Thirty-foot-long scrolls telling a story of self acceptance and belonging will fill the Main Gallery of Tube Factory artspace starting November 1. The “Jellyfish Person” is the central character in Indianapolis-based artist Julie Xiao’s large-scale ink and gouache works. In Xiao’s immersive exhibit, the audience will follow — and may identify with Jellyfish’s pursuit of finding a place to feel welcomed at, to fit in, and to feel at home.
Read MoreWith this exhibit, Harkins looks at land in two different ways: a path toward healing due to the desecration of burial mounds in New Harmony, Indiana and how the Land Back movement addresses climate change. Harkins, a multi-disciplinary artist based in Tulsa, Oklahoma, and Tube Factory curator Shauta Marsh, researched and worked on this exhibit for five years as part of Big Car Collaborative’s decade-long research project, Social Alchemy, that explores utopia and dystopia with an emphasis on the southern Indiana town of New Harmony that was twice the site of utopian experiments.
“Words cannot describe everything we feel. How can one accurately verbalise the sensation we feel when we’re a newborn and our mother holds us in her arms, and we feel her skin on our cheek. We clearly feel her warmth and humidity, some feeling of love from her, but it’s tough to verbalise it perfectly. Music is a language that can translate that sensation, feeling, the memory of love.” — Hatis Noit
Read MoreOcean 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.
Read MoreMost 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.
Read MoreTo 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.
Read MoreThe 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.
Read MoreAs 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).
Read More“In 2015 — after over a decade of painting and art making — I asked myself what brought me to want to create in the first place. Thinking back to my childhood, it was probably directly linked to enjoying playing with plastic blocks and how excited I was to get my hands on a grid-lined sketchbook. I would design my own toys and sketch out the floor plans for houses, cars and symmetrical objects.
Read MoreThe narrative of femininity is pain.
Cicatrix: the scar of a healed wound. In botany, cicatrix refers to the keloid mark left on a tree after a piece of it has been removed. In this body of work, I am exploring the personal maternal scar of being taken away from the only real parental figure I had until that point in life, the complex scars of colonialism and immigration, and the physical scars of my own body.
Read MoreThis body of work is an exploration of the physical and figurative aspects of “place.” On one hand, the word “place” refers to our built environment, choices of design, and our interactions with the physical world. On the other hand, it refers to a sense of belonging that is cultural and emotional–still deeply tied to the physical world, but able to exist without it through memory. I invite the viewer to step into the threshold separating “here and now” from”‘then and there.”
Read MoreIn this body of work, I am exploring the dream that there are still places and things we have not discovered, things we may not even comprehend. Inside of familiar volumes such as instrument cases and terrariums, I am creating spaces that give a glimpse of some other world, somewhere weird and wrong. This is Cthutopia.
Read MoreIn an exploration of this concept, “Grief Etiquette” is an immersive installation about the non-linear stages of my grief, shown through archival imagery and sound.
Read MoreWith “HERE IT IS IT ALWAYS IS,” Russell continues to explore themes of hope, anxiety, compassion and our place in an ever-expanding universe.
Read MoreAmidst an array of light and sound, Skärgården re-imagines cold war paranoia in the Stockholm archipelago in light and sound. The heart of this art installation is a self-organizing wireless mesh network that mirrors aspects of both the isolation and cooperation of an interconnected system of separate parts.
Read MoreThose of African descent are the most underrepresented group in the world of fine art. Black faces are beautiful. Digging deeper, we see that by working on black surfaces with white ink & paint, Reynolds draws in the light instead of the shadow, with emotive figures emerging from the deep, catching light in the way only melanin can.
Read MoreThe number of sites of incarceration—where people are “pinned
down”—is big as well. It makes sense, right? We need a lot of
buildings and cells in which to lock up all these folks.
Federal prisons. State prisons. County jails. City jails. Local lockups.
Life-sized, sprawling canvases house images of animals that learned to live in new worlds, in habitats created by humans. Vidger’s painted canvases are aged with natural elements to move away from traditional, romanticized landscapes. She removes the animals from their environments, from their homes so we see them in this state of limbo, wondering where they go next. “By utilizing natural pigments to age my canvases, I present an alternative landscape that expresses the duality of desolation and splendor.”
Read MoreIn Unearthing, Stirratt explores how natural and cultural objects are presented in collections and museum settings, and how we preserve, classify, and display them.
Read MoreThe 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.
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