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DTSTART;TZID=America/Indiana/Indianapolis:20170602T190000
DTEND;TZID=America/Indiana/Indianapolis:20170602T210000
DTSTAMP:20260419T045335
CREATED:20170410T223212Z
LAST-MODIFIED:20170531T183309Z
UID:5135-1496430000-1496437200@www.bigcar.org
SUMMARY:Carlos Rolón: 50 GRAND\, LIVE fights
DESCRIPTION:Fights organized by Indy Boxing and Grappling. 50 GRAND\, is a newly commissioned performative installation. The participating fighters will wear Rolón’s 50 GRAND robe. The robe is on display in the ring when the ring is not in use. The overall art exhibition\, also titled 50 GRAND\, is open 6-10 p.m.\n\n\nSeating is limited but fights will be streamed on YouTube Live. Made possible by Herbert Simon Family Foundation (a Central Indiana Community Foundation affiliate)\, The Andy Warhol Foundation for the Visual Arts\, Top Rank Boxing\, and Sun King Brewing Company.
URL:https://www.bigcar.org/event/live-boxing/
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/2017/04/DSC02178.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170602T180000
DTEND;TZID=America/Indiana/Indianapolis:20170602T220000
DTSTAMP:20260419T045335
CREATED:20170515T183015Z
LAST-MODIFIED:20170515T183132Z
UID:5334-1496426400-1496440800@www.bigcar.org
SUMMARY:HOME: Inocente Izucar
DESCRIPTION:When people first see the film INOCENTE\, they meet and fall in love with the 15 year old version of the artist — homeless\, confused\, determined\, hopeful\, and hurt. But today\, Inocente is 23 years old\, just married\, looking to purchase a new home\, “something I never thought I’d be doing\, let alone so early in life\,” Inocente says. “I want this exhibition to be about hope and home\, about hoping to finally find a permanent home with permanent people\, a place to call my home.” \nMade possible by the Central Indiana Alliance Against Hate and The Clowes Fund Inc. Held in partnership with Heartland Film\, who screened the Oscar winning documentary Inocente in 2016\, CHIP Indianapolis and Immigrant Welcome Center. The exhibition will be housed in the Listen Hear gallery at 2620 Shelby St\, and will contain some of Inocente’s most recent work. The artist will be present on First Friday and available to answer questions. \nSay you’re going on Facebook: https://www.facebook.com/events/1962048594027495/
URL:https://www.bigcar.org/event/home-inocente-izucar/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Film,Garfield Park,Listen Hear,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2017/05/InocentePromo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170601T173000
DTEND;TZID=America/Indiana/Indianapolis:20170601T203000
DTSTAMP:20260419T045335
CREATED:20170515T182206Z
LAST-MODIFIED:20170515T183424Z
UID:5330-1496338200-1496349000@www.bigcar.org
SUMMARY:INOCENTE Documentary Screening
DESCRIPTION:Join us for dinner and a screening of the Oscar-award-winning documentary Inocente followed by a Q & A with the artist. You can learn more about the documentary at inocentedoc.com. \nMade possible by the Central Indiana Alliance Against Hate and The Clowes Fund Inc\, in partnership with Heartland Film\, who screened the film in 2016\,CHIP Indianapolis and the Immigrant Welcome Center. \nAbout the artist:\nInocente is a San Diego artist and activist. As a young child Inocente and her family immigrated to the US from Mexico. After her father’s arrest and deportation for domestic violence\, most of Inocente’s childhood was spent moving from one homeless shelter to the next. When she was 12 years old Inocente discovered the power of art\, and since then she has been able to use the arts as a vehicle to rise above many great life challenges. Despite her sometimes bleak surroundings\, her brightly colored art represents a world of survival\, love and hope. Her story is the subject of the Oscar-winning film “INOCENTE”\, which depicts her life and art at age 15. Inocente now supports herself as a professional artist and motivational speaker\, while also working as an after-school art teacher. For more information on Inocente please visit originalinocenteart.com.\nChildren are very welcome to attend all programming over the course of the weekend. \nSay you’re coming on Facbeook: https://www.facebook.com/events/120965935139152/
URL:https://www.bigcar.org/event/inocente-documentary-screening/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2017/05/InocenteDoc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170505T180000
DTEND;TZID=America/Indiana/Indianapolis:20170722T150000
DTSTAMP:20260419T045335
CREATED:20170222T134144Z
LAST-MODIFIED:20170421T024951Z
UID:4880-1494007200-1500735600@www.bigcar.org
SUMMARY:Carlos Rolón: 50 GRAND
DESCRIPTION:Photo: My Father’s Wishes No. 1\, 2014\, Wallpaper\, wood\, mirror\, 24kt gold leaf\, gold plated chains\, quartz crystals\, metal\, sunglasses and bronzed boxing gloves\nBefore language to Hemingway\, from the ancient Sumerians to the Greeks to the modern day\, there was the sport of boxing. With his exhibit 50 Grand\, Chicago-based artist Carlos Rolón/Dzine will present a dually charged exploration of boxing and domestic culture\, inspired by the tactility and performative qualities of boxing\, and its relationship to contemporary art at Tube Factory artspace\, 1125 Cruft St. Though the third iteration of the exhibit\, it will features a newly commissioned performative installation of live sanctioned Golden Gloves fights\, organized by Indy Boxing and Grappling and sponsored by Top Rank Productions. The exhibit is a nod to Ernest Hemmingway’s 50 Grand\, and like the story explores the relationship between courage and professionalism. \nWith this exhibit\, Rolón continues to mine his childhood memories. He invites the viewer to step into intimate scenes such as his family’s wood-paneled basement\, decorated with gold garlands and vintage beer placards\, where his father would watch prize fights like Roberto Durán V. Sugar Ray Leonard\, also known as the No Más Fight. This fight was particularly important for Rolon growing up as it allowed him to sit for short periods of time connecting with his father. \nRolón monumentalizes his blue-collar trophy den as the setting for his exhibition\, creating an homage not only to boxing culture\, but also to Puerto Rican immigration to America. \nWithin the exhibition is a newly commissioned performative installation of live Golden Glove fights organized by Indy Boxing and Grappling scheduled  June 2 and July 7\, 7-9 p.m. Fighters will wear robes designed by Rolón on each of the three scheduled fights then on display when the ring is inactive. \nWithin the main gallery is an installation of paintings and sculptural fabric works exuberant with color\, texture\, patterns\, and experiments in surface that create a visual dialogue between the physical charge of boxing\, the garments worn by the fighters\, and the artist’s own childhood home and upbringing as a first generation immigrant. Occupying the den is a series of custom-made trophies entitled Immigrants/Emigrants (Symbols and Mementos for the Nuyoricans) created\, as the artist states “for people like my father and mother who came to the U.S for a better life with dreams and aspirations that never quite materialized\, but still achieved success in other aspects of their life.” \nThe exhibit runs through July 22 open Monday-Friday 9 am-6 pm\, Saturdays 11-3 with extended evening hours every first Friday. \nMade possible by the Herbert Simon Family Fund\, Top Rank Productions\, The Andy Warhol Foundation for the Visual Arts and Sun King Brewery \nAbout Carlos Rolón/Dzine (b. 1970\, Chicago\, IL) \nRolón attended Columbia College Chicago with a concentration in painting and drawing. Rolón has been recognized for his elaborately crafted paintings\, ornate sculptures and works that come out of American\, Latino and uniquely based subcultures. His studio practice investigates pop culture\, craft\, ritual\, beauty and its relationship to art history\, subculture\, appropriation and the institution. As a first-generation immigrant of Puerto Rican decent\, the artist creates objects questioning the concept of luxury and craft making to explore questions of identity\, integration and aspiration. His work also represents a detailed examination of curiosity and the process of art making and the cultures surrounding this. The work often addresses his biography by melding memory and the imaginary with carefully crafted\, hybrid works that are playfully situated between the contradictory worlds of conspicuous consumption and urban artifact. The work is at once melancholic\, excessive and exuberant\, poised somewhere between celebration and regret. Rolón illuminates how the masculine can become delicate and the how the baroque can be minimal. The artist often channels this approach with site-specific installation work\, vivid large-scale paintings and ornate sculptures in various materials expanding on ideas of self-reflection and imagined luxury. The works ultimately produce a hybrid language of social practice\, painting and sculpture inviting the viewer to engage in discourse and discussion.\nRolón has had solo exhibitions at The Dallas Contemporary\, Dallas; Bass Museum of Art\, Miami; Baltic Centre for Contemporary Art\, Gateshead\, UK; Museo de Arte de Puerto Rico\, San Juan\, Puerto Rico; and CAM Contemporary Art Museum\, St. Louis. His work has also been exhibited in group shows at The Museum of Contemporary Art\, Chicago; Marta Herford Museum\, Herford\, Germany; Museum Het Domein\, Sittard\, The Netherlands; Museum of Contemporary Art\, San Diego; Museo del Barrio\, New York and Centro Atlantico de Arte Moderno (CAAM)\, Canary Islands; Oakland University Art Gallery\, Michigan and Museo de Arte de Ponce\, Puerto Rico.\nIn 2007 Rolón represented Ukraine in the 52nd Venice Biennale. He is a recipient of the Joan Mitchell Foundation award for Painting and Sculpture. Rolón’s work is included in the following public collections: Bass Museum of Art\, Miami; Brooklyn Museum\, New York; City of Chicago Public Art Collection; Deagu Art Museum\, Deagu; Museo del Barrio\, New York; Museo de Arte de Ponce\, Puerto Rico; Museo de Arte de Puerto Rico\, San Juan; Museum Het Domein\, Sittard\, The Netherlands; Museum of Contemporary Art\, San Diego; Nerman Museum of Contemporary Art\, Kansas City; and Pinchuk Art Centre\, Kiev\, Ukraine\, among others. \nAbout Tube Factory artspace: Tube Factory is a 12\,000 square foot museum space curated based upon the themes of community\, place\, memory and mythology. We commission local\, regional\, national and international contemporary visual and musical artists\, borrow artifact-based exhibits and create community-sourced exhibits. \nA previously vacant former manufacturing building\, it is open Monday-Friday\, 9 a.m. to 6 p.m. \nSaturday 11 a.m. to 3 p.m. \nShauta Marsh is chief curator at Tube Factory artspace\, curating and/or organized over 40 exhibitions including Inheritance: LaToya Ruby Frazier and Tony Buba\, Mound At Large: Trenton Doyle Hancock\, Fermata: Richard Mosse\, RCA: Scott Hocking\, Richard Mosse: Fermata\, Toyin Odutola\, Mari Evans:Carl Pope\, etc. Prior to working as a curator\, she wrote for various national and local publications.
URL:https://www.bigcar.org/event/50-grandcarlos-rolon/
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/2017/02/Boxed_Cover.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170407T180000
DTEND;TZID=America/Indiana/Indianapolis:20170407T210000
DTSTAMP:20260419T045335
CREATED:20170406T005702Z
LAST-MODIFIED:20170406T010536Z
UID:5087-1491588000-1491598800@www.bigcar.org
SUMMARY:Thrice: Katy Kuchler\, Jessica Kartawich\, Victoria Jenkins
DESCRIPTION:Artists Katy Kuchler\, Jessica Kartawich and Victoria Jenkins take over 1205 Cruft St. \nJessica Kartawich: Act II “With love”\, is a curation of gifts. “All of the items in this room hold value not in what they are\, but in the way they were given and received. I am someone who places a high value on sentimentality and relationships and that extends to the physical representations of those things. The items on the walls are a few of the things that I’ve made throughout my life and given to those I care about—the things they’ve found important enough to keep. The items in the reliquary are a sampling of those that I have received throughout my life. The things in this room are two ends of a relationship\, and a connection that holds them together. There’s something to be said for the sentimental notion of holding onto objects that someone you love gave you.”–Jessica Kartawich \nVictoria Jenkins: Act III “Exploration” is named after her love for going new places and experiencing new things. “The pieces in the show were taken while in new places the first time I went there. These are the images I took with fresh eyes and what you see is what spoke to me. Each piece is made using a different medium\, printing in induvial ways\, edited differently\, but displayed all together as a collective whole to showcase the entirety of who I am as an artist and how my work speaks to me.”–Victoria Jenkins
URL:https://www.bigcar.org/event/act-i-act-ii-act-iiikaty-kuchler-jessica-kartawich-victoria-jenkins/
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/2017/04/With-love.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170203T180000
DTEND;TZID=America/Indiana/Indianapolis:20170415T150000
DTSTAMP:20260419T045335
CREATED:20170115T214122Z
LAST-MODIFIED:20170308T152247Z
UID:4661-1486144800-1492268400@www.bigcar.org
SUMMARY:iMOCA's Museum of Real and Odd
DESCRIPTION:The truth is out there. And so is the art. Starting Feb. 3\, a partnership with the Indianapolis Museum of Contemporary Art (iMOCA) brings the work of 13 contemporary artists exploring the idea of UFOs and the paranormal to Tube Factory (1125 Cruft St.) in its expanded gallery space in the factory’s former lower-level garage. \niMOCA’s Museum of Real and Odd\, curated by Jeremy Efroymson\, is a commissioned exhibit with artists from around the country making new work for the show. After an open call for submissions received 250 proposals\, Efroymson selected the 13 artists: Nayda Collazo-Llorens in collaboration with Ander Monson\, Scott Raymond & Heather Abels\, Jennifer Scheuer\, Robert Thurlow\, Katy Unger\, Ed Sykes\, Alex Grabiec\, Julio Orta\, Pato Herbert\, Cassandra Klos\, Josh Haines\, and Michael Jordan\, aka Alkemi. \nWhile enthusiastic about all the work\, Efroymson is especially excited about Julio Orta’s piece Museum of Art on the Moon. “It was commissioned for this show and is an interesting concept\,” says Efroymson. “Orta\, originally from Mexico and living in L.A.\, is drawing conceptual architectural plans and has even purchased land for the museum on the moon. I haven’t seen the final piece but I’m looking forward to it. He can continue on with this project after this show.” \nEfroymson feels high-caliber artists are well poised to remove some of the negative associations with the unknown. “The folklore and mythology of the paranormal has really saturated our society\,” he said. “Especially with the ghost hunter shows on television and the prevalence of the topic in movies.  I remember the movie Poltergeist from my childhood\, which really scared me. While we still have scary movies\, I think maybe we now have a more open view to paranormal experiences of a positive nature. I’ve seen shows and artwork that deal with these topics\, but they are not always of the best quality. I wanted to curate a show on these topics with high quality art and artists.” \nThe exhibit comes down April 15. Until then\, visitors can stop by Tube Factory Monday through Friday\, 9 a.m. to 6 p.m.\, Saturdays 11 a.m. to 3 p.m. and during extended hours for special events. \nImage: Pato Hebert\, Oscillator in Scott State Park\, From the series: In\, If Not Always Of\, Archival pigment prints\, 39.5” x 26.3” \,2014-15 \nAbout Jeremy Efroymson: Jeremy is an artist\, philanthropist\, arts activist and advocate for small grassroots organizations. As Vice President of the Efroymson Family Fund\, Jeremy has been instrumental in advising and supporting organizations that contribute to the arts\, cultural\, vibrancy and enrichment of the city of Indianapolis\, the state of Indiana and beyond. He’s particularly passionate about supporting creative ideas\, innovation and artistic talent. This passion is evidenced by his commitment as the first executive director of iMOCA and the vision behind the Efroymson Contemporary Arts Fellowships\, an annual awards program where he provides five $25\,000 awards to contemporary visual artists in the Midwest. He was also the developer and creator of the Harrison Center for the Arts — a former Presbyterian Church turned into artists’ studios\, art galleries and performance space. He was also the publisher of the statewide arts magazine Arts Indiana. \nAbout iMOCA: \nThe Indianapolis Museum of Contemporary Art (iMOCA) is Indianapolis’ only museum dedicated solely to showing and advancing contemporary art. As a non-collecting institution\, iMOCA’s mission is to bring contemporary exhibitions and programs to the Indianapolis community to stimulate minds\, inspire new discoveries and demonstrate the vital connections between visual culture and life.  iMOCA is supported from grants and funding from the Efroymson Family Fund\, The Indianapolis Foundation\, Herbert Simon Family Foundation\, Lilly Endowment\, Allen Whitehill Clowes Charitable Foundation\, Christel DeHaan Family Foundation\, Halstead Architects\, ESL/Spectrum\, R&M Electric\, Buckingham Companies\, National Performance Network\, Visual Artists Network\, Arthur Jordan Foundation\, ArtsAlliance for Contemporary Glass\, Centaur Gaming\, 20×200\, Bluebeard\, and Edington Gallery.
URL:https://www.bigcar.org/event/4661/
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/2017/01/5_HEBERT_Oscillator-in-Scott-State-Park.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170123T180000
DTEND;TZID=America/Indiana/Indianapolis:20170123T200000
DTSTAMP:20260419T045335
CREATED:20170113T013254Z
LAST-MODIFIED:20170113T013254Z
UID:4634-1485194400-1485201600@www.bigcar.org
SUMMARY:Memory\, Myth\, and Metaphor
DESCRIPTION:Memory\, Myth\, and Metaphor is a FREE\, 5-week series for women and femmes only\, that will explore the themes of memories\, myths\, and metaphors while exploring topics such as the body\, self-presentation\, and gender roles. \nJoin us for the first segment of the series in a special meetup with shehive. This meetup will include a dialogue about identity in the craft fields of wood and metalworking. Together\, we will create pieces that explore a multi-faceted self. Bring materials that inspire you. \nThe following items will guide our conversation: \n-article on gender construction:\nhttp://www.criticalmediaproject.org/cml/topicbackground/gender/ \n-article on women and power tools: http://www.slate.com/articles/double_x/doublex/2012/12/women_and_power_tools_ana_white_launches_a_trend.html \n-website for a women-centered space:\nhttp://www.aworkshopofourown.com/ \n-article about Vivian Beer:\nhttp://www.writerloriferguson.com/wp/wp-content/uploads/MODERN-Vivian-Beer.pdf \nFacilitated by Brittany Rudolf. \nBrittany Rudolf is serving as a Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture\, she combines her various creative interests with a love for people. \nshehive is a grassroots project based in Indianapolis creating spaces to deconstruct gender inequity. Meetups are informal\, gender neutral gatherings to explore gender issues in pop culture. To learn more about the project\, visit shehive.org! \nReminder that shehive meetups are informal and gender inclusive gatherings to discuss gender issues in pop culture. Children ages 16+ are welcome. The conversation will not be censored. \n*image by J.D. Hollis. http://densityofspace.com/archive/02011/April/week1.html
URL:https://www.bigcar.org/event/memory-myth-and-metaphor/
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/2017/01/densitypaths.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170121T110000
DTEND;TZID=America/Indiana/Indianapolis:20170121T130000
DTSTAMP:20260419T045335
CREATED:20161021T155839Z
LAST-MODIFIED:20170115T215447Z
UID:4278-1484996400-1485003600@www.bigcar.org
SUMMARY:Artist Talk: Michael Jordan\, a.k.a. ALKEMI
DESCRIPTION:Jordan will talk about his work\, philosophy and the Mari Evans mural he painted July/August 2016 on Massachusetts Avenue. \nAbout Michael Jordan\, a.k.a. ALKEMI\nJordan is a professional artist and poet living and working in Indianapolis for over 40 years. Norman Rockwell and Salvador Dali are among his influences and he has completed over 40 murals\, including one for the Arts Council of Indianapolis’s 46 for XLVI. Jordan’s work has been part of both group and solo exhibitions at the Cincinnati Museum of Natural History\, Indiana Black Expo Fine Arts Pavilion\, Crispus Attucks African American Museum\, Jefferson Gallery\, Central Library’s Meet The Artists\, Athenaeum\, the Indianapolis Museum of Contemporary Art\, etc. He has lectured at Indiana University\, Purdue University- Indianapolis\, several high school and is a published writer.
URL:https://www.bigcar.org/event/artist-talk-michael-jordan-a-k-a-alkemi/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/10/29032461715_dc49fc1c1a_k.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20170112T180000
DTEND;TZID=America/Indiana/Indianapolis:20170112T200000
DTSTAMP:20260419T045335
CREATED:20161026T002912Z
LAST-MODIFIED:20161026T002912Z
UID:4294-1484244000-1484251200@www.bigcar.org
SUMMARY:The Banana Man-Mike Kelley
DESCRIPTION:Kelley’s 28-minute video project pieced together a character study of the Banana Man\, a character from the children’s television show “Captain Kangaroo.” Having never watched the Banana Man himself\, Kelley enlisted his childhood friends to recount their memories of him\, memories which were weaved together into a fragmented narrative. \nWrites Kelley: “This is my only truly solo video project. The tape is an exploration of character and was done in direct reaction to my performance work at the time\, which was characterless. Video seemed a good way\, by virtue of it not operating in ‘real’ time\, of dealing with character and psychological motivation. ‘The Banana Man’ was a minor figure on a children’s television show I watched in my youth. I\, myself\, never saw this performer. Everything I know about him was told to me by my friends. The Banana Man is an attempt at constructing the psychology of the character — problematized by the fact that the character is already a fictional one\, and by the fact that none of my observations were direct ones.” \n1983\, 28:15 min\, color\, sound\n\nDiscussion to follow screening.
URL:https://www.bigcar.org/event/the-banana-man-mike-kelley/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/10/slide_343610_3570599_free.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20161217T130000
DTEND;TZID=America/Indiana/Indianapolis:20161217T150000
DTSTAMP:20260419T045335
CREATED:20161208T233507Z
LAST-MODIFIED:20161208T233507Z
UID:4415-1481979600-1481986800@www.bigcar.org
SUMMARY:Pop-Up Woodworking Workshop
DESCRIPTION:Join us for a Pop-Up Woodworking Workshop led by teaching artist Brittany Rudolf. \nALL materials are provided. No previous experience is necessary\, as we will use pre-cut pieces\, so come in with an open mind and leave with a handpiece work! \nThis workshop is FREE and FAMILY FRIENDLY; however\, space is limited and children 12 and under must be accompanied by an adult. Reserve your spot by clicking here! \nBrittany Rudolf is a multi-disciplinary artist who is serving as Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture\, she combines her various creative interests with a love for community engagement. \nFor more information and other inquires\, please contact Brittany at email hidden; JavaScript is required.
URL:https://www.bigcar.org/event/pop-up-woodworking-workshop-2/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/12/15356705_1472300392784061_9073366884007469840_n.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20161119T120000
DTEND;TZID=America/Indiana/Indianapolis:20161119T140000
DTSTAMP:20260419T045336
CREATED:20161117T192106Z
LAST-MODIFIED:20161117T192106Z
UID:4328-1479556800-1479564000@www.bigcar.org
SUMMARY:Pop-Up Woodworking Workshop
DESCRIPTION:Join us for a Pop-Up Woodworking Workshop led by Teaching Artist\, Brittany Rudolf. \nWe will begin with cut-and-paste collages and end with our images transferred onto wood! \n\nFamily friendly. All materials provided. \n\n\nBrittany Rudolf is a multi-disciplinary artist who is serving as Public Ally with Big Car Collaborative for the 2016-2017 term. A graduate of Herron School of Art and Design with a BFA in Furniture Design and Sculpture\, she combines her various creative interests with a love for community engagement.
URL:https://www.bigcar.org/event/pop-up-woodworking-workshop/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/11/SideBySide.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20161110T183000
DTEND;TZID=America/Indiana/Indianapolis:20161110T201500
DTSTAMP:20260419T045336
CREATED:20161014T134434Z
LAST-MODIFIED:20161108T163225Z
UID:4265-1478802600-1478808900@www.bigcar.org
SUMMARY:Brian Priest Artist Talk--das Andenken "Memory Souvenir"
DESCRIPTION:Brian James Priest will talk on current themes in German Art\, about artists he met on his journey/studio visits in Germany\, his exhibition at Nina Sagt Galerie and research for future works. \n45 minutes–Q&A at the end \nPriest is a interdisciplinary artist based in Indianapolis. He has presented his work at Yugong Art Museum\, the Indianapolis Museum of Contemporary Art\, Kemper Museum of Contemporary Art\, White Flag Project Space and more. Priest was a recipient of the Efroymson Contemporary Art Fellowship and is a CICF renewal Fellow. He is a Visiting Professor of Sculpture at Herron School of Art and Design and DePauw University. He is also owner of Kurb Design\, a fabrication and design studio. Priest received his BFA from Herron School of Art and Design in 2004 and MFA from Washington University in St. Louis in 2007. \nImage: “Performance 2016. North Korean Embassy in Berlin.”\nStarting from the front gate\, Priest dribbled a basketball around\nthe North Korean Embassy\, finishing with a long range\njump shot at the basketball goal located behind the\nembassy on North Korean territory.
URL:https://www.bigcar.org/event/brian-priest-artist-talk-das-andenken-memory-souvenir/
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/2016/10/Lecture1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20161022T110000
DTEND;TZID=America/Indiana/Indianapolis:20161022T150000
DTSTAMP:20260419T045336
CREATED:20160817T200400Z
LAST-MODIFIED:20160818T022640Z
UID:4073-1477134000-1477148400@www.bigcar.org
SUMMARY:Textile Dyeing and Water Emersion Workshop
DESCRIPTION:Daren Redman\, textile artisan\, leads a textile dyeing and water emersion workshop providing all materials. Participants will use bandanas to create unique tie dye designs. To learn more about her hand dyed fabrics please click here. \nThis event is free and open to the public. All ages and skill levels are welcome!
URL:https://www.bigcar.org/event/textile-dyeing-and-water-emersion-workshop/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/png:https://www.bigcar.org/wp-content/uploads/2016/08/Screen-Shot-2016-08-17-at-3.58.25-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20161013T190000
DTEND;TZID=America/Indiana/Indianapolis:20161013T210000
DTSTAMP:20260419T045336
CREATED:20160724T161510Z
LAST-MODIFIED:20160822T223131Z
UID:4012-1476385200-1476392400@www.bigcar.org
SUMMARY:The Five Obstructions Film Screening and Discussion
DESCRIPTION:Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking\, who is currently exhibiting at Tube Factory artspace\, we will screen The Five Obstructions and The Perfect Human then reference the interview between her and Hocking. \nThe Five Obstructions is a 2003 Danish documentary film directed by Lars von Trier and Jørgen Leth. The film is conceived as a documentary\, but incorporates lengthy sections of experimental films produced by the filmmakers. The premise is that von Trier has created a challenge for his friend and mentor\, Jørgen Leth\, another renowned filmmaker. von Trier’s favorite film is Leth’s The Perfect Human (1967)\, and von Trier gives Leth the task of remaking The Perfect Human five times\, each time with a different “obstruction” (or obstacle) imposed by von Trier. \nIn partnership with Public House Cinema:\nWebsite: publichousecinema.com\nTwitter: @PHCinemaIndy\nInstagram: @publichousecinema\nFacebook: facebook.com/phcinemaindy\nEmail: email hidden; JavaScript is required
URL:https://www.bigcar.org/event/the-five-obstructions-film-screening-and-discussion/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/the-perfect-human.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160907T190000
DTEND;TZID=America/Indiana/Indianapolis:20160907T210000
DTSTAMP:20260419T045337
CREATED:20160724T160733Z
LAST-MODIFIED:20160822T223036Z
UID:4011-1473274800-1473282000@www.bigcar.org
SUMMARY:Close Encounters of the Third Kind Film Screening and Discussion
DESCRIPTION:Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking\, who is currently exhibiting at Tube Factory artspace\, we will screen Close Encounters of the Third Kind then reference the interview between her and Hocking. \nClose Encounters of the Third Kind is a 1977 American science fiction film\, written and directed by Steven Spielberg and starring Richard Dreyfuss\, François Truffaut\, Melinda Dillon\, Teri Garr\, Bob Balaban\, and Cary Guffey. It tells the story of Roy Neary\, an everyday blue collar worker in Indiana\, whose life changes after an encounter with an unidentified flying object (UFO). \nIn Partnership with Public House Cinema:\nWebsite: publichousecinema.com\nTwitter: @PHCinemaIndy\nInstagram: @publichousecinema\nFacebook: facebook.com/phcinemaindy\nEmail: email hidden; JavaScript is required
URL:https://www.bigcar.org/event/close-encounters-of-the-third-kind-film-screening-and-discussion/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/close-encounters-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160902T180000
DTEND;TZID=America/Indiana/Indianapolis:20160902T220000
DTSTAMP:20260419T045338
CREATED:20160818T011652Z
LAST-MODIFIED:20160818T030652Z
UID:4077-1472839200-1472853600@www.bigcar.org
SUMMARY:Lush
DESCRIPTION:Nine artists explore subjects that terrify and fascinate them using the artist residency house next to the Tube Factory artspace. Installations\, sculpture\, and photography transfigure the space into a series of visionary experiences. \nEric Broz\nI want everyone to like me. I just want to be famous and for everyone to like me and to be happy. I really just want to be rich and famous and for everyone to like me. The only thing I want is to be rich and famous and for everyone to like me. And maybe a Coke. If I’m rich and I’m famous and everyone likes me and I have a Coke\, I’d be happy.\nA Pepsi would be ok too. \nEmily Freese\nClothing relates to the body without the body needing to be there. It is a second skin to the human. I manipulate this second skin\, creating objects from what were once personal belongings. I am examining clothing\, through the absence of the body\, as a metaphor for the human. The clothing is subject to forms of deterioration to destroy\, as well as further\, its history. Creating my own forms of stains and wear on the fabric reflect a narrative of the human\, of the clothing. The stains are intimate and revealing. They show the presence of human touch\, and reflect a sense of control. While stains are present\, there is still a sense of sterility and stillness. Thus\, these forms of wear present an alteration to something once new. I pair clothing with familiar objects of the domestic household. I use acrylic\, steel\, rust\, bleach\, and plastic as mediums to create and contain the representational figure and transforming the narrative of the clothes. \nClare Gatto\nSecond Skins utilizes tropes and archetypes of femininity to point to larger social constructs. While my studio practice is rooted in photography\, it has expanded to encompass the use of new media\, including 3D scanning and modeling. This new form of representation enables a re-imagining of the way we view\, treat\, and understand ideas of the feminine. By using photographs combined with 3D Scanning technology\, I welcome the viewer into a world that attempts to challenge the notion of constructed norms. The work depicts a seductive environment without a horizon where fluidity is welcomed. \nPhilip Košćak\nI manipulate and multiply self-created and borrowed characters\, objects\, images\, text\, and dialogue. These fragmented text and images combined with personal memories reveal a stream of consciousness made up of double entendres and metaphors of identity that urge the viewer to reconsider what they already know\, and what they think they know. \nBrent Lehker\nLehker is an artist\, maker and designer. He holds a BFA from Herron School of Art. Brent works in multiple mediums\, but when asked he will say he “builds things.” When Brent says “builds things\,” he means the objects he builds with his hands along with the relationships he builds in his world.\nDipstick is a collaborative\, visual measurement of public participants’ perceptions. People are asked to dip a prearranged\, hang-able stick into a colored pigment to measure their feelings about questions posed to them. The sticks are then collected and hung on wire to form a visual display.\nDipstick is an ongoing series. \nSteve Moore\nThe porch has an abandoned mount for a swing that once allowed a position for a spectator. The remaining mounts provide a position to imagine a static plumb line exemplifying gravity’s effect while also acknowledging the potential forces being exerted in opposition.\nWe could image this idealized perspective as a prime site for hanging in fluid suspension\, similar to a womb or being rocked to sleep in a mother’s arms. From this imagined location\, a point in space at the confluence of Cartesian planes\, emits an eye \nMonica Sandoval\nBorn and raised in Los Angeles\, CA. Monica Sandoval received her MA from the California State University\, Northridge\, and is currently pursuing an MFA at Cranbrook Academy of Art.\nThrough video performance\, installation\, and object making Sandoval examines themes of identity\, self-preservation\, and ultimately futility. Her work is defiant\, amplifying the body as a means to protest any general notions attached to it. As a starting point\, Sandoval is currently investigating how she can distance herself from her own body (objectifying it in the process). All in order to link body image with the social construct surrounding desire. \nKatie Shroeder\nMy work uses material exploration and performance to discuss a variety of social concerns. By using building materials to create performances and sculptures\, I am able to explore the futility of physical consumption\, human communication\, and the roles we play within our own bodies. I use bricks\, clay\, plaster\, and wood to express cultural standards and challenge the importance of these social norms.\nI exploit societal roles through examination of self and culture. These examinations tend to be performances or sculptural objects that involve raw materials encountered every day. I strive to challenge the American standard involving mentalities of home owning\, debt\, labor\,\nbeauty standards\, and lavish spending. Post-performance\, what is left is an object or artifact. This creates an opportunity to challenge the viewer as they consider the tension caused between the perceived past (my performance) and the potentially contradictory atmosphere created by the presence of the physical relic.\nIn my most recent work\, I use found materials\, raw and fired clay\, and photography to position my audience as both an active participant and as a viewer. This dual role encourages the audience to question the truth behind the ideas presented in the work and to evaluate their relevance within contemporary culture. The potential distress between what is possible and what is impossible becomes a key function of the work. It allows for a reflective moment between object and interpretation; between my audiences body and my own. \nNick Witten\nWitten is obsessed with figuring it out. What is it? It is him\, his art\, you\, us\, how he interacts with you\, how he interacts with people\, how you interact with people\, how people interact with people\, what’s funny\, what’s sad\, what’s funny and sad\, who is in control\, who is out of control\, what is control\, what’s performing\, what’s genuine\, what’s smart\, what’s dumb\, what is the grey space between and whether or not he is rambling on right now (also if that was a good joke or not).\nThrough video based performances\, found and manipulated objects Witten creates work that unfolds into different avenues of conversation only to fold back in on itself. This möbius strip\, paired with formalist qualities\, invokes a feeling in the viewer that is hard to pin down. In this strange area humor becomes a lifeline. The work strives to understand how humor helps to build the social world around us\, how to utilize this tool\, and what it means to function in society today. \nImage: Second Skin\, Clare Gatto\, 2016
URL:https://www.bigcar.org/event/lush/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/08/Gatto_SecondSkin_10x15.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160826T200000
DTEND;TZID=America/Indiana/Indianapolis:20160827T010000
DTSTAMP:20260419T045338
CREATED:20160818T021701Z
LAST-MODIFIED:20160818T021701Z
UID:4086-1472241600-1472259600@www.bigcar.org
SUMMARY:Paddlit -- Part of the In Light In Festival
DESCRIPTION:Selected to be part of the In Light In festival that celebrates the 100th anniversary of Central Indiana Community Foundation\, Big Car lights up the paddle boats that\, using human power to chug through the canal. The Paddlit (paddle it) project involves the people on the boats working as paddlers — maybe better called petalers — who’ll be able to alter the cadence of waterproof LED lights glowing on and off colorfully just above the water. In this way\, everybody who rents a paddle boat is a collaborator and performer.
URL:https://www.bigcar.org/event/paddlit-part-of-the-in-light-in-festival/
LOCATION:Government Center Basin\, 429 W. Ohio St.\, Firehouse #13\, Indianapolis\, IN\, 46204\, United States
CATEGORIES:Downtown Indy,Outdoor Activities,Reconnecting to Our Waterawys,Reconnecting to Our Waterways,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/08/wheelfunboat01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160818T190000
DTEND;TZID=America/Indiana/Indianapolis:20160818T210000
DTSTAMP:20260419T045338
CREATED:20160724T155902Z
LAST-MODIFIED:20160818T012645Z
UID:4010-1471546800-1471554000@www.bigcar.org
SUMMARY:Night of the Hunter Film Screening and Discussion
DESCRIPTION:Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking\, who is currently exhibiting at Tube Factory artspace\, we will screen The Night of the Hunter then reference the interview between her and Hocking. \nThe Night of the Hunter is a 1955 American film noir directed by Charles Laughton and starring Robert Mitchum\, Shelley Winters and Lillian Gish. Based on the 1953 novel of the same name by Davis Grubb\, it was adapted for the screen by James Agee and Laughton. The plot focuses on a corrupt reverend-turned-serial killer who attempts to charm an unsuspecting widow and steal $10\,000 hidden by her executed husband. \nThe novel and film draw on the true story of Harry Powers\, hanged in 1932 for the murder of two widows and three children in Clarksburg\, West Virginia. The film’s lyrical and expressionistic style with its leaning on the silent era sets it apart from other Hollywood films of the 1940s and 1950s\, and it has influenced later directors such as David Lynch\, Martin Scorsese\, Terrence Malick\, Jim Jarmusch\, Spike Lee\, and the Coen brothers. \nIn 1992\, The Night of the Hunter was deemed “culturally\, historically\, or aesthetically significant” by the United States Library of Congress and was selected for preservation in the National Film Registry. The influential film magazine Cahiers du cinéma selected The Night of the Hunter in 2008 as the second-best film of all time\, behind Citizen Kane.
URL:https://www.bigcar.org/event/night-of-the-hunter-film-screening-and-discussion/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Film,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160805T180000
DTEND;TZID=America/Indiana/Indianapolis:20161022T220000
DTSTAMP:20260419T045338
CREATED:20160715T164456Z
LAST-MODIFIED:20160818T013553Z
UID:4005-1470420000-1477173600@www.bigcar.org
SUMMARY:Librería Donceles
DESCRIPTION:Librería Donceles is an itinerant\, Spanish-language second-hand bookstore\, created by Pablo Helguera in 2013 out of a desire to address the lack of outlets that serve the growing Hispanic and Latino communities in the United States. Since it was first installed in New York City\, has traveled to Phoenix\, San Francisco\, Brooklyn\, Seatle\, Chicago and now Indianapolis. Each time that it has been presented\, it has constituted the sole Spanish-language used bookstore within that city. This is the same night as the opening night of the  Scott Hocking exhibit at Tube Factory artspace.  \nAgosto 5-Octubre 22\nLibrería Donceles es una en librería itinerante de libros en español de segunda mano\, creada por Pablo Helguera en 2013 por el deseo de hacer frente a la falta de salidas que sirven a las comunidades hispanas y latinas que crecen en los Estados Unidos. Desde que se instaló por primera vez en la ciudad de Nueva York\, ha viajado a Phoenix\, San Francisco\, Brooklyn\, Seatle\, Chicago\, y ahora Indianapolis. Cada vez que se ha presentado\, ha constituido en ser la única librería de libros en español dentro de esa ciudad. \nPart functioning bookstore and part participatory installation\, it confronts the very tangible implications of particular social dynamics\, revealing social structures that exist within plain sight\, while powerfully advocating for equity through the physical presence of a bookstore. It asserts the materiality of books\, at a time when digital platforms for reading have fundamentally shifted the economics of book production\, distribution\, and consumption. \nParte librería funcional y parte instalación participativa\, enfrenta a las consecuencias muy tangibles de determinadas dinámicas sociales\, revelando estructuras sociales que existen dentro de la vista\, mientras que poderosamente la defensa de la equidad a través de la presencia física de una librería. Afirma la materialidad de los libros\, en un momento en que las plataformas digitales para la lectura han cambiado fundamentalmente la economía de la producción de libros\, distribución y consumo. \nComprising over 6\,500 volumes on topics ranging from biology to architecture\, the books in were all donated in exchange for artworks created by Helguera. Each book bears the name of its donor on a plate inside its front cover\, pointing to the social history retained within that book. Each visitor to the bookstore is allowed to purchase one book\, at a price that they set\, substituting the terms of a market economy with those of a gift economy. \nConsiste de 6.500 volúmenes sobre temas que van desde la biología a la arquitectura\, los libros fueron donados a cambio de obras de arte creadas por Helguera. Cada libro lleva el nombre de su donante en una placa dentro de su portada\, que apunta a la historia social retenido dentro de ese libro. Se permite que cada visitante a la librería para comprar un libro\, a un precio puesto por el visitante\, la sustitución de los términos de una economía de mercado con los de una economía del regalo. \nThe project takes its name from the historic street\, Calle Donceles\, in Mexico City that is lined with used bookstores. \nEl proyecto toma su nombre de la histórica calle\, la calle de Donceles\, en la Ciudad de México que está llena de tiendas de libros usados. \nPablo Helguera is a New York-based artist whose practice has addressed issues of memory\, ethnography\, pedagogy\, and the absurd through installation\, socially engaged art\, sculpture\, and performance. Helguera is the recipient of a Creative Capital Grant (2005)\, a Guggenheim Fellowship (2008)\, as well as the first International Award for Participatory Art (2011). \nPablo Helguera es un artista con sede en Nueva York\, cuya práctica ha abordado cuestiones de la memoria\, la etnografía\, la pedagogía\, y el absurdo a través de la instalación\, el arte socialmente comprometido\, la escultura y el rendimiento. Helguera es el destinatario de un Capital Creativo Grant (2005)\, una beca Guggenheim (2008)\, así como el primer Premio Internacional de Arte Participativo (2011).
URL:https://www.bigcar.org/event/libreria-donceles/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/13497730_1306884342659001_403398552986252710_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160805T180000
DTEND;TZID=America/Indiana/Indianapolis:20161016T220000
DTSTAMP:20260419T045338
CREATED:20160715T163117Z
LAST-MODIFIED:20160906T143515Z
UID:4002-1470420000-1476655200@www.bigcar.org
SUMMARY:RCA: Scott Hocking
DESCRIPTION:Detroit-based Scott Hocking visited Indianapolis in January and selected the former RCA Factory at Michigan and LaSalle as fodder for his installation in the main gallery. “It immediately grabbed me\,” Hocking explained of the experience. “The RCA history was interesting enough. But the building was last used as a recycling plant\, and was filled with now abandoned\, un-recycled waste: plastic\, paper\, foam — thousands of objects.  The irony of these mountains of recyclables is that they would never be recycled. A huge pile of military grade plastic cases\, with ominous stencils: ‘laser firing simulator system\,’ ‘interrogation kit\,’ ‘casualty evacuation kit\,’ ‘tank weapon gunnery simulation system.’  Pallets of clothes and books\, including dozens of old hymnals. Plastic pill and dish soap bottles strewn everywhere. Giant fragments of fast food and gas station signage: McDonald’s\, Steel City\, Family Dollar\, Wendy’s. And a monster stack of Styrofoam slabs and wedges — melted and distorted from failed arson attempts.  The whole place was crazy and great.” \nHocking spent three weeks in Indianapolis gathering materials from the site\, documenting\, researching\, and creating his installation. He hauled over 100 massive hunks of burned Styrofoam\, multiple plastic blobs melted by fires\, fragmented fast food signage\, nifty anthropomorphic food-character murals\, and dozens of other artifacts. He brought this all to Tube Factory. And he worked onsite while living in Big Car’s neighboring artist residency home. The resulting installation uses the main gallery as a kind of ceremonial site — the burned Styrofoam mountain could be a dystopian temple or future glacier. \nAlso featured — in the eastside space adjacent to the cartoon food doodz from the old RCA building — is a sampling of Hocking’s Bad Graffiti series. These are photographs he takes of the work of renegade painters. The series\, featuring photos taken most often in Detroit\, now includes discoveries from his Indianapolis visits. \nIn the video room\, Hocking blends images from projects he’s competed in Detroit and rural Michigan with footage from his recent work in Indianapolis — offering a look at his often solitary and meditative process. The videos also highlight Hocking’s love of nature and ways the natural and man-made worlds are really one. \nHocking’s artwork has been exhibited internationally\, including the Detroit Institute of Arts\, Cranbrook Art Museum\, the Museum of Contemporary Art Detroit\, the University of Michigan\, the Smart Museum of Art\, the School of the Art Institute Chicago\, Contemporary Art Museum St. Louis\, the Pennsylvania Academy of Fine Arts Museum\, the Mattress Factory Art Museum\, the Museum of Contemporary Art Chicago\, the Kunst-Werke Institute\, the Van Abbemuseum\, and Kunsthalle Wien. He was recently awarded a Kresge Artist Fellowship\, and is represented by Susanne Hilberry Gallery. \n“The coyotes roaming Detroit fascinate artist Scott Hocking. It is an animal that is adaptable and gregarious\, yet also solitary and rejects human domestication.  Hocking encounters them on his sojourns through the parts of the city where post-industrial urban landscape is in the process of being reclaimed by nature.  He creates photographs\, sculpture\, and assemblages in these places of transition. Likewise\, he is a coyote-like roamer in pursuit of evidence and archeological specimens created by the modern human species. The coyote is a frequent character in the folklore of the Western World going back to Mesoamerican cosmology—a picaresque figure that has the ability to assume both human and animal form.  It is easy to conjure such a fantastical character around Hocking\, because he is more of a scavenger than flâneur\, and his work is more mythology than documentary.” \n— Laura Mott\, Curator of Contemporary Art and Design\, Cranbrook Art Museum \nThe exhibit\, curated by Shauta Marsh\, is made possible by The Andy Warhol Foundation for the Visual Arts. \nThe exhibit is open Monday through Friday\, 9 am – 6 pm and Saturdays 11 am-3pm. \nPhoto: RCA\, installation of found materials\, Scott Hocking
URL:https://www.bigcar.org/event/scott-hocking/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2016/07/13923438_10155202082078986_8123213897065514600_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160803T193000
DTEND;TZID=America/Indiana/Indianapolis:20160803T214500
DTSTAMP:20260419T045338
CREATED:20160715T162542Z
LAST-MODIFIED:20160715T162609Z
UID:3996-1470252600-1470260700@www.bigcar.org
SUMMARY:Ubu The King
DESCRIPTION:About the show:\nRough House Theater Company is touring to eight cities across the Midwest and East Coast with their production of Ubu the King\, Alfred Jarry’s 1896 masterpiece of absurdo-surrealism\, elaborately retold with original music and over 60 stunning hand-crafted puppets. \nIn a new adaptation by artistic director Mike Oleon\, Rough House’s Ubu the King brings Jarry’s seminal satire to life in all its absurd\, grotesque glory. In the hands of five power hungry puppeteer-performers\, Pa Ubu murders\, lies\, and farts his way up to the Polish throne – and back down again. Beautifully designed and meticulously realized by designer Grace Needlman\, Rough House’s Ubu is ridiculous\, heartbreaking\, and spectacular. \nAbout Rough House: \n\nRough House Theater Company is committed to connecting individuals and communities through art that celebrates the weird things that make us unique\, and the weirder things that bring us together. \nRough House creates theater that captures the heart through the eye. Rough House shows use puppetry\, music\, and human performance to tell stories that are intimate\, strange\, and sincere.  The company aims to invigorate audiences and inspire fellow artists through work that is rigorous\, adventurous\, and jubilantly weird. \nThrough educational programming\, cultivation of work by emerging and established artists\, and broadly accessible performances\, Rough House seeks to bring new life to puppet theater in Chicago\, and to invigorate a spirit of cross-disciplinary artistic experimentation within an ever-growing\, diverse community of artists.
URL:https://www.bigcar.org/event/ubu-the-king/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Film,Garfield Park,Visual Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160714T180000
DTEND;TZID=America/Indiana/Indianapolis:20160714T203000
DTSTAMP:20260419T045338
CREATED:20160420T022005Z
LAST-MODIFIED:20160420T023204Z
UID:3861-1468519200-1468528200@www.bigcar.org
SUMMARY:The Forbidden Room-Guy Maddin
DESCRIPTION:“We talk about movies being dreamlike\, but this is ridiculous. The Forbidden Room is often maddening\, occasionally beautiful\, and ultimately unforgettable\,” says Bilge Ebiri of Vulture Magazine. \nJoin us for a screening of THE FORBIDDEN ROOM\, Guy Maddin’s ultimate epic phantasmagoria. Honoring classic cinema while electrocuting it with energy\, this Russian nesting doll of a film begins (after a prologue on how to take a bath) with the crew of a doomed submarine chewing flapjacks in a desperate attempt to breathe the oxygen within. Suddenly\, impossibly\, a lost woodsman wanders into their company and tells his tale of escaping from a fearsome clan of cave dwellers. From here\, Maddin and co-director Evan Johnson take us high into the air\, around the world\, and into dreamscapes\, spinning tales of amnesia\, captivity\, deception and murder\, skeleton women and vampire bananas. Playing like some glorious meeting between Italo Calvino\, Sergei Eisenstein and a perverted six year-old child\, THE FORBIDDEN ROOM is Maddin’s grand ode to lost cinema. Created with the help of master poet John Ashbery\, the film features Mathieu Amalric\, Udo Kier\, Charlotte Rampling\, Geraldine Chaplin\, Roy Dupuis\, Clara Furey\, Louis Negin\, Maria de Medeiros\, Jacques Nolot\, Adele Haenel\, Amira Casar and Elina Lowensohn as a cavalcade of misfits\, thieves and lovers\, all joined in the joyful delirium of the kaleidoscopic viewing experience.
URL:https://www.bigcar.org/event/surprise-cinema-lost-and-found/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Shelby St. Corridor,Visual Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160710T110000
DTEND;TZID=America/Indiana/Indianapolis:20160710T150000
DTSTAMP:20260419T045338
CREATED:20160701T151856Z
LAST-MODIFIED:20160701T151856Z
UID:3977-1468148400-1468162800@www.bigcar.org
SUMMARY:The Tiny Book Show!
DESCRIPTION:A FREE\, ALL-AGES EVENT \nGet creative on a Sunday afternoon with itty bitty books during their roadtrip stop in the beautiful Garfield Park neighborhood! \nThe Tiny Book Show is a cross-country mobile exhibition in a 1965 Covered Wagon travel trailer (photos below). Hundreds of teensy handmade books are inside—all under 3 inches in size! Poets and educators Maya Stein and Amy Tingle\, founders of The Creativity Caravan\, will also share a unique\, hands-on bookmaking workshop with all ages\, for free. \nTube Factory artspace will have outdoor picnic tables and indoor (air-conditioned) work spaces\, art supplies and mini snacks to share from 11am to 3pm. Everyone is welcome. No registration or experience necessary.\nWhile you’re here and in bookworm mode: \nCheck out 28 years worth of tiny diary entries of local poet Anne Laker. Her project\, “10000 Whens\,” is a charming\, absurdist collection of her own diaries\, reaching back to 1985. See more by finding @10000whens on Instagram or www.10000whens.net \n\nMeet our Garfield Park neighbor Laura McPhee\, owner of the unique new book shop\, Pen and Pink. Enjoy collections of handmade\, vintage and upcycled books\, and learn about the processes. Pen and Pink is located at 2435 S. Shelby\, with a grand opening on First Friday\, July 1st. \n. . . \nLearn more about The Tiny Book Show\, including online classes\, school programs and special events focused on creativity\, collaboration and community at www.thecreativitycaravan.com/tinybookshow \n\n		\n		\n			\n				\n			\n				\n				The Creativity Caravan is coming to Indy!\n				\n			\n				\n			\n				\n				Hundreds of handmade books from around the world\n				\n			\n				\n			\n				\n				Detail of a tiny book\n				\n			\n				\n			\n				\n				Free all-ages bookmaking workshop\n				\n			\n				\n			\n				\n				10000 Whens diaries\n				\n			\n				\n			\n				\n				10000 Whens\, since 1985\n				\n			\n				\n			\n				\n				Pen and Pink upcycled notebooks\n				\n			\n				\n			\n				\n				Pen and Pink vintage books
URL:https://www.bigcar.org/event/the-tiny-book-show/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160622T200000
DTEND;TZID=America/Indiana/Indianapolis:20160622T220000
DTSTAMP:20260419T045338
CREATED:20160316T213208Z
LAST-MODIFIED:20160531T214334Z
UID:3790-1466625600-1466632800@www.bigcar.org
SUMMARY:Julianna Barwick and Mas Ysa
DESCRIPTION:May 6th sees the release of Will\, the revelatory third full-length album by Brooklyn experimental artist Julianna Barwick. Conceived and self-produced over the past year in a variety of locations\, the ominous\, compelling Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle\, thick fog rolling over desolate mountains\, then Will is a late afternoon thunderstorm\, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.\n\n\n\nClick here to purchase tickets.\n\n\nBarwick’s life over the past several years has largely been lived in transit\, and as such the genesis of Will was not beholden to location; Barwick worked on the album in a variety of locales\, from a desolate house in upstate New York to the Moog Factory in Asheville\, North Carolina to Lisbon\, Portugal.  \n“I love touring\, but it can be a wild ride\,” Barwick reflects on this cycle of constant motion. “You’re constantly adjusting\, assimilating\, and finding yourself in life-changing situations.” Those experiences played into and helped shape Will’s charged\, unstable atmosphere: “I knew I’d be playing these songs live\, so I wanted some movement\,” she explains. “Something that had rhythm and low-end.” \nThat sense of forward propulsion is largely owed to Will’s synth-heavy textures. The electric current that runs through the album takes on various shapes of intoxicating instability. Featuring contributions from Thomas Arsenault (Mas Ysa)\, Dutch cellist Maarten Vos and percussionist\, Jamie Ingalls (Chairlift\, Tanlines\, Beverly)\, Will is largely a product of ups and downs\, a reflection of a life lived somewhere in between transience and standing still. “While making this record\, there were moments of isolation and dark currents\,” Barwick admits. “I like exploring that\, and I love when I come across songs that sound scary or ominous. I’ve always been curious about what goes into making a song that way.” The beguiling\, beautifully complicated Will is the result of that curiosity\, and proof of Barwick’s irresistibly engaging talent as a composer and vocalist. \nWill comes off of Barwick’s busiest period in her career\, following the release of Nepenthe—a spate of activity that included playing piano for Yoko Ono\, performing at Carnegie Hall at the annual Tibet House concert with the Flaming Lips and Philip Glass\, The Rosabi EP and beer created in conjunction with brewing company Dogfish Head\, and a re-imagining of Bach’s “Adagio” from Concerto In D Minor. \nWatch the Derrick Belcham-directed video for debut single\, “Nebula” which was filmed in the Philip Johnson Glass House and presents the essence of Will and Julianna Barwick’s richly complex musical fabric. \nJulianna Barwick’s music has been reviewed in Time Out New York\, Time Out Lisbon\, The New York Times\, and The Village Voice\, among other publications. Her music has also been featured as “Best New Music” on Pitchfork\, which also gave\, 2009’s “Florine” EP an honorable mention for an album of the year.  \nMas Ysa \n“Thomas Arsenault\, the person who records as Mas Ysa\, is difficult to pin down\, and that’s probably the best thing about him. He’s lived in Montreal and San Francisco and Sao Paolo and New York and wherever Oberlin is. He’s scored modern dance productions and remixed synthpop groups. He sometimes sings in an angelic\, reverby tenor and sometimes in a full\, throat-wracked howl. He makes mostly electronic records\, and he does it by itself\, but “producer” somehow doesn’t seem like the right job title for him. (I’ve also seen people describe him as a “composer\,” and that seems even more wrong.) Listening to his records\, it’s hard to tell which sounds are electronic and which are made by actual physical instruments. His music drifts freely between ambient and synthpop and oblique dance and good old-fashioned indie rock. And he’s conclusively proven that you don’t need a full band to sound vaguely like Arcade Fire. \nMas Ysa made his name on last year’s Worth EP\, which alternated between drifting\, pretty synth-drone and big\, chest-thumping psychedelic laptop-rock howlers. On Seraph\, his first proper album\, Arsenault pretty much smushes those two things together until they’re one thing\, and the result is a pleasant drift that never settles on one genre for more than a few seconds and stays appealing and interesting throughout. All the individual sounds\, like the glassy walls of keyboard on “Sick” or the happy-sigh New Order beeps of “Look Up\,” have an impressive widescreen gloss to them. Arsenault’s voice has that quavery tone that was so popular among mid-’00s indie-dude singers\, in which every word means so much that he just can’t choke it out without his throat catching. Some tracks play around with Euro-club house-thumps\, which sounds shockingly good with this sort of singing and this sort of production. Nicole Miglis from Hundred Waters shows up on “Gun\,” and her airy coo works as an absolutely lovely complement to Arsenault’s emotive gurgle. “Service” has some seriously badass Moroder-style Italo pulsing. There’s a lot to like here. \nAnd maybe\, for you\, there will be a lot to love. Arsenault’s closest peer might be Youth Lagoon’s Trevor Powers\, another indie auteur who pulls inspiration from wherever and whose songs seem to project meaning\, even if you don’t necessarily know what that meaning is. Youth Lagoon has never really gotten past the “pleasant background music” stage for me\, but that dude’s music means a lot to a lot of people. I suspect that the same will be true here. And even if you don’t end up loving this thing\, it’s still an impressive piece of work\, one that you should hear — if you can carve out the time. After all\, there is a truly unprecedented amount of great music out there. If something is merely good\, you can be forgiven for skipping it.”–Tom Breihan of Sterogum \nThis concert is made possible by The Andy Warhol Foundation for the Visual Arts. About The Andy Warhol Foundation for the Visual Arts: The Andy Warhol Foundation for the Visual Arts was established in 1987. In accordance with Andy Warhol’s will\, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn\, directly or indirectly\, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting\, exhibiting and interpreting a broad spectrum of contemporary artistic practice.
URL:https://www.bigcar.org/event/julianna-barwick/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20160409T203000
DTEND;TZID=America/Indiana/Indianapolis:20160409T230000
DTSTAMP:20260419T045338
CREATED:20160316T210602Z
LAST-MODIFIED:20160409T223055Z
UID:3787-1460233800-1460242800@www.bigcar.org
SUMMARY:Prince Rama
DESCRIPTION:Prince Rama is the musical duo of sisters Taraka and Nimai Larson. They have lived in ashrams\, worked for utopian architects\, written manifestos\, delivered lectures from pools of fake blood\, conducted group exorcisms disguised as VHS workouts\, installed art installations at The Whitney\, Art Basel and various galleries across the U.S. And now they return to Big Car April 9\, 8 p.m. at the Tube Factory artspace\, 1125 Cruft St. in the Garfield Park neighborhood on the south end of downtown. \nThey will perform Xtreme Now\, an album about extreme sports with Indianapolis-based The Icks opening for them. The cost of the performance is $10 and tickets can be purchased on-line (https://www.eventbrite.com/e/prince-rama-indianapolis-us-tour-the-icks-tickets-21012549100) or at the door. \nXtreme Now is the most extreme album Prince Rama has ever made. Writing for Xtreme Now began while the Larson sisters were living on a black metal utopian commune on Vȫrmsi\, a remote island off the coast of Estonia during the summer of 2012. There\, Taraka had a near death experience inside an ancient Viking ruin\, which sparked a recurring sense of time-schizophrenia\, or the physical sensation of existing in multiple time periods simultaneously. \nIn this case\, she experienced a joint-existence in both the medieval ages and the year 2067. In one of her prophetic visions she describes\, “In the year 2067\, I witnessed an aesthetic landscape where art museums are sponsored by energy drink beverages and beauty is determined by speed. I saw a vision of ancient tapestries stretched across half-pipes and people base-jumping off planes with the Mona Lisa smiling up from their parachutes. I saw art merge with extreme sports to form a new aesthetic language of ‘Speed Art.’ I realized that time travel was possible via the gateway of extreme sports\, and I wanted to make music that would provide the score.” \nPerceiving a great void in the world of extreme sports for music that could match the metaphysical intensity of these death-defying feats\, Prince Rama set forth to make Xtreme Now\, the first real foray by any musician to create a new “extreme sports genre.” For inspiration\, the sisters looked to their own flirtations with death and time-dilation\, along with countless hours of obsessively watching extreme sports videos and consuming dangerous quantities of Monster Energy drink. \nWorking with acclaimed dance producer Alex Epton of XXXChange (Gang Gang Dance\, Björk\, Spank Rock\, Panda Bear\, The Kills)\, the new songs take on a more powerful\, confident\, fierce\, infectious\, all-encompassing\, and accessible dance-club feeling than any other Prince Rama record – a fearless\, visionary pop tour de force for the ghost-modern era that celebrates the ephemerality of life\, dancing just at the edge of death’s gilded smile. \nAbout The Icks \nThe Icks utilize electricity to power their instruments. What if John Hughes directed Blade Runner? \nJohn Caldwell-guitar and vocals \nCameron Holloway-farfisa \nJoe Ferguson-bass \nAmanda Case-vocals \n$10 \nhttps://www.eventbrite.com/e/prince-rama-indianapolis-us-tour-the-icks-tickets-21012549100 \nThis concert is made possible by The Andy Warhol Foundation for the Visual Arts. About The Andy Warhol Foundation for the Visual Arts: The Andy Warhol Foundation for the Visual Arts was established in 1987. In accordance with Andy Warhol’s will\, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn\, directly or indirectly\, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting\, exhibiting and interpreting a broad spectrum of contemporary artistic practice.
URL:https://www.bigcar.org/event/prince-rama/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20151113T200000
DTEND;TZID=America/Indiana/Indianapolis:20151113T235500
DTSTAMP:20260419T045339
CREATED:20151105T155255Z
LAST-MODIFIED:20151105T155255Z
UID:3288-1447444800-1447458900@www.bigcar.org
SUMMARY:Contemporary Art Fellowship Opening Party
DESCRIPTION:Big Car helps celebrate The Eiteljorg Museum’s  will five Native Fellowship winners with a Contemporary Arts Party featuring DJ Kyle Long\, Indigenous\, and Supaman.
URL:https://www.bigcar.org/event/contemporary-art-fellowship-opening-party/
LOCATION:Eiteljorg Museum\, 500 W Washington St\, Indianapolis\, 46204\, United States
CATEGORIES:Downtown Indy,Visual Art
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20150902T190000
DTEND;TZID=America/Indiana/Indianapolis:20150902T220000
DTSTAMP:20260419T045339
CREATED:20150820T020135Z
LAST-MODIFIED:20150902T011350Z
UID:3117-1441220400-1441231200@www.bigcar.org
SUMMARY:Gutzine: A Launch Party
DESCRIPTION:Gutzine: A Zine About Bodily Functions is a zine curated by Big Car artist-in-residence Niina Cochran featuring local and international artists\, created in conjunction with her bathroom gallery the Loo-vre. \nGutzine makes an inaugural splash with a A Launch Party at PRINtEXT. Enjoy themed snacks and see what happens during your next bathroom experience…which by the way would be a perfect time to read your issue of Gutzine. \nRSVP on Facebook.
URL:https://www.bigcar.org/event/gutzine-a-launch-party/
LOCATION:PRINtTEXT\, 652 E 52nd St \, Indianapolis\, IN\, United States
CATEGORIES:Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/08/Newsletterimage_sm.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150731
DTEND;VALUE=DATE:20150802
DTSTAMP:20260419T045339
CREATED:20150530T204338Z
LAST-MODIFIED:20150702T021717Z
UID:2582-1438311600-1438397999@www.bigcar.org
SUMMARY:48 Hour Film Project final registration deadline
DESCRIPTION:The Indianapolis 48 Hour Film Project is produced by Big Car. It is open to professional\, amateur and first-time filmmakers in Indianapolis. It is awesome. You should do it. \nOn Friday night\, July 31\, all registered teams meet to get a character\, a prop\, a line of dialogue and a randomly-chosen genre\, all to include in your movie. [Animators and puppeteers welcome!] Then you have exactly 48 hours to make it all happen—from story to soundtrack to editing. Turn it in. High-fives. Take a long nap. \nAll on-time films screen to cheering audiences at the Tobias Theater at IMA the evening of Saturday\, August 8. One winning team from Indianapolis will screen their film at the international Filmapalooza in Hollywood. \nThe sooner you sign up\, the cheaper it is\, and you can get started recruiting cast and crew. Prices are per team\, not per person. Registration opens May 27\, 2015 at 48hourfilm.com/indianapolis. Register before July 7 and pay just $140. Between July 8–July 21? $160. July 22–July 31 = $175 \nJoin the 48 Hour Film Facebook group to keep up to date\, network and share your experiences along the way!  Questions? E-mail email hidden; JavaScript is required.
URL:https://www.bigcar.org/event/48-hour-film-project-final-175-registration-deadline/
LOCATION:IN
CATEGORIES:Film,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/05/48HFP15_BigHeader.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150721
DTEND;VALUE=DATE:20150802
DTSTAMP:20260419T045339
CREATED:20150530T204119Z
LAST-MODIFIED:20150702T021443Z
UID:2580-1437447600-1438397999@www.bigcar.org
SUMMARY:48 Hour Film Project $160 registration deadline
DESCRIPTION:The Indianapolis 48 Hour Film Project is produced by Big Car. It is open to professional\, amateur and first-time filmmakers in Indianapolis. It is awesome. You should do it. \nOn Friday night\, July 31\, all registered teams meet to get a character\, a prop\, a line of dialogue and a randomly-chosen genre\, all to include in your movie. [Animators and puppeteers welcome!] Then you have exactly 48 hours to make it all happen—from story to soundtrack to editing. Turn it in. High-fives. Take a long nap. \nAll on-time films screen to cheering audiences at the Tobias Theater at IMA the evening of Saturday\, August 8. One winning team from Indianapolis will screen their film at the international Filmapalooza in Hollywood. \nThe sooner you sign up\, the cheaper it is\, and you can get started recruiting cast and crew. Prices are per team\, not per person. Registration opens May 27\, 2015 at 48hourfilm.com/indianapolis. Register before July 7 and pay just $140. Between July 8–July 21? $160. July 22–July 31 = $175 \nJoin the 48 Hour Film Facebook group to keep up to date\, network and share your experiences along the way!  Questions? E-mail email hidden; JavaScript is required.
URL:https://www.bigcar.org/event/48-hour-film-project-160-registration-deadline/
LOCATION:IN
CATEGORIES:Film,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/05/48HFP15_BigHeader.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150707
DTEND;VALUE=DATE:20150709
DTSTAMP:20260419T045339
CREATED:20150530T194637Z
LAST-MODIFIED:20150702T021904Z
UID:2570-1436238000-1436324399@www.bigcar.org
SUMMARY:48 Hour Film Fest early $140 registration deadline
DESCRIPTION:The Indianapolis 48 Hour Film Project is produced by Big Car. It is open to professional\, amateur and first-time filmmakers in Indianapolis. It is awesome. You should do it. \nOn Friday night\, July 31\, all registered teams meet to get a character\, a prop\, a line of dialogue and a randomly-chosen genre\, all to include in your movie. [Animators and puppeteers welcome!] Then you have exactly 48 hours to make it all happen—from story to soundtrack to editing. Turn it in. High-fives. Take a long nap. \nAll on-time films screen to cheering audiences at the Tobias Theater at IMA the evening of Saturday\, August 8. One winning team from Indianapolis will screen their film at the international Filmapalooza in Hollywood. \nThe sooner you sign up\, the cheaper it is\, and you can get started recruiting cast and crew. Prices are per team\, not per person. Registration opens May 27\, 2015 at 48hourfilm.com/indianapolis. Register before July 7 and pay just $140. Between July 8–July 21? $160. July 22–July 31 = $175 \nJoin the 48 Hour Film Facebook group to keep up to date\, network and share your experiences along the way!  Questions? E-mail email hidden; JavaScript is required.
URL:https://www.bigcar.org/event/48-hour-film-fest-early-140-registration-deadline/
LOCATION:IN
CATEGORIES:Film,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/05/48HFP15_BigHeader.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
END:VEVENT
END:VCALENDAR