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DTSTART;TZID=America/Indiana/Indianapolis:20260306T180000
DTEND;TZID=America/Indiana/Indianapolis:20260419T150000
DTSTAMP:20260404T013429
CREATED:20260226T224921Z
LAST-MODIFIED:20260309T180812Z
UID:14452-1772820000-1776610800@www.bigcar.org
SUMMARY:Crossroads
DESCRIPTION:Guichelaar Gallery at CAMi \nIndiana is known as the “Crossroads of America.” Curator India Hines selected 18 artists whose work explores Indianapolis and Indiana as intersections of place\, culture\, and identity. Through their work Hines highlights the complex dimensions of life here through artists’ relations to local histories\, community spaces\, inner landscapes\, and the city’s influence on their lived experiences. \nAva Tankersley\nBri Powell\nCameron Omega\nFernando Casanova (Fernando)\nJesús Andrade Mares\nJoshua Mark Phillippe\nKC Coverdale (KC)\nSophie Sturgeon\nKionne Bybee\,\nKipp Coverdale\nKyle Bob Morgan\nSofia Casanova\nMatt Fertig\nMazzy Booth\nTristan Roy\nRobert Bentley (Hanz One)\nNeil Cain (Neil Clifton Cain)\nSunshine Gambill (Sunshine Ray)\nQuintin Griffin \nCurator – India Hines \nIndia Hines is part of the Contemporary Art Museum of Indianapolis (CAMI) Long Term Artist Residency. Self-taught\, their work is rooted in intuition\, spirituality\, and the subconscious\, treating art as a transformative experience rather than purely an aesthetic object. \nWorking across ink\, gouache\, watercolor\, oil\, and mural\, India creates figurative forms and organic shapes that feel both dreamlike and ancestral. Their process is deeply meditative and often begins without a fixed plan\, allowing emotion\, memory\, and spiritual guidance to lead the work. Through this intuitive approach\, their art explores balance\, lineage\, and the unseen forces that shape identity. \nThis exhibition was made possible by the Indy Arts Council and the City of Indianapolis. \nImage: Cameron Omega\, I won’t forget\, I remember\, Acrylic on Canvas\, 24×36\, 2025.
URL:https://www.bigcar.org/event/crossroads/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2026/02/I-wont-forget-I-remember-Acrylic-on-Canvas-24x36-2025-Cameron-Omega-1.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20260403T170000
DTEND;TZID=America/Indiana/Indianapolis:20260913T150000
DTSTAMP:20260404T013429
CREATED:20260218T195315Z
LAST-MODIFIED:20260323T142012Z
UID:14435-1775235600-1789311600@www.bigcar.org
SUMMARY:Cory Robinson: Kept Secrets : Open Code
DESCRIPTION:TUBE GALLERY at CAMi | APRIL 3 – SEPT. 13\n\n\n\n\n\n\nIn this exhibition\, designer Cory Robinson builds upon his CODEX series\, which employs a system of form typologies in varying combinations to generate unique compositions in both two- and three-dimensional works. Kept Secrets: Open Code uses this preordained design language to explore layered personal histories through recontextualized objects. The gallery is organized around three distinct spatial environments: the Church\, the Court\, and the Garten. \nThe Church features five large\, tufted rugs installed in a continuous curved sequence\, evoking the apse of a cathedral. Produced in collaboration with a software-driven production partner\, the designs translate the flat graphic language of the CODEX Series into textile compositions—digitally precise in conception yet softened and humanized in their yarn-rendered finish. The space engages the mystery and contemplative atmosphere associated with liturgical environments\, using the unlikely medium of tufted yarn to construct images meant for quiet reflection. Robinson\, who grew up in a rural\, working-class community in central Indiana\, was not raised religious and felt this positioned him as an outsider. Over time he has come to redefine his personal meaning of “church\,” and here considers the work of Light and Space artists such as James Turrell\, who—often inspired by sacred architecture—manipulates environments to alter perception and elicit the divine. \nThe Court presents two exaggerated\, throne-like chairs flanking the entrance to the Church. Their conceptual origins lie in the artist’s complicated relationship with the American justice system—specifically\, a teenage courtroom experience in which he was publicly dismissed by a judge as a “smartass kid.” That moment destabilized his faith in law and order as neutral principles\, and the installation explores the symbolism of thrones in relation to justice and power. The thrones incorporate multiple historical and cultural references: the ball-and-claw carving tradition of 18th-century Philadelphia furniture\, the golden throne of Tutankhamun\, and notably\, tattoo subcultures\, in which Robinson has observed phrases and ornamentation that reflect adherence to particular codes of law and order. The armrests terminate in carved wooden knuckles engraved with the phrases Open Eyes and Slow Burn — references to surveillance culture and a public increasingly desensitized to crisis. Together the thrones ask: who defines the law\, who benefits from it\, and how are its symbols constructed and maintained? \n The Garten is the most personal and quietest of the three environments. A grouped installation of sculptural lighting objects made from salvaged redwood\, it is rooted in the artist’s lifelong affinity for plants and their coded visual languages. As a child\, the “garden” for Robinson was the expansive acreage of genetically modified corn that surrounded his home. His affinity for cultivating plants developed as a hobby throughout adolescence and adulthood\, and his studio practice grew to consider biomimetic design and how leaf shapes\, branching patterns\, and other forms repeat and vary across species. Robinson’s decision to work with redwood was galvanized during a visit to his grandfather’s home in the early 2020s\, where he discovered a pile of redwood boards in the garage—remnants of a long-abandoned home improvement project. While he had previously avoided the material for its softness\, it suddenly acquired new sentimental value. Warm and organic in contrast to the Court’s gold-leafed authority\, the Garten asks gentler questions—how do leaf shapes create beauty in functional objects\, and how do objects speak to one another the way plants animate a living space? \n—Shelley Selim \nAbout the Artist: Cory Robinson is a multi-disciplinary artist and designer whose practice navigates the intersection of fine art\, functional design\, and public engagement. With a career spanning over two decades\, Robinson’s work is characterized by a relentless curiosity regarding materials\, manufacturing processes\, and the narrative potential of objects. \nCurator: Shauta Marsh with support from Shelley Selim\, Mort Harris Curator of Automotive\, Industrial\, and Decorative Design\, Detroit Institute of Arts \nThis exhibition was made possible by The Efroymson Family Fund\, The Andy Warhol Foundation for the Visual Arts\, The Allen Whitehill Clowes Charitable Foundation\, The Arts Council of Indianapolis and the City of Indianapolis.
URL:https://www.bigcar.org/event/cory-robinson-kept-secrets-open-code/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/webp:https://www.bigcar.org/wp-content/uploads/2026/02/coryrobrugdesignchurch3.webp
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DTSTART;TZID=America/Indiana/Indianapolis:20260403T180000
DTEND;TZID=America/Indiana/Indianapolis:20260913T150000
DTSTAMP:20260404T013429
CREATED:20260227T214815Z
LAST-MODIFIED:20260319T203138Z
UID:14468-1775239200-1789311600@www.bigcar.org
SUMMARY:Tony Cokes: Untitled (m.j. the symptom)
DESCRIPTION:TUBE VIDEO GALLERY at CAMi | APRIL 3 – SEPT. 13\nBorrowing its text from assorted excerpts from the Mark Fisher-edited essay collection The Resistible Demise of Michael Jackson (2009)\, Untitled (m.j. the symptom) examines the King of Pop as a complex set of contradictory signifiers\, a funhouse reflection that is as distinct\, spectacular\, and compromised as the culture that produced him. So say Kraftwerk in their haunting 1977 song “Hall of Mirrors”: “Even the greatest stars / find themselves in the looking glass.” \nAbout the Artist \nTony Cokes makes politically resonant works in a visual language all his own. Since the 1980s\, his work has surfaced the latent ideologies of popular culture\, confronting issues of structural racism\, power\, visibility\, and the defiant pleasures still found under capitalism. Cokes samples and remixes fragments of our media landscape to subvert its governing codes. His tightly choreographed video essays layer found text over vibrant colors and dissonant soundtracks\, exploiting the gaps between sensory regimes to heighten and complicate the reading experience. Quoted passages from current events or critical theory take on a new tenor when set to music\, resulting in propulsive animations that appeal to the mind and body alike. Cokes’s immersive works make text feel visceral and let rhythm spur new insight: as his art attests\, “it is possible to dance and think at the same time.”
URL:https://www.bigcar.org/event/tony-cokes-untitled-m-j-the-symptom/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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