pLopLop Vol. 14 Submission Form
2022-03-17 08:00 - 2022-08-01 17:00 (America/Indiana/Indianapolis) | IN
Are you a writer? Have something to say? Want to put it in print? Submit your work to PLopLop! 100 word limit. Submissions are due by August 1.
pLOpLop is an “Antholozine” of Poetry, Prose and Artwork published by Indianapolis, IN based visual artist, Big Car co-founder and writer John Clark since 1992.
pLopLop has published the work of writers like Kurt Vonnegut, Charles Bukowski, Jack Kerouac, Fielding Dawson, Eileen Myles, Gerald Locklin and more.
Influences: Surrealism, Dada, Henry Miller, Patchen, lo-fi indie rock, DIY activities, indie publishers and bookshops, British Invasion, mimeo-revolution, underground writers, garage rock and improvisation.

The Color of Pomegranates
2022-03-23 19:30 - 21:00 | Kan-Kan Cinema, 1258 Windsor St., Indianapolis, IN, 46201, United States
Join Kan-Kan Cinema and Big Car Collaborative for the screening of “The Color of Pomegranates” (Sayat Nova). The late Soviet director, Sergei Paradjanov, makes an earnest attempt to fuse poetry and film by seriously exploring the poetic potential of the cinema.
A breathtaking fusion of poetry, ethnography, and cinema, Sergei Parajanov’s masterwork overflows with unforgettable images and sounds. In a series of tableaux that blend the tactile with the abstract, “The Color of Pomegranates” revives the splendors of Armenian culture through the story of the eighteenth-century troubadour Sayat-Nova, charting his intellectual, artistic, and spiritual growth through iconographic compositions rather than traditional narrative. The film’s tapestry of folklore and metaphor departed from the realism that dominated the Soviet cinema of its era, leading authorities to block its distribution, with rare underground screenings presenting it in a restructured form. This edition features the cut closest to Parajanov’s original vision, in a restoration that brings new life to one of cinema’s most enigmatic meditations on art and beauty.
A deliriously beautiful film “The Color of Pomegranates” stays in the mind long after the film has run its course.
Big Car Co-founder & Director of Programming and Exhibitions, Shauta Marsh will host a discussion and Q&A post the film.

Process/Progress Art Salon
2022-03-25 19:00 - 23:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Indy Movement Arts and Big Car Collaborative for an innovative evening of performance, performance art, and kinetic creation.

Kelvin Burzon and Jenny Delfuego will premier new work as a part of the Indy Movement Arts Process/Progress residency, accompanied by original work from Indy Movement Arts dance-makers, Bethany Bak and Lauren Curry. Patrons are invited to freely traverse the space; Drink, talk, and make merry as creation unfolds in all the nooks and crannies of the Tube Factory Artspace. From the intricately constructed to the joyfully participatory, there will be something for everyone. For the truly locked-in art-goer, the evening will culminate in a technicolor dance party.

Will we levitate the Tube Factory with good vibrations? There’s only one way to find out…

In the fall of 2020, Indy Movement Arts began experimenting with digital fellowships as a small contribution to towards keeping artistic production viable. The Process/Progress residency is part of that experiment, paying artists to reflect on their creative process and how they incorporate movement into their practice.

About this event
Doors open at 7:00pm. The performances and participatory offerings will be scattered throughout the evening (7:00-9:00pm) and we will close out the night with a technicolor dance party, beginning at 9:00pm.

Process/Progress Art Salon is presented in partnership with Big Car Collaborative and is made possible by The Arts Council of Indianapolis, The City of Indianapolis, and The Andy Warhol Foundation for the Visual Arts

Mayasa Design House: In Color
2022-04-01 08:00 - 2022-04-24 17:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
I am always seeking ways to blend the art in my soul, blur the genres, and allow a cohesive expression to come from multiple places within. -Uzuri Asad, Mayasa Design House
Listen Hear will host paintings, jewelry and other items from Uzuri Asad of Mayasa Design House. Originally from Cleveland, Ohio, Uzuri Asad now lives and works in the Garfield Park neighborhood of Indianapolis as part of Big Car Collaborative’s Artist in Public Life Residency program. She’s a singer, dancer, choreographer, and jewelry-maker. Formally trained in West African dance and contemporary movement, her art is guided by lived experiences and her cultural upbringing. Her style is a unique blend of fluid, free flowing, yet intentional movements. For Asad, dance is a sacred means of individual expression that lives and breathes through her.
Music has always been a big part of her life. Beginning with an idea or a piece of music, her creative process is a daydream of ideas and music that become living and breathing pulsations within her. Deeply in tune and connected to each individual element, she creates jewelry by envisioning the people who would wear what she makes, the environment they might dwell in, and how those pieces may be incorporated into their lives naturally.
She recently worked as a choreographer and performer for “Village Voices: Notes from the Griot”, a collaborative production created by Joshua Thompson and directed by Megan Simonton. Within this work, she was part of an educational experience that brought creative expression from the stage to the classroom, creating dialogue to address the painful and ugly things that aren’t spoken.
Everything I do is based on lived experiences. A great deal of my work is centered around celebrating and creating space for healing Black women. I’m moved by the living artistry of my family’s existence, and by the people who I have come to love along my journey. I’ve been inspired to examine and express things happening in the world as of late, so I am exploring movement and adornment that reflects the emotional and spiritual effects of my community.
Asad believes, through movements of expression, that her work can create a meaningful reflection of the times that become reference points in the future of what has occurred. With her bold, unapologetic, and intrepid movements, she inspires people to find their voice and create a space to heal women. In this space, women don’t have to make themselves smaller or quieter. They embrace their identity and power to its fullest.
Facebook.com/ijomovement
Instagram: zuri_mayasa
This exhibition was made possible by the Arts Council of Indianapolis, The City of Indianapolis, The Andy Warhol Foundation for the Visual Arts and The Allen Whitehill Clowes Charitable Foundation.

Drea Cofield: All At Once
2022-04-01 18:00 - 2022-05-23 15:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Alla prima is the Italian term for the material technique of wet on wet painting, and literally translates to “at the first”, but I prefer to read “all at once” as it denotes a kind of urgent submission to the sensorial subject that parallels the sublimation of my more libidinal imagery into the touch of the landscape. Like a lover lost in the realms of desire, a pendulous breast or glistening ass becomes the wet slip of a brushstroke, the resonant touch of two tones, and other things unnameable. How does a stand of trees relate to the figure? How does the midday sun relate to my state of mind? Temperature and speed become tantamount in the lived moment as I try to consume everything with my eyes. Less time to think for more time to feel the shifting light and twining trees mirrored in the creek. Most of the paintings in this body of work were created in one sitting.
About the artist
Drea Cofield is an artist currently working between Indianapolis, IN and Brooklyn, NY. In 2013, she received her M.F.A from Yale School of Art (New Haven, CT), and in 2008, her B.A from DePauw University (Greencastle, IN). She has exhibited in the U.S. and internationally including New York, Los Angeles, Philadelphia, Portland and Italy. Most recently she exhibited in the Armory Show with 1969 Gallery in New York. Her work has been featured in the Brooklyn Rail, Artnet News, Juxtapoz, Blouin Art Info, and in Suzanne Hudson’s latest issue of Contemporary Painting (World of Art). She is the recipient of an Elizabeth Greenshields Grant and the Yale University Gloucester Painting Prize. Residencies include the Guild of Adventure Painters SWAB Mobile Residency in 2019. She is the Founder and Director of Bomb Pop-Up, a pop-up Art & Music initiative that focuses on providing visibility in exciting contexts to emerging and established artists and musicians; working with other 200 artists from all over the world and collaborating with institutions such as the National Academy of Design. Cofield has been a visiting artist at Cooper Union, Pratt Institute, and the School of Visual Arts. She is currently an Assistant Professor of Art at DePauw University in Greencastle, Indiana.
Image :”Hole” 60 x 50 inches, oil on canvas
This exhibition was made possible by the Arts Council of Indianapolis, The City of Indianapolis, The Andy Warhol Foundation for the Visual Arts and The Allen Whitehill Clowes Charitable Foundation.

Juan Chawuk: Iridiscencia Cultural
2022-05-06 18:00 - 2022-07-17 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Juan Chawuk invites viewers to experience his home state of Chiapas, Mexico through paintings, photography, sculptures and murals. As part of an ongoing series, this work shines light on the multicultural citizens of Chiapas, how they’ve coexisted for centuries, and how conflict there has fostered new ways of creating.
As an indigenous Maya Tojobal artist, Chawuk’s photographs show how cultures fuse together a shared iconography including some imposed by outside cultures with what remains from traditions of the past — including from the land’s ancient cultures. These icons generate dialogue and reflect emotional colors and shapes, leading to surprises. The series of small paintings are more mythical with a touch of the magical realism often linked with Latin American art and literature. Featuring live models and jungle animals, the paintings’ brushstrokes suggest the magnificent handicrafts of the Chiapas region. And the sculpture is made of mud and fibers from the jungle that the Lacandones people once used for tunics. This piece encourages viewers to experience the Chiapas cultures and their nature.
Chawuk’s interpretations transform perceptions of Chiapas and allow viewers to experience the creative iridescence (a reflection of various colors, similar to a rainbow) that his senses capture in these works.

The exhibit is a partnership with Arte Mexicano en Indiana and curated by its founder, Eduardo Luna. Luna is a social practice artist, cultural promoter and advocate for Mexican identity and Latina/o/x culture. Luna hails from the state of Guerrero, the city of Acapulco, in the Costa Chica region of southern Pacific Mexico. Since 2012, he has been curating events featuring artists of Mexican and Latina/o/x heritage for diverse Indiana audiences. Eduardo is a co-founder of Nopal Cultural, La Sardina Gallery, and Radio Calaca (formerly Espanglish Night), and has served for many years as Big Car staff artist. Arte Mexicano en Indiana was founded in 2020, with a mission to encourage and promote Mexican art, music, and culture in Indiana through collaborations and by organizing and promoting public events. “Our vision is that people of Mexican heritage develop pride in their cultural heritage, and that native Hoosiers develop a richer perspective on the Mexican people and the culture we contribute to Indiana,” says Eduardo. He is a member of the international Mexican Cultural Art Alliance (MCAA), a group of Mexican and Mexican-American arts administrators started by Carlos Tortolero, founder of the National Museum of Mexican Art.

Juan Chawuk: Iridiscencia Cultural
La percepción de la cultura de Chiapas se transforma con las interpretaciones. Ahí surge la iridiscencia (Reflejo de colores distintos, generalmente como los del arco iris)creativa que captan mis sentidos y que se manifiesta a través de estas obras.
En esta muestra de tres series, hago referencia a esas interacciones en el tiempo que muestran a Chiapas como hogar de varias culturas milenarias en gran agitación global, con una identidad en constante conflicto que se expresa en nuevas maneras de crear.
La serie de fotografías es una muestra clara de una combinación de filosofías y creencias religiosas; la interpretación de las imágenes impuestas por una cultura externa con lo local, el pasado remoto de una cultura milenaria, pero que en la actualidad tienen interlocución y genera los prismas que reflejan colores emocionales y formas que sorprenden a la vida diaria.
Esta serie de fotos se hizo reflexionando sobre las emociones que provoca las fusiones de iconografías.
La serie de obras pequeñas es más mítica y su toque de realismo mágico identifica a Latinoamérica con los procesos creativos, desde modelos en vivo hasta animales de la selva. Sus pinceladas recuerdan las energías de la naturaleza que se mezclan con las magníficas obras artesanales de la región Chiapaneca.
Asimismo, la serie de piezas de barro y fibras de la selva que antes utilizaban los lacandones para túnicas, juega con las estampas de los textiles sin ser tan obvias pero pretende llevar al espectador a rememorar un Chiapas que, si ya lo conoce, se transforma en experiencia que revive. Y si aún no lo conoce, transporta al espectador a Chiapas y sus textiles en un contexto contemporáneo, fantástico y creativo que invita a una experiencia de vida con estas culturas y su naturaleza.
Que esta muestra sea una manera de conocer una parte de México que se identifica con lo global contemporáneo pero con una raíz muy valiosa de su pasado milenario.

Made possible by Arte Mexicano en Indiana, The Arts Council of Indianapolis, The City of Indianapolis and The Andy Warhol Foundation for the Visual Arts.

Tsanavi Spoonhunter Select Short Films
2022-06-03 18:00 - 22:00 | IN
“Purple Flower Girl”
Raised from humble beginnings in a rural town, artist Jean LaMarr celebrates her cultural traditions while making a name for herself in the larger art world. Purple Flower Girl will take viewers into a space meant for those who are unfamiliar with LaMarr’s legacy and its impact.
Director and Producer: Tsanavi Spoonhunter
Cinematographer and Colorist: Christian Lee Collins
Composer and Re-Recording Mixer: Conor Chee
Editor: James Tensuan
“Sagebrush Heathen”
Jack Malotte’s work showcases the Native American experience by way of art, and challenges Nevada’s political landscape around extraction and nuclear test sites on tribal lands. From his remote reservation in rural Nevada, Malotte presents a unique perspective of what it means to be, what he describes, a Sagebrush Heathen.
Director and Producer: Tsanavi Spoonhunter
Cinematographer and Editor: Tim Lenard
Composer: Sage Romero
Tsanavi Spoonhunter was born and raised in Payahuunadü— “the land of flowing water,” homelands of her Paiute people— located in Owens Valley, California. She is also a proud citizen of the Northern Arapaho Tribe of the Wind River Indian Reservation in Wyoming.
Her ancestry and upbringing in Indian Country have strongly informed her storytelling and artistic vision. Some of her published works have included federal government funding for tribes, jurisdictional issues between governing agencies and economic development on tribal lands.
Spoonhunter’s educational background is rooted in journalism. She earned her Bachelor of Arts degree from the Reynolds School of Journalism at the University of Nevada, Reno; and a Masters of Journalism degree from the Graduate School of Journalism at the University of California, Berkeley with a focus on documentary film.
Her master’s thesis film, Crow Country: Our Right to Food Sovereignty (2020), has screened at festivals and selected venues across the country and has won numerous awards including Best Documentary Short from the American Indian Film Festival. In all, her short films have screened on Alaska Airlines, at the National Museum of the American Indian, The Redford Center, art museums and PBS affiliates.
She serves as director and producer on her first feature-length documentary titled Holder of the Sky (2023). The film has received support from SFFilm, the International Documentary Association, Sundance Institute, the National Endowment for the Humanities, the Center for Independent Documentary, the Native American Media Alliance and the Logan Nonfiction Program. It is currently in production.
Spoonhunter is a 2022 Sundance Institute Humanities Sustainability Fellow, SFFilm FilmHouse Resident and First People’s Fund Fellow. As a Native American reporter and filmmaker, her goal is to pursue the highest levels of accuracy and ethical standards when telling stories about communities across the United States, and abroad.

Image from artist Jean LaMarr.

Rob Funkhouser- Study In Place
2022-06-03 18:00 - 2022-07-24 15:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Study in Place is a set of interactive sound sculptures and instruments that celebrate the everyday sounds and objects around us. An attempt to unify diverse threads in his creative practice, daily life, and occupation, Funkhouser seeks a reckoning with the tension between falling into routine and cultivating long-term personal growth.
“Moving to Indianapolis caused in me this profound, almost cosmic, sense of being in the right place at the right time. It afforded me both the right economic circumstances, and artistic community to begin a period of joyful exploration into my own art and identity. Having lived the better part of a decade here, changes in all aspects of life have surfaced a need to take an inventory and rediscover my place in life– both literally and artistically,” says Funkhouser who previously lived in his hometown of Richmond, Indiana.
This show also features the first exhibition of a collaboration between Funkhouser and his neighbor and visual artist, Justin Cooper (both are residents in Big Car’s Artist and Public Life housing program). Each piece they made together features a flower found in the Garfield Park neighborhood, many of which have taken up residence in their respective yards.“
The kalimbas and sound boxes represent the fruit of many conversations had on one porch or another, and approximately 55 gallons of coffee between us,” says Funkhouser. “Living close to each other, we were able to slowly build a set of instruments that both pushed into new aesthetic territory and helped grow a shared language of form.”In a time where content is being created and served on a bigger scale than any one person can possibly keep up with, Funkhouser shares with his audience the possibilities that music affords us as a medium to connect to place and each other.
About the artist
Rob Funkhouser is a composer, performer, and instrument builder who can never quite sit still. His work is concerned with ideas of place, memory, and pattern and he is interested in interrogating the interstitial spaces between established genres. He holds an M.M. from Butler University in Music Composition, and most recently completed Peace of Mind, Speed of Thought for Classical Music Indy. He has released recordings, curated performances, and installed works in many places both around Indianapolis and in many other parts of the country. In 2020, he began a long-term living residency with Big Car as part of their APLR program, and served as a resident artist for Cat Head Press in collaboration with Landon Caldwell. He also serves as Education Manager for the Rhythm Discovery Center, where he runs public programming for schools and community members. He has collaborated with diverse groups including Forward Motion, Los Angeles Percussion Quartet, No Exit Theater, and Chicago-based director Ryan Gleason.
Made possible through the generous support of The Efroymson Family Fund. Additional support provided by The Andy Warhol Foundation for the Visual Arts, The Arts Council of Indianapolis and the City of Indianapolis.

Rob Funkhouser and Eric Salzaar Study In Place Live Performance
2022-07-24 16:00 - 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Rob Funkhouser will perform live on the Cristal Baschet he created during the pandemic.
Funkhouser is a composer, performer, and instrument builder who can never quite sit still. His work is concerned with ideas of place, memory, and pattern and he is interested in interrogating the interstitial spaces between established genres. He holds an M.M. from Butler University in Music Composition, and most recently completed Peace of Mind, Speed of Thought for Classical Music Indy. He has released recordings, curated performances, and installed works in many places both around Indianapolis and in many other parts of the country. In 2020, he began a long-term living residency with Big Car as part of their APLR program, and served as a resident artist for Cat Head Press in collaboration with Landon Caldwell. He also serves as Education Manager for the Rhythm Discovery Center, where he runs public programming for schools and community members. He has collaborated with diverse groups including Forward Motion, Los Angeles Percussion Quartet, No Exit Theater, and Chicago-based director Ryan Gleason.
Eric Salazar holds a B.M. in Clarinet Performance from Ball State University and an M.M. in Clarinet Performance from Bowling Green State University. He currently serves as an Director of Community Engagement for Classical Music Indy where he manages, books, and promotes over a hundred and fifty performance events a year in Central Indiana. Eric also mentors and hires 30-40 independent classical musicians annually. With their combined efforts this group brings music to over 100,000 Indiana residents a year, with a focus on people who would not otherwise have access to live music performance.
Made possible through the generous support of The Efroymson Family Fund. Additional support provided by The Andy Warhol Foundation for the Visual Arts, The Arts Council of Indianapolis and the City of Indianapolis.

Qahar Behzad: The Colors of Afghanistan
2022-08-05 08:00 - 18:00 | IN
Opening in Tube Factory artspace’s Guichelaar Gallery is a collection of works by Behzad created between the years 2011-2022 in Afghanistan and the US.
Behzad grew up in Kabul in a family of book publishers, surrounded by centuries-old historical texts and rare books of poetry in his father’s libraries and bookstores. Behzad remembers reading traditional Afghan storybooks his father published that directly influence the art he creates.
Behzad paints about life in Afghanistan, often from observation, depicting places like Kabul’s busy bazaars and Afghanistan’s picturesque mountain ranges. He paints with depth and expressive color, drawing inspiration from one of his favorite Western painters, Claude Monet. Through these influences, Behzad expresses his take on the rich and storied culture of his country.
Behzad’s journey as an artist began in the mid-1990s, when he was six years old. The Taliban had first emerged in his home country, and Behzad’s family found safety in Pakistan. Not able to attend school yet, he spent his days drawing. Here, he completed his first artwork, a drawing of former Afghan king, Mairwais Naika, after studying his portrait in a history book.
His family encouraged him to pursue development as an artist. “I had no real training or instruction in art,” says Behzad. “I just sat down and began to draw. Everyone who looked at my drawings appreciated what my artwork stood for, and pushed me to continue.”
A few years later, his family was able to resume life in their home country, and Behzad began to explore painting in oil and watercolor. After the establishment of US military base Camp Eggers in Kabul, Behzad became the first artist to display and sell artworks there. From 2005-2015, he created daily in his studio on base, producing thousands of drawings, oil paintings, and watercolors. Behzad’s studio became a haven of peace amid an otherwise hectic atmosphere. Soldiers and other military personnel could drop in for tea, to observe Behzad’s creative process, commission a painting, or take a lesson with the artist.
One of the paintings featured in this exhibition, Behzad Bookstore and Afghan Burqas was originally created by Behzad in 2009. In this piece, a group of women dressed in traditional burqas read from shelves of books in his father’s shop in Kabul. The piece celebrates the new freedoms available to women after the first Taliban regime ended, when they could leave their homes, pursue education and learn their rights. In 2021, these freedoms were again taken away. The Taliban is again denying the education and enlightenment of Afghan people, and Behzad Bookstore has closed due to their threats. Behzad recreated this painting in 2022 to highlight this tragic regression, and to remember better times in his country.
Behzad’s works have gained international recognition. Some of these works include portraits of Queen Elizabeth ll commissioned by the British Ambassador to Afghanistan, former US President George W. Bush, for which Behzad received a personal letter of appreciation, and former US President Barack Obama, commissioned by his election campaign staff. The US Navy also commissioned a large canvas mural featuring a fleet of ships stationed in San Diego, California. Behzad has completed many paintings for U.S diplomats and advisors, NATO representatives, and the government of Afghanistan.

Qahar Behzad Bio
A self-taught artist from Kabul, Afghanistan, Abdul Qahar Behzad is now based in Indianapolis, Indiana, where he works as a Legal Assistant for Exodus Refugee Immigration. He earned a degree in Law and Political Science from Rana University in Kabul in 2020.
Behzad was the first artist to display and sell his paintings at Camp Eggers, a US military base in Kabul. From 2005 to 2018, he operated painting studios there, as well as at Camp Phoenix, NKC (New Kabul Compound) Base, ISAF (International Security Assistance Force) “Resolute Support” Headquarters, Camp Cobra, and Camp Qula House, where he created artworks for soldiers and military personnel.
When Kabul fell to the Taliban in August 2021, Behzad was working as an artist in Kabul. Amidst the chaos and violent takeover, former commanding US officials, many of whom served in the Indiana National Guard, wrote letters of support to bring him to safety in the US. Behzad evacuated to Camp Atterbury, Indiana, where he volunteered as an interpreter for 4 months.
Behzad is committed to helping other refugees like himself. He is working to bring the rest of his family to safety in the US, and advocating for the evacuation of other Afghans who still live under threat of the Taliban every day.

LaShawnda Crowe Storm-Sister Song:The Requiem
2022-08-05 18:00 - 2022-10-16 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Sister Song: The Requiem is a community-based project that examines how art and community co-creation processes can be used to heal the intergenerational trauma associated with enslavement and its aftermaths. The project, led by artist LaShawnda Crowe Storm, blurs the lines between the public and private by transforming mundane places into sacred spaces through public rituals.
A requiem is an act of remembrance for the dead. How does honoring the dead give life to the living? How do the living remember their histories while creating new futures? How does embracing history help us release specific traumas and move toward a future where healing is possible? We explore these questions through the community co-creation process that is at the heart of Requiem: womb making.
Each womb is handcrafted and designed in wax by Crowe Storm, then cast in aluminum. After casting is completed, Crowe Storm invites artists and community members to choose a womb. Womb makers then adapt and modify the womb by following these simple directions: Make this into a talisman or spiritual object to heal your/our histories, be willing to allow what needs to emerge to emerge, and transform the womb to reflect a vision of healing. Each womb maker must also be willing to continuously ask themselves the question, “How do I reclaim the ‘spirit of the womb’ when that spirit has been stolen, harmed, wounded?”
Requiem is the second iteration of Sister Song. The first included 8 wombs that were installed as part of the exhibit Keeper of My Mothers’ Dream (2017, Indianapolis). Requiem incudes nearly 50 vessels on exhibition: the wombs by the original 8 participants along with 40 others, some invited by the original womb makers and others identified by Crowe Storm. In addition, some of the original 8 womb makers created new wombs. The exhibit also includes newly commissioned poems by Maria Hamilton Abegunde.
Participating womb makers include: Abegunde, Afriye We-Kandodis, Alice Berry, Ariana Beedie, Bambi Aldridge, Breon Tyler, Clare Wildhack-Nolan and Ezmae Wildhack-Cain, D. Olivia Jones, Joyce Moore, Juaquita Callaway, Julia Rodreguiz , Keesha Dixon, Kianga Jinaki, LaToya Marlin, Lillis Taylor, Malaika Baxa, Marilyn Kunkle, Melissa Larimer, Monica Johnson, N’dieye Gray Danavall, Phyllis Boyd, Ronda Chapman, Samantha Horton, Sharon Clark, Shauta Marsh, Stacia Murphy, Stephanie Roberston, Trish Williams, Tysha Ahmad, Uzuri Asad, Val Tate, Veronica Schwartz DeFazio, Viola Moten Ratcliffe, Yolanda Echols and Yvette Upton.
LaShawnda Crowe Storm is a mixed media and community-based artist, activist, community builder and occasionally an urban farmer. Whether making artwork or sowing seeds, she uses her creative power as a vehicle for dialogue around topics such as racial and gender violence, social change and justice. At the core of her practice is a desire to create community; any community in which the process of making art creates a space for difficult discussions with an eye towards community healing. She has received numerous awards for art and community activism. Crowe Storm received an M.F.A. from The School of the Art Institute of Chicago in 2004.
Image: LaShawnda Crowe Storm, “Mother At The Crossroads,” bronze, 2021. Photographer: Polina Osherov.
Made possible by Mr. & Mrs. Craig E Von Deylen and Laurel S Judkins with support from The Andy Warhol Foundation for the Visual Arts, The Arts Council of Indianapolis, The Arts Council of Indianapolis and The Efroymson Family Fund.

Sister Song Womb Makers Artist Talk
2022-08-06 15:00 - 17:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Hear from some of the artists and community members that LaShawnda Crowe Storm invited to create a womb. Womb makers adapted and modified the womb by following these simple directions: “Make this into a talisman or spiritual object to heal your/our histories, be willing to allow what needs to emerge to emerge, and transform the womb to reflect a vision of healing.”
Each womb maker had to continuously ask themselves the question, “How do I reclaim the ‘spirit of the womb’ when that spirit has been stolen, harmed, wounded?”
Womb makers: Abegunde, Afriye We-Kandodis, Alice Berry, Ariana Beedie, Bambi Aldridge, Breon Tyler, Clare Wildhack-Nolan and Ezmae Wildhack-Cain, D. Olivia Jones, Joyce Moore, Juaquita Callaway, Julia Rodreguiz , Keesha Dixon, Kianga Jinaki, LaToya Marlin, Lillis Taylor, Malaika Baxa, Marilyn Kunkle, Melissa Larimer, Monica Johnson, N’dieye Gray Danavall, Phyllis Boyd, Ronda Chapman, Samantha Horton, Sharon Clark, Shauta Marsh, Stacia Murphy, Stephanie Roberston, Trish Williams, Tysha Ahmad, Uzuri Asad, Val Tate, Veronica Schwartz DeFazio, Viola Moten Ratcliffe, Yolanda Echols and Yvette Upton
Made possible by Mr. & Mrs. Craig E Von Deylen and Laurel S Judkins with additional support from The Andy Warhol Foundation for the Visual Arts.

Amy Kligman and Ish Muhammad In Conversation
2022-08-17 19:00 - 20:30 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Learn more about two of the artists selecting this year’s Power Plant Grant recipients!
Amy Kligman has been the Executive Artistic Director at Charlotte Street Foundation in Kansas City, MO since 2015. Kligman’s career and experience as an exhibiting artist and grassroots curator/arts administrator spans 20 years of studio & exhibition work, independent curating and organizing, and artist-run projects. In 2011 Kligman was one of a team of 5 artist-curators who established Plug Projects, an artist-run project space in Kansas City’s West Bottoms that hosted a robust & nationally recognized calendar of exhibitions and artist-centered programming.

Ish Muhammad is a self-taught artist residing in Northwest Indiana. Muhammad’s work, post-graffiti abstract expressionism, is exhibited in galleries, museums, and site-specific installations nationally. He is a founding member of Crazy Indiana Style Artists (CISA). CISA is recognized as Indiana’s first Latino Art Collective.

Dear Black Girl with Tamara Winfrey Harris
2022-08-20 15:00 - 17:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
A public reading and discussion around the book “Dear Black Girl: Letters from Your Sisters About Stepping Into Your Power.”

Tamara Winfrey-Harris is a writer who specializes in the ever-evolving space where current events, politics and pop culture intersect with race and gender. She says, “I want to tell the stories of Black women and girls, and deliver the truth to all those folks who got us twisted—tangled up in racist and sexist lies. I want my writing to advocate for my sisters. We are better than alright. We are amazing.”
Tamara is the author of two books: The Sisters Are Alright: Changing the Broken Narrative of Black Women in America (Berrett-Koehler Publishers 2015) and Dear Black Girl: Letters From Your Sisters On Stepping Into Your Power (Berrett-Koehler Publishers 2021). The award-winning Sisters, now in its second edition, has been optioned by Wise Entertainment and Gabrielle Union’s production company I’ll Have Another to be turned into a dramedy for television.
Tamara’s work has been published in media outlets, including including The New York Times, The Atlantic, Cosmopolitan, New York Magazine and The Los Angeles Times. And her essays appear in The Lemonade Reader: Beyonce, Black Feminism and Spirituality (Routledge, 2019); The Burden: African Americans and the Enduring Impact of Slavery (Wayne State University Press, 2018); Black in the Middle: An Anthology of the Black Midwest (Black Belt Publishing, 2020); and other books.
Tamara is co-founder of Centering Sisters, LLC, an organization that unapologetically addresses the needs and issues of Black women and girls; and the Black Women’s Writing Society, a monthly virtual space for Black femme creatives. She is also a certified yoga teacher who focuses her work on the healing and well-bring of her sisters.
Tamara is a native of Gary, IN, and a proud member of Alpha Kappa Alpha, Sorority, Inc. She graduated with a BA degree from the Greenlee School of Journalism at Iowa State University.

Made possible by Mr. and Mrs. Craig E Von Deylen and Laurel S Judkins with additional support from the Andy Warhol Foundation for the Visual Arts.

Super Sunday Showdown
2022-09-25 12:00 - 18:30 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Live Music, THE Torta Food Truck, drinks, yard sale and the Colts Game —outside and inside of Listen Hear.
Organized by Clint Breeze and other Artist Public Life Residency artists, the event is free but donations are recommended, 100% will go to pay the musicians.
Wampus Milk Daddies, 12:10-12:45
Wampus Milk Daddies is a fusion band that covers a wide array of styles ranging from prog rock, jazz fusion, hip hop to funk. The group has been featured on WFYI radio and has been a staple in the local Indianapolis music scene for several years. Drums- Elijah Pollard Guitar- Owen Welch Bass- Ryan Johnson Alto Sax, Tenor Sax, Flute and Vocals- Tony Echarry Trumpet- Ethan Hodes
Breezfunk, 1-1:45
Norrie The Goat, 2-2:30
“I consider myself to be an artist rather than a rapper because of what I bring to the table. I produce and engineer my own sound and I created my own sound from scratch. I started making beats, rapping, engineering, mixing and mastering my own music in 2014.”
Tubbles with Special Guest, 2:45-3:15
StarChaser, 3:30-4:15
A little more progressive, a little more modern and a whole lot louder—that’s Kara Tucker’s approach to StarChaser, a band born out of her previous music group Elliot Bigger in pursuit of creative freedom and a brand-new sound. Tucker, who has been playing music around Indy since 2006, serves as the group’s guitarist and vocalist. Backed by her husband Nick Teedo on the bass and Dorian Phelps’ killer drum skills, she’s writing songs for the band’s debut record, which will blend together progressive metal, rock and pop.
Bashiri & The Lady, 4:30-5:15
Acknowledging that each of us has a priceless gift that we must harness and share with the world, Bashiri Asad has come to define his sound as “IndySoul.”He laughs. He cries. He loves. He dreams. Just like you, everyday. He feels deeply, and turns his feelings into music. Soul music. Music that says exactly how you feel, everyday. Bashiri Asad is the “Everyday Soul Singer,” and he will remind you that feeling what you feel, in your soul, is just fine.
IndySoul is his passion, and he exudes this with every song!
DJ Littletown, 5:15-6:15
Jessica DJ Little Town is a selector and master of mixing music! Indianapolis born with dual citizenship belonging to Brazil, Little Town began collecting vinyl records at the age of 12 with great influence from her older sister who worked at a record store. From there, she learned to mix on vinyl and gradually entered the MP3 mixing world. Her first major performances include; CultureShock Festival 2015, Chreece Festival 2016, Bloco do Rodrigo S Block Party 2017, Body Mechanics (Residency) at the Root Cellar 2017, Soul’d Out All Vinyl Dance Party (Residency) at Square Cat Vinyl, and Low Pone Queer Dance Party (Residency).
What’s APLR?
The Artist and Public Life Residency (APLR) — consists of arts-based community leaders who team up with neighbors (and others across the city) to strengthen our block, the southside, and the broader community through arts-based approaches.
APLR artists are creatives, makers, teachers, designers, and more. Fields include — and are not limited to — architecture, culinary art, curation, visual art, public art, furniture, fashion, craft, design, film and video, creative writing and journalism, performing arts, music, theater, placemaking, socially engaged art, etc.

Docey Lewis-Living Threads
2022-11-04 18:00 - 2022-12-11 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Docey Lewis’s Living Threads takes the viewer on a journey of contradiction. Our technologically enhanced culture facilitates our ability to see and create both real and virtual connection while relentlessly making us more aware of the threats humanity faces. Seeking balance, we alternatively seesaw between retreating to our cocoons and interconnecting.

Among the many threats we face is species loss. The exhibit highlights several extinct or threatened species in Posey County. The pre-human ecosystem in our area was abundantly populated and in natural balance. After man settled along the Wabash and elsewhere, this utopian equilibrium eroded to the point of dystopia. The world now faces environmental, social and economic catastrophe, while our perverted material culture still spreads an unrealistic ethos of fossil fuel powered unlimited growth, fast fashion, junk food and surveillance capitalism.

The materials used in creating artworks for Living Threads have as much meaning as the pieces themselves. “I have been entangled for many years in the cultures, natural materials and co-creations of faraway communities who have had to pivot from utilitarian and ritual use of their materials and techniques to making salable products for a global market,’ says Lewis. “Along the way, a large body of samples and materials have piled up in my studio. During the pandemic, I began to untangle the accumulation and recycle it into artwork. Many hands have touched the raw materials, and I celebrate the living farmers and artisans whose participation has made this work possible. Connections with communities and all living things are represented in this collaborative body of work.”

About Docey Lewis
Lewis had her first solo exhibition in the late 1960s—not in a gallery or museum, but in a library 30 miles south of San Francisco. She showed a selection of hand woven, abstract textiles she had made on a hand-built loom. The show sold out.

Yet, rather than pursuing an art practice, Lewis made a series of unexpected choices that led her on a serpentine, half-century journey around the globe. While mastering the innumerable methods humans have concocted to make textiles, and empowering hundreds of other women artisans in the weaving workshops she set up in the Philippines, Nepal, Morocco, Indonesia, and Bangladesh, Lewis dined with royalty, collaborated with legends, and built an entrepreneurial empire.

Now in her 70s, Lewis has returned to the art studio—not in San Francisco, New York, or one of the other exotic locales she has variously called home. Instead, she now works in a modest, light-filled studio above a locally celebrated wine bar and coffee shop, in a historic building in New Harmony, Indiana. Amid wafts of fresh soups and sounds of evening cheer, Lewis tries to make peace with her past, weaving intricate, layered abstractions that literally pull at the threads of her personal history.

Among the many ironies of Lewis’s story is that her ancestors, namely Robert Owen, embarked on a mission to establish a Utopia in New Harmony—based on the moral principles of education and total equality. This concept of fostering the best qualities of humanity has been passed down from generation to generation ever since and is embedded in Lewis’s life. With her exhibition, Living Threads, Lewis is drawing our attention to the natural world, our relationship to the environment as caretakers and our ability to alter it.

Open through December 11, this exhibit is part of our Social Alchemy project. With this multifaceted, multiyear project, Indianapolis-based arts organization Big Car Collaborative — with our partners, the University of Southern Indiana, Indiana State Museum, Historic New Harmony, the New Harmony Gallery of Contemporary Art and others –– have created a series of radio shows, exhibits, and conversations exploring, learning, and sharing how utopia has informed places and pursuits over time.

Social Alchemy explores historical and contemporary examples of utopian experiments, fictional utopias and dystopias, and social and cooperative-living design projects (linking back to our affordable artist housing program on our block in Indianapolis). Through a variety of public programs — made possible with support from Indiana Humanities and Efroymson Family Fund — it offers a deeper understanding of the relationship between the built environment and social good.

Image:Warbler Quilt
The Bombyx mori cocoons used to make each of shibori dyed rectangles are cultivated in the Highlands of Madagascar and delivered to the SEPALIM workshop(a non-governmental organization focused on conservation-based livelihood development.) in Maroantsetra, twice a year. Before making the long trip by boat and motorcycle to deliver giant sacks of cocoons, farmers slice open each cocoon and use the dried caterpillar as feed for their chickens. Nothing goes to waste. Each cocoon is trimmed, ironed flat and sewn one by one to create a textile.

JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES
2023-01-02 19:00 - 22:30, 2023-01-03 19:00 - 22:30 | Kan-Kan Cinema, 1258 Windsor St., Indianapolis, IN, 46201, United States
Recently declared the new greatest film of all time, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is a singular work in film history.
The film meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick.
In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.
Cast: Delphine Seyrig, Jan Decorte, Henri Storck
Director: Chantal Akerman
Writer: Chantal Akerman
Length: 202 minutes
Not Rated
(1975)

About Akerman
Chantal Akerman was born in 1950 in Brussels, and died in Paris in 2015. Akerman was a pioneer in feminist and experimental filmmaking. Born to Holocaust survivors from Poland, the generational trauma of this experience was a continuing theme in her work and in recent decades she explored her own Jewish identity. She made over 40 films during her life time, and is considerd to be one of the most important European directors of her generation.
Recent solo exhibitions have been shown at EyefilmMusem, Amsterdam, The Netherlands (2020); MOCA, Toronto, Canada (2019); Oi Futuro, Rio de Janeiro, Brazil (2018), a retrospective at La Cinemateque Francaise, Paris, France (2018); Institute of Contemporary Arts, London (2015); The Kitchen, New York (2013); Palais des Beaux-Arts, Brussels, Belgium (2013); Museum for Contemporary Art Antwerp, Belgium (2012); a film retrospective at the Vienna Film Festival, Austria (2011); the Contemporary Art Museum, St. Louis, Missouri (2009); List Visual Arts Center, M.I.T. Cambridge, Massachusetts (2008); Camden Arts Centre, London, England (2008); Tel Aviv Musem of Art, Tel Aviv, Israel (2006); Centre Georges Pompidou, Paris (2004); Walker Art Center, Minneapolis, Minnesota (1995).

Em Elise, Jane Sun Kim, Simon Plemon: delicate(s)
2023-01-06 18:00 - 2023-02-20 18:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
delicate(s), is a collaborative multimedia installation assembled by Em Elise, Jane Sun Kim and Simon Plemon. The installation is a hypnotic visual foraging into the emotional nature of memory and the physical residue it leaves on, in, and around the body.
Spiritually fused by a collective longing for depth in a time of social media’s staged memory and the dissociative “new normal” induced by a global pandemic, delicate(s) investigates, commemorates, and liberates the artists’ hauntings beyond a two dimensional plane.
Featuring suspended sculpture, fabric prints, hand-drawn charcoal wall illustrations, projected video, enveloping soundscapes, and personal relics, delicate(s) summons the senses and elicits reflection in its viewers.
How do we integrate our memories into the minutia of our daily lives? How do they shape the way we move, react? Do they control our perception of reality, our identities?
Artist bios:
Em Elise
Whether it be through image making, prose, video, ritual, embroidery, movement, sculpture, auditory experience, or often a combination of media, Elise consistently gravitates towards immersive creative outlets to go inwards, seek purpose, process trauma, and embrace a sense of divine interconnectedness. Fueled by spiritual encounters and soul feelings, Elise approaches artmaking as alchemical therapy: an embalming of oneself, transmutation of pain, and reclamation of the holistic body. From using instant film to immortalize fleeting moments of intimacy to divulging ancestral and gender-based wounds through found footage and video collage, Elise creates to empower vulnerability, amplify marginalized narratives, cultivate collective healing, and provide an anchor for those that feel lost as and out of place in this world as she often does. Elise is native to and currently based out of Indianapolis, Indiana but frequently practices in Copenhagen, Denmark.
connect: @sin__atras
Jane Sun Kim
Kim contemplates the tangled relationship between nostalgia and identity under the
weight of the sentimental, often burdensome past. Her work is an incantation of lost moments, intimate secrets, fading youth, an ever persistent recollection of the past clouding her psyche.
Through expired film displayed on translucent banners, suspended sculptures using synthetic hair from her father’s beauty shop, and imagery of passed friends on wavering sheer silk, she weaves together her understanding of self. Kim draws influences from her experience as a child from a Korean American immigrant family, film of her family’s unspoken past, and her struggle with repetitive thought patterns from obsessive compulsive disorder. Kim was born in Augsburg, Germany and raised in Seoul, South Korea and predominantly Indianapolis, Indiana and is a part of Big Car Collaborative’s Artist and Public Life Residency.
connect: @vulturesonly
Simon Plemon
Plemon’s artwork explores personal mythology and macabre identity through a
fantastical lens. Through the use of video, textile work, and experimental image making Plemon crafts a hauntingly liminal universe. Much of Simon’s work is an atmospheric blend of documentation and experience. Motifs of feminine handicraft, biblical imagery, and physical morbidity of the body regularly appear in Plemon’s work. When not creating physical pieces, Simon can be found curating local dance events or tattooing.
connect: @clownartist
Made possible by the Arts Council of Indianapolis, The City of Indianapolis and The Andy Warhol Foundation for the Visual Arts.

Betsy Stirratt: Unearthing
2023-01-06 18:00 - 2023-03-19 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
In Unearthing, Stirratt explores how natural and cultural objects are presented in collections and museum settings, and how we preserve, classify, and display them.
From Stirratt: “I have visited many natural history, herbaria and medical museums in Europe and the US with the aim of understanding their objectives, collecting impulses, and labelling practices. With similar intent, I visited several regional historical sites and collections, including the Workingmen’s Institute in New Harmony, the Indiana University Paleontology Collection, and Angel Mounds. The resulting photographs and objects demonstrate the sometimes underestimated importance of local and regional history within the broader museum sphere.
The items within a museum or private collection are accumulated with a view to imposing order, classifying nature, preserving memory, or in some instances to signaling status. Items may be preserved for their cultural and historical importance, or for their aesthetic qualities. For some, collecting serves as a means of accumulating knowledge, or as inspiration for their imagination and memories. For me, it’s the embedded history of objects and places, and how history and folklore can inform our relationship with the world.
More specifically, I’m interested in the idea of both documenting collected items and using this documenting collected items and using the documentation process to create new artifacts: a coupling of curation and creation, as it were. Influenced by my many years as a gallery director and curator, I think about the way that art and objects are selected and placed in juxtaposition with each other and how they are subsequently perceived by viewers. It is important to acknowledge that the viewer’s experience is changed by the inclusion or exclusion of objects and the information that accompanies them.
The videos in the exhibit were made using three artists books that contain words and pictures about collections I have visited: specifically botany, anatomy and zoological collections. Each of the videos features the turning pages of the books in the Collected Series, interspersed with video and audio clips that I gathered from museum visits, educational films and from life.
Additionally, alongside the pieces inspired by museum collections and artifacts in this installation, I am including materials I have collected (e.g., a 19th c. herbarium, Victorian bird taxidermy, amateur butterfly collections) relating to my interest in history, natural history and the ways objects are preserved and presented within a curated setting. These items were gathered because almost all were created by an amateur who had some specific interest in the subject that he/she was preserving.
Collections and museums inform us about the world we live in, record the past and provide material memory across generations. Unearthing is an attempt to impose order on an unordered world, drawing upon hazy memory, inexact connections, and interpreted histories. The process of unearthing objects, both physically and metaphorically, can broaden our experience of the world, stimulating imagination and wonder about what we have around us.”
About the artist
Betsy Stirratt’s creative practice focuses on themes about nature, collections and the environment. She is the Founding Director of the Grunwald Gallery of Art at Indiana University Bloomington where she has curated exhibitions and published catalogs since 1987. Exhibiting her own work widely since 1983, solo exhibitions include La Maladie at The Mütter Museum in Philadelphia and the International Museum of Surgical Science in Chicago and Veiled Taxonomies at the Center for Book Arts in New York. Her work has been included in group exhibits at the National Museum of Women in the Arts, Indianapolis Museum of Art, and White Columns and Art in General in New York among others. She is the recipient of a Visual Artist Fellowship from the National Endowment for the Arts.
VISIT US
Wednesday -Friday 9 a.m. to 6 p.m.
Saturday & Sunday 9 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays
Made possible by The Arts Council of Indianapolis, The City of Indianapolis and the Christel DeHaan Family Foundation.

Words & Music: Maurice Broaddus
2023-01-14 17:00 - 18:00 | 99.1 WQRT, United States
Join Oreo Jones as he interviews Indianapolis-based Maurice Broaddus –a writer, community organizer and teacher. His work has appeared in magazines like Lightspeed Magazine, Beneath Ceaseless Skies, Asimov’s, Magazine of F&SF, and Uncanny Magazine, with some of his stories having been collected in The Voices of Martyrs.

Broaddus’s books include the urban fantasy trilogy, The Knights of Breton Court, the steampunk works, Buffalo Soldier and Pimp My Airship, and the middle grade detective novels, The Usual Suspects and Unfadeable. His project, Sorcerers, is being adapted as a television show for AMC. As an editor, he’s worked on Dark Faith, Fireside Magazine, and Apex Magazine.

Words & Music is made possible by a grant from Indiana Humanities . And is a project of Big Car Collaborative , the nonprofit behind WQRT.
Learn more at MauriceBroaddus.com.
Words & Music is made possible by a grant from Indiana Humanities . And is a project of Big Car Collaborative , the nonprofit behind WQRT.

Mvhayv Radio Marathon
2023-01-28 12:00 - 20:00 | 99.1 WQRT, United States
Mvhayv Radio is a language and cultural preservation project by multi-disciplinary artist, Elisa Harkins (Cherokee/Muscogee) based in Tulsa, Oklahoma.
All day we will air episodes 1-10 to celebrate kicking off a new season starting Feb 4 with episode 11.
Episode 1 – Can you dance to this?
Episode 2 – Songs to find your radical lover to
Episode 3 – TikTok
Episode 4 – All Indigenous
Episode 5 – Africa
Episode 6 – Muscogee (Creek) & Seminole Hymns
Episode 7 – All Indigenous spoken word, noise, and moccasin gaze.
Episode 8 – Music to bake cookies to.
Episode 9 – All Indigenous poems and music.
Episode 10 – All Indigenous poems and music.
Harkins work is concerned with translation, language preservation, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages, electronic music, sculpture, and the body as her tools. Harkins received a BA from Columbia College, Chicago and an MFA from CALARTS. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges, documenta 14, The Hammer Museum, The Heard Museum, and Vancouver Art Gallery. She created an online Indigenous concert series called 6 Moons, and published a CD of Creek/Seminole Hymns. She will open an exhibit at Tube Factory artspace July 5-October 19, 2024.
She is also part of Radio III / ᎦᏬᏂᏍᎩ a performance group that features music and choreography by Harkins. With support from PICA and Western Front, songs from the performance have been collected into a limited edition double-LP which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation.
This program is made possible by National Endowment for the Arts and The Andy Warhol Foundation for the Visual Arts.

Nathaniel Russell: HERE IT IS IT ALWAYS IS
2023-02-03 18:00 - 2023-03-19 18:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
For “HERE IT IS IT ALWAYS IS,” Russell shares new paintings, objects, and situations made improvisationally with recycled, found and reused materials. A visual artist, illustrator, and musician based in Indianapolis who has shown his work around the world, Russell utilized the Efroymson Gallery at Tube Factory during the month of January to build his work for this exhibition. With “HERE IT IS IT ALWAYS IS,” Russell continues to explore themes of hope, anxiety, compassion and our place in an ever-expanding universe.

Nathaniel Russell was born and raised in Indiana. After college, he spent several years in the San Francisco Bay Area making posters, record covers, and woodcuts. His work can be seen around the world in traditional galleries and informal spaces. Russell has also created many book and album cover designs, illustrations for the New York Times, and a viral series of fake flier projects.

Two of Russell’s murals are found on Big Car’s campus — You are Here on the Listen Hear building and Totally Pencil on Tube Factory. Russell also previously made colorful, oversized plywood cutouts for Big Car’s parking lot garden at Service Center outside of Lafayette Square Mall and shared a solo show, Thing, at Big Car Gallery in its early days in Fountain Square.

Opening receptions: Feb 3 & Mar 3, 6-10 pm in our Jeremy D. Efroymson Gallery.

VISIT US
Wednesday -Friday 9 a.m. to 6 p.m.
Saturday & Sunday 9 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays

Made possible by the Arts Council of Indianapolis, The City of Indianapolis and The Efroymson Family Fund.

African Dance with Uzuri
2023-02-08 19:30 - 21:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Uzuri Asad, artist in Big Car’s Public Life Residency, for a dose of culture, self-care, and community as we explore rhythms from West Africa and other parts of the Diaspora. Give your body and soul a moment to reflect and progress all at once, meet Asad on the floor!

First Friday Night Market
2023-03-03 18:00 - 22:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Join us again for this upcoming First Friday for a wonderful evening in Garfield Park. We are celebrating local artists, musicians, food trucks and vendors by featuring them in our night market.
Come check out our creative endeavors here around Cruft Street, where you will have the opportunity to purchase local goods from amazing artists and food vendors here at the Tube.
During the winter months, the Night Market is held inside Tube Factory artspace. In the fall, spring, and summer months, vending is located outside.
If you are a local artist or maker, please contact email hidden; JavaScript is required for more information.

Jason Gray: Cthutopia
2023-04-07 18:00 - 2023-05-21 15:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
“I remember sitting in church one Sunday near Easter, trying to pay attention to the sermon but failing. I was six or seven, maybe. My mind wandered as I looked around the sanctuary. I started to think about these two hallways that led away from the main room. The one to the right was familiar to me; the choir room was down there and I found myself there often, waiting for my grandparents to hang up their robes after service. The hallway to the left was a mystery. I had never been down it, nor seen many people go in or come out. This particular Sunday I started to imagine what was down there. I pictured the hall itself to be similar to the other side, with white walls and a white door. Opening this white door would lead you somewhere else, though. It led to a cave of sorts, with gray stone walls and a dusty floor: Jesus’ tomb. Jesus was in there too, frozen in carbonite like Han Solo.

As we get older, there seems to be less time for our imaginations to wander. We get bogged down with responsibilities and thoughts about what we need to do next. Our sense of wonder diminishes as we learn more about the world; we know the chances of discovering monsters or hidden worlds are slim. A lucky few get to live in their imagination, like writers and filmmakers, but most of us are stuck, grounded by real life.

The philosopher Michael Foucault used the term “heterotopia” to describe places that deviated from the normal world. A greek word meaning “other place”, a heterotopia is neither a utopia nor a dystopia, but something in between, a parallel world that is contrary to expected society and that can, at times, be disturbing. Foucault cited examples such as prisons, hospitals, and religious sanctuaries, where one is expected to perform certain rituals to enter. These spaces are an accepted part of society, places we deem necessary in order to exclude those that can disrupt our attempt at a utopia. What if there were places hidden from us that go beyond societal expectations and exist outside of our rules of physics and nature as we understand it?

In this body of work, I am exploring the dream that there are still places and things we have not discovered, things we may not even comprehend. Inside of familiar volumes such as instrument cases and terrariums, I am creating spaces that give a glimpse of some other world, somewhere weird and wrong. This is Cthutopia.”

About the artist
Jason Gray is a furniture maker residing in Indianapolis. Wood is the medium most often used, but he also dabbles in slip cast ceramics and looks for inspiration in found objects. He earned a BFA at Herron School of Art and an MFA at The University of Wisconsin – Madison.
Gray is the Lead Builder at Big Car Collaborative. He is the designer behind campus projects such as The Chicken Chapel of Love, The Chicken Palace, and Wandering Grove.

This exhibit is made possible by The Arts Council of Indianapolis, The City of Indianapolis and Allen Whitehill Clowes Foundation.

Jeremy Efroymson Gallery
Opening events April 7, 6-10pm & May 5, 6-10pm

Women's Assembly for Production & Sound
2023-05-12 19:00 - 22:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
The event will begin with a Q&A panel moderated by DJ Space Bunz. Our panelists include, Lex the curator of No Rap on Sunday, DJ Gabby Luv, DJ Jess Little Town, DJ Annie D, and DJ Non-Compliant. All of these women are leaders in the local music scene in Indianapolis and seasoned in their craft. Following the Q&A, each panelist will break off into their own station and participants will be able to visit each station and get their hands on gear! The idea is to lower the barrier of entry for DJing and allow participants to experience all different types of DJing gear including CDJ’s, Turtables, Controllers, and production software. Participants will have an opportunity to learn from our panelists and network. Following the break out, there will be a quick Back-To-Back DJing session from our panel of DJ’s and guests will be encouraged to dance!
The event will be broadcast on Listen Hear Radio WQRT 99.1 and is in collaboration with Tube Factory Art Space, Red Bull, Deckademics, Girls Rock Indianapolis and Indy.fm.
The event is 18+ and beverages will be available for purchase for the 21+ crowd.
We are excited for you to join us!
Below you will find more information about our moderator and each of our panelists!
DJ Space Bunz @brianachele: DJ Space Bunz is 5 years in the craft. She currently spins an open music format at various clubs and events in the city & is a part of a local DJ collective, Club Plex. She believes that music has the power & potential to transform the energetic field of any environment.
DJ Little Town @djlittletown: Indianapolis born with dual citizenship belonging to Brazil, Little Town is an eclectic music selector that has been DJing for nearly a decade around the world. She is highly adaptive to her audience; playing multi-genre dance parties, Top-40 venues across the city, underground techno clubs, all vinyl DJ nights, and private events.
DJ Annie D @anniedulhanty: A true open format DJ, Annie D has cultivated a brand based on her love for all music genres, her western and edgy style, and her motivation and passion to maintain the party at any venue. Her ability to weave through and touch all genres of music during her party driven sets has molded her club/event driven career. DJ Annie D has residencies at Metro Nite Club and Tini on Mass Ave, Burn by Rocky Patel, and Union 50 to name a few – and has played events including Bi/Pan Pride and Chicken and Beer Fest.
DJ Gabby Love @djgabbylove: DJ Gabby Love is Indianapolis-based & has become one of the most sought after DJs for Clubs and Events in the city. She has played club gigs & festivals in NYC, London (UK), Miami, Chicago, Los Angeles, Washington D.C., Louisville, Denver. She has DJ’d prestigious events for clients such as Gatorade, Sak’s 5th Ave., Heineken, Red Bull, and the Indiana Pacers. Her passion & knowledge of the craft can be heard & felt in her sets, filled with seamless blends & creative lyric/sample associations that get the party going!
Lex @ibetuwanta_lexus: As a girl growing up, I would sing in church & a part of choirs. Singing never was my true passion, although I loved music, bringing ppl together has always been my strongest gift so that’s why I started No Rap On Sunday! In the beginning it was just a hashtag I used on Twitter! Every Sunday I would do the hashtag & ask ppl what they were listening to! That started in 2015 & I slowly turned it into an event that I host on the last Sunday of the month during the summer! It was organic & something that I dreamt about constantly, so to see it come into fruition is a blessing.
DJ Non-Compliant @_noncompliant_: Raised in small town Indiana on a musical diet of 80s synth pop and punk rock, Noncompliant soon found barnyard raves and warehouse techno parties and (as DJ Shiva) quickly became a fixture of the fabled 90s Midwest USA rave scene.
Two decades and a name change later, she is at the top of her techno game. Mixmag named her one of 2017’s Top 20 Breakthrough DJs. She owned a packed and sweaty Boiler Room during Movement Detroit, turned in mindblowing mixes for Slam Radio, Discwoman, and Resident Advisor, and quaked some of the world’s most respected dance floors like Smartbar Chicago, Amsterdam’s DeSchool, Concrete in Paris, and Berlin’s legendary Berghain. Her festival appearances include Unsound, Red Bull Music Festival Paris, Movement Detroit, and Whole United Queer Festival.
As a producer, her releases and remixes on labels like Valence, Argot, Flash, and Dark Entries have pounded sound systems worldwide, with her tune “Women’s Work” landing on Fiedel’s official Berghain 08 mix and on his label Fiedeltwo.

African Dance with Uzuri
2023-05-17 19:30 - 21:00, 2023-05-31 19:00 - 21:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Uzuri Asad, artist in Big Car’s Public Life Residency, for a dose of culture, self-care, and community as we explore rhythms from West Africa and other parts of the Diaspora. Give your body and soul a moment to reflect and progress all at once, meet Asad on the floor!
$10

Super Sunday Showdown 2.0
2023-05-21 14:00 - 20:00 | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Super Sunday Showdown Returns!!
Join us for this music, food and fun event organized by Clint Breeze and hosted by Tenna.

Food Trucks: That Vegan Joint and Weiner Dreams

Set times:
2:30-3:00 – Emma Hall
3:15-3:45 – Breeze Funk and Joel
4-4:30 – Gritty and Craftsman
4:45- 5:30 – Joshua Powell
5:45 – 6:15 – Mandog DJ Set
6:30-7:00 – KIDDO
7:15-8 – Drayco
