An unusual procession with a copy of the Icon of the Mother of God “of the Sign” occurred in space in Earth orbit. On 30 September, Soyuz TMA-16 was launched from the Baikonur cosmodrome and it delivered the image of the Virgin to the International Space Station (ISS), a source at the Galaktika (Galaxy) training-operational centre (the initiators of the idea) told Interfax-Religion on Wednesday. The icon’s stay in space ended on 11 October. The icon was aboard the ISS for 176 Earth orbits. It returned to Earth on the spacecraft Soyuz TMA-14.

This copy of the Icon of the Mother of God “of the Sign” will be on display 8-14 December at the Orthodox exhibition at VVTs. Anyone interested can see video and photographic coverage of the icon’s “procession” in Earth orbit. Patriarch Kirill blessed this project and the Centre of Russian National Glory, the St Andrew the First-Called Foundation, and the Energiya (Energy) Space Rocket Corporation sponsored it. Four years ago, an icon from the Our Saviour-Transfiguration Monastery of Valaam went into space. During its two-month stay aboard the station, it, along with cosmonaut Sergei Krikalev, orbited the Earth about a thousand times.

25 November 2009

Interfax-Religion

http://www.interfax-religion.ru/?act=news&div=33075

Wednesday, November 25, 2009 | Daily Podcast Episode 1325

ABOVE: Indiana Pacers v. Los Angeles Clippers, 7 pm, Conseco Fieldhouse.

• Indiana Pacers Basketball at Conseco Fieldhouse
• Widespread Panic in Concert at the Murat Theatre
• Mike Milligan and Steam Shovel Live at Avenue Inn
• Old Soul 4-Year Anniversary Party at the Jazz Kitchen
• LemonWheel Live at PJ O’Keefe’s Ale House in Zionsville
• Jonathan Tyler and the Northern Lights at the Rathskeller
• The Winter Weasel at the Indiana State Museum
• Star Wars The Clone Wars at the Children’s Museum
• Public Ice Skating at the Indiana/World Skating Academy
• Weekly Blues Jam at the Slippery Noodle Inn

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Tuesday, November 24, 2009 | Daily Podcast Episode 1324

ABOVE: Laughin' on the Avenue, Nov. 24 at 8 pm, Walker Theatre.

• Thanksgiving with Chris Botti at Hilbert Circle Theatre
• Laughin’ on the Avenue at Walker Theatre
• TG Rivers Comedy Hypnosis Show at Morty’s Comedy Joint
• Budweiser Fight Night Boxing at the Pepsi Coliseum
• Gordon Bonham Blues Band Live at the Artsgarden
• Indianapolis Jazz Orchestra Live at the Jazz Kitchen
• College Men’s Basketball: Spring Arbor at Marian
• College Women’s Basketball: Valparaiso at Ball State
• Public Ice Skating at the Indiana/World Skating Academy
• 18th Century Furniture Design at the Museum of Art

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Monday, November 23, 2009 | Daily Podcast Episode 1323

ABOVE: Indianapolis Baroque Orchestra, 7:30 pm, Christel DeHaan Fine Arts Center.

• Indianapolis Baroque Orchestra at the DeHaan Center
• Soul Bus Live at Kona Jack’s
• Finding Indiana’s Heroes at the Indiana State Museum
• Art Quantum Exhibit at the Eiteljorg Museum
• Campaigns and Cartoons Exhibit at the Harrison Home
• Flava Fresh VI Exhibit at the College Avenue Library
• Public Ice Skating at the Pepsi Coliseum
• Standard(ish) Trio Live at the Jazz Kitchen
• Gene Deer Live at the Slippery Noodle Inn
• Selections from the Permanent Collection Exhibit at UIndy

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fine arts – pixelism: ca. 30.000 painted pixel – 09.2008, acrylic on canvas, 30 * 40 cm (11.81″ * 15.75″). video and cut by patrick egarter

Sunday, November 22, 2009 | Daily Podcast Episode 1322

ABOVE: Clowes Hall presents La Boheme by the Indianapolis Opera, Nov. 22 at 2 pm.

• La Boheme by Indianapolis Opera at Clowes Memorial Hall
• Chicago The Musical at the Murat Theatre
• Christmas Belles at the Belfry Theatre
• Indianapolis Baroque Orchestra at St. Paul’s Episcopal Church
• In Bed with Chuck and Lois at Theatre on the Square
• Mel Fine and Friends at Morty’s Comedy Joint
• Paul Holdman Band Live at the Slippery Noodle Inn
• Florence Henderson and the ISO at Hilbert Circle Theatre
• Indianapolis School of Ballet at the Indianapolis Artsgarden
• 2009 International Festival at the Indiana State Fairgrounds

Free publicity for your upcoming events! Submit an event.

My college decides to hold a concert. I find out last minute that my org is covering the event.

This is Halo-Halo.

Halo-Halo comes from a popular Filipino dessert that is a mixture of shaved ice and milk to which are added various beans, fruits, jams, jellies and served cold in a tall glass or bowl. The concert is basically a mix of a lot of different bands. The concert is held in our newly renovated parking lot and waiting shed.

To the right of the stage, there is a freedom wall. Anyone can write on it but since we’re Fine Art students, all you see are drawings.

The next pictures are just the event. Enjoy.

Charles Krauthammer recently stated that he has had to postpone his light article on the Washington Nationals due to the plethora of lunacy we see emenating from the same city. 

Well friends, my pessimism is one of the more comprehensive sort, so I think it apt to dedicate each Friday to light-hearted tomfoolery.  Tonight’s subject: movies of the conservative sort, my top ten in fact.  So here goes nothing. 

10.Up (2009)- Before you stone me for bringing Pixar into the political sphere, allow me to explain.  The main character, Carl Frederickson, is simply a mixed bag of prototypical American values and those values are, yes, glorified in a way that must send some in Hollywood off the edge.  The movie starts off with him as a child holding tight to a dream of adventure that he shares with Ellie, his future wife.  They grow older, and embrace a more mature dream of raising a family.  After she passes away the story turns from realistic to allegorical,  Fed up with the trials of modernity he takes to the skies in the citidel of beautiful antiquity that is his house (a conservative tendency no doubt), only to figure out that it’s his calling to love and take responsibility for the next generation.

9.Master and Commander (2003)- Yes, I stole this from the February 23rd edition of National Review.  But it is indeed a Burkean’s dream society; ruled by duty, custom and tradition. 

” This ship, is England. So it’s every hand to his rope or gun, quick’s the word and sharp’s the action. After all… surprise is on our side.”

8.Dr. Strangelove (1964)-  In a recent TCM documentary on Stanley Kubrick, a few commentators were surprised to note that their conservative friends loved that movie.  And why not?  MAD was a policy denounced by both sides of the ideological spectrum, and Kubrick slices it up in a hilarious fashion.  The lampooning of the John Birch Society was an added bonus for all the movement conservatives out there.

7.Luther (2003)- A film overlooked in even the most intense of watercooler conversations.  While the likes of Chesterton would clearly condemn it, Luther reflects that reformist nature so strong in conservatives.  His goal was, after all, to bring the Catholic Church closer to the foundations of Christianity it left while avoiding bloody revolution.  No doubt, he was a perfect example of the conservative reformist, and the movie portrays him stunningly.

6.  Nicholas and Alexandra (1971)- I confess that I am no great expert of Russian history, but this movie clearly demonstrates the many pitfalls Russia could’ve avoided had Tsar Nicholas II allowed his nation to adopt a form of government akin to England’s.  A very conservative lesson for those willing to learn it.

5.  Metropolitan (1990)- While on the subject of the downfall of aristocracy, Whit Stillman’s Metropolitan seems the most logical step forward.  Unlike Nicholas II, our characters are American bourgeoise of Manhattan’s UpperEast Side who struggle with the emergence of anti-traditional forces in the latter half the twentieth century.  Stillman has something to say about everything, from the existence God to the dissappearance of those charming detachable collars.  At first the hyper-articulate and verbose nature of his characters may come across as offputting, but sit down for five minutes and you’ll find you wished everyone talked as they do.

4.  Henry V (1989)- About a year ago I took it upon myself to memorize the famous “St. Crispin’s Day”  speech, and came across a most brilliant rendition of  Shakespeare’s finest play.  Kenneth Branagh’s Henry V is a man of equal parts action, elegance, and eloquence, who eventually overtakes his country’s long standing enemy against all odds and “expert” judgement.  It truely leaves one with the impression that Shakespeare would’ve voted for Reagan, had he been elidgible to do so.

3.  The Ten Commandments (1955)- The average Bible 205 professor at Liberty would shudder at this selection due to it’s clear inaccuracies regarding the identity of the Pharaoh during the Exodus (sorry Dr. Hindson).  Nevertheless,  it upholds the most basic of conservative beliefs: Liberty under God’s Law.  The Hebrews faced the slavery of totalitarianism when the Pharaoh’s word was law, and the tumultuous depths of anarchy when their word was law.  The Word and direction of the Lord provided the depth and balance a people need to remain free.

2.Star Wars (1977)- Many wish to emphasize it’s ties to eastern philosophy/ religion, but in the wide sweep of things that first Star Wars movie had a very conservative edge.  Good and Evil are shown in stark contrast, and the way to defeat evil rested ultimately in the hero’s adherence to an age old tradition.  A nice break from those darn near nihilistic/deterministic/fatalistic disaster movies of the preceding years.

1.Barcelona (1994)- While the previous movies were in no specific order, this second iteration in the Whit Stillman trilogy is number one.   If  you ask any fan of Barcelona what the movie is about, you will likely get a different answer everytime, because the plot centers around so many things. 

The best way is simply to describe it as this: A story centered around the adventures and misadventures of two, young, American professionals in Barcelona during the later stages of the Cold War.  These two main chracters (cousins Fred and Ted Boynton) experience cross-cultural romance, internal frustration, violent anti-americanism, and familial tension left over from childhood. 

Why is it conservative?  Unlike so many movies of it’s kind today America and her traditions do not turn out to be the source of the world’s pain and suffering.  That isn’t to say it doesn’t depict our silly qualities, like the doomed bourgeoise of Metropolitan, Barcelona’s American characters are very eccentric, and it is through their eccentricities that we see the humor latent in ourselves.  But ultimately America and Americans are shown to be a force for good, working hard to keep the West economically prosperous, and safe from the threat of foreign enemies.

-The Burkean

wow looonnggg time since the last time i posted anything up, been real busy with my photo work, but found this guys website that was ill and i had to show him some love. His name is David Brownings and I’m pretty sure he’s just a student, but that doesnt mean much when it comes to artistic ability. check his website.

The artist Gillian Wearing believes that “even the camera cannot capture ‘truth’…the person behind the camera is always framing and interpreting what is being said, a process that continues while he or she is editing the film” (1997). This to me is an undeniable statement, but one that has encouraged me to attempt to seek out this truth that Wearing speaks of; it may seem unattainable but there is nothing to stop a person from searching as hard as they can for it. I am concerned, therefore, with documenting people and their idiosyncrasies through obtrusive intimacy, and I manipulate the footage I gather in a way that emphasizes this. Like the sudden and enlightening beauty of the facial close-ups in John Cassavetes Faces, I hone in on and visually segregate physical aspects of people in order to not only create a different perception of expression, movement and habit but to gain insight into their state of mind at the time; basically, I am attempting to get to know people a little better.

The foremost influence that I recognize as instigating these ideas, albeit without me realizing, was one particular scene in Andrey Tarkovsky’s Russian epic Stalker. The stalker, the writer and the scientist are worming their way into The Zone and to finish their journey they must commandeer a mine-cart; so ensues a short, seemingly continuous shot of this fragment of their journey. Tarkovsky uses the characters faces and their relation to one another to express the tension emanating from the three men and their environment in a way that I found enlightening; there is no rush, no exaggeration or effects; I never knew that so much could be expressed using the back of a head or a side profile. My first piece, A to B, was an attempt at using these visual methods to express a journey in this way, granted not to convey tension but to observe the moods and reactions that my subjects experienced during filming. My records of observation began with this film. Here also I first truly recognized not just the importance of sound in a work but the importance of its absence and manipulation; both directors and artists (often the boundary between the two is completely indistinct) must consider how they mean to construct their piece holistically. One result of this is that as the project has progressed I have embarked on a sometimes very frustrating exploration of sound qualities and standards, which I am still pursuing to this day.

Throughout this project I have gradually become interested in how people react – or perhaps ‘perform’ is a better word – when you direct them, gently of course; usually I have no intention of requiring people to act, as I am not interested in falsities but in response; despite this, in the case of my piece Manipulation I was interested in playing with peoples perceptions regarding the speech heard and the person seen on-screen. It was with this video that I toyed with these ideas of direction, absence and manipulation, in this case using repetition (in both the structure of the video and by playing it on a continuous loop). In the afore-mentioned scene in Stalker the sound of the mine-cart is binding the other electronic, synthetic sounds together, and so when its noise dulls and fades we gain an unsettling atmospheric presence that makes the near silence that follows even more emphatic. I used a build up of sounds in order to try and create the same effect – to reinforce eventual silence. The sounds I used are replicas of the ones in my head, recreated using what to me seemed to be unlikely means; I experienced Tacita Dean’s piece Foley Artists in The Russian Linesman exhibition earlier this year, and through this gained a fascination for the production and deception that sounds are capable of generating; the internal roaring that I am often confronted with is here externally reproduced using a digitally manipulated hand-dryer, a gas hob and heating pipes, sonic parallels inspired by David Lynch’s obscure film Eraserhead and the tyranny of its constant, invasive audio.

I’m talking about this video at length because of its difference in approach from my other pieces. By asking a friend to memorize and recite a personally meaningful passage of writing and then dubbing my voice over her image repeatedly was significant for many reasons; firstly, I felt that what was read needed to be said out loud, for my own sake (and in this way Manipulation was an indulgence); I have hang-ups about being scrutinized on camera myself, a factor which I may have to consider more carefully in the future. Gillian Wearing avoided accusations of exploitation by herself becoming an uninhibited participant (pieces such as Dancing in Peckham spring to mind). By using someone else as an outlet for my own issues is conforming, I believe, to the expectations of those who know me and my behavior. The second reason: by my repetition of the written passage and the usurping of the language through external sounds I wasn’t sure whether I wanted to enforce meaning into the words or render them eventually meaningless; placing my own voice and words in another persons mouth was in a way me challenging both approaches. Looking back I think it ended up being the former; as I was making the film I was constantly referencing a particular scene from Ingmar Bergman’s Persona, where we hear the nurse recount Elizabet’s recent circumstances, only to hear the monologue repeated as our view is shifted from the first character to the second. The repetition reinforces the situation being described and the view we are given of each woman’s face further reinforces the meaning it holds to each of them. The repetition of speech in Manipulation had a similar impact for me, but this is almost irrelevant; I made the piece and composed the written passage. If the audience leaned towards either attitude – repetition enforcing meaning or sound rendering words meaningless – I would see it as a success.

The most compact and, I believe, the most successful video I have produced during this project is Nintendo Night, a piece partly the result of my boredom on a late Sunday evening, as well as the brilliant compliance of my housemates and of my repeated watching of Patrice Le Conte’s Le Batteur du Bolero. When I say ’successful’ I don’t mean accomplished or popular; I mean it as an indication that I am getting slightly closer to the things I am attempting to portray, to the things that I want to say in my work. It was the first time that I fully apprehended the importance of my subjects also being my intimate acquaintances and embraced this familiarity in order to construct a piece both in content and meaning. The footage itself was mammoth in comparison to the seven minutes presented in the final film, making the editing a satisfying challenge; the audio still leaves a lot to be desired, but for want of a better phrase: you live and learn. To this day I am still battling with audio.

Wearing’s work has grown in poignancy for me since the beginning of my project. In July I saw Confessions at the Rodin Museum in Paris. Consisting of two videos called Secrets and Lies and Trauma, she asked people to confess their thoughts and emotions regarding certain events from their past whilst disguising themselves with crude plastic masks. Unlike Wearing I am not asking people to confess, but like she says in her interview with Carl Freedman (1997): “I thought what I had to say was pretty limited and I could learn from listening to and observing other people”. On the night I filmed the footage for Nintendo Night I asked my housemates to recite things from heart, partly because of a previous days disastrous filming (the short film Cathays Train was the product of this as well). I asked my friends to recite because I had begun to look into the ideas of directing with more consideration, which I have talked about above. Tarkovsky wrote in his book Sculpting in Time that “it is [the directors] duty to reveal every iota of the truth he has seen” (1987:188), a concept I find interesting in relation to the deliberate creation some sort of fiction, which is ultimately what all directors – even directors of documentary – do, hence the Wearing quote in the first paragraph of this essay. So by asking my friends to recite I was preventing some ‘natural’ behaviour, but my intention was to draw out some personal truths of theirs through their choice and recounting of certain memories. It is from these ideas that The Recital stems from.

The Recital was a challenge for me in many ways. As I said regarding Nintendo Night, it was important for this piece that I film people who I am already acquainted with; initially the video was going to be called Getting to Know You, a phrase chosen for its clichéd familiarity as well as its irony; this is an irony that is personal to me because I already know these people, some not so well but some very well. The irony is a subtle one however; Getting to Know You actually makes a lot of sense because you can never know someone enough to prevent you from learning a little more about them, and this seems to be the result of the project as a whole. Hence the name of this statement being ‘Getting to Know You’ – when I observe my own work this seems to be what is happening; I am seeing, hearing and therefore learning more about the people I am surrounded by. Technically the film has many points that need improvement. I was adamant that I had to film people in their own environments, their rooms or lounges or studio spaces, but this presented problems regarding lighting, placing the cameras for the desired composition, as well as audio (yet again sound is the main issue). I am choosing to accept these issues rather as lessons for future videos, and despite them all I am pleased that I recorded my subjects in this way – often their surroundings prompted thoughts which I think helped them relax during the recording, although I don’t believe this retracted from the obtrusion of being filmed and directed closely in their own homes. It was this mix of familiarity and slight discomfort – and their resulting responses – that intrigued me.

As for the ‘truth’ that Tarkovsky speaks of: in relation to the subjects in all of my videos I have strived to keep things honest, without manipulating their actions or words in a way that would directly alter their meaning. However, to again quote Wearing, this time in reference to her video Drunk: “It was more a case in this instance of choosing the moments that make the whole coherent. This in a way can feel like painting – choosing the right brushstrokes to make a form”. I have often viewed my video practice as not dissimilar to that of a painting practice; a painting, after all, is an object that is the product of specific direction. All that I really have left to say is that I am still learning, not only about the people in my life but about what it takes to make a video as a piece of art. My observation and scrutiny of those around me isn’t going to end here; it is still ongoing as my constantly renewed curiosity is repeatedly tempted and satisfied. Things to consider for the future are expansions of this; strangers, getting to know people I don’t know at all, using the camera as a communicative tool between myself and others, or perhaps even just with myself. For now, however, I am contemplating not just what to proceed with but what I have gained from the work that has already been done, and what it tells me about myself and my practice as well as those who are featured within it.

Bibliography:

‘Sculpting in Time: Reflections on the cinema’, Andrey Tarkovsky, 1987, Alfred a Knopf Publishers

‘Gillian Wearing’, Lisa G. Cornin, 2000, Serpentine Gallery

An installation view of the barter-for-art exhibition Outpost, by students of VCS (click to enlarge)

Being at SVA puts students very close to the hub of the art world, giving them an opportunity to witness its growing pains up close. Right now, they have a ringside seat for one of the biggest crises of faith it has ever faced. Since the beginning of the economic downturn, art world buzz has been dominated by rumors of gallery closings, declining art auction prices, and the end of things as they used to be in the world art market. There’s still no consensus as to what is going to happen in the future, though there is a growing sense that things may have to change fairly radically going forward. So far, though, no one seems to know exactly what that change may entail. Such a climate opens a window for a any number of artistic experiments questioning the way art is made, valued, bought, and sold.

These woes have spurred a group of VCS students to create Outpost, an attempt to explore the art market’s workings in a gallery setting, right where the question of art valuation is ultimately settled. Under the guidance of VCS faculty member Amy Wilson, student organizers Erin Franke and Katie Armstrong have created an exhibition that examines what it means to make and market art in a recession-ravaged economy, while also providing a showcase for a wide and impressive variety of art by VCS students Alyse Anderson, Katie Armstrong, Ranya Asmar, Shannon Broder, Megan Connaughton, Zeke Decker, Angela Fan, Erin Franke, Marissa Havers, Kelly Kabezas, Elektra KB, Shannon Kelley, Amy Kolenut, Eleni Kontos, Sam Liberman, Romy Melgar, Shellyne Rodriguez, Sharon Broza Stone, Brooke Tomiello, Alex Torres, as well as a collective work by the second year sculpture students, and a piece by VCS department chair Tom Huhn.

Set up in a temporarily repurposed section of the VCS studios, Outpost presents an exhibition in which artworks are presented as items for trade, rather than purchase. Instead of following the traditional model of setting a price and hoping the works find a buyer, the exhibition falls back on the older and much more fluid system of barter. Viewers who want to acquire specific works of art write proposed trades on slips of paper and place them in small pouches hung next to each work. The ultimate decision as to which offer to take (if any) is left to the artist’s discretion, creating a free-market zone of one-of-a-kind transactions in which an offer to clean the artist’s apartment may have to compete against a piece of jewelry or a sack of groceries. Instead of the sort of bottom-line price tag comparisons that apply in traditional art market appraisals, the value of art becomes defined by unique, one-on-one negotiations that translate both parties’ sense of artistic worth into very direct, concrete terms. The primary factor in price setting thus becomes love of the work, rather than the usual economic factors of gallery overhead, artist branding, or supply and demand.

One of Outpost's offer slips

Starting on October 17th and running through the end of last week, Outpost garnered an impressive amount of press during its brief run. As can be seen on this blog’s press page, it has been covered by publications as diverse as Juxtapoz, Lost at E Minor, and Business Week Business Exchange.

A catalog for the exhibition published through SVA’s Visual Arts Press is forthcoming. I will post an update as soon is it is available. For more information on Outpost, please visit the project’s home page, and the press release on SVA’s site. More images from the exhibition are also available on the events page of this blog.

Tuesday, November 17, 2009 | Daily Podcast Episode 1317

ABOVE: College Men's Basketball, 7 pm, Marian University v. Wabash College.

• College Men’s Basketball at Marian University
• Cool City Swing Band at the Jazz Kitchen
• Guitarist John Alvarado at the Indianapolis Artsgarden
• Rabbi Michael Cook at the Ann Katz Festival of Books
• The Winter Weasel Exhibit at the Indiana State Museum
• Art Quantum Exhibit at the Eiteljorg Museum
• Matt ‘Guitar’ Murphy at the Slippery Noodle Inn
• Joseph and the Amazing Technicolor Dreamcoat
• Sacred Spain Exhibit at the Indianapolis Museum of Art
• Public Ice Skating at Indiana/World Skating Academy

Free publicity for your upcoming events! Submit an event.

Andreas Roseneder   emotional target I chinese ink & watercolours on kahari paper, 2009

Andreas Roseneder   emotional target II chinese ink & aquabrique on kahari paper, 2009

Monday, November 16, 2009 | Daily Podcast Episode 1316

ABOVE: Miley Cyrus in concert, 7 pm, Conseco Fieldhouse.

• Miley Cyrus in Concert at Conseco Fieldhouse
• Rob Zombie in Concert at the Murat Theatre
• IU Men’s Basketball at Assembly Hall in Bloomington
• Kilho Live at the Ruth Lilly Performance Hall, UIndy
• 11th Annual Ann Katz Festival of Books at Arthur M. Glick JCC
• Art Quantum Exhibit at the Eiteljorg Museum
• Ball State Women’s Basketball at Worthen Arena in Muncie
• Soul Bus Live at Kona Jack’s
• Chris Shaffer Live at the Slippery Noodle Inn
• Flava Fresh VI at the College Avenue Public Library

Free publicity for your upcoming events! Submit an event.

Here is what Maria can do to your room (if you are more than 1 year old, that is

Dream Room site

And here are some murals:

fine arts – pixelism: ca. 30.000 painted pixel – 04.2009, acrylic on canvas, 30 * 40 cm (11.81″ * 15.75″). video and cut by patrick egarter

This blog is the start of my new business venture. This site will allow for people to view my various artwork (illustration & photography) and provide consumers my services as an artist. I will also have different artwork for sale. Any requests please e-mail me at: arobpolo@gmail.com

Thank You!!!!

-Alex

Andreas Roseneder   goat´s familiar insight chinese ink & aquabrique on kahari paper, 2009

Andreas Roseneder   dragon´s hands chinese ink & aquabrique on kahari paper, 2009

Andreas Roseneder   goat´s head chinese ink & aquabrique on kahari paper, 2009

Saturday, November 14, 2009 | Daily Podcast Episode 1314

ABOVE: Impossible Jazz Collaboration, 10:30 pm, Chatterbox Jazz Club.

• Indiana Pacers Basketball at Conseco Fieldhouse
• Indiana Ice USHL Ice Hockey at the Pepsi Coliseum
• Indianapolis Winter Farmers’ Market at the Chatham Center
• Hoosier Antiques Expo at the Indiana State Fairgrounds
• Great Indy Pet Expo at the Indiana State Fairgrounds
• Follow the North Star at Conner Prairie
• Demonstration Pow Wow at the Indiana State Museum
• LGBT Film Festival at the Indianapolis Museum of Art
• College Football: Michigan State at Purdue
• Joshua Bell and the ISO at Hilbert Circle Theatre

Free publicity for your upcoming events! Submit an event.

Friday, November 13, 2009 | Daily Podcast Episode 1313

ABOVE: Joshua Bell and the ISO, 8 pm, Hilbert Circle Theatre.

• Comedian Robin Williams at the Murat Theatre
• Bands of America Grand Nationals at Lucas Oil Stadium
• The Diamonds in Concert at Oak Hill Mansion in Carmel
• Hoosier Antiques Expo at the Indiana State Fairgrounds
• Indiana Ice USHL Ice Hockey at the Pepsi Coliseum
• Follow the North Star at Conner Prairie
• Demonstration Pow Wow at the Indiana State Museum
• LGBT Film Festival at the Indianapolis Museum of Art
• 113th Army Band at Zionsville Performing Arts Center
• Joshua Bell and the ISO at Hilbert Circle Theatre

Free publicity for your upcoming events! Submit an event.

Image Credit:

• http://upload.wikimedia.org/wikipedia/commons/d/de/Gustave_Courbet_010.jpg