The Designer's Road Map
2018-10-24 18:00 - 20:00 (America/Indiana/Indianapolis) | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
An honest panel discussion on the pathways for a creative professional
The Indianapolis creative community offers a variety of pathways to a career as a design professional. Some are straight, most are windy and none of them are for the faint of heart. There is no singular experience because our community is made up of a tapestry of traditional ad agencies, boutique design shops, freelancers and in-house creative teams. And while we benefit from the array of options, it can also isolate us to our own experience, leaving us to make assumptions about what it must be like on the other side. Are all agency gigs 60+ hour workweeks? Do freelancers hang out at coffee shops all day and sip lattes? What is it like to work in-house? When does a side hustle become a business? And what the hell is a boutique design shop anyway?
What if we had the opportunity to have a candid conversation with Indy’s most talented and gracious design leaders to get answers to some of these questions? What if we could dig into the similarities and differences between these pathways and how to know what to expect? More mentorship, more honesty, less romanticization, fewer assumptions.
Please join AIGA at The Tube Factory on Oct. 24 for a guided panel discussion that will leave you better educated about your opportunities and more equipped to build the type of creative community that cares for one another.
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PANELIST
Ryan Hunley // Owner and Art Directory, 2nd Street Creative
Amy McAdams-Gonzales //Co-Founder and Designer, Matinee Creative
Aaron Scamihorn // Principal, RONLEWHORN Industries
Anna Saraceno // Product Designer, Trello
Katie Clements // Associate Creative Director, CVR
MODERATOR
Kolby McElvain // Senior Designer, High Alpha
Special thanks to our Presenting Sponsor:
Artisan is a boutique recruitment agency that has a unique approach to making the right connections – and they’ve honed, mastered, and put it to work over the past few decades. Their secret? It’s the realization that they’re humans helping humans.

What It's Like To Be Sarah
2019-01-04 18:00 - 22:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Sarah Matthews sound experience comes to Listen Hear First Friday in January. This sensual, immersive soundscape is a one-night exhibition that includes sound clips of a woman’s sexual responses during pleasurable intimacy with a partner. Her installation, LUST, invites participants to listen to a positive sexual experience from a woman’s perspective in order to consider the importance of female sexual empowerment in today’s hyper sexualized and heteronormative world.

Rachel Leigh: Light Scheaux
2019-01-04 18:00 - 2019-01-21 18:00 | IN
Welcome to a world where grownups still build forts and play with flashlights. Where physics are not a classroom subject but a tender and flamboyant muse. Rachel Leigh teases out the sumptuousness of thrift-store glass and discarded TVs, bathing visitors in luminous, improbable delights.

Wear comfortable clothing and join us for a 20-minute live interactive audiovisual performance by the artist: Jan 9, 13, and 21 at 6pm.

Rachel Leigh is an Indianapolis-based graphic designer, electronic musician, and all-around visual tinkerer who spent formative years in Europe. Her intricate, immersive work invokes subtleties of physics, geometry, and history. Leigh is a member of performing art collective Know No Stranger, contributing to numerous original stage shows and multimedia experiences since 2014. Her graphic design work has appeared at the Indianapolis Motor Speedway, Bankers Life Fieldhouse, and Simon Malls. Light Scheaux is her debut solo exhibition.
Follow her projects at majuscule.co. Follow on instagram @reallyearly.

99.1 WQRT Rhinestone Country Presents Read Southall
2019-02-13 20:00 - 23:00 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
Formed In Stillwater Oklahoma, The Read Southall Band is comprised of 4 native Oklahoman’s. Read Southall (lead vocals and rhythm guitar) Reid Barber (drums) Jeremee Knipp (Bass) JT Perry (Lead Guitar and harmonies). With all members having different influences in music, they have come together to create a unique red dirt/southern rock sound. With overdriven guitars and heavy drums the Read Southall Band aims to deliver a rock and roll experience at every show.

Workshop: Discover Design – Discover Bauhaus
2019-03-16 12:00 - 14:00 | IN
The workshop Discover Design – Discover Bauhaus by the German Design Museum Foundation provides an opportunity to acquire new knowledge of a shared German – American cultural heritage in a practice-oriented fashion. Why are the ideas of the Bauhaus as a legendary school of architecture, design and art still relevant today? How can we use its ideas for our future? This exciting journey of discovery through the world of design is linked to the celebration of 100 Years of Bauhaus!
The design workshop combines intercultural content with imagination and creativity. Trained designers will provide support and advice. During the theoretical section, key facts about Bauhaus as an evolutionary movement, its leading figures, important projects and ideas will be taught. During the hands on section, the participants can let their creativity run wild and produce their own designs.Theeducational and cultural initiative Entdecke Design(Discover Design) has thus far enabled around 15,000 children and adolescents to discover the world of design.
This workshop is recommended for ages 10-17.
Space is limited. RSVP to email hidden; JavaScript is required
This workshop is part of the Year of German-American Friendship initiated by the German Federal Foreign Office and the Goethe-Institut, and supported by the Federation of German Industries (BDI).
Photo Credit: Christof Jakob

Artists Talk-Osamu James Nakagawa and Conner Green
2019-03-23 16:00 - 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join us for the closing reception of Fences/Imperia and a discussion with Nakagawa and Green.
About the artists:
Osamu James Nakagawa was born in New York City in 1962 and raised in Tokyo. He returned to the United States, moving to Houston, Texas, at the age of 15. He received a Bachelor of Arts from the University of St. Thomas, Houston in 1986 and a Master of Fine Arts from the University of Houston in 1993. Currently, Mr. Nakagawa is the Ruth N. Halls Distinguished Professor of Photography at Indiana University, where he directs the Center for Integrative Photographic Studies. He lives and works in Bloomington, Indiana.
Nakagawa is a recipient of the 2009 Guggenheim Fellowship, the 2010 Higashikawa New Photographer of the Year, and 2015 Sagamihara Photographer of the Year in Japan. Nakagawa’s work has been exhibited internationally, solo exhibitions include: Eclipse, PGI, Tokyo (2018); Kai, sepia EYE, New York (2018); OKINAWA TRILOGY: Osamu James Nakagawa, Kyoto University of Art and Design (2013);GAMA Caves, PGI, Tokyo; Banta: Stained Memory, Sakima Art Museum, Okinawa, Japan (2009); Kai: Osamu James Nakagawa, SEPIA International Inc., New York (2003).
His work is included in numerous public collections, including the Metropolitan Museum of Art; George Eastman Museum; Tokyo Metropolitan Museum of Photography; Museum of Fine Arts, Houston; Sakima Art Museum, Okinawa; The Museum of Contemporary Photography Chicago, Nelson-Atkins Museum of Art, Indianapolis Museum of Art, Grand Rapid Museum of Art and others. Nakagawa’s monograph GAMA Cavesis available from Akaaka Art Publisher in Tokyo, Japan.
Conner Green (born 1984) is an artist from Indianapolis, IN. He studied art and literature at Indiana University and received his MFA from the University of Wisconsin, Madison. His work has been exhibited both nationally and internationally. Much of his work combines disciplines, incorporating found sculptural and print-based elements. His work explores concepts of institutional critique, myth, desire, and master narratives. He finds all of these concepts rife for excavation in the consumer-based material world and the built environment. His process allows for a certain degree of chance or disorder to come into play, which he believes enables the phenomenal world to speak for itself.
Made possible by the Arts Council of Indianapolis.

99.1 WQRT's Rhinestone Country presents The Currys w/Steve Everett
2019-03-26 19:30 - 23:30 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
Brought together by family ties and a shared appreciation for folk, rock, and roots music, The Currys are an Americana trio featuring brothers Jimmy and Tommy and cousin Galen Curry. Like many family groups, their songs are anchored by the sort of elastic, entwined harmonies that only seem to exist among kin. On their second record, West of Here, their songwriting chops match those interlocking voices, with all three members contributing songs to an album that deals with the constant search for home.

Bauhaus Imaginista - Collected Research
2019-04-05 18:00 - 2019-06-22 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Jeremy Efroymson Gallery
“Bauhaus Imaginista” is a major international project that marks the German art school’s 100th anniversary. Operational from 1919 to 1933, Bauhaus is famous for the approach to design that combined high art and industry. This exhibition rethinks the school from a global perspective, and reads its entanglements against a century of geopolitical change.
The exhibition presents the 4 Gegenstande (Objects) in order to communicate the essential elements of bauhaus imaginista.
“The Bauhaus Manifesto” (1919) is shown through a specially commissioned essay film, exploring the hybrid and transnational influences that shaped its conception and the school’s origins. Marcel Breuer’s collage ein Bauhaus film (1927) was reproduced in the Bauhaus Journal No. 1, an edition of the journal will be reprinted and displayed in the gallery as a stacked multiple available for audiences to take away. Paul Klee’s “Carpet” drawing will be shown in reproduction on a study table detailing the artist’s North African journeys. Kurt Schwerdtfeger’s “Reflective Light Game” is shown through a film projection.
Photo: Paul Klee Rug (kilim), (1927); Hans Snoeck Private Collection, New York
Project partners:
Goethe-Institut, Bauhaus Kooperation, Haus der Kulturen der Welt.
Funded by:
Die Beauftragte der Bundesregierung für Kultur und Medien, Auswärtiges Amt, Kulturstiftung des Bundes.
On the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).
Admission is free
VISIT US
Monday-Friday, 9 a.m. to 6 p.m.
Saturday 11 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays

WQRT Rhinestone Country Film Series- Nine to Five
2019-04-10 18:45 - 21:00 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
Frank Hart is a pig. He takes advantage of the women who work with him in the grossest manner. When his three assistants managed to trap him in his own house, they assume control of his department and productivity leaps, but just how long can they keep Hart tied up?
Presented by Upland Brewing Co.

99.1 WQRT Noise-A-Thon 2019
2019-04-17 18:00 - 2019-04-18 18:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
WQRT’s 24 hour Noise – A -Thon is back! Tune in or join in as we celebrate with live experimental music from artists around the city of Indianapolis raising funds to keep WQRT rolling into the future. The phone lines will be open for calls from all committees as well as live interviews from all artists participating. The Noise-A-Thon is intended to showcase all the intriguing experimental artists in our community on the most uniquely weird station.
SCHEDULE OF PERFORMANCES/ ARTIST ANNOUNCED SOON!
http://wqrt.org

Yvette Mayorga-High Maintenance
2019-05-03 18:00 - 2019-08-04 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Yvette Mayorga’s multi-media installation High Maintenance is a flamboyantly chilling revelation, offering unsettling insights into how the forces of violence, make-believe, and consumerism infiltrate the contemporary immigrant experience, and subvert our understanding of identity.
Drawing inspiration from the politics of America’s southern border with Mexico, her own life as a first generation Latinx-American, and her parents’ often dangerous experiences as immigrants in the 1970s, Mayorga’s work examines how pain and uncertainty are covered with a veneer of celebration.
High Maintenanceconjures up an absurdist, Rococo Candy Land, where frivolity intersects with fear, as soldiers and ICE agents come face to face with quinceanera cakes, white swans, and Polly Pocket adventure sets.
Every aspect of Mayorga’s built world is adorned with spectacular, rapacious iconography. Monumental fashion accessories and gendered toys interrogate the true meaning of “status,” while decadent, Colonial aesthetics remind us how fragile national identity is, and how frequently it depends on appearances.
Is this a place of joy or fear? Does it welcome us in all our diversity, or demand our assimilation? Like the guileless inhabitants of Mayorga’s thickly impastoed paintings, the second we enter this uncanny, celebratory-looking tableau, we realize we are caught between a nightmare and a dream.
In partnership with Nopal Cultural and University of Indianapolis.
Made possible by The Andy Warhol Foundation for the Visual Arts, Christ Church Cathedral, The Arts Council of Indianapolis, Managed Health Services – MHS,and Sun King Brewing Company.
Yvette Mayorga lives and works in Chicago. She earned her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2016. Recent solo exhibitions include the Lubeznik Center for the Arts, EXPO Chicago 2018, The Vincent Price Art Museum, The Chicago Cultural Center, and The National Museum of Mexican Art. Her work has been featured in Hyperallergic, The Guardian, Art News, and Teen Vogue, among others.

Indiana MUFON Spring Symposium with Barry Gaunt
2019-05-04 13:00 - 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Barry Gaunt will speak about alien abduction and the effect of the phenomenon on one’s life.
Barry, currently serves as a member of the renowned Society of the Supernatural. He is the MUFON (Mutual UFO Network) State Director of Kentucky and is a STAR Team Certified Field Investigator for MUFON. He is also a Cohost of “Into The Fire” a podcast on Blog Talk Radio. He is the Managing Director of the NightStalkers Paranormal Research Team, which researches, and investigates Hauntings, UFO Reports, Alien Abductions, and Strange Creature reports on a case by case basis.
Barry is a full-time volunteer at the famed and haunted Octagon Hall Museum and assists the Museum Director with the daily operations of the Museum, along with hosting the Museum’s popular Novice Hunts with his paranormal team, Nightstalkers Paranormal. He is an Administrator for the Kentucky UFO Research Center on Facebook, and he is currently writing a book on the UFO Phenomenon in Kentucky, which will be published by Leprechaun Publishing in late 2019 or early 2020.
Barry remains science minded, but always keeps an open mind, striving to find the truth, looking for the key to unlock the mysteries of the world we live in, with hopes of answering humanity’s oldest questions. What happens next, and are we alone in the universe?

Kader Attia- The Body’s Legacies (Part 1: The Objects)
2019-05-07 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Attia’s recent film The Body’s Legacies (Part 1: The Objects) is an extensive account of testimonies by academics, scholars, collectors, and museum directors from Canada, the US, Ivory Coast, and many other locations, relating the histories behind bodies and artifacts from the world over.
This screening is part of the Bauhaus Imaginista: Collected Research exhibition.
Project partners:
Goethe-Institut, Bauhaus Kooperation, Haus der Kulturen der Welt.
Funded by:
Die Beauftragte der Bundesregierung für Kultur und Medien, Auswärtiges Amt, Kulturstiftung des Bundes.
On the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).
Kader Attia (b. 1970, France), grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d’Art i Disseny in Barcelona, he spent several years in Congo and in South America.
The experience with these different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory.
His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history.
In 2016, Kader Attia founded La Colonie, a space in Paris to share ideas and to provide an agora for vivid discussion. Focussing on decolonialisation not only of peoples but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims to reunite which has been shattered, or drift apart.
Kader Attia’s work has been shown in group shows and biennials such as the 12thShanghai Biennial; the 12th Gwangju Biennial; the 12th Manifesta, Palermo; the 57th Venice Biennial; dOCUMENTA(13) in Kassel; Met Breuer, New York; Kunsthalle Wien; MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; or The Solomon R. Guggenheim Museum, New York — just to name a few. Notable solo exhibitions include “The Museum of Emotion”, The Hayward Gallery, London; “Scars Remind Us that Our Past is Real”, Fundacio Joan Miro, Barcelona; “Roots also grow in concrete”, MacVal in Vitry-sur-Seine; „The Field of Emotion“, The Power Plant, Toronto; Museum of Contemporary Art, Sydney; “Repairing the Invisible”, SMAK, Ghent; Museum of Contemporary Art, Sydney; “Sacrifice and Harmony”, Museum für Moderne Kunst, Frankfurt; “The Injuries are Here”, Musée Cantonal des Beaux Arts de Lausanne; “Contre Nature”, Beirut Art Center; “Continuum of Repair: The Light of Jacob’s Ladder”, Whitechapel Gallery, London; and KW Institute for Contemporary Art, Berlin.
In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul, in 2017.

Shelley Selim: The Women of Bauhaus Discussion
2019-05-15 18:30 - 20:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
In commemoration of the 100th anniversary of the Bauhaus art school, join curator Shelley Selim and learn more about the trailblazing women of this famously influential academy. While often overshadowed by their male counterparts, recent renewed interest has brought to light the female students and teachers of the Bauhaus and their incredible contributions to the Modernist movement.
Shelley Selim is Associate Curator of Design and Decorative Arts at the Indianapolis Museum of Art at Newfields. She provides curatorial oversight of the museum’s design and decorative art collections, as well as its two historic homes—the Lilly House and the Miller House and Garden. Her recent projects include Meadow, an interactive installation by artists Studio Drift now on display at the IMA’s Efroymson Entrance Pavillion, and a reinstallation of the IMA’s Design Gallery—the largest permanent collection gallery devoted to modern and contemporary design of any museum in the country.
Project partners:
Goethe-Institut, Bauhaus Kooperation, Haus der Kulturen der Welt.
Funded by:
Die Beauftragte der Bundesregierung für Kultur und Medien, Auswärtiges Amt, Kulturstiftung des Bundes.
On the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).

WQRT Rhinestone Country Presents-Smokey & The Bandit
2019-05-22 18:45 - 20:30 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
Burt Reynolds, Sally Field and Jackie Gleason are in high gear and hot water after a cross-country road challenge results in one of the wildest series of car chases and crashes ever filmed! The Bandit (Burt Reynolds), a maverick racecar driver, makes an 80,000-dollar bet that he can transport a shipment of Coors beer from Texarkana, TX, to Atlanta within 28 hours. It’s important to note that in 1977, it was illegal to sell the Coors brand east of the Mississippi River without a permit; if we don’t note that, then the plot won’t make sense at times. Already in danger of arrest from redneck lawmen like Buford T. Justice, Bandit furthers his chances at a stiff jail term when he offers a ride to Carrie, who hopes to escape her unwanted wedding to Justice’s boy.” ~ Hal Erickson, Rovi
Presented by Upland Brewing Company

TransGlam 2019 Presented by Eskenazi Health
2019-06-01 18:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
On June 1st, Indy’s trans community invites you to join us during Pride Week at the Tube Factory Artspace for #TransGlam – a free night of food, music, dancing, friendship and fun. Dance the night away or chill, socialize, enjoy some food and play games. The party starts at 6p.m.
What does your #TransGlam look like? A sparkly ball gown? A jean jacket and a t-shirt? A tux and a bow tie? Anything goes at this queer-formal dance. Bring a date(s), or come solo and show off your style and your moves! Everyone is welcome at #TransGlam.
This event is absolutely free to attend! Use the “tickets” button to get the details on your calendar and to receive helpful information about the event.
Indy Pride is teaming up with QUIT NOW INDIANA to encourage healthy lifestyles for all members of our community with all Pride events being tobacco-free. For support and resources to quit tobacco, visit them at quitnowindiana.com or call 1-800-QUIT NOW.

99.1 WQRT's Rhinestone Country presents Town Mountain
2019-06-01 20:00 - 23:00 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
Making their second trip to Duke’s Indy, do not miss one of our favorite Bluegrass Bands around.
Raw, soulful, and with plenty of swagger, Town Mountain has earned raves for their hard-driving sound, their in-house songwriting and the honky-tonk edge that permeates their exhilarating live performances, whether in a packed club or at a sold-out festival. The hearty base of Town Mountain’s music is the first and second generation of bluegrass spiced with country, old school rock ‘n’ roll, and boogie-woogie. It’s what else goes into the mix that brings it all to life both on stage and on record and reflects the group’s wide-ranging influences – from the Grateful Dead’s Jerry Garcia and the ethereal lyrics of Robert Hunter, to the honest, vintage country of Willie, Waylon, and Merle. The Bend Bulletin’s Brian McElhiney says Town Mountain, “has serious country and rock ’n’ roll DNA.” Town Mountain features guitarist and vocalist Robert Greer, banjoist Jesse Langlais, mandolinist Phil Barker, fiddler Bobby Britt, and Zach Smith on bass.
Town Mountain just finished recording their 6th studio album at Echo Mountain Studios with roots music hero Caleb Klauder producing. Slated to release this Fall, the album is full of new material and features several guest artists including Tyler Childers who co-wrote one of the songs, Miles Miller (Sturgill Simpson, drummer), and other friends. Their most recent album, Southern Crescent (April 1, 2016) debuted at #4 on the Billboard Bluegrass Chart while staying for ten weeks on the Americana Music Association’s radio chart Top 40, and widely considered one of the best bluegrass albums of that year.

Zvi Efrat- The Most Beautiful Campus in Africa
2019-06-04 19:00 - 20:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
A short film that critically illuminates the design by the Israeli architect and former Bauhaus student Arieh Sharon for the University of Ife campus, Ile–Ife, Nigeria, built in 1962 as part of an Israeli assistance program in West-Africa. Zvi Efrat, architect and architectural historian, is a partner in Efrat-Kowalsky Architects (EKA) and was head of the Department of Architecture at the Bezalel Academy of Arts and Design, Jerusalem, from 2002 until 2010. He studied at Pratt Institute, at NYU, and at Princeton University. He has taught at several universities, lectured worldwide, published extensively, and curated numerous exhibitions, among them Borderline Disorder at the Israeli Pavilion of the 8th Architectural Biennale, Venice, in 2002, and The Object of Zionism at the Swiss Architecture Museum in Basel in 2011. His book, The Israeli Project: Building and Architecture 1948–1973, was published in Hebrew in 2004.
This screening is part of the Bauhaus Imaginista: Collected Research exhibition.
Project partners:
Goethe-Institut, Bauhaus Kooperation, Haus der Kulturen der Welt.
Funded by:
Die Beauftragte der Bundesregierung für Kultur und Medien, Auswärtiges Amt, Kulturstiftung des Bundes.
On the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).
Photo: Keren Kuenberg

Lugao Kasberg: Balay Means Home
2019-06-07 18:00 - 22:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Curated by Danicia Monét
Lugao Kasberg is a Mangyan-American artist based in New York City. His earliest memories were with family and community speaking his native Hanunó’o-Mangyan tongue in the Philippines. Balay means home in his traditional Hanuó’o language. Growing up in Indianapolis, IN as an indigenous person he experienced the hardships of poverty, depression, and abuse when his parents separated. Through the strength of family, education, entrepreneurship, and the arts he learned the importance of hard work and dedication as he was determined to attain a better life while also helping others.

During high school and college Lugao orchestrated community outreach initiatives which helped hundreds of youth explore, share, and celebrate art. This effort also ignited his love for film, photography, and documentation. As a successful commercial artist in New York City he was involved in creating works for some of the top brands in the world. After feeling creatively drained and unfulfilled in 2018 Lugao decided to reunite with his Mangyan family in the Philippines and live in the village.

He documented his journey through film, photography, and audio recording. Lugao is the first of his eight Mangyan-siblings and mother to return to their ancestral land after leaving for the United States in 1992. He shares the importance of family, community, and the connection to the land. Mangyans are the indigenous people of Mindoro Island in the Philippines. They have inhabited the land for thousands of years by practicing sustainable farming and developed tightly knit communities with their own language, writing systems, and government.

Like many other indigenous people, Mangyans also face issues of discrimination, land rights, and access to resources. As a solution, Lugao is using his platform to create visibility while also helping to grow the culture by developing initiatives for the youth and community through education and the arts. One such initiative is “Rice 4 Kidz”. This endeavor has had an impact by serving over 55,000 hot meals to one thousand Mangyan schoolchildren with the help of rice sponsors, faculty, and international community during the hunger months of August through October. Service being at the core of his work, Lugao aspires to bring positive change to this present generation for future generations.

To learn more about the artist visit
http://www.lugao.co
Instagram: @Lugao.co and @lugaokasberg

Otolith Group- O Horizon
2019-06-11 19:00 - 20:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
The title refers to the surface layer of soil, changed in the area around Santiniketan as the result of Tagore’s introduction of new flora in development of the campus. In studying this trajectory, the film extends The Otolith Group’s ongoing consideration of the Anthropocene, a premise that denotes that the current geological age is one wherein human activity spurs the primary changes on climate and the environment. With O Horizon, The Otolith Group also proposes that Tagore’s project maps onto the notion of terraforming—a term originating in science fiction and now more widely used—whereby a party (typically but not always an interloper) reshapes the atmosphere of a place for their own needs.
O Horizon reflects upon modernist theories of dance and song developed by Tagore and the experimental practices of mural, sculpture, painting, and drawing developed by India’s great modernist artists affiliated with Santiniketan: K.G. Subramanyan, Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij. O Horizon draws together visual arts, dance, song, music, and recital to assemble a structure of feeling of the Tagorean imagination in the 21st Century.
This screening is part of the Bauhaus Imaginista: Collected Research exhibition.
Project partners:
Goethe-Institut, Bauhaus Kooperation, Haus der Kulturen der Welt.
Funded by:
Die Beauftragte der Bundesregierung für Kultur und Medien, Auswärtiges Amt, Kulturstiftung des Bundes.
On the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).

Dinner and Poetry with Bryan Thao Worra
2019-06-14 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Bryan Thao Worra author of DEMONSTRA (2013); BARROW (2009); Winter Ink (2008); On the Other Side of the Eye (2007) and The Tuk-Tuk Diaries: Our Dinner with Cluster Bombs (2003) for a reading and dinner at Tube Factory artspace.
Worra’s work appears in over 100 international publications, including Astropoetica, Cha, Asian Pacific American Journal, Hyphen, Lantern Review, Kartika Review, Journal of the Asian American Renaissance, Expanded Horizons, Quarterly Literary Review Singapore, Strange Horizons, Tales of the Unanticipated, and Innsmouth Free Press.
He was selected as a Cultural Olympian during the 2012 London Summer Olympics’ Poetry Parnassus convened by the Southbank Centre. His work is part of the Smithsonian traveling exhibit “I Want the Wide American Earth: An Asian Pacific American Story.” He is the first Lao American to be accepted as a professional member of the Horror Writer Association and the Science Fiction Poetry Association, to which he currently serves as president. He is the first Lao American to hold an National Endowment for the Arts Fellowship in Literature and is a 2019 The Joyce Foundation Fellow.
In 2018, he was appointed by Governor Mark Dayton to serve on the Council on Asian Pacific Minnesotans to advise state legislators on policy. He works on Lao and Southeast Asian American refugee resettlement issues across the United States. Bryan Thao Worra is the Lao Minnesotan Poet Laureate, and the president of the international Science Fiction and Fantasy Poetry Association (est. 1978).
His forthcoming book is “Before We Remember We Dream” from Sahtu Press.

99.1 WQRT Rhinestone Country Film Series-Urban Cowboy
2019-06-26 18:45 - 21:30 | Duke’s Indy, 2352 S West St., Indianapolis, IN, 46203, United States
“You a real cowboy?” John Travolta traded disco for a mechanical bull in this adaptation by James Bridges and Aaron Latham of Latham’s article on Western nightlife. Texas country boy Bud (Travolta) moves to Houston to work on an oil rig with his Uncle Bob (Barry Corbin), and he swiftly becomes indoctrinated in the nighttime rituals of drinking, dancing, and showing off cowboy duds at Gilley’s, the enormous local honkytonk. There he meets and marries the sassy Sissy (Debra Winger), but the honeymoon quickly ends when Sissy starts spending too much time learning the men-only skill of mechanical bull-riding from ex-con Wes (Scott Glenn); Bud throws her out and hooks up with slumming Pam (Madolyn Smith). Under the paternal tutelage of Uncle Bob, Bud then learns not only how to master the bull but also what it takes to be a real man rather than just an ersatz cowboy. With a story, cast, and setting that were essentially Saturday Night Fever country-style, Urban Cowboy was poised to be a summer 1980 hit. Although its box office did not live up to Fever’s legacy, Urban Cowboy did spawn a soundtrack album of country-and-western hits and helped spur a Western fashion vogue; people from all regions began sporting cowboy boots, and mechanical bulls started replacing passé disco floors. The first of Travolta’s many comebacks, Urban Cowboy provided the star with a more “manly” image after his Moment by Moment (1978) fiasco, but it was neophyte co-star Winger who got even better notices. With its Western milieu and retro view of relationships, Urban Cowboy stands as a sign of the nascent Reagan era, as ’70s icon Travolta learned bull-riding himself and replaced his white polyester with a black Stetson.” ~ Lucia Bozzola, Rovi
Presented by Upland Brewing Company

Garfield Park Art & Music Festival
2019-06-29 16:00 - 21:00 | MacAllister Amphitheater at Garfield Park, 2450 Conservatory Dr., IN, 46203, United States
The 2nd annual Garfield Park Art & Music Festival (GPAMF) is an outdoor festival celebrating the art, music, and culture of Indianapolis. The Festival will feature a handful of local musicians and bands of diverse genres performing their original music. Up to forty local artists working in a variety of mediums will also host artist booths with their fine art and handmade wares for sale. Enjoy beers by Garfield Brewery, as well as local food trucks and vendors. This all ages, free event is part of Indy Parks and Recreation‘s annual Pack the Parks day and will also feature kids’ crafts and activities for family-friendly fun. Join us for a summer evening filled with local music and art behind the Arts Center!
*****Lineup *****
Sister Sinjin – 4:00 PM
Jacoby’s Invisible Band – 4:40 PM
Silent Bloom – 5:25 PM
Danni Al Mar – 6:20 PM
Brandon Wadley – 7:15 PM
Mina & the Wondrous Flying Machine – 8:15 PM
This event is sponsored by Indy Parks and Recreation, Garfield Park Arts Center – Indy Parks and Recreation, the Friends of Garfield Park, Inc., the Garfield Park Neighbors Association, Big Car Collaborative, ACS Signs, and Renewal by Andersen Window Replacement, and it’s organized by a passionate committee of neighbors, artists, and musicians!
Interested in volunteering or sponsoring? Contact GPAC Manager Kavita Mahoney at email hidden; JavaScript is required to see how you can be involved.
Learn more about #GPAMF here:
https://www.gpacarts.org/garfield-park-art-music-festival

Wildstyle Paschall: Culture, Indy HipHop Music
2019-07-05 18:00 - 22:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Wildstyle Paschall’s multi-media installation “Culture, Indy Hiphop Music”, is a captivating look into the unseen counter culture of America’s most popular music genre centered in the capital of a Midwestern city more known for cornfields, a 500 mile race and various amateur sports. The ever-evolving cultural movement created by people of color exists in Indianapolis, isolated from much of the financial success and mainstream consumerism seen in larger cities.
As a lifelong musician and long time hiphop producer, Paschall is a product of 1980s and 90s hip hop culture. During a time
when hiphop storytelling, music, and culture expanded internationally, he was concerned that even by 2015 significant accounts of the rich culture created in central Indiana was not being archived to shared with outsiders as well as passed down to future generations.
“Culture, Indy Hiphop Music” takes the viewers and puts them on stage with independent hiphop artists performing and creating music to see their passion and dedication to the art through picture and video.

Aurora PhotoCenter at Tube Factory: Keliy Anderson-Staley
2019-07-05 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Aurora PhotoCenter officially launches this summer, joining Indianapolis with an inaugural community-focused workshop and exhibition by renowned tintype artist Keliy Anderson-Staley.

This exhibition will be open July 5-19 in the Jeremy Efroymson Gallery.

In June 2019, Anderson-Staley set up her tintype studio at Tube Factory and made 70 tintype portraits over a four-day period. This exhibition showcases portraits made during Anderson-Staley’s visit to Indianapolis, as well as subjects photographed in other American cities from New York to Cleveland to Houston to San Francisco. A selection of historical tintypes from the collection of the Indiana State Museum and Historic Sites provide context for the modern portraits and show how the medium shaped our identity as a state and nation from photography’s earliest days.

To make a tintype, a light sensitive collodion emulsion is mixed and poured onto each plate shortly before a portrait is made. Tintypes need long exposure times, so the subject must remain completely still for up to 30 seconds to produce a sharp image. People sitting for tintypes often don’t smile, as it is difficult to hold a smile perfectly still for the length of the exposure.

Unlike the instantaneous digital selfie of today, a tintype portrait is an intimate collaboration between the photographer and the sitter, resulting in a one-of-a-kind portrait and experience. These portraits are rich in atmosphere and detail, emphasizing an often intense and mesmerizing gaze. Anderson-Staley’s beautifully textured tintype portraits use 19th-century technology to depict the wholeness of what “American” means today.

Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City, and currently lives and teaches photography at the University of Houston in Texas. Her images are in the permanent collections of the Library of Congress, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts-Houston. Her work was published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, SFO Museum, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of non-profit art institutions and galleries around the country. In 2016 she completed a major public commission for the city of Cleveland, producing fifty large-scale portraits for installation in the airport tunnel of the rapid transit line. A book of her portraits, On A Wet Bough, is available from Waltz Books. She is represented by the Catherine Edelman Gallery.

Founded by local artist-photographers, Adam Reynolds, Craig McCormick, and Mary Goodwin, Aurora Photo Center serves as a creative bridge between artists and the greater photographic community with a regional, national, and international perspective. Aurora will be a place where artists meet, create, share work, and find inspiration.
In its first year, Aurora will focus on awareness of photography as a medium for art and social expression. By hosting partnerships and pop-up-style events, Aurora will work to build a community in central Indiana around the medium of photography through exhibits, conversations, and workshops. As Aurora grows and receives non-profit status, it will establish a dedicated gallery space, along with darkroom and studio facilities for both community education and working artists.
“Photography was once a medium permanently documenting history, family, and places. Today it is a momentary medium ruled by innuendo,” says Craig McCormick, Aurora co-founder. “Through Aurora, we hope to explore how photography becomes art in fast and slow times.”
Partnering with Big Car Collaborative in the Garfield Park neighborhood, Aurora’s inaugural event will feature Anderson-Staley’s ongoing tintype portrait series, [hyphen] American. Based out of Houston, TX, Anderson-Staley has spent the past decade travel- ing the country with a portable 19th century tintype studio capturing a typological portrait survey of the human faces that make up today’s America. Her next stop is Indianapolis, where she will be holding a tintype workshop and portrait sessions open to the community, followed by a curated exhibition of her tintype portraits from Indianapolis and beyond.
“Keliy’s project is an open invitation for Indianapolis to come together in a collective portrait of our city,” says Aurora co-founder Mary Goodwin. “It gives us a chance to re-examine what it means to be ‘American’ today.”
[hyphen] American will be on display in the Tube Factory’s Efroymson Gallery July 5-26 with an opening reception on July 5. Keliy Anderson-Staley will be in Indianapolis June 13-16 making tintype portraits. She will host a workshop on tintypes on June 15.

Pints for Parks - Featuring Nine13 Sports
2019-07-10 17:00 - 20:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Our Indy Parks are beautiful, but it is our programming partners and park users (you) who give them life!
Join us at the Tube Factory artspace the second Wednesday every other month for Flat12 Bierwerks Indianapolis beer, and tons of fun!
$1 per beer supports the Indianapolis Parks Foundation!
https://nine13sports.org
*Family Friendly*

Masters Retrospective II: Social Practice & Placemaking
2019-08-02 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
The second cohort in UIndy’s MA in Social Practice Art exhibits their work from the last year in many neighborhoods in Indianapolis and from around the state, including interactive and participatory projects in the gallery.
*Closing Reception: Friday, August 16, 5-7 pm (Remarks at 6)
Gallery is free to attend & open during regular Tube Factory Artspace hours.
Eve Eggleston presents a series of social practice art projects to raise community awareness of the plight of the pollinators. This recent body of work re-purposed refuse in upcycling at Rabble Coffee in Indianapolis. Her current project is using beehives for education about urban agriculture, sustainability, environmentally healthy practices, and pollinator value at IPS 39: William McKinley as part of their Learning Nature Center and at Jason Micheal Thomas’s urban farm, Indy Urban Awareness Gardens. William McKinley hosts a live honeybee hive in their gardens and is a part of a curriculum to understand honeybees and other pollinators. Through working with their Garden Club, ran by several teachers and Keep Indianapolis Beautiful, the hive will provide pollination for their gardens and orchard. This project also included a full day of lectures, demonstrations, and activities for every class to familiarize the students with these issues. Part of this discussion was learning to understand not only the benefits of honeybees, but all pollinators. To address native bee populations, her thesis project expanded to include creating pollinator hotels with the Green Team of Groundwork Indy. These ongoing projects are always looking to expand. Please contact Eggleston with any inquiries or any opportunities.
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Indianapolis artist Kindness AK is shaped by internal and external conflicts that have a tendency to manifest itself physically through the creative arts. Although some people would choose one specific platform to focus in, she is unconsciously drawn to multiple artistic mediums and media. Her many life experiences, ranging from scientific, therapeutic, and artistic, have become embedded tools which she uses to rediscover and accept a more competent, accountable, and positive self-narrative. The M.A. in Social Practice Art program has helped her align her passions by exploring how placemaking can encourage healing-centered engagement through community building and self-reflection. Her exploration is through a series of projects that are based on personal and professional interest. Projects displayed include Transformative conversations, Affirmation mirrors (individual and community), Trafficking, and Lyles Station. These projects all in one way or another narrate how to enhance or identify the already “existing power of resiliency” within the self and/or community to hopefully initiate more access to social justice. Her broader objective is to increase resiliency and empowerment, using art as a tool to promote critical reflection and build a more culturally inclusive lens of social justice and healing.
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Writer and memoirist Sarah J. Wilson has deepened her exploration of Indianapolis’ Eastside neighborhoods through her social practice and placemaking projects. She grew up there and continues to live there. By collecting artifacts and oral history, she has expanded her creative practice in writing and memoir to more directly engage residents on the Eastside and investigate its complicated and enduring history. This summer, she has worked on the Eastside to collect local history and artifacts, especially from youth and the aging population, to create interactive social practice projects to commemorate this history and to celebrate its future.

Jessica Uçul: White: Trash, Washed, Lies
2019-08-02 18:00 - 22:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
White: Trash, Washed, Lies features work made from the artist’s personal collection of photography and video.

About the artist
Jessica Uçul is an American artist who uses a variety of media, including found and archival imagery and everyday objects to make photographs, collages, videos, and sculpture. Uçul’s work maintains a regard for kitsch as a cultural expression of loss. Born and raised in Franklin, Indiana, Uçul received her MFA in Fine Arts from the School of Visual Arts. She currently lives and works in Indiana.

Cry Salon
2019-08-10 19:00 - 22:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Featuring readings by Sammi Skolmoski, William Joseph Gass, and Jeremy Kennedy / Soundtracked by John Dawson and Jared Landberg

About Performance:

Sammi Skolmoski, William Joseph Gass, and Jeremy Kennedy will present their contributions to the recently released book “Cry List”, a collection of essays on the topic of crying, along with a variety show other of poetic conversations, and short plays. The soundtrack for the evening will be provided by John Dawson and Jared Landberg.

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Bios:

Sammi Skolmoski is a writer and fiber artist born, living, and probably dying in Chicago. She is the managing editor at Featherproof Books and a contributor at Reductress, the Hard Times, Bandcamp, and elsewhere. Her first book, a translation of several shooting screenplays by the Dardenne brothers from their original French, came out in June.
William Joseph Gass (St. Louis) has worked in the direct patient caregiving industry since 2012. His wordage has been featured in publications including and from Art Papers, Universal Love Upload, and Penny-Ante, among others. He is happily partnered with Dr. Monica Sentmanat and their pets Reagan (MacNeil) and Adele (Bertei).
Since the late 1990’s, Jeremy Kennedy has been creating and exhibiting sound, artwork, and concepts in both community and academic settings. Before moving to Los Angeles in 2009, the largely self-taught artist spent over a decade living and working in Bloomington, Indiana. Kennedy is an active visual artist, writer, and sound-maker, as well as co-founder and playwright with P/Sicho Street Theatre Company, and a founding editor of Rebel Hands Press.
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About: Cry List
Contributors: Chelsea Rector, Jamie Iacoli, Jeremy Kennedy, Sammi Skolmoski, William Gass
Photography: Ang Wilson
Crying is nothing other than itself. Metaphor is a construct that brings crying out of itself… These essays are accounts of crying, and the essay lists are not metaphors. It is a way for the authors to say that these things have takenthem, emotionally, directly. No metaphors. What these essays account is the form of agitation we call crying. From joy to sorrow, the items listed explore the questions, what does it take/what makes us cry?. The lists are a conceptual framework, organizing the otherwise indomitable act of crying.
The essays each list five items that make the authors cry… Unlimited in range, about the tangible or abstract, the essays also ask you, the reader, to think about when you cry. “Cry List” is a collection of insights on opening the hermetically sealed core of crying through connection with another form of expression that appears outside the body. Scored throughout with watery photographic notation, “Cry List” assembles a world of feeling, tangential to objective reality.

Saya Woolfalk: Empathic Cloud Divination
2019-09-06 18:00 - 2020-01-11 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
In this new exhibition, New-York-based multi-media artist Saya Woolfalk explores our understanding of the human condition — a state of affairs governed by seemingly unavoidable conflicts such as birth, growth, and death. This show explores how technology has allowed us to ease our suffering by making change less difficult and transformation more enjoyable. Perhaps the ultimate human technological advancement would be the elimination of mortality by extending human life indefinitely in a biological, digital, or other virtual state. Recent advances suggest our species may already be on the cusp of achieving this evolutionary landmark.
Woolfalk’s exhibit at Tube Factory includes her signature installations, sculptures, prints, video art works, and the works of artists who influence her practice. It builds on one of her first projects, No Place (a play on the translation of the word utopia), where she collaborated with filmmaker and anthropologist Rachel Lears. Both then in their mid 20s, they invited people into Woolfalk’s studio to talk about their ideas of utopia and created work from there.
“Similar to the way you would construct a folktale, we took these ideas and we constructed the culture of the NoPlaceans. People would come to the studio, put on costumes and enact the things that they were imagining,” says Woolfalk who created a six-chapter ethnographic film about this future utopian world based on people’s visions.
To explore the conceptual boundaries of this cultural moment, this also led Woolfalk to create a fictional transhuman species known as the Empathics, which she describes as a race of women who are able to alter their genetic make-up and fuse with plants. “If you have a utopia, then how do you actually make that utopia real? I worked with biologists at Tufts University to think about what in nature could occur in order for people to mutate to become more like plants.”
Woolfalk’s Tube Factory installation will extend the story of the Empathics, blending multi-media aesthetic phenomena, spirituality, cultural hybridization, capitalism, technoscience, and artificial intelligence to conjure a broad network of interconnecting philosophical strands. Informed equally by science fiction and anthropology, the morally ambiguous future that the exhibit shares is open to the interpretation of its viewers. “Going from modularity to monumentality is how I approach my practice. I work in ways that are incredibly small and I also work in ways that are incredibly big. The work functions like collage.”
Should we fear the world Woolfalk and other transhumanist artists are mapping? Should we embrace it? Should we shrug it off as a Pollyannic fantasy, doomed by the human idiot factor? Woolfalk seems to be implying a potentially disturbing fourth option: Some of us — particularly those with special status or outlandish means — have already started to transform. Is this art, or a warning shot across the cultural bow of the human race?

About the artist
Woolfalk (b 1979, Japan) is a pioneer within an emergent, international aesthetic movement examining transhumanism — a theoretical belief that humans will mobilize technology to transcend their biological limitations and evolve into a non-human, or “posthuman” race. With each body of work, Woolfalk continues to build the narrative of The Empathics and questions the utopian possibilities of cultural hybridity. She has exhibited at museums, galleries, and alternative spaces throughout Asia, Europe and the United States including solo exhibitions at the Montclair Art Museum, Montclair, NJ (2012); the Chrysler Museum of Art, Norfolk, VA (2014); the Asian Art Museum of San Francisco (2014); SCAD Museum, Savannah, GA (2016); Everson Museum of Art, Syracuse, NY (2016); Sheldon Museum of Art, Lincoln, NE (2016); the Mead Museum of Art, Amherst, MA (2017) and group shows at the Studio Museum in Harlem; MoMA PS1, Long Island City, NY; the Warhol Museum, Pittsburgh, PA., the Museum of Contemporary Art, Chicago, among many others.
“When I started making work it was very important that it was not autobiographical,” says Woolfalk. “The work is not about me at all. The work is about talking to people about their ideas and trying to understand what’s going on in the world then taking that material and adapting it into installation based spaces that people can experience.”
Made possible by The Andy Warhol Foundation for the Visual Arts and The Efroymson Family Fund.
Part of the Social Alchemy Series, this exhibition is in partnership with the New Harmony Gallery of Contemporary Art.
Image: Saya Woolfalk, Encyclopedia of Cloud Divination, Plate 2, 30”x40”, 2018.
