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DTSTART;TZID=America/Indiana/Indianapolis:20161119T120000
DTEND;TZID=America/Indiana/Indianapolis:20161119T140000
DTSTAMP:20260417T063923
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:20260417T063923
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:20260417T063923
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:20260417T063923
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:20260417T063925
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063926
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:20260417T063928
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:20260417T063929
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
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20150410T133000
DTEND;TZID=America/Indiana/Indianapolis:20150410T200000
DTSTAMP:20260417T063929
CREATED:20150309T224253Z
LAST-MODIFIED:20150309T224548Z
UID:2072-1428672600-1428696000@www.bigcar.org
SUMMARY:Movie Meetup Road Trip: Guy Maddin
DESCRIPTION:Join Big Car for a road trip to IU Cinema to hear a talk by indie Canadian filmmaker Guy Maddin. \nE-mail email hidden; JavaScript is required if you want to come. The lecture’s at 3 p.m. and we’ll have dinner in Bloomington afterward\, and be back in Indy by 8 p.m.
URL:https://www.bigcar.org/event/movie-meetup-road-trip-guy-maddin/
LOCATION:IN
CATEGORIES:Film,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/03/Guy-Maddin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20150227T190000
DTEND;TZID=America/Indiana/Indianapolis:20150227T210000
DTSTAMP:20260417T063929
CREATED:20150226T045632Z
LAST-MODIFIED:20150226T045858Z
UID:1925-1425063600-1425070800@www.bigcar.org
SUMMARY:Fashion Show: Way Back When
DESCRIPTION:“Way Black When\,” presented by Fashion Forward\, takes a journey through African-American fashion. Friday\, Feb 27 at 7pm at Show Room.
URL:https://www.bigcar.org/event/fashion-show-way-back-when/
LOCATION:The Show Room\, 3739 Commercial Drive\, Indianapolis\, IN\, 46254\, United States
CATEGORIES:International Marketplace,The Show Room,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2015/02/10984041_778728298889745_3420281122699609802_n.jpg
END:VEVENT
END:VCALENDAR