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DTSTART;TZID=America/Indiana/Indianapolis:20230708T110000
DTEND;TZID=America/Indiana/Indianapolis:20231103T190000
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SUMMARY:SPARK on the Circle 
DESCRIPTION:We have returned with an even more transformational SPARK on the Circle this year. The entire southwest quadrant of Monument Circle is closed to traffic and has become a park with lots of seating\, shade\, food and drink\, and opportunities to socialize and get creative in the middle of the city. SPARK\, which is always free to enjoy\, is open every day 11 a.m. until dusk until Nov. 3. \nOct. 5\, 12pm- Circle Side Chats: Poems with Kelvin McKelvey\nOct. 5\, 4pm- Candle making with Freetown Village\nOct 7\, 12pm- Scavenger Hunt with Brittany Fukushima\nOct. 10\, 12pm- Lunch Break Live-Cara Jean Wahlers\nOct.11\, 1pm- Drum Circle with Rhythm! Discover Center\nOct.11\, 4pm- Found Art with Giselle Trujillo\nOct. 12\, 12pm- Circle Side Chats: Symbols with DeeDee Davis\nOct. 12\, 4pm- Indy Movement Arts Bump City & Bollywood\nOct. 13\, 12pm- A.I.R. Head Book Tour \nOct. 13\, 12pm- Hardrick Live Mural Painting\nOct 14\, 4pm- Ink Workshop with Brittany Fukushima\nOct 14\, 4pm- Sofar Sounds at SPARK\nOct 16\, 4pm- Plein Air painting with Brittany Fukushima\nOct. 18\, 1pm- Drum Circle with Rhythm! Discover Center \nOct. 18\, 4pm- Amulet Making with Rachel Leah Cohen\nOct. 19\, 12pm- Circle Side Chats: Drag History with Stephen Lane\nOct. 19\, 4pm- Wagon of Wonders Puppet Show\nOct. 22\, 12pm- Costume Pet Parade\nOct. 22\, 4pm- Artist Hangout\nOct 24\, 12pm-Lunch Break Live with Rob Funkhouser\nOct 25\, 1pm- Drum Circle with Rhythm! Discover Center \nOct 25\, 4pm- Graffiti Knitting \nOct. 28\, 11am-6pm- Circle Spark Fest\nOct. 29\, 11am-6pm- Circle Spark Fest\nOct. 30\, 4-6pm- Dia de los Muertos Altar \nOct. 31\, 12pm- Lunch Break Live with Progressive Knife \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/spark-on-the-circle/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20231006T180000
DTEND;TZID=America/Indiana/Indianapolis:20231021T150000
DTSTAMP:20260611T053645
CREATED:20231003T185851Z
LAST-MODIFIED:20231003T185851Z
UID:11246-1696615200-1697900400@www.bigcar.org
SUMMARY:A FORCE TO BE RECKONED WITH
DESCRIPTION:Guichelaar Gallery \nWithin the brief window of our human existence\, the ability to come together\, protect\, and care for one another has allowed us to evolve into a complex\, beautiful species. But have we lost these vital sensibilities? Collectively\, we have forgotten how to connect with others\, provide comfort\, empathize and sustain community. \nA FORCE TO BE RECKONED WITH is an exploration of the friction\, the barriers\, and distance between the relationships we create with one another and how they are inevitable yet necessary to our growth. Through a combination of sculptural\, textile\, and print work Nazarinne Ahmed & Colleen Gross explore the labor involved in cultivating these complicated\, intimate relationships. \n\nAbout Nazarinne Ahmed \n Nazarinne is a multidisciplinary artist\, whose work is the result of an obsessive search for balance\, security and comfort. Through the use of textile\, printmaking\, and tactile processes she creates a space to process\, make sense of the past and untangle the complexity of her religious upbringing\, cultural and racial identity. Through her work\, she examines the way these facets have shaped the manner in which she moves and makes sense of the world around her. \nNazarinne’s mother is of Caribbean descent and her father is of South Asian descent. They both immigrated to New York\, where they met and started a family\, eventually moving to Indiana\, where Nazarinne is currently based. \nAbout Colleen Gross  \nDarwin’s Theory of Female Sabotage \n400 chemistry vials\, 400 hollow point boat tail bullet wax castings\, 800 sewing pins. \nCertain types of relationships prove that our isolation is not permanent. That one person in the entire universe recognizes your humanity means that you yourself can\, too. \n“Female sabotage is an evolutionary theory regarding the propensity of certain females to select “burdened” males of their species for mating. This ensures that as the males die\, more food and other resources will remain for females and their young.” \nColleen is a sculptor from Indy exploring the stages of grief through their personal experience with loss and seeks to create environments for people to feel understood.They investigate the fundamentals of science to aid in the process of ending negative social cycles and introducing new\, more inclusive ways of being. By imbuing these concepts into sculpture\, they suggest forgetting the learned and inherited ways of survival based on biological phenotypes\, and instead seek connection\, strength\, and longevity. \nCurated by Jane Sun Kim / / Big Car Collaborative’s Artist & Public Life Residency
URL:https://www.bigcar.org/event/a-force-to-be-reckoned-with/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20231006T180000
DTEND;TZID=America/Indiana/Indianapolis:20231119T220000
DTSTAMP:20260611T053645
CREATED:20230912T210848Z
LAST-MODIFIED:20231017T182823Z
UID:11175-1696615200-1700431200@www.bigcar.org
SUMMARY:GOLDEN MYST: Tarot Art Show by Daniela Martín del Campo & Gloomy Zauros
DESCRIPTION:Arte Mexicano en Indiana and Big Car Collaborative are partnering to present the works by Mexican Daniela Martín del Campo & and Colombian Artist Gloomy Zauros. GOLDEN MYST represents a unique visual and spiritual experience\, where chromatic limitation becomes a window to reflection and contemplation: the deep black of the ink\, the shimmering gold and the immaculate white of the paper. \nGOLDEN MYST is the artistic dialogue between two talented creators: Daniela Martín del Campo\, outstanding Mexican children’s book illustrator\, who surprises us with her ability to weave enchanting visual narratives. Her reimagining of tarot cards transports the viewer into a realm of meaning and mystery. \nOn the other hand\, Gloomy Zauros\, heavily influenced by metal engraving and etching\, offers a different and fascinating perspective. His cards are meticulously crafted with fine lines and striking visual depth\, inviting us to immerse ourselves in the symbolic layers of the tarot. \nGOLDEN MYST is a tribute to the artistic diversity of Latin America and the richness of creative reinterpretation. Through the different techniques of Dan and Gloomy\, this exhibition immerses us in a world of hidden meanings\, graphic beauty and mysticism\, taking us on a journey that transcends the boundaries of imagination and culture. \n\nGolden Myst representa una experiencia visual y espiritual única\, donde la limitación cromática se convierte en una ventana a la reflexión y la contemplación: el negro profundo de la tinta\, el dorado resplandeciente y el blanco inmaculado del papel. \nGolden Myst es el diálogo artístico entre dos talentosos creadores: Dan Martín del Campo\, destacada ilustradora infantil mexicana\, que nos sorprende con su habilidad para tejer encantadoras narraciones visuales. Su reimaginación de las cartas del tarot transporta al espectador a un reino de significado y misterio.\nPor otro lado\, Gloomy Zauros\, muy influenciado por el grabado en metal y el aguafuerte\, ofrece una perspectiva diferente y fascinante. Sus cartas están meticulosamente elaboradas con líneas finas y una sorprendente profundidad visual\, invitándonos a sumergirnos en las capas simbólicas del tarot. \nGolden Myst es un homenaje a la diversidad artística de América Latina y a la riqueza de la reinterpretación creativa. A través de las diferentes técnicas de Dan y Gloomy\, esta exposición nos sumerge en un mundo de significados ocultos\, belleza gráfica y misticismo\, llevándonos a un viaje que trasciende las fronteras de la imaginación y la cultura. \nAbout the artists: \nDaniela Martin del Campo is a Mexican illustrator who draws from the folklore of her country to generate symbolic images. Her charming characters and scenarios hide parallel narratives that invite us to imagine mysterious outcomes. Her work has been featured in Italy\, France\, Japan\, Mexico and the united States. \nGloomy Zauros\, a Colombian artist specializes in storytelling\, comic\, illustration\, and tattoo. His work has been recognized in France and Mexico among other countries. His imagination revolves around the oneiric and the occult\, and his technique is strongly influenced by metal engraving and ink etching. \nSobre los artistas: \nDaniela Martín del Campo es una ilustradora mexicana quien se inspira en el folklore de su país para generar imágenes simbólicas. Sus encantadores personajes y escenarios esconden narrativas paralelas que nos invitan a imaginar desenlaces misteriosos. Su trabajo se ha presentado en Italia\, Francia\, Japón\, México y Estados Unidos. \nGloomy Zauros\, artista colombiano especializado en narración\, cómic\, ilustración y tatuaje. Su trabajo ha sido reconocido en Francia y México entre otros países. Su imaginación gira en torno a lo onírico y lo oculto\, y su técnica está fuertemente influenciada por el grabado en metal y el aguafuerte.
URL:https://www.bigcar.org/event/golden-myst-tarot-art-show-by-daniela-martin-del-campo-gloomy-zauros/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/09/375928601_611292197878899_2137352273680840133_n.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231006T180000
DTEND;TZID=America/Indiana/Indianapolis:20231217T153000
DTSTAMP:20260611T053645
CREATED:20230823T150020Z
LAST-MODIFIED:20250212T164412Z
UID:11123-1696615200-1702827000@www.bigcar.org
SUMMARY:Kaila Austin- Process as Practice: Reimagining the Lost Hardrick Mural
DESCRIPTION:As the United States continues to face its history of enslavement\, oppression\, and exclusion of Black Americans in museums and other arenas of power and recognition\, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis\, and the family of Indiana’s Harlem Renaissance painter\, John Wesley Hardrick (1891-1968).\n\nMientras que los Estados Unidos continúa enfrentando la historia de esclavitud\, opresión\, y exclusión de los Afro Americanos en los museos y otras arenas de poder y reconocimiento\, la exhibición ‘El Proceso Como Practica: Reimaginando el Mural Perdido de John Westley Hardrick’ es una propuesta impactante y única. La exhibición es parte de una colaboración entre la artitas Kaila Austin\, la pequeña comunidad de Norwood en el Sureste de Indianapolis\, y la familia del pintor de ‘Harlem Renaissance’ originario de Indiana\, John Wesley Hardrick (1891—1968). \n\nOver the last three years\, Austin worked with the descendants of the United States Colored Troops (African-American Civil War veterans)\, to recover and record their family histories as their communities shift due to gentrification. Austin is working most closely with Norwood — a neighborhood less than a mile from her childhood home.\n\nDurante los últimos tres años\, Austin trabajó con los descendientes de personas de color que fueron miembros de las Tropas en Estados Unidos (veteranos afroamericanos de la Guerra Civil)\, para recuperar y registrar sus historias familiares después del proceso de gentrificación de sus comunidades. Actualmente\, Austin está trabajando más estrechamente con Norwood\, un vecindario a menos de una milla de la casa de su infancia. \n\nIn February of 2021\, Austin learned that the new city morgue would be built on the Hardrick homesite\, encroaching on Norwood while the neighborhood celebrated its 150th anniversary. Due to community activism from the descendants\, the City canceled morgue construction. Since then\, Austin and the community have worked together to reimagine the Hardrick homesite. The mural featured in this exhibit is part of that reimagining. For Austin\, this entire project is work that’s transient and malleable. It changes as the research becomes more clear (or muddy).\n\nEn Febrero del 2021\, Austin se dio cuenta de que la nueva morgue de la ciudad sería construida en el lugar que fuera anteriormente la casa del reconocido pintor Hardrick\, invadiendo el vecindario de Norwood\, mientras que se celebraba el 150 aniversario de esta comunidad. A través de esfuerzos de la comunidad organizada\, se evitó que se construyera la morgue en Norwood. Desde entonces\, Austin y la comunidad han trabajado juntos para reimaginar la residencia histórica de Hardrick. El mural que se presenta en esta exhibición es parte de esta reinvención. Para Austin\, este proyecto es un trabajo que está vivo\, que es maleable y evoluciona\, y que cambia mientras que los participantes aprenden más al investigar sobre la vida del pintor. \n\n\nThis mural — recreated by Austin with the support of Hardrick’s family — was originally painted at Crispus Attucks High School in 1934 as part of the Works Progress Administration (WPA) program. Hardrick was the only African American artist to be selected in the state. The mural depicted four foundry workers toiling in the heat. The imagery reflected Hardrick’s lived experience working at a foundry in Norwood while he created the mural. However\, the principal at Crispus Attucks wanted Black children to aspire to work in professions outside of manual labor\, professions that historically excluded Black Americans. For this reason\, the school put the mural in the basement\, never to be seen again.\n\n\nEste mural\, recreado por Austin con el apoyo de la familia de Hardrick\, fue pintado originalmente en la escuela secundaria Crispus Attucks en 1934 como parte de un programa de la ‘Works Progress Administration’ (WPA). En ese momento\, Hardrick fue el único artista afroamericano seleccionado en el estado. El mural representaba a cuatro trabajadores de una fundidura trabajando duro en el calor. Las imágenes reflejaban la vida de Hardrick y su experiencia trabajando en una fundidora en Norwood mientras que él trabajaba\, al mismo tiempo\, creando el mural. Sin embargo\, el Director de la secundaria Crispus Attucks quería que los niños negros aspiraran a trabajar en profesiones no manuales\, profesiones que históricamente excluían a los afroamericanos. Por esta razón\, la escuela puso el Mural en el sótano\, para que nunca más se volviera a ver. \n\n\nAustin reimagined what the mural looked like by working with the Hardrick family and the descendants in Norwood. They explored his diaries and sketchbooks and looked at Hardrick’s mentors and peers — and the community that raised him. The exhibit gives us a chance to step into Hardrick’s world and see how he created the piece from start to finish. Even the title of the piece was lost. So Austin and the family are renaming the mural.\n\n\nCon la ayuda de la familia Hardrick y de otros descendientes en Norwood\, Austin reimaginó cómo luciría el mural hoy. Ellos exploraron sus diarios y cuadernos de bocetos y miraron los de algunos mentores y compañeros de Hardrick en la comunidad en la que él se crió. La exposición nos da la oportunidad de entrar en el mundo de Hardrick y ver cómo creó la pieza de principio a fin. Incluso el título de la pieza se perdió\, por lo que Austin y la familia tuvieron que cambiar el nombre del mural. \n\nA collaboration between Hardrick\, his descendants\, the Norwood community\, and Austin\, “Process as Practice: Reimagining the Lost Hardrick Mural” is a multi-generational approach to public art. It creates context through community engagement that gives Hardrick’s descendants agency in reimagining the life of an artwork that deserves preservation and attention due to its relevance and meaning for all of us.\n\nEsta colaboración entre Hardrick\, sus descendientes\, la comunidad de Norwood y Austin\, titulada ‘El Proceso Como Práctica: Reimaginando el mural perdido de John Wesley Hardrick’ es un enfoque multigeneracional hacia el arte público. Esta colaboración crea un contexto a través de la participación comunitaria que provee un medio para que los descendientes de Hardrick puedan reimaginar la vida de una obra de arte que merece preservación y atención debido a su relevancia y significado para todos nosotros.\n\nAbout the Artist:\nKaila Austin is an artist and public historian from Indianapolis. She attended Indiana University\, triple majoring in Art History\, African American Studies\, and Painting. Since 2019\, she has run her own historic consulting organization\, Rogue Preservation Services. For the last two years\, she has been working with six Reconstruction-era African American neighborhoods to record\, preserve and uplift the stories of the US Colored Troops on the Southeast side of Indianapolis. The public arts plays a major role in telling these stories and reimagining our city through a Black lens. Austin is an Artist in Residence in Big Car Collaborative’s long-term residency program on the southeast side of Indianapolis.\n\n\nThis exhibit is made possible by The Efroymson Family Fund\, The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Fund and the Institute of Museum and Library Services. \nResearch support provided by Indiana Humanities\, Wilma Gibbs Moore Fellowship\, Indiana Landmarks Black Heritage Preservation Program\, Power Plant Grant\, Kheprw Institute and CICF’s Artist Ambassadors Program. \nExhibition Production and Organization: The Southside US Colored Troops Coalition\, Big Car Staff\, Aurora PhotoCenter\, Osborn Design & Craft\, Quincy Owens Studio\, 10 East Arts\, Ben Rose\, Studio Auteur\, Greg Rose\, and Rue Stafford. \n\n\nAcerca de la Artista: Kaila Austin es una artista e historiadora pública de Indianápolis. Ella asistió a la Universidad de Indiana\, con triple especialización en Historia del Arte\, Estudios Afroamericanos y Pintura. Desde el 2019\, dirige su propia organización de consultoría histórica\, ‘Rogue Preservation Services.’ Durante los últimos dos años\, ha estado trabajando con seis vecindarios afroamericanos de la era de la Reconstrucción para registrar\, preservar\, y realzar las historias de los soldados veteranos de color en EE. UU.\, en el lado sureste de Indianápolis. Las artes públicas desempeñan un papel importante a la hora de contar estas historias y reinventar nuestra ciudad a través de una lente negra. Austin es parte del programa de artistas residentes en Big Car Collaborative en el lado sureste de Indianápolis. \n\nEsta exhibición es posible gracias a el Fondo de la Familia Efroymson\, El Consejo de las Artes de Indianápolis\, la ciudad de Indianápolis\, la Comisión de las Artes de Indiana\, El Fondo Allen Whitehill Clowes\, y el Instituto de Servicios de Museos y Bibliotecas. \n\nMain Gallery\nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\n\nAbout the Southside US Colored Troop Coalition:\nThe Southside US Colored Troops Coalition is founded and maintained by the descendants of African American Civil War Veterans who founded six Reconstruction era communities in Southeast Indianapolis. With over 250 descendant families still living on the lots their ancestors purchased after the Civil War\, they are some of the oldest African American communities in the United States. The mission of this organization is to preserve\, uplift and revitalize the communities\, families and stories of these brave men who lived and died for Black Freedom.\n\nAbout Norwood\nThe Norwood neighborhood was a Freetown founded and built by Civil War veterans in the 1860s. Survivors of the Civil War from the 28th Regiment returned to Indianapolis in 1866 as newly freed slaves. And they settled further east along Prospect Street\, eventually expanding into what became known as Norwood.\nTheir living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.\nNorwood’s first church\, Penick Chapel AME Zion\, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick\n\nAbout the WPA\nThe Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects\, including the construction of public buildings and roads. It was set up on May 6\, 1935\, by presidential order\, as a key part of the Second New Deal.\nIn one of its most famous projects\, Federal Project Number One\, the WPA employed musicians\, artists\, writers\, actors and directors in arts\, drama\, media\, and literacy projects. The five projects dedicated to these were the Federal Writers’ Project (FWP)\, the Historical Records Survey (HRS)\, the Federal Theatre Project (FTP)\, the Federal Music Project (FMP)\, and the Federal Art Project (FAP). In the Historical Records Survey\, for instance\, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225\,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures\, and the development of professional archaeology in the US.\n\n\nKaila Austin  \nEl Proceso Como Práctica: Reimaginando el Mural Perdido de John Wesley Hardrick \nOct. 6—Dec. 17 \n\nMientras que los Estados Unidos continúa enfrentando la historia de esclavitud\, opresión\, y exclusión de los Afro Americanos en los museos y otras arenas de poder y reconocimiento\, la exhibición ‘El Proceso Como Practica: Reimaginando el Mural Perdido de John Westley Hardrick’ es una propuesta impactante y única. La exhibición es parte de una colaboración entre la artitas Kaila Austin\, la pequeña comunidad de Norwood en el Sureste de Indianapolis\, y la familia del pintor de ‘Harlem Renaissance’ originario de Indiana\, John Wesley Hardrick (1891—1968). \n\nDurante los últimos tres años\, Austin trabajó con los descendientes de personas de color que fueron miembros de las Tropas en Estados Unidos (veteranos afroamericanos de la Guerra Civil)\, para recuperar y registrar sus historias familiares después del proceso de gentrificación de sus comunidades. Actualmente\, Austin está trabajando más estrechamente con Norwood\, un \nvecindario a menos de una milla de la casa de su infancia. \n\nEn Febrero del 2021\, Austin se dio cuenta de que la nueva morgue de la ciudad sería construida en el lugar que fuera anteriormente la casa del reconocido pintor Hardrick\, invadiendo el vecindario de Norwood\, mientras que se celebraba el 150 aniversario de esta comunidad. A través de esfuerzos de la comunidad organizada\, se evitó que se construyera la morgue en Norwood. Desde entonces\, Austin y la comunidad han trabajado juntos para reimaginar la residencia histórica de Hardrick. El mural que se presenta en esta exhibición es parte de esta reinvención. Para Austin\, este proyecto es un trabajo que está vivo\, que es maleable y evoluciona\, y que cambia mientras que los participantes aprenden más al investigar sobre la vida del pintor. \n\nEste mural\, recreado por Austin con el apoyo de la familia de Hardrick\, fue pintado originalmente en la escuela secundaria Crispus Attucks en 1934 como parte de un programa de la ‘Works Progress Administration’ (WPA). En ese momento\, Hardrick fue el único artista afroamericano seleccionado en el estado. El mural representaba a cuatro trabajadores de una fundidura trabajando duro en el calor. Las imágenes reflejaban la vida de Hardrick y su experiencia trabajando en una fundidora en Norwood mientras que él trabajaba\, al mismo tiempo\, creando el mural. Sin embargo\, el Director de la secundaria Crispus Attucks quería que los niños negros aspiraran a trabajar en profesiones no manuales\, profesiones que históricamente excluían a los afroamericanos. Por esta razón\, la escuela puso el Mural en el sótano\, para que nunca más se volviera a ver. \n\nCon la ayuda de la familia Hardrick y de otros descendientes en Norwood\, Austin reimaginó cómo luciría el mural hoy. Ellos exploraron sus diarios y cuadernos de bocetos y miraron los de algunos mentores y compañeros de Hardrick en la comunidad en la que él se crió. La exposición nos da la oportunidad de entrar en el mundo de Hardrick y ver cómo creó la pieza de principio a fin. Incluso el título de la pieza se perdió\, por lo que Austin y la familia tuvieron que cambiar el nombre del mural. \n\nEsta colaboración entre Hardrick\, sus descendientes\, la comunidad de Norwood y Austin\, titulada ‘El Proceso Como Práctica: Reimaginando el mural perdido de John Wesley Hardrick’ es un enfoque multigeneracional hacia el arte público. Esta colaboración crea un contexto a través de la participación comunitaria que provee un medio para que los descendientes de Hardrick \npuedan reimaginar la vida de una obra de arte que merece preservación y atención debido a su \nrelevancia y significado para todos nosotros. \n\nAcerca de la Artista: Kaila Austin es una artista e historiadora pública de Indianápolis. Ella asistió a la Universidad de Indiana\, con triple especialización en Historia del Arte\, Estudios Afroamericanos y Pintura. Desde el 2019\, dirige su propia organización de consultoría histórica\, ‘Rogue Preservation Services.’ Durante los últimos dos años\, ha estado trabajando con seis vecindarios afroamericanos de la era de la Reconstrucción para registrar\, preservar\, y realzar las historias de los soldados veteranos de color en EE. UU.\, en el lado sureste de Indianápolis. Las artes públicas desempeñan un papel importante a la hora de contar estas historias y reinventar nuestra ciudad a través de una lente negra. Austin es parte del programa de artistas residentes en Big Car Collaborative en el lado sureste de Indianápolis. \n\nEsta exhibición es posible gracias a el Fondo de la Familia Efroymson\, El Consejo de las Artes de Indianápolis\, la ciudad de Indianápolis\, la Comisión de las Artes de Indiana\, El Fondo Allen Whitehill Clowes\, y el Instituto de Servicios de Museos y Bibliotecas.
URL:https://www.bigcar.org/event/kaila-austin-process-as-practice-reimagining-the-lost-hardrick-mural/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/austinsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231018T130000
DTEND;TZID=America/Indiana/Indianapolis:20231018T140000
DTSTAMP:20260611T053645
CREATED:20231004T011639Z
LAST-MODIFIED:20231004T012210Z
UID:11309-1697634000-1697637600@www.bigcar.org
SUMMARY:Drum Circle with Rob Funkhouser
DESCRIPTION:Come join Rob Funkhouser from Rhythm Discovery for a drum circle on the Circle! \n\nFor this activity\, participants will get the opportunity to learn how to express themselves on hand drums and explore the basics of playing with other people. Working with Rob\, participants will begin making sounds on the instruments and learn some basic rhythms inspired by traditional music.SPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/drum-circle-with-rob-funkhouser-3/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/363860862_873194490901527_2770472385290399167_n-1024x768.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231018T160000
DTEND;TZID=America/Indiana/Indianapolis:20231018T180000
DTSTAMP:20260611T053645
CREATED:20231004T012534Z
LAST-MODIFIED:20231004T012534Z
UID:11313-1697644800-1697652000@www.bigcar.org
SUMMARY:Amulet Making with Rachel Leah Cohen
DESCRIPTION:Throughout the Jewish diaspora\, people have created small pouch amulets to hold anything with protective energy and value. These are often made with everyday materials already on hand: medicinal plants\, salt\, metal\, stones\, and symbolic objects. The recipes and the names for these amulets vary by place. In Ladino-speaking Sephardic communities\, they are called “bulsika” and in Yiddish-speaking Ashkenazi communities\, “baytelech.” The ingredients connect us to our ancestors\, the environment\, and the places we live. The pouch can be worn on the body\, kept in a pocket\, or hung up in the home. Come make an amulet for yourself or as a gift for someone else\, as an embodied ritual of care\, connection\, and protection.\nAbout: Rachel Leah Cohn is a visual artist and educator based in Indianapolis. Her muliti-disciplinary practice is concerned with themes of communication\, mythology and rituals. She exhibits her work internationally and teaches at Ball State University in Muncie\, IN.\nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/amulet-making-with-rachel-leah-cohen/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Monument Circle,Outdoor Activities,SPARK
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/Amulet1-1024x768.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231018T190000
DTEND;TZID=America/Indiana/Indianapolis:20231018T210000
DTSTAMP:20260611T053645
CREATED:20230919T182700Z
LAST-MODIFIED:20230919T182700Z
UID:11199-1697655600-1697662800@www.bigcar.org
SUMMARY:NIGHTJAR\, a poetry series
DESCRIPTION:NIGHTJAR creates an inclusive space for all by bringing together spoken-word performers and page-based poets writing in narrative\, lyric\, and experimental forms. Every third Wednesday\, C.S. Carrier and Michelle Niemann host a reading and invite audience members to share their own poetic responses.\n\nOctober featured poet-Mitchell L. H. Douglas\nMitchell L. H. Douglas’s most recent books of poetry are dying in the scarecrow’s arms and \blak\ \al-fə bet\\, winner of the Persea Books Lexi Rudnitsky/Editor’s Choice Award. He is a cofounder of the Affrilachian Poets\, a Cave Canem graduate\, and Associate Professor of English at IUI.
URL:https://www.bigcar.org/event/nightjar-a-poetry-series/
LOCATION:IN
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/09/NIGHTJAR-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231019T120000
DTEND;TZID=America/Indiana/Indianapolis:20231019T130000
DTSTAMP:20260611T053645
CREATED:20231004T012727Z
LAST-MODIFIED:20231004T012727Z
UID:11316-1697716800-1697720400@www.bigcar.org
SUMMARY:Circle Side Chats with Stephen Lane
DESCRIPTION:The Drag Queens of Indiana Avenue \nIn 1933\, Indianapolis hosted its first pansy ball with great fanfare in a jazz club along Indiana Avenue. Stephen Lane presents his graduate work at IUPUI in the contributions of LGBTQ+ people to the social and cultural development of Indianapolis. \nBio: Stephen Lane is a librarian who received his Masters in Library and Information Science and a Masters in Public History at IUPUI in 2018. He is passionate about labor history\, LGBTQ+ history and Black history and how those histories intersect and intertwine. He lives in the Haughville neighborhood and serves on the Indianapolis Public Library board of trustees. Stephen enjoys riding his bike and attending art shows around Indianapolis. \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/circle-side-chats-with-stephen-lane/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231019T160000
DTEND;TZID=America/Indiana/Indianapolis:20231019T180000
DTSTAMP:20260611T053645
CREATED:20231004T014220Z
LAST-MODIFIED:20231004T014954Z
UID:11318-1697731200-1697738400@www.bigcar.org
SUMMARY:Wagon of Wonders Puppet Show
DESCRIPTION:Human Size Puppets! Hand Puppets! All made by Indiana native Jenny Ollikainen\, have united to tell a story about Monument Circle. Written by Big Car long term residency artist Sylvia Thomas\, join us for 15 minutes at the top of the hour and puppet making in-between shows at the Wagon of Wonders at SPARK.\n\nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/wagon-of-wonders-puppet-show/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/IMG_9405.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231022T120000
DTEND;TZID=America/Indiana/Indianapolis:20231022T140000
DTSTAMP:20260611T053645
CREATED:20231004T015322Z
LAST-MODIFIED:20231004T015510Z
UID:11324-1697976000-1697983200@www.bigcar.org
SUMMARY:Costume Pet Parade!
DESCRIPTION: Join us for a spooktacular event: The Halloween Pet Costume Parade!  \nGet ready to show off your furry friends in their most creative Halloween costumes! Whether your pet is a ghostly ghoul\, a bewitching witch\, or a superhero pup\, this parade is the perfect opportunity to celebrate Halloween with your beloved animal companions! \nHighlights:\n– Pet Costume Parade\n– Costume Contest with Prizes\n– Trick-or-Treat at the Welcome Wagon\n– Polaroid Pet Pictures \nPrizes will be awarded in various categories\, including:\n– Best Costume\n– Most Original Costume\n– Funniest Costume\n– Scariest Costume \nAdmission is free\, and no registration is required. Just come and have a howling good time with your pets and fellow animal lovers. We can’t wait to see the fantastic costumes and share some Halloween joy with our four-legged friends.
URL:https://www.bigcar.org/event/pet-costume-parade/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231022T120000
DTEND;TZID=America/Indiana/Indianapolis:20231022T140000
DTSTAMP:20260611T053646
CREATED:20231004T020024Z
LAST-MODIFIED:20231020T131038Z
UID:11329-1697976000-1697983200@www.bigcar.org
SUMMARY:Artist Hangout
DESCRIPTION:Artist hangout is a casual networking event for artists and creatives hosted by Dai. This event will take place at SPARK on the circle on Sunday\, October 22nd from 4-6 pm. During this two hour event you’ll be able to network\, socialize and hangout with other creatives. Spark fellow\, Dai\, will also be conducting short interviews with artists to post on social media. \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/artist-hangout/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231024T120000
DTEND;TZID=America/Indiana/Indianapolis:20231024T140000
DTSTAMP:20260611T053646
CREATED:20231004T020744Z
LAST-MODIFIED:20231004T020744Z
UID:11333-1698148800-1698156000@www.bigcar.org
SUMMARY:Lunch Break Live with Rob Funkhouser
DESCRIPTION:Rob Funkhouser is a composer\, performer\, and instrument builder who can never quite sit still. His work is concerned with ideas of place\, memory\, and pattern and he is interested in interrogating the interstitial spaces between established genres.\nHe holds an M.M. from Butler University in Music Composition\, and most recently completed Peace of Mind\, Speed of Thought for Classical Music Indy. He has released recordings\, curated performances\, and installed works in many places both around Indianapolis and in many other parts of the country. In 2020\, he began a long-term living residency with Big Car as part of their APLR program\, and served as a resident artist for Cat Head Press in collaboration with Landon Caldwell. He also serves as Education Manager for the Rhythm Discovery Center\, where he runs public programming for schools and community members. He has collaborated with diverse groups including Forward Motion\, Los Angeles Percussion Quartet\, No Exit Theater\, and Chicago-based director Ryan Gleason.\n\nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/lunch-break-live-with-rob-funkhouser/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/circle-spark-rob-funkhouser-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231025T130000
DTEND;TZID=America/Indiana/Indianapolis:20231025T140000
DTSTAMP:20260611T053646
CREATED:20231004T021351Z
LAST-MODIFIED:20231004T021351Z
UID:11336-1698238800-1698242400@www.bigcar.org
SUMMARY:Drum Circle with Rob Funkhouser
DESCRIPTION:Come join Rob Funkhouser from Rhythm Discovery for a drum circle on the Circle!\n\nFor this activity\, participants will get the opportunity to learn how to express themselves on hand drums and explore the basics of playing with other people. Working with Rob\, participants will begin making sounds on the instruments and learn some basic rhythms inspired by traditional music.\nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle.\nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/drum-circle-with-rob-funkhouser-4/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/Rhythm-Discovery-Center-1024x678.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231025T150000
DTEND;TZID=America/Indiana/Indianapolis:20231025T180000
DTSTAMP:20260611T053646
CREATED:20230919T172556Z
LAST-MODIFIED:20250212T164101Z
UID:11184-1698246000-1698256800@www.bigcar.org
SUMMARY:John Wesley Hardrick mural live painting
DESCRIPTION:Artist Kaila Austin will have a series of live painting sessions of the John Wesley Hardrick mural open to the public at Tube Factory artspace: October 25\, 3-6pm\, November 1\, 3-6pm\, November 8\, 3-6pm and November 22\, 3-6pm. She will also be at SPARK on the Circle at Monument Circle painting the Harwick Mural on October 13\, 2-5pm.\n\nThe exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday\, 9am-6pm\, Saturdays and Sundays 9am-3pm.\n\nAs the United States continues to face its history of enslavement\, oppression\, and exclusion of Black Americans in museums and other arenas of power and recognition\, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis\, and the family of Indiana’s Harlem Renaissance painter\, John Wesley Hardrick (1891-1968).\n\nOver the last three years\, Austin worked with the descendants of the United States Colored Troops (African-American Civil War veterans)\, to recover and record their family histories as their communities shift due to gentrification. Austin is working most closely with Norwood — a neighborhood less than a mile from her childhood home.\n\nIn February of 2021\, Austin learned that the new city morgue would be built on the Hardrick homesite\, encroaching on Norwood while the neighborhood celebrated its 150th anniversary. Due to community activism from the descendants\, the City canceled morgue construction. Since then\, Austin and the community have worked together to reimagine the Hardrick homesite. The mural featured in this exhibit is part of that reimagining. For Austin\, this entire project is work that’s transient and malleable. It changes as the research becomes more clear (or muddy).\n\nThis mural — recreated by Austin with the support of Hardrick’s family — was originally painted at Crispus Attucks High School in 1934 as part of the Works Progress Administration (WPA) program. Hardrick was the only African American artist to be selected in the state. The mural depicted four foundry workers toiling in the heat. The imagery reflected Hardrick’s lived experience working at a foundry in Norwood while he created the mural. However\, the principal at Crispus Attucks wanted Black children to aspire to work in professions outside of manual labor\, professions that historically excluded Black Americans. For this reason\, the school put the mural in the basement\, never to be seen again.\n\nAustin reimagined what the mural looked like by working with the Hardrick family and the descendants in Norwood. They explored his diaries and sketchbooks and looked at Hardrick’s mentors and peers — and the community that raised him. The exhibit gives us a chance to step into Hardrick’s world and see how he created the piece from start to finish. Even the title of the piece was lost. So Austin and the family are renaming the mural.\n\nA collaboration between Hardrick\, his descendants\, the Norwood community\, and Austin\, “Process as Practice: Reimagining the Lost Hardrick Mural” is a multi-generational approach to public art. It creates context through community engagement that gives Hardrick’s descendants agency in reimagining the life of an artwork that deserves preservation and attention due to its relevance and meaning for all of us.\n\nAbout the Artist:\nKaila Austin is an artist and public historian from Indianapolis. She attended Indiana University\, triple majoring in Art History\, African American Studies\, and Painting. Since 2019\, she has run her own historic consulting organization\, Rogue Preservation Services. For the last two years\, she has been working with six Reconstruction-era African American neighborhoods to record\, preserve and uplift the stories of the US Colored Troops on the Southeast side of Indianapolis. The public arts plays a major role in telling these stories and reimagining our city through a Black lens. Austin is an Artist in Residence in Big Car Collaborative’s long-term residency program on the southeast side of Indianapolis.\n\nThis exhibit is made possible by The Efroymson Family Fund\, The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Fund and Institute of Museum and Library Services.\n\nMain Gallery\nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\n\nAbout the Southside US Colored Troop Coalition:\nThe Southside US Colored Troops Coalition is founded and maintained by the descendants of African American Civil War Veterans who founded six Reconstruction era communities in Southeast Indianapolis. With over 250 descendant families still living on the lots their ancestors purchased after the Civil War\, they are some of the oldest African American communities in the United States. The mission of this organization is to preserve\, uplift and revitalize the communities\, families and stories of these brave men who lived and died for Black Freedom.\n\nAbout Norwood\nThe Norwood neighborhood was a Freetown founded and built by Civil War veterans in the 1860s. Survivors of the Civil War from the 28th Regiment returned to Indianapolis in 1866 as newly freed slaves. And they settled further east along Prospect Street\, eventually expanding into what became known as Norwood.\nTheir living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.\nNorwood’s first church\, Penick Chapel AME Zion\, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick\n\nAbout the WPA\nThe Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects\, including the construction of public buildings and roads. It was set up on May 6\, 1935\, by presidential order\, as a key part of the Second New Deal.\nIn one of its most famous projects\, Federal Project Number One\, the WPA employed musicians\, artists\, writers\, actors and directors in arts\, drama\, media\, and literacy projects. The five projects dedicated to these were the Federal Writers’ Project (FWP)\, the Historical Records Survey (HRS)\, the Federal Theatre Project (FTP)\, the Federal Music Project (FMP)\, and the Federal Art Project (FAP). In the Historical Records Survey\, for instance\, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225\,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures\, and the development of professional archaeology in the US.
URL:https://www.bigcar.org/event/john-wesley-hardrick-mural-live-painting-2/
LOCATION:IN
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/austinsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231025T160000
DTEND;TZID=America/Indiana/Indianapolis:20231025T180000
DTSTAMP:20260611T053646
CREATED:20231004T021724Z
LAST-MODIFIED:20231004T021724Z
UID:11338-1698249600-1698256800@www.bigcar.org
SUMMARY:Graffiti Knitting with Mary Jo Bayliss
DESCRIPTION:A gathering where knitting and graffiti collide! Simultaneously inspired by traditional knitting and graffiti\, this ever-evolving piece combines fiber adjacent activities\, coloring sheets derived from graffiti and knitting motifs\, and opportunities for participants to share their creative path stories.\nYou are invited to come join the fun\, because without YOU\, Boo\, this project can’t happen. \nAbout the artist:\nMary Jo Bayliss specializes in creating environments that help people feel at ease using space\, light and color to achieve these goals. \nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/graffiti-knitting-with-mary-jo-bayliss/
LOCATION:IN
CATEGORIES:Downtown Indy,Monument Circle,SPARK
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/maryjo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231026T160000
DTEND;TZID=America/Indiana/Indianapolis:20231026T180000
DTSTAMP:20260611T053646
CREATED:20231004T022121Z
LAST-MODIFIED:20231004T022121Z
UID:11341-1698336000-1698343200@www.bigcar.org
SUMMARY:African Dance with Uzuri Asad
DESCRIPTION:Join Uzuri Asad\, artist in Big Car’s Public Life Residency\, for a dose of culture\, self-care\, and community as we explore rhythms from West Africa and other parts of the Diaspora. Give your body and soul a moment to reflect and progress all at once\, meet Asad on the floor of the circle! \n\nSPARK is a partnership with Downtown Indy\, the City of Indianapolis\, and the Indiana War Memorials Commission — and funded by the Capital Improvements Board. It is a continuation of our work last year and in 2015 on the Circle. \nAt Big Car\, we approach our work at the Circle as a site- and community-specific socially engaged art and creative placemaking project. The SPARK on the Circle pop-up park was collaboratively designed with Indianapolis-based Merritt Chase to be a restorative public place where people of all walks of life can relax\, play\, socialize\, and engage with art and artists in the heart of our city.
URL:https://www.bigcar.org/event/african-dance-with-uzuri-asad-5/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/uzuri-644x1024.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231028T110000
DTEND;TZID=America/Indiana/Indianapolis:20231028T180000
DTSTAMP:20260611T053646
CREATED:20231004T022840Z
LAST-MODIFIED:20231020T131341Z
UID:11343-1698490800-1698516000@www.bigcar.org
SUMMARY:Circle SPARK Fest
DESCRIPTION:Have yourself a Pumpkin carving\, pottery making\, face painting\, UBE Fest loving good time at Circle SPARK Fest! \nThis two-day fall festival features live music by an amazing array of local musicians\, delicious food\, artisan vendors\, and hands-on creative activities led by Indianapolis artists. The festival\, which runs from 11 am until 6 pm each day\, is free to attend. And it takes place at the pop-up park on the southwest quadrant of Monument Circle that has been closed to traffic this summer. \n(MC- Tennah): \n10/28 Sat \n11-11:45 – Nat Russell and Landon Caldwell \n12-12:45 – Freetown Village Singers \n1-1:45 – Naomi Pulver \n2-3 Allison Victoria \n3:30-4:30 – D’Classics \n5-6 – Bashiri Asad \nActivity Schedule (all free to participate): \n10/28 Sat \n12-5pm Henna with Pam \n12-5pm Indy Face Painting \n11-6pm Making Pottery with Stephanie Williams \n11-6pm Pumpkin Carving \n4-6pm Candle Making with Freetown Village \nNew this year: SPARK Fest’s organizers at Big Car Collaborative and Downtown Indy are teaming up with UbeFest — an event that’s all about the tasty purple yam often used in desserts in Filipino cuisine called ube. UbeFest brings more than 30 food\, artist\, and unique retail vendors to the Circle for the festival. Many will showcase\, among their offerings\, a variety of tasty ube-based treats.
URL:https://www.bigcar.org/event/circle-spark-fest-3/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/CircleSparkFest_Instagram-no-text-760x950.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231029T110000
DTEND;TZID=America/Indiana/Indianapolis:20231029T180000
DTSTAMP:20260611T053646
CREATED:20231004T023833Z
LAST-MODIFIED:20231020T131509Z
UID:11349-1698577200-1698602400@www.bigcar.org
SUMMARY:Circle SPARK Fest
DESCRIPTION:Have yourself a Pumpkin carving\, pottery making\, face painting\, UBE Fest loving good time at Circle SPARK Fest! \nThis two-day fall festival features live music by an amazing array of local musicians\, delicious food\, artisan vendors\, and hands-on creative activities led by Indianapolis artists. The festival\, which runs from 11 am until 6 pm each day\, is free to attend. And it takes place at the pop-up park on the southwest quadrant of Monument Circle that has been closed to traffic this summer. \nMusic Line-Up \nTennah Host MC  \n10/29 Sun \n11-11:45 – Fred Miller \n12-12:45 – Tinikling Cultural Dance \n1-2 – The Roundups \n2:15-3:15 -Tubbles the Band \n3:30-4:30 – Forgotten Tribe \n5-6 – Exceso Rock Band \n10/29 Sun \n12-5pm Henna with Pam \n12-5pm Face Painting with Stephanie Zki \n11-6pm Derek Tudor Selfie 360 and Mini VanGo \n11-6pm Ceramics with Stephanie Williams \n11-6pm Pumpkin Carving \nNew this year: SPARK Fest’s organizers at Big Car Collaborative and Downtown Indy are teaming up with UbeFest — an event that’s all about the tasty purple yam often used in desserts in Filipino cuisine called ube. UbeFest brings more than 30 food\, artist\, and unique retail vendors to the Circle for the festival. Many will showcase\, among their offerings\, a variety of tasty ube-based treats.
URL:https://www.bigcar.org/event/circle-spark-fest-4/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
CATEGORIES:Downtown Indy,Monument Circle,SPARK
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/10/CircleSparkFest_Instagram-no-text-760x950.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231030T180000
DTEND;TZID=America/Indiana/Indianapolis:20231030T200000
DTSTAMP:20260611T053646
CREATED:20231004T153223Z
LAST-MODIFIED:20231004T153223Z
UID:11362-1698688800-1698696000@www.bigcar.org
SUMMARY:Día de los Muertos Altar
DESCRIPTION:Join the Mexico Sister City Committee in an exciting and culturally enriching way for Dia de los Muertos at Spark on the Circle. Dia de los Muertos\, or the Day of the Dead\, is a significant Mexican holiday that honors and remembers loved ones who have passed away. This event aims to bring our community together in a meaningful and festive way. \nThe Dia de los Muertos Altar Event will feature a beautifully crafted traditional Mexican altar\, showcasing elements essential to this important cultural celebration.
URL:https://www.bigcar.org/event/dia-de-los-muertos-altar/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231031T120000
DTEND;TZID=America/Indiana/Indianapolis:20231031T130000
DTSTAMP:20260611T053646
CREATED:20231004T152520Z
LAST-MODIFIED:20231004T152604Z
UID:11360-1698753600-1698757200@www.bigcar.org
SUMMARY:Lunch Break Live-Progressive Knife
DESCRIPTION:Get geared up for Halloween with Indianapolis’s own rock band Progressive Knife.
URL:https://www.bigcar.org/event/lunch-break-live-progressive-knife/
LOCATION:1 Monument Circle\, South Facing Steps\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231101T150000
DTEND;TZID=America/Indiana/Indianapolis:20231101T180000
DTSTAMP:20260611T053646
CREATED:20230919T172755Z
LAST-MODIFIED:20250212T163944Z
UID:11186-1698850800-1698861600@www.bigcar.org
SUMMARY:John Wesley Hardrick mural live painting with Kaila Austin
DESCRIPTION:Artist Kaila Austin will have a series of live painting sessions of the John Wesley Hardrick mural open to the public at Tube Factory artspace:  November 8\, 3-6pm and November 22\, 3-6pm. She will also be at SPARK on the Circle at Monument Circle painting the Harwick Mural on October 13\, 2-5pm.\n\nThe exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday\, 9am-6pm\, Saturdays and Sundays 9am-3pm.\n\nAs the United States continues to face its history of enslavement\, oppression\, and exclusion of Black Americans in museums and other arenas of power and recognition\, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis\, and the family of Indiana’s Harlem Renaissance painter\, John Wesley Hardrick (1891-1968).\n\nOver the last three years\, Austin worked with the descendants of the United States Colored Troops (African-American Civil War veterans)\, to recover and record their family histories as their communities shift due to gentrification. Austin is working most closely with Norwood — a neighborhood less than a mile from her childhood home.\n\nIn February of 2021\, Austin learned that the new city morgue would be built on the Hardrick homesite\, encroaching on Norwood while the neighborhood celebrated its 150th anniversary. Due to community activism from the descendants\, the City canceled morgue construction. Since then\, Austin and the community have worked together to reimagine the Hardrick homesite. The mural featured in this exhibit is part of that reimagining. For Austin\, this entire project is work that’s transient and malleable. It changes as the research becomes more clear (or muddy).\n\nThis mural — recreated by Austin with the support of Hardrick’s family — was originally painted at Crispus Attucks High School in 1934 as part of the Works Progress Administration (WPA) program. Hardrick was the only African American artist to be selected in the state. The mural depicted four foundry workers toiling in the heat. The imagery reflected Hardrick’s lived experience working at a foundry in Norwood while he created the mural. However\, the principal at Crispus Attucks wanted Black children to aspire to work in professions outside of manual labor\, professions that historically excluded Black Americans. For this reason\, the school put the mural in the basement\, never to be seen again.\n\nAustin reimagined what the mural looked like by working with the Hardrick family and the descendants in Norwood. They explored his diaries and sketchbooks and looked at Hardrick’s mentors and peers — and the community that raised him. The exhibit gives us a chance to step into Hardrick’s world and see how he created the piece from start to finish. Even the title of the piece was lost. So Austin and the family are renaming the mural.\n\nA collaboration between Hardrick\, his descendants\, the Norwood community\, and Austin\, “Process as Practice: Reimagining the Lost Hardrick Mural” is a multi-generational approach to public art. It creates context through community engagement that gives Hardrick’s descendants agency in reimagining the life of an artwork that deserves preservation and attention due to its relevance and meaning for all of us.\n\nAbout the Artist:\nKaila Austin is an artist and public historian from Indianapolis. She attended Indiana University\, triple majoring in Art History\, African American Studies\, and Painting. Since 2019\, she has run her own historic consulting organization\, Rogue Preservation Services. For the last two years\, she has been working with six Reconstruction-era African American neighborhoods to record\, preserve and uplift the stories of the US Colored Troops on the Southeast side of Indianapolis. The public arts plays a major role in telling these stories and reimagining our city through a Black lens. Austin is an Artist in Residence in Big Car Collaborative’s long-term residency program on the southeast side of Indianapolis.\n\nThis exhibit is made possible by The Efroymson Family Fund\, The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Fund and Institute of Museum and Library Services.\n\nMain Gallery\nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\n\nAbout the Southside US Colored Troop Coalition:\nThe Southside US Colored Troops Coalition is founded and maintained by the descendants of African American Civil War Veterans who founded six Reconstruction era communities in Southeast Indianapolis. With over 250 descendant families still living on the lots their ancestors purchased after the Civil War\, they are some of the oldest African American communities in the United States. The mission of this organization is to preserve\, uplift and revitalize the communities\, families and stories of these brave men who lived and died for Black Freedom.\n\nAbout Norwood\nThe Norwood neighborhood was a Freetown founded and built by Civil War veterans in the 1860s. Survivors of the Civil War from the 28th Regiment returned to Indianapolis in 1866 as newly freed slaves. And they settled further east along Prospect Street\, eventually expanding into what became known as Norwood.\nTheir living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.\nNorwood’s first church\, Penick Chapel AME Zion\, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick\n\nAbout the WPA\nThe Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects\, including the construction of public buildings and roads. It was set up on May 6\, 1935\, by presidential order\, as a key part of the Second New Deal.\nIn one of its most famous projects\, Federal Project Number One\, the WPA employed musicians\, artists\, writers\, actors and directors in arts\, drama\, media\, and literacy projects. The five projects dedicated to these were the Federal Writers’ Project (FWP)\, the Historical Records Survey (HRS)\, the Federal Theatre Project (FTP)\, the Federal Music Project (FMP)\, and the Federal Art Project (FAP). In the Historical Records Survey\, for instance\, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225\,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures\, and the development of professional archaeology in the US.
URL:https://www.bigcar.org/event/john-wesley-hardrick-mural-live-painting-with-kaila-austin/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/austinsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231103
DTEND;VALUE=DATE:20231219
DTSTAMP:20260611T053646
CREATED:20231101T174838Z
LAST-MODIFIED:20231129T180239Z
UID:11435-1698980400-1702868399@www.bigcar.org
SUMMARY:Sylvia Thomas:Letters To A Haunted House
DESCRIPTION:Many have experienced grief with the loss of someone close to them\, but what if that someone was yourself? \nTransgender people have lived and existed in many forms for many centuries. Today\, there are many possible (physical\, emotional\, and mental) changes made by Trans people to feel affirmed in their own body. To “come out” or “transition” has required some Trans people to abandon a self they do not recognize. This act of abandonment and process of grieving one’s self is common for many Queer and Trans people who were not raised in affirming environments. \nThe artist believes it is up to each Queer and Trans person how they may grieve or celebrate their life before “coming out.” This exhibition is how the artist has chosen to honor a life she no longer lives. In this experience\, there are 4 letters written by the artist\, Sylvia\, addressed to her deadname\, Seth. Each letter explores the complicated language and emotions tethered to grief (Anger\, Depression\, Guilt\, Acceptance). Amongst the letters are pieces of furniture and artifacts retrieved from the artist’s childhood home she abandoned in order to stay alive. While wondering who she is today\, her work mourns the life she didn’t keep.
URL:https://www.bigcar.org/event/sylvia-thomasletters-to-a-haunted-house/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/11/sylviathomashaunted.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231103T170000
DTEND;TZID=America/Indiana/Indianapolis:20231103T220000
DTSTAMP:20260611T053646
CREATED:20230907T190336Z
LAST-MODIFIED:20231101T181637Z
UID:11169-1699030800-1699048800@www.bigcar.org
SUMMARY:Opening Celebration of Terri Sisson Park
DESCRIPTION:Join us on November 3 as we celebrate our new outdoor space on the Tube Factory campus and thank the many people who made this restorative outdoor space possible. Linked to our monthly First Friday open house\, we’ll offer brief remarks at 6 pm\, live music\, and tours. \nTerri Sisson Park\, designed by Rundell Ernstberger’s Daniel Liggett in close collaboration with Big Car Collaborative staff artists\, features many ways for visitors to experience and enjoy art and nature while also socializing with others. It’s open to the public during daylight hours.  \nTerri Sisson Park is named after the mother of Big Car co-founder and Tube Factory curator\, Shauta Marsh. Dedicating the park to Terri\, who passed away in 2022\, is especially fitting because the park is a shrine to motherhood.  \n“Otherhood and Motherhood are two main themes that thread through this greenspace\,” Marsh says. “It’s a place for people who have no one. It’s a space for people who have more people in their life than they know what to do with.” \nIn addition to the opening of the park\, we celebrate the artists of our long-term residency program on the block — now at 18 affordable homes — with an exhibition in a house across from Tube Factory. And we’ll feature exhibitions in two Tube Factory galleries\, and Guichelaar Gallery. Local food trucks\, Tortas Gaucho and Hert’s BBQ\, will be on site for food options. \n“My mother was a bottomless ocean of love and patience\,” Marsh says. “She saw the best in people. And that’s the spirit the world really needs. That’s why we will celebrate her with the naming of this park. It was the meaning of her to hold a space for everyone\, for total strangers\, for friends\, for family.” \n6 pm: Brief remarks at the Chicken Chapel of Love followed by performance \nDusk: Firedancer \n7 pm: Live music from Scrapper & Skeleton \n8pm: Bitterproof \nTours with Big Car staff artists throughout the evening  \nSpecial thanks to Efroymson Family Fund for making the naming possible. And thank you to Allen Whitehill Clowes Charitable Foundation for major support of our art-filled outdoor space.
URL:https://www.bigcar.org/event/terrisissonpark/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/09/TerriSissonPark-Signage-36x48-20230831.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231108T150000
DTEND;TZID=America/Indiana/Indianapolis:20231108T180000
DTSTAMP:20260611T053646
CREATED:20230919T173151Z
LAST-MODIFIED:20250212T164140Z
UID:11188-1699455600-1699466400@www.bigcar.org
SUMMARY:John Wesley Hardrick mural live painting with Kaila Austin
DESCRIPTION:Artist Kaila Austin will have a series of live painting sessions of the John Wesley Hardrick mural open to the public at Tube Factory artspace:  November 8\, 3-6pm and November 22\, 3-6pm. She will also be at SPARK on the Circle at Monument Circle painting the Harwick Mural on October 13\, 2-5pm.\n\nThe exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday\, 9am-6pm\, Saturdays and Sundays 9am-3pm.\n\nAs the United States continues to face its history of enslavement\, oppression\, and exclusion of Black Americans in museums and other arenas of power and recognition\, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis\, and the family of Indiana’s Harlem Renaissance painter\, John Wesley Hardrick (1891-1968).\n\nOver the last three years\, Austin worked with the descendants of the United States Colored Troops (African-American Civil War veterans)\, to recover and record their family histories as their communities shift due to gentrification. Austin is working most closely with Norwood — a neighborhood less than a mile from her childhood home.\n\nIn February of 2021\, Austin learned that the new city morgue would be built on the Hardrick homesite\, encroaching on Norwood while the neighborhood celebrated its 150th anniversary. Due to community activism from the descendants\, the City canceled morgue construction. Since then\, Austin and the community have worked together to reimagine the Hardrick homesite. The mural featured in this exhibit is part of that reimagining. For Austin\, this entire project is work that’s transient and malleable. It changes as the research becomes more clear (or muddy).\n\nThis mural — recreated by Austin with the support of Hardrick’s family — was originally painted at Crispus Attucks High School in 1934 as part of the Works Progress Administration (WPA) program. Hardrick was the only African American artist to be selected in the state. The mural depicted four foundry workers toiling in the heat. The imagery reflected Hardrick’s lived experience working at a foundry in Norwood while he created the mural. However\, the principal at Crispus Attucks wanted Black children to aspire to work in professions outside of manual labor\, professions that historically excluded Black Americans. For this reason\, the school put the mural in the basement\, never to be seen again.\n\nAustin reimagined what the mural looked like by working with the Hardrick family and the descendants in Norwood. They explored his diaries and sketchbooks and looked at Hardrick’s mentors and peers — and the community that raised him. The exhibit gives us a chance to step into Hardrick’s world and see how he created the piece from start to finish. Even the title of the piece was lost. So Austin and the family are renaming the mural.\n\nA collaboration between Hardrick\, his descendants\, the Norwood community\, and Austin\, “Process as Practice: Reimagining the Lost Hardrick Mural” is a multi-generational approach to public art. It creates context through community engagement that gives Hardrick’s descendants agency in reimagining the life of an artwork that deserves preservation and attention due to its relevance and meaning for all of us.\n\nAbout the Artist:\nKaila Austin is an artist and public historian from Indianapolis. She attended Indiana University\, triple majoring in Art History\, African American Studies\, and Painting. Since 2019\, she has run her own historic consulting organization\, Rogue Preservation Services. For the last two years\, she has been working with six Reconstruction-era African American neighborhoods to record\, preserve and uplift the stories of the US Colored Troops on the Southeast side of Indianapolis. The public arts plays a major role in telling these stories and reimagining our city through a Black lens. Austin is an Artist in Residence in Big Car Collaborative’s long-term residency program on the southeast side of Indianapolis.\n\nThis exhibit is made possible by The Efroymson Family Fund\, The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Fund and Institute of Museum and Library Services.\n\nMain Gallery\nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\n\nAbout the Southside US Colored Troop Coalition:\nThe Southside US Colored Troops Coalition is founded and maintained by the descendants of African American Civil War Veterans who founded six Reconstruction era communities in Southeast Indianapolis. With over 250 descendant families still living on the lots their ancestors purchased after the Civil War\, they are some of the oldest African American communities in the United States. The mission of this organization is to preserve\, uplift and revitalize the communities\, families and stories of these brave men who lived and died for Black Freedom.\n\nAbout Norwood\nThe Norwood neighborhood was a Freetown founded and built by Civil War veterans in the 1860s. Survivors of the Civil War from the 28th Regiment returned to Indianapolis in 1866 as newly freed slaves. And they settled further east along Prospect Street\, eventually expanding into what became known as Norwood.\nTheir living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.\nNorwood’s first church\, Penick Chapel AME Zion\, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick\n\nAbout the WPA\nThe Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects\, including the construction of public buildings and roads. It was set up on May 6\, 1935\, by presidential order\, as a key part of the Second New Deal.\nIn one of its most famous projects\, Federal Project Number One\, the WPA employed musicians\, artists\, writers\, actors and directors in arts\, drama\, media\, and literacy projects. The five projects dedicated to these were the Federal Writers’ Project (FWP)\, the Historical Records Survey (HRS)\, the Federal Theatre Project (FTP)\, the Federal Music Project (FMP)\, and the Federal Art Project (FAP). In the Historical Records Survey\, for instance\, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225\,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures\, and the development of professional archaeology in the US.
URL:https://www.bigcar.org/event/john-wesley-hardrick-mural-live-painting-with-kaila-austin-2/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/austinsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231115T190000
DTEND;TZID=America/Indiana/Indianapolis:20231115T210000
DTSTAMP:20260611T053646
CREATED:20231101T174642Z
LAST-MODIFIED:20231101T174642Z
UID:11433-1700074800-1700082000@www.bigcar.org
SUMMARY:NIGHTJAR\, a poetry series with open mic
DESCRIPTION:Write a poem based on the prompt below and arrive early to sign up for our open mic! \nNIGHTJAR creates an inclusive space for all by bringing together spoken-word performers and page-based poets writing in narrative\, lyric\, and experimental forms. Every third Wednesday\, C.S. Carrier and Michelle Niemann host a reading and invite audience members to share their own poetic responses. \nNovember’s featured poet is Katy Didden. \nDidden’s most recent book\, Ore Choir: The Lava on Iceland\, is a collaboration with illustrator Kevin Tsing and was published by Tupelo Press in 2022. Her first book\, The Glacier’s Wake (2013)\, won the Lena-Miles Wever Todd Prize from Pleiades Press. She is an associate professor of English at Ball State University. \nNIGHTJAR open mic guidelines: \n317 words is the maximum length for open mic contributions. Creative takes on the prompt are fine\, but this must be new writing in response to the prompt! \nPrompt for open mic:\nWrite from the point of view of a seemingly inanimate or non-sentient object\, as Katy Didden does in her book\, Ore Choir. This can take the form of an interview: ask an object or natural feature a question. For example\, you could pick up a fallen leaf or a stone and ask it\, “What color is the sky?” or “Where will I find home?” or “How would you define love?” or “What will end war?”
URL:https://www.bigcar.org/event/nightjar-a-poetry-series-with-open-mic/
LOCATION:IN
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/09/NIGHTJAR-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231122T150000
DTEND;TZID=America/Indiana/Indianapolis:20231122T180000
DTSTAMP:20260611T053646
CREATED:20230919T173351Z
LAST-MODIFIED:20250212T164157Z
UID:11191-1700665200-1700676000@www.bigcar.org
SUMMARY:John Wesley Hardrick mural live painting with Kaila Austin
DESCRIPTION:Artist Kaila Austin will have a series of live painting sessions of the John Wesley Hardrick mural open to the public at Tube Factory artspace. She will also be at SPARK on the Circle at Monument Circle painting the Harwick Mural on October 13\, 2-5pm.\n\nThe exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday\, 9am-6pm\, Saturdays and Sundays 9am-3pm.\n\n\nAs the United States continues to face its history of enslavement\, oppression\, and exclusion of Black Americans in museums and other arenas of power and recognition\, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis\, and the family of Indiana’s Harlem Renaissance painter\, John Wesley Hardrick (1891-1968).\n\nOver the last three years\, Austin worked with the descendants of the United States Colored Troops (African-American Civil War veterans)\, to recover and record their family histories as their communities shift due to gentrification. Austin is working most closely with Norwood — a neighborhood less than a mile from her childhood home.\n\nIn February of 2021\, Austin learned that the new city morgue would be built on the Hardrick homesite\, encroaching on Norwood while the neighborhood celebrated its 150th anniversary. Due to community activism from the descendants\, the City canceled morgue construction. Since then\, Austin and the community have worked together to reimagine the Hardrick homesite. The mural featured in this exhibit is part of that reimagining. For Austin\, this entire project is work that’s transient and malleable. It changes as the research becomes more clear (or muddy).\n\nThis mural — recreated by Austin with the support of Hardrick’s family — was originally painted at Crispus Attucks High School in 1934 as part of the Works Progress Administration (WPA) program. Hardrick was the only African American artist to be selected in the state. The mural depicted four foundry workers toiling in the heat. The imagery reflected Hardrick’s lived experience working at a foundry in Norwood while he created the mural. However\, the principal at Crispus Attucks wanted Black children to aspire to work in professions outside of manual labor\, professions that historically excluded Black Americans. For this reason\, the school put the mural in the basement\, never to be seen again.\n\nAustin reimagined what the mural looked like by working with the Hardrick family and the descendants in Norwood. They explored his diaries and sketchbooks and looked at Hardrick’s mentors and peers — and the community that raised him. The exhibit gives us a chance to step into Hardrick’s world and see how he created the piece from start to finish. Even the title of the piece was lost. So Austin and the family are renaming the mural.\n\nA collaboration between Hardrick\, his descendants\, the Norwood community\, and Austin\, “Process as Practice: Reimagining the Lost Hardrick Mural” is a multi-generational approach to public art. It creates context through community engagement that gives Hardrick’s descendants agency in reimagining the life of an artwork that deserves preservation and attention due to its relevance and meaning for all of us.\n\nAbout the Artist:\nKaila Austin is an artist and public historian from Indianapolis. She attended Indiana University\, triple majoring in Art History\, African American Studies\, and Painting. Since 2019\, she has run her own historic consulting organization\, Rogue Preservation Services. For the last two years\, she has been working with six Reconstruction-era African American neighborhoods to record\, preserve and uplift the stories of the US Colored Troops on the Southeast side of Indianapolis. The public arts plays a major role in telling these stories and reimagining our city through a Black lens. Austin is an Artist in Residence in Big Car Collaborative’s long-term residency program on the southeast side of Indianapolis.\n\nThis exhibit is made possible by The Efroymson Family Fund\, The Arts Council of Indianapolis\, The City of Indianapolis\, Allen Whitehill Clowes Charitable Fund and Institute of Museum and Library Services.\n\nMain Gallery\nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays\n\nAbout the Southside US Colored Troop Coalition:\nThe Southside US Colored Troops Coalition is founded and maintained by the descendants of African American Civil War Veterans who founded six Reconstruction era communities in Southeast Indianapolis. With over 250 descendant families still living on the lots their ancestors purchased after the Civil War\, they are some of the oldest African American communities in the United States. The mission of this organization is to preserve\, uplift and revitalize the communities\, families and stories of these brave men who lived and died for Black Freedom.\n\nAbout Norwood\nThe Norwood neighborhood was a Freetown founded and built by Civil War veterans in the 1860s. Survivors of the Civil War from the 28th Regiment returned to Indianapolis in 1866 as newly freed slaves. And they settled further east along Prospect Street\, eventually expanding into what became known as Norwood.\nTheir living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.\nNorwood’s first church\, Penick Chapel AME Zion\, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick\n\nAbout the WPA\nThe Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects\, including the construction of public buildings and roads. It was set up on May 6\, 1935\, by presidential order\, as a key part of the Second New Deal.\nIn one of its most famous projects\, Federal Project Number One\, the WPA employed musicians\, artists\, writers\, actors and directors in arts\, drama\, media\, and literacy projects. The five projects dedicated to these were the Federal Writers’ Project (FWP)\, the Historical Records Survey (HRS)\, the Federal Theatre Project (FTP)\, the Federal Music Project (FMP)\, and the Federal Art Project (FAP). In the Historical Records Survey\, for instance\, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225\,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures\, and the development of professional archaeology in the US.
URL:https://www.bigcar.org/event/11191/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/08/austinsm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20231130T180000
DTEND;TZID=America/Indiana/Indianapolis:20231130T220000
DTSTAMP:20260611T053646
CREATED:20231120T152019Z
LAST-MODIFIED:20231128T174359Z
UID:11459-1701367200-1701381600@www.bigcar.org
SUMMARY:An Ode to Norwood
DESCRIPTION:An Ode to Norwood \n\nClosing Reception:  \nNovember 30th from 6 – 10pm  \n\n6:00 pm Doors open \n6:30pm Gallery Tour \n7:00 pm Comments and Announcements \nSouthside USCT Coalition Training Program – Begin December \nIndianapolis Black Heritage Trail – Begin February \nSmithsonian NMAAHC Archive Training Program – Begin April \n7:15- 8:15 pm  Performance with Joshua Thompson \n8:30pm Gallery Tour \n9:30pm Wind down \n10:00 Close \n  \n\nPlease join us for our closing Reception for Process as Practice: Reimagining the Hardrick Home on November 30th from 6 – 10pm. \n\nNovember 30th will mark the 160th anniversary of Indiana’s 28th Colored Infantry\, our African American soldiers from the Civil War. Norwood is one of the communities founded by these Veterans after their return home in 1865 and was the epicenter of Black Cultural life in Southeast Indianapolis from Reconstruction era (1870s) until the Harlem Renaissance (1920s). This exhibit honors one of Norwood’s first descendants\, John Wesley Hardrick\, and the work that he did to uplift his working class African American community through his paintings.  \n\nDuring this reception\, enjoy gallery tours with artist Kaila Austin at 6:30pm and 8:30pm. Renowned Indianapolis Pianist Joshua Thompson accompanied by vocalist Okara Imani will be performing a suite of songs from the Civil War period\, including a rendition of “An Ode to the Colored Troops that Died for our Freedom”.  We hope to make this an opportunity to honor the US Colored Troops and their descendants who carry on their legacy today. Please bring flowers to decorate the exhibit hall.  \n\nProject Sponsors:  \nGangGang Black Joy Fund\, Indiana Landmarks’ Black Heritage Preservation Program\, Southside USCT Coalition\, Khprew Integrated Fund
URL:https://www.bigcar.org/event/an-ode-to-norwood/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/11/October-Exhibition-Difficult-Image-8-ReOpening-Day-Penick-Chapel-1915.jpg
ORGANIZER;CN="Big Car Collaborative":MAILTO:info@bigcar.org
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231201
DTEND;VALUE=DATE:20240117
DTSTAMP:20260611T053646
CREATED:20231129T160227Z
LAST-MODIFIED:20231129T160407Z
UID:11504-1701399600-1705373999@www.bigcar.org
SUMMARY:Meggan Gould: Sorry\, No Pictures
DESCRIPTION:Meggan Gould’s Sorry\, No Pictures examines photographic tools and technologies and their constant teeter on the edge of obsolescence. Gould takes apart and re-contextualizes the smallest aspects of the medium\, including the iconography of camera dials\, the design of viewfinder patterns\, and the ubiquitous Epson inkjet printer test pattern. Intertwined with personal narrative\, the artist uses “playful resistance” in her work to question the role of corporations and manufacturers of photographic technologies — from Kodak to Flickr — in shaping photography\, image-making\, vision\, and the language surrounding the medium. The exhibition makes clear how the personal and political converge in art-making\, an important point at this moment when the true cost of photography’s cultural and ecological impact is coming into focus. \nThe complexity and sophistication of Gould’s work mirrors the maker\, who as a visual artist\, educator\, writer\, lecturer\, and mother has lived many lives all at once. Sorry\, No Pictures offers a beautiful\, oftentimes laugh-out-loud funny\, and ultimately hopeful narrative that art-making\, by its nature\, involves failure\, change\, and transcendence. \nPublished in book format in 2021\, the exhibition Sorry\, No Pictures brings the impact of scale\, presence\, and additional context to Gould’s artwork. You can read more about each piece in the copies of Sorry\, No Pictures available in the gallery. \n\nAbout the artist:  \nMeggan Gould (meggangould.net) is a photographer living and working outside of Albuquerque\, New Mexico\, where she is an Associate Professor of Art at the University of New Mexico. Her multifaceted practice uses photography\, drawing\, sculpture\, and installation in an open ended dissection of vision and photographic tools. \n\nTube Factory artspace \nJeremy D Efroymson Gallery \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nBig Car Collaborative brings art to people and people to art\, sparking creativity in lives to support communities. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists. \nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity. \nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org.
URL:https://www.bigcar.org/event/meggan-gould-sorry-no-pictures/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20231220T190000
DTEND;TZID=America/Indiana/Indianapolis:20231220T210000
DTSTAMP:20260611T053646
CREATED:20231129T202236Z
LAST-MODIFIED:20231129T205342Z
UID:11510-1703098800-1703106000@www.bigcar.org
SUMMARY:NIGHTJAR\, a poetry series with open mic
DESCRIPTION:NIGHTJAR creates an inclusive space for all by bringing together spoken-word performers and page-based poets writing in narrative\, lyric\, and experimental forms. Every third Wednesday\, C.S. Carrier and Michelle Niemann host a reading and invite audience members to share their own poetic responses. \nDecember’s featured poet is Lee Bennett \nPoet and publisher\, Bennett will read selections from her publication\, Quotidian Magazine. Quotidian is a multi-volume series of creative responses to different prompts\, all falling under the eponymous category of the quotidian. Its goal is to highlight repetitive\, essential tasks\, hard work that goes unnoticed\, and the way these most basic acts connect and humble us\, including objects and places that result from and are affected by these actions and how they surprise us with the unexpected depth of their meanings. \nNIGHTJAR open mic guidelines: \n317 words is the maximum length for open mic contributions. Creative takes on the prompt are fine\, but this must be new writing in response to the prompt! \nPrompt for open mic: \nWrite a poem or short piece that engages with the history of Indianapolis.
URL:https://www.bigcar.org/event/nightjar-a-poetry-series-with-open-mic-2/
LOCATION:IN
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/11/NIGHTJAR-image.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20240105T080000
DTEND;TZID=America/Indiana/Indianapolis:20240324T150000
DTSTAMP:20260611T053646
CREATED:20231207T173614Z
LAST-MODIFIED:20231207T173621Z
UID:11569-1704441600-1711292400@www.bigcar.org
SUMMARY:Julian Jamaal Jones: Take Me Back
DESCRIPTION:The abstract textiles and works on paper by Julian Jamaal Jones for his exhibit Take Me Back glean fragments from the songs\, poetry\, sounds\, and his feelings for the Black church experience of the 1990s.  The exhibit opens Jan. 5 and runs through March 24 at Tube Factory artspace. Chief curator\, Shauta Marsh\, was instantly drawn to the works\, seeing an element of emotive storytelling in the abstract pieces — something that is quite unique.  \nJones studied photography at Herron School of Art and Design then moved to working in textiles while working on his MFA at Cranbrook “His works are reverent. And\, although Jones is tapping into a personal experience to create the works\, the understanding and appeal of the works is universal. The desire for belonging and finding it through shared myth. The works speak to us all\,” says Marsh. \nMarsh felt it was important to have the voice of a curator who witnessed the change of mediums and the change in the artist. So Marsh and Jones asked Kat Gotfnett\, Assistant Curator of Collections at Cranbrook Art Museum\, to write about his work and what she sees in it and him. Cranbrook Art Museum recently purchased his work. \nFrom Kat Gotfnett: “Home” often exists not as a structure but in spaces of community steeped in mutual reverence and a sense of belonging. In Take Me Back\,  Jones harnesses his nostalgia for one such place – the Black church of his youth. Growing up in the outskirts of Indianapolis during the 1990s\, Jones navigated predominantly White spaces\, making the church a sanctuary for him to engage with and celebrate both his religion and his Blackness.  The church of Jones’s youth provided an atmosphere for creative inspiration and self-determination rooted in community\, spirituality\, and strong sensory experiences. In his first hometown exhibition\, Jones channels his personal memories and nostalgic pangs into a new body of work that honors “the old Black church.” \nIn Jones’s quilts\, he reimagines the traditional art form through the artist’s unique verbiage\, drawing on improvisational styles of Black expression found in gospel music\, as well as expressive abstract art. Gestural graphic drawings\, which are foundational to his textiles\, incorporate jewel tones and bold\, animated markings. These drawings physicalize Jones’s emotional landscape as he recalls the spirit of the Black church\, its fashionable congregants\, dressed up for worship\, and the Gospel choir’s coordinated robes and soulful\, revelatory harmonies. These energetic renderings serve as an intimate yet abstracted record of the artist’s embodied experience with transformative spiritual and cultural forces. \nJones’s invigorating textiles further tap into the multisensory experience of church\, introducing a more explicitly tactile element that also alludes to fiber as a medium connected to the body as a material of comfort and identity. Additionally\, many of Jones’s quilts are created at an immersive scale recalling the grandiosity of religious architecture\, the textiles adorning sacred spaces\, and mesmerizing walls of stained glass. The work is partnered with pews sourced directly from a church\, furthering the aesthetic church experience to bring viewers fully into fellowship with Jones through this reimagined sanctuary. \nThrough abstractly reconstructing a bygone spiritual moment through ancestral modes of expression\, allusions to a sacred space\, and celebration of Black culture\, Take Me Back expresses the artist’s longing for not only a space\, but a profound feeling.” \n\nAbout the artist: Julian Jamaal Jones is a multidisciplinary artist and educator born and raised in Indianapolis\, IN. Jones received his Bachelor’s degree in Photography in 2020 from the Herron School of Art + Design (Indianapolis) and a Master’s in Photography in 2022 from Cranbrook Academy of Art (Bloomfield Hills\, MI)\, under the tutelage of Chris Fraser. Jones was the recipient of the 2023 CICF Artist Ambassadors Travel Grant\, awarded ArtsConnect’s “Artist to Watch” in 2022\, the recipient of the 2022 Playground Emerging Artist Fellowship\, supported by the Knight Foundation and the recipient of the prestigious Museum Purchase Award from Cranbrook Art Museum in 2022.  Jones’s works are in the permanent textile collections of Cranbrook Art Museum (Bloomfield Hills\, MI)\, Richmond Art Museum (Richmond\, IN) and The Book Tower Detroit (Detroit\, MI).  \n\nPhoto :Untitled\, 2023\, Photo collage from Julian Jamaal Jones’s personal collection \n\nKey Dates \nOpening reception: Jan. 5\, 6-10 p.m. \nArtist talk with Julian Jamaal Jones and Kat Gotfnett\, Assistant Curator of Collections\, Cranbrook Museum: March 23\, 1pm \nClosing reception: March 24\, 5 p.m.  \nThis exhibition was made possible by the Andy Warhol Foundation for the Visual Arts\, Ruth Arts Foundation\, Herron School of Art and Design\, Arts Council of Indianapolis and the City of Indianapolis\, Allen Whitehill Clowes Charitable Foundation\, Efroymson Family Fund and the Institute of Museum and Library Sciences.
URL:https://www.bigcar.org/event/julian-jamaal-jones-take-me-back-2/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2023/12/takemebacksm.jpeg
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