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DTSTART;TZID=America/Indiana/Indianapolis:20230106T180000
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DTSTAMP:20260611T155114
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UID:10531-1673028000-1676916000@www.bigcar.org
SUMMARY:Em Elise\, Jane Sun Kim\, Simon Plemon: delicate(s)
DESCRIPTION:delicate(s)\, is a collaborative multimedia installation assembled by Em Elise\, Jane Sun Kim and Simon Plemon. The installation is a hypnotic visual foraging into the emotional nature of memory and the physical residue it leaves on\, in\, and around the body. \nSpiritually fused by a collective longing for depth in a time of social media’s staged memory and the dissociative “new normal” induced by a global pandemic\, delicate(s) investigates\, commemorates\, and liberates the artists’ hauntings beyond a two dimensional plane. \nFeaturing suspended sculpture\, fabric prints\, hand-drawn charcoal wall illustrations\, projected video\, enveloping soundscapes\, and personal relics\, delicate(s) summons the senses and elicits reflection in its viewers. \nHow do we integrate our memories into the minutia of our daily lives? How do they shape the way we move\, react? Do they control our perception of reality\, our identities? \nArtist bios: \nEm Elise\nWhether it be through image making\, prose\, video\, ritual\, embroidery\, movement\, sculpture\, auditory experience\, or often a combination of media\, Elise consistently gravitates towards immersive creative outlets to go inwards\, seek purpose\, process trauma\, and embrace a sense of divine interconnectedness. Fueled by spiritual encounters and soul feelings\, Elise approaches artmaking as alchemical therapy: an embalming of oneself\, transmutation of pain\, and reclamation of the holistic body.  From using instant film to immortalize fleeting moments of intimacy to divulging ancestral and gender-based wounds through found footage and video collage\, Elise creates to empower vulnerability\, amplify marginalized narratives\, cultivate collective healing\, and provide an anchor for those that feel lost as and out of place in this world as she often does. Elise is native to and currently based out of Indianapolis\, Indiana but frequently practices in Copenhagen\, Denmark. \nconnect: @sin__atras \nJane Sun Kim\nKim contemplates the tangled relationship between nostalgia and identity under the\nweight of the sentimental\, often burdensome past. Her work is an incantation of lost moments\, intimate secrets\, fading youth\, an ever persistent recollection of the past clouding her psyche. \nThrough expired film displayed on translucent banners\, suspended sculptures using synthetic hair from her father’s beauty shop\, and imagery of passed friends on wavering sheer silk\, she weaves together her understanding of self. Kim draws influences from her experience as a child from a Korean American immigrant family\, film of her family’s unspoken past\, and her struggle with repetitive thought patterns from obsessive compulsive disorder. Kim was born in Augsburg\, Germany and raised in Seoul\, South Korea and predominantly Indianapolis\, Indiana and is a part of Big Car Collaborative’s Artist and Public Life Residency. \nconnect: @vulturesonly \nSimon Plemon\nPlemon’s artwork explores personal mythology and macabre identity through a\nfantastical lens. Through the use of video\, textile work\, and experimental image making Plemon crafts a hauntingly liminal universe. Much of Simon’s work is an atmospheric blend of documentation and experience. Motifs of feminine handicraft\, biblical imagery\, and physical morbidity of the body regularly appear in Plemon’s work. When not creating physical pieces\, Simon can be found curating local dance events or tattooing. \nconnect: @clownartist \nMade possible by the Arts Council of Indianapolis\, The City of Indianapolis and The Andy Warhol Foundation for the Visual Arts.
URL:https://www.bigcar.org/event/em-elise-simon-plemon-jane-sun-kim-delicates/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Listen Hear
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DTSTART;TZID=America/Indiana/Indianapolis:20230106T180000
DTEND;TZID=America/Indiana/Indianapolis:20230319T180000
DTSTAMP:20260611T155114
CREATED:20221125T192752Z
LAST-MODIFIED:20221216T181308Z
UID:10521-1673028000-1679248800@www.bigcar.org
SUMMARY:Betsy Stirratt: Unearthing   
DESCRIPTION:In Unearthing\, Stirratt explores how natural and cultural objects are presented in collections and museum settings\, and how we preserve\, classify\, and display them.  \nFrom Stirratt: “I have visited many natural history\, herbaria and medical museums in Europe and the US with the aim of understanding their objectives\, collecting impulses\, and labelling practices. With similar intent\, I visited several regional historical sites and collections\, including the Workingmen’s Institute in New Harmony\, the Indiana University Paleontology Collection\, and Angel Mounds. The resulting photographs and objects demonstrate the sometimes underestimated importance of local and regional history within the broader museum sphere. \nThe items within a museum or private collection are accumulated with a view to imposing order\, classifying nature\, preserving memory\, or in some instances to signaling status. Items may be preserved for their cultural and historical importance\, or for their aesthetic qualities. For some\, collecting serves as a means of accumulating knowledge\, or as inspiration for their imagination and memories. For me\, it’s the embedded history of objects and places\, and how history and folklore can inform our relationship with the world. \nMore specifically\, I’m interested in the idea of both documenting collected items and using this documenting collected items and using the documentation process to create new artifacts: a coupling of curation and creation\, as it were. Influenced by my many years as a gallery director and curator\, I think about the way that art and objects are selected and placed in juxtaposition with each other and how they are subsequently perceived by viewers. It is important to acknowledge that the viewer’s experience is changed by the inclusion or exclusion of objects and the information that accompanies them. \nThe videos in the exhibit were made using three artists books that contain words and pictures about collections I have visited: specifically botany\, anatomy and zoological collections. Each of the videos features the turning pages of the books in the Collected Series\, interspersed with video and audio clips that I gathered from museum visits\, educational films and from life. \nAdditionally\, alongside the pieces inspired by museum collections and artifacts in this installation\, I am including materials I have collected (e.g.\, a 19th c. herbarium\, Victorian bird taxidermy\, amateur butterfly collections) relating to my interest in history\, natural history and the ways objects are preserved and presented within a curated setting. These items were gathered because almost all were created by an amateur who had some specific interest in the subject that he/she was preserving. \nCollections and museums inform us about the world we live in\, record the past and provide material memory across generations. Unearthing is an attempt to impose order on an unordered world\, drawing upon hazy memory\, inexact connections\, and interpreted histories.  The process of unearthing objects\, both physically and metaphorically\, can broaden our experience of the world\, stimulating imagination and wonder about what we have around us.”                                                                        \nAbout the artist                                                                               \nBetsy Stirratt’s creative practice focuses on themes about nature\, collections and the environment.  She is the Founding Director of the Grunwald Gallery of Art at Indiana University Bloomington where she has curated exhibitions and published catalogs since 1987. Exhibiting her own work widely since 1983\, solo exhibitions include La Maladie at The Mütter Museum in Philadelphia and the International Museum of Surgical Science in Chicago and Veiled Taxonomies at the Center for Book Arts in New York. Her work has been included in group exhibits at the National Museum of Women in the Arts\, Indianapolis Museum of Art\, and White Columns and Art in General in New York among others. She is the recipient of a Visual Artist Fellowship from the National Endowment for the Arts. \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nMade possible by The Arts Council of Indianapolis\, The City of Indianapolis and the Christel DeHaan Family Foundation.
URL:https://www.bigcar.org/event/betsy-stirratt-unearthing/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
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DTSTART;TZID=America/Indiana/Indianapolis:20230121T170000
DTEND;TZID=America/Indiana/Indianapolis:20230121T180000
DTSTAMP:20260611T155114
CREATED:20221229T171148Z
LAST-MODIFIED:20221229T171216Z
UID:10567-1674320400-1674324000@www.bigcar.org
SUMMARY:Words & Music: Marguerite Young
DESCRIPTION:Join Big Car co-founder and executive director\, Jim Walker as he interviews Indianapolis-based author Susan Neville about her research on and time spent with the often under appreciated writer\, Marguerite Young.\n\nFrom Poetry Foundation on Young:\nPoet\, novelist\, and biographer Marguerite V. Young was born in Indianapolis\, Indiana. In an interview with the Paris Review\, Young recounted\, “We were brought up to believe that to be born in Indiana was to be born a poet—a myth which I can’t accept now\, but I did then. I remember telling my grandmother\, when I was about seven years old\, that I intended to be a poet.” Young studied at Indiana University and Butler University and earned an MA in Elizabethan and Jacobean literature at the University of Chicago. While at Chicago\, Young took a job reading to Minna Weissenbach\, a society woman and opium addict who was a patron of Edna St. Vincent Millay. The experience informed Young’s later writings. Young published her first book of poems\, Prismatic Ground (1937)\, soon after graduating from Chicago; she taught in Indianapolis\, at a high school\, and at the University of Iowa before moving to New York City in 1943.\n \nYoung’s second collection of poems\, Moderate Fable (1944)\, and her account of Utopian communities in New Harmony\, Indiana\, Angel in the Forest (1945)\, created a splash in the literary scene of Greenwich Village. It took her 18 years to finish her next book\, Miss MacIntosh\, My Darling (1965)\, a sprawling epic detailing the inner adventures of Vera Cartwheel as she embarks on an imaginary journey to discover the truth of her beloved nursemaid\, Miss MacIntosh. Running 1\,198 pages\, it is the longest novel in English published as a single volume. Young once described her imagination as “muralist\,” telling the Paris Review\, “I like to see the epic swing of the thing\, the many as opposed to the one. I am a pluralist in that sense.” Young spent the rest of her life writing a biography of Eugene V. Debs that attempted to embed him in his social and cultural milieu. More than 2\,000 pages long in manuscript\, Harp Song for a Radical: The Life and Times of Eugene Victor Debs (1998) was edited and published posthumously.Young taught writing at Fordham University and at the New School of Social Research for many years. Her admirers included Djuna Barnes\, Anne Tyler\, Anaïs Nin\, Carson McCullers\, and Allen Tate\, among others. In conversation with Ellen G. Friedman and Miriam Fuchs\, Young articulated the underlying connection among all her works as “the human desire or obsession for utopias.” She went on\, “The structure of all my works is the search for utopias lost and rediscovered. … All my writing is about the recognition that there is no single reality. But the beauty of it is that you nevertheless go on\, walking towards utopia\, which may not exist\, on a bridge which might end before you reach the other side.” \n\n\nAbout Susan Neville\nNeville is the author of six works of creative nonfiction: Fabrication: Essays on Making Things and Making Meaning; Twilight in Arcadia; Iconography: A Writer’s Meditation; Butler’s Big Dance; Sailing the Inland Sea\, and Light. Her essay on women in the Klan in Indiana\, “Into the Fire\,” is available as an ebook from Ploughshares. Her collections of short fiction and hybrid fiction  include The Town of Whispering Dolls\, winner of the Catherine Doctorow Prize for Innovative Fiction\, In the House of Blue Lights\, winner of the Richard Sullivan Prize;  Invention of Flight\, winner of the Flannery O’Connor Award for Short Fiction; and Indiana Winter. Her stories have appeared in the Pushcart Prize anthology and in anthologies including Extreme Fiction (Longman) and The Story Behind the Story (Norton).\n\nWords & Music is made possible by a grant from Indiana Humanities . And is a project of Big Car Collaborative \, the nonprofit behind WQRT.\nLearn more at MauriceBroaddus.com.\nWords & Music is made possible by a grant from Indiana Humanities. And is a project of Big Car Collaborative\, the nonprofit behind WQRT.
URL:https://www.bigcar.org/event/words-music-marguerite-young/
LOCATION:99.1 WQRT\, United States
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