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In Response to the Light From Screens
September 2018

Featured Artists: Phil Cardenas, Noah Matteucci, Rachel Livedalen, Jeffrey Cheung, Zach Koch, Zachary Carlisle Davidson, and Alan Hatcher.

Curated by NOISE, with documentation by Zach Rozycki.

We believe that our interaction with screens is entering new stages of fungibility, permeating aspects of life not widely considered or even noticed before. Our screens are (re)programming us in significant ways, far beyond the power of the television.

This relation with screens changes how we process visual culture. In Response to the Light From Screens takes an index, temperature reading, or perhaps more appropriately a screenshot of our experience expressed in non-screen media: an uncouth, lingering reflection of this emergent culture captured in less ephemeral form. NOISE believes in both the temporality and permanence of new media emerging from visual culture in the twenty-first century.

In Response to the Light From Screens

July 2018

Featured Artists: @Larry_Chakra/Sampler Aesthetic, Peter Koch, Zach Koch, Jonathan McFadden, Rachel Weaver, Yunjin La-mei Woo

Curated by NOISE

OUTPUT SABOTAGE sees a reconfiguration of normative attitudes towards production, encouraging sabotage, disruption, or stoppage in service of an egalitarian vision. Included works consider the agency of objects, thinking about their capacity to engage in, incite, or perhaps subvert production. This show, by no means a completist venture, highlights a few points along a particular path that leads to right now. Included works deal directly with pivotal moments, from innovations in typography and computing, to moments in understanding the self or in personal narrative, and even work with images that complicate or undermine conventions of presentation or context. Together, they form a way perceiving the present in its particularity, peculiarity, and possibility.


Machine Breakers
April 2018

Organized by Nathan Meltz and featuring the work of Terry James Conrad, Raphael Cornford, Justin Diggle, Thorsten Donnerline, Andrea Ferrigno, Ruthann Godollei, Jessi Hardesty, Dusty Herbig, Taryn McMahon, Dylan McManus, Nathan Meltz, Daniel Ogletree, Katie Ries, Jenny Schmid, and Ericka Walker. 

Curated by NOISE

Machine Breakers explores the reactions of printmakers to the automatic and systematic world around them; a world where technology has infiltrated every facet of life, from family and food to politics and war.

The term Machine Breaker is a reference to early industrial era British textile workers who, inspired by the mythical "General Ludd" of the Luddite movement, smashed the automated textile machines that threatened to displace their jobs. With contemporary examples like laborers displaced by robot arms on the automotive assembly line or the replacement of unionized cab drivers by driverless Uber vehicles, where are today's Machine Breakers?
Machine Breakers presents a diverse interpretation of and reaction to this mechanized world, from critique and distrust to devotion and fascination. Themes related to technology that artists explore include: co-option, revolution, infection, symbiosis, destruction, and dystopia/utopia.

Machine Breakers

LiZeZ LIVE! A Play, Act III (Bloomington Edition) - April 2018

Exhibition featuring the work of Liz Clayton Scofield curated by NOISE

LiZez LIVE! A Play is a coming of age story of factual fictions told through stretched truths and filtered through the heart, of falling in love with a moment and breaking open into a gooey mess, to roll around on the floor for 72 hours and emerge, ready to tell some stories and attempt to make sense of it all. A wandering adventure of a tale.



I have been collaborating with the LiZez, a series of toys I created in my image, since 2015. In my ongoing transformational sculpture using my Self as material, I learn how to be. I explore my relationship to myself as object, the LiZez, and through this relationship, I transform myself.



In the forthcoming Act III and IV of LiZez LIVE!, I’m interested in the agency of LiZez as objects and their own desires. In the 360-degree Acts, I attempt to break codependent relational patterns that I have learned and replicated with the LiZez. I explore the transformation of how we relate to each other and the power dynamics that need to be restructured for us to move forward healthily. It is an exploration of Love for Self and Other, so that we all strive toward mutual Becoming. It is the imagination, projection, and practice of a Queer Utopian Futurism, so that we build and embody the worlds and bodies and love that we desire for the future in the present moment.


Act III (Bloomington Edition) finds the LiZez and I back in emotionally fertile territory where they were conceived, I was born, and we all died and reemerged anew or something. We'll be searching for something like closure or healing or just some beauty in returning and revisiting former selves and hashing out histories to understand better where we are now and where we're going. Maybe. Or maybe we'll just show up, which is the most fundamental, formative step of it all, after all... or something. Yeah?

Artist Bio:
I'm 70 percent water, 100 percent heart, and I wear it on my sleeve. In my work, I am interested in cats, bikes, yoga, cooking, meditation, wandering, sleep, astrology, breath, words, love, and many other things, too.



I can’t follow everything going on. You can’t either. I can grab a few strands here and there, focusing my reading and my podcast listening and my conversations and what-have-you. Still, I’m falling woefully short. I know that any sources I access have bias, that I’ve been lied to by dominant narratives across media forms, that my experiences, like nearly everyone’s, have been misrepresented if represented at all. 


So let art speak to us all at once and emotively and with information and through reference and via updated, augmented, even subverted traditions. For art does indeed reveal our new narratives and emergent mythologies, forces that selectively continue and negate aspects of their older counterparts. “But which art?” you might ask, “Where? How? Will there be beer?”

NOISE and COMMAND Zine co-curate the exhibition “COMMAND + N”, a group show of artists whose work is invaluable, transformative, and alive, acting upon us just as much as we respond in turn. Working across multiple media these artists reveal untold stories, recontextualize traditions, speak from marginalized identities, and play with the boundaries between digital and tangible. 


Bringing together an expertise that spans the contemporary fields of painting, fiber arts, printmaking, photography, comics, and trans media art, the curators present an exhibition at I Fell gallery highlighting selected works as simultaneously discrete narrative objects and cohesively indicative of the story of our time.

COMMAND + N - March 2018

Exhibition co-curated by NOISE and COMMAND ZINE, held at I FELL Gallery


Photo edit credits to our very own intern, Cody Rosenberg.

Feedback Loop - November 2017

Exhibition by Mark Laurin and Neah Kelly

What happens with circuitous thinking? What happens with the constant re-imagining of process, images, objects and problems? What happens when we create rules, objectives, parameters to help guide and define this creative process? Similarly, what happens when a common language is removed from its context, and instead is re-contextualized in a nondescript environment? What happens with information stripped of its meaning and content, stripped of its cultural context? What develops is a circular feedback loop, one that can be accessed again and again, either to bring meaning (through process, through re-invention, through rules), or rather, to bring about a fresh perspective on the nature of information, achieved through the realization of our shared mechanics of seeing, interpreting and experience.

Feedback Loop

Exhibition by Stefano W. Pasquini


Italian conceptual artist and critic Stefano W. Pasquini proudly exhibits a multimedia at NOISE Gallery. Featuring prints, collages, thread, rocks, holy images, fabric, manikin heads, zines, and more, FUCK WAS I was inspired by Pasquini's fascination with a Jenny Owens Young track by the same name featured on MySpace in the mid-2000s. Each piece is a cleverly titled using an anagram of the phrase "the fuck was I" oft repeated through the song. The resulting playful exuberance, anarchy, and sheer insouciant irreverence remains a joy to behold.

Situation X


Shane Greene, design / Shad Gross, photography (Artists)

Raphael Cornford / William Bass (Curators)

Situation X emerges out of Shane Greene’s work on punk in Lima during the 1980s rise of Marxist insurgencies in Peru, principally the Maoist Shining Path (Sendero Luminoso, SL) and the much smaller Tupac Amaru Revolutionary Movement (MRTA).  It is a space filled with motley anarchist agendas, street attitudes, and the “underground” soundtrack of Lima’s rock subterráneo.  Situation X uncovers a political realm beyond the familiar Cold War dichotomy of communist militants and repressive Third World states but keeps covered the actors that lived and died there, or thought of liberation or fell into their very own no future there. The exhibit also suggests we learn how to manually resituate DIY aesthetics, locating other urban legends that don’t lead back to those same old punk stories about New York, LA, or London. 


12 short texts and 12 designs-turned-images provide a result of X.  Call them notes from the field. Look at them like posters on your wall.  Walk into a room full of secret files, noisy objects, fuckloads of photocopies, and unofficial sources. 


Designs include fragments of text and image from 60+ contributors from 6 different countries, submitted in response to an open call for spontaneous participation in the project. 


Contributors to Situation X



Leo Escoria, Leticia Larín, Ignacio Briceño Gagliardi, Isela Suarez, Carlos Andrés Incháustegui Dégola, Gavriela Tenorio, Nadya Padilla, Raul Avión García, Victoria Guerrera Peirano, Cesar N, Miguel Det, Julio Durán, Alexis Lakov, Silvana Tello Guzmán, Richard Nossar, Roberto Jarkor Barba, Herbert Rodríguez, Ricardo Barandiaran, Raschid Rabi, Claudia Blue Alva, Jorge Juarez Li, Karen Bernedo, Alfredo Márquez, John Salas, Iván Vildoso, Carlos Draconia, Luis Umberto, Gonzalo Maíz, Jorge Luis Ochoa, Rodolfo Ybarra, Yerson Guarniz, Andrés Santillan Morales, Giampier Arellano, Karol Torres Cuadra, Alicia del Pilar Quevado Canales, Iván Zurriburri Santos



Dorota Biczel, Giancarlo Huapaya Cardenas, Sydney Silverstein, Christiana Ochoa, Rodrigo Chocano, Jon Carter, Christian Medina, Samik Greene, Michael Birenbaum Quintero, Denisa Jashari, Gaëlle Le Calvez, Matt Van Hoose, Olga Rodriguez Ulloa, Roosbelinda Cárdenas, Alfio Saitta, Mariella Arredondo, Asiri Saitta, Jennifer Boles, Irasema Rivera, Ben Reed, Zeb Tortorici, Dalia Davoudi, Allison Posner, Elizabeth Geballe 



Carmen Muriana, Tatiana Sentamans



Fabiola Bazo



“No Name”



Juan Sebastián Rojas


See you all soon!


Exhibition by Jeron Braxton and the Tamagotchis

NOISE Gallery is delighted to debut Jeron Braxton in his first solo gallery exhibition. Jeron is a multimedia and animator whose work has been shown on Cartoon Network, at multiple film festivals, in screenings across the country, and has recently begun to work in ceramics and 3D Printing.

Jeron is a musician in addition to his art practice, touring with his band The Tamagatchis and scoring his animation work.

JIGGLE WOLF PRO features various ceramics, 3D prints, screenprints, animations, and a screening/performance to debut the JIGGLE WOLF PRO game. Jeron brings a TED Talk-style persona to the unveiling, creating a bizarre and satirical environment that parallels the beauty of his animated work. Vocally political, Jeron represents his point of view seeped in hip-hop, electronic music, Playstation graphics, and a deep connection to Indianapolis.


View Jeron's animation on Vimeo



Exhibition by Malcolm Mobutu Smith and Zachary Carlisle Davidson in both NOISE locations

Noise Gallery is honored to present an exhibition by Zachary Carlisle Davidson and Professor Malcolm Mobutu Smith. This exhibition marks the opening of our second location, NOISE Downtown, and is our most ambitious to date. The massive amount of drawings, prints, ceramic vessels, rubbings, mixed-media collages, animations, and sculptural installations across both locations showcase both artists' prolific and resonant practices, highlighting shared concerns in cartoon aesthetics, representation, and a deep understanding of art history.

CRITICAL BEATDOWN, like its namesake album by the pioneering hip-hop legends The Ultramagnetic MCs, is a frenetic tour de force that pushes against stylistic and formal boundaries. Davidson and Smith bounce off one another, building off each piece in the sprawling, salon-style display. The combined result is overwhelming force, a monster of style, vision, and impeccable technique.



Davidson uses the approachability of cartoons as a space to offer radical critiques of racial inequity, dislocation, capital, imperialism, masculinity, surveillance, and war through a barrage of drawing, mixed media collage, printmaking, and anything else he gets his hands on. He draws from his own experience living across the country and world, his multi-ethnic background, and his broad study of contemporary art. His sly references, use of African masks, incorporation of various Chinese mythologies, and personalized aesthetic make his work instantly recognizable across any medium.


Smith is a renowned artist, primarily known as a ceramicist, lecturer, educator, and draftsman. Smith uses his vast knowledge of art history, comics, and graffiti to work across mediums in wholly individual aesthetic. Combining the spatial play of Ditko's work in Dr. Strange with the contortions and geometric impossibilities of graffiti lettering is intuitive for Smith, who sees the interplay of those forms with the development of abstraction in modern painting. Untethered to two-dimensional representation, Smith works in clay and other materials to find and express these spatial hybrids whose smooth curves, cutting forms, beautiful angles, and perfect tangents make a cohesive language. Whenever he works, he draws from these multiple histories and traditions in a way that is both fresh and reverent, an abstract commentary on beauty and aesthetics.

Malcolm Mobutu Smith:

Zachary Carlisle Davidson:

Archaic Innovations


Group Exhibition and Performance curated by Amanda Ross and Neil Cain

 Featured artists include mask-maker, sculpter and performance artist Jenny Ollikainen; weaver, laptop musician, and curator Amanda Ross; mathematician, programmer, and electronic instrument builder Ryan Vitale; and sound sculptor, digital interface developer, and curator Neil Cain.

Ancient forms meet modern materials, concepts, and techniques. Mask making, weaving, & instrument building are examined in a collective context to highlight innovative ways of envisioning these disciplines, all utilizing elements unique to our time. Exploring the desire to reimagine, and how the influences of modernity intersect with timeless forms of expression, we seek perspective on the changing and unchanging within us. Does technology become divergent? Or do we perhaps identify more closely with contemporary mask work, computer-based instruments, and computer-patterned weaving than with their traditional counterparts? What essence remains constant despite material or procedural differences? Utilizing interactive presentation and performance, Archaic Innovations is an invitation to investigate which of our innate aspects have become tethered to newness, which human advances are merely extensions of ancient technology, and how our need to progress is bound by our continual resonances with certain forms and practices.

Rote Passage

ROTE PASSAGE - 4/21/2017

Performance by Jenna Richards and Rachel de Cuba

We are proud to present nationally exhibiting artists Jenna Richards and Rachel de Cuba in a collaborative performance! Join us Friday April 21st at 8PM for a show and of course the awesome environment that is NOISE Gallery.


Artists de Cuba and Richards are independently exploring identity and identity construction in themselves and those connections present between their own stories with others in our contemporary culture.


In the performance de Cuba will read from a box a family recipes from her grandmother while Richards reads from a box of letters she wrote to herself in 2011. The artists will read in response to and concurrently with one another. This will be the first occasion that the artists will hear the content of their collaborators text, creating an authentic environment for intuitive response to the words of one another. Similar to a conversation de Cuba and Richards will have the opportunity to react and respond naturally.


The two sets of texts are both recollections of the past, one familial and one personal. The familial text of recipe cards represents a generational passing down of information, a feminine right of passage, an idealistic relationship setting. The personal texts of Richards’ letters to herself are romantically relational, a conversation with her 20 year old self about a failing romantic venture. The content of the collapse upon each other while remaining distinct.


Rachel de Cuba is a Digital Arts MFA candidate at School of Art + Design, Indiana University and received her BFA in Studio Art at Flagler College. While celebrating southern roots she lives and explores between Saint Augustine Florida and Bloomington Indiana.


Jenna Richards is an MFA candidate at School of Art + Design, Indiana University. Jenna participated in residencies at Penland School of Crafts, Vermont Studio Center, and Haystack Mountain School of Crafts. Her work was exhibited recently One in Herself, Woman Made Gallery and Small Expressions 2016, Milwaukee Art Museum.


Solo Exhibition by Nathan Meltz

Screenprint, collage, paper sculpture, and animation examining the infiltration of technology and fossil fuel extraction into every facet of our lives: from family to food, politics, sex, and war. Contemporary nano-technology is retrofitted with analog machine parts, creating visual narratives regarding the doomed robotic populace of a dystopia.


Nathan Meltz is a lecturer of the Arts at the Rensselaer Polytechnic Insitute in Troy, NY, and founder of the East Coast Screenprint Biennial. His work has shown internationally, at venues including the International Print Center New York, the Trois-Rivieres International Printmaking Biennial, Canada, the Museum of Modern Art in Rio De Janeiro, Brazil, and more.

Fracture in the Crystal City

RE/CON - 1/20/17 - 2/20/17

Group exhibition curated by Raphael Cornford and William Bass

Participating artists:
Czar Kristoff
Anastasia Samoylova
Brea Souders
Kyle Seis
Fragments in Space
Jaclyn Wright

And in conjunction with Kyle Seis as visiting artist at NOISE Residency.


Recon is an abbreviated term that, at its core, references reconnaissance, or the collection of visual information. This form of gathering info, usually followed by a rebuild of sorts or a kind of re-construction of the information, is done to gain an understanding of a place, space, or environment that is only accessible through vision.

This process of collection and assemblage is at the heart of the thinking behind RE/CON, the show. The artists selected exhibit an interest in some aspect of the evolution from information collection through reconstruction.


Much of the work in the show involves a reduction or de-construction of the known world into smaller fragments which are then reimagined and reused to form new and different ideas, objects, images, environments…etc… Often the fragments are found or collected rather than deliberately broken down. In some cases they are historical remnants, in others they are digital bytes, and in still others they are physical artifacts. But despite each work’s specific history, materiality, or appearance etc... what brings them all together in RE/CON is their shared conceptual foundation.


Whether it is a focus on the fragmentation or the deconstructive beginning, an examination of the tools used to collect and observe, a deeper look into the material properties of the visible, an exploration of the transition between the real ad the simulation, or whether it’s the final, newly-rendered information itself that is most intriguing, each artist investigates how and why we use images and visual information to perceive and construct our experience.

Invasive Species


Exhibit by Yun La-mei Woo and Matthew Batty

NOISE is proud to feature Yunjin La-Mei Woo and Matthew Batty in the multimedia, participatory exhibition "Invasive Species" opening December 2nd 2016 at NOISE Gallery.

Both artists respond to the contemporary political climate in their respective practices, asking audiences to reconsider their identification and relation to shared space. Don't miss the excitement and don't shirk the challenge!

Yunjin is a professor at Indiana University Kokomo and a practicing artist and writer. Matthew Batty is a graduating MFA at IU Bloomington in Printmaking.



How does power operate through a particular positioning of bodies and space? An answer to this question lies in the very ways in which borders and boundaries are constructed and reinforced. In such creation and maintenance of the division between inside and outside, the fear of invasion, of the Other, and the unknown becomes intensified, sometimes in monstrous ways. The current political climate of the US may very well be considered as an example of such grotesque intensification of fear of others, where the Japanese Internment Camps of the WWII era are referred as a 'precedent' for the proposed Muslim registry. By using elements of theater and bureaucratic processes, my work creates a micro-simulation of what it means to be assumed and treated as a security threat to a society until proven otherwise.

Where has the border between invasion and migration been manufactured? How do we determine the different modes of movement in search for better living conditions? Movement is relative to observation and perspective, shifting through intervals of visibility. To witness a gaggle of geese landing in a Taco Bell to comb over the medians for leftovers, resonates and ruptures ideals of ownership of land, and entitlement. My work for Invasive Species explores how humyn/non-humyn people, sounds/silence, and image/objects can create new experiences of co-existence.


Solo show by Izzy Jarvis

 NOISE is proud to present a solo show by artist IZZY JARVIS.

"Seeing Red considers the ways in which we allow feminine people access to violent agency in an overwhelmingly aggressive patriarchal culture.

These woodcarvings are painted with a single color so that the image only reveals itself to an audience that chooses to engage."

Seeing Red

Join us for a reception (7-10 PM October 14) and the grand opening of NOISE, a gallery and artist residency featuring contemporary artists from across the globe. 

THINGS THAT AREN'T proudly features the following artists:
Timothy Briner
Everything is Collective
Mike Calway-Fagen
Brandon Gunn
Jamilah Sabur
Tiny Splendor


Materialized paradox, works that are both more and less than the sum of their parts

Things That Aren't
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