13 Sep 2015
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7-part series to encourage placemaking in Indianapolis

7-part series to encourage placemaking in Indianapolis

September 13, 2015 | 0 Comments | , , ,

By Big Car Collaborative staff

A series exploring creative approaches to revitalizing communities and improving public places runs from Sept. 15 to Oct. 21 in Indianapolis, with talks and workshops led by internationally recognized experts on placemaking. The series, which is free to attend, will benefit artists, designers, planners, developers, and other community leaders across sectors in the Indianapolis area.

Big Car Collaborative — currently teaming up with The City of Indianapolis on the Spark Monument Circle creative placemaking project — is organizing the series, called Rethink Reconnect Reclaim, in partnership with Reconnecting to Our Waterways (an ongoing collective-impact effort to improve Indianapolis streams and rivers), Indianapolis LISC, The City of Indianapolis, and several others. The placemaking series will help attendees learn about successful strategies and meet leading thinkers in the fields of environmental art, creative placemaking, and tactical urbanism. In pursuit of a better city, the idea is to bring people together to reimagine public spaces and draw new energy to the city’s waterways.

“This is a great opportunity for people to learn and share ideas together,” said Big Car executive director Jim Walker. “And we’re excited to help further strengthen partnerships as placemaking becomes a key part of community development and is integrated into the practice of more artists, designers and planners in our city.”

Other partners on the series include the Indiana Arts Commission, Love Indy, Indianapolis City Market, IndyGo, Harrison Center for the Arts and City Gallery, StreamLines, White River Festival, DaVinci Pursuit, Ball State University Department of Landscape Architecture, Indianapolis Neighborhood Resource Center (INRC), TEDxIndianapolis, and Spark Monument Circle.

“As we consider the future of Indy, it’s crucial that we put in the time and effort to creatively strategize about the future of our public spaces,” said Alan Goffinski, Big Car’s Creative Placemaker for Reconnecting to Our Waterways and lead organizer of the series. “There’s a lot we can learn from experts, and from each other.”

Details about Rethink Reconnect Reclaim:

THE LONG BLUE LINE: DISCUSSION WITH ARTIST SEAN DERRY
Sept. 15, at 7 p.m. Flat 12 Bierwerks, 414 Dorman St. — 21 and over
In his project “Charting Pogue’s Run”, Sean Derry set out to memorialize our native waterway with a long, blue line and iron markers mapping the stream’s 1831 path. Derry will share his perspective and experience of completing such a massive public art project.

THE POGUE’S RUN PURSUIT
Sept. 16, 6:30-8 p.m. Spark Welcome Trailer, Monument Circle SW Quad
A 90-minute walk lead by Artist Sean Derry will take you along the historical but hidden banks of Pogue’s Run. Navigate old-timey maps along our modern city thoroughfares. Consider the value of creativity and natural resources in our modern cities.

ENVIRONMENTAL ART: MARY MISS
Sept. 23 at 7:30 p.m. The Platform, 202 E. Market St.
This discussion with environmental artist Mary Miss offers insight into her work and creative process with a focus on her StreamLines project underway now in Indianapolis.

SPARKING MONUMENT CIRCLE: ASH ROBINSON, STUART HYATT
Oct. 9 at noon. Spark Welcome Trailer, Monument Circle SW Quad
During this casual brown-bag lunch, artists involved with Spark will discuss placemaking and projects that engage people before a brief walk around the Circle led by Big Car’s Jim Walker.

PLACEMAKING LUNCH CONVERSATION: DAVID ENGWICHT
Oct. 15 at noon. Spark Welcome Trailer, Monument Circle SW Quad
With Spark: Monument Circle winding to a close let’s consider the impact of creative placemaking projects. Bring your lunch as Australian public space guru David Engwicht discusses the challenges and outcomes of creatively transforming our shared spaces.

RECONNECTING TO OUR WATERWAYS WORKSHOP:
ANTHONY GARCIA, DAVID ENGWICHT and others
Oct. 21, 11 a.m. -1 p.m. The Hall, 202 N. Alabama St.
This workshop invites artists to conspire for the good of their communities. Creative placemaking and tactical urbanism experts from Indianapolis, Miami and Australia will assist artists in developing creative interventions for public space along our waterways. Teams will then be commissioned to put their plans to action.

STREET RECLAIMING: DAVID ENGWICHT
Oct. 21, 6:30 p.m. The Platform, 202 E. Market St.
David Engwicht is one of the world’s most inventive thinkers and writers on creating vibrant public spaces. Gain insight from his experiments in Creative Placemaking and explore how they relate to our public spaces in Indianapolis.

SPEAKER BIOS

SEAN DERRY: In his artistic practice, Derry explores the lived experience of a place and investigates alternative strategies for inhabiting these environments. Derry’s work includes installations, public commissions and curatorial projects. He has developed projects for the Rivers of Steel Heritage Area, Trust for Public Land, National Institute for Fitness and Sport, and Waterman Agricultural Center. He has completed public commissions for the University of Alaska, the City of Indianapolis, and Indianapolis Cultural Trail. In 2006, Derry’s Charting Pogue’s Run was featured in the Americans for the Arts Year in Review. http://www.seanderry.com

DAVID ENGWICHT: Engwicht has over 25 years experience in placemaking. He is a passionate designer, artist, author, communicator, and social inventor, best known as the creator of the Walking School Bus. PPS in New York describe him as “one of the world’s most inventive thinkers on creating vibrant public spaces”. Nothing gives David greater joy than working with communities to breathe new life into dead spaces. He’s a 2015 TEDxIndianapolis speaker. http://www.creative-communities.com

ANTHONY GARCIA: Garcia, a leader in civic advocacy in South Florida, is principal of the Street Plans Collaborative, and serves as part-time faculty at the University of Miami School of Architecture. He is a co-author Tactical Urbanism and a leading expert in short-term action for long-term change. He’s a 2015 TEDxIndianapolis speaker. http://www.streetplans.org

STUART HYATT: Hyatt a Grammy-nominated artist and musician who creates interdisciplinary media projects in the public realm. His work facilitates collaboration with people and places often overlooked by conventional contemporary art practice. Hyatt holds advanced degrees in both architecture and sculpture. He creates site-based work with M12, a collective known for creative projects related to rural cultures and landscapes. http://www.stuarthyatt.org

MARY MISS: Miss has reshaped the boundaries between sculpture, architecture, landscape design, and installation art by articulating a vision of the public sphere where it is possible for an artist to address the issues of our time. She has developed the “City as Living Lab”, a framework for making issues of sustainability tangible through collaboration and the arts, with Marda Kirn of EcoArts Connections. Trained as a sculptor, her work creates situations emphasizing a site’s history, its ecology, or unnoticed aspects of the environment. http://www.marymiss.com

ASH ROBINSON: Robinson, an Indianapolis-based public artist and furniture maker, established her artistic voice at the Herron School of Art and Design, where she received her BFA in Furniture Design in 2010 before continuing her studies at San Diego State University. By focusing on political and cultural issues, Robinson’s work flirts with tradition and the avant-garde while striving to expose the tormented mind and the social stereotypes that plague it.

13 Jun 2015
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Social practice placemaking

Social practice placemaking

June 13, 2015 | 0 Comments | , , ,

AAG 01

By Cara Courage
(Occasional) Thinker in Residence with Big Car

This April, I presented a paper on my Indianapolis case study, Big Car, at the 2015 meeting of the American Association of Geographers in Chicago. View the presentation here.

With 9.5K delegates and sessions that span all forms of geography, the conference was as busy and buzzing as you’d expect. The arts had a healthy presence in the programme and my paper, “Moving beyond creative placemaking: the micropublic of a social practice placemaking project” was presented as part of the Creative Placemaking and its Micropublics. The session was convened by Martin Zebracki, University of Leeds, and Saskia Warren, University of Manchester; fellow speakers were Micheal Rios, University of California, and Annette Koh, University of Hawaii at Manoa.

My time with Big Car had been instrumental in creating the term social practice placemaking – whilst its work had undoubtedly had an economic impact in Indianapolis, its approach is grounded in that of social practice art and its associated ethos, aims and outcomes. Ash Amin’s micropublics of the title was used as a theory to explain the agency of such projects to galvanise people around arts and place and this was framed in the example of my Indianapolis case study, Big Car.

I mention in my paper the new projects Big Car is starting on the southside; and this was made possible by the generosity of Big Car once more in hosting me for a research visit before the AAG conference.

30 May 2015
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Big Car featured on The Art Assignment on PBS Digital

Big Car featured on The Art Assignment on PBS Digital

May 30, 2015 | 0 Comments | , , , , , , , ,

Play the game created by Jim Walker and Florian Rivière here. Be sure to share your adventures on Twitter. There’s great documentation of what people are doing on The Art Assignment’s blog.

30 May 2015
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Make a film in 48 Hours! Registration Opening Soon

Make a film in 48 Hours! Registration Opening Soon

May 30, 2015 | 0 Comments | , , , , , ,

The Indianapolis 48 Hour Film Project is produced by Big Car. It is open to professional, amateur and first-time filmmakers in Indianapolis. It is awesome. You should do it.

On Friday night, July 31, all registered teams meet to get a character, a prop, a line of dialogue and a randomly-chosen genre, all to include in your movie. [Animators and puppeteers welcome!] Then you have exactly 48 hours to make it all happen—from story to soundtrack to editing. Turn it in. High-fives. Take a long nap.

All on-time films screen to cheering audiences at the Tobias Theater at IMA the evening of Saturday, August 8. One winning team from Indianapolis will screen their film at the international Filmapalooza in Hollywood.

The sooner you sign up, the cheaper it is, and you can get started recruiting cast and crew. Prices are per team, not per person. Registration opens May 27, 2015 at 48hourfilm.com/indianapolis. Register before July 6 and pay just $140. Between July 7–July 21? $160. July 22–July 31 = $175

Join the 48 Hour Film Facebook group to keep up to date, network and share your experiences along the way!  Questions? E-mail email hidden; JavaScript is required.

02 Dec 2014
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Big Car 2014 in Review + Looking Ahead

Big Car 2014 in Review + Looking Ahead

December 2, 2014 | Comments Closed | , , , , , , , , , , , ,

by Jim Walker, Big Car Executive Director

This year was a busy but successful one for Big Car. It started with our three-year pop-up socially engaged arts experiment, Service Center for Culture and Community, closing after a market-rate tenant leased the space. In the middle of relocating and expanding our work to include Downtown Indianapolis, we accomplished much, including:

• Three major public events attracting 5,000 people (the TEDxIndianapolis conference at Hilbert Circle Theatre, the Art in Odd Places public art experience Downtown, and No Brakes 10-year Big Car retrospective at University of Indianapolis).

• Pop-up cultural spaces on three sides of town lacking easy and free access to cultural opportunities (Lafayette Square, Far Eastside, Near Southside) including a new sound-art gallery curated and organized by one of our artist fellows, John McCormick, a recent Herron School of Art MFA graduate.

• Three major murals in Central Indiana and nine more nationwide — all created in collaboration with community members, involving more than 2,500 people in making art, and helping beautify a variety of public spaces.

• Design work for 15 fellow nonprofits, including a virtual historic tour of the Athenaeum — and logos and other materials for Ensemble Music Society, iMOCA, White River Festival, Garfield Park Neighbors Association, Reconnecting to Our Waterways, and Youth Power Indiana.

As part of a NUVO Newsweekly cover story in September highlighting Big Car’s 10 years of working Indianapolis, writer David Hoppe called Big Car artists “impresarios of the imagination,” using our creative expertise to “benefit people where they live.” This, as always, continues to be our goal. Read the rest of Hoppe’s story here.

In 2015, the theme of the annual TEDxIndianapolis big ideas conference we lead will be “Keep it Simple.” We plan to use this as a guiding principle for our approach for 2015. One way we plan to simplify is to focus more of our programming this year on a particular neighborhood — Garfield Park just south of Fountain Square. Look for exciting details soon on a new home base we’re establishing there. A good portion of our work in the early part of 2015 will be focused on launching this location while also advocating for neighborhood-wide improvements and furthering our relationships with community partners there.

We’ll continue pop-up programming and projects in Lafayette Square and the Far Eastside, including the summer-long partnership with the Indianapolis Public Library that pairs our mobile art-experience unit — the DoSeum — with the Bookmobile, making stops at apartment complexes in very challenged areas of the city. There, Big Car artists make art with young people and share free, healthy snacks. We call this entourage Fun Fleet and we look forward to another summer of fun in these neighborhoods.

And we’ll again bring a few major citywide projects to Indianapolis in 2015. The biggest is a partnership with the City of Indianapolis to bring arts programming to Monument Circle from June to September. Funded by a National Endowment for the Arts Our Town awarded to the City and Big Car, this work — also in partnership with Art Strategies — will include temporary, site-specific cultural programming that helps the community reimagine what can happen at the Circle.

We’ll also further expand our work to make public sculptures using salvaged honeysuckle wood removed from waterway areas around the city. We’ve created a system for volunteers to clear the invasive honeysuckle, which blocks views of our waterways and kills native species, and then repurpose it as building material for chairs, benches, arbors, and other sculptures. Our artists work with volunteers, including young people from the TeenWorks program, to design and collaboratively build the pieces, which are often placed in public areas near the waterways.

Our audience in 2015 will continue to be a blend of primarily lower-income residents who don’t have easy access to art, and an arts audience (including many local artists) that continues to support Big Car and our work. We believe connecting people who are newer to the arts with existing arts supporters and artists is crucial to expanding the arts audience in Indianapolis. And we believe involving people in making art helps them better connect with it and appreciate it.

All of the artists at Big Car see working with people to improve the quality of life as our artistic practice. It’s not a side outreach program. It’s not something we do for a living, begrudging, while we wish we were doing our art. While many of us still make other kinds of art, our work with people is integrated with this practice. And our personal passions — the issues that mean the most to us — are integrated into our approach to the work we choose as an organization.

What we strive to create at Big Car is a better world, starting with our own community and our own neighborhoods. We use the tools and the power of art to help people become more culturally and creatively inclined, happier, healthier, more active and engaged, and better connected to each other in an increasingly divided world. That’s our art, as it should be. And, ultimately, it’s everybody’s art.

28 Oct 2014
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Urban creatives

Urban creatives

October 28, 2014 | Comments Closed | , , , , , , , , ,

by Cara Courage, Thinker in Residence

I’m back in the UK now after my near-month with Big Car and although Indy is around 4000 miles away, the place and people still feel close; I talked in my first blog about the ‘magic’ of the type of art work – social practice – that Big Car does and sat here at my desk now in Brighton, UK, it appears that a magic has left its mark on me.

My role with Big Car as Thinker in Residence gave me a special licence to get involved with the team but also remain somewhat separate to it too. In this role I was neither artist nor community member, but me, a researcher with a 15-year career in the arts, that was an extra pair of hands and someone to bounce ideas off.

This place I inhabited has led me on to think of the term ‘urban creatives’. Urban creatives is a term that I am increasingly using to describe that group of people that come together in a social practice art project to make it happen. This will be artists, community members, maybe also architects, planners, engineers… The point is though that in an urban creative group whoever is in it, all work in equal regard of each other’s skills – the artist is expert at being the artist, that planner at being the planner, and, as social practice artist Jeanne van Heeswijk states, the community is expert at being the community. Each can act on their expertise and each will also learn from the interactions with others.

This is certainly my experience of Big Car and Indy. During my time there I found myself in a group with all sorts of skills and backgrounds, where each was valued for what they bring and was encouraged to act on this. At the same time, the open dialogue was set to foster learning between ourselves. So whilst I saw people given the space and permission to be who they are I also saw people change as an outcome of this gathering of skills. I saw this spread out too from the local projects that Big Car is engaged in to the wider creative and cultural fabric of Indy, spreading through the networks, conversations, and institutions that comprise that scene.

In my first blog I posited that the magic in these projects came from them being fun and social and useful and I stand by that still now. I also said that it’s down to the people involved that make them magic and that’s certainly been underlined for me with Big Car – this is a very unique set of people without doubt. But to move this a little further, my initial unpacking of my thoughts from my month with Big Car and in Indy is that it’s not just the outcomes of what Big Car does but the how of what it does that makes it special. Like any special practice art, it is the varied elements of the process coming together in their myriad ways that makes these projects magic. It values people and brings out in them potential they may not have realised they had and puts this to use, gives it a social value.

18 Oct 2014
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Fun Times at Art in Odd Places

Fun Times at Art in Odd Places

October 18, 2014 | Comments Closed | , , , , , , , , , , ,

Thanks to everyone who participated, sponsored and presented as part of Art in Odd Places Indianapolis.  Hundreds of people experienced surprising installations, traffic-stopping performances, and lively interactions with the 27 creative interventions presented Oct. 17-18.  Big Car Collaborative’s project–the As You Wish desk–fulfilled over 100 wishes with on-the-spot objects made from paper, clay, and more.  WISH-TV Channel 8 did a nice video piece.  Check out photos on Flickr and at IndyStar.com.

AiOP Indy was a collaboration of Big Car, Classical Music Indy, Arts Council of Indianapolis and Indianapolis Museum of Art, with financial support from Big Car, Delta Faucet, the Arts Council of Indianapolis, Indy Mod Homes, Downtown Indy, Apparatus IT, Sun King, and KA+A, and promotional support from NUVO and IndyHub.

16 Oct 2014
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Art In Odd Places Indy

Art In Odd Places Indy

October 16, 2014 | Comments Closed | , , , , , , , , ,

by Cara Courage, Thinker in Residence

Art in Odd Places comes to Indy tomorrow and Saturday, two days of art installations and performances around Monument Circle and Market Street to City Market, from dawn until dusk. Ed Woodham, the AIOP founder gave a lecture on the project at IUPUI this week; one of the students asked Ed how he gauges the public’s perception of the work, and this is a pertinent question of art in the public realm – does seeing these interventions have a lasting effect on people or is that effect, like the art itself, just momentary?

Art interventions that are momentary, that have a limited temporality, I call splash interventions – they are dropped into the urban realm like a pebble in a river, make a splash and are then gone. How one measures the impact that these have on the people that see them or may interact with them is a question I have had of my research for some time.

There is a growing voice that sees splash interventions as opening up the meaning of urban space – what can happen in it and done by whom – and reimagines the city.

The temporary nature of this artform opposes fixed meanings of spatial use; this is a porous practice with a ‘loose’ unintended use of space designed to engage passers-by in a moment of play or reflection. These moments are unpredictable and transitory and open up sanctioned meanings of city space. Here, the function of splash interventions is to jolt people’s assumptions about the use of space and from this spark imagination or reflection, or both, and stimulate interest in the place around them. This enhanced or renewed connection to place for some is a process of engagement through alienation or dislocation, the disruption of the expected urban norm makes the lived experience of it active, not passive, the jarring of the arts encounter in the urban space paradoxically creating a connection to it. This will then go on to encourage human interaction in the urban realm that is again different to the norm, which creates a new collective urban experience and strengthens social bonds.

These are grand claims to make. I question how deep this practice is – does this have an impact past the moment of interaction to the next day, or longer? I also question if anything more than a moment of play, of a break from the norm during lunch hour or the walk to work, is the aim of all splash artists.

I have certainly seen splash interventions recreate the city as a space where rules are suspended, make the city become a spontaneous space that is open to a variety of uses and encourage people to express themselves in a different, less formal, way. This is something I am looking forward to seeing over the next two days with AIOP Indy.

14 Oct 2014
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Space and community

Space and community

October 14, 2014 | Comments Closed | , , , , , , , , ,

by Cara Courage, Thinker in Residence

I’ve now been able to see all the spaces that Big Car has. After moving from the Service Center base, Big Car can now be found at Lafayette Square, where it has its Listen Hear and Showroom spaces; at Superior supermarket on the Far East Side, in its Galeria Magnifica space; its administrative base at The Hinge in Fountain Square; and Truck Stop, its storage, meeting and gallery space. I have also seen the potential future space for Big Car, the Tube, a factory in the Garfield Park area that presents Big Car with a truly multifunctional space to house all its various activities under and from.

Big Car’s Jim Walker talks about the vision for these spaces in a video tour of them here and a map of past, current and future Big Car spaces can be found below (an image from the No Brakes Big Car exhibition at UIndy).

BC map

Each of the gallery spaces brings with it huge possibility. The spread across the city is a material realisation of Big Car’s ambition to bring art to the people and people to art, literally, across Indy, and between neighbourhoods too. It gives opportunity also for artists to respond variously to each location, to think of the space itself, its setting and the spaces in-between. All the spaces facilitate a variety of uses – from gallery, to meeting space, to rehearsal room, to workshop, to performance space…I saw Showroom operate for the first time as a live venue this week with Hourglass, a participatory dance performance.

Hourglass 07

The spaces also pose a singular challenge at this time of beginning. This challenge is about finding the community around them, getting to know them and creating a programme that will get them over the threshold of the space and keep them coming back. And get them going to events at other Big Car spaces, crossing the neighbourhood boundary. Activity at Galeria Magnifica will soon centre on just this – getting to know who shops at the store it is housed in, getting to know the local area and starting a programme that will bring people together from within the area and then with others through food and storytelling.

Galeria Magnifica 02 crop ip

I can see the role that Big Car has played on Fountain Square over its ten years and it’s told to be by nearly everyone that I have interviewed here. I have come to Big Car at a time when as it enters its second decade that it is starting anew in many respects – the offer presented by the new spaces a creative watershed. Knowing Big Car as I am getting to, the challenges it faces will be tackled with creativity and tenacity and over time, from these early days and from its wealth of experience, these challenges will transform into opportunities and into relationships, programmes and events.

I get the sense too that Indy may be in a similar position as Big Car as again I am told that Indy is undergoing something of a cultural renaissance. I can certainly sense that Indy is looking at community afresh, seeing a resurgence in community initiatives city-wide and a local design, arts and culture infrastructure that is self-supporting and generating.

For both Big Car and Indy, its shared concerns with community, the space of the city and the role of the arts in this, these are very interesting – and exciting – times.

08 Oct 2014
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Ecologies…

Ecologies…

October 8, 2014 | Comments Closed | , , , , , , , , , , , ,

by Cara Courage, Thinker in Residence

Indy and the work and place in it of Big Car has really opened up to me this week. I have seen it at work in the community with mural painting in and out of the city. I have seen its connections across the city and peoples’ warm and enthusiastic reactions to the mention of Big Car, and the pride that so many have from being involved with Big Car or from seeing how it has grown and what it has achieved over its ten years.

Talking to a fellow placemaking researcher, Anita Mckeown, an artist and PhD candidate at National College of Art and Design Dublin, she reminded me of ecologies – the worlds in which we all may live, work, study and play, and how our own worlds will inter-mingle with those of others – and this perspective is helping me make sense of Big Car’s place in the city.

Big Car’s activity may be a situated ephemeral activity, as in the coming together of a group of artists and community members in the course of a day to create something, as with the mural project for Indy Do Day last week (and the image above), where an extended team of volunteers were galvanised in the task into a creative community that created not just an art object but also an experience that had meaning. One person said that painting the mural made them want to ‘paint the whole city!’

With projects where it is more deeply embedded over a longer duration with a community, it may also be considered a social movement. This is work where Big Car, like a social movement, has its own modus operandi; a singular ethos; operates as a collective action where multiple viewpoints are incorporated; is a responsive and interactive learning process; and works to transform the socio-political characteristics of an area.

Where this thinking is leading me is to consider Big Car as a situated art practice that works with micro publics, in the various ecologies of the arts and community settings of Indy, with different drivers for different types of work. This live practice, whether it be along a street or across a whole neighbourhood, produces a generative knowledge that culminates in a social movement within Indy. Big Car may be doing its work through hyperlocal local sites, but these sites are all across the city, and together its effect is city-wide as both a driver and constituent of the city’s creative and cultural ecology.