UofL is a proud community partner, and securing benefits on- and off-campus for our Cardinals is part of our commitment. A Cardinal Card grants you the ability for the day at the SRC. (Employees can take advantage of the bike benefit, too.) Showing a Cardinal Card also provides student access to on-campus privileges like the , located on the third floor at the SAC. Here, you can stop by and grab groceries, to-go foods and non-perishable items. Additionally, the ID gives students access to , which provides free donuts, coffee and hot chocolate every Thursday from 8 to 10 a.m. at the Red Barn.Ìę

In a vibrant and dynamic city like Louisville, all you need to know is where to look for something to do and the Cardinal Card can help.ÌęLocal entertainment amenities like memberships at the are offered at a discounted rate for UofL students and there is student pricing for in-town theaters like the Baxter Avenue Theatres, $15 tickets for the and $10 tickets for the . Sports fans can score student season tickets for per game and tickets every Friday, on home games. A Cardinal Card also gets UofL students, faculty and staff free admission to the during normal business hours.Ìę

UofL employees also can take advantage of deals like the at Kroger. UofL faculty and staff receive 10% off Kroger brands every Friday, Saturday and Sunday – just show your UofL employee ID and Kroger Plus card to the cashier to get your discount. In addition, discounts are also available for faculty and staff, offering a 15% discount on any item – from Adidas gear to Apple products. With employees’ well-being a priority, UofL partners with to allow faculty and staff to get a Black Card membership for only $19.99 a month, with no enrollment or annual fee.Ìę

UofL Alumni can also get in on the , including 10% off your purchase at Hex Head Mechanical Art to get durable artwork and show your support for the Cards. Additionally, Alumni have access to affordable insurance coverage through the Ìę

Cardinal Cards are typically issued to current students and employees during orientation sessions. Alumni are also eligible to order an ID card. Visit the office for more info and don’t miss out on your extra benefits.Ìę

By Maria Arteaga Mendoza

The purchase of the painting by the Speed Art Museum and the Smithsonian National Museum of African American History and Culture enabled her to do both.

On April 10, the University of Louisville announced that Sherald is donating $1 million to the university to fund the Brandeis Law School’s Breonna Taylor Legacy Fellowship and the Breonna Taylor Legacy Scholarship for undergraduates. The gift is the result of distributions from the trust Sherald established through the sale of the painting.

The announcement highlighted an impactful day of events that also included delivery of the law school’s first Breonna Taylor Lecture on Structural Inequality; the presentation to Sherald of the law school’s first-ever Darryl T. Owens Community Service Award; and the announcement that the Sherald portrait of Taylor is expected to “come home” to Louisville in 2023.

“Nothing can take away the injustice of Breonna Taylor’s death,” said UofL Interim Vice President for Community EngagementÌęDouglas Craddock Jr., in announcing the gift. “But what we must do is create spaces where Breonna Taylor is remembered and where her legacy can inspire us to carry on the hard work of erasing inequality and divisiveness. Amy Sherald’s gift will have transformative power for the law school fellows and scholarship recipients who will benefit from her decision to use her artistic gift to help heal the corrosiveness of hatred and animosity.”

Members of Breonna Taylor’s family, including Taylor’s mother Tamika Palmer, were in attendance for the lecture and reception. The Taylor family attorney, Lonita Baker, also attended the day’s activities. An alumna of the Law School, Baker discussed the establishment of the lecture series and introduced Law School professor Laura McNeal, who presented the first Breonna Taylor Lecture in Structural Inequality.

To conclude the day’s activities, Sherald was recognized as the first recipient of the Brandeis Law School’s Darryl T. Owens Community Service Award, presented to someone who embraces and actively engages the principles of selfless advocacy and engagement with transformative social issues. Owens served as a Kentucky state representative for the district that includes Louisville from 2005 to 2018. He died in January at age 84. His longtime friend and colleague, Kentucky State Senator Gerald Neal presented the award to Sherald.

The Breonna Taylor Legacy Fellowship is open to law school students with 60 or more credit hours who secure a legal volunteer position over the summer with a social justice nonprofit organization or agency. Three fellowships supporting stipends of $9,000 will be awarded. Applicants also must demonstrate a commitment to social justice as evidenced by an application essay. The first fellowships will be awarded in summer 2023.

The Breonna Taylor Legacy Scholarship is open to undergraduate students at UofL who demonstrate a commitment to social justice as evidenced by an application essay, also. Up to four students will receive funding beginning with one student in fall 2023, two in 2024, three in 2025 and four in subsequent years. Each scholarship is $7,000.

The portrait – depicting Taylor in a flowing turquoise gown and projecting serenity, strength and regal beauty – is currently featured in the exhibition Reckoning: Protest. Defiance. Resilience at the Smithsonian’s National Museum of African American History and Culture in Washington. The Speed Art Museum’s purchase was made possible by a grant from the Ford Foundation, and the National Museum of African American History and Culture’s purchase was made possible by a gift from Kate Capshaw and Steven Spielberg/The Hearthland Foundation.

The two foundations granted funding that allowed the two museums to each purchase 50% interest in the painting and enter into a co-ownership agreement.ÌęIt was Sherald’s desire that the painting be co-owned by the two institutions.

The portrait is expected to return to Louisville for display at the Speed Art Museum in the spring of 2023.

Statement from Amy Sherald

“Rep. Owens was a lifelong public servant advocating on behalf of the Louisville community. It is in recognition of that same community that I seek to honor the memory of Breonna Taylor through my work.

“I have long held the belief of the transformative power of education and its ability to foster new conversations and accelerate societal growth. With support from the Hearthland Foundation and the Ford Foundation it has become possible for me to realize those beliefs.Ìę

“I have created this trust to help unblock the challenges historically faced by students pursuing the work of social justice and public service while attending the University of Louisville.

“I am proud to partner with the university as we continue to increase the rate of access and advocacy within the Louisville community and across this country with the Brandeis Law School’s Breonna Taylor Legacy Fellowship and the Breonna Taylor Legacy Scholarship for undergraduates.”

Sherald, who was born in Columbus, Georgia, and now based in the New York City area, documents contemporary African American experience in the United States through arresting, otherworldly figurative paintings. Sherald engages with the history of photography and portraiture, inviting viewers to participate in a more complex debate about accepted notions of race and representation, and to situate Black heritage centrally in American art.

Sherald received her MFA in painting from Maryland Institute College of Art and BA in painting from Clark-Atlanta University. Sherald was the first woman and first African American to receive the grand prize in the 2016 Outwin Boochever Portrait Competition from the National Portrait Gallery in Washington; she also received the 2017 Anonymous Was A Woman award and the 2019 Smithsonian Ingenuity Award. In 2018, Sherald was selected by First Lady Michelle Obama to paint her portrait as an official commission for the National Portrait Gallery.

Sherald’s work is held in public collections such as the Whitney Museum of American Art, New York; the Los Angeles County Museum of Art; Museum of Fine Arts Boston, Boston;Ìęthe Crystal Bridges Museum of American Art, Bentonville, Arkansas;ÌęEmbassy of the United States, Dakar, Senegal; Smithsonian National Museum of African American History and Culture and the Smithsonian National Portrait Gallery, Washington; and Nasher Museum of Art, Durham, North Carolina.

Hite Art Institute presents “,”Ìęan exhibition of mixed media drawings and assemblage sculptures by California artist Joan Tanner, on view Sept. 14 through Oct. 27 in the .

The traveling exhibition is organized by Julien Robson, independent curator and director of in Kentucky, and a friend of Tanner’s.

“Joan is compelled by a curiosity to engage contradiction and an impulse to disrupt assumptions about spatial relations,”Ìęsaid Robson, who served as curator of contemporary art at the from 2000 to 2008.

Over a career spanning six decades, Tanner’s art has developed across disciplines to encompass many media, including painting, photography, video, sculpture and assemblage. With an instinctive resistance to conventional ideas of order, she has created provocative works that defy simple categorization and sometimes logic.

She has exhibited across the U.S. since 1968, beginning shortly after she moved to Southern California from the Midwest. Her work is held in a number of collections, including The Getty Research Institute, Los Angeles; Harvard University, Houghton Library, Department of Printing and Graphics, Cambridge, Massachusetts; New York Public Library, Spencer Collection; Speed Art Museum and the Santa Barbara Museum of Art, California.Ìę

Tanner has also served as a visiting lecturer at the University of California Santa Barbara; Ohio University in Athens; Illinois State University at Normal and, most recently, as an artist-in-residence at the University of North Carolina at Greensboro.

Tanner’s current exhibition has traveled to numerous other galleries this year, including theÌęTaubman Museum of Art in Roanoke, Virginia.Ìę

that Tanner’s art hasn’t been given the exposure it deserves,Ìę which is part of why he created this show.

“In recent years, there has been a growth of interest in older woman artists who have been overlooked,” he said.

There will be a lecture associated with the show 7-8 p.m., Sept. 13 in room 100 ofÌęBingham Humanities building.Ìę

The is 6-8 p.m.,Sept. 14 at the Cressman Center, 100 E. Main St.

And, if you’re Jason Lopes, you can use them to create a working “Iron Man”Ìęsuit for actor, Robert Downey Jr., or a life-size replica of soccer superstar, Cristiano Ronaldo.

“It’s called pushing the boundaries,” said Lopes, who worked in film special effects before joining technology company, . “When people tell you no, use that as inspiration to show them how it can be done.”

And to push those boundaries, universities and industry can accomplish more by working together. That was the subject of the 2018Ìę, held Aug. 1-2 at the Speed Art Museum on UofL’s Belknap campus. Lopes was the first keynote speaker.

The inaugural conference, themed “Strengthening Industry Collaborations with Academia,” focused on collaboration in advanced manufacturing fields, including additive manufacturing and micro/nanotechnology.

“Universities play a critical role in the advancement and application of these technologies for industry,” said Dr. Kevin Walsh, associate dean of research at UofL’s J.B. Speed School of Engineering, who led the organizing committee. “Our goal was to bring both sides together, and showcase the innovation generated by that collaboration.”

The event was aÌępartnership between UofL and the University of Kentucky. Together, they offer a collection of advanced manufacturing core facilities open to industry and academia, called the Kentucky Multi-Scale Network.Ìę

Kentucky Multi-Scale is part of the National Science Foundation’s National Nanotechnology Network, which consists of 16 academic sites across the U.S. with similar advanced core facilities.

At UofL, those facilities include the Micro-Nanotechnology Center (MNTC), the Rapid Prototyping Center (RPC), and the Conn Center for Renewable Research. Those facilities work with industry on a variety of projects, from toÌęsaving energy when manufacturing cement.

This goes to show that the potential applications for nanotechnology and 3-D printing are broad, and can impact diverse industries — from space travel, to manufacturing, to medicine, to movies.

Lopes, for example, has also used 3-D printing to create a giant sneezing monster for Comic-Con and light-up mohawks for Katy Perry. ÌęNow, he’s working with the dental division at Carbon to make better dentures and embedding tracing technology into .

“This is what excites me,” Lopes said. “Embedding the technology inside all of this.”

And Walsh said combining these technologies, as in Lopes sneakers, could lead to more innovation. For example, he said, future human prosthetics and implants could be both 3-D printed, and contain sensors so they’re smarter, safer and function more effectively.

“But for that to happen, we need the micro/nano community to be fully engaged with the additive manufacturing community,” he said. “This symposium provides that opportunity and we plan to offer it every year.”

The Southern Accent exhibit, which questions and explores the complex and contested space of the American South, will be on display until Oct. 14 at the Speed Art Museum. The event, “Queer Eye on the South,” was held Sept. 28 and provided attendees a chance to view the exhibit from a LGBTQ perspective.

“We’ve always considered the Speed Art Museum to be one of the city’s most LGBT-inclusive spaces, but Interim Director Stephen Reily really wanted to be even more intentional in letting the LGBT community know that they are welcomed and celebrated there,” said Brian Buford, assistant provost for diversity and executive director of the LGBT Center. “We decided to co-host this reception and viewing of the Southern Accent exhibit as a way of celebrating a community where compassion and inclusion are deep values.“

Dr. Jongwoo Jeremy Kim, an associate professor of art history in the Department of Fine Arts at UofL, and Miranda Lash, the curator of the exhibit will lead a tour, with special focus on the exhibit’s LGBT elements.

“Southern Accent is a powerful contemporary art exhibition that investigates the historical consciousness of the American South in imagery, objecthood and sound,” said Kim. “Among the key ideas structuring the exhibition is queerness — or what we may call disruptions that undermine concepts of coherent, immutable identities. Miranda Lash, the curator of the exhibition, and I look forward to discussing artists such Skylar Fein, Roger Brown, Catherine Opie, and Andy Warhol, while furthering the ongoing collaboration between the Speed Art Museum, the Hite Art Institute, and the LGBT Center at the University of Louisville.”

“This year, we are celebrating the LGBT Center’s 10th anniversary and we are thrilled that the museum is joining with us to honor this milestone,” Buford said. “Everyone is welcome — whether you or LGBT or not — because it took the collective commitment of all of us together to reach this point.”

Photo of Kim provided by the .

The day-camp students, who just completed fifth grade at three Jefferson County elementary schools, will apply their technical skills in workshops on this year’s theme, “Me in the Making.” The doctoral program in rhetoric and composition in the College of Arts and Sciences offers the free camp for students chosen from Lincoln Elementary Performing Arts School, Cochran Elementary School and J.B. Atkinson Academy for Excellence.

The campers will work on a “photovoice” project by setting up photograph scenes and then writing accompanying narratives to show through image and text what it means to be a girl in their community. The girls also will use Snapchat, collaborate on team movie projects and explore Speed Art Museum’s Art Sparks area.

Camp leaders are four UofL graduate students from diverse fields of study working with English professor Mary P. Sheridan to design, teach, operate and evaluate the camp; learn about meaningful team-teaching with technology; and later publish journal articles and share their research results. This year’s leaders are from rhetoric and composition, public health, exercise physiology and women’s and gender studies/social work.

Begun in 2014, the academy is designed to increase the girls’ problem-solving and storytelling confidence and technological competence as they learn to be producers as well as consumers. Their team-produced movies and individual photovoice projects will be shown in a public showcase that concludes the camp. Students will receive iPod Touch devices to keep; the work also is intended to help combat the oft-cited summer slide in reading and writing skills, especially in transitioning to middle school.

The festival explores French and French-speaking cultures through a variety of genres.Ìę Some films will be shown on theÌęBelknap Campus, and, in partnership, the Speed Cinema at the Speed Art Museum, 2035 S. Third St., will feature four classic French films as part of its Free Owsley Sundays.

At UofL, the films will be shown in Floyd Theater of the Swain Student Activities Center, 2100 S. Floyd St. The 5 p.m. Thursday screenings will include post-film discussions with UofL and other local experts on French-speaking cultures and film studies. Film descriptions, speakersÌęand trailers are .Ìę

The UofL Floyd Theater schedule includes:

• “Being 17,” 5 p.m. and 8 p.m. Feb. 2 and 2 p.m. Feb. 3
• “A Kid,” 5 p.m. and 8 p.m. Feb. 9 and 2 p.m. Feb. 10
• “School of Babel,” 5 p.m. and 8 p.m. Feb. 16 and 2 p.m. Feb. 17
• “Things to Come,” 5 p.m. and 8 p.m. Feb. 23 and 2 p.m. Feb. 24.

The Speed Cinema schedule includes:

• “Rififi,” 12:30 p.m. Feb. 5
• “Elevator to the Gallows,” 12:30 p.m. Feb. 12
• “Hiroshima, Mon Amour,” 12:30 p.m. Feb. 19
• “The Battle of Algiers,” 12:30 p.m. Feb. 26.

Festival sponsors are UofL’s classical and modern languages department, Student Activities Board, Commonwealth Center for the Humanities and Society and Liberal Studies Project; and the Speed Art Museum.

Photo provided by a New Wave Films press release.

“We have 10,000 students working every day ext to the Speed. Now they stop asking ‘what is this building’? They know it is a museum. They know it is a place for them,” said Ghyslain D’Humieres, CEO, Speed Art Museum.Ìę

“It’s a beautiful part of our campus. It draws people who aren’t used to coming to the University of Louisville campus. It allows them to experience the great art, cultural and learning opportunities here and to learn more the University of Louisville,” added Michael Mardis, UofL’s dean of students.

Check out more about the museum’s renovation and its benefits for UofL:

The exhibition, “Gaela Erwin: Mother,” chronicles the last days of Erwin’s mother in pastel and photography. The show serves as both a memorial and a study in art, care and grief.Ìę

The exhibition was conceived in collaboration with the Speed Art Museum’s show “Gaela Erwin: Reframing the Past” running July 30-Oct. 30.Ìę“Mother” serves an entry to “Reframing the Past” featuring Erwin’s earlier work, along with photographic studies and documentation of her artistic practice.

Erwin, who has a studio in Louisville and earned a master of arts from the University of Louisville, has exhibited prominently throughout the Southeast and Midwest and received numerous awards, fellowships and artist residencies nationally and internationally.ÌęHer subject matter is self-portraiture in oils or pastels and most recently her paintings examine self-portraiture through the guise and lore of saints.Ìę

Ìę“‘Mother’ marks a transformation in Erwin’s practice from self-analysis into explorations of grief, caretaking and family dynamics,” said Chris Reitz, gallery director of the Hite Art Institute. “These very personal images, often composed in the style or format of neoclassical portraiture or saintly icons, fold the life of the artist into the history of art. In doing so, they transform the deeply personal and specific into the timeless and universal.”