Thursdays on the Mall Film Series-Spider-Man: Into The Spider-Verse
2022-10-06 19:00 - 23:00 (America/Indiana/Indianapolis) | Indiana War Memorial, 55 N Michigan Ave, Indianapolis, IN, 46204, United States
The Indiana War Memorials Foundation in partnership with Indy Film Fest and us at Big Car invite everyone to gather in Indy’s backyard, American Legion Mall (700 N Pennsylvania St.) for a summer evening and free movie screening of Spider-Man: Into The Spiderverse.
Enjoy food trucks, beer from Sun King Brewing, popcorn, games, and more. Bring a lawn chair or blanket, soak in city views, and spend time with your neighbors. The fun kicks off at 7 pm, movie starts at dusk!

About Spider-Man: Into The Spider-Verse
Bitten by a radioactive spider in the subway, Brooklyn teenager Miles Morales suddenly develops mysterious powers that transform him into the one and only Spider-Man. When he meets Peter Parker, he soon realizes that there are many others who share his special, high-flying talents. Miles must now use his newfound skills to battle the evil Kingpin, a hulking madman who can open portals to other universes and pull different versions of Spider-Man into our world.

Please be aware this event is outdoors. Check back on the Indiana War Memorials Foundation page for weather updates.

MIGUEL CASCO: Send Nudes
2022-10-07 08:00 - 2022-11-28 17:00
The solo exhibit in partnership with Arte Mexicano en Indiana features a collection of watercolor and gouache portraits as an invitation to be collectively vulnerable, to create and archive that speaks of intimacy and eroticism.
From an open call to the public in 2018 to date, Casco has invited people to share their nudes with him. He then transferred them to painting, “to see through the eyes of the person who sends them and portray the intimacy they share,” says Casco.

MIGUEL CASCO
(Puebla, 1991)
Visual artist, cultural manager and museographer. He holds a degree in Plastic Arts and a master’s degree in Informa- tion Design from Universidad de las Américas Puebla. The technological-digital influence and media connectivity, as entities that promote shared intimacy, are thematic axes of his current production. His work has been exhibited in Mexico, United States and Germany. Since 2019 he is deputy director of the Museum of the Foreign Affairs, in Mexico City; in 2017 he founded Atelier Mesones and, in 2020, lagalerí_a, independent projects focused on the teaching, reflection and dissemination of visual arts.

MIGUEL CASCO
(Puebla, 1991)
Artista visual, gestor cultural y museógrafo. Es licenciado en Artes Plásticas y maestro en Diseño de Información por la Universidad de las Américas Puebla. La influencia tecnológica-digital y la conectividad mediática, como entes que propician una intimidad compartida, son ejes temáticos de su producción actual. Su obra ha sido expuesta en México, Estados Unidos y Alemania. Desde 2019 es subdirector del Museo de la Cancillería, en la Ciudad de México; en 2017 fundó Atelier Mesones y, en 2020, lagalerí_a, proyectos independientes enfocados a la enseñanza, la reflexión y la difusión de las artes visuales.

Made possible by The Andy Warhol Foundation for the Visual Arts

María José González Camarena on MIGUEL CASCO: Send Nudes
“Love yourself, care for yourself, be vulnerable”
“Every pussy is pretty.”
—Anonymous
One other thing we’ve been allowed to do recently is send nudes. I say «allowed to» because the access to the technology needed is more attainable. Before, there were sculptures, paintings, daguerreotypes and other representations, but there wasn’t always a way to send them too far or share them. And really there were many purposes for those pieces besides the erotization of the body.
I don’t know how often you talk about this. Or if you take nudes, but I think it’s always relevant to talk about the space we inhabit, how we inhabit it, what we do there o who we invite into it: like in every other practice or interaction we have, with someone else or with ourselves, where we show a part of us that we «save» for a certain conversation.
For starters, it’s an act of recognition: why do we do it? I think it could go way past having a recipient in mind, there are people who in a burst of narcissism or recognition fill their camera roll with surprises, because it’s always interesting to find ourselves posing or doing gestures that had gone unnoticed before. Just like I think of masturbation as one of the greatest ways of self-discovery, nudes can also be a conversation to have with oneself. More «free the nipple», and what I heard César Galicia say (in Coger rico y amar bonito, vaguely translated as Fuck well and love nicely), it’s absurd to think that a nipple says more about us than, for example, a picture of our thumbprint on social media during the elections.
I don’t think there’s a formula or a technique for sending nudes, but there are some things we should be aware of when we do it:
1. If you don’t block your phone, I don’t know what fantasyland you’re living in, but I suggest you always do it. Nowadays, even beyond nudes, we might have a lot of information we wouldn’t want someone else to have access to.
2. When talking about nudes it’s generally recommended to not show your face, but more than that, I suggest you use encrypted apps that don’t allow screenshots. A simple Google search should give you plenty of options. Edward Snowden recommends Signal.
3. Consent: this is essential. No one wants to receive unsolicited content. Related to that, it’s also important that you learn to read between the lines and be pertinent. Just like with humor, a big part of the message depends on good timing. And if there’s consent, you decide how much you want to show and how much you want to pull the rubberband.
4. Every part of the body can be eroticized: don’t limit yourselves to the parts that have been canonically considered so, and going back to self-discovery, discover yourself. The age of hellenic figures is over–or we ended it–and maybe a knee, a chin or a mole can have more connotations than a close-up of genitalia.
5. Just like no one likes to receive unsolicited content, it’s also important that you stay alert or be careful when it comes to nudes. One day we can be head over heels for a person and a few hours or weeks later we want nothing to do with them. It’s important to (always always always) remember that the problem is not that you shared a nude, but that the other person might have an erratic, non-empathic or even cruel reaction or behavior. We are human and there’s nothing better than being vulnerable together, and sadly, not everyone understands that code.
6. I don’t think anyone wants to end up in court for sharing a nude, but remember that 29 out of the 32 states in the country (Mexico) have recognized the Olimpia Law. Also, nothing would be more just than lighting a candle for everyone who’s fought against harassment and extortion through the release of content and the punishment for the inappropriate use of the material. Thank you, infinite thank yous.
Send nudes it’s an invitation to be collectively vulnerable, that is to say, let’s get naked together to create an archive that talks about intimacy and erotism. To start that conversation which, even though it should have been open and on everyone’s mouth for years now, can’t always be approached. Refusing to talk about our erotic sides and desire, because of prejudice or taboos, seems to me as absurd as thinking that talking about money is in «bad taste». The most valuable thing they can have is our silence, so let’s normalize the body and nudity from a place of emotional responsibility.
—María José González Camarena
Texto de sala por María José González Camarena
Quiérete, cuídate, vulnérate
Todas las puchitas son bonitas.
—Anónime
Otra cosa que se nos permite de un tiempo a acá, es enviar nudes. Digo que «se nos permite» porque ahora el acceso a esa tecnología está más a la mano. Antes había esculturas, pinturas, daguerrotipos y otras representaciones, pero no siempre había forma de enviarlas muy lejos ni de compartirlas. Y en realidad los propósitos de esas piezas eran muchos, además de la erotización del cuerpo.
No sé qué tanto hables de esto. O si te tomas nudes, pero creo que siempre es relevante hablar del lugar que habitamos, cómo lo habitamos, qué hacemos ahí o a quién invitamos: como en cualquier otra práctica o interacción que tenemos, con alguien más o con une misme, donde dejamos ver alguna parte de nosotres que se «reserva» para cierta conversación.
Para empezar, es un acto de reconocimiento: ¿para qué lo hacemos? Puedo pensar que más allá de tener en mente a un destinatario, hay personas que en un derroche de narcisismo o reconocimiento llenan el carrete de sorpresas, porque siempre es interesante descubrirse haciendo posturas o gestos que hasta antes habían pasado inadvertidos. Así como creo que la masturbación es una de las formas más grandes de autoconocimiento, las nudes también se pueden convertir en otro tipo de conversación que tener con une misme. Más «free the nipple», y como escuché decir a César Galicia (en Coger rico y amar bonito), es absurdo pensar que un pezón revela más de nosotres que, por ejemplo, una foto en redes sociales de nuestra huella dactilar con motivo de las elecciones.
No creo que haya una fórmula o técnica para enviar nudes, pero hay algunas cosas de las que es bueno estar consciente al hacerlo:
1. Si no usas algún método de bloqueo para tu celular, no sé en qué mundo fantástico vives, pero te sugiero que siempre tengas uno. Hoy en día, más allá de nudes, podemos tener bastante información a la que no quisiéramos que cualquier persona tuviera acceso.
2. Al hablar de nudes por lo general se recomienda que no salga tu rostro, pero más que eso, te sugiero que utilices aplicaciones cifradas y que no permitan el uso de capturas de pantalla. Una simple búsqueda en Google te dará muchas opciones. Edward Snowned recomienda Signal.
3. El consentimiento: esto es imprescindible. Nadie quiere recibir contenido no solicitado. En relación, también es importante que sepas leer entre líneas y ser oportune. Al igual que con el humor, gran parte del éxito del mensaje reside en tener buen tiempo. Y mientras haya consentimiento, tú decides qué tanto quieres revelar o qué tanto quieres estirar la liga.
4. Toda la cuerpa puede ser erotizada: no te limites a las partes que canónicamente se han considerado así, y volviendo al autoconocimiento, descúbrete. Ya terminó esa época de figuras helénicas —o la terminamos— y quizá una rodilla, un mentón o un lunar pueden tener más connotaciones que genitales en primer plano.
5. Así como a nadie nos gusta recibir contenido no solicitado, también es importante que «pares las antenas» o que seas cautelose cuando se trate de nudes. Un día podemos estar de cabeza por una persona y a las pocas horas o semanas no querer volver a saber de ella. Aquí es importante (siempre siempre siempre) recordar que el problema no es que hayas compartido una nude, sino que la otra persona puede tener una reacción o comportamiento errático, poco empático y hasta cruel. Somos humanos y no hay nada mejor que vulnerarse con reciprocidad, y tristemente, no todo mundo entiende ese código.
6. Creo que nadie quisiera terminar en un juicio por haber compartido una nude, pero recuerda que en 29 de los 32 estados del país la Ley Olimpia ya entró en rigor. También, no habría nada más justo que hacerles veladoras a todas esas personas que han luchado en contra del acoso o la extorsión mediante la divulgación de contenido y por la sanción del uso inapropiado de este material. Gracias, infinitas gracias.
Send nudes nos invita a vulnerarnos colectivamente, o sea, a encuerarnos juntes para crear un archivo que hable de intimidad y erotismo. Para provocar esa conversación que, aunque debería estar abierta y en boca de todes desde hace años, no siempre se puede abordar. Negarnos a hablar de nuestro yo erótico y del deseo, por prejuicios o tabúes, me parece igual de absurdo que pensar que hablar de dinero es de «mal gusto». Lo más valioso que pueden tener es nuestro silencio, así que normalicemos la cuerpa y la denudez desde la responsabilidad afectiva.
María José González Camarena
San Antonio, 2020

Justin Cooper: Yard Work
2022-10-07 18:00 - 2022-10-30 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Geometric plant studies from Cruft street
This series of paintings started when I relocated from Fountain Square to the Garfield Park neighborhood to be part of Big Car’s Artist and Public Life Residency. It was the first time in my adult life where I was living on a property with a yard — a place where I could plant whatever I wanted. I remember my grandparents always having gardens and working in the yard with them. My folks were also avid gardeners.
I was excited to connect with them on some level through gardening, our shared interest in plants. In the first spring of moving into the new place, I bought assorted flower bulbs and some perennials. Then I started digging in the yard and planting. My mom had been working on flower beds in her own yard for years. She had a wide array of flowers that she separated and gave me to transplant.
Then the pandemic started. The plants I put in the ground started growing and flowering. I began to study and sketch them, translating the color and proportions of the plants into geometric forms and patterns. Between working outdoors with plants and wood burning designs of the plants into wooden panels on the porch, I found a connection to my new neighborhood. I found solace from all the dark uncertainties of the times. I learned to focus on the positives and to appreciate the beauty of the things that surround me.
With a few exceptions from my neighbors’ or parents’ gardens, most of the pieces I made for Yard Work were directly influenced by the plants in my yard.

About Cooper
I’m an Indianapolis native who has worked as an artist here for over 20 years. I spent most of that time as a studio artist. Central to my artistic evolution has been independently developing my artistic voice while forming relationships with artists I connected with while maintaining studios at the Murphy Art Center, Wheeler Arts Community, and as an artist in Big Car’s Artist and Public Life Residency program.
In the studio, I concentrate on creating multiple series that will eventually go together and be displayed as cohesive bodies of work. I’ve always enjoyed learning new mediums and techniques to incorporate into pieces in hopes of expanding my visual language. In recent years I have had an increased interest in larger scale mural projects and public art. Experimenting with the scale and design of an image while being thoughtful of how the piece will be viewed from different distances has been intriguing to me. The consideration of placement and the context of the image as it relates to its surrounding environment has been an interesting challenge.
My artwork is deeply Influenced by observations of nature and my love of art history and architecture. Presenting a reflection of the relationship between humans and nature has been fundamental in my creative process. I’m fascinated by geometric formations, patterns and underlying structural arrangements found in nature.
My work over the last few years has revolved around the interpretation of nature and organic forms through a lens of geometric abstraction. By employing the use of isometric geometry in the imagery, there are moments where an object can be viewed as concave or convex. I have used this to allude that there are multiple ways of seeing the subject.
My most recent work has concentrated on depicting geometric interpretations of plants and flowers that have been growing in my yard and neighborhood in Garfield Park. Exploring structural elements of the plants while also documenting my time, and location in Indianapolis. Referencing the flowers and wildlife living in my area has become important to my work, to promote the appreciation of the beauty and individuality of the living things that surround us.
I used this approach in recent public art projects including The High Art Billboard project and Vinyl Storefront project with the Indy Arts council, as well as working with Southeast Neighborhood Development and IndyGo on an art installation on one of the Red Line platforms in Garfield Park.

Adrian Bless: Mortuary Madness
2022-10-07 18:00 - 2022-11-20 15:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Adrian Bless is the alternative hiphop artist and visual artist based in Indianapolis, Indiana. With the clashing melodies and harmonies to accentuate his lyricism the 31 year old is bringing unique sounds and visuals to the Midwest.

The exhibit will feature original works of Bless’s visual art. He will also perform live. Works will be available for purchase. Curated by Wildstyle Paschall

Born and raised in the Crosstown section of Indianapolis he has showcased his ability to freestyle in numerous cyphers but also creates thought provoking songs with a creative twist. He has released 15 hiphop projects in the last 9 years. He has performed all over the world including 2018 performances in Hong Kong, San Diego, St. Louis, South Dakota, Minnesota in addition to regularly performing all over Central Indiana.
He has headlined Oranje Indy, The Virginia Avenue Music Festival, and been featured on the main stage of Chreece at the HiFi. He has been featured in NUVO Magazine, The Indy Star, WFYI, and countless other media outlets.

Lunch Break Live- Katie Jo Robinson
2022-10-11 12:00 - 13:00 | 1 Monument Circle, South Facing Steps, United States
Katie Jo Robinson is a singer-songwriter and educator from Muncie, IN. They perform multi-genre, feel-good music solo and as part of the emo-pop-rock trio Casual Encounters.
Organized by The Girl Called Books and made possible by Lake City Bank as part of SPARK Monument Circle.

What’s Spark Monument Circle?
Big Car Collaborative and Downtown Indy are teaming up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

WALKING WEDNESDAYS-The Circle City’s Namesake Landmark
2022-10-12 18:00 - 20:00 | 1 Monument Circle, South Facing Steps, United States
With this Walking Wednesday you can gain deeper appreciation for Indianapolis’s symbolic heart by exploring the history and architecture of the Soldiers & Sailors Monument and the buildings that encircle it. Tours presented by Indiana Landmarks.
ALL TOURS MEET at the trailer on the southwest quad of Monument Circle. Expect to walk between a half-mile and 2 miles total. In case of bad weather, cancellation decisions will be made by 3 p.m. Check SPARK social media or website for updates.
* FREE *

What’s This?
We at Big Car are teaming up with Downtown Indy and the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. We’re based from the southwest quadrant in front of the Emmis.

What A Wednesday!
2022-10-12 18:00 - 21:00 | 1 Monument Circle, South Facing Steps, United States
Join us for improv music, poetry, video projections and learn about architecture all in one Wednesday evening!

Big Car Collaborative and Downtown Indy have teamed up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

Evening Embers — performance of new compositions and improvisations by Indianapolis-based musicians Jordan Munson and Rob Funkhouser through the Circle sound system. Starts at 6 pm and goes until the reading.
The Circle City’s Namesake Landmark — Gain deeper appreciation for Indianapolis’s symbolic heart by exploring the history and architecture of the Soldiers & Sailors Monument and the buildings that encircle it. Presented by Indiana Landmarks. Starts at 6 pm and goes until the reading.
Circle Anthology — We’ve commissioned more than 20 writers to share work inspired by the Circle. Their poems will air on WQRT FM during Circle Sounds playing from the Circle speakers and we’ll do a live reading with this group at 7 p.m.
No More No Place — Organized by Indianapolis musician and IUPUI professor Jordan Munson, this project pairs instrumental music by local composers with video accompaniments projected on the Circle. Debuts at about 8 p.m.

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After Work Happy Hour – Performance by Bashiri Asad, Artisan Vendors and more…
2022-10-13 16:00 - 18:00 | Lockerbie Marketplace, 320 N New Jersey St, Indianapolis, IN, United States
Join us after work for Happy Hour at Lockerbie Marketplace — a lovely greenspace next to Needler’s Fresh Market. Purchase goods from local artisans, enjoy authenic Filipino dishes by Taste of Manilla and live music by Bashiri Asad (indie soul). Our Sun King beer garden will also be located right off the Cultural Trail on Alabama Street. All ages welcome. Featured vendors include Jovan Art and Lapis Lilly.

Lunch Break Live-Indy Annies
2022-10-18 12:00 - 13:00
The Indy Annies are a high energy country band in Indianapolis. Your favorite babes in country music, the Indy Annies cover the classics from Patsy to Dolly and today’s hits from Maren to Miranda – and everyone in between. Whether you’re a fan of classic, modern, outlaw, 90s, or rock they’ve got it covered.
Organized by The Girl Called Books and made possible by Lake City Bank as part of SPARK Monument Circle.
What’s Spark Monument Circle?
Big Car Collaborative and Downtown Indy are teaming up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

WALKING WEDNESDAYS-Public Art Crawl
2022-10-19 18:00 - 20:00 | 1 Monument Circle, South Facing Steps, United States
What is public art? An expression of currency, an economic generator, and a judgment about the common good. Inspired by the recent Public Art Census produced by Rokh – a cultural equity research & design studio – take an artist-led tour highlighting Downtown’s public works by artists of the global majority (Black, Asian, Brown, dual-heritage, Indigenous).
ALL TOURS MEET at the trailer on the southwest quad of Monument Circle. Expect to walk between a half-mile and 2 miles total. In case of bad weather, cancellation decisions will be made by 3 p.m. Check SPARK social media or website for updates.
* FREE *
What’s This?
We at Big Car are teaming up with Downtown Indy and the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. We’re based from the southwest quadrant in front of the Emmis.

Evening Embers: Ambient Music with Hanna Benn
2022-10-19 18:30 - 20:00
A composer, vocalist, and genre-spanning collaborator, Hanna Benn has been creating music for over a decade. Her multi-disciplinary approach has incorporated dance, opera, and theater — blurring genre and discovering new sonic landscapes in the process.

Her work as a composer has taken her across the globe, from most recently a premiere at The Perth International Arts Festival to Antwerp performing with the B.O.X Baroque Orchestra. Past works have been performed by the Northwest Symphony, Saint Helen’s String Quartet, Seattle Chamber Players, Opus 7, North Corner Chamber Orchestra and the Indianapolis Symphony.
As a vocalist, Benn produces, writes and performs solo. Her most recent release, DIVIDE, has received critical acclaim from music publications such as Pitchfork, MTV, Stereogum, and XLR8R. Benn has been recognized for her unique and ethereal vocal work which has been described as “devastatingly moving” (The Stranger) and praised for her “unmistakable sense of sanctuary” (Pitchfork).

What’s This?
Big Car Collaborative and Downtown Indy are teaming up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

Free Kokedama Workshop
2022-10-20 11:00 - 13:00 | 1 Monument Circle, South Facing Steps, United States
Learn how to make your own kokedama! Choose your plant from our wide selection of indoor plants and turn it into a kokedama. Come prepared to get your hands dirty! In this workshop, you will also learn proper care and upkeep of your plant. Supplies are limited and only 30 kokedamas will be made, first come first serve.
What is a kokedama? A Japanese art form of presenting a plant in a ‘living pot’, a kokedama is essentially a plant living in a “moss ball” that can sit on a tray, small stand, or hang from your ceiling.

Circle SPARK Fest
2022-10-22 13:00 - 18:00 | 1 Monument Circle, South Facing Steps, United States
Join us for a brand-new, two-day celebration of art and fall at Monument Circle.
You’ll find Indianapolis-based artists and artisan vendors, live music, performance art, pumpkin decorating, and lots more. On Saturday, bands playing are Radar Gold, Books & Straight As, Vertice, and The Brothers Footman. On Sunday, you’ll hear Addie Kosten, Beatty and the Bayonets, Kristen Bales, and Ricardo.
Big Car’s Wagon of Wonders and will be there with a variety of outdoor furniture for gathering and celebrating art, creativity, and harvest time.
And artist Derek Tuder will bring his mobile art gallery and selfie studio.
What’s this?
Big Car Collaborative and Downtown Indy have teamed up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.
We started this round of SPARK in the last week of June. We’ll be going through the end of October — Mondays through Thursdays 11 a.m. to 2 p.m. and Fridays 11 a.m. to 9 p.m.
In September: we add 5-9 pm Wednesdays and Circle SPARK Festival on Oct. 22-23 (Saturday and Sunday). Our last day will be Oct. 28.
We’re focusing on getting folks outside and together to enjoy the cooler fall weather in October with lots of events and programs — including new additions on Wednesday evenings with walks and live music.
Event info and more at circlespark.org and @sparkplaces on Instagram.

Circle SPARK Fest
2022-10-23 13:00 - 18:00

Lunch Break Live-Crescent Ulmer
2022-10-25 12:00 - 13:00
Crescent Ulmer is a folk songwriter that travels like a blues-man, a troubadour of sorts, living life with a mantra of spontaneity and honesty. It is no wonder that they are known for their raw, acoustic sound and sincere, real-life songwriting. In one show, expect to laugh and cry, sometimes simultaneously.
Organized by The Girl Called Books and made possible by Lake City Bank as part of SPARK Monument Circle.
What’s Spark Monument Circle?
Big Car Collaborative and Downtown Indy are teaming up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

Halloween on the Circle
2022-10-26 18:00 - 21:00 | 1 Monument Circle, South Facing Steps, United States
Feelin’ spooky? Join us for a live soundtrack to the silent scary film, Dr. Jekyll and Mr. Hyde (1920), at 7:30 p.m. on the Monument steps. Film and soundtrack by local musicians in partnership with Classical Music Indy.
AND brace yourself for a Halloween-ish tour of the seedy, sinister, dark side of Indianapolis history at 6pm for the spooky mayhem slideshow and walk with Kipp Normand.

ALL TOURS MEET at the trailer on the southwest quad of Monument Circle. Expect to walk between a half-mile and 2 miles total. In case of bad weather, cancellation decisions will be made by 3 p.m. Check SPARK social media or website for updates.
* FREE *
What’s This?
We at Big Car are teaming up with Downtown Indy and the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. We’re based from the southwest quadrant.

Boot Scoot USA presents A Halloween Honky Tonk Dance Party
2022-10-27 18:00 - 22:00 | 1 Monument Circle, South Facing Steps, United States
John Stamps & KNags of BootScootUSA are wrangling up a rootin’ tootin’ night of Halloween fun on Monument Circle with live DJs, line dance instructions, a vintage market and a bit of classic country music.

Go into winter with some new dance moves and clothing no one else is wearing by scoring one of a kind vintage clothing AND free line dance lessons from Jeff Smilko.
Plus there will be prizes for best dressed and best costume.

Some of best vintage vendors in Indy will be there so the only thing square about you, might be your dancin.’

What’s This?
Big Car Collaborative and Downtown Indy are teaming up with the City of Indianapolis — with support from the Capital Improvement Board and the Indiana War Memorials Commission— to spark Monument Circle with human-scale activities like games, live music, artmaking, and socializing in a comfortable place. Everything is free for people to enjoy.

Selina Trepp: Selected Shorts
2022-11-04 08:00 - 2023-01-05 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Trepp’s works research economy and improvisation. Finding a balance between the intuitive and conceptual is a goal, living a life of adventure is a way, embarrassment is often a result.
She works across media, combining performance, installation, painting, and sculpture to create intricate setups that result in photos, drawings and animations. In addition to the studio-based work, Selina is active in the experimental music scene. In this context she sings and plays the videolah, her midi controlled video synthesizer, to create projected animations in real-time as visual music. She performs with a varying cast of collaborators and as one half of Spectralina, her long running audiovisual collaboration with Dan Bitney.
Tube Factory artspace will host three of her short, stop motion animations.

The 2021 Mad Scientists’ Transatlantic Mandala Pen Pal Diary
2022-11-04 18:00 - 2022-11-20 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
The 2021 Mad Scientists’ Transatlantic Mandala Pen Pal Diary is an exhibit featuring 365 drawings and 12 enlarged mandalas enriched with conversation between Dr. Rainbows and Dr. Sunshine. The exhibit is a work in progress and mockup for publishing the entire “Mad Scientists’ 2021 Transatlantic Mandala Diary” as a graphic ‘novel’.

On view in Guichelaar Gallery at Tube Factory artspace.

Marilyn Gatin, PhD (Dr Rainbows) writes from Indy:
“My practice is to select a theme for each upcoming year – for 2021 I chose STRUCTURE because I felt so unmoored, angry, and anxious.
Following Carl Jung’s example, I decided to draw a ‘mandala’ every day. Each circular drawing would express my current emotional state – a visual journal, diary, meditation – and provide the structure I needed to manage my mental health.
Other than a few sketches for sculptural pieces, drawing was a new challenge, a challenge I could control in an out-of-control world. I love the right kind of challenge.
Sharing my mandalas was an important aspect of the structure I needed to hold me in place. Everyone was suffering in a COVID-disrupted world, though we had hope that 2021 would be better and everything would be back to normal soon. I thought my meditative drawings would at least provide a distraction to others and allow me to contribute something positive to my friends and the wider world of social media every day.
Liisa is my dear friend since we first worked together in Virginia – a gregarious wonderful light in any room. Our bond was formed during our science work together and is cemented by art. I knew being locked down in Berlin was going to be an extra challenge for her, but I also knew she would rise to the challenge like she always had before.
Liisa kept me engaged in the process – having a daily, hours long, in-process conversation about the drawing, about the world, about the company we both worked for, about our intimate lives – I jokingly call her my German talk therapist. Having a drawing coach and deep thinker in a different time zone was crucial to me finishing the project. 2021 cemented our already concrete friendship.
What a year!

Dr Rainbows
Liisa Eisenlohr, PhD (Dr Sunshine) writes from Berlin:
Having moved to Berlin during the pandemic with “work from home” conditions imposed by my employer, there was no opportunity for me to build a social network. Usually, my only in-person social interaction for the week was the brief conversation I had with the masked cashier seated behind a Plexiglas shield when I ventured out to buy groceries. Talk about a grim time…
The daily texts with my dear friend and fellow mad scientist, Marilyn – sometimes deep, occasionally irritated, often hilarious, and always lively –helped me maintain my sanity throughout 2021. Receiving the mandala-of-the-day was a highly anticipated little surprise and broke up my everyday tedium. Our conversation records the anger, solitude, and despair we experienced during the pandemic, but also documents the comfort, support, and camaraderie we shared with one another during the Year of Mandalas.
Dr. Sunshine”

Docey Lewis-Living Threads
2022-11-04 18:00 - 2022-12-11 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Docey Lewis’s Living Threads takes the viewer on a journey of contradiction. Our technologically enhanced culture facilitates our ability to see and create both real and virtual connection while relentlessly making us more aware of the threats humanity faces. Seeking balance, we alternatively seesaw between retreating to our cocoons and interconnecting.

Among the many threats we face is species loss. The exhibit highlights several extinct or threatened species in Posey County. The pre-human ecosystem in our area was abundantly populated and in natural balance. After man settled along the Wabash and elsewhere, this utopian equilibrium eroded to the point of dystopia. The world now faces environmental, social and economic catastrophe, while our perverted material culture still spreads an unrealistic ethos of fossil fuel powered unlimited growth, fast fashion, junk food and surveillance capitalism.

The materials used in creating artworks for Living Threads have as much meaning as the pieces themselves. “I have been entangled for many years in the cultures, natural materials and co-creations of faraway communities who have had to pivot from utilitarian and ritual use of their materials and techniques to making salable products for a global market,’ says Lewis. “Along the way, a large body of samples and materials have piled up in my studio. During the pandemic, I began to untangle the accumulation and recycle it into artwork. Many hands have touched the raw materials, and I celebrate the living farmers and artisans whose participation has made this work possible. Connections with communities and all living things are represented in this collaborative body of work.”

About Docey Lewis
Lewis had her first solo exhibition in the late 1960s—not in a gallery or museum, but in a library 30 miles south of San Francisco. She showed a selection of hand woven, abstract textiles she had made on a hand-built loom. The show sold out.

Yet, rather than pursuing an art practice, Lewis made a series of unexpected choices that led her on a serpentine, half-century journey around the globe. While mastering the innumerable methods humans have concocted to make textiles, and empowering hundreds of other women artisans in the weaving workshops she set up in the Philippines, Nepal, Morocco, Indonesia, and Bangladesh, Lewis dined with royalty, collaborated with legends, and built an entrepreneurial empire.

Now in her 70s, Lewis has returned to the art studio—not in San Francisco, New York, or one of the other exotic locales she has variously called home. Instead, she now works in a modest, light-filled studio above a locally celebrated wine bar and coffee shop, in a historic building in New Harmony, Indiana. Amid wafts of fresh soups and sounds of evening cheer, Lewis tries to make peace with her past, weaving intricate, layered abstractions that literally pull at the threads of her personal history.

Among the many ironies of Lewis’s story is that her ancestors, namely Robert Owen, embarked on a mission to establish a Utopia in New Harmony—based on the moral principles of education and total equality. This concept of fostering the best qualities of humanity has been passed down from generation to generation ever since and is embedded in Lewis’s life. With her exhibition, Living Threads, Lewis is drawing our attention to the natural world, our relationship to the environment as caretakers and our ability to alter it.

Open through December 11, this exhibit is part of our Social Alchemy project. With this multifaceted, multiyear project, Indianapolis-based arts organization Big Car Collaborative — with our partners, the University of Southern Indiana, Indiana State Museum, Historic New Harmony, the New Harmony Gallery of Contemporary Art and others –– have created a series of radio shows, exhibits, and conversations exploring, learning, and sharing how utopia has informed places and pursuits over time.

Social Alchemy explores historical and contemporary examples of utopian experiments, fictional utopias and dystopias, and social and cooperative-living design projects (linking back to our affordable artist housing program on our block in Indianapolis). Through a variety of public programs — made possible with support from Indiana Humanities and Efroymson Family Fund — it offers a deeper understanding of the relationship between the built environment and social good.

Image:Warbler Quilt
The Bombyx mori cocoons used to make each of shibori dyed rectangles are cultivated in the Highlands of Madagascar and delivered to the SEPALIM workshop(a non-governmental organization focused on conservation-based livelihood development.) in Maroantsetra, twice a year. Before making the long trip by boat and motorcycle to deliver giant sacks of cocoons, farmers slice open each cocoon and use the dried caterpillar as feed for their chickens. Nothing goes to waste. Each cocoon is trimmed, ironed flat and sewn one by one to create a textile.

Meet The Artists Selected for the Citizens Park Mural in Fall Creek Place
2022-11-22 18:00 - 20:00 | Grace Apostolic Church, 649 22nd St, Indianapolis, IN, 46202, United States
Selected artists Dr. Jarrod Dortch and Tiffany Black will design the large-scale installation coming soon to College Avenue in 2023. For several weeks, Dortch and Black will host community events to gather input and participation in the design process as they create community-specific artwork that reflects the history and dynamic energy of the Fall Creek Place neighborhood.
Meet The Artists as they kick off their first community engagement event. Learn about the project and how you can get involved!
Visit https://www.tblack.co/fall-creek-place to learn more.

Jennifer Blue Hands-Wild Muse
2022-12-02 18:00 - 2022-12-18 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Opening the month of December at Guichelaar Gallery (next to Tube Factory artspace) are oil and mixed media on panels depicting characters that are created using a technique that visual artist Jennifer Blue Hands calls ‘Draw, Trace, Color.’
“Different and specific areas of the brain are activated while using the method to process deep trauma,” says Blue Hands. “As a CPTSD (Complex post-traumatic stress disorder) survivor, practice in CBT (Cognitive Behavioral Therapy), Art Therapy, daily meditation, and Somatic therapy assist to maintain a productive and healthy lifestyle for myself.”

About the artist
Blue Hands has a BA from IU Bloomington, in Painting and Drawing with a minor in Art History. Currently a scenic painter at The Phoenix theatre and a Fabricator at Whale Creek, Co, she has held a variety of artisan positions over the years. “One of my favorites was at the Butte Silver-Bow Arts Foundation as a teaching artist, assistant to the director, and community organizer. Another favorite was as a Volunteer Coordinator for the Imagine Butte Resource Center (IBRC) working with the Josef and Anni Albers Foundation for The Color and Light Festival, says Blue Hands.” A proud mother of three, her future plans are in volunteering with Hospice, and obtaining her Masters in Art Therapy.

Admission is free

Guichelaar Gallery
1130 Cruft St.
Indianapolis, IN
46203
317-450-6630
VISIT US
Wednesday -Friday 9 a.m. to 6 p.m.
Saturday & Sunday 9 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays

Fall Creek Place Residents: join Citizens Park mural artists for a virtual walking tour
2022-12-06 18:00 - 20:00 | Grace Apostolic Church, 649 22nd St, Indianapolis, IN, 46202, United States
Selected artists Dr. Jarrod Dortch and Tiffany Black will design the large-scale installation coming soon to College Avenue in 2023. For several weeks, Dortch and Black will host community events to gather input and participation in the design process as they create community-specific artwork that reflects the history and dynamic energy of the Fall Creek Place neighborhood.
Join the artists for a Virtual Walking Tour with former resident, Bashiri Asad.

Visit https://www.tblack.co/fall-creek-place to learn more, participate, and stay up to date on the project.

Fall Creek Place Residents: Let’s Make Art!
2022-12-15 18:00 - 20:00 | Grace Apostolic Church, 649 22nd St, Indianapolis, IN, 46202, United States
Get involved in the design of the Citizens Park mural in Fall Creek Place by joining the selected artists for a night full of art-making activities!
Selected artists Dr. Jarrod Dortch and Tiffany Black will design — alongside residents — the large-scale mural installation coming soon to College Avenue in 2023. For several weeks, Dortch and Black will host community events to gather input and participation in the design process as they create community-specific artwork that reflects the history and dynamic energy of the Fall Creek Place neighborhood.
Visit https://www.tblack.co/fall-creek-place to learn more, participate, and stay up to date on the project.

JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES
2023-01-02 19:00 - 22:30, 2023-01-03 19:00 - 22:30 | Kan-Kan Cinema, 1258 Windsor St., Indianapolis, IN, 46201, United States
Recently declared the new greatest film of all time, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is a singular work in film history.
The film meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick.
In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.
Cast: Delphine Seyrig, Jan Decorte, Henri Storck
Director: Chantal Akerman
Writer: Chantal Akerman
Length: 202 minutes
Not Rated
(1975)

About Akerman
Chantal Akerman was born in 1950 in Brussels, and died in Paris in 2015. Akerman was a pioneer in feminist and experimental filmmaking. Born to Holocaust survivors from Poland, the generational trauma of this experience was a continuing theme in her work and in recent decades she explored her own Jewish identity. She made over 40 films during her life time, and is considerd to be one of the most important European directors of her generation.
Recent solo exhibitions have been shown at EyefilmMusem, Amsterdam, The Netherlands (2020); MOCA, Toronto, Canada (2019); Oi Futuro, Rio de Janeiro, Brazil (2018), a retrospective at La Cinemateque Francaise, Paris, France (2018); Institute of Contemporary Arts, London (2015); The Kitchen, New York (2013); Palais des Beaux-Arts, Brussels, Belgium (2013); Museum for Contemporary Art Antwerp, Belgium (2012); a film retrospective at the Vienna Film Festival, Austria (2011); the Contemporary Art Museum, St. Louis, Missouri (2009); List Visual Arts Center, M.I.T. Cambridge, Massachusetts (2008); Camden Arts Centre, London, England (2008); Tel Aviv Musem of Art, Tel Aviv, Israel (2006); Centre Georges Pompidou, Paris (2004); Walker Art Center, Minneapolis, Minnesota (1995).

JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES
2023-01-04 13:20 - 16:30 | Kan-Kan Cinema, 1258 Windsor St., Indianapolis, IN, 46201, United States
Recently declared the new greatest film of all time, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is a singular work in film history.
The film meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick.
In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.
Cast: Delphine Seyrig, Jan Decorte, Henri Storck
Director: Chantal Akerman
Writer: Chantal Akerman
Length: 202 minutes
Not Rated
About Akerman
Chantal Akerman was born in 1950 in Brussels, and died in Paris in 2015. Akerman was a pioneer in feminist and experimental filmmaking. Born to Holocaust survivors from Poland, the generational trauma of this experience was a continuing theme in her work and in recent decades she explored her own Jewish identity. She made over 40 films during her life time, and is considerd to be one of the most important European directors of her generation.
Recent solo exhibitions have been shown at EyefilmMusem, Amsterdam, The Netherlands (2020); MOCA, Toronto, Canada (2019); Oi Futuro, Rio de Janeiro, Brazil (2018), a retrospective at La Cinemateque Francaise, Paris, France (2018); Institute of Contemporary Arts, London (2015); The Kitchen, New York (2013); Palais des Beaux-Arts, Brussels, Belgium (2013); Museum for Contemporary Art Antwerp, Belgium (2012); a film retrospective at the Vienna Film Festival, Austria (2011); the Contemporary Art Museum, St. Louis, Missouri (2009); List Visual Arts Center, M.I.T. Cambridge, Massachusetts (2008); Camden Arts Centre, London, England (2008); Tel Aviv Musem of Art, Tel Aviv, Israel (2006); Centre Georges Pompidou, Paris (2004); Walker Art Center, Minneapolis, Minnesota (1995).

Em Elise, Jane Sun Kim, Simon Plemon: delicate(s)
2023-01-06 18:00 - 2023-02-20 18:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
delicate(s), is a collaborative multimedia installation assembled by Em Elise, Jane Sun Kim and Simon Plemon. The installation is a hypnotic visual foraging into the emotional nature of memory and the physical residue it leaves on, in, and around the body.
Spiritually fused by a collective longing for depth in a time of social media’s staged memory and the dissociative “new normal” induced by a global pandemic, delicate(s) investigates, commemorates, and liberates the artists’ hauntings beyond a two dimensional plane.
Featuring suspended sculpture, fabric prints, hand-drawn charcoal wall illustrations, projected video, enveloping soundscapes, and personal relics, delicate(s) summons the senses and elicits reflection in its viewers.
How do we integrate our memories into the minutia of our daily lives? How do they shape the way we move, react? Do they control our perception of reality, our identities?
Artist bios:
Em Elise
Whether it be through image making, prose, video, ritual, embroidery, movement, sculpture, auditory experience, or often a combination of media, Elise consistently gravitates towards immersive creative outlets to go inwards, seek purpose, process trauma, and embrace a sense of divine interconnectedness. Fueled by spiritual encounters and soul feelings, Elise approaches artmaking as alchemical therapy: an embalming of oneself, transmutation of pain, and reclamation of the holistic body. From using instant film to immortalize fleeting moments of intimacy to divulging ancestral and gender-based wounds through found footage and video collage, Elise creates to empower vulnerability, amplify marginalized narratives, cultivate collective healing, and provide an anchor for those that feel lost as and out of place in this world as she often does. Elise is native to and currently based out of Indianapolis, Indiana but frequently practices in Copenhagen, Denmark.
connect: @sin__atras
Jane Sun Kim
Kim contemplates the tangled relationship between nostalgia and identity under the
weight of the sentimental, often burdensome past. Her work is an incantation of lost moments, intimate secrets, fading youth, an ever persistent recollection of the past clouding her psyche.
Through expired film displayed on translucent banners, suspended sculptures using synthetic hair from her father’s beauty shop, and imagery of passed friends on wavering sheer silk, she weaves together her understanding of self. Kim draws influences from her experience as a child from a Korean American immigrant family, film of her family’s unspoken past, and her struggle with repetitive thought patterns from obsessive compulsive disorder. Kim was born in Augsburg, Germany and raised in Seoul, South Korea and predominantly Indianapolis, Indiana and is a part of Big Car Collaborative’s Artist and Public Life Residency.
connect: @vulturesonly
Simon Plemon
Plemon’s artwork explores personal mythology and macabre identity through a
fantastical lens. Through the use of video, textile work, and experimental image making Plemon crafts a hauntingly liminal universe. Much of Simon’s work is an atmospheric blend of documentation and experience. Motifs of feminine handicraft, biblical imagery, and physical morbidity of the body regularly appear in Plemon’s work. When not creating physical pieces, Simon can be found curating local dance events or tattooing.
connect: @clownartist
Made possible by the Arts Council of Indianapolis, The City of Indianapolis and The Andy Warhol Foundation for the Visual Arts.

Betsy Stirratt: Unearthing
2023-01-06 18:00 - 2023-03-19 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
In Unearthing, Stirratt explores how natural and cultural objects are presented in collections and museum settings, and how we preserve, classify, and display them.
From Stirratt: “I have visited many natural history, herbaria and medical museums in Europe and the US with the aim of understanding their objectives, collecting impulses, and labelling practices. With similar intent, I visited several regional historical sites and collections, including the Workingmen’s Institute in New Harmony, the Indiana University Paleontology Collection, and Angel Mounds. The resulting photographs and objects demonstrate the sometimes underestimated importance of local and regional history within the broader museum sphere.
The items within a museum or private collection are accumulated with a view to imposing order, classifying nature, preserving memory, or in some instances to signaling status. Items may be preserved for their cultural and historical importance, or for their aesthetic qualities. For some, collecting serves as a means of accumulating knowledge, or as inspiration for their imagination and memories. For me, it’s the embedded history of objects and places, and how history and folklore can inform our relationship with the world.
More specifically, I’m interested in the idea of both documenting collected items and using this documenting collected items and using the documentation process to create new artifacts: a coupling of curation and creation, as it were. Influenced by my many years as a gallery director and curator, I think about the way that art and objects are selected and placed in juxtaposition with each other and how they are subsequently perceived by viewers. It is important to acknowledge that the viewer’s experience is changed by the inclusion or exclusion of objects and the information that accompanies them.
The videos in the exhibit were made using three artists books that contain words and pictures about collections I have visited: specifically botany, anatomy and zoological collections. Each of the videos features the turning pages of the books in the Collected Series, interspersed with video and audio clips that I gathered from museum visits, educational films and from life.
Additionally, alongside the pieces inspired by museum collections and artifacts in this installation, I am including materials I have collected (e.g., a 19th c. herbarium, Victorian bird taxidermy, amateur butterfly collections) relating to my interest in history, natural history and the ways objects are preserved and presented within a curated setting. These items were gathered because almost all were created by an amateur who had some specific interest in the subject that he/she was preserving.
Collections and museums inform us about the world we live in, record the past and provide material memory across generations. Unearthing is an attempt to impose order on an unordered world, drawing upon hazy memory, inexact connections, and interpreted histories. The process of unearthing objects, both physically and metaphorically, can broaden our experience of the world, stimulating imagination and wonder about what we have around us.”
About the artist
Betsy Stirratt’s creative practice focuses on themes about nature, collections and the environment. She is the Founding Director of the Grunwald Gallery of Art at Indiana University Bloomington where she has curated exhibitions and published catalogs since 1987. Exhibiting her own work widely since 1983, solo exhibitions include La Maladie at The Mütter Museum in Philadelphia and the International Museum of Surgical Science in Chicago and Veiled Taxonomies at the Center for Book Arts in New York. Her work has been included in group exhibits at the National Museum of Women in the Arts, Indianapolis Museum of Art, and White Columns and Art in General in New York among others. She is the recipient of a Visual Artist Fellowship from the National Endowment for the Arts.
VISIT US
Wednesday -Friday 9 a.m. to 6 p.m.
Saturday & Sunday 9 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays
Made possible by The Arts Council of Indianapolis, The City of Indianapolis and the Christel DeHaan Family Foundation.

Words & Music: Maurice Broaddus
2023-01-14 17:00 - 18:00 | 99.1 WQRT, United States
Join Oreo Jones as he interviews Indianapolis-based Maurice Broaddus –a writer, community organizer and teacher. His work has appeared in magazines like Lightspeed Magazine, Beneath Ceaseless Skies, Asimov’s, Magazine of F&SF, and Uncanny Magazine, with some of his stories having been collected in The Voices of Martyrs.

Broaddus’s books include the urban fantasy trilogy, The Knights of Breton Court, the steampunk works, Buffalo Soldier and Pimp My Airship, and the middle grade detective novels, The Usual Suspects and Unfadeable. His project, Sorcerers, is being adapted as a television show for AMC. As an editor, he’s worked on Dark Faith, Fireside Magazine, and Apex Magazine.

Words & Music is made possible by a grant from Indiana Humanities . And is a project of Big Car Collaborative , the nonprofit behind WQRT.
Learn more at MauriceBroaddus.com.
Words & Music is made possible by a grant from Indiana Humanities . And is a project of Big Car Collaborative , the nonprofit behind WQRT.
