Tube Factory artspace, 1125 S. Cruft St. Indianapolis, IN 46203
Tube Factory is a hybrid between an art museum and community center. Open to everyone as a public place for culture, community, and creativity and features four contemporary art exhibition galleries as well as areas for people to get together. It’s also home base for Big Car Collaborative’s work across Indianapolis and elsewhere. Tube Factory features rotating exhibits, interactive projects, space to hang out, a reference library and free books for teens and kids to take home, an outdoor gathering space, and much more to find through exploring. Tube Factory is an independent, noncommercial, nonprofit, artist-run space not directly affiliated with religious, political, or governmental entities. We care strongly about our neighborhood, city, state, country, and planet.
Open Monday-Friday, 9 a.m. to 6 p.m. and Saturday 11 a.m. to 3 p.m. — plus special events. Tube is also open until 10 p.m. each First Friday. Closed on holidays. Admission is free. Some events may have ticket prices.
LaShawnda Crowe Storm with Maria E Hamilton Abegunde: Keeper of My Mothers’ Dreams
November 3, 2017– January 20, 2018
Pictured: LaShawnda Crowe Storm, Origin, bronze casting of pelvis from unknown African American woman, 2017.
Keeper of My Mothers’ Dreams expands the dialogues began in Crowe Storm’s works Her Name is Laura Nelson and Be/Coming with newly commissioned pieces, Origin and Womb.
On the South wall of the main gallery is Her Name Is Laura Nelson. It is Quilt I from The Lynch Quilts Project Series which explores the history and ramifications of racial violence in America, particularly lynching, through the textile tradition of quilting. Crowe Storm started the series 15 years ago. Her Name is Laura Nelson explores the intersection of lynching and gender violence.
In the North section of the main gallery is Be/Coming, the first in the series Masquerade Americana, a collaboration between Crowe Storm and Maria Eliza Hamilton Abegunde that began in 2007. This piece is rooted in the various masquerade traditions found throughout Africa, particularly Gelede (Gail-lah-day) and Egungun (Ay-goon-goon) of the Yoruba in Nigeria. Gelede celebrates female mystical power, while Egungun honors one’s ancestors.The Masquerade Americana series addresses historical and contemporary social ills and in/justices rooted in the American context from a Black / African-American lens.
Origin, in the west section of the main gallery, is a bronze casting of the pelvic bone of an unknown African American woman.
On the East wall is the poetry of Abegunde. The poems Be/Coming, Laura Nelson Speaks, Origin, and Birth Song were written specifically for the ongoing collaboration with Crowe Storm. The remaining poems, The Answer to Your Question and Supplication, are earlier works that call attention to the historical erasure and disappearance of young Black girls and women. Supplication is also a prayer to the Yoruba deity Osun that combines elements of oriki for Osun (praise names) with a plea for guidance to find, in this case, Tionda and Diamond Bradley who were reported disappeared/missing on July 6, 2001.
The writings and libation bowl add new layers to the experiences of remembering words and performances that examine how the abuse, loss, and commodification of one’s womanhood and humanity can be transformed through processes that lead to healing and the rebirthing and re/making of identity.
In the installation room is Sister Song, grounded within the context of community co-creation efforts, the bronze womb shapes were given to selected artists to complete their transformation. More information about the women who helped create them and why is on the screen around the corner.
Each piece exhibited in Keeper of My Mothers’ Dreams was developed with the hands of many.
About Lashawnda Crowe Storm
If life were a photo, then Crowe Storm’s artwork would be its negative, seeking to explore those aspects in our society that have been ignored or forgotten such as history, lynching, misogyny, slavery and suicide. Her art is a form of social work and she uses it to open doorways to community dialogue, which is the first step to healing, which in itself leads to wider social change. Through her work, a voice is given to the marginalized people and disregarded aspects of our society.
About Maria E Hamilton Abegunde
Maria E Hamilton Abegunde is a Memory Keeper, poet, ancestral priest in the Yoruba Orisa tradition, and a Reiki Master. Her research and creative work respectfully approach the Earth and human bodies as sites of memory, and always with the understanding that memory never dies, is subversive, and can be recovered to transform transgenerational trauma and pain into peace and power. She is a visiting lecturer in the department of African American and African Diaspora Studies and the founding director of The Graduate Mentoring Center at Indiana University.
This exhibit was made possible by the Simon Family Foundation, Alan Mills and Sun King Brewing.
How many people can the space hold?
Depending on the set up, anywhere from 150-300. The upstairs area is best for 100 or less seated. We also offer a large space downstairs with a public restroom on that floor.
You must use our bartenders to staff the bar. We assign fees to this and charge for purchasing beer and wine. We have many options and can work with you on this. Renters can’t bring in or serve alcohol per alcohol rules related to our license.
We don’t have restrictions on food. We do have a list of catering friends we can supply who have experience working with Tube Factory for receptions and events. We have a small out-of-site staging area and fridges. It is not a commercial kitchen.
The gallery is not part of the facility rental. There are no tables, chairs, food or drink allowed in the gallery. While the gallery can be open during your event, it is not included as part of the facility rental.
Sound and AV
We have a high-quality built-in sound system that you are allowed to plug into and use for events of free. We do not supply staff to run sound unless previously arranged. We charge an hourly rate for on-site AV staff. We have projectors available and screens. During daytime, the upstairs space is bright with windows and skylights and impossible to darken. The downstairs area can be better controlled for light during the day.
Is it extra to use your chairs (other than the ones at the tables) and other AV equipment, art supplies, etc.?
We have a lot of stuff around the space. Ask us and we can talk about this and how much it may cost.
You may use command strips, putty and painter’s tape on the walls but you cannot hammer into the walls. There are also certain areas you cannot cover, such as the donor wall and the installation that creates bar area. Again, some flexibility here.
What can be moved?
The tables and chairs upstairs. The space can be configured in many ways. You are welcome to rent tables and chairs to bring in. Certain other requests can be discussed in terms of things that can be moved..
Will you promote my event?
We help promote partnership events. Partnerships also have flexibility on rental costs.
Can I put my own images on the TVs?
The images on the televisions and projections can be used depending on the situation and the status of exhibits.
What about parking?
If you have more than 75 people attending your event or reception you must provide a parking attendant or pay one of our staff for to direct the attendees to the additional lot. Please let attendees know they can park along Shelby St. but they can not park on Cruft. The street parking on Cruft is for residents only.
Do you have other options besides Tube for rental
Listen Hear could work for smaller events. It is at 2620 Shelby St. at the end of Cruft Street.
This previously vacant 12,000-square-foot former manufacturing building is now a thoughtfully renovated home base for our work as well as partnership-based community meetings and cultural events. It was built in 1908 for use by as a dairy bottling plant before housing an armory, sheet metal pattern works, peanut roaster, and factory where people made metal tubes. Check out photos of Tube Factory here and view gifs of the transformation of our space here.
THANK YOU TO OUR FUNDERS
The transformation of the Tube Factory building (which opened in May of 2016) and the programming happening there are possible thanks to an outpouring of support from a wide range of funders for the first phase of the effort. Large grants for Tube Factory have come from the City of Indianapolis, Allen Whitehill Clowes Charitable Foundation, Efroymson Family Fund, Nina Mason Pulliam Charitable Trust, Lilly Endowment, Indianapolis Foundation, Christel DeHaan Family Foundation, and LISC Indianapolis. Additional generous support came from Klipsch, Ann and Chris Stack, Howard Schrott and Diana Mutz, Ursula David, Sam Sutphin and Kerry Dinneen, and the Nicholas H. Noyes, Jr. Memorial Foundation. The architectural firm Blackline also provided design support for the renovation of the building.
TUBE MEDIA COVERAGE
The Guardian (UK)
Sports Illustrated (video)
Pivot on Tube’s history
The Indianapolis Star (preview)
Indianapolis Star (opening)
Indianapolis Business Journal (review)
Indianapolis Business Journal (overall article)
Indianapolis Business Journal (Property Lines)
No Mean City
The Urban Times