Benjamin Berg:░▓ I Can See the Pixels ▓░
Computers do whatever you tell them to, even if you tell them to make a mistake.
There are some seemingly bad ideas behind Benjamin Berg's exhibition I Can See the Pixels. For starters, everything is created using the 1980s-era GIF image format, which is hated by today's computer programmers for its limited color palette and inefficient storage. Also, the source images are small and low-resolution. Worst of all, he forces his computer to use colors that are totally wrong, nowhere close to the ones it needs. What's wrong with this picture?
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Chad Eby : Skärgården
Amidst 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.
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TJ Reynolds: We Catch the Light, Reflections on Black Skin
Those 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.
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Wes Janz-Pinned Down: The Locking Up of America
The 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.
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Kipp Normand: Snake Oil, A Fantastical American History
Part world’s fair exhibit, huckster wagon, dime museum, and midway arcade; Snake Oil is a multifaceted installation that challenges the viewer to re-examine the ideas of American Exceptionalism.
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Priya Wittman: Stormy Weather
Stormy Weather depicts cyclical expressions of anxiety by layering patterns repeatedly into surfaces and space. The paintings and assemblages explore intimate, personal anxiety, and multiply/mirror/repeat the individual to reflect a larger communal state of unease and worry — a collective angst. Uncertainty is stressful, but it is a precursor to transformation.
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Lori Miles: Baptized in Sugar
Baptized in Sugar is a visual memoir of growing up in a house with a unique kind of privilege: we were saturated in unconditional love and allowed boundless exercise of our own free will. That kind of love makes the rest of the world, forever, pale in comparison.
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Princess: Out There
Tube Factory’s Listen Hear space hosted the Indiana premiere of Out There, a concept video album and live performance by the band Princess that explores the roles men play and those they ought to be playing during the current cultural reckoning with misogyny.
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Ballet Austin's “Cult of Color: Call to Color”
In conjunction with Saya Woolfalk: Empathic Cloud Divination, the Main Gallery video room screened Ballet Austin’s “Cult of Color: Call to Color.” The work was selected by Woolfalk and Tube Factory curator Shauta Marsh as part of a series of artists that have influenced Woolfalk’s work.
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Saya Woolfalk: Empathic Cloud Divination
New-York-based multi-media artist Saya Woolfalk explores our understanding of the human condition — a state of affairs governed by seemingly unavoidable conflicts such as birth, growth, and death.
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Yvette Mayorga: High Maintenance
Yvette Mayorga’s multi-media installation High Maintenance at Tube Factory was a flamboyantly chilling revelation, offering unsettling insights into how the forces of violence, make-believe, and consumerism infiltrate the contemporary immigrant experience, and subvert our understanding of identity.
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David Schalliol: Three Communities
As we go about occupying, utilizing, and altering our natural and built worlds, how much do we think about the connections we share with the others who inhabit the place we call home?
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Laura Ortiz Vega: No USA Return
For her debut solo exhibition, Laura Ortiz Vega presented a new series of thread paintings inspired by the rhetoric surrounding President Trump’s proposed US-Mexico border wall and by her documentation of graffiti in Mexico City, Canada, and other cities she had travelled.
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Juan William Chavez: Mesa Hive + Indianapolis Bee Sanctuary
These connected projects — related to bees, beekeeping, culture, and community — include an outdoor installation and a resulting exhibit developed by Juan William Chávez, an artist and cultural activist based in St. Louis, during his six-week residency at Tube Factory.
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Christos Koutsouras: Land Art (Telling Trees)
Deeply rooted in place, Land Art (Telling Trees) was inspired by a large-scale fire that tore apart the island of Samos, Greece — the birthplace of the artist.
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Audrey Barcio: Under Influence
Heritage is a pressing concern to our generation. Should we allow the past to influence us—are we bound to ancient tools, materials and techniques? Or should we endeavor to make work that is specific to our time, embracing technology and its untested, ambivalent ramifications?
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Lashawnda Crowe Storm/Maria Hamilton Abegunde: Keeper Of My Mothers' Dreams
Keeper of My Mothers’ Dreams expanded the dialogues began in Crowe Storm’s works Her Name is Laura Nelson and Be/Coming with newly commissioned pieces: Poems, Origin and Sister Song.
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Larissa Hammond: The / a mind the b mind
“The/a mind the b mind” was a fully commissioned exhibit, featuring four large-scale paintings by Larissa Hammond and one in collaboration with poet Ariana Reines.
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Adrian Matejka: The Big Smoke Reading
The legendary Jack Johnson (1878–1946) was a true American creation: challenging white boxers—and white America—to become the first African-American heavyweight world champion. The Big Smoke, Adrian Matejka’s third work of poetry, follows the fighter’s journey from poverty to the most coveted title in sports through the multi-layered voices of Johnson and the white women he brazenly loved.
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Carlos Rolón/Dzine: 50 GRAND
Chicago-based artist Carlos Rolón/Dzine presented a dually charged exploration of boxing and domestic culture, inspired by the tactility and performative qualities of boxing, and its relationship to contemporary art.
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