket
park); yet a dearth of funds
continued and this location
soon proved inadequate.
Coming home to
Berry Street
A turning point in the
fortunes of the Fort Wayne Art
School came in 1921 when Mr.
In the mid 1920s, this group of art students and teachers were photographed In the auditorium.
Theodore Theime, scion of the
Wayne Knitting Mills, gave his
home at 1026 West Berry Street,
erected in 1898, to the Fort
Wayne Art School. This
building has been used for art
education ever since.
In giving his home and art
collection, Mr. Theime made
this observation: ''We at
present have a city of 86,000
people and should be now, or
soon, in a position to support
such an institution. Experience
shows that artistic
development is more rapid in a
city depending on commerce
and manufacturing than in one
depending on agriculture, and
Fort Wayne is fast developing
into a manufacturing city . . . I
therefore connect my gift with
certain conditions, which in
my opinion there should be
little difficulty in meeting and
which would make Fort Wayne
an Art Education Center,
providing that artistic
development necessary to real
progress."
Those conditions stipulated
that a $10,(XX) cash gift from
Mr. Theime for the expansion
of The Fort Wayne Art School
and Museum (as the institution
was then called) be contigent
on the community raising
matching funds of $25,000,
although Mr. Theime did not
specify a time limit. He also
stipulated that membership of
the new organization be not
less than 200, and that at least
$1,500 be raised from annual
membership dues.
The community quickly
rallied to the cause. By March
1,1922, the amount of
$11,852.36 had been secured,
and a charter and board of
directors were established. Its
first officers were Albert H.
Schaaf, president; Frank
Bursley Taylor and Mrs. Max
B. Fisher, vice presidents; Ross
R Lockridge, secretary; and Dr.
Gaylord M. Leslie, treasurer.
Other board members were
Mr. and Mrs. Robert Feustel,
Mrs. Walter Kent, Theodore
Theime, Katherine Hamilton,
Mrs. Olaf N. Guldlin, Fanny
Winch, Marshall S. Mahurin,
Alice E. Hall, Edith Foster, Mrs.
Samuel Foster, Bert J.
Griswold, Fred B. Shoaff, Paul
C. Guild, Robert Koerber, Vera
C. lane, Francis W. Miles, Mrs.
B. Paul Mossman, Mrs. William
K. Noble, and Mrs. William
Page Yamelle.
Also in 1922, Mr. Karl S.
Bolander, a Columbus, Ohio,
artist and teacher who studied
at The Ohio State University
and Pratt Institute, was named
director of the Art School; Miss
Ella Langenberg from the
Chicago Art Institute was
employed as full-time
instructor (and soon became
Mrs. Bolander). The Theime
house was remodeled with the
addition of a 1ittle theatre'
(now called the fine arts
auditorium) that could also
serve as a gallery for the
museum. The March 1923
dedication of the new facility
culminated a festive week of
teas and musicales hosted by
Mrs. William Hahn, Mrs. Allen
Hamilton, Mrs. Guy Mahurin,
Mrs. Margaret S. Olds, Mrs.
Robert Feustel and Mrs. P.J.
McDonald.
In 1926, Englishman H.
Francis James succeeded Mr.
Bolander as director; he was in
tum succeeded by John Watson
Rennell in 1929. In 1933 Art
School president Charles H.
Buesching recruited Walter H.
McBride to serve as the
school's director. Mr. McBride,
a native of Auburn, studied at
the John Herron Art School,
Harvard University, and the
California School of Arts and
Crafts. (Happily, Mr. McBride
remained as director for two
decades, until1953, providing
the school with much-needed
continuity.) And while the
story of the Fort Wayne Art
School and Museum always
was one of sporadic funding,
state legislation in 1929,
directing that the Art School
and Museum receive 500 mills
per tax dollar from the City of
Fort Wayne, did provide much­needed
assistance.
New museum,
campus growth
A period of expansion for
the Art School and Museum
began in 1948, when the home
at 1012 West Berry Street (at
the corner of Union Street),
7
was purchased for additional
classroom space (now known
as C Building). But a windfall
came in 1949 when Mr. B. Paul
Mossman, head of Mossman,
Yamelle & Co., made an
outright gift of his home on the
northwest corner of West
Wayne and College Streets.
This beautiful stone mansion,
completed in 1906, was
designed by Marshall
Mahurin of the firm of Wing
and Mahurin in the style
known as "Richardsonian
Romanesque." Remodeling of
the house for the purposes of a
museum was completed under
the direction of architect T.
Richard Shoaff by October
1950. (In the 1980s, the
structure was converted to
condominiums.) In 1950 the
Richard Ball Home at 1018
West Berry Street was
purchased (now known as B
Building).
These real estate purchases
would probably not have been
possible without a 1942
bequest of $175,000 from Mr.
James Hamilton, a prominent
Oeveland architect. A member
of the same Hamilton family so
instrumental in the school and
museum's early growth, he
had no wife or children to
inherit his legacy. This gift
came as a complete, and
delightful, surprise to the
board when Mr. Hamilton's
will was read.
In 1953 Mr. John Erickson,
head of the art department at
Texas Christian University,
assumed the position of
directorship. He was
succeeded in 1956 by Mr.
Francis C. Baptist.
New Ambitions
The mid-1950s marked the
beginning of a period of
transition that affected the Fort
Wayne Art School and
Museum in many ways.
Among the most important
was the founding of the Fine
Arts Foundation in 1955 (now
Arts United) to serve as an
umbrella organization for Fort
Wayne's various arts group in
the areas of fundraising and
identifying common goals.
Under its auspices, the first
Fine Arts Festival was in 1958,
and would continue as a
summer tradition for two
decades.
In its new quarters, the art
museum was capable of
offering a broader variety of
programs such as films,
workshops and lecture series.
The laura B. Moring Evening
Program brought to Fort
Wayne luminaries in art and
literature: Atlantic Monthly
editor Edward Weeks; drama
critic John Mason Brown;
etcher John Taylor Arms;
anthropologist Margaret
Meade; author Norman
Cousins; playwright Emlyn
Williams; poets Carl Sandburg
and Ogden Nash;
choreographer Agnes deMille;
and painter Ben Shahn. In
1958, a sales and rental gallery
was established in the
museum, with the help of the
Tri Kappa Sorority. In 1%2 the
Membership Activities Council
was formed, which is now the
Fort Wayne Museum of Art
Alliance. The first Art-For-Sale
was in 1%5.
It's doubtful that the Fort
Wayne Art School and
Museum could have survived
without the efforts of
volunteers. In 1964 the Junior
League began the museum's
Docent Program. The Fort
Wayne Art League, established
in 1937, consistently conducted
arts and crafts sales and other
fundraising projects to
purchase items for the school
and museum that were sorely
needed but not included in
their budgets, such as drinking
fountains or a sheet metal
shear for the metalcrafts
studio. The fine arts library of
about 10,000 volumes
benefited greatly over the years
from the generosity of the
American Association of
University Women and Mr.
W.T. Plogsterth.
Volunteers were important,
recalls Betty Fishman, who
served as the Art School and
Museum president and is now
artistic director at Artlink,
because ''We sure didn't have
any money. We went through
some very lean years. At one
point we were down to one
teacher, Mr. Forrest Stark bless
his heart, and we had to pay
him in groceries." Yet financial
vicissitudes did not deter the
board and faculty from
dreaming big dreams or
initiating new projects.
Fishman continues: ''Mr
Erickson and Mr. Baptist,
directors in the '50s, saw in the
Fort Wayne Art School the
potential for more than a
'hobby school,' which is what
it was perceived as being. They
saw it as a school that could
actually prepare students for
self-supporting careers as fine
artists." In 1957 classes included
Art History, Drawing and
Composition, Life Drawing,
Design Fundamentals,
Techniques of Still Life Painting,
Calligraphy, Figure Painting
and Portraiture, Jewelry and
Enameling, Layout, Advanced
Design, Oil Painting,
Watercolor and Gouache,
Continued on page 10
Don Kruse
Geodesic domes in the mld-1960s designed by Orus Eash.
Memories of Berry Street
Les Motz
Faculty, early 1970s. Rear : Gabriel Delobbe. Noel Dusendschon. Norm Bradley, Les
Motz, George McCullough. Front: Russ Oettel. Don Kruse. John Ross. Hector Garcia
Betty Fishman, Ellie Golden, Clyde Burt
Forrest stark
Hector Garcia
Sandy Layson. 1965
Everett Suggs
Museum Curator John Ross packs a traveling exhibit
Sue Mitchell and Kay Dunn Spears
Saturday instructors. 1958. included Joy Popp
Osborne. far left; Lois Morris, 2nd from right;
Ruth Gibson. seated
All the girls liked to frolic with
Michael
Emily Cook
Russ Oettel with students
Snow People
Ruth Gibson
Marilyn Murphy at her loom
Fred and friend. 1977
Dee Ann Hornung and Sandra Hornung Klamen
Sherry DeYoung Joseph D. Wilhelm
The world's oldest
living artist's model
Melvin Jones. model
Janice Lynn
Westerhausen
Mark A. Wilkinson
Ruth Gibson
Norm Bradley
Faculty in the 1940s Included Ruth Gibson and
Forrest stark, top right
Noel Dusendschon
Lest Motz and
Russ Oettel
A 1962 dance in
the auditorium
Exhibit viewers included Ted Fitzwater. center. and Betty Fishman
Margaret Welfe Max Marvin Westrich Unda Lee Wilkerson Kenneth Wayne
Westerman
Faculty
Activities
AnnMarie LeBlanc, assistant
professor of fine arts, had a one­person
exhibition of her
computer-generated images at
Shepherd College in
Shepherdtown, W. Va., through
February and March; she also
lectured on her work there on
Feb. 21. Her work was featured
in two juried art shows that
opened Feb. 8: "National
Exposure" at Chicago's ARC
Gallery; and in "The Water
Tower Annual" in Louisville
sponsored by the Louisville
Visual Arts Association.
Joseph K. Meyers, associate
professor of music, and Violette
V. Meyers, associate faculty in
music, attended the National
Convention of the National
Association of Teachers of
Singing in Little Rock, Ark.,
December 1990. On Jan. 19,
Joseph Meyers was one of three
judges for the Music Teachers
National Association Central
Regional Competition at St.
Mary's College in South Bend,
where singers from a five-state
region competed for prizes and
eligibility to enter the semi­finals.
On Feb. 23, both were
adjudicators for the Okemus
Foundation Singing
Competition in East Lansing,
Mich., where prizes of $1,500,
$800, and $500 were awarded.
Linda M. Wright, assistant
professor of music, presented a
paper, "Using Music and Song
Lyrics in Affective Education
and Counseling Programs for
At-Risk Adolescents, Abused
Children, and Children of
Alcoholics," at the Indiana
Association for Counseling and
Development Conference in
Indianapolis, Feb. 8. She also
presented two lectures at
Indiana University,
Bloomington, March 27: ''Music
and Mainstreaming in Special
Education" and ''Music
Therapy for the Emotionally
Disturbed and Abused Child."
Wright also serves on the
community advisory board for
the Very Special Arts Festival to
be held at IPFWMay 13-14.
Other Concerts &
Dance
March
29 Fort Wayne Dance Collective:
Urban Bush Women in Concert.
8 p.m.. Performing Arts Center,
303 E. Main St .. 424-6574.
April
9 Group Diversion. A Baroque
Ensemble. 7:30p.m.. First
Presbyterian Church. 300 West
Wayne St .• 426-7421.
May
5 Fort Wayne Children's Choir.
4 p.m.. Allen County Public
Ubrary Auditorium. 900 Webster
St .. 424-7241.
19. Opus 18. Back to Baroque.
20 Sun .• 2:30 p.m.; Mon. 8 p.m. First
Wayne Street United
Methodist Church. 422-4681.
June
14 Fort Wayne Dance Collective:
Arts In Education and Select
Student Showcase. 8 p.m .•
Performing Arts Center. 303 East
Main St .• 424-6574.
Farewell
Continued from page 7
Ceramics, Graphics,
Advertising Design and
Illustration. By the mid-' 60s,
Sculpture, Metalcrafts and
Printmaking had been added.
And while the school for many
years merely offered a
certificate of graduation, the
board and the school's directors
strove in the 1950s and '60s to
devise arrangements whereby
students could be awarded
college degrees.
Those arrangements were
made with the Indiana
University Regional Campus at
Fort Wayne, where students
earned academic credits; studio
art credits were earned at the
Fort Wayne Art School,
culminating in an A.B. or B.A.
degree. In 1966, the same year
the new name, Fort Wayne Art
Institute, was adopted, the
school offered a B.F.A. degree
upon the transferrance of
credits from Indiana University
or other colleges. Also in the
1960s, a cooperative program
existed with the Fort Wayne
Bible College (now Summit
Christian College) whereby its
The fine arts library on Union Street.
students could earn a teaching
minor in Public School Art.
The expansion of curricula
necessitated an increase in
teachers. Faculty teaching
college-level classes in the late
1950s and into the 1960s
included Ruth Gibson, Forrest
Stark, Clyde Burt, Milton
Heinrich, Norman Bradley,
Noel Dusendschon, Patricia
Peat Dusendschon, Leslie
Motz, John Ross, Russell
Oettel, Donald Kruse, James
Voirol, George McCullough,
Sue McCullough, Karen
McArdle, Hector Garcia and
Gabriel Delobbe. Increasing
enrollments in the 1960s also
spurred the erection of three
geodesic domes, designed by
Orus Eash, for studio/
classroom use.
After the 1960 resignation of
Francis Baptist as director,
subsequent directors were
Theodore Fitzwater, 1960-65;
and Russell Oettel, 1965-1977.
Another thriving division of
the Art School was the
Saturday School for students
ages 6-17, which in the late
1950s and early 1960s was
directed by Miss Ruth Gibson,
and continued after 1977, when
the Fort Wayne Art Institute
was absorbed by IPFW.
Literally hundreds, perhaps
thousands of children in
greater Fort Wayne
supplemented their regular
school art curricula with the 15-
week sessions. In 1959,
summer art classes for children
were added; as Betty Fishman
recalls, ''The first year was such
a huge success that our
instructors almost rebelled at
the huge numbers of students
that were attracted." In
addition to Fishman,
instructors for the Saturday
and summer sessions included
Joy Popp Osborne, Ann Stahn,
Lois Morris, Marilyn Murphy,
Sue Kruse, Susan Winger,
Carolyn Waddlington, AI
Jacquay and Dale Pequignot.
Perhaps the fondest new
ambition shared by The Fort
Wayne Art Institute and the
Fine Arts Foundation in the
late 1950s and 1960s was the
proposed Fine Arts Foundation
Center for the Fine and
Performing Arts. The complex
was slated for construction on
the site where Freimann
Square, the Performing Arts
Center, and the Fort Wayne
Museum of Art are now
located on East Main Street.
Fort Wayne is fortunate to have
facilities as commodious as the
realized Museum of Art and
Performing Arts Center. Yet the
original complex as planned
was much more extensive,
including a Philharmonic Hall;
a School of Music and Ballet;
an Historical Museum; a Civic
Theatre; an outdoor Greek
theatre; a Fine Arts School; and
the two structures that were
ultimately built: the museum
and Performing Arts Center
(also known as the ''Hospitality
Center"). A common criticism
of the plan was the dearth of
parking facilities, yet Fort
Wayne's leaders were
nevertheless enthusiastic. The
planning committee comprised
Bud Latz, chairman; Donnelly
P. McDonald; Maxine Jacobs;
Hertha Duemling; Sam Rea;
Miss Helene Foellinger: and
Betty Fishman. Fishman recalls:
'We interviewed all the
greatest architects of the United
States. We went to Arkansas to
see the work of Edward Durrell
Stone. We went to Detroit to
see a building by Yamasaki. We
went to New Haven to see
Buildings by Louis Kahn and
to New York to talk to Marcel
Breuer. We flew in the Phelps
Dodge jet. The only greats of
the period we did not
interview were I.M. Pei, who
was busy doing an important
structure in Denver, and Phillip
10
Johnson, who was busy with
the Museum of Modem Art.
''Mies Van der Rohe came to
see us. We met at the old
Museum of Art. He was not
young and he carried a large
cane and a temper. He got so
incensed that he stamped his
cane loudly on the floor and
shouted a remark to the effect
that his reputation as a great
arc hi teet did not need
questioning and that he was
not answering stupid
questions.
"Louis Kahn got the job. At
a meeting at my house of the
Board of Directors the
announcement of the bid was
presented as too much money.
Many felt we could never even
come close to raising that much
money. There was a possibility
of help from the federal
government. This was a
conservative city and the idea
of accepting help from the
government was not a popular
one. The opinion was voiced
that we were not accepting
outside help. The project was
defeated except for the one
building we could fund-the
Performing Arts Center ... We
have now almost forgotten the
'mind set' that refused
government support. We now
need to protest when the
possibility of removing federal
funds for the arts looms ahead
of us."
A better idea
There is a spiritual axiom
that, in the long run, everything
happens for the best.
It was clear as the 1970s
dawned that the Fort Wayne
Art Institute--at least its
school-was not moving to a
new home, on East Main Street
or anywhere. And the bugaboo
that had haunted the Art
School for so long, lack of
funds, had not been banished.
The problems were not due to
mismanagement. As the
enrollment rose, so too did the
costs of providing the academic
product to students; not to
mention faculty compensation
and benefits. And the physical
maintenance of tum-of-the­century
buildings that were
never intended for educational
purposes was an added
burden. Also, the idea of the
independent, private art school
was quickly becoming a thing
of the past. Few students
wanted merely a certificate as
evidence of their efforts; most
wanted a college degree. IPFW
did not have its own fine arts
department; the Fort Wayne
Art Institute did not have the
capacity to offer academic
credits for a college degree, and
most of its students took ·
classes at IPFW anyway.
''The merger just made
sense, all around." remarks Les
Motz, acting chair of the fine
arts department. ''Everyone,
both at the art school and at
WFW agreed it was the logical
thing to do." So, in 1976-77, the
Fort Wayne Art Institute was
absorbed by Indiana
University-Purdue University
at Fort Wayne.
The benefits of this merger,
the growth of the department
in the last 14 years, and the
propitious establishment of the
School of Fine and Performing
Arts at IPFW are developments
that can be explored elsewhere.
The completion of the new
Fine Arts Classroom/Studio
Building attests to the
determination of those who
believed a first-rate facility for
college-level arts education in
Fort Wayne could become
reality. But this is not about
tomorrow, next fall. It's about
goodbye.
It's unlikely that Theodore
Theime ever expected his
home would welcome art
students for 70 years. His
house, and the adjacent
stuctures, are for sale. 'We
won't pull the wool over
anyone's eyes," says Les Motz.
''The buildings have character,
great potential. But they need
work."
There's going to be a big
party in May, a block party, on
the stretch of West Berry Street
between Union and Rockhill
Streets.
Everyone's invited; it will be
a fun crowd. People who like
to eat and laugh, people who
like to make things nobody has
ever made before, interesting
things, beautiful things. People
who learn how to see things
through new eyes, people who
hear a different drumbeat.
Then it will be different. The
students and teachers won't be
able to rise when the sun
wakes them up in their old
apartments with high ceilings,
to run down brick alleys or
tree-shaded streets to class.
The studio-weary won't call it
a day and stroll over to
Henry's. That funky old
neighborhood won't be so
funky anymore. It will be
quieter, emptier.
Goodbye beautiful stained­glass
windows and inlaid
parquet floors, speckled with
paint. Goodbye undependable
plumbing and rickety
stairways with steps worn in
the middle from thousands of
footfalls. Goodbye phone
booth all lit up at night.
Goodbye little stone
embankment by the curb
where we had to be careful
when we opened the car door.
Goodbye psychedelic molten
hippo statue. Goodbye, cats.
Goodbye wooden porch railing
where we sat on spring nights
and looked at the moon.
The School of Fine and
Performing Arts appreciates the
assistance of Betty Fishman,
Emily Cook, Russ Oettel, Les
Motz, Sue Kruse, Marilyn
Murphy, Michael Hawfield, and
Albert F. Diserens in the research
for this article.
New Music Technology Classes
Prepare Students for Exciting Careers
When students from
IPFW' s School of Fine and
Performing Arts arrive at the
beautifully restored, tree­shaded
Victorian house on
Spy Run Avenue, it's not for
the purpose of studying or
sketching the architectural
details of the gingerbread age.
The ornateness of this big
blue house belies the activity
within: a technologically
advanced, state-of-the-art,
recording studio complex
awaits.
LaBov and Beyond Music
Productions, Inc., is the
enterprise founded by IPFW
music graduate Barry LaBov,
whose national clients include
North American Van Lines,
Kentucky Fried Chicken,
Goodyear and the
Independent Insurance
Agents. Here advertising
jingles are composed and
produced, and film and video
scores are created, including
"post scores" -sound tracks
and sound effects designed to
enhance existing films and
videos. And although this
music production and
recording studio is not open
to the public-i.e, a band
generally cannot rent the
studio to cut a demo-­exceptions
have been made.
After a recent gig in Fort
Wayne, a rock band realized
they needed some emergency
remixing done for their
upcoming MTV video. As
production manager Chris
Parker observes: ''When CBS
records calls for a favor, you
don't say no."
Under the guidance of
James D. Ator, music
department chair; Thomas S.
Laverghetta, assistant
professor of electrical
engineering technology (EET);
and Ronald C. Emery, EET
chair; Parker devised a
curriculum that is the
foundation for a new area of
study in music technology.
The present course of study
includes four practica for
music students, taught at
Labov and Beyond.
Chris Parker, who designed
a similar program at the
Wheaton College
Conservatory of Music in
lllinois, is currently teaching
the initial course, Basic
Recording. Among the topics
covered in that class are:
acoustics, microphone theory,
console operation, patchbay
operation, signal processing,
vocal sessions, tape machines,
calibration, session planning,
and music technology careers.
In the fall of 1991, he'll teach
that class as well as Advanced
Recording; rourses in Music
Production, MIDI (Music
Instrument Digital Interface
computer system), and Studio
Maintenance Engineering will
follow.
'These practica are
intended for someone
interested in music or a music
career," Parker said, "from the
classical performer who
simply wants to understand
what is going on around him
when he enters a studio for a
recording session, to someone
interested in a career as a
composer, producer or
recording engineer. Although
there are no prerequisites for
the courses, some might be a
bit too technical for all
musicians-that is, students
Chris Parker shows students In his Basic Recording class at LaBov and
Beyond how to operate the big console.
should have somewhat of a
technical aptitude in addition
to music backgrounds."
'These classes will have a
very strong 'hands-on'
orientation," Parker added,
"because class sizes will be
small-no more than eight
students per class--and
because we have all the
equipment right here." Parker
noted that in most academic
situations where music
technology is taught, the
emphasis is on theory, with a
teacher who, because of lack
of equipment, will merely tell
students how certain
functions are done. "Here, we
have everything, and because
wEfre in business, our
equipment has to be the most
up to date." In the many­gabled
attic studio, which, as
Parker pointed out, "is
acoustically ideal because
there are no parallel surfaces,"
that equipment includes
audio and video consoles, 16-
track recorders, keyboards
and samplers. "Samplers are
different from synthesizers,
because synthesizers merely
imitate the sounds of other
intruments, while samplers
have the actual sounds of
instruments programmed into
them." All of this equipment
is integral to MIDI, the
computer language spawned
by the demands of the
electronic keyboard
manufacturing industry.
"MIDI is what makes
recording with 16 or more
tracks possible, without ever
having the musicians return
to the studio and attempt to
perfectly synchronize their
performance to an existing
track."
Will the demands of
teaching interfere with
Parker's duties as Production
Manager at LaBov and
Beyond? '1 don't think so. I
love teaching, it's something I
really enjoy. I'm teaching
much of the time anyway,
because I provide training
and guidance to our
production engineers. The
equipment we use is
ronstantly becoming more
advanced. That's why a class
like 'Studio Maintenan~' is
so important. It's not enough
to know how to operate the
equipment. You have to be
able to maintain it, repair it,
and keep it clean. You have to
track down problems in the
equipment and troubleshoot.
Being versatile in this way
makes you marketable. It will
help you get jobs, keep jobs,
and ad vance in your career,
by demonstrating you are
someone who can keep
everything running in a
crisis."
Upcoming Shows Feature Work of
Fine Arts Students
The IPFW Art Students
League annual juried show,
The Best of 1991, has been on
exhibit at the Fine Arts
Auditorium at 1026 West
Berry Street throughout
March. The show, featuring
the work of advanced
students, was judged by
Maurice Papier, professor of
fine art at Saint Francis
College. For first, second and
third places, gift certificates of
$150, $100, and $75 were
awarded by United Supply
Company at a reception,
March 8. Best of Show was
awarded to Scott Meier for his
untitled oil on canvas; second
place went to Nathan Taves
for his oil and alkyd painting,
Sidestreet; third place was
awarded to Jeffrey Melton for
his untitled work in pencil
and watercolor.
From April19 to May 7, the
fine arts department Senior
Show will be on exhibit at the
Chamber of Commerce
Building, 402 West Wayne St.
The show features the work
of 10 graduating students.
The opening reception is
April 20, 6-9 p.m.
Another graduating senior,
Christian Nault, will have a
one-man show at the Fine
Arts Auditorium, 1026 West
Berry St., April 20-May 7. The
opening reception is
7-10 p.m., April20. For more
information on all these
events, cal1481-6705.
The ArtScene is made possible by these sponsors. Thanks!
INTERNAL MEDICINE ASSOCIATES, INC.
7230 Engle Road. Fort wayne. Indiana 46804 The Hearf Cenler Telephone (219) 436-6060
After Hours Exchange (219) 480-5933
c. Casey Kroh, M.D. of Fort Wayne
Douglas J. Trigg. M.D.
Robert A. Gormley, M.D. Cardiology Consultants
The ArtScene is funded in
part by Arts United of
Greater Fort Wavne
11
fro.RABILL ~UAL.ITV
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GRABILL, INDIANA 46741
TELEPHONE 219/627·2131
33.f'- WKJG·TV
On Exhibit
ConHnulng
Headwaters Park: Drawings and
Models, to June 16, Fort Wayne
Museum of Art, 311 East
Main st., 422-6467.
The Experimental Tradition: Twenty­five
Years of American
Architecture Com,:>etitlons. to
May 19. Fort Wayne Museum of
Art. 311 East
Main st., 422-6467.
The Cutting Edge: Photography
Invitational. Artlink, to Apri119, 1030
Broadway. 424-7195.
Twenty-third Annual Parish
Exhibition to April 7, First
Presbyterian Gallery. 300 West
Wayne St.. 426-7 421.
March
21 From Greenware to Software,
an exhibition of work by the
advanced ceramics and
computer graphics students of
Nancy McCroskey and
AnnMarle LeBlanc, IPFW fine
arts department. to April 18 at
J. Beck Gallery. 126 W.
Columbia St., 420-2325.
April
3 Drawings by I Ia Korte, through
April 29, Allen County Public
Ubrary. Gallery 3, 900 Webster
st .. 424-7241.
3 Chronicles of a Mercenary
Cartoonist: Bob Lang's View of
Society, to Aprll29, Allen County
Public Library. Gallery 1,
900 Webster st .. 424-7241.
7 Fashion Accessories, Old City
Hall Historical Museum, 302 East
Berry St.. 426-2882.
14 Bile Golden: Retrospective
With Prints and Textiles, and
Jason Knapp: Freestanding
Mixed Media Sculpture, to
June 2. First Presbyterian
Gallery. 300 West Wayne St.,
426-7421 .
14 Exhibition of Saint Francis
College student artwork
through May 1 0 at Lakeview
Gallery. 2701 Spring st.
19 IPFW Department of Fine Arts
Senior Show. Fort Wayne
Womens Club, Chamber of
Commerce Bldg., 402 West
Wayne St., Opening Reception
April 20. 6-9 p .m. For more
Information. call481-6705.
26 Expressions of Sociometry:
Invitational Show for works with
a social/political theme, to
May 31. Artlink. 1030
Broadway, 424-7195.
May
Award-Winning Architecture In
Fort Wayne, to May 31, Allen
County Public Library. Main
Lobby. 900 Webster St., 424-
7241.
Saint Francis College Art
Exhibit. Galleries 1-2. to May 31 ,
Allen County Public Ubrary,
900 Webster st .. 424-7241.
6 Ventures In CreatMty. annual
jurled show sponsored by the
Fort Wayne Artists Guild to June
22, Performing Arts Center.
303 East Main Street.
Continued on page 14
m WEIGAND CONSTRUCTION CO., INC.
fi-al CllfllrtiUtJrS
Fort wayne, Indiana
1523Su1111')81'St.
Office phone -423-2341
1991-92 Music Season Offers
Variety, Virtuosity
Fqculty Artist Series Subscribers AdmiHed Free to Student
Ensemble Concerts
The IPFW Department of
Music's outstanding artist­faculty
will again offer an
entertaining and diverse
recital series for 1991-92, and
season tickets will again be on
sale for the nine recitals in the
Faculty Artist Series for $27.
Subscribers will save 2S
percent off single ticket prices
for these Sunday
performances; as a bonus,
they will be admitted free to
all student ensemble
performances throughout the
year. For non-season ticket
holders, admission to student
George A. cavanagh, Director of
Instrumental Ensembles.
events is $2. Performances are
in IPFW Neff Recital Hall.
The first recital, Sept. 22,
showcases music department
chair James D. Ator on
saxophone and Irene Ator on
keyboards. She is the director
of music at the First Wayne
Street United Methodist
Church, specializing in organ
and keyboards; she also
teaches organ at IPFW. Both
James and Irene Ator perform
with the Fort Wayne
Philharmonic.
Sept. 29 features a voice
recital by tenor Joseph K.
Meyers and soprano Violette
V. Meyers, with accomp­animent
provided by pianist
Joyanne Outland. Together,
the Meyerses have sung
throughout the U.S., Europe,
and Asia.
The Indiana-Purdue Trio is
in recital on Oct. 20. The trio,
which specializes in music of
the romantic era, comprises
pianist Masson Robertson,
cellist Margery Viswat and
violinist Jesse Hawkins. The
trio is the result of a
cooperative venture of IPFW
and the Fort Wayne
Philharmonic. The musicians
also serve as ambassadors of
IPFW' s musical excellence as
they tour to perform
throughout the mid west.
Trombonist David Cooke
and pianist Jane Glover grace
the stage of Neff Recital Hall
onNov.10.
The first Faculty Artist
Series recital of 1992 will
showcase the repertoire of
artist-in-residence and pianist
Robertson, who is known for
his sensitive interpretations.
Robertson will also provide
accompaniment when the
spotlight is on Philharmonic
violinist Jesse Hawkins in
recital on March 1S, and again
for the Faculty Artist Series
recital of Philharmonic cellist
Margery Viswat on April12.
Pianists Joyanne Outland
and Mary Rich conclude the
series with a recital on
April 26. Outland is
coordinator of music theory
and teaches piano. Rich
specializes in class piano and
piano proficiency. This
dynamic duo always presents
a program that highlights
diverse musical styles and
eras. The ninth Faculty Artist
Series recital, with artists to be
announced, is scheduled for
AprilS.
The IPFW University
Singers launch the student
ensemble season with a
concert on Oct. 27. Under the
direction of John Loessi, the
group specializes in works by
Haydn, Mozart, Morley,
Brahms, Mendelssohn and
others.
The IPFW Community
Orchestra is in concert
Nov. 13. The orchestra
comprises students and
instrumentalists from the
greater Fort Wayne area and
performs under the baton of
David Crowe, visiting
instructor in music and
assistant conductor for the
Fort Wayne Philharmonic.
On Nov. 14, the 1S-member
IPFW Jazz Ensemble presents
a variety of jazz favorites
under the direction of David
Streeter, director of jazz
studies. The IPFW
Symphonic Winds performs
Nov. 17, conducted by George
A. Cavanagh. The Symphonic
James and Irene Ator launch the Faculty Artist Series on Sept. 22.
Winds is IPFW' s premier
student instrumental
ensemble, and they perform
again in a Feb. 2S concert that
features the Fort Wayne
Community Band, also
conducted by Cavanagh.
Many of the same
ensembles are featured again
in spring with the University
Singers performing AprilS;
the IPFW-Community
Orchestra on April8; the
IPFW Jazz Ensemble on April
9; and the IPFW Symphonic
Winds on April 12.
Other scheduled music
department events of note for
1991-92 are the Tri-State
Choral Festival, Oct. 18-19; the
Tri-State Band Festival Nov. 8-
9; the Dickens Dinner, Dec. 6-
7; the IPFW Opera Workshop,
March 28-29; and the Music
Therapy Open House, April
26.
For more information, see
page 16.
The ArtScene is made possible by these sponsors. Thanks!
Ann E. Spink, D.C. STAR ~ c···· Chiropractic Center, P.C. - Accident, Injury, Pain Clinic 9.:'4110,. FINANCIAL TilE
BANK 5939 Stoney Creek Drive lifiHERAN HosPITAL Stoney Creek Professional Park
OF INDIANA,INC. . . northAmerican. Mrmlwr F/)J(' Fort Wayne, IN 46825 ·
(219) 482-8592 VAN LINES
12
From Greenware to Software on Exhibit at
J. Beck Gallery
Ceramics and computer­generated
images are two
manifestations of the fine
artist's skills that one dosen't
often consider in tandem. Yet
in organizing an exhibit of
their advanced students'
work, From Greenware to
Software, Assistant Professors
of Fine Arts Nancy M.
McCroskey and AnnMarie
LeBlanc don't see this pairing
as a mismatch, but as
mutually complementary.
'We're really glad that
Becky Johnson of J. Beck
Gallery wan ted to have this
show," stated LeBlanc,
"because showing your work
in a professional gallery is a
big part of being in the art
world." LeBlanc teaches
students how to use
computers to generate visual
images. "Of course, this isn't
simply a 1eaming exercise,'
because obvious! y, if Becky
didn't feel our students' work
met the standards of a
commercial gallery, there
wouldn't be a show."
"Getting work finished for
a professional exhibition is
important experience," said
McCroskey, who teaches
~eQS.OLIVE & m
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202 WEST BERRY STREET
SUITE500
FORT WAYNE, IN 46802-2272
(219) 426-4603
FAX: (219l 426-2235
ceramics. "The advanced
students have been preparing
for this since fall. They've had
a timeframe in which to create
a body of work, and to resolve
their projects to a professional
level appropriate for public
showing. They've had a
deadline to meet."
''That's not to say that
many of these students
haven't already shown their
work in professional
galleries," McCroskey added.
'We have a lot of
'nontraditional' students who
have been making and selling
art for years. But it is the first
time in recent memory that
fines arts students from IPFW
have had a group show in a
commercial gallery. This is a
new experience for
'traditional' B.F.A. students
who've never exhibited in a
commercial gallery. But for all
the students, seeing their
work out of the context of the
university is worthwhile.
They'll have a chance to get
feedback from a whole
community of people who
wouldn't normally see their
work."
Participating artists are
advanced ceramics students
Joan Strehler, Jean Barile,
Nancy Dillon Darlington,
Uoyd M. Pinkerton, Jaleh
Pessian Fazel (also an IPFW
fine arts instructor), Phyllis
Stanley, Dianna Rowlett,
Police, Jodi Boyden, Tracy
Seaman, Henrietta Hovarter,
John Motz, Jauneth Skinner
and Robert Murray.
From Greenware to Software
is on exhibit March 21-
April 18 at 126 West Columbia
nner,
Included In From Greenware to Software on exhibit at the J. Beck
Gallery through April 18.
Jamie Wilcox, and Neil
Fenstermaker. Those
exhibiting images generated
from computers are William
Mauritzen, Chad Murphy,
Jeffrey Melton, Andrew
St.,( 420-2325). Gallery hours
are 10 a.m.-6 p.m. Tuesday
through Thursday; and
10 a.m.-5 p.m. on Friday.
The ArtScene is made possible by these sponsors. Thanks!
•rm FRED MYERS
l LllJ Piano & Organ Co., Inc.
5310 Coldwater Road
Fort Wayne, Indiana 4682 5
(HWI)
the friendly ones~
13
Fort Wayne
Medical Laboratory
Corporation
Annie and
Community
Support Take
Center Stage
Some people can't stand to
see anything go to waste.
Around 10 years ago, music
teacher Susan Nelson, who
then worked for East Allen
County Schools, noticed that
the auditorium at Harding
High School lay dormant
throughout summer. She and
Jim Schmidt, a teacher at
Heritage High School, were
keenly aware of the untapped
musical and dramatic talent in
the mostly rural area east of
Fort Wayne. From the desire to
see all these resources put to
use, the idea for Center Stage
was born.
"Center Stage is really a
grassroots theatre group,"
observed Nelson, who now
teaches music at South Side
High School, ''because
everyone can get involved. A
theatre background isn't
required. Whole families
participate, and our volunteers
range in age from 5 to 70 years
old. It's not just for people who
want to be on stage; we need
everything from musicians to
people who can sew costumes
or build sets." Nelson
estimates that at least 50
people participate in each
summer's production, and
while its membership is
dynamic, a loyal core of
volunteers consistently return
to lend their expertise to
Center Stage, such as
choreographer Holly Stoltz.
Center Stage has presented a
full-scale musical production
every summer since 1980.
'We've stuck with musicals
because they're fun, both for
audiences and participants.
Again, family participation is a
consideration; most musicals
feature characters in all age
groups."
Among Center Stage
productions from summers
past are The Music Man, Bye
Bye Birdie, Finain's Rainbow,
Brigadoon, The Robber
Bridegroom, The King And I, The
Fantasticks, Man of LaMancha
and Pippin.
This summer's production
will be Annie. Auditions are
May 19-20. The show is July 11-
13 at Harding High School. For
more information, call Jim
Schmidt at 632-5392.
FORTWAYNE
NATIONAL
BANK
MEMBERFOIC
On Exhibit (conflnued)
June
Larry Rivers: Public and Private.
to July 28. Fort Wayne Museum
of Art. 311 East Main St .• 422-
6467.
3 Photographs by John Eric
Hawkins. to June 30,
Allen County Public Ubrary,
Gallery 2. 900 Webster St .. 424-
7241.
3 Fort Wayne Buildings: A
Photographic Sampler,
to June 30, Allen County Public
Ubrary, Main Lobby,
900 Webster St., 424-7241.
6 Eleventh Annual National Print
Competftlon. to July 19. Artllnk.
1030 Broadway.
424-7195.
8 27th Annual Hoosier Salon
(Paintings by Indiana Artls1s), to
June '29. Allen County Public
Ubrary. Galleries 1 & 3, 900
Webster St.. 424-7241.
9 The Arts of Youth, to July 28.
First Presbyterian Gallery. 300
West Wayne st. 426-7 421.
July
3 Paintings and Sculpture by Ron
Knepper. to July 30, Allen
County Public Ubrary. Galleries
1 & 3. 900 Webster st ..
424-7241.
August
5 Paintings by Russell Oettel
(IPFW fine arts faculty). to
August 31 , Allen County Public
Ubrary. Gallery 3.
900 Webster st., 424-7241.
The Fort Wayne Artists Guild
members have exhibits at various
locations throughout the city; call
7 45-9602 for details.
FAME Bigger Than Ever
The 4th annual Festival of
Art and Music for Elementary
Schools (FAME), March 16-17
at the Grand Wayne Center,
was bigger than ever, with 55
schools participating from the
northeastern Indiana counties
of Allen, Adams, DeKalb,
Noble, Huntington, Steuben,
Wells, and Whitley.
As FAME President and
Executive Director Michael
Schmid recalled, "The idea for
FAME first happened in 1987
when Dorothy Kittaka and I
were sitting in the library here
at Haverhill, brainstorming
about what we could do for
'The Year of Elementary Art,'
which had just been
proclaimed." Schmid teaches
art at Haverhill Elementary
School in the Southwest Allen
County school system; Kittaka
is the music teacher.
"Naturally, we wanted
something that would promote
students' accomplishments in
both the visual arts and music.
So we came up with the idea of
a festival."
The first year Schmid and
Kittaka sent out registration
forms to area elementary art
and music teachers. They were
amazed that 60 percent of
those teachers replied that they
wished to participate, "a
response rate almost unheard
of in direct mail solicitations,"
commented Schmid. Since
then, FAME has grown slightly
larger each year. Last year,
about 40 schools participated.
In addition to displays of
elementary students' artwork,
this year's festival featured
three stages on which school
groups performed nonstop
during festival hours. The Fort
Wayne Dance Collective and
independent piano students
also performed. FAME's 10,000
attendees also had the
opportunity to browse
information booths set up by
local retailers such as art
supply stores and childrens'
booksellers. The popular
FAME posters, T-shirts and
hats were also on sale.
Another highlight of the
1991 FAME weekend was the
Fort Wayne Philharmonic
Children's Concert at the
Embassy Theatre. Composer
Sam Hall, a Fort Wayne native,
created a 4-movement piece
that was performed on
March 17 by an orchestra
comprising northeastern
Indiana's most accomplished
student musicians.
FAME, a nonprofit
organization funded by Arts
United, the Foellinger
Foundation, WPfA-TV
Channel21, Riley Simmons
Advertising, and other private
contributors, has initiated
projects other than its annual
festival.
Among those projects are
Kid Waves, a student-written
and produced show on WBNI
radio; the Fusion of Concert
Colors competition in
cooperation with the Fort
Wayne Philharmonic in which
a piece of music is the
departure point to inspire
students to create a poster,
with the winning entry
reproduced in four colors on
quality stock and distributed
throughout the city; and
Culture Kits, made available to
elementary teachers,
containing videos, music
cassettes, maps, books, and
lesson plans that pertain to a
particular region of the world.
and Culture workshop offered
by the Fort Wayne Museum of
Art (see the related story on
page 15.)
With its success and
popularity ah·eady established,
it's apparent that FAME can
only continue to grow. Recalls
Schmid: ''The first year,
personnel at the Grand Wayne
Center were expecting total
chaos when 6,000 elementary
students descended on their
facility. They didn't realize that
'control' is one of the skills
elementary schoolteachers
specialize in. And each year,
the festival has run, for the
The Festival of Art and Music for Elementary schools (FAME) attracted
thousands to the Grand Wayne Center In March.
This year this multicultural
teaching tool focused on West
Africa, while the touring
group, Drums of West Africa,
performed throughout early
March before 15,000 students
at a dozen area schools. The
program was designed to
complement the Yoruba Art
most part, like clockwork. Of
course, none of that would be
possible without the volunteer
efforts of hundreds of teachers
and parents; in fact, our
organization couldn't exist
without those volunteers."
Spring Lecture and Performance Programs
Feature Martin Esslin, Hank Fincken, Others
answer session that followed
the play, demonstrated that he
is much more than an actor.
While he answered impromptu
questions about Edison's life
and inventions, it became
apparent that he's thoroughly
researched the scientific
aspects of Edison's
accomplishments. Fincken has
traveled to Edison's homes in
Menlo Park, N.J., and Fort
Myers, Ha., and to the replica
of his laboratory in Greenfield
Village near Detroit. The
presentation concluded with
an informal reception.
The spring semester at
IPFW has been enriched by
distinguished visitors who've
shared their knowledge of the
arts. The School of Fme and
Performing Arts has been
fortunate to receive the
cooperation of other schools at
IPFW in the presentation of
these scholars and performers.
On April24, British author
and theatre scholar Martin
Esslin, who coined the term
'Theatre of the Absurd,' will
give a lecture: ''The Absurd
and After," on the history of
the movement that embraces
the works of playwrights
Samuel Beckett, Eugene
Ionesco, and Jean Anouilh, and
provided a departure point for
American dramatists Edward
Albee and Sam Shepard. The
lecture, 7-9 p.m., in IPFW Neff
Recital Hall, will be followed
by a reception with light
refreshments. All those
interested in modern theatre
movements are invited to
attend. Esslin's visit, sponsored
with IPFW' s School of Arts
and Sciences, will also include
an afternoon workshop for
educators. Esslin is the author
of The Theatre of the Absurd;
Pinter the Plilywright; Brecht: A
Choice of Evils, Mediations:
call481-6977.
On March 28, Hoosier
actor /playwright Hank
Fincken presented his original
play, Almost, Mr. Edison, Almost
in Neff Recital Hall. The
program, a cooperative effort
of the Schools of Arts and
Sciences, Engineering and
Technology, and Fine and
Performing Arts, was made
possible by a grant from the
Indiana Humanities Council.
Fincken, who also presents
one-character plays as Johnny
Appleseed and explorer
Francisco Pizarro, was in
character in Almost Mr. Edison,
Almost as Thomas Edison, his
close friend Henry Ford, and
Edison's son, Thomas Jr. The
play was set in 1929 during
"Light's Golden Jubilee," a
national, daylong celebration
broadcast from Dearborn,
Mich., that was organized by
General Electric for the 50th
anniversary of the
incandescent lamp.
In cooperation with the
Student Activities Board and
the School of Arts and
Sciences, SF&PA sponsored the
presentation of Renaissance
man, wit, and composer Rick
Sowash on March 22. Sowash
provided piano
accompaniment for the
screening of Charlie Chaplin's
silent classic, The Gold Rush. On
February 21, SF&PA's music
department presented
nationally known jazz
educator and clinician Jamey
Aebersold for an afternoon
clinic and an evening concert
in Neff Recital Hall.
Hank Flncken In Aknost. Mr. Edison, Almost
Essays on Brecht, Beckett and the
Media; An Anatomy of Drama;
The Age of Television; and The
Field of Drama: How the Signs of
of Drama Create Meaning on
Stage and Screen. For more
information on this program,
Fincken, still in character as
Edison for the question-and-
The ArtScene is made possible by these sponsors. Thanks!
Midland ~ We celebrate the arts. 0~~ 8
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Janet and Bud Latz, GTE
Honored by Governor
Recipients of the 1991
Indiana Governor's Arts
Awards were honored at a
noon ceremony at the
Statehouse in Indianapolis on
Feb. 5. C. Irving 'Bud' Latz and
Janet Latz received the Arts
Patron/Volunteer Award for
more than three decades of
service and leadership in the
Fort Wayne arts community.
Mr. Latz was a founder of the
Fort Wayne Fine Arts
Foundation (now Arts United)
in 1955, and he and Mrs. Latz
were instrumental in raising
funds for the Performing Arts
Center and in the selection of
its architect, Louis B. Kahn.
Other organizations in which
the Latzes have played a key
part through the years include
the Fort Wayne Philharmonic,
the American Red Cross, the
Council for Equity, and the
Jewish Federation.
GTE Statewide Operations
received the Corporate Award
for the scores of arts projects it
has supported throughout
Indiana. In Fort Wayne, GTE
underwrites ''Pipe Dreams" on
WBNI radio; sponsored The
Magic Flute, a cooperative
production of the Fort Wayne
Philharmonic and the
Indianapolis Opera; sponsored
The Diary of Anne Frank in
cooperation with the Allen
County-Fort Wayne Historical
Society and the Jewish
Federation; and sponsors
performances of the Fort
Wayne Philharmonic in other
Indiana communities.
The Governor's Award,
sponsored by the Indiana
Advocates for the Arts in
cooperation with the Indiana
Arts Commission and the
Indiana Endowment for the
Arts, was also bestowed upon
the city and county of Elkhart,
arts educator David Baker,
filmmaker David Anspaugh,
and the Hampton family
(Indianapolis jazz pioneers).
The day's events concluded
with a reception and dinner at
the Indiana Roof Ballroom.
PURDUE-INDIANA THEATRE
1991-92 SEASON
How do characters from
Shakespeare's Hamlet spend
their time when they are not in
that play? What do they really
care about? Lorraine E. Sauter,
visiting assistant professor of
theatre, directs.
Everything is for the best in
the best of all possible
worlds-<Jr is it? This
whimsical musical
interpretation of Voltaire's
story won several Tony
awards. Larry L. Life directs
this co-production of PIT and
the Fort Wayne Philharmonic,
on stage at the Performing
Arts Center.
by John Olive
Lorraine E. Sauter directs
this bittersweet tale of a radio
broadcaster and a blind girl on
the American great plains in
the 1930s and '40s.
Jan.31
Feb. 1, 6, 7, 8, 13, 14, 15
The Bald
Soprano
by Eugene Ionesco
A ground breaking play in
the movement known as
Theatre of the Absurd, The
Bald Soprano still packs a
punch, toying with our
perceptions of language and
domestic bliss. Gregory Stieber
directs.
March 4, 5, 6, 7
A Streetcar
Named Desire
by Tennessee Williams
This icon of modem
American theatre gets an
entirely new treatment from
director Larry L. Life. Are you
surprised? See Blanche,
Stanley, and Stella as you've
never seen them before.
April17, 18, 23, 24, 25, 30
May1, 2
Rosencrantz and Gulldensfem are Dead
Yoruba Art and Culture Explored
The Fort Wayne Museum of
Art, in cooperation with IPFW
Continuing Education,
presented an exciting four-day
workshop March 20-23 that
focused on the West African
people called the Yoruba.
The venture was unique,
noted Samantha Birk, curator
of Education at the museum,
because it provided workshop
attendees the option of
applying their participation to
undergraduate or graduate
college credit. Although many
workshop attendees
participated for their own
edification, the program was
also designed for educators
who are in the process of
renewing teacher certification.
In addition to her duties at the
museum, Birk also teaches art
history for IPFW's fine .arts
department.
Seminar presenters were
Birk, Dr. Patricia Coronel of
Colorado State University,
Michael Coronel of the
University of Northern
Colorado, and Dr. Henry J.
Drewal of the University of
Wisconsin at Madison. Drewal
is the author of Yoruba: Nine
Centuries of African Art and
Thought.
The Fort Wayne Museum of
Art focused on the Yoruba
people because their rich
cultural and visual arts
traditions, though long­established,
are little-known in
North America. Also, inclusion
of multicultural studies in
schools has become an
increasingly important concern
for educators, and the Yoruba
workshop was designed as a
model for incorporating non­Western
studies into the
classroom. The venture was
funded by the Indiana
Humanities Council in
cooperation with the National
Endowment for the
Humanities, Arts United, and
the Indiana Arts Council.
The ArtScene is made possible by these sponsors. Thanks!
r1 •• m My nett
·nLINCOLN
Summit MUSIC COMPANY
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455-341 0 (800) 348-5557 (219) 426-4602
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. Faculb' Artist Series
.. Department of Music •. ~h~ of Fine and Performing Arts
Indiana Unlvel'llty·PUrctue University at Fort Wayne
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~101 Coliseum Boulevard East, Fort Wayne, IN 46805-1499.
You can make a tax-deductible contribution to the Mmic Endowment
Fund for Scholarships. Your contribution works this year and will
continue to work forever, helping us attract tak'nted theatre <;tudl'nts
to IPFW. See the Giving Opportunities Form on page 4. ,,
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1 Subscribe Nowl 9 Recitals for the Prtce -ot-71 -' !
FACULTY ARTIST SER ES
1991-92
James D. Ator,
saxophone
Irene Ator,
keyboards
James A tor is the chair of
IPFW's music department
Irene A tor is director of music
at First Wayne Street United
Methodist Church.
Sept. 22, 2:30 p.m.
Joseph and
Violette
Meyers,
vocal
Joseph Meyers is
coordinator of vocal studies
and director of the IPFW
Opera Workshop; he and
Violette Meyers have
performed throughout the
U.S. Europe, and Asia.
Sept. 29, 2:30 p.m.
The Indiana-Purdue Trio: Masson Robertson, Margery Viswat, and
Jesse Hawkins
Indiana­Purdue
Trio
Chamber music at its best
Pianist Masson Robertson,
cellist Margery Viswat, and
violinist Jesse Hawkins
specialize in music of the
Romantic era.
Oct. 20, 8 p.m.
Artist(s) To Be
Announced
AprilS
Margery
Viswat, cello
Fort Wayne Philharmonic
cellist Margery Viswat
accompanied by pianist
Robertson.
April12, 8 p.m.
L---------------------------------....i~---------..1-----------------------,
David Cooke,
trombone
Jane Glover,
Joyanne
Outland, piano
Mary Rich,
IPFW Campus Map
16
pt• ano
Nov.lO, 2:30p.m.
Masson
Robertson,
pt• ano
Robertson specializes in
music of the Romantic era.
Feb. 23, 8 p.m.
Jesse Hawkins,
violin
Fort Wayne Philharmonic
violinist Hawkins,
accompanied by pianist
Robertson.
March 15, 2:30 p.m.
. ptano
This dynamic duo always
delivers an exciting program
that spans musical eras and
genres.
April26, 8 p.m.
Pianist Jane Glover
The ArtScene is made possible
by these sponsors. Thanks!
mr.s
mUSIO
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