Big Car's coverage in the local media

Big Car voted best gallery by NUVO readers

We were also written up in NUVO's best of issue by David Hoppe (See below):

Best happening

Back in the middle '90s, the Susurrus Space on Vermont Street was the place to go for the experimental when it came to the arts. I say this without apology: Full disclosure, as they say, my wife ran the joint. But you can ask anybody. Those Rent Parties were amazing. When the Space was forced to close for the sake of redevelopment, Indianapolis lost a place where the new, the outre, the edgy and off-the-wall could call home. Until now. Big Car Gallery in the Murphy Building is that place: an unsafety zone where DaDa, soul and a certain Beat aesthetic meet. Disturbingly wholesome, wholesomely disturbed. It's a creative impulse that's so old it's new. It figures John Clark is there and so is Jim Walker (known also for his work with NUVO - this said without apology). One night my wife and I were there. Old books about sex and violence were thrust upon us and, along with several other innocent souls, we read from them as part of a fractured chorus. We never do this. We probably never will again. I'm glad we did.

Big Car on WISHTV.com

Check out the excellent coverage of what Big Car is all about!

Big Car in InTake

Check out this very excellent story about Big Car.

Read the Indianapolis Star's preview of the New Year's Party here .

Show reviews

NUVO's review of the erotica show with Jo Legner and Phil Campbell

review of Big Car's Latencies show (with Galerie Penumbra)

Review of Dark Stories show in NUVO

Dark Stories

4 stars

Big Car Gallery. Featuring work by Matthew Ludden, Erin Swanson and Eric Pohlman, this show at the Big Car Gallery is gritty fun. Ludden’s canvases contain original texts printed across the canvas, in large typeset lettering. Ludden then paints his contemplative figures over these words to create textured, tactile surfaces that can only be experienced in person. His canvas work is complemented by a series of postcards that have heavy words on one side — assuage, vision, tryst, change, levity, silence, broke, focused, hallowed — and witty idioms on the other — “I’ve got a certain respect for the sharp edge of the blade.” Swanson’s acrylic on canvas paintings are collisions of machinery and humanity. With catchy titles like “Crying over the Cart and the Horse,” her paintings seem familiar but don’t necessarily make sense. Her machines also seem familiar, or at least made of familiar parts, but unrecognizable, like the titles of her work. Her work also anticipates the collision of tradition (like age-old adages) and modernity. Less visually compelling, but in the end, more thought provoking than the others, is the collage work of Pohlman. Amalgams of snipped periodicals, childhood honors and clipped photographs create clever proverbs, such as the reverse silhouette of an infant child, marked with the words “sexually transmitted.” Another work titled “Physical Well-Being” is anchored around the certificate from the Amateur Athletic Association Pohlman received for physical fitness at age 10. Through Dec. 18. — Roseanne Winings