BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Big Car
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:20220313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20221106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20220820T150000
DTEND;TZID=America/Indiana/Indianapolis:20220820T170000
DTSTAMP:20260405T020513
CREATED:20220724T163504Z
LAST-MODIFIED:20220724T163504Z
UID:10123-1661007600-1661014800@www.bigcar.org
SUMMARY:Dear Black Girl with Tamara Winfrey Harris
DESCRIPTION:A public reading and discussion around the book “Dear Black Girl: Letters from Your Sisters About Stepping Into Your Power.”\n\nTamara 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.”\nTamara 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.\nTamara’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.\nTamara 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.\nTamara 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.\n\nMade 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.
URL:https://www.bigcar.org/event/dear-black-girl-with-tamara-winfrey-harris/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:conference,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/07/dearblackgirl.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20221104T180000
DTEND;TZID=America/Indiana/Indianapolis:20221211T180000
DTSTAMP:20260405T020513
CREATED:20221025T161122Z
LAST-MODIFIED:20221026T154351Z
UID:10455-1667584800-1670781600@www.bigcar.org
SUMMARY:Docey Lewis-Living Threads
DESCRIPTION: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.\n\nAmong 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.\n\nThe 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.”\n\nAbout Docey Lewis\n 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.\n\nYet\, 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.\n\nNow 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.\n\nAmong 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.\n \nOpen 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.\n \nSocial 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.\n\n\nImage:Warbler Quilt\nThe 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.
URL:https://www.bigcar.org/event/docey-lewis-living-threads/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/10/shiboriquiltsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230102T190000
DTEND;TZID=America/Indiana/Indianapolis:20230102T223000
DTSTAMP:20260405T020513
CREATED:20221222T164524Z
LAST-MODIFIED:20221222T164524Z
UID:10558-1672686000-1672698600@www.bigcar.org
SUMMARY:JEANNE DIELMAN\, 23 QUAI DU COMMERCE\, 1080 BRUXELLES
DESCRIPTION: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.\nThe 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.\nIn 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.\nCast: Delphine Seyrig\, Jan Decorte\, Henri Storck\nDirector: Chantal Akerman\nWriter: Chantal Akerman\nLength: 202 minutes\nNot Rated\n(1975)\n\nAbout Akerman\nChantal 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.\nRecent 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).
URL:https://www.bigcar.org/event/jeanne-dielman-23-quai-du-commerce-1080-bruxelles/
LOCATION:Kan-Kan Cinema\, 1258 Windsor St.\, Indianapolis\, IN\, 46201\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,The Show Room,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/12/jeandielman-1600x900-c-default.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230106T180000
DTEND;TZID=America/Indiana/Indianapolis:20230319T180000
DTSTAMP:20260405T020513
CREATED:20221125T192752Z
LAST-MODIFIED:20221216T181308Z
UID:10521-1673028000-1679248800@www.bigcar.org
SUMMARY:Betsy Stirratt: Unearthing   
DESCRIPTION:In Unearthing\, Stirratt explores how natural and cultural objects are presented in collections and museum settings\, and how we preserve\, classify\, and display them.  \nFrom 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. \nThe 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. \nMore 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. \nThe 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. \nAdditionally\, 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. \nCollections 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.”                                                                        \nAbout the artist                                                                               \nBetsy 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. \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nMade possible by The Arts Council of Indianapolis\, The City of Indianapolis and the Christel DeHaan Family Foundation.
URL:https://www.bigcar.org/event/betsy-stirratt-unearthing/
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/2022/11/stirrat.AngelMound.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230128T120000
DTEND;TZID=America/Indiana/Indianapolis:20230128T200000
DTSTAMP:20260405T020513
CREATED:20221221T162559Z
LAST-MODIFIED:20221229T171318Z
UID:10541-1674907200-1674936000@www.bigcar.org
SUMMARY:Mvhayv Radio Marathon
DESCRIPTION:Mvhayv Radio is a language and cultural preservation project by multi-disciplinary artist\, Elisa Harkins (Cherokee/Muscogee) based in Tulsa\, Oklahoma. \nAll day we will air episodes 1-10 to celebrate kicking off a new season starting Feb 4 with episode 11. \nEpisode 1 – Can you dance to this? \nEpisode 2 – Songs to find your radical lover to \nEpisode 3 – TikTok \nEpisode 4 – All Indigenous \nEpisode 5 – Africa \nEpisode 6 – Muscogee (Creek) & Seminole Hymns \nEpisode 7 – All Indigenous spoken word\, noise\, and moccasin gaze. \nEpisode 8 – Music to bake cookies to. \nEpisode 9 – All Indigenous poems and music. \nEpisode 10 – All Indigenous poems and music. \nHarkins 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. \nShe 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. \nThis program is made possible by National Endowment for the Arts and The Andy Warhol Foundation for the Visual Arts.
URL:https://www.bigcar.org/event/mvhayv-radio-marathon/
LOCATION:99.1 WQRT\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2020/04/Radio_III.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230407T180000
DTEND;TZID=America/Indiana/Indianapolis:20230521T150000
DTSTAMP:20260405T020513
CREATED:20230307T204820Z
LAST-MODIFIED:20250212T165026Z
UID:10732-1680890400-1684681200@www.bigcar.org
SUMMARY:Jason Gray: Cthutopia
DESCRIPTION:“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.\n\nAs 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.\n\nThe 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?\n\nIn 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.”\n\nAbout the artist\nJason 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.\nGray 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.\n\nThis exhibit is made possible by The Arts Council of Indianapolis\, The City of Indianapolis and Allen Whitehill Clowes Foundation.\n\nJeremy Efroymson Gallery\nOpening events April 7\, 6-10pm & May 5\, 6-10pm
URL:https://www.bigcar.org/event/jason-gray-cthutopia-2/
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/2023/02/Cthutopia.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230517T193000
DTEND;TZID=America/Indiana/Indianapolis:20230517T210000
DTSTAMP:20260405T020514
CREATED:20230427T020546Z
LAST-MODIFIED:20230427T020546Z
UID:10846-1684351800-1684357200@www.bigcar.org
SUMMARY:African Dance with Uzuri
DESCRIPTION: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!\n$10
URL:https://www.bigcar.org/event/african-dance-with-uzuri-4/
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/2023/01/IMG_7049.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230602T080000
DTEND;TZID=America/Indiana/Indianapolis:20230723T150000
DTSTAMP:20260405T020514
CREATED:20230502T193453Z
LAST-MODIFIED:20250212T164936Z
UID:10861-1685692800-1690124400@www.bigcar.org
SUMMARY:Nasreen Khan: Cic·a·trix
DESCRIPTION:The narrative of femininity is pain.\nCicatrix: the scar of a healed wound. In botany\, cicatrix refers to the keloid mark left on a tree after a piece of it has been removed. In this body of work\, I am exploring the personal maternal scar of being taken away from the only real parental figure I had until that point in life\, the complex scars of colonialism and immigration\, and the physical scars of my own body.\n\nI spent the first part of my life in Senegal\, West Africa. I was raised by my nanny\, a Senegalese woman named Saly. In Senegal there is a practice called diamou\, or gum tattooing and burning. A hot needle is repeatedly poked into a woman’s gums. Then a mixture of burnt oil and shea butter is rubbed into the wounds to darken the space around the teeth. This is supposed to make the woman more beautiful\, but also to train her to tolerate pain. When I was 9\, Sali began tattooing my gums to blacken them. She was never able to finish. I spent the second half of my life in Indonesia. Saly died the year after we left Africa.\n\nThe architect and urban planner\, Le Corbusier\, wrote about humanity as born in a state of insufficiency\, therefore needing “auxiliary organs.” For Le Corbusier\, our built environments\, including building architecture\, become prosthetic extensions of our insufficient human bodies. His thoughts form the basis for contemporary prosthetic theory\, often cited in the world of AI and tech innovation. For example\, a computer mouse pad becomes an extension of our internal understanding of reality\, as it is the “limb” we use to create changes in our virtual realities.\n\nImmigration is both an amputation and a taking on of prosthesis through cultural assimilation in a new built environment. The relationships we leave behind are an extension of ourselves. Their separation leaves a wound\, then a scab\, then a callous on which the new ones rest like a prosthetic limb.\n\nI draw on concepts of scarification and prosthesis in this body of work. The collections of dots and lines that form many of the backgrounds are translated from traditional African scarification patterns. I choose to work burning on wood\, mirroring the tattoos on my gums. The tree limbs and bark are functionally akin to scarred skin and flesh.\n\nThe cultural narrative of femininity I was taught as a child was –to be woman was to endure pain–and to be a good woman\, was to endure pain quietly. Once I immigrated to America\, the messaging about what it meant to be a woman changed only slightly. I am in pain. The pain I experience is often dismissed\, by the immigration and medical systems\, by male partners\, by respectability culture.These works are manifestations of the silent scaring and re-wounding that many women experience. They challenge and subvert these narratives through their size and emotionality. The use of a once living medium is a metaphor for womanhood and immigration.\nRun your fingers on the raised welts in the wood. Touch pain.\n\nAbout the Artist\nNasreen Khan (she/her) is a writer\, visual artist\, teacher\, and mother. She grew up in West Africa and Indonesia and has recently made a home in Indianapolis. Her teaching and artistic practices\, rooted in questions of equity and earth-based spirituality\, grapple with questions of belonging; celebrate cultural margins; and confront colonization\, racism\, and misogyny.\nIG: @heyitsnasreen\nWebsite: https://nasreen-khan.com/\n\nJune 2-July 23\nJeremy D. Efroymson Gallery\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\nMade possible by The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Foundation and more.
URL:https://www.bigcar.org/event/nasreen-khan-cic%c2%b7a%c2%b7trix/
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/2023/05/BlueWoman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230602T180000
DTEND;TZID=America/Indiana/Indianapolis:20230723T180000
DTSTAMP:20260405T020514
CREATED:20230517T210310Z
LAST-MODIFIED:20230531T171635Z
UID:10877-1685728800-1690135200@www.bigcar.org
SUMMARY:Haykidd &Thee Black Card-Hey Black Kidd
DESCRIPTION:“Hey Black Kidd” is a collaborative body of work created by painter\, Haykidd (Greg Rose) and mixed media artist\, Thee Black Card (Sarah Jene). The exhibit is a celebration of self\, full realization and acknowledgement of who you are\, where you are and what you have– from their perspectives.\n\nPairing Thee Black Card’s rich cultural mixed media work and Haykidd’s imaginative approach to storytelling\, these artists tell a story of resilience\, joy and virtue in 14 pieces.\n\nThe exhibit is inspired by this poem written by Useni Perkins:\n“Hey Black Child\nDo you know who you are\nWho you really are\nDo you know you can be\nWhat you want to be\nIf you try to be\nWhat you can be\nHey black child\nDo you know where you are going\nWhere you’re really going\nDo you know you can learn\nWhat you want to learn\nWhat you can learn\nHey Black child\nDo you know you are strong\nI mean really strong\nDo you know you can do\nWhat you want to do\nIf you try to do\nWhat you can do\nHey Black child\nBe what you can do\nLearn what you must learn\nDo what you can do\nAnd tomorrow your nation\nWill be what you want it to be”\n\nThis exhibit opens in our Listen Hear Gallery located at 2625 Shelby St.
URL:https://www.bigcar.org/event/haykidd-thee-black-card-hey-black-kidd/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Listen Hear,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/05/haykidd.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230603T130000
DTEND;TZID=America/Indiana/Indianapolis:20230603T150000
DTSTAMP:20260405T020514
CREATED:20230531T011156Z
LAST-MODIFIED:20230531T011156Z
UID:10926-1685797200-1685804400@www.bigcar.org
SUMMARY:Boo! A knitting/graffiti project with Mary Jo Bayliss
DESCRIPTION:A free gathering where knitting and graffiti collide! Simultaneously inspired by traditional knitting and graffiti\, this ever-evolving piece combines fiber adjacent activities\, coloring sheets derived from graffiti and knitting motifs\, and opportunities for participants to share their creative path stories.\nYou are invited to come join the fun\, because without YOU\, Boo\, this project can’t happen.\nAbout the artist\nMary Jo Bayliss specializes in creating environments that help people feel at ease using space\, light and color to achieve these goals.
URL:https://www.bigcar.org/event/boo-a-knitting-graffiti-project-with-mary-jo-bayliss/
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/2023/05/maryjobayliss.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230617T140000
DTEND;TZID=America/Indiana/Indianapolis:20230617T153000
DTSTAMP:20260405T020514
CREATED:20230517T211927Z
LAST-MODIFIED:20230517T214237Z
UID:10887-1687010400-1687015800@www.bigcar.org
SUMMARY:Yeabsera Tabb Gallery Talk
DESCRIPTION:Join Yeabsera Tabb as she gives an in-depth tour of her works in her exhibit\, “Tezeta.”  Tabb is an interdisciplinary visual artist with a focus in printmaking and textiles. Her work explores the intersectionalities and liminal space contained within one’s personal identity. \nAs an artist\, Yeabsera often struggles to reconcile her pain\, bewilderment\, and anger with societal expectations to create beauty. Acknowledging anger\, joy\, and resistance\, her work exists in a complicated middle ground\, invoking the recognition and appreciation of disparate feelings and experiences. \nAfter graduating with degrees in both Design for Social Impact and Fine Arts\, Yeabsera held multiple solo and group shows in Indianapolis including a group show at Newfields. Additionally\, she was one of 10 Black woman artists named as an Emerging Visionary Artist by Shea Moisture.
URL:https://www.bigcar.org/event/yeabsera-tabb-gallery-talk/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/05/18A2565B-36A8-423D-8A00-7EA7B0DF7F7C.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230625T130000
DTEND;TZID=America/Indiana/Indianapolis:20230625T150000
DTSTAMP:20260405T020514
CREATED:20230531T013318Z
LAST-MODIFIED:20230531T013318Z
UID:10946-1687698000-1687705200@www.bigcar.org
SUMMARY:Andrea Jandernoa- Power Plant Grant Juror Artist Talk
DESCRIPTION:Learn about artist Andrea Jandernoa\, a juror for our 2023 Power Plant Grant. Jandernoa is an award-winning artist and educator who specializes in community-based arts programming. She holds an MA in Philosophy and an MFA in Integrative Studio Practice from Herron School of Art & Design. Jandernoa experiments with intentional processes\, materials\, and forms\, in order to discover metaphors that can be applied to social contexts or to challenge inequitable power structures. This results in a highly collaborative and interdisciplinary art practice. Jandernoa also maintains a studio space at the Circle City Industrial Complex where she paints and exhibits oil paintings.\n\nAbout the The Power Plant Grant\nPower Plant Grants support — on an annual basis — visual artists who live\, work\, or run spaces in Indianapolis with project grants of $10\,000. Applications for this round are due by July 10\, 2023.\n\nEach year — based on selections by an independent panel — 6 individual artists or teams will receive awards of $10\,000.\n\nEligible applicants are visual and or multidisciplinary artists who create original work in painting\, drawing\, sculpture\, book art\, ceramics\, fiber\, printmaking\, digital and media works\, film\, video\, photography\, performance art\, sound art\, social practice and or hybrid or interdisciplinary practice of any or all of the above.\n\nArtists must be over 21 at the time of the application\, and may not be full-time students.\n\nEmployees or board members (or immediate family members of employees or board members) of Big Car Collaborative are not eligible for this opportunity.\nTeams\, partnerships\, and unincorporated individuals running spaces are eligible. Nonprofit organizations are not.\n\nEligible projects are ones that can be primarily supported by grant funds. Much larger projects that would require far more funding are not eligible.\nPrevious Power Plant Grant recipients awarded in the previous year are not eligible to apply for this current round.\n\nHow it works\nApply by July 10\, 2023. A panel of four judges\, three Indiana-based and one out-of-state\, will award six artists\, artist teams\, or artist-run space project grants of $10\,000 — with a total of $60\,000 granted in 2023.\nTimeline:\nFriday\, May 5 – Application opens\nMonday\, June 5\, 7-8 pm — Virtual information session.\nMonday\, June 26\, 7-8 pm — Information session (in-person)\nMonday\, July 10 – Applications close online\, at 11.59 PM EST\nFriday\, August 11 – All applications notified if they will proceed to the final round\nSaturday\, August 26\, 9:30 am — 6pm — Artists’ presentations at Selection Panel meeting in Indianapolis*\nMonday\, August 28 – Award recipients notified\nMonday\, September 18 – Public Announcement of 2023-24 Awards
URL:https://www.bigcar.org/event/andrea-jandernoa-power-plant-grant-juror-artist-talk/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:classes,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/05/Andrea-Jandernoa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230707T180000
DTEND;TZID=America/Indiana/Indianapolis:20230721T150000
DTSTAMP:20260405T020514
CREATED:20230517T210928Z
LAST-MODIFIED:20230517T210941Z
UID:10882-1688752800-1689951600@www.bigcar.org
SUMMARY:Marianne Glick: What Lies Beneath
DESCRIPTION:“All the paintings in this exhibit have multiple layers. The initial impression of the painting from a distance will change as you get closer-you will see more depth and dimension -things you maybe didn’t notice at first. I think this is a reflection of life. Often we make judgements based on first impressions\, but once we get closer to someone\, we realize that there is much more…beneath the surface.”– Marianne Glick\n\n\nAbout the artist\nLooking for a way to positively approach the winter months after a career in corporate training\, Marianne began painting in September of 2005. Her love of gardening inspired many of her early paintings. Most of her recent work is abstract. She often uses more than one medium in her work\, combining watercolor\, acrylic and some collage to create pieces that reflect her exuberant nature. “I have worked in a variety of media and am now focusing on acrylics. I enjoy the use of rich colors and textures in my work. Exploring the interplay between transparent & opaque\, warm & cool\, brush work and pouring fascinates me. Most recently\, I have been delving deeper by creating multiple layers and sanding back to reveal parts of early layers in the final painting.”\n\nMarianne’s paintings have been accepted in juried competitions sponsored by the Hoosier Salon\, California Art Day\, Indianapolis Art Center\, International Society of Acrylic Painters\, International Society of Experimental Artists\, Midwest Abstract National Exhibit\, Watercolor Society of Indiana\, and Women’s’ Works . Marianne likes to donate paintings to benefit some of her favorite non-profit organizations. To date she has donated paintings or profits from paintings to Women’s Fund\, Dress for Success\, Community Health Network Foundation\, Joy’s House\, Girls\, Inc.\, Planned Parenthood\, Indianapolis Symphony\, Indianapolis Library and United Way.\nMarianne now serves on the board of directors for the Glick Family Foundation\, the Gene Glick Company\, the Glick Housing Foundation\, ASCEND\, Central Indiana Community Foundation\, Ivy Tech Community College\, RISE Indy\, TeenWorks and United Way of Central Indiana.\nHer personal mission is to ignite\, inspire and direct energy for positive action. Her paintings allow her to colorfully express her mission and hopefully bring joy to those who view them.
URL:https://www.bigcar.org/event/marianne-glick-what-lies-beneath/
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/2023/05/123.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230714T110000
DTEND;TZID=America/Indiana/Indianapolis:20230714T160000
DTSTAMP:20260405T020514
CREATED:20230630T195304Z
LAST-MODIFIED:20230630T195304Z
UID:11014-1689332400-1689350400@www.bigcar.org
SUMMARY:Cyanotype Workshop with Asli Narin
DESCRIPTION:Cyanotype is a camera-less photography made out in the sun\, rather than in a darkroom. You place objects — such as plants — on top of a piece of photo-treated paper\, and then use the sun to expose the paper. The result is an image that is an exact outline of the object. It’s a fun and magical way to engage photography! Although it may be new to modern people\, cyanotype has been around since photography was invented in the 1800s.\n\nCome explore the creative possibilities of this fascinating process with Indianapolis-based artist Asli Narin. Narin often incorporates cyanotype into her artistic practice. She will give a short talk about cyanotype at the beginning of each hour\, and then you will make your own cyanotypes with Narin’s assistance.\n\nWe will have some objects on hand to experiment with\, but feel free to bring your own objects. Flat items usually work best\, and cyanotype can be messy\, so precious things like family heirlooms should probably stay at home. All other necessary materials will be provided free at the workshop.\n\nThis activity is best suited for artists 7+ years old; minors must be accompanied by an adult.\n\nAsli Narin (1985\, Istanbul) is a visual artist and an educator based in Indianapolis\, US. Narin’s artistic practice is based on photography as well as video\, installation\, and performance\, inspired by nature and the cities. Taking inspiration from walking and wandering\, she explores the human experience through forms and abstractions. Her subjects are often the thresholds and dualities of life.\n\nImage: Anna Atkins is famous for these cyanotypes she made of British algae in the 1840s. A book she made out of her cyanotypes is considered to be the first photobook ever made.\n\nIn partnership with Aurora PhotoCenter for SPARK on the Circle
.
URL:https://www.bigcar.org/event/cyanotype-workshop-with-asli-narin/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Downtown Indy,Monument Circle,Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/06/AnnaAtkins.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230804T180000
DTEND;TZID=America/Indiana/Indianapolis:20230924T150000
DTSTAMP:20260405T020514
CREATED:20221221T200453Z
LAST-MODIFIED:20250212T164705Z
UID:10552-1691172000-1695567600@www.bigcar.org
SUMMARY:Brian DePauli: Not Sorry We're Closed
DESCRIPTION:Not Sorry We’re Closed is an exhibition inspired by and questions American society’s live-to-work mentality\, and is comprised primarily of hyper-realistic oil paintings. DePauli’s pieces preserve and draw attention to objects and scenes from the lighter side of daily life: a worn bicycle seat\, a chimney on the grill in summer\, a homemade skate ramp in a fenced-in backyard\, a ballcap lying in the garden proclaiming “RETIRED\, No Phone! No Fax! No Stress! No Worries!” The surface meaning of these items and scenes are emphasized as a lifestyle to aspire to rather than objects to contemplate. \n“I am concerned with the cultural and environmental effects of America’s obsession with work\, as well as the physical and mental health ramifications\,” says DePauli. “In 1930\, distinguished economist John Maynard Keynes published a short essay\, ‘Economic Possibilities for Our Grandchildren\,’ where\, among other ideas\, he states that ‘by 2030 the standard of living would be dramatically higher; people\, liberated from want (and without the desire to consume for the sake of consumption)\, would work no more than fifteen hours a week\, devoting the rest of their time to leisure and culture.’ My work envisions a world where his prediction has come true.” \nAbout the artist \nBrian DePauli received his MA in visual art from Fontbonne University. His work has been exhibited widely throughout the St. Louis area at galleries including Fort Gondo\, Boots Contemporary Art\, and White Flag Projects\, as well as nationally at Around the Coyote in Chicago\, IL\, and The Berkeley Art Center in Berkeley\, CA. DePauli’s works have been featured in several publications and platforms\, such as New American Paintings and BOOOOOOOM. He has participated in residencies at The Luminary in St. Louis\, MO\, and Paul Art Space in Florissant\, MO. Brian DePauli lives and works in Saint Louis. \nThis exhibit is made possible by the Indy Arts Council\, The City of Indianapolis and Allen Whitehill Clowes Foundation. \n\nTube Factory artspace \nJeremy D Efroymson Gallery \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nBig Car Collaborative brings art to people and people to art\, sparking creativity in lives to support communities. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists. \nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity. \nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org.
URL:https://www.bigcar.org/event/brian-depauli-not-sorry-were-closed/
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/2022/12/depaulitub.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230816T160000
DTEND;TZID=America/Indiana/Indianapolis:20230816T180000
DTSTAMP:20260405T020514
CREATED:20230815T230249Z
LAST-MODIFIED:20230815T230303Z
UID:11081-1692201600-1692208800@www.bigcar.org
SUMMARY:Cut Paper Art with Christina Hollering
DESCRIPTION:Join artist Christina Hollering in an all-ages cut paper collage workshop celebrating the creative possibilities of paper. Learn how to intuitively create compelling compositions using the principles of design. All materials are provided; just come prepared to cut\, paste\, and play!\n\nChristina Hollering is a cut paper artist and associate professor at Herron School of Art and Design. Her artwork centers around themes of biology\, the environment\, and the interplay between art and science\, inspiring viewers to contemplate their relationship with nature.\n\nSPARK on the Circle is an ongoing partnership between Big Car Collaborative\, Downtown Indy\, City of Indianapolis Department of Metropolitan Development\, the Capital Improvement Board\, and the Indiana War Memorials Commission.\nWhat? SPARK brings a free\, fun\, playful\, welcoming\, and art-filled park to the heart of Indianapolis. Here on Monument Circle\, you’ll find comfortable places to sit in the shade\, free games to play like ping pong and chess\, a cafe serving food and drink\, art experiences\, and special offerings like live\, local music. Big Car Collaborative approaches its aspects of SPARK on the Circle as a site and community specific public art project. Read more about Big Car Collaborative’s approach to placemaking and socially engaged art.\nWhen? Visitors can enjoy SPARK on the Circle from 11 a.m. until dusk each day until November 3.
URL:https://www.bigcar.org/event/cut-paper-art-with-christina-hollering/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Downtown Indy,Monument Circle,Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/1-633x1024.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230829T120000
DTEND;TZID=America/Indiana/Indianapolis:20230829T130000
DTSTAMP:20260405T020514
CREATED:20230815T232112Z
LAST-MODIFIED:20230815T232112Z
UID:11105-1693310400-1693314000@www.bigcar.org
SUMMARY:Lunch Break Live with Laura Balke presented by Lake City Bank
DESCRIPTION:Indiana native Laura K. Balke has been writing songs for as long as she can remember. Through the years her music has explored folk\, pop\, and country stylings while weaving tales from her life. Laura will be performing an acoustic set of songs from across her discography for Lunch Break Live.\n\nWho? SPARK on the Circle is an ongoing partnership between Big Car Collaborative\, Downtown Indy\, City of Indianapolis Department of Metropolitan Development\, the Capital Improvement Board\, and the Indiana War Memorials Commission.\n\nWhat? SPARK brings a free\, fun\, playful\, welcoming\, and art-filled park to the heart of Indianapolis. Here on Monument Circle\, you’ll find comfortable places to sit in the shade\, free games to play like ping pong and chess\, a cafe serving food and drink\, art experiences\, and special offerings like live\, local music. Big Car Collaborative approaches its aspects of SPARK on the Circle as a site and community specific public art project.\n\nWhen? Visitors can enjoy SPARK on the Circle from 11 a.m. until dusk each day until November 3.
URL:https://www.bigcar.org/event/lunch-break-live-with-laura-balke-presented-by-lake-city-bank/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Monument Circle,Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/unnamed-2-760x940.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230907T113000
DTEND;TZID=America/Indiana/Indianapolis:20230907T133000
DTSTAMP:20260405T020514
CREATED:20230531T012944Z
LAST-MODIFIED:20230901T015630Z
UID:10943-1694086200-1694093400@www.bigcar.org
SUMMARY:Lunch at Lockerbie Marketplace
DESCRIPTION:Join us for live music by Wick\, comfort dishes by Taste of Manila\, and Live music. Games like foosball\, ping pong\, chess & checkers\, and giant Jenga are also available for additional entertainment. \nAll events are free at 320 N New Jersey Street in the greenspace right off the Cultural Trail. \n\nAbout Wick \nJohn Wick and Andrew Gustin met at IU Bloomington in 2006 and quickly bonded over similar music tastes. In 2007 they moved to Indianapolis and started an Indie Rock band called The Dwellers. The Dwellers were prolific and inspired by the DIY spirit and self released over 10 albums. In 2013 The Dwellers final album ‘Less is More’ was released by Jon Roger’s local label HIFR. \nIn 2021 John and Andrew reunited to make an album of songs John wrote in college. They started a new band called Wick and enlisted Dan Johnson to play drums and had John’s siblings Katie Jones and Ian Wick contribute with backing vocals on the album. Angel Baby is the single from the Wick album called “Forest” which will come out later in the year. \nThe band was joined by former Dwellers bassist Eric Brock to fill out the lineup. \nAbout the project \nA free gathering where knitting and graffiti collide! Simultaneously inspired by traditional knitting and graffiti\, this ever-evolving piece combines fiber adjacent activities\, coloring sheets derived from graffiti and knitting motifs\, and opportunities for participants to share their creative path stories.\nYou are invited to come join the fun\, because without YOU\, Boo\, this project can’t happen. Mary Jo Bayliss specializes in creating environments that help people feel at ease using space\, light and color to achieve these goals.
URL:https://www.bigcar.org/event/boo-a-knitting-graffiti-project-with-mary-jo-bayliss-3/
LOCATION:Needler’s Market\, 320 N New Jersey\, Indianapolis\, IN\, 46204\, United States
CATEGORIES:classes,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/05/Wick.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20230921T113000
DTEND;TZID=America/Indiana/Indianapolis:20230921T133000
DTSTAMP:20260405T020514
CREATED:20230531T012541Z
LAST-MODIFIED:20230810T141350Z
UID:10938-1695295800-1695303000@www.bigcar.org
SUMMARY:Live music\, food & artist-led activities at Lockerbie Place
DESCRIPTION:Join us for live music by Awetree and food by Chomp’z Truck. Games like foosball\, ping pong\, chess & checkers\, and giant Jenga are available for additional entertainment. \nAbout Awetree \nAwetree is the ukulele-pop project of Indianapolis-based singer songwriter Audrey Coy. Lyrically inspired by the complexities of interpersonal relationships\, Awetree explores the sadness and hope of love and friendship. \n\nAll events are free at 320 N New Jersey Street in the greenspace right off the Cultural Trail.
URL:https://www.bigcar.org/event/boo-a-knitting-graffiti-project-with-mary-jo-bayliss-2/
LOCATION:Needler’s Market\, 320 N New Jersey\, Indianapolis\, IN\, 46204\, United States
CATEGORIES:Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/05/awetree-image-1.jpeg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231115T190000
DTEND;TZID=America/Indiana/Indianapolis:20231115T210000
DTSTAMP:20260405T020514
CREATED:20231101T174642Z
LAST-MODIFIED:20231101T174642Z
UID:11433-1700074800-1700082000@www.bigcar.org
SUMMARY:NIGHTJAR\, a poetry series with open mic
DESCRIPTION:Write a poem based on the prompt below and arrive early to sign up for our open mic! \nNIGHTJAR creates an inclusive space for all by bringing together spoken-word performers and page-based poets writing in narrative\, lyric\, and experimental forms. Every third Wednesday\, C.S. Carrier and Michelle Niemann host a reading and invite audience members to share their own poetic responses. \nNovember’s featured poet is Katy Didden. \nDidden’s most recent book\, Ore Choir: The Lava on Iceland\, is a collaboration with illustrator Kevin Tsing and was published by Tupelo Press in 2022. Her first book\, The Glacier’s Wake (2013)\, won the Lena-Miles Wever Todd Prize from Pleiades Press. She is an associate professor of English at Ball State University. \nNIGHTJAR open mic guidelines: \n317 words is the maximum length for open mic contributions. Creative takes on the prompt are fine\, but this must be new writing in response to the prompt! \nPrompt for open mic:\nWrite from the point of view of a seemingly inanimate or non-sentient object\, as Katy Didden does in her book\, Ore Choir. This can take the form of an interview: ask an object or natural feature a question. For example\, you could pick up a fallen leaf or a stone and ask it\, “What color is the sky?” or “Where will I find home?” or “How would you define love?” or “What will end war?”
URL:https://www.bigcar.org/event/nightjar-a-poetry-series-with-open-mic/
LOCATION:IN
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/09/NIGHTJAR-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240317T180000
DTEND;TZID=America/Indiana/Indianapolis:20240317T180000
DTSTAMP:20260405T020514
CREATED:20240314T133606Z
LAST-MODIFIED:20240314T133615Z
UID:11728-1710698400-1710698400@www.bigcar.org
SUMMARY:Artist Talk with Giselle Trujillio featuring artists from Indy Latina Artists
DESCRIPTION:Join Giselle Trujillo at the Tube Factory artspace for an artist talk about her latest art installation Hogar Dulce Hogar. In this event Giselle will talk about her start in her arts career\, the materials used in her arts practice and the importance of the collaborative process to create her work. In this event members of the Indy Latina Artists will join Giselle Trujillo in a small panel conversation about the experience of being members of a latina women’s group and working to elevate and support each other. \nHogar Dulce Hogar (Home Sweet Home) is an immersive experience that transports visitors to a timeless realm and invites them to engage with the artwork and touch\, feel\, and even dance with the pieces. Trujillo’ screen paintings contemplate making a home where you are — without losing the richness of your background. The house symbolize the beauty of diverse experiences and merge to form a tapestry of identity. This echoes the importance of preserving cultural roots while embracing new surroundings. Trujillo also offers subtle commentary on emigration and the essence of “home.”\nA notable facet of this installation is Trujillo’s inclusion of works by other members of the Indy Latina Artists group. They include: Mayra Espino\, Ana Escalante\, Vanessa Monfreda\, Mary Mindiola\, Rosa Maria Díes\, Frances Ruiz\, and Nettie Viera. Their pieces further enrich the overarching narrative and cultural tapestry woven by Trujillo’s vision.
URL:https://www.bigcar.org/event/artist-talk-with-giselle-trujillio-featuring-artists-from-indy-latina-artists/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240405
DTEND;VALUE=DATE:20240625
DTSTAMP:20260405T020514
CREATED:20240314T131801Z
LAST-MODIFIED:20250212T163721Z
UID:11723-1712286000-1719197999@www.bigcar.org
SUMMARY:Rachel Leah Cohn: Mem
DESCRIPTION:To walk through the installation\, Mem\, is to enter a myth. A kaleidoscope of the divine feminine\, there are fountains of light centering the space on the painting of Miriam– one of the seven major prophetesses of Israel. Miriam carried a rock from which flowed an abundant amount of water during the 40 years Jewish people searched for a place to live in the desert. Access to this water made survival of her people possible. Smaller paintings surround her\, as well as ritual objects such as papercuts and amulets.The title of Cohn’s show\, Mem\, is a Hebrew letter that has multiple significant meanings in the work. “I recently took a class about the complexity\, flexibility\, and magic within a single Hebrew letter. When searching for a title\, this one letter encapsulates many ideas I have considered while working in the studio. The shape can be seen as a wave and stands for the word for water\, mayim\,’ and Miriam and mikveh\, a ritual bath used for transformation\,” Cohn said. “Mem is related to feminine energy\, motherhood\, and the womb\, symbolizing protection\, safety\, and giving to others. \n“The letter also represents the number 40\, a mystical number that speaks to the cyclic nature of time\, moving from the past to the future. It is the time necessary for something to ripen and come to fruition\, which I relate to both the creative process and this moment for all of us\, which felt like an unmoored time of wandering and isolation\, but also rebuilding. For me\, it is an optimistic title\, a link between the world we see and the hidden alternatives. It is a hope for connection and transformation for the world\, seen through the lens of my experiences and the character of Miriam. \n”The exhibit is also a reflection of these experiences living life and traveling around the world to practice art as someone with Jewish heritage. Cohn has led an extraordinary life as an artist: traveling\, teaching\, living and learning in places like Qatar\, Denmark\, China\, and others.“The show is really about me thinking through my cultural heritage and my connection to Judaism\, which is something that has always been a part of my life\, but I think has been increasingly for-fronted by myself\, but also by others particularly while living in Qatar\, and some of the experiences that I had there that are both positive and negative\,” said Cohn\, now based in Indianapolis. “It felt impossible for me to talk about my own culture with my students. Even though expressing my heritage wasn’t always something that was super important to me\, I think the experience of working with them on representing their culture — and feeling like I needed to hide my own — made me think more about the valuing of sharing my experiences more directly.” \nCohn utilizes several different 2-D and 3-D artforms to create the exhibit\, although her background is originally in painting. The forms include — but are not limited to — sculpture\, painting and light manipulation. These artforms express a myriad of connecting themes and ideas within the exhibition.“I have been researching the traditional craft of papercutting and am pulling out the shapes and symbols that I’m interested in and then converting them into these laser-cut objects that I’m painting on top of\,” said Cohn\, who also works as the Foundations Coordinator and an Assistant Professor in Ball State University’s School of Art. “And then that’s within the idea of a fountain — which is ultimately the form of this project — that has to do with Miriam from the Torah and the well\, bringing water out of the desert to survive. \n”The water of this fountain is external\, but also internal. Cohn enjoys finding ways to use the materials she has at-hand to make works of art\, channeling inner resilience from her ancestors. And\, sometimes being resourceful means finding new peers to collaborate with\, wherever she is. Some of her notable works include Hot Pot Sauna Cart (2016) which was made for the Bi-City Biennale for Urbanism and Architecture in Shenzhen\, China; Lantern (Abu Nakhla Mirage) (2017)\, made in the desert in Qatar as an experimentation with light and location; and The Thunder\, Perfect Mind (2021)\, an exploration of light and themes in Judaism. Cohn said although she has an eclectic-to-the-eye portfolio\, all of her works have connections to her upcoming exhibit. \n“I think my practice — and adapting to what is there — has been a theme of my life\,” Cohn said. “When I look at my work over time\, I’m finding different ways to talk about the same things.”Tube Factory artspace Chief Curator Shauta Marsh met Cohn when she was a juror at Ball State in 2019. Marsh had traveled to Qatar with Tube Factory’s Mari Evans exhibit. And Cohn and Marsh talked about the otherness they’d each experienced in both the Middle East and the Midwest.“I don’t have a strong sense of identity. So often I work with artists who do\,” says Marsh. “Their work processes and relates stories tied to identity that are in jeopardy of being lost. My style as a curator is not an expert but an explorer. The exhibits at Tube Factory are an exploration with both the artist and the audience. I asked Cohn to use her work to explore her identity.” \nAs a multi-racial curator\, Marsh’s practice has centered around identity and exploration of the meaning of culture. And Cohn’s exhibition continues this path.“After thousands of years — humans are still so threatened by each other’s appearance\, by what each other speaks and believes\,” says Marsh. “But we know that people are more open to art than each other. My hope is that people will see the work and the story of it — and hopefully we can all work on feeling less othered\, less fearful of each other.” \nAbout the artist: \nRachel’s work is concerned with themes of communication\, mythology and rituals. Projects often attempt to give a physical form to something that is ephemeral\, through painting\, sculpture and installation.  Recently\, she lived in the desert where she was building lamps simulating mirages as an analog for memory and loss. Lately her research has been focused on Jewish mysticism and protective magic. Rachel exhibits her work nationally and internationally\, including ACRE Gallery (Chicago\, IL)\, Satellite Art Fair (Miami\, FL)\, Terrain Biennial (Springfield\, IL)\, Massey University (New Zealand)\, Qatar Museums (Qatar)\, the Istanbul Design Biennial (Türkiye) and Aterlierhaus Salzamt (Austria).  She has attended many artist residency programs\, including Vermont Studio Center (VT)\, Signal Culture (NY)\, Otis College of Art and Design (CA) and the Fire Station (Qatar). She holds a BFA in Painting from Rhode Island School of Design\, an MFA in Painting from Virginia Commonwealth University and is currently Foundations Coordinator and Assistant Professor of Art for the School of Art at Ball State University in Muncie\, IN. \n\nCurator- Shauta Marsh \nThis exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts\, Ball State University’s Aspire Program\, Efroymson Family Fund\, Allen Whitehill Clowes Charitable Foundation\, the Institute of Museum and Library Services\, the Arts Council of Indianapolis and City of Indianapolis\, and the Indiana Arts Commission. \nAbout Tube Factory: Tube Factory is a 12\,000 square foot museum space curated based upon the themes of community\, place\, memory and mythology. They commission local\, regional\, national and international contemporary visual and musical artists\, borrow artifact-based exhibits and create community-sourced exhibits. A previously vacant former manufacturing building\, it is now a thoughtfully renovated home base for non-profit art organization Big Car Collaborative’s work as well as partnership-based community meetings and cultural events. \nFor more about Cohn: Check out her website at rachelleahcohn.com and on Instagram @rachelleahc
URL:https://www.bigcar.org/event/rachel-leah-cohn-mem/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/03/rachelsmall-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240405T180000
DTEND;TZID=America/Indiana/Indianapolis:20240405T220000
DTSTAMP:20260405T020514
CREATED:20240403T133013Z
LAST-MODIFIED:20240403T133013Z
UID:11771-1712340000-1712354400@www.bigcar.org
SUMMARY:Brittany Fukushima & Dailyn Eades: SPARK
DESCRIPTION:2023 SPARK artist in residence Brittany Fukushima and Spark fellow Dailyn Eades will display a collection of work they created during their time at SPARK on the Circle in 2023. \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. The SPARK on the Circle pop-up park will return in 2024.
URL:https://www.bigcar.org/event/brittany-fukushima-dailyn-eades-spark/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/04/fukashimanimalstickers-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240518T090000
DTEND;TZID=America/Indiana/Indianapolis:20240518T120000
DTSTAMP:20260405T020514
CREATED:20240424T195630Z
LAST-MODIFIED:20240425T200002Z
UID:11862-1716022800-1716033600@www.bigcar.org
SUMMARY:Community Sound lab 1: Listening and Recording
DESCRIPTION:Sound artists Rob Funkhouser and Landon Caldwell will start with a basic overview of intentional listening and field recording\, and then lead participants on a sound walk through Garfield Park where everyone will get a chance to record sounds that they find to be interesting. For the second half of the workshop\, there will be an opportunity for hands-on play with a modular synthesizer\, as well as lessons on how to handle files\, and prepare them to be used in your own personal projects.\n\nWe encourage people to come to either or both of these workshops. All ages and\, all skill levels are welcome\, this will be a  family-friendly activity.
URL:https://www.bigcar.org/event/community-sound-lab-1-listening-and-recording/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Listen Hear,Visual Art
ATTACH;FMTTYPE=image/png:https://www.bigcar.org/wp-content/uploads/2024/04/funkoftherob_piano_grass_glass_instrument_d12128b0-7b48-4f9a-951a-b7490ccccc8c.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240607T170000
DTEND;TZID=America/Indiana/Indianapolis:20240607T190000
DTSTAMP:20260405T020514
CREATED:20240523T172053Z
LAST-MODIFIED:20240523T180902Z
UID:11920-1717779600-1717786800@www.bigcar.org
SUMMARY:Artist Workshop: Henna with Pam
DESCRIPTION:Join us today to step into the world of intricate patterns and cultural celebration with Pam\, who has been doing henna for around 25 years now. Henna has been around for many centuries as a way to temporarily dye the skin for cosmetic purposes and to color the hair. At first\, henna was smeared on to individuals and did not create the intricate designs made today. There are many steps needed to properly apply henna to an individual. After the henna paste is created\, the henna artist transfers the paste to a narrow piping bag. The henna is then applied depending on the design. After drying\, the cotton ball with lemon juice should be applied to the henna tattoo. The color that will result depends on the time the henna is kept on the skin: the longer you keep it on\, the darker the color will be. After removing\, the henna tattoo will remain for 7-14 days depending on personal skin and daily lifestyles. \nSPARK is a partnership with Downtown Indy @downtownindy the City of Indianapolis @indy_dmd and the Indiana War Memorials Commission – and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/artist-workshop-henna-with-pam/
LOCATION:Monument Circle\, 50 Monument Circle\, Indianapolis\, 46204\, United States
CATEGORIES:Monument Circle,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/05/unnamed.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240621T110000
DTEND;TZID=America/Indiana/Indianapolis:20240621T150000
DTSTAMP:20260405T020514
CREATED:20240523T172755Z
LAST-MODIFIED:20240523T180444Z
UID:11931-1718967600-1718982000@www.bigcar.org
SUMMARY:Aurora Cyanotype Workshop
DESCRIPTION:Cyanotype is a camera-less photography made out in the sun\, rather than in a darkroom. You place objects — such as plants — on top of a piece of photo-treated paper\, and then use the sun to expose the paper. The result is an image that is an exact outline of the object. It’s a fun and magical way to engage photography! Although it may be new to modern people\, cyanotype has been around since photography was invented in the 1800s.Come explore the creative possibilities of this fascinating process! \nThis activity is best suited for artists 7+ years old; minors must be accompanied by an adult. \nSPARK is a partnership with Downtown Indy @downtownindy the City of Indianapolis @indy_dmd and the Indiana War Memorials Commission – and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/aurora-cyanotype-workshop/
LOCATION:Monument Circle\, 50 Monument Circle\, Indianapolis\, 46204\, United States
CATEGORIES:Monument Circle,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/05/AnnaAtkins.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240628T170000
DTEND;TZID=America/Indiana/Indianapolis:20240628T190000
DTSTAMP:20260405T020514
CREATED:20240523T173506Z
LAST-MODIFIED:20240523T180224Z
UID:11942-1719594000-1719601200@www.bigcar.org
SUMMARY:Artist Workshop: Graffiti Knitting with Mary Jo
DESCRIPTION:A gathering where knitting and graffiti collide! Simultaneously inspired by traditional knitting and graffiti\, this ever-evolving piece combines fiber adjacent activities\, coloring sheets derived from graffiti and knitting motifs\, and opportunities for participants to share their creative path stories.\nYou are invited to come join the fun\, because without YOU\, Boo\, this project can’t happen. \nAbout the artist:\nMary Jo Bayliss specializes in creating environments that help people feel at ease using space\, light and color to achieve these goals. \nSPARK is a partnership with Downtown Indy @downtownindy the City of Indianapolis @indy_dmd and the Indiana War Memorials Commission – and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/artist-workshop-graffiti-knitting-with-mary-jo/
LOCATION:Monument Circle\, 50 Monument Circle\, Indianapolis\, 46204\, United States
CATEGORIES:Monument Circle,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/05/IMG_9664-2.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240705T170000
DTEND;TZID=America/Indiana/Indianapolis:20240705T190000
DTSTAMP:20260405T020514
CREATED:20240702T170134Z
LAST-MODIFIED:20240702T170518Z
UID:12087-1720198800-1720206000@www.bigcar.org
SUMMARY:Artist Workshop with John Clark
DESCRIPTION:Make Art and Write Poetry with John Clark! \nJoin Indianapolis-based visual artist\, Big Car co-founder and writer John Clarke to make drawings\, poems\, and short stories…or a combination of all three! And we’ll also show you how to make zines\, too! \nWe at Big Car are teaming up with Downtown Indy and the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games\, live music\, artmaking\, and socializing in a comfortable place. \nSPARK on the Circle is an ongoing partnership between Big Car Collaborative\, Downtown Indy\, City of Indianapolis Department of Metropolitan Development\, the Capital Improvement Board\, and the Indiana War Memorials Commission.
URL:https://www.bigcar.org/event/artist-workshop-with-john-clark/
LOCATION:IN
CATEGORIES:Downtown Indy,Monument Circle,Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/07/629044e2242d6.image_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240712T170000
DTEND;TZID=America/Indiana/Indianapolis:20240712T190000
DTSTAMP:20260405T020514
CREATED:20240702T180036Z
LAST-MODIFIED:20240702T180036Z
UID:12104-1720803600-1720810800@www.bigcar.org
SUMMARY:Ink Artist Workshop with Brittany Fukushima
DESCRIPTION:Join SPARK artist in residence Brittany Fukushima for an all-levels ink painting workshop. In this workshop\, you’ll learn basic ink techniques and how to paint intuitively using colors handmade by the artist. See the raw materials that go into ink-making and leave inspired to create your own. All materials are provided! \nAbout: \nBrittany Fukushima is an Indianapolis-based painter and teaching artist who uses their practice to interpret their environment. Drawing and painting become a means to investigate the natural world\, express the intangible\, and to present alternate ways of seeing. Recently\, they have experimented with paint making using foraged pigments. \nTeaching is an integral part of their process as it keeps them in community and provides fresh perspectives. Brittany currently teaches at the Indianapolis Art Center and is a graduate of Herron School of Art and Design. They have exhibited throughout Indianapolis and Chicago and their work has been featured by Butter\, WFYI\, and Pattern Magazine. \nWe at Big Car are teaming up with Downtown Indy and the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games\, live music\, artmaking\, and socializing in a comfortable place.\n\nSPARK on the Circle is an ongoing partnership between Big Car Collaborative\, Downtown Indy\, City of Indianapolis Department of Metropolitan Development\, the Capital Improvement Board\, and the Indiana War Memorials Commission.
URL:https://www.bigcar.org/event/ink-artist-workshop-with-brittany-fukushima/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Downtown Indy,Monument Circle,Outdoor Activities,SPARK,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2024/07/Dee_2-760x737-1.jpeg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20240712T180000
DTEND;TZID=America/Indiana/Indianapolis:20241020T150000
DTSTAMP:20260405T020514
CREATED:20240614T161430Z
LAST-MODIFIED:20250212T163353Z
UID:12000-1720807200-1729436400@www.bigcar.org
SUMMARY:Elisa Harkins: Ekvnv (Land)\, the Sacred Mother from Which We Came
DESCRIPTION:With this exhibit\, Elisa Harkins looks at land in two different ways: a path toward healing due to the desecration of burial mounds in New Harmony\, Indiana and how the Land Back movement addresses climate change. Harkins\, a multi-disciplinary artist based in Tulsa\, Oklahoma\, and Tube Factory curator Shauta Marsh researched and worked on this exhibit for five years as part of Big Car Collaborative’s decade-long research project\, Social Alchemy\, that explores utopia and dystopia with an emphasis on the southern Indiana town of New Harmony that was twice the site of utopian experiments. \nIn the Main Gallery\, Harkins draws attention to settler desecration of Indigenous mounds in the unmarked “Harmonist Cemetery” in New Harmony. When the Harmonists purchased the land in the early 1800s\, they dug up the Indigenous burial mounds\, collecting what they considered interesting items for their Cabinet of Curiosities. They then buried their dead over the native people’s remains. When the Harmonists sold the town to industrialist Robert Owen for his rationalist utopian attempt\, the Harmonists took apart their church and used the brick to enclose the mounds with a wall. Today\, the burial mounds are not acknowledged on signage for the cemetery. \nHarkins brings light to this history and offers healing through the Spirit Houses. These are structures built that provide a protective shelter over the grave of their deceased relative. Harkins could not build them in the “Harmonist Cemetery.” So the photographic wall mural and Spirit Houses in the Main Gallery serve as a temporary monument to the native people buried there. \nThrough the 24 photographs on the wall surrounding the Spirit Houses\,(also known as Grave Houses) Harkins tells the story of the mounds in New Harmony to demonstrate not only settler violence against Indigenous land and bodies but also the presence of multiple tribes at sacred burial sites across time. In examining multiple histories of mounds\, Harkins interrogates whether Indigenous lands belong to one people alone\, And her investigation prompts viewers to examine their own ties to land through time — in their lost ancestral cultures\, as well as in contemporary society. \nThe Tear Dress on the north wall of the gallery is one Harkins wears in many photos and in her work in the video room. Cherokee women traditionally wore this dress in the Southeast in the early 1800s. Indian Removal began to take place during this time period in Indiana (land of the Indians). This is also around the time Harmonists sought to build a sort of religious utopia in the town they named New Harmony. \nIn the video room\, Harkins shares a piece on the 200-year-old song\,“Hesaketv Meset Likes or The One Who Gives us Breath.” Though the singing takes place in the present\, Harkins seeks to move the audience through time\, preserving culture by bringing this new knowledge of ourselves to the forefront. \nLeading by example with her works\, Harkins uses her Indigenous body as an extension of Ekvnv\, the mother from which she came. This embodies critical reflection on deep human connections to ancestral lands across time and place. Her cultural references to ancient mounds with intersectional tribal histories — as well as contemporary tribally-specific structures such as Spirit Houses — probe the meanings of “Indigenous” identity and question whether individual tribal nations will participate in intersectional freedom for all Indigenous peoples. \nIn the Jeremy Efroymson Gallery\, Elisa Harkins shares images\, sound\, and sculpture that invoke definitions of tribal sovereignty — centering land and its protection. Amid a contemporary Indigenous landscape in which tribal activities vary between cultural revitalization efforts and extractive practices at times complicit with capitalist structures\, Harkins calls for land protection above all. This shows viewers that the return of Indigenous land protection practices\, along with language and cultural revitalization\, are inevitable outcomes on Turtle Island (some Indigenous American tribes refer to North America as Turtle Island). \nHarkins often encounters tornado shelters for sale alongside the roads in Oklahoma. While dangerous tornadoes traditionally occur in the summer months\, recent years have seen an alarming rise in winter tornadoes. By using the image of these Tornado Shelters\, she aims to raise awareness about the increasing destruction and loss of life caused by climate change. The shelters\, placed in the ground or Ekvnv\, serve as a metaphor for the Muscogee origin story\, symbolizing their emergence from the earth at the beginning of their civilization. \nThe light sculptures are in English\, Cherokee\, and Muscogee words:\nᎠᏴᏫᏯ ᎤᏤᎵᎪᎯ ᎦᏓ ᏤᏙᎢ\nEste Cate Ekvnv Okharoces\nYou Are on Indian Land \nThe music playing in the Jeremy Efroymson Gallery\,  honors communities destroyed and lives lost through human created climate change. Harkins\, in collaboration with Mark Kuykendall\, composed this piece for the tornado shelter sculpture to serve as a poignant tribute to the lives lost\, communities disrupted\, and environmental imbalances exacerbated by human negligence. \n“Land Back means all land back\,” said Harkins\, who sees Indigenous political projects such as language revitalization as\, most of all\, an empowering force for protecting Ekvnv (Land)\, the Sacred Mother from which we came. In Harkins’ works\, she calls for definitions of tribal sovereignty which center land protection over individual political claims to place. She intervenes in narratives of singular or strongest connections of tribal claims to mounds in favor of historical narratives where tribal interrelations connect more peoples to more lands for the purpose of building solidarities of responsibility and care for Indigenous land. \nIn Ekvnv\, Harkins calls for universal participation in and attention to the return of Indigenous land to Indigenous hands\, inviting viewers to reckon with the power imbalances that continue between settler colonial structures and Indigenous historical worlds. To Harkins\, sovereignty includes care for all–from health care to land protection that reaches worldwide\, just as the Sacred Mother receives care from all. \nThe exhibition is made possible by the National Endowment for the Arts\, The Andy Warhol Foundation for the Visual Arts\, Efroymson Family Fund\, the Institute of Museum and Library Services\, and a printing partnership with Aurora PhotoCenter.\n\nThe artist wishes to thank:\nIan Byers-Gamber\nMark Kuykendall\nDon Tiger\nBrose Partington \nAbout Harkins\nElisa Harkins is a Native American (Cherokee/Muscogee) artist\, singer\, electronic music composer\, and curator based in Tulsa\, Oklahoma. Her 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. She is the first person to sing a contemporary song in the Cherokee language. 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 MoMA.\nIn 2020\, she created the Indigenous concert series 6 Moons and published a CD of Muscogee/Seminole Hymns. She is also the DJ of Mvhayv (ma-hi-ya) Radio\, an Indigenous radio show on 99.1FM in Indianapolis\, IN. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ (ga-wo-ni-s-gi tso-i) is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front\, songs from the performance have been collected into a double LP\, which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee Reservation and is an enrolled member of the Muscogee Nation. \nAbout Tube Factory artspace: Tube Factory is a contemporary art campus and community center. There are four galleries on the campus\, two are commissioning galleries. Admission is free. It’s also home base for Big Car Collaborative’s work across Indianapolis and beyond. Tube Factory features rotating exhibits\, interactive projects\, community space\, a reference library\, an outdoor gathering space\, and much more to find through exploring. Tube Factory is an independent\, noncommercial\, nonprofit public place. Big Car Collaborative brings art to people and people to art\, sparking creativity in lives to support communities. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists.\nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity.\nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org. \nAbout Social Alchemy:With this multifaceted\, multiyear project\, Indianapolis-based arts organization Big Car Collaborative — with our partners\, the University of Southern Indiana\, 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. \nConceived by Big Car co-founders Shauta Marsh and Jim Walker and artist and philanthropist Jeremy Efroymson\, 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 — first 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. We all grapple with divides in society and real-life examples of dystopia (shootings\, mass incarceration\, ecological degradation) and utopia (experiments such as co-living communities that make people demonstrably happier). This project is about exploring historical and contemporary real-world examples of utopian experiments and social design projects as well as theoretical and fictional utopias and dystopias. Our goal is for the impact of Social Alchemy to be a deeper understanding — via history\, literature\, and the philosophy of art\, design\, and architecture — of the relationship between the built environment and social good. \nAbout Indiana and Tribal Land (from the Indiana.Gov website)\nThere are two tribes that have land in Indiana. However there are many other tribal members of other federally recognized tribes that live in Indiana\, approximately\, 25\,000. \nThe Pokagon Band of Potawatomi receive a small portion of their land back from their removal in Indiana. The Pokagon Band of Potawatomi is a federally recognized tribe. It is one of 573 federally recognized tribes in the United States. The Bureau of Indian Affairs contacted Chairman John Warren to state that their tribe\, Pokagon Band of Potawatomi had been approved on November 18\, 2016 to receive 166 acres of land in trust in South Bend\, Indiana. The tribe successfully put a few housing units and tribal government buildings to assist their tribal members living in Indiana. It also built a 175\,000 square foot and 1\,800 Class II gaming devices\, four restaurants\, a player’s lounge\, a coffee shop\, two bars\, a retail outlet and approximately 4\,500 parking spaces including an enclosed parking structure. For more information\, visit: http://www.pokagon.com/government/indiana-land-restoration \nThe second tribe that has land in Indiana is the Miami Tribe of Oklahoma. The tribe was given land to put a Cultural Extension Office for their tribal members living in Indiana to attend specific gatherings\, ceremonies and education events at this office located in Fort Wayne\, Indiana. For more information\, visit: http://miamination.com/thpo\nPlease note that many other tribal members from other federally recognized tribes living in Indiana such as Apache\, Cherokee\, Navajo\, Comanche\, Lakota Sioux\, etc.
URL:https://www.bigcar.org/event/elisa-harkins-ekvnv-land-the-sacred-mother-from-which-we-came/
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/2024/06/IBG_1883.jpg
END:VEVENT
END:VCALENDAR