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X-WR-CALDESC:Events for Big Car
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DTSTART;TZID=America/Indiana/Indianapolis:20190503T180000
DTEND;TZID=America/Indiana/Indianapolis:20190804T150000
DTSTAMP:20260426T161447
CREATED:20190311T154109Z
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UID:7810-1556906400-1564930800@www.bigcar.org
SUMMARY:Yvette Mayorga-High Maintenance
DESCRIPTION:Yvette Mayorga’s multi-media installation High Maintenance is a flamboyantly chilling revelation\, offering unsettling insights into how the forces of violence\, make-believe\, and consumerism infiltrate the contemporary immigrant experience\, and subvert our understanding of identity. \nDrawing inspiration from the politics of America’s southern border with Mexico\, her own life as a first generation Latinx-American\, and her parents’ often dangerous experiences as immigrants in the 1970s\, Mayorga’s work examines how pain and uncertainty are covered with a veneer of celebration. \nHigh Maintenanceconjures up an absurdist\, Rococo Candy Land\, where frivolity intersects with fear\, as soldiers and ICE agents come face to face with quinceanera cakes\, white swans\, and Polly Pocket adventure sets. \nEvery aspect of Mayorga’s built world is adorned with spectacular\, rapacious iconography. Monumental fashion accessories and gendered toys interrogate the true meaning of “status\,” while decadent\, Colonial aesthetics remind us how fragile national identity is\, and how frequently it depends on appearances. \nIs this a place of joy or fear? Does it welcome us in all our diversity\, or demand our assimilation? Like the guileless inhabitants of Mayorga’s thickly impastoed paintings\, the second we enter this uncanny\, celebratory-looking tableau\, we realize we are caught between a nightmare and a dream. \nIn partnership with Nopal Cultural and University of Indianapolis. \nMade possible by The Andy Warhol Foundation for the Visual Arts\, Christ Church Cathedral\, The Arts Council of Indianapolis\, Managed Health Services – MHS\,and Sun King Brewing Company. \nYvette Mayorga lives and works in Chicago. She earned her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2016. Recent solo exhibitions include the Lubeznik Center for the Arts\, EXPO Chicago 2018\, The Vincent Price Art Museum\, The Chicago Cultural Center\, and The National Museum of Mexican Art. Her work has been featured in Hyperallergic\, The Guardian\, Art News\, and Teen Vogue\, among others.
URL:https://www.bigcar.org/event/yvette-mayorga-high-maintenance/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190802T180000
DTEND;TZID=America/Indiana/Indianapolis:20190802T220000
DTSTAMP:20260426T161447
CREATED:20190719T171138Z
LAST-MODIFIED:20190719T171138Z
UID:8172-1564768800-1564783200@www.bigcar.org
SUMMARY:Masters Retrospective II: Social Practice & Placemaking
DESCRIPTION:The second cohort in UIndy’s MA in Social Practice Art exhibits their work from the last year in many neighborhoods in Indianapolis and from around the state\, including interactive and participatory projects in the gallery. \n*Closing Reception: Friday\, August 16\, 5-7 pm (Remarks at 6)\nGallery is free to attend & open during regular Tube Factory Artspace hours. \nEve Eggleston presents a series of social practice art projects to raise community awareness of the plight of the pollinators. This recent body of work re-purposed refuse in upcycling at Rabble Coffee in Indianapolis. Her current project is using beehives for education about urban agriculture\, sustainability\, environmentally healthy practices\, and pollinator value at IPS 39: William McKinley as part of their Learning Nature Center and at Jason Micheal Thomas’s urban farm\, Indy Urban Awareness Gardens. William McKinley hosts a live honeybee hive in their gardens and is a part of a curriculum to understand honeybees and other pollinators. Through working with their Garden Club\, ran by several teachers and Keep Indianapolis Beautiful\, the hive will provide pollination for their gardens and orchard. This project also included a full day of lectures\, demonstrations\, and activities for every class to familiarize the students with these issues. Part of this discussion was learning to understand not only the benefits of honeybees\, but all pollinators. To address native bee populations\, her thesis project expanded to include creating pollinator hotels with the Green Team of Groundwork Indy. These ongoing projects are always looking to expand. Please contact Eggleston with any inquiries or any opportunities. \n— \nIndianapolis artist Kindness AK is shaped by internal and external conflicts that have a tendency to manifest itself physically through the creative arts. Although some people would choose one specific platform to focus in\, she is unconsciously drawn to multiple artistic mediums and media. Her many life experiences\, ranging from scientific\, therapeutic\, and artistic\, have become embedded tools which she uses to rediscover and accept a more competent\, accountable\, and positive self-narrative. The M.A. in Social Practice Art program has helped her align her passions by exploring how placemaking can encourage healing-centered engagement through community building and self-reflection. Her exploration is through a series of projects that are based on personal and professional interest. Projects displayed include Transformative conversations\, Affirmation mirrors (individual and community)\, Trafficking\, and Lyles Station. These projects all in one way or another narrate how to enhance or identify the already “existing power of resiliency” within the self and/or community to hopefully initiate more access to social justice. Her broader objective is to increase resiliency and empowerment\, using art as a tool to promote critical reflection and build a more culturally inclusive lens of social justice and healing. \n— \nWriter and memoirist Sarah J. Wilson has deepened her exploration of Indianapolis’ Eastside neighborhoods through her social practice and placemaking projects. She grew up there and continues to live there. By collecting artifacts and oral history\, she has expanded her creative practice in writing and memoir to more directly engage residents on the Eastside and investigate its complicated and enduring history. This summer\, she has worked on the Eastside to collect local history and artifacts\, especially from youth and the aging population\, to create interactive social practice projects to commemorate this history and to celebrate its future.
URL:https://www.bigcar.org/event/masters-retrospective-ii-social-practice-placemaking/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
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DTSTART;TZID=America/Indiana/Indianapolis:20190802T180000
DTEND;TZID=America/Indiana/Indianapolis:20190802T220000
DTSTAMP:20260426T161447
CREATED:20190723T164208Z
LAST-MODIFIED:20190723T164208Z
UID:8182-1564768800-1564783200@www.bigcar.org
SUMMARY:Jessica Uçul: White: Trash\, Washed\, Lies
DESCRIPTION:White: Trash\, Washed\, Lies features work made from the artist’s personal collection of photography and video. \n\nAbout the artist \nJessica Uçul is an American artist who uses a variety of media\, including found and archival imagery and everyday objects to make photographs\, collages\, videos\, and sculpture. Uçul’s work maintains a regard for kitsch as a cultural expression of loss. Born and raised in Franklin\, Indiana\, Uçul received her MFA in Fine Arts from the School of Visual Arts. She currently lives and works in Indiana.
URL:https://www.bigcar.org/event/jessica-ucul-white-trash-washed-lies/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/07/01_Ucul_J_detail-copy.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20190810T190000
DTEND;TZID=America/Indiana/Indianapolis:20190810T220000
DTSTAMP:20260426T161447
CREATED:20190719T172413Z
LAST-MODIFIED:20190719T172413Z
UID:8175-1565463600-1565474400@www.bigcar.org
SUMMARY:Cry Salon
DESCRIPTION:Featuring readings by Sammi Skolmoski\, William Joseph Gass\, and Jeremy Kennedy / Soundtracked by John Dawson and Jared Landberg\n\n\nAbout Performance:\n\nSammi Skolmoski\, William Joseph Gass\, and Jeremy Kennedy will present their contributions to the recently released book “Cry List”\, a collection of essays on the topic of crying\, along with a variety show other of poetic conversations\, and short plays. The soundtrack for the evening will be provided by John Dawson and Jared Landberg.\n\n— \nBios: \n\nSammi Skolmoski is a writer and fiber artist born\, living\, and probably dying in Chicago. She is the managing editor at Featherproof Books and a contributor at Reductress\, the Hard Times\, Bandcamp\, and elsewhere. Her first book\, a translation of several shooting screenplays by the Dardenne brothers from their original French\, came out in June. \nWilliam Joseph Gass (St. Louis) has worked in the direct patient caregiving industry since 2012. His wordage has been featured in publications including and from Art Papers\, Universal Love Upload\, and Penny-Ante\, among others. He is happily partnered with Dr. Monica Sentmanat and their pets Reagan (MacNeil) and Adele (Bertei). \nSince the late 1990’s\, Jeremy Kennedy has been creating and exhibiting sound\, artwork\, and concepts in both community and academic settings. Before moving to Los Angeles in 2009\, the largely self-taught artist spent over a decade living and working in Bloomington\, Indiana. Kennedy is an active visual artist\, writer\, and sound-maker\, as well as co-founder and playwright with P/Sicho Street Theatre Company\, and a founding editor of Rebel Hands Press. \n— \n\nAbout: Cry List \nContributors: Chelsea Rector\, Jamie Iacoli\, Jeremy Kennedy\, Sammi Skolmoski\, William Gass \nPhotography: Ang Wilson \nCrying is nothing other than itself. Metaphor is a construct that brings crying out of itself… These essays are accounts of crying\, and the essay lists are not metaphors. It is a way for the authors to say that these things have takenthem\, emotionally\, directly. No metaphors. What these essays account is the form of agitation we call crying. From joy to sorrow\, the items listed explore the questions\, what does it take/what makes us cry?. The lists are a conceptual framework\, organizing the otherwise indomitable act of crying. \nThe essays each list five items that make the authors cry… Unlimited in range\, about the tangible or abstract\, the essays also ask you\, the reader\, to think about when you cry. “Cry List” is a collection of insights on opening the hermetically sealed core of crying through connection with another form of expression that appears outside the body. Scored throughout with watery photographic notation\, “Cry List” assembles a world of feeling\, tangential to objective reality.
URL:https://www.bigcar.org/event/cry-salon/
LOCATION:Listen Hear\,  2620 Shelby 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/2019/07/Cry-List_-Promo_Indy_sm.jpg
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