BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.bigcar.org
X-WR-CALDESC:Events for Big Car
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Indiana/Indianapolis
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20210903T080000
DTEND;TZID=America/Indiana/Indianapolis:20211017T170000
DTSTAMP:20260614T143345
CREATED:20210629T213255Z
LAST-MODIFIED:20210629T213715Z
UID:9282-1630656000-1634490000@www.bigcar.org
SUMMARY:Taylor and Grant Lewandowski: Pathology
DESCRIPTION:“I never thought about death until I was forced to confront it\, which fortunately wasn’t till much later in my life. But for some\, and for most of us eventually\, it is a source of fear and animosity. It is the very propelling mechanism pushing us toward a gradual disintegration and by this natural process we imprint ourselves into the places we’ve been\, the things we’ve done\, the people we’ve encountered. And\, like it or not\, these images\, objects\, and voices form a life once here\, later vanished\, and eventually slipping outside living memory to a complete oblivion. It is this obsession with mortality that the idea of art\, specifically photography\, hopes to transcend. \nWhen my brother and I unearthed these photographs in our grandpa’s attic\, we were not horrified at their unrelenting depiction of violence and death\, because we both knew he was a pathologist for over thirty years. It wasn’t out of the ordinary as a kid to browse his computer and happen upon a folder filled with gruesome snapshots of a man’s head blown apart by a shotgun. But what struck us both was a novel approach to understanding and excavating a very familiar person in our family and a place we consider our home. \nAll of these photographs were taken between 1981 and 1990 when our grandpa served as coroner in northern Indiana. (He likes to boast\, “I had more votes than Reagan.”) It isn’t surprising he was chosen as the obvious candidate. The previous coroner owned the funeral home and preferred to ship the cadavers out\, rather than investigating the cause of their death. Also\, our grandpa has always been meticulous and\, something I’ve always admired\, an auto-didact. He has that natural bent to seek out the solution to a problem or investigate a topic till there’s nothing left to discover. From the time I can remember\, he’s always had a book in hand\, reading with a true\, catholic interest. \nWhen I asked him\, “Why did you choose to be a pathologist?” He answered with an anecdote: When he was ten\, he spent the whole year in bed with rheumatoid arthritis. The doctors\, hoping to save time\, decided to wheel him into the lab and run various tests\, rather than go back and forth between the lab and his sickbed. While in the lab\, listening to the doctors talk jargon and watching the vials and equipment around him\, he developed an affinity for the medical sciences. He never forgot this obsessive\, scientific procedure to diagnose and solve human ailments. I also asked him about the constant proximity to death and tragedy\, assuming this had some deleterious effect on his psyche\, but he described the cadaver as a thing without a soul. The only incident which bothered him was an early autopsy of a child who choked on a jellybean. She was coincidentally the same age as his daughter at the time. \nHe moved with my grandma to a small town in Indiana shortly after finishing medical school. They have lived the majority of their life surrounded by the flat\, Midwest landscape. It is this same place I romanticized growing up. The cash crops rotating through the seasons\, or the empty storefronts downtown\, or the faded signs pointing nowhere – they all had this tarnished emblem of time past\, which I thought had a bucolic\, timeless quality\, as if this Indiana never changed. I had no conscious awareness of the very real\, apparent violence shown in these photographs. To me\, the slowness and consistency of rural Indiana was a quick salve to my adolescent anxieties. This was not anchored in reality\, but a fantasy to suspend my ordinary life back in the suburbs of Indianapolis and indulge in the idea that the country had a sort of unchanging innocence. \nThis\, of course\, was far from the truth. Like most America\, it is still struggling with an abhorrent intolerance to anything considered different than the status quo. It is deeply scarred by a heritage of racial violence\, specifically against the Miami tribe and the egregious history of sundown towns. The stereotype of the backward\, rural person today is not a complete picture\, but there is an element of truth in the stubbornness to see outside the tight reign of American Christianity\, or the systemic problems of valuing ignorance over intelligence\, and toughness over understanding. This does not always translate to a general judgement for each individual\, but it does serve\, especially in today’s political climate\, as a sweeping preoccupation at the forefront of American life (and\, it could be argued\, for the last hundred years). \nIn conversation with my grandpa\, our own separate ideologies were apparent\, not only by the political connotations\, but also his generational tropes: skepticism towards emotions (“I can love you and not feel much about you\,” he told me over the phone)\, a belief in one’s own honest work\, and Judeo-Christian values. Some of these attributes (determination\, responsibility\, commitment\, trying to live a good life) are admirable and can be clearly seen in our grandpa’s life\, but it is always more complicated than we believe. \nIt is these photographs\, by their perhaps shocking reality\, that enliven a unique perspective and showcase distinct contrasts\, like those between the violence of a car wreck or isolated suicide to an almost timeless\, rural landscape. The tragic nature of these photographs emphasizes the end of a person’s life and informs their entire past. The end always turns back to the beginning. These are not complete portraits\, only a fragmented collection. They serve as a great reminder that the life examined never ends but continues well beyond our period of disappearance.” –Taylor Lewandowski
URL:https://www.bigcar.org/event/taylor-and-grant-lewandowski-pathology/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2021/06/pathology_121.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20210903T180000
DTEND;TZID=America/Indiana/Indianapolis:20211114T180000
DTSTAMP:20260614T143345
CREATED:20210602T193658Z
LAST-MODIFIED:20210629T212729Z
UID:9268-1630692000-1636912800@www.bigcar.org
SUMMARY:Nick May: Fag Family
DESCRIPTION:“Fag Family is a series of double portraits of individuals in my queer community. These portraits capture the queer relationships\, queer spaces\, and the liberating magic of queer world-building that I have the privilege to observe and be a part of\,” says May.\n“Historically\, portraiture was a display of wealth and power; a luxury afforded only to the rich\, affluent\, white aristocracy. Queer individuals\, especially queer individuals of color\, have been totally erased from that history. I vehemently reject the stink of white supremacy and classism that continues to infect the art world\, and my goal with these portraits is to subvert that ugly history by capturing my fellow queer friends with all of the luxuriance and beauty of oil painting.\n\nCreated with photo references\, my portraits are nearly life-size and meticulously painted in order to earnestly catalog and celebrate the human lives I observe. Painting is an incredibly physical process: building the stretcher bar\, stretching the canvas\, priming and the process of painting demands an inordinate amount of energy. This painstaking process is compulsory however\, because it is crucial for me to match the energy of the sitter I portray. Exerting so much energy into the surface of the canvas itself injects a kind of life into the portrait\, as a homage to the living person themself.\n\nMany of my fundamental artistic influences derive from the trauma I endured as a queer child. The escapist avenues I ventured in adolescence like children’s novels\, campy movie musicals\, fantasy video games made an invariable impression upon me. Growing up with image-dump platforms like Tumblr and Instagram exposed me to many artists who influence my work: Alice Neel\, Mickalene Thomas\, and Jordan Casteel to name a few. As a queer adult\, drag queens\, experimental pop music\, and queer literature has indelibly impacted me. The apotheosis of these influences has left me obsessed with beautiful images\, creating fantasies\, and the human lives around me.\n\nThe power and beauty of my queer community inspired me to create this body of work. Despite existing in predominantly conservative midwestern towns and within an oppressive society\, we create safe spaces for one another to brazenly enjoy our queerness. Within these spaces we transform ourselves\, celebrate\, and love one another. Within these spaces we create a whole new world that celebrates and uplifts us.”\n\nNick May is a portrait artist whose practice is deeply rooted in community and queerness. They received their Bachelors of Fine Arts with emphasis in Painting from Ball State University and are currently working as a portrait artist in Indianapolis\, Indiana. Created from photographs\, their portraits are nearly life-size and meticulously painted in order to earnestly capture and celebrate the human lives they encounter.\n\nMade possible by The Andy Warhol Foundation for the Visual Arts.
URL:https://www.bigcar.org/event/nick-may-fag-family/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2021/06/3452E3B2-753B-4F49-A242-C52CF3F81BD8.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20210914T193000
DTEND;TZID=America/Indiana/Indianapolis:20210914T193000
DTSTAMP:20260614T143345
CREATED:20200630T162955Z
LAST-MODIFIED:20210911T010314Z
UID:8903-1631647800-1631647800@www.bigcar.org
SUMMARY:Good Bones -1165 Nelson
DESCRIPTION:Watch the 1165 Nelson St. Good Bones episode on HGTV from the comfort of your own home. This episode will feature Bernie Price of Bean Creek Neighborhood Association and Dee Alderman who served on Garfield Park Neighborhood Association Board for several years. The two have advocated tirelessly for their neighborhood for decades. \nThe renovation was made possible by Lilly Endowment\, Inc.  \nAdditional episodes featuring the other two #APLRIndy homes are:\nAbout APLR: \nThe Artist and Public Life Residency (APLR) program is an innovative and experimental approach to supporting artists who use their talents and skills to help drive positive change in the community. \nThrough this program we are working to address these key issues: \nAffordable housing is vital but scarce in neighborhoods\, especially near Downtown and on the Red Line transit corridor\nOften the working poor\, artists are being priced out of “arts districts”\nAffordable housing is often short-term vs. perpetual (for instance homes and apartments developed as affordable in Fountain Square are now market rate)\nThe need for neighbors to experience creativity\, connect with each other\, and find solutions to challenges\nIndianapolis struggles to retain talented workers — including artists\nThe near southside struggles as homes and commercial buildings sit empty\, crime remains a challenge\, educational attainment is low\, and many households struggle for financial security. Our work addresses these challenges by linking artists and residents as co-leaders. Artist residents are now strengthening the neighborhood with free programming like African dance\, community dinners. \nFor this program\, we view the label of artists to include creatives\, makers\, and designers. Fields include — and are not limited to — architecture\, culinary art\, curation\, visual art\, public art\, furniture\, fashion\, craft\, design\, film and video\, creative writing and journalism\, performing arts\, music\, theater\, placemaking\, socially engaged art\, etc. \nThrough a community-inclusive selection process\, artists of all disciplines have applied in two rounds so far to be matched with one of five affordable homes to purchase or five others to rent. In both cases\, costs are adjusted for affordability and the residency is linked to work in support of the neighborhood and broader community. \nThe houses in this program were previously vacant\, some for a long time\, and no existing residents were displaced. These efforts for APLR are happening in partnership with current residents as a way to work together to further strengthen the neighborhood and keep affordable housing for artists in place. Our partner\, South Indianapolis Quality of Life Plan and others are also working on strategies for affordable housing in general in the area. And we are all teaming up on efforts to avoid the displacement of existing residents. \nThis project is linked to larger efforts on the block funded by a $3 million grant by Lilly Endowment announced in December of 2018. Also\, this program and process comes — in part — from the research and organizational efforts by Indianapolis-based artist and planner Danicia Monet and is operated by Big Car Collaborative Co-founder\, Shauta Marsh. \nMore details: \nResident artists receive research and training support from Big Car staff and others as they will represent our partnership in the community.\nArtists will open their home and/or grounds for some form of public engagement during neighborhood-wide open house or art walks events – usually on the First Friday of the month.\nArtists dedicate 16+ hours per month to work with the public in the community. This includes time on their own public projects\, training and meetings\, and time supporting other Big Car or neighborhood programs.\nArtists have opportunities to participate in Big Car-organized exhibition and collaboration opportunities. We encourage partnerships between resident artists\, visiting artists\, other local artists\, and our staff artists.\nQualifying artists have been selected by a panel of experts on community-focused art and housing (some from other cities) and neighbors on the block.\nSelected artists are able to become homeowners or renters while also committing to building participation and strengthening the community through art\, along with Big Car\, in the South Indianapolis neighborhoods and the greater Indianapolis community. This is an investment by both owners/renters in our community.\nBecause this is not linked\, as is usually the case\, to a limited timeframe of affordability\, this is a way to keep housing affordable in perpetuity on the block.\nGovernment or corporate funds were not used to make this project happen. \nAbout the series:\n“Good Bones” follows the blueprint of several series on HGTV or DIY Network that showcase revitalization specialists who turn rundown homes into stunning remodels. In this case\, it’s mother/daughter duo Karen E. Laine and Mina Starsiak transforming properties in and around their hometown of Indianapolis. Karen’s legal background and Mina’s real estate knowledge help them secure diamonds in the rough\, and then they hire out demo and construction duties — or get help from family — to get the houses done on time and on budget.
URL:https://www.bigcar.org/event/goodbones/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2020/06/82286803_3609918265688919_910377276838195098_o.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
END:VCALENDAR