BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.bigcar.org X-WR-CALDESC:Events for Big Car REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Indiana/Indianapolis BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20150308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20151101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20161008T133000 DTEND;TZID=America/Indiana/Indianapolis:20161008T144500 DTSTAMP:20260407T110732 CREATED:20160818T191014Z LAST-MODIFIED:20161001T142047Z UID:4094-1475933400-1475937900@www.bigcar.org SUMMARY:MUFON Symposium-Bill Konkolesky- UFO Abductions and Encounters DESCRIPTION: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. \nKonkolesky 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. \n“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. \nUnited 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. \n“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.”\nIn 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.\n\nThe 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. \nIn 1995 The Day the Earth Stood Still was selected for preservation in the United States National Film Registry as “culturally\, historically\, or aesthetically significant.”\nThe 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. \nAbout Bill Konkolesky\nBill 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.”\nHe 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.” \nAbout Stewart Hill\nHill 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. \nAbout MUFON Indiana\nMUFON 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/ URL:https://www.bigcar.org/event/bill-konkolesky-ufo-abductions-and-encounters/ LOCATION:IN CATEGORIES:Garfield Park ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/08/bill_konkolesky_.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160907T190000 DTEND;TZID=America/Indiana/Indianapolis:20160907T210000 DTSTAMP:20260407T110732 CREATED:20160724T160733Z LAST-MODIFIED:20160822T223036Z UID:4011-1473274800-1473282000@www.bigcar.org SUMMARY:Close Encounters of the Third Kind Film Screening and Discussion DESCRIPTION: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. \nClose 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). \nIn Partnership with Public House Cinema:\nWebsite: publichousecinema.com\nTwitter: @PHCinemaIndy\nInstagram: @publichousecinema\nFacebook: facebook.com/phcinemaindy\nEmail: email hidden; JavaScript is required URL:https://www.bigcar.org/event/close-encounters-of-the-third-kind-film-screening-and-discussion/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/close-encounters-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160902T180000 DTEND;TZID=America/Indiana/Indianapolis:20160902T220000 DTSTAMP:20260407T110734 CREATED:20160818T011652Z LAST-MODIFIED:20160818T030652Z UID:4077-1472839200-1472853600@www.bigcar.org SUMMARY:Lush DESCRIPTION: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. \nEric Broz\nI 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.\nA Pepsi would be ok too. \nEmily Freese\nClothing 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. \nClare Gatto\nSecond 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. \nPhilip Košćak\nI 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. \nBrent Lehker\nLehker 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.\nDipstick 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.\nDipstick is an ongoing series. \nSteve Moore\nThe 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.\nWe 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 \nMonica Sandoval\nBorn 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.\nThrough 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. \nKatie Shroeder\nMy 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.\nI 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\,\nbeauty 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.\nIn 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. \nNick Witten\nWitten 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).\nThrough 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. \nImage: Second Skin\, Clare Gatto\, 2016 URL:https://www.bigcar.org/event/lush/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/08/Gatto_SecondSkin_10x15.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160820T130000 DTEND;TZID=America/Indiana/Indianapolis:20160820T150000 DTSTAMP:20260407T110734 CREATED:20160817T154308Z LAST-MODIFIED:20160818T031608Z UID:4067-1471698000-1471705200@www.bigcar.org SUMMARY:El Estudiante- film screening sponsored by Consulado de Mexico en Indianapolis DESCRIPTION:Libreria Donceles’s weekend programming and the Consulado de Mexico en Indianpolis\npresenta:\nEl Estudiante\nAfter 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. \nSpanish with English Subtitles. URL:https://www.bigcar.org/event/el-estudiante-film-screening-sponsored-by-consulado-de-mexico-en-indianapolis/ LOCATION:Listen Hear\, 2620 Shelby St\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Film,Garfield Park,Shelby St. Corridor ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/08/El-estudiante-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160818T190000 DTEND;TZID=America/Indiana/Indianapolis:20160818T210000 DTSTAMP:20260407T110734 CREATED:20160724T155902Z LAST-MODIFIED:20160818T012645Z UID:4010-1471546800-1471554000@www.bigcar.org SUMMARY:Night of the Hunter Film Screening and Discussion DESCRIPTION: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. \nThe 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. \nThe 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. \nIn 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. URL:https://www.bigcar.org/event/night-of-the-hunter-film-screening-and-discussion/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Film,Garfield Park,Shelby St. Corridor,Visual Art ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/3.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160805T180000 DTEND;TZID=America/Indiana/Indianapolis:20161022T220000 DTSTAMP:20260407T110734 CREATED:20160715T164456Z LAST-MODIFIED:20160818T013553Z UID:4005-1470420000-1477173600@www.bigcar.org SUMMARY:Librería Donceles DESCRIPTION: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.  \nAgosto 5-Octubre 22\nLibrería 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. \nPart 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. \nParte 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. \nComprising 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. \nConsiste 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. \nThe project takes its name from the historic street\, Calle Donceles\, in Mexico City that is lined with used bookstores. \nEl 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. \nPablo 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). \nPablo 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). URL:https://www.bigcar.org/event/libreria-donceles/ LOCATION:Listen Hear\, 2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/13497730_1306884342659001_403398552986252710_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160805T180000 DTEND;TZID=America/Indiana/Indianapolis:20161016T220000 DTSTAMP:20260407T110734 CREATED:20160715T163117Z LAST-MODIFIED:20160906T143515Z UID:4002-1470420000-1476655200@www.bigcar.org SUMMARY:RCA: Scott Hocking DESCRIPTION: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.” \nHocking 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. \nAlso 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. \nIn 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. \nHocking’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. \n“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.” \n— Laura Mott\, Curator of Contemporary Art and Design\, Cranbrook Art Museum \nThe exhibit\, curated by Shauta Marsh\, is made possible by The Andy Warhol Foundation for the Visual Arts. \nThe exhibit is open Monday through Friday\, 9 am – 6 pm and Saturdays 11 am-3pm. \nPhoto: RCA\, installation of found materials\, Scott Hocking URL:https://www.bigcar.org/event/scott-hocking/ LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Garfield Park,Visual Art ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/13923438_10155202082078986_8123213897065514600_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160803T193000 DTEND;TZID=America/Indiana/Indianapolis:20160803T214500 DTSTAMP:20260407T110734 CREATED:20160715T162542Z LAST-MODIFIED:20160715T162609Z UID:3996-1470252600-1470260700@www.bigcar.org SUMMARY:Ubu The King DESCRIPTION:About the show:\nRough 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. \nIn 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. \nAbout Rough House: \n\nRough 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. \nRough 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. \nThrough 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. URL:https://www.bigcar.org/event/ubu-the-king/ LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Film,Garfield Park,Visual Art END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160724T190000 DTEND;TZID=America/Indiana/Indianapolis:20160724T204500 DTSTAMP:20260407T110734 CREATED:20160724T154423Z LAST-MODIFIED:20160724T154456Z UID:4008-1469386800-1469393100@www.bigcar.org SUMMARY:EsemBle Babel/Music for Gas Station DESCRIPTION: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. \nIn 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. \nThis project was brought to the United States by artist/curator Lee Walton. URL:https://www.bigcar.org/event/esemble-babelmusic-for-gas-station/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160714T180000 DTEND;TZID=America/Indiana/Indianapolis:20160714T203000 DTSTAMP:20260407T110734 CREATED:20160420T022005Z LAST-MODIFIED:20160420T023204Z UID:3861-1468519200-1468528200@www.bigcar.org SUMMARY:The Forbidden Room-Guy Maddin DESCRIPTION:“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. \nJoin 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. URL:https://www.bigcar.org/event/surprise-cinema-lost-and-found/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor,Visual Art END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160710T110000 DTEND;TZID=America/Indiana/Indianapolis:20160710T150000 DTSTAMP:20260407T110734 CREATED:20160701T151856Z LAST-MODIFIED:20160701T151856Z UID:3977-1468148400-1468162800@www.bigcar.org SUMMARY:The Tiny Book Show! DESCRIPTION:A FREE\, ALL-AGES EVENT \nGet creative on a Sunday afternoon with itty bitty books during their roadtrip stop in the beautiful Garfield Park neighborhood! \nThe 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. \nTube 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.\nWhile you’re here and in bookworm mode: \nCheck 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 \n\nMeet 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. \n. . . \nLearn 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 \n\n \n \n \n \n \n \n The Creativity Caravan is coming to Indy!\n \n \n \n \n \n Hundreds of handmade books from around the world\n \n \n \n \n \n Detail of a tiny book\n \n \n \n \n \n Free all-ages bookmaking workshop\n \n \n \n \n \n 10000 Whens diaries\n \n \n \n \n \n 10000 Whens\, since 1985\n \n \n \n \n \n Pen and Pink upcycled notebooks\n \n \n \n \n \n Pen and Pink vintage books URL:https://www.bigcar.org/event/the-tiny-book-show/ LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Visual Art END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160707T180000 DTEND;TZID=America/Indiana/Indianapolis:20160707T210000 DTSTAMP:20260407T110734 CREATED:20160419T183358Z LAST-MODIFIED:20160531T143706Z UID:3859-1467914400-1467925200@www.bigcar.org SUMMARY:Surprise Cinema-Pilgramage DESCRIPTION: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. URL:https://www.bigcar.org/event/surprise-cinema-pilgramage/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160623T180000 DTEND;TZID=America/Indiana/Indianapolis:20160623T200000 DTSTAMP:20260407T110734 CREATED:20160419T182317Z LAST-MODIFIED:20160419T215443Z UID:3856-1466704800-1466712000@www.bigcar.org SUMMARY:Latino Americans: Peril and Promise (1980-2000) DESCRIPTION: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. \nLatino 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. URL:https://www.bigcar.org/event/latino-americans-peril-and-promise-1980-2000/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160623T180000 DTEND;TZID=America/Indiana/Indianapolis:20160623T200000 DTSTAMP:20260407T110734 CREATED:20160419T181811Z LAST-MODIFIED:20160419T215752Z UID:3853-1466704800-1466712000@www.bigcar.org SUMMARY:Latino Americans:The New Latinos (1946-1965) DESCRIPTION: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. \nIn 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. \nIn 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. \nLatino 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. URL:https://www.bigcar.org/event/latino-americansthe-new-latinos-1946-1965/ LOCATION:IN CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160622T200000 DTEND;TZID=America/Indiana/Indianapolis:20160622T220000 DTSTAMP:20260407T110734 CREATED:20160316T213208Z LAST-MODIFIED:20160531T214334Z UID:3790-1466625600-1466632800@www.bigcar.org SUMMARY:Julianna Barwick and Mas Ysa DESCRIPTION:May 6th sees the release of Will\, the revelatory third full-length album by Brooklyn experimental artist Julianna Barwick. Conceived and self-produced over the past year in a variety of locations\, the ominous\, compelling Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle\, thick fog rolling over desolate mountains\, then Will is a late afternoon thunderstorm\, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.\n\n\n\nClick here to purchase tickets.\n\n\nBarwick’s life over the past several years has largely been lived in transit\, and as such the genesis of Will was not beholden to location; Barwick worked on the album in a variety of locales\, from a desolate house in upstate New York to the Moog Factory in Asheville\, North Carolina to Lisbon\, Portugal.  \n“I love touring\, but it can be a wild ride\,” Barwick reflects on this cycle of constant motion. “You’re constantly adjusting\, assimilating\, and finding yourself in life-changing situations.” Those experiences played into and helped shape Will’s charged\, unstable atmosphere: “I knew I’d be playing these songs live\, so I wanted some movement\,” she explains. “Something that had rhythm and low-end.” \nThat sense of forward propulsion is largely owed to Will’s synth-heavy textures. The electric current that runs through the album takes on various shapes of intoxicating instability. Featuring contributions from Thomas Arsenault (Mas Ysa)\, Dutch cellist Maarten Vos and percussionist\, Jamie Ingalls (Chairlift\, Tanlines\, Beverly)\, Will is largely a product of ups and downs\, a reflection of a life lived somewhere in between transience and standing still. “While making this record\, there were moments of isolation and dark currents\,” Barwick admits. “I like exploring that\, and I love when I come across songs that sound scary or ominous. I’ve always been curious about what goes into making a song that way.” The beguiling\, beautifully complicated Will is the result of that curiosity\, and proof of Barwick’s irresistibly engaging talent as a composer and vocalist. \nWill comes off of Barwick’s busiest period in her career\, following the release of Nepenthe—a spate of activity that included playing piano for Yoko Ono\, performing at Carnegie Hall at the annual Tibet House concert with the Flaming Lips and Philip Glass\, The Rosabi EP and beer created in conjunction with brewing company Dogfish Head\, and a re-imagining of Bach’s “Adagio” from Concerto In D Minor. \nWatch the Derrick Belcham-directed video for debut single\, “Nebula” which was filmed in the Philip Johnson Glass House and presents the essence of Will and Julianna Barwick’s richly complex musical fabric. \nJulianna Barwick’s music has been reviewed in Time Out New York\, Time Out Lisbon\, The New York Times\, and The Village Voice\, among other publications. Her music has also been featured as “Best New Music” on Pitchfork\, which also gave\, 2009’s “Florine” EP an honorable mention for an album of the year.  \nMas Ysa \n“Thomas Arsenault\, the person who records as Mas Ysa\, is difficult to pin down\, and that’s probably the best thing about him. He’s lived in Montreal and San Francisco and Sao Paolo and New York and wherever Oberlin is. He’s scored modern dance productions and remixed synthpop groups. He sometimes sings in an angelic\, reverby tenor and sometimes in a full\, throat-wracked howl. He makes mostly electronic records\, and he does it by itself\, but “producer” somehow doesn’t seem like the right job title for him. (I’ve also seen people describe him as a “composer\,” and that seems even more wrong.) Listening to his records\, it’s hard to tell which sounds are electronic and which are made by actual physical instruments. His music drifts freely between ambient and synthpop and oblique dance and good old-fashioned indie rock. And he’s conclusively proven that you don’t need a full band to sound vaguely like Arcade Fire. \nMas Ysa made his name on last year’s Worth EP\, which alternated between drifting\, pretty synth-drone and big\, chest-thumping psychedelic laptop-rock howlers. On Seraph\, his first proper album\, Arsenault pretty much smushes those two things together until they’re one thing\, and the result is a pleasant drift that never settles on one genre for more than a few seconds and stays appealing and interesting throughout. All the individual sounds\, like the glassy walls of keyboard on “Sick” or the happy-sigh New Order beeps of “Look Up\,” have an impressive widescreen gloss to them. Arsenault’s voice has that quavery tone that was so popular among mid-’00s indie-dude singers\, in which every word means so much that he just can’t choke it out without his throat catching. Some tracks play around with Euro-club house-thumps\, which sounds shockingly good with this sort of singing and this sort of production. Nicole Miglis from Hundred Waters shows up on “Gun\,” and her airy coo works as an absolutely lovely complement to Arsenault’s emotive gurgle. “Service” has some seriously badass Moroder-style Italo pulsing. There’s a lot to like here. \nAnd maybe\, for you\, there will be a lot to love. Arsenault’s closest peer might be Youth Lagoon’s Trevor Powers\, another indie auteur who pulls inspiration from wherever and whose songs seem to project meaning\, even if you don’t necessarily know what that meaning is. Youth Lagoon has never really gotten past the “pleasant background music” stage for me\, but that dude’s music means a lot to a lot of people. I suspect that the same will be true here. And even if you don’t end up loving this thing\, it’s still an impressive piece of work\, one that you should hear — if you can carve out the time. After all\, there is a truly unprecedented amount of great music out there. If something is merely good\, you can be forgiven for skipping it.”–Tom Breihan of Sterogum \nThis concert is made possible by The Andy Warhol Foundation for the Visual Arts. About The Andy Warhol Foundation for the Visual Arts: The Andy Warhol Foundation for the Visual Arts was established in 1987. In accordance with Andy Warhol’s will\, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn\, directly or indirectly\, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting\, exhibiting and interpreting a broad spectrum of contemporary artistic practice. URL:https://www.bigcar.org/event/julianna-barwick/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160617T083000 DTEND;TZID=America/Indiana/Indianapolis:20160617T103000 DTSTAMP:20260407T110734 CREATED:20160614T124123Z LAST-MODIFIED:20160614T124153Z UID:3969-1466152200-1466159400@www.bigcar.org SUMMARY:Creative Mornings-Elle Roberts DESCRIPTION:CreativeMornings is a free\, monthly breakfast lecture series for creative communities. Each event is free\, and includes a 20 minute talk\, plus coffee! \nThis month features Elle Roberts\, a musician and writer living on the near eastside of Indianapolis. She is the founder of shehive\, a grassroots gender equity project based in the city. \nRegistration required\, to attend click here. URL:https://www.bigcar.org/event/creative-mornings-elle-roberts/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160616T180000 DTEND;TZID=America/Indiana/Indianapolis:20160616T200000 DTSTAMP:20260407T110734 CREATED:20160419T183206Z LAST-MODIFIED:20160614T145332Z UID:3858-1466100000-1466107200@www.bigcar.org SUMMARY:Latino Americans-Prejudice and Pride (1965-1980) DESCRIPTION:Please join us for the screening of the fifth installment of Latino Americans documentary series.\nFor part five of the documentary will have the oportunity to converse after the screening with Monica A. Medina Ph.D. Clinical Associate Professor IU School of Education – IUPUI. \nMonica A. Medina Ph.D. is a Clinical Associate Professor of curriculum and instruction and the Coordinator for the Master’s in Urban Education at the IU School of Education. Her research centers on teacher preparation for urban schools\, full service community schools and the development of University assisted schools. Dr. Medina works extensively in the area of school and community relationships and particularly the operations of full service community schools. She has led the School of Education involvement at the George Washington Community High School (GWCS) and guides pre-service teachers from IUPUI on-site while they are assisting in the classrooms. Her university courses are taught in schools or community centers to create authentic cultural experiences for her students. In 2008 and 2014\, she co-authored a five-year grants to the US Department of education and was awarded $2.45 million and $2.2 million to advance the development a full service community schools in the near west side of Indianapolis. \nIn 2012\, IUPUI received an award from the University of Pennsylvania\, Netter Center to develop a regional Center for University-Assisted Community Schools\, a project involving the IUPUI Center for Service and Learning with collaborative facilitators\, including Dr. Medina. The IUPUI-based center assists universities and schools in with implementation of university-assisted community schools strategies. \nDr. Medina has held various volunteer leadership positions in the community and was awarded a Sagamore of the Wabash from Governor Evan Bayh. Currently\, she is a board member of the Health Foundation of Greater Indianapolis and Concord Neighborhood Center. She served as the Chair of La Plaza Board of Directors\, and was a founding member and former chair of the Indiana Latino Institute. In 2014\, Dr. Medina was the recipient of the Indiana University Latino Alumni Association’s Distinguished Alumni Award and the IUPUI Chancellors Award for Excellence in Civic Engagement. In 2013\, she receive the Latina Educator of the Year Award from Indianapolis Mayor Greg Ballard. Congressman André Carson and Citizens Energy Group also recognized her work in the community as one of the recipients of 125 Neighborhood Leaders Award. \nLATINO AMERICANS is a landmark six\, one-hour documentary featuring interviews with nearly 100 Latinos and more than 500 years of History. This PBS documentary serie presents the rich and varied history and experiences of Latinos\, who have helped shape the United States over the last 500-plus years and become\, with more than 50 million people\, the largest minority group in the US.\nThe Latino Americans Film Series will start on Thursday\, May 12 and continue through June. All Free screening will be at Tube Factory artspace. \nScreening Dates. \nJune 16-Prejudice and Pride (1965-1980) \nJune 30-Peril and Promise (1980-2000) URL:https://www.bigcar.org/event/latino-americans-prejudice-and-pride-1965-1980-2/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160602T180000 DTEND;TZID=America/Indiana/Indianapolis:20160602T200000 DTSTAMP:20260407T110734 CREATED:20160524T170549Z LAST-MODIFIED:20160525T140918Z UID:3906-1464890400-1464897600@www.bigcar.org SUMMARY:Southeast Side Roadway Workshop DESCRIPTION:This workshop will take place in anticipation of the arrival of international artist Peter Gibson (roadsworth.com) to Indianapolis. We will engage the following topics and opportunities for Southeast communities: \n\nRoadway art on Pleasant Run\n\nCreating visual interest to reclaim public space\nLocating target areas\nIntroduction to the work of Peter Gibson (roadsworth.com)\n\n\nReclaiming Shelby Street \n\nHow do we make Shelby Street more pedestrian friendly?\nHow do we address traffic volume/speed concerns?\n\n\nWalkability and Bikability Signage\n\nIdentifying pedestrian friendly assets\nImproving awareness of assets \nMapping wayfinding sign locations\n\n\nCreate Places For People Neighborhood Initiative \n\nIdentify bike/walkability goals for the Southeast side\nDevelop a plan for engaging residents\n\n\n\n\n_________ \nPlaces For People – Southeast Side Roadway Series \nThe Southeast Side of Indianapolis is first and foremost a neighborhood and a community of people.  However\, when we look at the roadways\, much of the infrastructure is oriented towards prioritizing car commuters.Residents\, pedestrians\, and cyclists seem largely excluded from the equation. What does it look like to imagine our roadways as something more? How can we include places for people to exist and thrive alongside our neighborhood thoroughfares? Capitalizing on the momentum of previous successful placemaking initiatives\, we will look for solutions to these questions and more. \nThis series is presented as part of Big Car Collaborative’s placemaking initiative with Reconnecting to our Waterways. By using methods gleaned from Spark: Monument Circle and the Rethinking Our Streets project with DPW in Mapleton-Fall Creek\, we will be envisioning and enacting positive steps toward a more vibrant and inclusive community. \n____________________ \nCheck out bigcar.org for details on these other events from Places For People – Southeast Side Roadway Series: \n“Roadsworth” Peter Gibson Artist Lunch Talk- Friday\, June 10\, 12:00pm \nGibson will give a lunchtime presentation of his work at the Tube Factory Artspace on Friday\, June 10 at 12:00pm and will discuss his process and intentions for the street painting workshop that will be held the following day. A light lunch will be provided. \n\nStreet Painting Workshop Saturday\, June 11\, 12:00-5:00pm \nLocal artists are invited to take part in this hands-on learning experience. International street artist Peter Gibson will share insights into his creative process and techniques for pavement painting. More details can be found at bigcar.org. URL:https://www.bigcar.org/event/southeast-side-roadway-workshop/ LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Outdoor Activities,Reconnecting to Our Waterways,Shelby St. Corridor ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/05/Street-painting-planning-event-image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160602T180000 DTEND;TZID=America/Indiana/Indianapolis:20160602T200000 DTSTAMP:20260407T110734 CREATED:20160419T182131Z LAST-MODIFIED:20160419T215541Z UID:3855-1464890400-1464897600@www.bigcar.org SUMMARY:Latino Americans-The New Latinos (1946-1965) DESCRIPTION: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. \nIn 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. \nIn 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. \nLatino 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. URL:https://www.bigcar.org/event/latino-americans-prejudice-and-pride-1965-1980/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160526T180000 DTEND;TZID=America/Indiana/Indianapolis:20160526T200000 DTSTAMP:20260407T110734 CREATED:20160419T181658Z LAST-MODIFIED:20160419T215604Z UID:3852-1464285600-1464292800@www.bigcar.org SUMMARY:Latino Americans-War and Peace (1942-1954) DESCRIPTION:World War II is a watershed event for Latino Americans with hundreds of thousands of men and women serving in the armed forces\, most fighting side by side with Anglos. In the Pacific\, East L.A.’s Guy Gabaldon becomes a Marine Corp legend when he singlehandedly captures more enemy soldiers than anyone in US military history. But on the home front\, discrimination is not dead: in 1943\, Anglo servicemen battle hip young “Zoot suitors” in racially charged riots in southern California. \nAfter the war\, Macario Garcia becomes the first Mexican National to earn the Congressional Medal of Honor for his exploits fighting in Europe\, only to be refused service in a Texas diner. The experience during the war pushes Latinos to fight for civil rights back home. A doctor from South Texas\, Hector Garcia\, organizes the American GI Forum\, transforming himself into a tireless advocate for civil rights and the friend of a future president. Although Latinos make significant gains\, the journey for equality is far from over. \nLatino 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. URL:https://www.bigcar.org/event/latino-americans-war-and-peace-1942-1954/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160521T133000 DTEND;TZID=America/Indiana/Indianapolis:20160521T163000 DTSTAMP:20260407T110734 CREATED:20160316T221000Z LAST-MODIFIED:20160521T012710Z UID:3795-1463837400-1463848200@www.bigcar.org SUMMARY:Nick Redfern DESCRIPTION:1:30 p.m. Nick Redfern is the author of 36 books on UFOs\, lake-monsters\, the Roswell UFO crash\, zombies\, and Hollywood scandal\, including Men in Black; Chupacabra Road Trip; The Bigfoot Book; and Close Encounters of the Fatal Kind. Nick has appeared on many TV shows\, including: Fox News; the BBC’s Out of This World; the SyFy Channel’s Proof Positive; the History Channel’s Monster Quest\, America’s Book of Secrets\, Ancient Aliens and UFO Hunters; the National Geographic Channel’s Paranatural; and MSNBC’s Countdown with Keith Olbermann. He can be contacted at: http://nickredfernfortean.blogspot.com/ \n3 p.m. Stewart Hill\nStewart 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. \n3:40 p.m. Phil Leech\nPhil Leech\, MUFON Indiana State Section Director\, worked 25 years in public service in various departments: city police department 911 communications training officer\, fireman\, chief fire rescue ambulance\, and for the county coroners office. He joined MUFON due to his interest Ufology and desire to search for the Truth. Being able to work with field investigators and those who share their experiences with MUFON creates a unique opportunity to look for that Truth. \nFree\nSee the MUFON Indiana website for more information: http://indianamufon.homestead.com/ URL:https://www.bigcar.org/event/nick-redfern/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Shelby St. Corridor ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160512T180000 DTEND;TZID=America/Indiana/Indianapolis:20160512T200000 DTSTAMP:20260407T110734 CREATED:20160419T181056Z LAST-MODIFIED:20160419T215648Z UID:3840-1463076000-1463083200@www.bigcar.org SUMMARY:Latino Americans-Foreigners in their Own Land (1565-1880) DESCRIPTION:One hundred years after Columbus’ arrival in the Caribbean\, Spanish Conquistadors and Priests\, push into North America in search of gold and to spread Catholicism. With the arrival of the British in North America\, the two colonial systems produce contrasting societies that come in conflict as Manifest Destiny pushes the U.S into the Mexican territories of the South West. \nApolinaria Lorenzana provides a window to the Spanish Mission System while Mariano Vallejo personifies the era of the Californio rancheros an elite class who thrive after Mexico gains its independence from Spain. Juan Seguín\, a third generation Tejano or Texan\, is caught between two worlds; his commitment to an Independent Texas and his identity as a Mexican. Through the Mexican American War\, the U.S. takes a full half of Mexico’s territory by 1848. Over seventy thousand Mexicans are caught in a strange land and many become American citizens. \nAs the Gold Rush floods California with settlers\, complex and vital communities are overwhelmed. The elites\, including Mariano Vallejo and Apolinaria Lorenzana lose their land. Mexicans and Mexican Americans are treated as second-class citizens\, facing discrimination and racial violence. Resistance to this injustice appears in New Mexico as Las Gorras Blancas (The White Caps)\, burn Anglo ranches and cut through barbed wire to prevent Anglo encroachment. At the same time\, New Mexicans manage to transform themselves through education\, managing to preserve Hispano culture in New Mexico and their standing in the midst of an era of conquest and dispossession. \nLatino 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. URL:https://www.bigcar.org/event/latino-americans-foreigners-in-their-own-land/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Film,Garfield Park,Shelby St. Corridor END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160506T180000 DTEND;TZID=America/Indiana/Indianapolis:20160716T170000 DTSTAMP:20260407T110734 CREATED:20160316T212258Z LAST-MODIFIED:20160531T215348Z UID:3789-1462557600-1468688400@www.bigcar.org SUMMARY:The People's 500 DESCRIPTION:The People’s 500 is a celebration of the relationship between the Indianapolis Motor Speedway and the people of Indianapolis\, marking the 100th Running of the Indianapolis 500 presented by PennGrade Motor Oil. The exhibit will run through July 16.\nIn October of 2015\, Sugarmann chose 100 residents of the Indianapolis community from a pool of applicants to drive two laps in a pace car — the drivers uniting to complete the equivalent of a single running of the Indianapolis 500. Sugarmann and his crew photographed and interviewed each of the drivers\, the resulting documentation serving as the material of the exhibition. Some of the drivers are featured among the 16 large scale photos in the exhibit. There is also video\, and a sculptural piece.\n“The Indianapolis Motor Speedway serves as a cultural beacon within Indianapolis\, a location of shared history and civic identity for all strata of Indianapolis society. Members of the Indianapolis community feel ownership of the Speedway\,” says Sugarmann. “In this exhibit\, the pace car is the vehicle through which this mutual connection is furthered\, the civilian/citizen being able to immerse him or herself in the environment of a professional IndyCar driver. The People’s 500 uses pace cars to bridge the viewer and professional driver and create an even stronger sense of civic ownership.”\nThis exhibit is the first at Tube Factory\, Big Car Collaborative’s new cultural center with a contemporary art exhibition area. Located in what was a boarded-up factory building on a residential street in the Garfield Park neighborhood\, Tube Factory will host a variety of conversations\, performances\, and events — while also serving as the workshop and home base for Big Car artists.\nThe People’s 500 is curated by Shauta Marsh\, funded by The Andy Warhol Foundation for the Visual Arts and Creative Capital\, and coordinated by Big Car Collaborative staff in partnership with the Indianapolis Motor Speedway. Framing provided by Editions Limited. \nAbout Jesse Sugarmann: Sugarmann is an interdisciplinary artist working in video\, photography\, and sculpture. His work has been exhibited both nationally and internationally in venues such as the Getty Institute\, Los Angeles; el Museo Tamayo\, Mexico City; the Portland Institute for Contemporary Art\, Oregon; the Banff Center\, Canada; el Museo de Arte Moderno de Santander\, Spain; and both the Paris and Berlin installations of Les Recontres Internationales. Jesse’s work has been written about in publications including ArtForum\, Art Papers\, the Atlantic\, Frieze Magazine\, the Huffington Post\, and The New York Times. Jesse lives and works in Bakersfield\, CA. You can learn more about his work at www.jessesugarmann.com. \nAbout The Andy Warhol Foundation for the Visual Arts: The Foundation was established in 1987. In accordance with Andy Warhol’s will\, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn\, directly or indirectly\, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting\, exhibiting and interpreting a broad spectrum of contemporary artistic practice. http://warholfoundation.org/ \nAbout Big Car: An Indianapolis-based 501c3 nonprofit\, Big Car uses creativity as a catalyst to a better city. By providing and supporting unique\, educational\, participatory\, playful and personal experiences\, Big Car engages people of all ages and backgrounds in art making and creative problem-solving — inspiring them to be creative thinkers and involved\, connected citizens. Learn more at www.bigcar.org and see examples of our projects at www.bigcar.org/work. \nAbout Creative Capital: Creative Capital supports innovative and adventurous artists across the country through funding\, counsel and career development services. Our pioneering approach—inspired by venture-capital principles—helps artists working in all creative disciplines realize their visions and build sustainable practices. http://www.creative-capital.org/ \nAbout Indianapolis Motor Speedway: Established in 1909\, the Indianapolis Motor Speedway is the world’s largest spectator sporting facility and has long prevailed as an icon of motorsports excellence. After celebrating its Centennial Era in 2009-11\, IMS and racing fans now look forward to the 100th Running of the Indianapolis 500 Mile Race this year. In 2016\, get ready for an unprecedented celebration of the human pursuit of progress as the world’s eyes turn toward the Speedway. For more information\, visit indianapolismotorspeedway.com. URL:https://www.bigcar.org/event/the-peoples-500/ LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Shelby St. Corridor ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20160409T203000 DTEND;TZID=America/Indiana/Indianapolis:20160409T230000 DTSTAMP:20260407T110734 CREATED:20160316T210602Z LAST-MODIFIED:20160409T223055Z UID:3787-1460233800-1460242800@www.bigcar.org SUMMARY:Prince Rama DESCRIPTION:Prince Rama is the musical duo of sisters Taraka and Nimai Larson. They have lived in ashrams\, worked for utopian architects\, written manifestos\, delivered lectures from pools of fake blood\, conducted group exorcisms disguised as VHS workouts\, installed art installations at The Whitney\, Art Basel and various galleries across the U.S. And now they return to Big Car April 9\, 8 p.m. at the Tube Factory artspace\, 1125 Cruft St. in the Garfield Park neighborhood on the south end of downtown. \nThey will perform Xtreme Now\, an album about extreme sports with Indianapolis-based The Icks opening for them. The cost of the performance is $10 and tickets can be purchased on-line (https://www.eventbrite.com/e/prince-rama-indianapolis-us-tour-the-icks-tickets-21012549100) or at the door. \nXtreme Now is the most extreme album Prince Rama has ever made. Writing for Xtreme Now began while the Larson sisters were living on a black metal utopian commune on Vȫrmsi\, a remote island off the coast of Estonia during the summer of 2012. There\, Taraka had a near death experience inside an ancient Viking ruin\, which sparked a recurring sense of time-schizophrenia\, or the physical sensation of existing in multiple time periods simultaneously. \nIn this case\, she experienced a joint-existence in both the medieval ages and the year 2067. In one of her prophetic visions she describes\, “In the year 2067\, I witnessed an aesthetic landscape where art museums are sponsored by energy drink beverages and beauty is determined by speed. I saw a vision of ancient tapestries stretched across half-pipes and people base-jumping off planes with the Mona Lisa smiling up from their parachutes. I saw art merge with extreme sports to form a new aesthetic language of ‘Speed Art.’ I realized that time travel was possible via the gateway of extreme sports\, and I wanted to make music that would provide the score.” \nPerceiving a great void in the world of extreme sports for music that could match the metaphysical intensity of these death-defying feats\, Prince Rama set forth to make Xtreme Now\, the first real foray by any musician to create a new “extreme sports genre.” For inspiration\, the sisters looked to their own flirtations with death and time-dilation\, along with countless hours of obsessively watching extreme sports videos and consuming dangerous quantities of Monster Energy drink. \nWorking with acclaimed dance producer Alex Epton of XXXChange (Gang Gang Dance\, Björk\, Spank Rock\, Panda Bear\, The Kills)\, the new songs take on a more powerful\, confident\, fierce\, infectious\, all-encompassing\, and accessible dance-club feeling than any other Prince Rama record – a fearless\, visionary pop tour de force for the ghost-modern era that celebrates the ephemerality of life\, dancing just at the edge of death’s gilded smile. \nAbout The Icks \nThe Icks utilize electricity to power their instruments. What if John Hughes directed Blade Runner? \nJohn Caldwell-guitar and vocals \nCameron Holloway-farfisa \nJoe Ferguson-bass \nAmanda Case-vocals \n$10 \nhttps://www.eventbrite.com/e/prince-rama-indianapolis-us-tour-the-icks-tickets-21012549100 \nThis concert is made possible by The Andy Warhol Foundation for the Visual Arts. About The Andy Warhol Foundation for the Visual Arts: The Andy Warhol Foundation for the Visual Arts was established in 1987. In accordance with Andy Warhol’s will\, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn\, directly or indirectly\, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting\, exhibiting and interpreting a broad spectrum of contemporary artistic practice. URL:https://www.bigcar.org/event/prince-rama/ LOCATION:Listen Hear\, 2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Indiana/Indianapolis:20151107T110000 DTEND;TZID=America/Indiana/Indianapolis:20151107T170000 DTSTAMP:20260407T110734 CREATED:20151102T180928Z LAST-MODIFIED:20151103T104403Z UID:3252-1446894000-1446915600@www.bigcar.org SUMMARY:Tailgate for Nothing DESCRIPTION:Saturday\, Nov. 7\, 11 a.m. to 5 p.m.\, you’re invited to the parking lot at Big Car’s Tube Factory artspace at 1125 Cruft St. Our buds at Hoosier Beer Geek are collecting $10 per vehicle\, with the proceeds supporting Big Car programs. \nSo grab a grill\, some grill-able food\, your favorite beverages\, and prepare to share. Read Hoosier Beer Geek Jason Larrison’s tailgating tips and etiquette here. And while The Tube is still very much under renovation\, the bathrooms are functional. \nRSVP here and donate here. URL:https://www.bigcar.org/event/tailgate-for-nothing/ LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States CATEGORIES:Garfield Park,Outdoor Activities ATTACH;FMTTYPE=image/png:https://www.bigcar.org/wp-content/uploads/2015/11/Tailgate.png END:VEVENT END:VCALENDAR