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DTSTART;TZID=America/Indiana/Indianapolis:20161104T180000
DTEND;TZID=America/Indiana/Indianapolis:20170122T150000
DTSTAMP:20260405T134009
CREATED:20160906T180656Z
LAST-MODIFIED:20161021T153149Z
UID:4152-1478282400-1485097200@www.bigcar.org
SUMMARY:Mari Evans: Carl Pope
DESCRIPTION:Tube Factory artspace will host an exhibit by artist Carl Pope centering on Indianapolis-based writer Mari Evans. One of the founders of the Black Arts Movement and longtime Indianapolis resident\, Evans published her first work Where Is All the Music in 1968 followed by I Am a Black Woman in 1970. During this time\, she also worked as a producer\, writer\, and director of The Black Experience (1968-1973) — a history documentary that aired on prime time in Indianapolis. \nThe “Mari Evans” exhibit\, located in the main Tube Factory gallery space\, is a co-curatorial project between Mari Evans\, Carl Pope and Shauta Marsh. It consists of a commissioned installation piece by artist Carl Pope related to Evans’s photos\, poetry and book of essays\, Clarity as Concept: A Poet’s Perspective. \n“I referenced the literary theories of Gerard Genette and the insights of scholar Valentine Cunningham to envision “Clarity as Concept” as an Open Book whose narrative extend into the intertextuality of the astral and the casual aspects of the mind; the atomic\, ethereal realm where previous reading\, feelings and experience fosters transformation which determines the birth of unrecognized forms in the physical\,” says Pope. “The text installation “A Reading of Mari Evans’ Book Clarity as Concept: A Poet’s Perspective” and my ongoing meditation about it operate as a single work of visual art and alchemical literature…an active agent in psychic fusion and the evolution of cultural forms.” \nPope wrote an essay about Evans’s impact on his work and life\, click on this sentence to read it. \nAbout Carl Pope: Carl Pope’s artistic practice is committed to the idea of art as a catalyst for individual and collective transformation(s). His multi-media installations were exhibited at prestigious venues including: The Museum of Modern Art and The Museum of Contemporary Photography in Chicago; receiving generous support from The Guggenheim Foundation\, The Lilly Endowment\, The National Endowment for the Arts\, and The Louis Comfort Tiffany Foundation. The installations gained national and international exposure with “New Photography 6” at the Museum of Modern Art and “Black Male” at the Whitney Museum of American Art. Since 1990\, Pope’s methodology with public art evolved into ongoing collaborative efforts with artists and communities…producing large-scale public art inventions that stimulate public dialogue and/or community revitalization. Excursions into his internal landscape produced the video/text installation “Palimpsest” commissioned by the Wadsworth Atheneum; with funds from The Warhol and Lannan Foundations\, was included in the Whitney Biennial 2000. The essay of letterpress posters: “The Bad Air Smelled of Roses” and his recent billboard campaigns continue his ongoing exploration into public and inner space. \n“Carl Pope’s work is at once a form of geography\, re-imagining and imaging the forgotten histories\, people and places in America\, and a new psychology\, creating a state of mind capable of sustaining the shocks of the present. It’s soul food for the mind\, in sharp contrast to the quick hit of consumer pleasure that dominates the art market\, and it’s all the more important for that.”–Nicholas Mirzoeff\, Professor of Media\, Culture\, and Communications\, NYU \nImage: A Reading of Mari Evans’ Book\, Clarity as Concept: A Poet’s Perspective\, Carl Pope\, 2016 \nMade possible by the Andy Warhol Foundation for the Visual Arts\, Alan Mills\, Indiana Arts Commission\, Eskenazi Health and Sun King Brewery.
URL:https://www.bigcar.org/event/mari-evans/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20161117T063000
DTEND;TZID=America/Indiana/Indianapolis:20161117T213000
DTSTAMP:20260405T134009
CREATED:20161012T014706Z
LAST-MODIFIED:20161012T020629Z
UID:4260-1479364200-1479418200@www.bigcar.org
SUMMARY:Day Is Done--Mike Kelley--Screening/Discussion
DESCRIPTION:Day Is Done is a carnivalesque opus\, a genre-smashing epic in which vampires\, dancing Goths\, hillbillies\, mimes and demons come together in a kind of subversive musical theater/variety revue by artist Mike Kelley. Running over two-and-a-half hours\, this riotous theatrical spectacle unfolds as a series of episodes that form a loose\, fractured narrative. The video comprises parts 2 through 32 of Kelley’s multi-faceted project Extracurricular Activity Projective Reconstructions\, in which trauma\, abuse and repressed memory are refracted through personal and mass-cultural experience. The source material is a series of high school yearbook photographs of “extracurricular activities\,” specifically those that represent what Kelley has termed “socially accepted rituals of deviance.” Kelley then stages video narratives around these found images.\nIn Day Is Done\, these restagings take the form of “folk entertainments” that Kelley memorably subverts. Featuring characters such as Motivational Vampire\, Morose Ghoul and Devil/Barber\, much of the action—antic song-and-dance numbers and dramatic scenes\, with Satan as emcee—takes place in a generic school gymnasium and a wooded landscape.\nWrites Kelley: “For this project\, I limited myself to specific iconographic motifs taken from the following files: Religious Performances\, Thugs\, Dance\, Hick and Hillbilly\, Halloween and Goth\, Satanic\, Mimes\, and Equestrian Events. Many of the source photographs are of people in costume singing or dancing\, so the resulting tapes are generally music videos. In fact\, I consider Day Is Done to be a kind of fractured feature-length musical…. The experience of viewing it is somewhat akin to channel-surfing on television.”\nThe video reconstructions were originally seen within an ambitious\, sprawling exhibition of video/sculpture installations\, photographs\, sets\, props and drawings at the Gagosian Gallery in New York in 2005; the videos were incorporated into 25 sculptural viewing stations. Writes Kelley\, “My intention was to create a kind of spatialized filmic montage: a feature-length film made up of multiple simultaneous and sequential scenes playing in architectural space.” \nWe will discuss Kelley’s techniques for creating psychic distortions and the perceived relationship between the person of the artist and the artistic persona.
URL:https://www.bigcar.org/event/day-is-done-mike-kelley-screeningdiscussion/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Shelby St. Corridor
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