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DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240625
DTSTAMP:20260610T181322
CREATED:20240328T161347Z
LAST-MODIFIED:20250212T163639Z
UID:11762-1712286000-1719197999@www.bigcar.org
SUMMARY:Keren Cytter: Ocean
DESCRIPTION:April 5-June 23 \nOcean resembles a soap opera\, but with the eerily calm\, disembodied voice-over of a guided meditation: “If you don’t want to drown\, be an ocean.” The video begins by instructing the viewer to adjust her posture in relation to the screen and finishes by likening the viewer’s smile at her reflection to “the embarrassment of a blind date”—a playful take on Brechtian Verfremdung. The story\, whose fractured plot is told from different voices and individual viewpoints\, takes place in a beach house. It involves a few characters\, some of whom are lovers; a lonely boy; a bit of sex; several dialogues; and passionate kissing next to a bonfire\, accompanied by the sticky romanticism of Leonard Cohen’s song Undertow. The voiceover\, at one point coupled with the same pulsating binaural beats as Constant State of Grace\, repeats instructions on what to do and how to feel until the circular logic of the video closes in on its last words: “Concentrate\, look at your reflection. You are relieved. Your mind is empty. Your thoughts are public. […] You recognize your reflection and smile with the embarrassment of a blind date. Relax. Your mind is now an ocean.” \nAbout the artist \nKeren Cytter studied at the Avni Institute for Art in Tel Aviv between 1997 and1999. She was based in Berlin between 2005 and 2012\, since then she has lived and worked in New York. The artist is well known for her video works\, theatrical pieces and drawings. In 2012\, she founded the D.I.E NOW (Dance International Europe Now) dance company. She has also written five novels and three children’s books. Her works has been displayed in\, amongst other places\, the Ludwig Forum for International Art\, Aachen (2022) the Kunstmuseum Winterthur (2020)\, Center for Contemporary Art\, Tel Aviv (2019)\, Museion Bolzano (2019)\, Museum of Contemporary Art Chicago (2015) and the Kunsthal Charlottenborg\, Copenhagen (2014) In 2021\, Cytter was awarded the Guggenheim Fellowship. \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts\, Efroymson Family Fund\, Allen Whitehill Clowes Charitable Foundation\, the Institute of Museum and Library Services\, the Arts Council of Indianapolis and City of Indianapolis
URL:https://www.bigcar.org/event/keren-cytter-ocean/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
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DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240625
DTSTAMP:20260610T181322
CREATED:20240314T131801Z
LAST-MODIFIED:20250212T163721Z
UID:11723-1712286000-1719197999@www.bigcar.org
SUMMARY:Rachel Leah Cohn: Mem
DESCRIPTION:To walk through the installation\, Mem\, is to enter a myth. A kaleidoscope of the divine feminine\, there are fountains of light centering the space on the painting of Miriam– one of the seven major prophetesses of Israel. Miriam carried a rock from which flowed an abundant amount of water during the 40 years Jewish people searched for a place to live in the desert. Access to this water made survival of her people possible. Smaller paintings surround her\, as well as ritual objects such as papercuts and amulets.The title of Cohn’s show\, Mem\, is a Hebrew letter that has multiple significant meanings in the work. “I recently took a class about the complexity\, flexibility\, and magic within a single Hebrew letter. When searching for a title\, this one letter encapsulates many ideas I have considered while working in the studio. The shape can be seen as a wave and stands for the word for water\, mayim\,’ and Miriam and mikveh\, a ritual bath used for transformation\,” Cohn said. “Mem is related to feminine energy\, motherhood\, and the womb\, symbolizing protection\, safety\, and giving to others. \n“The letter also represents the number 40\, a mystical number that speaks to the cyclic nature of time\, moving from the past to the future. It is the time necessary for something to ripen and come to fruition\, which I relate to both the creative process and this moment for all of us\, which felt like an unmoored time of wandering and isolation\, but also rebuilding. For me\, it is an optimistic title\, a link between the world we see and the hidden alternatives. It is a hope for connection and transformation for the world\, seen through the lens of my experiences and the character of Miriam. \n”The exhibit is also a reflection of these experiences living life and traveling around the world to practice art as someone with Jewish heritage. Cohn has led an extraordinary life as an artist: traveling\, teaching\, living and learning in places like Qatar\, Denmark\, China\, and others.“The show is really about me thinking through my cultural heritage and my connection to Judaism\, which is something that has always been a part of my life\, but I think has been increasingly for-fronted by myself\, but also by others particularly while living in Qatar\, and some of the experiences that I had there that are both positive and negative\,” said Cohn\, now based in Indianapolis. “It felt impossible for me to talk about my own culture with my students. Even though expressing my heritage wasn’t always something that was super important to me\, I think the experience of working with them on representing their culture — and feeling like I needed to hide my own — made me think more about the valuing of sharing my experiences more directly.” \nCohn utilizes several different 2-D and 3-D artforms to create the exhibit\, although her background is originally in painting. The forms include — but are not limited to — sculpture\, painting and light manipulation. These artforms express a myriad of connecting themes and ideas within the exhibition.“I have been researching the traditional craft of papercutting and am pulling out the shapes and symbols that I’m interested in and then converting them into these laser-cut objects that I’m painting on top of\,” said Cohn\, who also works as the Foundations Coordinator and an Assistant Professor in Ball State University’s School of Art. “And then that’s within the idea of a fountain — which is ultimately the form of this project — that has to do with Miriam from the Torah and the well\, bringing water out of the desert to survive. \n”The water of this fountain is external\, but also internal. Cohn enjoys finding ways to use the materials she has at-hand to make works of art\, channeling inner resilience from her ancestors. And\, sometimes being resourceful means finding new peers to collaborate with\, wherever she is. Some of her notable works include Hot Pot Sauna Cart (2016) which was made for the Bi-City Biennale for Urbanism and Architecture in Shenzhen\, China; Lantern (Abu Nakhla Mirage) (2017)\, made in the desert in Qatar as an experimentation with light and location; and The Thunder\, Perfect Mind (2021)\, an exploration of light and themes in Judaism. Cohn said although she has an eclectic-to-the-eye portfolio\, all of her works have connections to her upcoming exhibit. \n“I think my practice — and adapting to what is there — has been a theme of my life\,” Cohn said. “When I look at my work over time\, I’m finding different ways to talk about the same things.”Tube Factory artspace Chief Curator Shauta Marsh met Cohn when she was a juror at Ball State in 2019. Marsh had traveled to Qatar with Tube Factory’s Mari Evans exhibit. And Cohn and Marsh talked about the otherness they’d each experienced in both the Middle East and the Midwest.“I don’t have a strong sense of identity. So often I work with artists who do\,” says Marsh. “Their work processes and relates stories tied to identity that are in jeopardy of being lost. My style as a curator is not an expert but an explorer. The exhibits at Tube Factory are an exploration with both the artist and the audience. I asked Cohn to use her work to explore her identity.” \nAs a multi-racial curator\, Marsh’s practice has centered around identity and exploration of the meaning of culture. And Cohn’s exhibition continues this path.“After thousands of years — humans are still so threatened by each other’s appearance\, by what each other speaks and believes\,” says Marsh. “But we know that people are more open to art than each other. My hope is that people will see the work and the story of it — and hopefully we can all work on feeling less othered\, less fearful of each other.” \nAbout the artist: \nRachel’s work is concerned with themes of communication\, mythology and rituals. Projects often attempt to give a physical form to something that is ephemeral\, through painting\, sculpture and installation.  Recently\, she lived in the desert where she was building lamps simulating mirages as an analog for memory and loss. Lately her research has been focused on Jewish mysticism and protective magic. Rachel exhibits her work nationally and internationally\, including ACRE Gallery (Chicago\, IL)\, Satellite Art Fair (Miami\, FL)\, Terrain Biennial (Springfield\, IL)\, Massey University (New Zealand)\, Qatar Museums (Qatar)\, the Istanbul Design Biennial (Türkiye) and Aterlierhaus Salzamt (Austria).  She has attended many artist residency programs\, including Vermont Studio Center (VT)\, Signal Culture (NY)\, Otis College of Art and Design (CA) and the Fire Station (Qatar). She holds a BFA in Painting from Rhode Island School of Design\, an MFA in Painting from Virginia Commonwealth University and is currently Foundations Coordinator and Assistant Professor of Art for the School of Art at Ball State University in Muncie\, IN. \n\nCurator- Shauta Marsh \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts\, Ball State University’s Aspire Program\, Efroymson Family Fund\, Allen Whitehill Clowes Charitable Foundation\, the Institute of Museum and Library Services\, the Arts Council of Indianapolis and City of Indianapolis\, and the Indiana Arts Commission. \nAbout Tube Factory: Tube Factory is a 12\,000 square foot museum space curated based upon the themes of community\, place\, memory and mythology. They commission local\, regional\, national and international contemporary visual and musical artists\, borrow artifact-based exhibits and create community-sourced exhibits. A previously vacant former manufacturing building\, it is now a thoughtfully renovated home base for non-profit art organization Big Car Collaborative’s work as well as partnership-based community meetings and cultural events. \nFor more about Cohn: Check out her website at rachelleahcohn.com and on Instagram @rachelleahc
URL:https://www.bigcar.org/event/rachel-leah-cohn-mem/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/03/rachelsmall-scaled.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20240607T180000
DTEND;TZID=America/Indiana/Indianapolis:20240623T150000
DTSTAMP:20260610T181322
CREATED:20240529T234145Z
LAST-MODIFIED:20240530T135246Z
UID:11964-1717783200-1719154800@www.bigcar.org
SUMMARY:Wu-Bad Paint Junkie
DESCRIPTION:A Garfield Park resident and artist\, Wu started painting in 2012. He was walking down the street when he saw a fellow neighbor\, Sharon\, had a sign up on her porch that offered lessons on color theory.\nBy day\, Wu creates specialty floor covering and concrete underlayments that he describes as “walking on artwork.” Doing this since 1977\, Wu has always wanted to keep fresh\, learn\, and improve.\n“I wanted to learn color theory\,” Wu said\, “so I figured\, how else better than by painting? I picked up the paintbrush and put down the toolbox.”\nIn regards to his paintings\, Wu says he does a lot of “dilly dallying\,” but fell in love with work from Georgia O’Keefe and Fra Bartolomeo.\n“I fell in love with Georgia O’Keefe first. So I did a lot of that\, very few of my own things\, but mostly stolen art from the Old Masters\,” Wu said. “That’s what kind of got me started and is pushing me along. After this show\, it’s the end of the chapter. I’m going to be focusing primarily only on the old masters’ work and their techniques.”\nLooking at Wu’s pieces in Guichelaar Gallery\, you see the span of 12 years of work. While within this body of work you might not recognize an exact replica of an O’Keefe\, Wu explains that “A lot of it has been self-taught. Therefore\, the techniques were not correct and it was harder to get to the end product with similar looks. They had totally different techniques. But my work progressed until finally it evolved into some good stuff.”\nFor the future\, Wu hopes to move closer to emulating the Old Masters.\n“The Old Masters\, they learned from each other\,” Wu said. “They had apprenticeships. So the next generation should have been better than the previous. If you go to the museums\, you’ll look at their work — it could take two to three years to complete a painting. Because you’ve got a bird’s eye\, you’ve got Verdi\, and then you add your colors and usually only glazes\, building one upon another for deeper darker colors. And man\, they had to grind their own paint!”\nThrough painting and making work\, Wu enjoys his life. “It’s a hobby\,” Wu said. “Anybody can do it. I was not particularly good at drawing. I’m not particularly good at color theory. Even now\, I’m still learning. Like most hobbies\, everything is a continual learning experience. And sometimes you get a hit\, sometimes you get a homerun.”
URL:https://www.bigcar.org/event/11964/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20240607T180000
DTEND;TZID=America/Indiana/Indianapolis:20240707T220000
DTSTAMP:20260610T181322
CREATED:20240508T141357Z
LAST-MODIFIED:20240508T141357Z
UID:11885-1717783200-1720389600@www.bigcar.org
SUMMARY:Kelley Jordan Schuyler: A Portrait of Motherhood
DESCRIPTION:Behind/beneath/before every person\, is an individual who became a mother. What does the word “motherhood” mean to you? \nOur culture holds little room for the nuanced and transformative journeys that are the birth and postpartum experience\, the transition to motherhood\, the identity shift\, the lifetime it takes to get to know your child\, the reality that parenthood is a never-ending exercise in letting go. \nIn hindsight\, it’s no surprise that motherhood isn’t what I thought it would be. I entered into the journey with a plan: an unmedicated birth at a birthing center; parenting with strict boundaries and consistency in order to sculpt my child into an ideal human; preservation of my own identity as a person\, partner\, artist. After a traumatic c-section\, a grueling 24-hour wait to meet and hold my son\, and a NICU stay\, after a global pandemic that left us all isolated\, and with a brilliant and curious and clingy and sensitive boy\, I am still learning that motherhood is not so interested in our plans. \nThis series began as an effort to find myself in my life as a mom\, to avoid becoming consumed by my role as caretaker\, and to reframe my lamenting of what was not into an appreciation for what is. Capturing these parenting moments helped me rise above the big emotions of the time and see the beauty and the comedy\, the agony and the peace in the mundane. \nAs Karen Maezen Miller writes in Momma Zen\, “… the most devastating loss is not the loss of sleep\, it is the loss of what you thought was yours.” I felt this loss immediately and this series has helped me let go of my original vision of motherhood and embrace the experience of motherhood that is mine. \nThrough this work\, I hope to create more space for the complexities of the motherhood experience\, to give more room for the fierceness of the love\, the depth of the overwhelm\, the pain of the isolation\, and the true joy that can be found in mothering in community. I share these photos to validate the role and experience of all mothers. I hope this particular view of motherhood offers a sense of solidarity to all\, especially those who feel alone in this monumental\, mundane endeavor. \nArtist bio: \nKelley Jordan Schuyler uses photography to capture light\, emotion\, and moments as they unfold around her. Since receiving a camera at age 15\, it has become an extension of her self and a way to make meaning of the world around her – the subtleties and nuances she’s attuned to as a Highly Sensitive Person; the natural world she cares for as a forager and plant enthusiast; and the relational dynamics she’s mindful of as a partner\, friend\, and mother. Professionally\, she photographs families as Kelley Jordan Photography and food as Skyler Creative\, and she co-runs Mad Farmers’ Nursery\, a plant nursery in downtown Indianapolis. Personally\, she raises a small human as Mom.
URL:https://www.bigcar.org/event/kelley-jordan-schuyler-a-portrait-of-motherhood/
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/2024/05/POM-by-Kelley-Jordan-Schuyler-scaled.jpg
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