Latino Americans:The New Latinos (1946-1965)
2016-06-23 18:00 - 20:00 (America/Indiana/Indianapolis)
Until World War II, Latino immigration to the United States was overwhelmingly Mexican-American. Now three new waves bring large-scale immigration from Puerto Rico, Cuba, and the Dominican Republic. As the Puerto Rican government implements a historic overhaul over a million Puerto Ricans are encouraged to leave for the US mainland, to alleviate the economic pressure. A young Juanita Sanabria arrives in New York, works hard in the garment district, but encounters hostility and discrimination. Ethnic tensions explode in youth gang warfare depicted in films like West Side Story, etching the stereotype of the knife wielding Puerto Rican in the American consciousness.
In the film, Rita Moreno plays the role of Anita and wins an Oscar. But for most Puerto Ricans empowerment remains elusive. A young Puerto Rican lawyer, Herman Badillo, takes on the political establishment, opening the door for unprecedented Puerto Rican participation in electoral politics. In the early 60s, the first Cubans flee the left-wing Castro regime, a relatively white, middle-class flight that soon forms a refugee enclave in Miami. A child of 11 at the time, Gustavo Perez Firmat believes like most refugees, that it is only a matter of weeks before the American government will wrest Cuba from the Communist regime. But Castro survives. Maria de los Angeles Torres is only six years old when she leaves Havana without her parents, one of 14,000 children are smuggled out through an underground network. Unable to leave legally, Manuel Capo and his two military age sons – make a dramatic journey to the US. With skills honed in the family furniture business in Cuba and support from the federal government, the Capos build thriving business marketing to the growing Cuban population.
In 1965, fearing another Communist takeover in the Caribbean, President Johnson sends Marines to the Dominican Republic, triggering a third wave of immigration. With a US visa in hand, 20 year-old university student, Eligio Peña, flees to New York. Eventually he brings his family to New York as Dominicans build a new home in Washington Heights. Julia Alvarez would take the immigrant experience – her own and that of her fellow Dominicans – to unprecedented literary heights in How the Garcia Girls Lost Their Accents. In her work, she explores the hybrid identity taking shape in a new generation of Latinos, who are now demanding their place in America.
Latino Americans: 5oo Years of History, a public programming initiative produced by the National Endowment for the Arts (NEH) and the American Library Association (ALA), is part of the NEH initiative, The Common Good: Humanities in the Public Square.

Latino Americans: Peril and Promise (1980-2000)
2016-06-23 18:00 - 20:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
In the 80s the nature of the Latino Diaspora changes again. From Cuba a second wave of refugees to United States – the Mariel exodus – floods Miami . The same decade sees the sudden arrival of hundreds of thousands of Central Americans (Salvadorans, Guatemalans, and Nicaraguans) fleeing death squads and mass murders at home like activist, Carlos Vaquerano. By the early 1990s, a political debate over illegal immigration – has begun. Globalization, empowered by NAFTA, means that as U.S. manufacturers move south, Mexican workers head north in record numbers. A backlash ensues: tightened borders, anti-bilingualism, state laws to declare all illegal immigrants felons. But a sea change is underway: the coalescence of a new phenomenon called Latino American culture-as Latinos spread geographically and make their mark in music, sports, politics, business, and education. Gloria Estefan leads the Miami Sound Machine creating cross over hits in Spanish and English. Oscar de la Hoya, a Mexican-American boxer from L.A., becomes an Olympic gold medalist and the nation’s Golden Boy. Is a new Latino world being created here as the Latino population and influence continues to grow? Alternatively, will Latinos in America eventually assimilate into invisibility, as other groups have done so many times? Latinos present a challenge and an opportunity for the United States. America’s largest and youngest growing sector of the population presents what project advisor Professor Marta Tienda calls, The Hispanic Moment.Their success could determine the growth of the United States in the twenty-first century; however their failure, contributing to an underclass, could also pull this country down. The key, according to Tienda and Eduardo J. Padron, Ph.D., President of Miami Dade Community College, is education.
Latino Americans: 5oo Years of History, a public programming initiative produced by the National Endowment for the Arts (NEH) and the American Library Association (ALA), is part of the NEH initiative, The Common Good: Humanities in the Public Square.

Surprise Cinema-Pilgramage
2016-07-07 18:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Like surprises? Like cinema? With this series we will surprise you with themed cinema! Made in 1973, this film was commissioned by a very famous musician. It features immortal gods and a pilgramage to meet them. Free and discussion will follow the conclusion of the film. Rated R and not recommended for children under 17.

The Tiny Book Show!
2016-07-10 11:00 - 15:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
A FREE, ALL-AGES EVENT
Get creative on a Sunday afternoon with itty bitty books during their roadtrip stop in the beautiful Garfield Park neighborhood!
The Tiny Book Show is a cross-country mobile exhibition in a 1965 Covered Wagon travel trailer (photos below). Hundreds of teensy handmade books are inside—all under 3 inches in size! Poets and educators Maya Stein and Amy Tingle, founders of The Creativity Caravan, will also share a unique, hands-on bookmaking workshop with all ages, for free.
Tube Factory artspace will have outdoor picnic tables and indoor (air-conditioned) work spaces, art supplies and mini snacks to share from 11am to 3pm. Everyone is welcome. No registration or experience necessary.
While you’re here and in bookworm mode:
Check out 28 years worth of tiny diary entries of local poet Anne Laker. Her project, “10000 Whens,” is a charming, absurdist collection of her own diaries, reaching back to 1985. See more by finding @10000whens on Instagram or www.10000whens.net

Meet our Garfield Park neighbor Laura McPhee, owner of the unique new book shop, Pen and Pink. Enjoy collections of handmade, vintage and upcycled books, and learn about the processes. Pen and Pink is located at 2435 S. Shelby, with a grand opening on First Friday, July 1st.
. . .
Learn more about The Tiny Book Show, including online classes, school programs and special events focused on creativity, collaboration and community at www.thecreativitycaravan.com/tinybookshow

The Creativity Caravan is coming to Indy!

Hundreds of handmade books from around the world

Detail of a tiny book

Free all-ages bookmaking workshop

10000 Whens diaries

10000 Whens, since 1985

Pen and Pink upcycled notebooks

Pen and Pink vintage books

The Forbidden Room-Guy Maddin
2016-07-14 18:00 - 20:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
“We talk about movies being dreamlike, but this is ridiculous. The Forbidden Room is often maddening, occasionally beautiful, and ultimately unforgettable,” says Bilge Ebiri of Vulture Magazine.
Join us for a screening of THE FORBIDDEN ROOM, Guy Maddin’s ultimate epic phantasmagoria. Honoring classic cinema while electrocuting it with energy, this Russian nesting doll of a film begins (after a prologue on how to take a bath) with the crew of a doomed submarine chewing flapjacks in a desperate attempt to breathe the oxygen within. Suddenly, impossibly, a lost woodsman wanders into their company and tells his tale of escaping from a fearsome clan of cave dwellers. From here, Maddin and co-director Evan Johnson take us high into the air, around the world, and into dreamscapes, spinning tales of amnesia, captivity, deception and murder, skeleton women and vampire bananas. Playing like some glorious meeting between Italo Calvino, Sergei Eisenstein and a perverted six year-old child, THE FORBIDDEN ROOM is Maddin’s grand ode to lost cinema. Created with the help of master poet John Ashbery, the film features Mathieu Amalric, Udo Kier, Charlotte Rampling, Geraldine Chaplin, Roy Dupuis, Clara Furey, Louis Negin, Maria de Medeiros, Jacques Nolot, Adele Haenel, Amira Casar and Elina Lowensohn as a cavalcade of misfits, thieves and lovers, all joined in the joyful delirium of the kaleidoscopic viewing experience.

EsemBle Babel/Music for Gas Station
2016-07-24 19:00 - 20:45 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Music For Gas Stations, ensemBle baBel embarked on a drifting road trip in one van to visit gas stations. Responding and interacting with each gas station, they create compositions, recordings, video works, road journals, radio broadcasts and more.
In reference to Ed Ruscha’s 26 gasoline stations, they will stop in Indianapolis as part of their tour to visit 26 gas stations. The Swiss musicians will complete an additional tour of Europe in 2017 with a final performance in their city, Lausanne, Switzerland, 2018.
This project was brought to the United States by artist/curator Lee Walton.

Ubu The King
2016-08-03 19:30 - 21:45 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
About the show:
Rough House Theater Company is touring to eight cities across the Midwest and East Coast with their production of Ubu the King, Alfred Jarry’s 1896 masterpiece of absurdo-surrealism, elaborately retold with original music and over 60 stunning hand-crafted puppets.
In a new adaptation by artistic director Mike Oleon, Rough House’s Ubu the King brings Jarry’s seminal satire to life in all its absurd, grotesque glory. In the hands of five power hungry puppeteer-performers, Pa Ubu murders, lies, and farts his way up to the Polish throne – and back down again. Beautifully designed and meticulously realized by designer Grace Needlman, Rough House’s Ubu is ridiculous, heartbreaking, and spectacular.
About Rough House:

Rough House Theater Company is committed to connecting individuals and communities through art that celebrates the weird things that make us unique, and the weirder things that bring us together.
Rough House creates theater that captures the heart through the eye. Rough House shows use puppetry, music, and human performance to tell stories that are intimate, strange, and sincere. The company aims to invigorate audiences and inspire fellow artists through work that is rigorous, adventurous, and jubilantly weird.
Through educational programming, cultivation of work by emerging and established artists, and broadly accessible performances, Rough House seeks to bring new life to puppet theater in Chicago, and to invigorate a spirit of cross-disciplinary artistic experimentation within an ever-growing, diverse community of artists.

RCA: Scott Hocking
2016-08-05 18:00 - 2016-10-16 22:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Detroit-based Scott Hocking visited Indianapolis in January and selected the former RCA Factory at Michigan and LaSalle as fodder for his installation in the main gallery. “It immediately grabbed me,” Hocking explained of the experience. “The RCA history was interesting enough. But the building was last used as a recycling plant, and was filled with now abandoned, un-recycled waste: plastic, paper, foam — thousands of objects. The irony of these mountains of recyclables is that they would never be recycled. A huge pile of military grade plastic cases, with ominous stencils: ‘laser firing simulator system,’ ‘interrogation kit,’ ‘casualty evacuation kit,’ ‘tank weapon gunnery simulation system.’ Pallets of clothes and books, including dozens of old hymnals. Plastic pill and dish soap bottles strewn everywhere. Giant fragments of fast food and gas station signage: McDonald’s, Steel City, Family Dollar, Wendy’s. And a monster stack of Styrofoam slabs and wedges — melted and distorted from failed arson attempts. The whole place was crazy and great.”
Hocking spent three weeks in Indianapolis gathering materials from the site, documenting, researching, and creating his installation. He hauled over 100 massive hunks of burned Styrofoam, multiple plastic blobs melted by fires, fragmented fast food signage, nifty anthropomorphic food-character murals, and dozens of other artifacts. He brought this all to Tube Factory. And he worked onsite while living in Big Car’s neighboring artist residency home. The resulting installation uses the main gallery as a kind of ceremonial site — the burned Styrofoam mountain could be a dystopian temple or future glacier.
Also featured — in the eastside space adjacent to the cartoon food doodz from the old RCA building — is a sampling of Hocking’s Bad Graffiti series. These are photographs he takes of the work of renegade painters. The series, featuring photos taken most often in Detroit, now includes discoveries from his Indianapolis visits.
In the video room, Hocking blends images from projects he’s competed in Detroit and rural Michigan with footage from his recent work in Indianapolis — offering a look at his often solitary and meditative process. The videos also highlight Hocking’s love of nature and ways the natural and man-made worlds are really one.
Hocking’s artwork has been exhibited internationally, including the Detroit Institute of Arts, Cranbrook Art Museum, the Museum of Contemporary Art Detroit, the University of Michigan, the Smart Museum of Art, the School of the Art Institute Chicago, Contemporary Art Museum St. Louis, the Pennsylvania Academy of Fine Arts Museum, the Mattress Factory Art Museum, the Museum of Contemporary Art Chicago, the Kunst-Werke Institute, the Van Abbemuseum, and Kunsthalle Wien. He was recently awarded a Kresge Artist Fellowship, and is represented by Susanne Hilberry Gallery.
“The coyotes roaming Detroit fascinate artist Scott Hocking. It is an animal that is adaptable and gregarious, yet also solitary and rejects human domestication. Hocking encounters them on his sojourns through the parts of the city where post-industrial urban landscape is in the process of being reclaimed by nature. He creates photographs, sculpture, and assemblages in these places of transition. Likewise, he is a coyote-like roamer in pursuit of evidence and archeological specimens created by the modern human species. The coyote is a frequent character in the folklore of the Western World going back to Mesoamerican cosmology—a picaresque figure that has the ability to assume both human and animal form. It is easy to conjure such a fantastical character around Hocking, because he is more of a scavenger than flâneur, and his work is more mythology than documentary.”
— Laura Mott, Curator of Contemporary Art and Design, Cranbrook Art Museum
The exhibit, curated by Shauta Marsh, is made possible by The Andy Warhol Foundation for the Visual Arts.
The exhibit is open Monday through Friday, 9 am – 6 pm and Saturdays 11 am-3pm.
Photo: RCA, installation of found materials, Scott Hocking

Librería Donceles
2016-08-05 18:00 - 2016-10-22 22:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Librería Donceles is an itinerant, Spanish-language second-hand bookstore, created by Pablo Helguera in 2013 out of a desire to address the lack of outlets that serve the growing Hispanic and Latino communities in the United States. Since it was first installed in New York City, has traveled to Phoenix, San Francisco, Brooklyn, Seatle, Chicago and now Indianapolis. Each time that it has been presented, it has constituted the sole Spanish-language used bookstore within that city. This is the same night as the opening night of the Scott Hocking exhibit at Tube Factory artspace.
Agosto 5-Octubre 22
Librería Donceles es una en librería itinerante de libros en español de segunda mano, creada por Pablo Helguera en 2013 por el deseo de hacer frente a la falta de salidas que sirven a las comunidades hispanas y latinas que crecen en los Estados Unidos. Desde que se instaló por primera vez en la ciudad de Nueva York, ha viajado a Phoenix, San Francisco, Brooklyn, Seatle, Chicago, y ahora Indianapolis. Cada vez que se ha presentado, ha constituido en ser la única librería de libros en español dentro de esa ciudad.
Part functioning bookstore and part participatory installation, it confronts the very tangible implications of particular social dynamics, revealing social structures that exist within plain sight, while powerfully advocating for equity through the physical presence of a bookstore. It asserts the materiality of books, at a time when digital platforms for reading have fundamentally shifted the economics of book production, distribution, and consumption.
Parte librería funcional y parte instalación participativa, enfrenta a las consecuencias muy tangibles de determinadas dinámicas sociales, revelando estructuras sociales que existen dentro de la vista, mientras que poderosamente la defensa de la equidad a través de la presencia física de una librería. Afirma la materialidad de los libros, en un momento en que las plataformas digitales para la lectura han cambiado fundamentalmente la economía de la producción de libros, distribución y consumo.
Comprising over 6,500 volumes on topics ranging from biology to architecture, the books in were all donated in exchange for artworks created by Helguera. Each book bears the name of its donor on a plate inside its front cover, pointing to the social history retained within that book. Each visitor to the bookstore is allowed to purchase one book, at a price that they set, substituting the terms of a market economy with those of a gift economy.
Consiste de 6.500 volúmenes sobre temas que van desde la biología a la arquitectura, los libros fueron donados a cambio de obras de arte creadas por Helguera. Cada libro lleva el nombre de su donante en una placa dentro de su portada, que apunta a la historia social retenido dentro de ese libro. Se permite que cada visitante a la librería para comprar un libro, a un precio puesto por el visitante, la sustitución de los términos de una economía de mercado con los de una economía del regalo.
The project takes its name from the historic street, Calle Donceles, in Mexico City that is lined with used bookstores.
El proyecto toma su nombre de la histórica calle, la calle de Donceles, en la Ciudad de México que está llena de tiendas de libros usados.
Pablo Helguera is a New York-based artist whose practice has addressed issues of memory, ethnography, pedagogy, and the absurd through installation, socially engaged art, sculpture, and performance. Helguera is the recipient of a Creative Capital Grant (2005), a Guggenheim Fellowship (2008), as well as the first International Award for Participatory Art (2011).
Pablo Helguera es un artista con sede en Nueva York, cuya práctica ha abordado cuestiones de la memoria, la etnografía, la pedagogía, y el absurdo a través de la instalación, el arte socialmente comprometido, la escultura y el rendimiento. Helguera es el destinatario de un Capital Creativo Grant (2005), una beca Guggenheim (2008), así como el primer Premio Internacional de Arte Participativo (2011).

Night of the Hunter Film Screening and Discussion
2016-08-18 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking, who is currently exhibiting at Tube Factory artspace, we will screen The Night of the Hunter then reference the interview between her and Hocking.
The Night of the Hunter is a 1955 American film noir directed by Charles Laughton and starring Robert Mitchum, Shelley Winters and Lillian Gish. Based on the 1953 novel of the same name by Davis Grubb, it was adapted for the screen by James Agee and Laughton. The plot focuses on a corrupt reverend-turned-serial killer who attempts to charm an unsuspecting widow and steal $10,000 hidden by her executed husband.
The novel and film draw on the true story of Harry Powers, hanged in 1932 for the murder of two widows and three children in Clarksburg, West Virginia. The film’s lyrical and expressionistic style with its leaning on the silent era sets it apart from other Hollywood films of the 1940s and 1950s, and it has influenced later directors such as David Lynch, Martin Scorsese, Terrence Malick, Jim Jarmusch, Spike Lee, and the Coen brothers.
In 1992, The Night of the Hunter was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and was selected for preservation in the National Film Registry. The influential film magazine Cahiers du cinéma selected The Night of the Hunter in 2008 as the second-best film of all time, behind Citizen Kane.

El Estudiante- film screening sponsored by Consulado de Mexico en Indianapolis
2016-08-20 13:00 - 15:00 | Listen Hear, 2620 Shelby St, Indianapolis, IN, 46203, United States
Libreria Donceles’s weekend programming and the Consulado de Mexico en Indianpolis
presenta:
El Estudiante
After retiring to the beautiful Mexican town of Guanajuato, a 70 year old decides to follow his dreams and enroll at the university where he stumbles upon a new generation and they are bound together by the novel Don Quijote de la Mancha.
Spanish with English Subtitles.

Lush
2016-09-02 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Nine artists explore subjects that terrify and fascinate them using the artist residency house next to the Tube Factory artspace. Installations, sculpture, and photography transfigure the space into a series of visionary experiences.
Eric Broz
I want everyone to like me. I just want to be famous and for everyone to like me and to be happy. I really just want to be rich and famous and for everyone to like me. The only thing I want is to be rich and famous and for everyone to like me. And maybe a Coke. If I’m rich and I’m famous and everyone likes me and I have a Coke, I’d be happy.
A Pepsi would be ok too.
Emily Freese
Clothing relates to the body without the body needing to be there. It is a second skin to the human. I manipulate this second skin, creating objects from what were once personal belongings. I am examining clothing, through the absence of the body, as a metaphor for the human. The clothing is subject to forms of deterioration to destroy, as well as further, its history. Creating my own forms of stains and wear on the fabric reflect a narrative of the human, of the clothing. The stains are intimate and revealing. They show the presence of human touch, and reflect a sense of control. While stains are present, there is still a sense of sterility and stillness. Thus, these forms of wear present an alteration to something once new. I pair clothing with familiar objects of the domestic household. I use acrylic, steel, rust, bleach, and plastic as mediums to create and contain the representational figure and transforming the narrative of the clothes.
Clare Gatto
Second Skins utilizes tropes and archetypes of femininity to point to larger social constructs. While my studio practice is rooted in photography, it has expanded to encompass the use of new media, including 3D scanning and modeling. This new form of representation enables a re-imagining of the way we view, treat, and understand ideas of the feminine. By using photographs combined with 3D Scanning technology, I welcome the viewer into a world that attempts to challenge the notion of constructed norms. The work depicts a seductive environment without a horizon where fluidity is welcomed.
Philip Košćak
I manipulate and multiply self-created and borrowed characters, objects, images, text, and dialogue. These fragmented text and images combined with personal memories reveal a stream of consciousness made up of double entendres and metaphors of identity that urge the viewer to reconsider what they already know, and what they think they know.
Brent Lehker
Lehker is an artist, maker and designer. He holds a BFA from Herron School of Art. Brent works in multiple mediums, but when asked he will say he “builds things.” When Brent says “builds things,” he means the objects he builds with his hands along with the relationships he builds in his world.
Dipstick is a collaborative, visual measurement of public participants’ perceptions. People are asked to dip a prearranged, hang-able stick into a colored pigment to measure their feelings about questions posed to them. The sticks are then collected and hung on wire to form a visual display.
Dipstick is an ongoing series.
Steve Moore
The porch has an abandoned mount for a swing that once allowed a position for a spectator. The remaining mounts provide a position to imagine a static plumb line exemplifying gravity’s effect while also acknowledging the potential forces being exerted in opposition.
We could image this idealized perspective as a prime site for hanging in fluid suspension, similar to a womb or being rocked to sleep in a mother’s arms. From this imagined location, a point in space at the confluence of Cartesian planes, emits an eye
Monica Sandoval
Born and raised in Los Angeles, CA. Monica Sandoval received her MA from the California State University, Northridge, and is currently pursuing an MFA at Cranbrook Academy of Art.
Through video performance, installation, and object making Sandoval examines themes of identity, self-preservation, and ultimately futility. Her work is defiant, amplifying the body as a means to protest any general notions attached to it. As a starting point, Sandoval is currently investigating how she can distance herself from her own body (objectifying it in the process). All in order to link body image with the social construct surrounding desire.
Katie Shroeder
My work uses material exploration and performance to discuss a variety of social concerns. By using building materials to create performances and sculptures, I am able to explore the futility of physical consumption, human communication, and the roles we play within our own bodies. I use bricks, clay, plaster, and wood to express cultural standards and challenge the importance of these social norms.
I exploit societal roles through examination of self and culture. These examinations tend to be performances or sculptural objects that involve raw materials encountered every day. I strive to challenge the American standard involving mentalities of home owning, debt, labor,
beauty standards, and lavish spending. Post-performance, what is left is an object or artifact. This creates an opportunity to challenge the viewer as they consider the tension caused between the perceived past (my performance) and the potentially contradictory atmosphere created by the presence of the physical relic.
In my most recent work, I use found materials, raw and fired clay, and photography to position my audience as both an active participant and as a viewer. This dual role encourages the audience to question the truth behind the ideas presented in the work and to evaluate their relevance within contemporary culture. The potential distress between what is possible and what is impossible becomes a key function of the work. It allows for a reflective moment between object and interpretation; between my audiences body and my own.
Nick Witten
Witten is obsessed with figuring it out. What is it? It is him, his art, you, us, how he interacts with you, how he interacts with people, how you interact with people, how people interact with people, what’s funny, what’s sad, what’s funny and sad, who is in control, who is out of control, what is control, what’s performing, what’s genuine, what’s smart, what’s dumb, what is the grey space between and whether or not he is rambling on right now (also if that was a good joke or not).
Through video based performances, found and manipulated objects Witten creates work that unfolds into different avenues of conversation only to fold back in on itself. This möbius strip, paired with formalist qualities, invokes a feeling in the viewer that is hard to pin down. In this strange area humor becomes a lifeline. The work strives to understand how humor helps to build the social world around us, how to utilize this tool, and what it means to function in society today.
Image: Second Skin, Clare Gatto, 2016

Close Encounters of the Third Kind Film Screening and Discussion
2016-09-07 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking, who is currently exhibiting at Tube Factory artspace, we will screen Close Encounters of the Third Kind then reference the interview between her and Hocking.
Close Encounters of the Third Kind is a 1977 American science fiction film, written and directed by Steven Spielberg and starring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey. It tells the story of Roy Neary, an everyday blue collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO).
In Partnership with Public House Cinema:
Website: publichousecinema.com
Twitter: @PHCinemaIndy
Instagram: @publichousecinema
Facebook: facebook.com/phcinemaindy
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MUFON Symposium-Bill Konkolesky- UFO Abductions and Encounters
2016-10-08 13:30 - 14:45
While other people’s first memories are of birthday parties and dental visits, Bill Konkolesky’s first memory is a visit from a strange, little man with giant eyes — an alien. It would be the first of many visits he would receive over the years. And, thanks to MUFON Indiana, (Mutual UFO Network) Konkolesky will share his expertise on encounters and abductions with the public.
Konkolesky spent the last two decades actively investigating these otherworldly phenomenons, trying to make some sense of the bizarre events that have happened to him and others. What he’s discovered is that the truth is far stranger than what he first assumed.
“At our meetings, we have people from all sorts of professions, including pilots and law enforcement, that have seen things but don’t talk about it at their work,” Konkolesky told the Oakland County Daily Tribune.
United States presidents Jimmy Carter and Ronald Reagan, NASA Astronaut Gordon Cooper, actor Jackie Gleason, and former Beatles member John Lennon have all openly discussed their UFO sightings.
“The thing about the phenomena is that many people have the luxury of disbelief. Culturally, you don’t have people talking about it, it’s not in the news, they live their life completely without any need to buy into something like this,” Konkolesky continued. “If you tell someone about it and ask them to believe it, you’re really asking them a lot because then they have to process it —what does this mean to my place on Earth and our place in the universe, what does that mean for my religious beliefs, my political beliefs, or our future. Unfortunately, some people lose that luxury of disbelief when something goes way beyond the point of explanation, and they have to re-evaluate everything.”
In addition to the presentation by Konkolesky, State Director for the Indiana chapter of MUFON, Stewart Hill will speak about technology in his talk “Exoplanets, A Fine Tuned Universe? Physics and the 4th Dimension and Omega 3.” This will be followed by a free screening at dusk of the 1951 film The Day The Earth Stood Still.
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￼The Day the Earth Stood Still is a 1951 American black-and-white science fiction film. In the movie, a humanoid alien visitor named Klaatu comes to Earth, accompanied by a powerful eight-foot tall robot, Gort, to deliver an important message that will affect the entire human race.
In 1995 The Day the Earth Stood Still was selected for preservation in the United States National Film Registry as “culturally, historically, or aesthetically significant.”
The afternoon schedule will go as follows: Konklesky at 1:30 p.m., followed by Hill at 3 p.m. and the movie at 7:30 p.m.
About Bill Konkolesky
Bill Konkolesky is State Director of the Michigan Chapter of the Mutual UFO Network and the author of the autobiographical “Experiencer: Raised in Two Worlds” and his personal abduction experiences have been chronicled in the SyFy documentary “Abduction Diaries,” DVD documentary “Abducted by Aliens: UFO Encounters of the 4th Kind,” and the ABC news special “UFOs: Seeing is Believing.”
He has also served as consultant to the History Channel’s “Hangar 1” and “UFO Hunters,” as well as the Science Channel’s “Uncovering Aliens” and “Close Encounters.”
About Stewart Hill
Hill has been the State Director for the Indiana Chapter of the Mutual UFO Network for the last six years and served previously as the state Chief Investigator and a state section director. He holds a Bachelor’s Degree in Electronic Engineering and worked for 26 years in the medical diagnostics industry working with state-of-the-art technology and chemistries. Prior to that he worked with commercial and military electronic applications and spent six years in the U.S. Air Force working in airborne navigation. First interested in UFO’s with the 1952 national wave, he lost interest when the subject of “flying saucers” was discontinued in the popular media but regain interest when the Internet became an informational tool in the 1990’s. He has managed, investigated, researched and documented hundreds of Indiana UFO reports over the last sixteen years.
About MUFON Indiana
MUFON Indiana is a dedicated group of MUFON certified field investigators donating their time and expenses to the investigation of submitted reports and to the study of UFOs. Read more about them at: http://indianamufon.homestead.com/

The Five Obstructions Film Screening and Discussion
2016-10-13 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking, who is currently exhibiting at Tube Factory artspace, we will screen The Five Obstructions and The Perfect Human then reference the interview between her and Hocking.
The Five Obstructions is a 2003 Danish documentary film directed by Lars von Trier and Jørgen Leth. The film is conceived as a documentary, but incorporates lengthy sections of experimental films produced by the filmmakers. The premise is that von Trier has created a challenge for his friend and mentor, Jørgen Leth, another renowned filmmaker. von Trier’s favorite film is Leth’s The Perfect Human (1967), and von Trier gives Leth the task of remaking The Perfect Human five times, each time with a different “obstruction” (or obstacle) imposed by von Trier.
In partnership with Public House Cinema:
Website: publichousecinema.com
Twitter: @PHCinemaIndy
Instagram: @publichousecinema
Facebook: facebook.com/phcinemaindy
Email: email hidden; JavaScript is required

Growing up on a Coffee Farm in Latin America
2016-10-13 19:30 - 20:30 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
If you love coffee, this event is for you.
Kristin Van Busum, founder of Project Alianza (www.projectalianza.org), will host a Discussion + Screening of La Cosecha de Miseria (The Harvest of Misery), a documentary produced by Telemundo, highlighting the global problem of child labor that continues to impact the coffee supply chain.
The documentary is a peek into the rarely explored reality of the million of children who are born and grow up on coffee farms in Latin America. Labeled by industry as “the most vulnerable actors in the coffee supply chain,” coffee farm kids exemplify resilience, resourcefulness and the spirit needed to break out of the generational poverty in which they were born. Yet, more than half will not get the support or services they need to make it beyond third grade. Learn more about grass roots, community-driven efforts to give kids a chance at education and a better tomorrow.
The event is a collaboration between Project Alianza and the Big Car Collaborative.

Textile Dyeing and Water Emersion Workshop
2016-10-22 11:00 - 15:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Daren Redman, textile artisan, leads a textile dyeing and water emersion workshop providing all materials. Participants will use bandanas to create unique tie dye designs. To learn more about her hand dyed fabrics please click here.
This event is free and open to the public. All ages and skill levels are welcome!

Fandango-Son y Alma,a farewell event for Librería Donceles.
2016-10-22 17:00 - 21:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Join us for a concert and an all-ages workshop that showcase the traditions of el Son Jarocho. Musicians and the general public are invited to bring along their guitars, strings, or percussion instruments and experiment with the rhythms of Veracruz, Mexico during this event. Food and refreshment will be included.
Una celebración con música en vivo, danza, poesía y un espíritu de participación comunitaria. Únase a nosotros para un concierto y un taller para todas las edades que muestran las tradiciones de El Son Jarocho. Los músicos y el público en general están invitados a traer sus guitarras, cuerdas, o instrumentos de percusión y experimentar con los ritmos de Veracruz, México, durante este evento. Proveeremos comida y refrescos.

Brian Priest Artist Talk--das Andenken "Memory Souvenir"
2016-11-10 18:30 - 20:15 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Brian James Priest will talk on current themes in German Art, about artists he met on his journey/studio visits in Germany, his exhibition at Nina Sagt Galerie and research for future works.
45 minutes–Q&A at the end
Priest is a interdisciplinary artist based in Indianapolis. He has presented his work at Yugong Art Museum, the Indianapolis Museum of Contemporary Art, Kemper Museum of Contemporary Art, White Flag Project Space and more. Priest was a recipient of the Efroymson Contemporary Art Fellowship and is a CICF renewal Fellow. He is a Visiting Professor of Sculpture at Herron School of Art and Design and DePauw University. He is also owner of Kurb Design, a fabrication and design studio. Priest received his BFA from Herron School of Art and Design in 2004 and MFA from Washington University in St. Louis in 2007.
Image: “Performance 2016. North Korean Embassy in Berlin.”
Starting from the front gate, Priest dribbled a basketball around
the North Korean Embassy, finishing with a long range
jump shot at the basketball goal located behind the
embassy on North Korean territory.

Jillisblack
2016-11-12 13:00 - 14:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Jill is Black is a writer, blogger, and facilitator/trainer/lecturer, focusing on issues of Race, Power, and Privilege in modern-day America. She amassed a diverse following via her social media account, @jillisblack–where her social commentary is centered around inner and outer-community hierarchies, the myth of white fragility and other words for racism, the endlessly-pending and highly-exclusive revolution, and dating and relationships through the eyes of social media.
It is Jill’s belief that the shift away from anti-blackness will begin with an outpouring of radical, multi-generational, inclusive and validating honesty. This is the revolution she wishes to be invited to.
Jill was born in Oakland, raised in Alabama, and currently resides in Washington State.

Day Is Done--Mike Kelley--Screening/Discussion
2016-11-17 06:30 - 21:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Day Is Done is a carnivalesque opus, a genre-smashing epic in which vampires, dancing Goths, hillbillies, mimes and demons come together in a kind of subversive musical theater/variety revue by artist Mike Kelley. Running over two-and-a-half hours, this riotous theatrical spectacle unfolds as a series of episodes that form a loose, fractured narrative. The video comprises parts 2 through 32 of Kelley’s multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. The source material is a series of high school yearbook photographs of “extracurricular activities,” specifically those that represent what Kelley has termed “socially accepted rituals of deviance.” Kelley then stages video narratives around these found images.
In Day Is Done, these restagings take the form of “folk entertainments” that Kelley memorably subverts. Featuring characters such as Motivational Vampire, Morose Ghoul and Devil/Barber, much of the action—antic song-and-dance numbers and dramatic scenes, with Satan as emcee—takes place in a generic school gymnasium and a wooded landscape.
Writes Kelley: “For this project, I limited myself to specific iconographic motifs taken from the following files: Religious Performances, Thugs, Dance, Hick and Hillbilly, Halloween and Goth, Satanic, Mimes, and Equestrian Events. Many of the source photographs are of people in costume singing or dancing, so the resulting tapes are generally music videos. In fact, I consider Day Is Done to be a kind of fractured feature-length musical…. The experience of viewing it is somewhat akin to channel-surfing on television.”
The video reconstructions were originally seen within an ambitious, sprawling exhibition of video/sculpture installations, photographs, sets, props and drawings at the Gagosian Gallery in New York in 2005; the videos were incorporated into 25 sculptural viewing stations. Writes Kelley, “My intention was to create a kind of spatialized filmic montage: a feature-length film made up of multiple simultaneous and sequential scenes playing in architectural space.”
We will discuss Kelley’s techniques for creating psychic distortions and the perceived relationship between the person of the artist and the artistic persona.

Pop-Up Woodworking Workshop
2016-11-19 12:00 - 14:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join us for a Pop-Up Woodworking Workshop led by Teaching Artist, Brittany Rudolf.
We will begin with cut-and-paste collages and end with our images transferred onto wood!

Family friendly. All materials provided.

Brittany Rudolf is a multi-disciplinary artist who is serving as Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture, she combines her various creative interests with a love for community engagement.

Pop-Up Woodworking Workshop
2016-12-17 13:00 - 15:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Join us for a Pop-Up Woodworking Workshop led by teaching artist Brittany Rudolf.
ALL materials are provided. No previous experience is necessary, as we will use pre-cut pieces, so come in with an open mind and leave with a handpiece work!
This workshop is FREE and FAMILY FRIENDLY; however, space is limited and children 12 and under must be accompanied by an adult. Reserve your spot by clicking here!
Brittany Rudolf is a multi-disciplinary artist who is serving as Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture, she combines her various creative interests with a love for community engagement.
For more information and other inquires, please contact Brittany at email hidden; JavaScript is required.

The Banana Man-Mike Kelley
2017-01-12 18:00 - 20:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Kelley’s 28-minute video project pieced together a character study of the Banana Man, a character from the children’s television show “Captain Kangaroo.” Having never watched the Banana Man himself, Kelley enlisted his childhood friends to recount their memories of him, memories which were weaved together into a fragmented narrative.
Writes Kelley: “This is my only truly solo video project. The tape is an exploration of character and was done in direct reaction to my performance work at the time, which was characterless. Video seemed a good way, by virtue of it not operating in ‘real’ time, of dealing with character and psychological motivation. ‘The Banana Man’ was a minor figure on a children’s television show I watched in my youth. I, myself, never saw this performer. Everything I know about him was told to me by my friends. The Banana Man is an attempt at constructing the psychology of the character — problematized by the fact that the character is already a fictional one, and by the fact that none of my observations were direct ones.”
1983, 28:15 min, color, sound

Discussion to follow screening.

Artist Talk: Michael Jordan, a.k.a. ALKEMI
2017-01-21 11:00 - 13:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Jordan will talk about his work, philosophy and the Mari Evans mural he painted July/August 2016 on Massachusetts Avenue.
About Michael Jordan, a.k.a. ALKEMI
Jordan is a professional artist and poet living and working in Indianapolis for over 40 years. Norman Rockwell and Salvador Dali are among his influences and he has completed over 40 murals, including one for the Arts Council of Indianapolis’s 46 for XLVI. Jordan’s work has been part of both group and solo exhibitions at the Cincinnati Museum of Natural History, Indiana Black Expo Fine Arts Pavilion, Crispus Attucks African American Museum, Jefferson Gallery, Central Library’s Meet The Artists, Athenaeum, the Indianapolis Museum of Contemporary Art, etc. He has lectured at Indiana University, Purdue University- Indianapolis, several high school and is a published writer.

Memory, Myth, and Metaphor
2017-01-23 18:00 - 20:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Memory, Myth, and Metaphor is a FREE, 5-week series for women and femmes only, that will explore the themes of memories, myths, and metaphors while exploring topics such as the body, self-presentation, and gender roles.
Join us for the first segment of the series in a special meetup with shehive. This meetup will include a dialogue about identity in the craft fields of wood and metalworking. Together, we will create pieces that explore a multi-faceted self. Bring materials that inspire you.
The following items will guide our conversation:
-article on gender construction:
http://www.criticalmediaproject.org/cml/topicbackground/gender/
-article on women and power tools: http://www.slate.com/articles/double_x/doublex/2012/12/women_and_power_tools_ana_white_launches_a_trend.html
-website for a women-centered space:
http://www.aworkshopofourown.com/
-article about Vivian Beer:
http://www.writerloriferguson.com/wp/wp-content/uploads/MODERN-Vivian-Beer.pdf
Facilitated by Brittany Rudolf.
Brittany Rudolf is serving as a Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture, she combines her various creative interests with a love for people.
shehive is a grassroots project based in Indianapolis creating spaces to deconstruct gender inequity. Meetups are informal, gender neutral gatherings to explore gender issues in pop culture. To learn more about the project, visit shehive.org!
Reminder that shehive meetups are informal and gender inclusive gatherings to discuss gender issues in pop culture. Children ages 16+ are welcome. The conversation will not be censored.
*image by J.D. Hollis. http://densityofspace.com/archive/02011/April/week1.html

Bilingual Yoga
2017-01-30 18:30 - 2017-03-27 19:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Big Car’s resident yoga teacher Jordan Thomas of Jordan Lee Yoga in a moderate Spanish/English yoga class at Tube Factory artspace in Garfield Park! This class will take place every Monday, same place, same time. Yoga mats are provided. Dress in comfortable clothing.
Acompaña a Jordan Thomas de Big Car Collaborative en clases semanales de yoga para todos los niveles totalmente gratis. Estas clases son bilingües, español y ingles, y tomará lugar en el Tube Factory Artspace (1125 Cruft St, Indianapolis, IN 46203) cerca del area del Garfield Park. Tenemos tapetes de yoga disponible sin costo, por favor de vestir ropa cómoda.

Community Shop Meeting
2017-01-31 18:15 - 19:15 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Please join us Tuesday, January 24th at 6:15pm-7:15pm to discuss the future of programming in the Shop (part of the lower level of the Tube Factory Artspace). We have lots of ideas and plans in the works, and want to hear from you!
This meeting is informal, open to anyone who wishes to participate, and will include a few broad questions to help guide the discussion:
1) Options for Shop Access
2) Classes and Workhops Offered
3) Volunteer and Internship Opportunities
4) Donations and Other Resources
5) Promotion

The Hairy Man
2017-02-03 18:00 - 2017-04-15 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Since 1721, newspapers in the United States have shared reports of sightings and interactions with beings we call Bigfoot. In Indiana, these sightings have been reported from as close to Indianapolis as the Morgan Monroe State Forest and continue to occur today. The Hairy Man, a historical cryptozoology exhibit curated by author and Sasquatch expert Christopher Murphy, will open Feb. 3 from 6-10 p.m., at Tube Factory artspace, (1125 Cruft St). The exhibit will run through April 15 and admission is free.
The Hairy Man, features artifacts, stories and evidence of Bigfoot’s existence with a focus on the creature as a part of cultural conversations through the centuries. This includes an emphasis on the indigenous people of North America. Murphy, who is regarded as one of the top researchers of the history of Bigfoot, originally assembled this collection that contains a 400-pound, 9-foot-tall iron human skeleton, model of a Bigfoot skull, footprint casts, and more. The Museum of Vancouver, British Columbia, exhibited much of this collection in 2004 and 2005. And it has since traveled all over the west coast.
The Hairy Man explores the facets of what Murphy describes as “a cultural phenomenon on the fringes of science.” Some people believe Sasquatch to be mythical, while others see this as an elusive hominid relative of humans and other higher primates. Either way, people have a lengthy history of creating and sharing Sasquatch lore. The exhibit addresses ancient legends from North America and Asia (where it is known as Yeti or the abominable snowman) as well as recent evidence and sightings.
Big Car is excited to be part of bringing this exploration and related conversations to Indianapolis. “Tube Factory is about people and place,” said Big Car CEO Jim Walker. “And the human activity of exploring and examining the mysteries of life are a vital part of our culture — in the past and today.”
Made possible by the Efroymson Family Fund

iMOCA's Museum of Real and Odd
2017-02-03 18:00 - 2017-04-15 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
The truth is out there. And so is the art. Starting Feb. 3, a partnership with the Indianapolis Museum of Contemporary Art (iMOCA) brings the work of 13 contemporary artists exploring the idea of UFOs and the paranormal to Tube Factory (1125 Cruft St.) in its expanded gallery space in the factory’s former lower-level garage.
iMOCA’s Museum of Real and Odd, curated by Jeremy Efroymson, is a commissioned exhibit with artists from around the country making new work for the show. After an open call for submissions received 250 proposals, Efroymson selected the 13 artists: Nayda Collazo-Llorens in collaboration with Ander Monson, Scott Raymond & Heather Abels, Jennifer Scheuer, Robert Thurlow, Katy Unger, Ed Sykes, Alex Grabiec, Julio Orta, Pato Herbert, Cassandra Klos, Josh Haines, and Michael Jordan, aka Alkemi.
While enthusiastic about all the work, Efroymson is especially excited about Julio Orta’s piece Museum of Art on the Moon. “It was commissioned for this show and is an interesting concept,” says Efroymson. “Orta, originally from Mexico and living in L.A., is drawing conceptual architectural plans and has even purchased land for the museum on the moon. I haven’t seen the final piece but I’m looking forward to it. He can continue on with this project after this show.”
Efroymson feels high-caliber artists are well poised to remove some of the negative associations with the unknown. “The folklore and mythology of the paranormal has really saturated our society,” he said. “Especially with the ghost hunter shows on television and the prevalence of the topic in movies. I remember the movie Poltergeist from my childhood, which really scared me. While we still have scary movies, I think maybe we now have a more open view to paranormal experiences of a positive nature. I’ve seen shows and artwork that deal with these topics, but they are not always of the best quality. I wanted to curate a show on these topics with high quality art and artists.”
The exhibit comes down April 15. Until then, visitors can stop by Tube Factory Monday through Friday, 9 a.m. to 6 p.m., Saturdays 11 a.m. to 3 p.m. and during extended hours for special events.
Image: Pato Hebert, Oscillator in Scott State Park, From the series: In, If Not Always Of, Archival pigment prints, 39.5” x 26.3” ,2014-15
About Jeremy Efroymson: Jeremy is an artist, philanthropist, arts activist and advocate for small grassroots organizations. As Vice President of the Efroymson Family Fund, Jeremy has been instrumental in advising and supporting organizations that contribute to the arts, cultural, vibrancy and enrichment of the city of Indianapolis, the state of Indiana and beyond. He’s particularly passionate about supporting creative ideas, innovation and artistic talent. This passion is evidenced by his commitment as the first executive director of iMOCA and the vision behind the Efroymson Contemporary Arts Fellowships, an annual awards program where he provides five $25,000 awards to contemporary visual artists in the Midwest. He was also the developer and creator of the Harrison Center for the Arts — a former Presbyterian Church turned into artists’ studios, art galleries and performance space. He was also the publisher of the statewide arts magazine Arts Indiana.
About iMOCA:
The Indianapolis Museum of Contemporary Art (iMOCA) is Indianapolis’ only museum dedicated solely to showing and advancing contemporary art. As a non-collecting institution, iMOCA’s mission is to bring contemporary exhibitions and programs to the Indianapolis community to stimulate minds, inspire new discoveries and demonstrate the vital connections between visual culture and life. iMOCA is supported from grants and funding from the Efroymson Family Fund, The Indianapolis Foundation, Herbert Simon Family Foundation, Lilly Endowment, Allen Whitehill Clowes Charitable Foundation, Christel DeHaan Family Foundation, Halstead Architects, ESL/Spectrum, R&M Electric, Buckingham Companies, National Performance Network, Visual Artists Network, Arthur Jordan Foundation, ArtsAlliance for Contemporary Glass, Centaur Gaming, 20×200, Bluebeard, and Edington Gallery.
