Circle SPARK Fest
2023-10-29 11:00 - 18:00 (America/Indiana/Indianapolis) | 1 Monument Circle, South Facing Steps, United States
Have yourself a Pumpkin carving, pottery making, face painting, UBE Fest loving good time at Circle SPARK Fest!
This 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.
Music Line-Up
Tennah Host MC
10/29 Sun
11-11:45 – Fred Miller
12-12:45 – Tinikling Cultural Dance
1-2 – The Roundups
2:15-3:15 -Tubbles the Band
3:30-4:30 – Forgotten Tribe
5-6 – Exceso Rock Band
10/29 Sun
12-5pm Henna with Pam
12-5pm Face Painting with Stephanie Zki
11-6pm Derek Tudor Selfie 360 and Mini VanGo
11-6pm Ceramics with Stephanie Williams
11-6pm Pumpkin Carving
New 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.

Día de los Muertos Altar
2023-10-30 18:00 - 20:00 | 1 Monument Circle, South Facing Steps, United States
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.
The Dia de los Muertos Altar Event will feature a beautifully crafted traditional Mexican altar, showcasing elements essential to this important cultural celebration.

Lunch Break Live-Progressive Knife
2023-10-31 12:00 - 13:00 | 1 Monument Circle, South Facing Steps, United States
Get geared up for Halloween with Indianapolis’s own rock band Progressive Knife.

John Wesley Hardrick mural live painting with Kaila Austin
2023-11-01 15:00 - 18:00, 2023-11-08 15:00 - 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
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.

The exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday, 9am-6pm, Saturdays and Sundays 9am-3pm.

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).

Over 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.

In 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).

This 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.

Austin 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.

A 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.

About the Artist:
Kaila 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.

This 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.

Main Gallery
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

About the Southside US Colored Troop Coalition:
The 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.

About Norwood
The 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.
Their living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.
Norwood’s first church, Penick Chapel AME Zion, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick

About the WPA
The 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.
In 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.

Sylvia Thomas:Letters To A Haunted House
2023-11-03 - 2023-12-18 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Many have experienced grief with the loss of someone close to them, but what if that someone was yourself?
Transgender 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.
The 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.

Opening Celebration of Terri Sisson Park
2023-11-03 17:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
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.
Terri 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.
Terri 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.
“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.”
In 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.
“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.”
6 pm: Brief remarks at the Chicken Chapel of Love followed by performance
Dusk: Firedancer
7 pm: Live music from Scrapper & Skeleton
8pm: Bitterproof
Tours with Big Car staff artists throughout the evening
Special 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.

NIGHTJAR, a poetry series with open mic
2023-11-15 19:00 - 21:00 | IN
Write a poem based on the prompt below and arrive early to sign up for our open mic!
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.
November’s featured poet is Katy Didden.
Didden’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.
NIGHTJAR open mic guidelines:
317 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!
Prompt for open mic:
Write 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?”

John Wesley Hardrick mural live painting with Kaila Austin
2023-11-22 15:00 - 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
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.

The exhibit will run through December 17 with Tube Factory artspace’s regular business hours Wednesday-Friday, 9am-6pm, Saturdays and Sundays 9am-3pm.

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).

Over 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.

In 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).

This 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.

Austin 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.

A 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.

About the Artist:
Kaila 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.

This 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.

Main Gallery
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

About the Southside US Colored Troop Coalition:
The 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.

About Norwood
The 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.
Their living descendants have long advocated for the perseveration and recognition of their community. The homes in Norwood have stayed within families for generations.
Norwood’s first church, Penick Chapel AME Zion, was founded in 1889 by former Kentucky slave and Civil War veteran Rev. Sydney Penick

About the WPA
The 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.
In 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.

An Ode to Norwood
2023-11-30 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
An Ode to Norwood

Closing Reception:
November 30th from 6 – 10pm

6:00 pm Doors open
6:30pm Gallery Tour
7:00 pm Comments and Announcements
Southside USCT Coalition Training Program – Begin December
Indianapolis Black Heritage Trail – Begin February
Smithsonian NMAAHC Archive Training Program – Begin April
7:15- 8:15 pm Performance with Joshua Thompson
8:30pm Gallery Tour
9:30pm Wind down
10:00 Close

Please join us for our closing Reception for Process as Practice: Reimagining the Hardrick Home on November 30th from 6 – 10pm.

November 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.

During 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.

Project Sponsors:
GangGang Black Joy Fund, Indiana Landmarks’ Black Heritage Preservation Program, Southside USCT Coalition, Khprew Integrated Fund

Meggan Gould: Sorry, No Pictures
2023-12-01 - 2024-01-16 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
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.
The 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.
Published 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.

About the artist:
Meggan 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.

Tube Factory artspace
Jeremy D Efroymson Gallery
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
Big Car Collaborative brings art to people and people to art, sparking creativity in lives to support communities. As an artist-run nonprofit organization, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists.
Much 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.
We 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.

NIGHTJAR, a poetry series with open mic
2023-12-20 19:00 - 21:00 | IN
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.
December’s featured poet is Lee Bennett
Poet 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.
NIGHTJAR open mic guidelines:
317 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!
Prompt for open mic:
Write a poem or short piece that engages with the history of Indianapolis.

Julian Jamaal Jones: Take Me Back
2024-01-05 08:00 - 2024-03-24 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
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.
Jones 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.
Marsh 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.
From 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.”
In 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.
Jones’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.
Through 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.”

About 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).

Photo :Untitled, 2023, Photo collage from Julian Jamaal Jones’s personal collection

Key Dates
Opening reception: Jan. 5, 6-10 p.m.
Artist talk with Julian Jamaal Jones and Kat Gotfnett, Assistant Curator of Collections, Cranbrook Museum: March 23, 1pm
Closing reception: March 24, 5 p.m.
This 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.

NIGHTJAR, a poetry series
2024-01-17 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Featured poet: Natalie Solmer
Open mic based on the following prompt: Write a poem or short piece that engages with origin stories.

Natalie Solmer is the founder and editor-in-chief of The Indianapolis Review, and is an assistant professor of English at Ivy Tech Community College. Born and raised in South Bend, Indiana, she is the granddaughter of immigrants who came to the US as children from Eastern Europe. Her poetry, which often reflects on origin stories, has been published in a wide variety of literary journals, including North American Review, Pleiades, EcoTheo Review, The Literary Review, and Colorado Review.

317 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!

The Tube factory will be open before the reading; come grab a drink at Normal Coffee and sign up for the open mic!

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, Michelle Niemann, and Big Car Collaborative host a reading at the Tube factory and invite audience members to share their own poetic responses.

IG: @n_i_g_h_t_j_a_r
FB page: Nightjar

Giselle Trujillo: Hogar Dulce Hogar
2024-02-02 18:00 - 2024-03-17 15:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Jeremy D. Efroymson Gallery
February 2-March 17
Program for Feb 2 Hogar Dulce Hogar
7pm Music/Performance by “Mi Hermano y yo” (My Brother & Me) Clockwork Janz & Phillip Janz (integrants)
8:00pm Music/Performance by “Mi Hermano y yo”

Hogar Dulce Hogar (Home Sweet Home) is an immersive experience that transports visitors to a timeless realm and invites them to engage with the artwork and touch, feel, and even dance with the pieces. Trujillo’ screen paintings contemplate making a home where you are — without losing the richness of your background. The houses symbolize the beauty of diverse experiences and merge to form a tapestry of identity. This echoes the importance of preserving cultural roots while embracing new surroundings. Trujillo also offers subtle commentary on emigration and the essence of “home.”
A notable facet of this installation is Trujillo’s inclusion of works by other members of the Indy Latina Artists group. They include: Mayra Espino, Ana Escalante, Vanessa Monfreda, Mary Mindiola, Rosa Maria Díes, Frances Ruiz, and Nettie Viera. Their pieces further enrich the overarching narrative and cultural tapestry woven by Trujillo’s vision.

About Giselle Trujillo
Giselle Trujillo is an-Indianapolis-based artist known for her evocative and immersive installations. Her work often transcends conventional boundaries, inviting viewers to engage with art in innovative and thought-provoking ways.
About Arte Mexicano en Indiana
Arte Mexicano en Indiana (AMI) is an arts non-profit organization that encourages and promotes Mexican art, music, and culture in Indiana through collaborations and the organization and promotion of public cultural events. AMI’s vision is that Hoosiers develop a new perspective on the Mexican people and see the value of the culture we contribute to Indiana. Arte Mexicano en Indiana exists so that Hoosiers can experience and enjoy this rich culture in context, and first-hand.
This exhibit is made possible by Efroymson Family Fund, The Arts Council of Indianapolis and the City of Indianapolis, Allen Whitehill Clowes Charitable Foundation, and the Institute of Museum and Library Services.

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Saturday & Sunday 9 a.m. to 3 p.m.
Tube is also open until 10 p.m. each First Friday.
Closed Holidays

En colaboración con Arte Mexicano en IndianaGalería Jeremy D. Efroymson Del 2 de Febrero al 17 de MarzoPrograma para el 2 de Febrero Hogar Dulce Hogar7pm Presentación musical de “Mi hermano y yo” (My brother and Me) Clockwork Janz Y Phillip Janz (integrantes)8pm Presentación musical de “Mi hermano y yo”Hogar Dulce Hogar es una experiencia inmersiva que transporta a los visitantes a un espacio sin tiempo, y nos invita a involucrarnos con el trabajo artístico a través del tacto, el sentimiento, e incluso la danza con las piezas artísticas. Las pinturas deTrujillo contemplan la posibilidad de crear un hogar donde tú estás, sin perder la riqueza de tu entorno. Las casas simbolizan la belleza de experiencias diversas y se fusionan para formar un tapiz de identidad. Esto refleja la importancia de preservar las raíces culturales y al mismo tiempo abrazar nuevos entornos. Trujillo también ofrece comentarios sutiles sobre la emigración y la esencia del “hogar”.Una faceta notable de esta instalación es la inclusión por parte de Trujillo de obras de otros miembros del grupo Indy Latina Artists. Incluyendo a: Mayra Espino, Ana Escalante, Vanessa Monfreda, Mary Mindiola, Rosa María Díes, Frances Ruiz y Nettie Viera. Sus piezas enriquecen aún más la narrativa general y el tapiz cultural tejido por la visión de Trujillo.Sobre Giselle TrujilloGiselle Trujillo es una artista radicada en Indianápolis conocida por sus instalacionesevocadoras e inmersivas. Su trabajo a menudo trasciende los límites convencionales, invitando a los espectadores a involucrarse con el arte de maneras innovadoras y estimulantes.Sobre la organización Arte Mexicano en IndianaArte Mexicano en Indiana (AMI) es una organización artística sin fines de lucro que fomenta y promueve el arte, la música y la cultura mexicana en Indiana a través de colaboraciones y la organización y promoción de eventos culturales públicos. La visión de AMI es que los Hoosiers desarrollen una nueva perspectiva sobre el pueblomexicano y vean el valor de la cultura que aportamos a Indiana. Arte Mexicano en Indiana existe para que los Hoosiers puedan experimentar y disfrutar esta rica cultura en contexto y de primera mano.Esta exposición es posible gracias a el Fondo Familiar Efroymson, el Consejo de las Artes de Indianápolis y la ciudad de Indianápolis, la Fundación Benéfica Allen Whitehill Clowes y el Instituto de Servicios de Museos y Bibliotecas.

Lunar New Year Celebration
2024-02-10 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
The Year of the Dragon is coming! Celebrate the lunar new year with traditional dance performances, fireworks, activities like cut paper art, lantern/fan painting, origami & more.

Food available for purchase.
Indianapolis Chinese Performing Arts Inc (ICPAI) at 7pm.

Lunar New Year is one of the most important celebrations of the year among East and Southeast Asian cultures, including Chinese, Vietnamese and Korean communities, among others. The New Year celebration is usually celebrated for multiple days—not just one day as in the Gregorian calendar’s New Year. In 2024, Lunar New Year begins on February 10.
China’s Lunar New Year is known as the Spring Festival or Chūnjié in Mandarin, while Koreans call it Seollal and Vietnamese refer to it as Tết.
Tied to the lunar calendar, the holiday began as a time for feasting and to honor household and heavenly deities, as well as ancestors. The New Year typically begins with the first new moon that occurs between the end of January and spans the first 15 days of the first month of the lunar calendar—until the full moon arrives.
Artwork by Julie Xiao

Crime of Pa$$ion
2024-02-11 12:00 - 13:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Bank Robberies, Love triangles, and a “Sex Change” Take your Valentine on a date to learn about one of the most compelling and fascinating Queer love stories ever told.
Sylvia Thomas is a Big Car Artist and Public Life Resident with a BA in History from Indianapolis University. In writing a new project, a play about John Wojtowicz and Liz Eden, Sylvia will share her research on the story of what she has learned so far.

Love Is Love
2024-02-16 17:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join the Damien Center at Tube Factory artspace for Love Is Love on February 16, 5-10pm

NIGHTJAR: A Poetry Series
2024-02-21 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Featured poet: Emily Banks

NIGHTJAR open mic guidelines: 317 words is the maximum length for open mic contributions. Share new writing in response to the prompt!

Prompt for February 21, 2023: Write a poem about a fuzzy memory or something you may be misremembering.

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, Michelle Niemann, and Big Car Collaborative host a reading at the Tube factory and invite audience members to share their own poetic responses.

IG: @n_i_g_h_t_j_a_r
FB page: Nightjar

Justin A. Carney: Because I Live
2024-03-01 - 2024-03-30 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Because I Live looks toward images of Justin A. Carney’s late grandmother from his family album to question how one’s relationship to photographs change after the death of a loved one, and to show the effects of forgetting. When looking at images of her, there is an opposition of a closeness within his mind and a distance within his heart. Although the photograph is a visual representation of her, there is a disconnect between image, memory, and feeling. The photograph exists within a limbo of familiarity and unfamiliarity; it is of his grandmother, but it is not her.
Because I Live visualizes these feelings of disconnection, forgetting, and grief by using photography, sanding with sandpaper, incomplete photo transfers, and layering with transparency paper. Carney shares this work to show that lives are knotted together beyond photography and beyond memory; there exists a spiritual connection – when one passes, the Spirit does not disappear, it continues everywhere and in everything. The ones we love never truly leave us and we never truly forget. Even when a photograph becomes a foreign object, the connection does not fade. Death is not the end.
www.jacarneyphoto.com
@joule_zei

Guichelaar Gallery
Opening: March 1st 2024 6-10pm

Artist Talk with Giselle Trujillio featuring artists from Indy Latina Artists
2024-03-17 18:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join Giselle Trujillo at the Tube Factory artspace for an artist talk about her latest art installation Hogar Dulce Hogar. In this event Giselle will talk about her start in her arts career, the materials used in her arts practice and the importance of the collaborative process to create her work. In this event members of the Indy Latina Artists will join Giselle Trujillo in a small panel conversation about the experience of being members of a latina women’s group and working to elevate and support each other.
Hogar Dulce Hogar (Home Sweet Home) is an immersive experience that transports visitors to a timeless realm and invites them to engage with the artwork and touch, feel, and even dance with the pieces. Trujillo’ screen paintings contemplate making a home where you are — without losing the richness of your background. The house symbolize the beauty of diverse experiences and merge to form a tapestry of identity. This echoes the importance of preserving cultural roots while embracing new surroundings. Trujillo also offers subtle commentary on emigration and the essence of “home.”
A notable facet of this installation is Trujillo’s inclusion of works by other members of the Indy Latina Artists group. They include: Mayra Espino, Ana Escalante, Vanessa Monfreda, Mary Mindiola, Rosa Maria Díes, Frances Ruiz, and Nettie Viera. Their pieces further enrich the overarching narrative and cultural tapestry woven by Trujillo’s vision.

Julian Jamaal Jones & Kat Goffnet in Conversation
2024-03-23 13:00 - 14:30 | IN
Join us for a conversation between multidisciplinary artist Julian Jamaal Jones and assistant curator at Cranbrook Art Museum, Kat Goffnet.
The two will discuss his work, exhibit Take Me Back currently on view at Tube Factory artspace and take questions at the end of the conversation.

Keren Cytter: Ocean
2024-04-05 - 2024-06-24 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
April 5-June 23
Ocean resembles a soap opera, but with the eerily calm, disembodied voice-over of a guided meditation: “If you don’t want to drown, be an ocean.” The video begins by instructing the viewer to adjust her posture in relation to the screen and finishes by likening the viewer’s smile at her reflection to “the embarrassment of a blind date”—a playful take on Brechtian Verfremdung. The story, whose fractured plot is told from different voices and individual viewpoints, takes place in a beach house. It involves a few characters, some of whom are lovers; a lonely boy; a bit of sex; several dialogues; and passionate kissing next to a bonfire, accompanied by the sticky romanticism of Leonard Cohen’s song Undertow. The voiceover, at one point coupled with the same pulsating binaural beats as Constant State of Grace, repeats instructions on what to do and how to feel until the circular logic of the video closes in on its last words: “Concentrate, look at your reflection. You are relieved. Your mind is empty. Your thoughts are public. […] You recognize your reflection and smile with the embarrassment of a blind date. Relax. Your mind is now an ocean.”
About the artist
Keren Cytter studied at the Avni Institute for Art in Tel Aviv between 1997 and1999. She was based in Berlin between 2005 and 2012, since then she has lived and worked in New York. The artist is well known for her video works, theatrical pieces and drawings. In 2012, she founded the D.I.E NOW (Dance International Europe Now) dance company. She has also written five novels and three children’s books. Her works has been displayed in, amongst other places, the Ludwig Forum for International Art, Aachen (2022) the Kunstmuseum Winterthur (2020), Center for Contemporary Art, Tel Aviv (2019), Museion Bolzano (2019), Museum of Contemporary Art Chicago (2015) and the Kunsthal Charlottenborg, Copenhagen (2014) In 2021, Cytter was awarded the Guggenheim Fellowship.
This exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts, Efroymson Family Fund, Allen Whitehill Clowes Charitable Foundation, the Institute of Museum and Library Services, the Arts Council of Indianapolis and City of Indianapolis

Jessica Dunn: Particular Fragments
2024-04-05 - 2024-05-27 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Most of us live in a world of constant noise and overstimulation, fragmenting our own perception and memory. Information (and misinformation) overload has forever changed the human experience thanks to constant access to the Internet. Instead of living in the moment, we are constantly challenged by the temptation of filling the void with seconds-long dopamine boosts reinforced by our personal algorithms in our artificial digital worlds.

The past few years, I have felt stuck in a technological loop with the hypnotic Pavlovian itch to check notifications while absorbing more and more data for better or worse. Now more than ever, it is difficult for me to cut through the noise. I feel as though I am constantly pulled in a million directions all at once. As an artist who both loves and loathes technology, I have been examining my connection to devices and the ways I filter reality through screens. The rapid influx of information I face daily seems to blur reality, leaving me with a longing for a simpler past.

While challenging my own tech-dependency, I have been reconnecting to nostalgic devices and media from my childhood and incorporating them into my practice. The first time-based content I ever experienced and created as a child was all on film and tape – 35mm film photography, VHS, and cassettes. Lately, I have been creating cassette tape loops, filming and distorting VHS tapes, and manipulating 35mm film to produce animations. Working with these tactile processes unlocked an explosion of memories, from those more distant and abstract to others more recent and clear. For this exhibition, I present this collection of memories as “Particular Fragments.”

“Particular Fragments” invites viewers to explore themes of time, memory, and consciousness through multisensory installations incorporating video and sound. With projection mapped videos, soundscapes, and interactive art, Dunn embeds personal moments inspiring the viewer to unlock and share memories of their own.

About the Artist
Jessica Dunn (sesseka) is a multimedia artist known for her immersive, dreamlike worlds combining video, sound, and physical installations. With a scientific curiosity, she finds inspiration by investigating the natural world as well as psychological realms of consciousness. Dunn graduated from Herron School of Art + Design with a double major in painting and sculpture. Caught between 2D and 3D practices, she found her calling in 4D art including experimental animation, performance, and experiential works. With a medium-agnostic mindset, Dunn utilizes a wide variety of materials allowing the concept to drive the process. Lately, Dunn has extended her practice into filmmaking including short documentaries and narrative animations. No matter the format, Dunn’s work invites the viewer to open their perception to explore new realms of reality.

This exhibition was made possible by the Andy Warhol Foundation for the Visual Arts, 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.

Rachel Leah Cohn: Mem
2024-04-05 - 2024-06-24 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
To walk through the installation, Mem, is to enter a myth. A kaleidoscope of the divine feminine, there are fountains of light centering the space on the painting of Miriam– one of the seven major prophetesses of Israel. Miriam carried a rock from which flowed an abundant amount of water during the 40 years Jewish people searched for a place to live in the desert. Access to this water made survival of her people possible. Smaller paintings surround her, as well as ritual objects such as papercuts and amulets.The title of Cohn’s show, Mem, is a Hebrew letter that has multiple significant meanings in the work. “I recently took a class about the complexity, flexibility, and magic within a single Hebrew letter. When searching for a title, this one letter encapsulates many ideas I have considered while working in the studio. The shape can be seen as a wave and stands for the word for water, mayim,’ and Miriam and mikveh, a ritual bath used for transformation,” Cohn said. “Mem is related to feminine energy, motherhood, and the womb, symbolizing protection, safety, and giving to others.
“The letter also represents the number 40, a mystical number that speaks to the cyclic nature of time, moving from the past to the future. It is the time necessary for something to ripen and come to fruition, which I relate to both the creative process and this moment for all of us, which felt like an unmoored time of wandering and isolation, but also rebuilding. For me, it is an optimistic title, a link between the world we see and the hidden alternatives. It is a hope for connection and transformation for the world, seen through the lens of my experiences and the character of Miriam.
”The exhibit is also a reflection of these experiences living life and traveling around the world to practice art as someone with Jewish heritage. Cohn has led an extraordinary life as an artist: traveling, teaching, living and learning in places like Qatar, Denmark, China, and others.“The show is really about me thinking through my cultural heritage and my connection to Judaism, which is something that has always been a part of my life, but I think has been increasingly for-fronted by myself, but also by others particularly while living in Qatar, and some of the experiences that I had there that are both positive and negative,” said Cohn, now based in Indianapolis. “It felt impossible for me to talk about my own culture with my students. Even though expressing my heritage wasn’t always something that was super important to me, I think the experience of working with them on representing their culture — and feeling like I needed to hide my own — made me think more about the valuing of sharing my experiences more directly.”
Cohn utilizes several different 2-D and 3-D artforms to create the exhibit, although her background is originally in painting. The forms include — but are not limited to — sculpture, painting and light manipulation. These artforms express a myriad of connecting themes and ideas within the exhibition.“I have been researching the traditional craft of papercutting and am pulling out the shapes and symbols that I’m interested in and then converting them into these laser-cut objects that I’m painting on top of,” said Cohn, who also works as the Foundations Coordinator and an Assistant Professor in Ball State University’s School of Art. “And then that’s within the idea of a fountain — which is ultimately the form of this project — that has to do with Miriam from the Torah and the well, bringing water out of the desert to survive.
”The water of this fountain is external, but also internal. Cohn enjoys finding ways to use the materials she has at-hand to make works of art, channeling inner resilience from her ancestors. And, sometimes being resourceful means finding new peers to collaborate with, wherever she is. Some of her notable works include Hot Pot Sauna Cart (2016) which was made for the Bi-City Biennale for Urbanism and Architecture in Shenzhen, China; Lantern (Abu Nakhla Mirage) (2017), made in the desert in Qatar as an experimentation with light and location; and The Thunder, Perfect Mind (2021), an exploration of light and themes in Judaism. Cohn said although she has an eclectic-to-the-eye portfolio, all of her works have connections to her upcoming exhibit.
“I think my practice — and adapting to what is there — has been a theme of my life,” Cohn said. “When I look at my work over time, I’m finding different ways to talk about the same things.”Tube Factory artspace Chief Curator Shauta Marsh met Cohn when she was a juror at Ball State in 2019. Marsh had traveled to Qatar with Tube Factory’s Mari Evans exhibit. And Cohn and Marsh talked about the otherness they’d each experienced in both the Middle East and the Midwest.“I don’t have a strong sense of identity. So often I work with artists who do,” says Marsh. “Their work processes and relates stories tied to identity that are in jeopardy of being lost. My style as a curator is not an expert but an explorer. The exhibits at Tube Factory are an exploration with both the artist and the audience. I asked Cohn to use her work to explore her identity.”
As a multi-racial curator, Marsh’s practice has centered around identity and exploration of the meaning of culture. And Cohn’s exhibition continues this path.“After thousands of years — humans are still so threatened by each other’s appearance, by what each other speaks and believes,” says Marsh. “But we know that people are more open to art than each other. My hope is that people will see the work and the story of it — and hopefully we can all work on feeling less othered, less fearful of each other.”
About the artist:
Rachel’s work is concerned with themes of communication, mythology and rituals. Projects often attempt to give a physical form to something that is ephemeral, through painting, sculpture and installation. Recently, she lived in the desert where she was building lamps simulating mirages as an analog for memory and loss. Lately her research has been focused on Jewish mysticism and protective magic. Rachel exhibits her work nationally and internationally, including ACRE Gallery (Chicago, IL), Satellite Art Fair (Miami, FL), Terrain Biennial (Springfield, IL), Massey University (New Zealand), Qatar Museums (Qatar), the Istanbul Design Biennial (Türkiye) and Aterlierhaus Salzamt (Austria). She has attended many artist residency programs, including Vermont Studio Center (VT), Signal Culture (NY), Otis College of Art and Design (CA) and the Fire Station (Qatar). She holds a BFA in Painting from Rhode Island School of Design, an MFA in Painting from Virginia Commonwealth University and is currently Foundations Coordinator and Assistant Professor of Art for the School of Art at Ball State University in Muncie, IN.

Curator- Shauta Marsh
This exhibition is made possible thanks to the support of the Andy Warhol Foundation for the Visual Arts, Ball State University’s Aspire Program, Efroymson Family Fund, Allen Whitehill Clowes Charitable Foundation, the Institute of Museum and Library Services, the Arts Council of Indianapolis and City of Indianapolis, and the Indiana Arts Commission.
About Tube Factory: Tube Factory is a 12,000 square foot museum space curated based upon the themes of community, place, memory and mythology. They commission local, regional, national and international contemporary visual and musical artists, borrow artifact-based exhibits and create community-sourced exhibits. A previously vacant former manufacturing building, it is now a thoughtfully renovated home base for non-profit art organization Big Car Collaborative’s work as well as partnership-based community meetings and cultural events.
For more about Cohn: Check out her website at rachelleahcohn.com and on Instagram @rachelleahc

Brittany Fukushima & Dailyn Eades: SPARK
2024-04-05 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
2023 SPARK artist in residence Brittany Fukushima and Spark fellow Dailyn Eades will display a collection of work they created during their time at SPARK on the Circle in 2023.
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. The SPARK on the Circle pop-up park will return in 2024.

Booth Release Launch Party
2024-04-06 18:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States

J Dunn & M Moskaliuk - Total Eclipse Performance
2024-04-08 13:00 - 15:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Join us for a live musical performance by Jessica Dunn and Michael Moskaliuk to commemorate the eclipse event April 8th, 2024.

NIGHTJAR: A Poetry Series
2024-04-17 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Third Wednesday, 7:00pm.

NIGHTJAR open mic guidelines: 317 words is the maximum length for open mic contributions. Share new writing in response to the prompt!

Prompt for April 17, 2024: Create a new poem from a line in your favorite poem or story, and then erase that line and add a new title.

Preview of featured poets:
(skipped dates TBA)

April 17 Chantel Massey
June 6: Special guest Ariana Reines
July 17: Curtis Crisler, Indiana poet laureate
September 18: Thomas Kneeland
January 15: Alessandra Lynch

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, Michelle Niemann, and Big Car Collaborative host a reading at the Tube factory and invite audience members to share their own poetic responses.

IG: @n_i_g_h_t_j_a_r
FB page: Nightjar

Artist Talk & Walk: Jessica Dunn
2024-04-20 13:00 - 15:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Jessica Dunn will be at Tube Factory on April 20 at 1 p.m. to discuss her multi-sensory installation Particular Fragments.
About the Artist: Jessica Dunn is a multimedia artist known for her immersive, dreamlike worlds combining video, sound, and physical installations. With a scientific curiosity, she finds inspiration by investigating the natural world as well as psychological realms of consciousness. Dunn graduated from Herron School of Art + Design with a double major in painting and sculpture. Caught between 2D and 3D practices, she found her calling in 4D art including experimental animation, performance, and experiential works. With a medium-agnostic mindset, Dunn utilizes a wide variety of materials allowing the concept to drive the process. Lately, Dunn has extended her practice into filmmaking including short documentaries and narrative animations. No matter the format, Dunn’s work invites the viewer to open their perception to explore new realms of reality.
