visual art

Sugarmann—whose work “engages the automotive industry as a manufacturer of human identity” and has been shown nationally and internationally—interviewed, photographed, and filmed each participant. The result is an oral and visual history of the Indianapolis 500, exhibited at Big Car’s new cultural center, the Tube Factory.

Paula Katz talks about being a one-woman-staff at the iMOCA and the blurry line between work and life.

Joel Dart has worked with computer language since middle school, but in 2010, he decided to use it in a completely new way.

In 2012, staffers at an Evansville museum discovered an original Picasso, mislabeled, that had been stored unnoticed for nearly 50 years.

Dr. James MacLeod drew a simple yet compelling cartoon within an hour of hearing about the attacks on satirical French magazine Charlie Hebdo.

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“I frequent the museums, including the wonderful Indianapolis Art Center,” Knabe says. “I don’t know of another one of that caliber anywhere else.”

“I really think that art can be anything that causes you to react, to contemplate something, or to create conversation. That can be a lot of different things. I think it can be art in the traditional sense, but it can also be more active.”

Whether it’s transforming a barbed-wire fence into a web of lace or flooding the sidewalks with soundscapes, Ed Woodham’s Art in Odd Places (AiOP) project has freaked out Manhattan for nearly a decade now—and it hits Indy this month.

“It was great to win $4,000. But I let them set my painting on fire and chainsaw it in half anyway.”

The Indiana Repertory Theatre hired him to create an original work for each of its nine plays in 2014-2015, and his style couldn’t be more appropriate: “I tend to paint dramatic, mysterious paintings anyway.”

The third case appears in Concourse B, exclusive to travelers. It’s the most impressive artwork, with tasteful filters and edits layering each photograph.

A unique aspect of this art is that all the pieces are originals. The Eskenazi art committee selected the artists, with input from the Indianapolis community.

James Spencer Russell enjoyed an impressive career in New York in the ’60s, when his work—which ranged from Pop to Abstract Expressionism—was shown at the Smithsonian and featured in the movie Midnight Cowboy.