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SUMMARY:Group Art Exhibition: Alexandra and Jeremy Ackerman "Just Duet”
DESCRIPTION:Just Duet\nGroup Exhibition by Alexandra Ackerman and Jeremy Ackerman\n\nExhibition Dates:\nAugust 18th\, 2025 – Exhibition Opening Day\nSeptember 5th\, 2025 – Exhibition Reception 5:30PM – 7:30PM in the Community Gallery\nSeptember 5th\, 2025 – Exhibition Closes\n\n \nArtists’ Statements:\n\nAlexandra Ackerman:\nFor as long as I can remember I have found comfort and joy in making things with my hands. Art has helped me process and respond to the beauty and complexity of the world through every phase of life. Now\, as an adult\, I can see that all my work is in honor of childhood and in dedication to my childhood self\, the girl who found pure freedom in creating her own worlds. My paintings are “internal landscapes”\, unique environments that reflect a deep love of color\, pattern\, nature\, and play. My visual language draws from my years of experience farming and gardening across the country. I have found infinite pleasure in the simple act of watching plants grow; my hands in the soil\, bearing witness to the life cycle from seed to fruit\, contemplating the mysteries of clouds\, bugs\, and steaming piles of compost. The transformative experience of pregnancy and motherhood have also shaped me as an artist\, giving new meaning to the concept of “creation”.\nFor the past twenty years I have constantly sought to balance my roles of mother and artist\, finding joy and tears in the process. During the pandemic I shifted my focus from watercolor to acrylic and mixed media. I began gluing fabric scraps onto wood panels\, and painting around and over them. Cutting and gluing was grounding and healing in a time of extreme uncertainty. My current work – a series of acrylic and fabric paintings on wood – explores a combination of contrasting themes: wild vs. cultivated landscape\, domestic vs. natural environment\, order vs. chaos. Each painting seeks harmony and balance in color and composition\, texture and pattern. I am especially inspired by folk art\, botanical art\, aboriginal art\, and patchwork quilts. I hope my paintings will stimulate curiosity and encourage the viewer to look at the world with fresh eyes. \nJeremy Ackerman:\nThe irreverent artist Ray Johnson produced a series of seemingly improvised performances during his career that he referred to as “Throw Away Gestures.” Usually consisting of a few unremarkable objects\, Johnson would break down social norms by interacting with these objects in playful yet unsettling ways. These performances were not slick but rather a series of untethered gestures that were meant to surprise those\nbearing witness. Simple\, uncomplicated\, yet full of possibilities. In my most recent series of mixed media cut paper collages\, I’ve adapted Johnson’s concept of the “Throw Away Gesture” for two dimensional work. Scribbles became loose forms that were drawn up very quickly; sometimes without even looking at the paper. As the number of my throw away gestures accumulated I would look for interesting relationships between them. The drawn gestures then went through a comically tedious process of being cut out with an x-acto blade. Ultimately\, I was left with a collection of forms that were chopped up\, reduced\, expanded\, connected\, colored\, layered and sometimes actually thrown away.\nMy lifelong fascination with music played a major role in the aesthetic of these works. Rhythm and color push against each other as the cut out gestures dive\, slam\, twerk\, bounce and pogo; avatars for all the things floating around in my head. In these artworks the viewer might see glimmers of my lived experience of punk rock\, doo-wop\, death obsession\, new age philosophy\, hamburgers\, boom boxes\, spirits in the material world\, guilt\, divine comedies\, garbage collection\, aboriginal dreamtime conduits\, cosmic jazz and other such additions to a life time laundry list. In the end\, these sets of throw away gestures and random rules ushered in a new era of psychedelic storytelling that was in hot pursuit of self actualization. \n \nArtists’ Biographies:\n \nAlexandra Ackerman:\nAlexandra Ackerman is a mixed media artist who uses color\, pattern\, and form (both organic and geometric) to create playful and dynamic abstract landscapes. Her artwork has been influenced by her years of experience working on farms and in gardens across the U.S. She is also inspired by folk art\, patchwork quilts\, abstract expressionism\, and the Midwest landscape. Originally from Ann Arbor\, Michigan\, Ackerman grew up a keen observer of the natural world\, knowing from a young age that she would be an artist. She earned her BFA at Massachusetts College of Art\, where she explored a variety of media\, often incorporating fabric\, collage\, and found objects into her work. Ackerman has continued her exploration for three decades\, maintaining a childlike freedom in her painting while balancing her roles as artist and mother. She has participated in numerous solo and group exhibitions nationally and her work has found a home in many public and private collections. Recent exhibitions include the Iowa State Capitol\, Memorial Union Gallery at ISU\, and the Dubuque Museum of Art biennial. Her work can be found at Liz Lidgett Gallery and Prairie Lights Bookstore. Alexandra shares a studio with her husband\, Jeremy\, in downtown Iowa City. \nJeremy Ackerman:\nIn the 1990’s\, visual artist Jeremy Ackerman attended Massachusetts College of Art in Boston. There he studied unconventional painting and installation with Afro Cuban artist Magadlena Compos-Pons. Heavily influenced by Compos-Pons’ polymathic approach to art making\, Jeremy began to explore a multitude of media including drawing\, sculpture\, film and performance. After moving back to his hometown of Minneapolis at the end of the century\, Jeremy continued to create art work while also founding the critically acclaimed eclectic pop group\, Walker Kong. During this creative era of music making\, Jeremy also began to experiment with cut paper collage. As his cut paper practice developed\, so did his vision for what could be expressed with the medium. Jeremy has spent the last two decades creating a body of cut paper work that distills hyperactive movement into eye popping psychedelic dreamscapes.\nDuring the pandemic Jeremy created his most ambitious work to date “Run Run Run (We Could Have Died)!” The first public viewing will be at Octagon Center for the Arts. In addition to growing his visual art\, Jeremy recently started a recording studio/ DIY music label\, Mouse Traxx Sounds. He is a current member of the music group\, Oranj Ruffs\, whose debut album was released in June 2024. He lives in Iowa City with his partner Alexandra\, and their two children.
URL:https://octagonarts.org/event/justduet/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events,Exhibits
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DTSTAMP:20260424T213801
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SUMMARY:"Just Duet” Reception
DESCRIPTION:Just Duet\nGroup Exhibition by Alexandra Ackerman and Jeremy Ackerman\n\nExhibition Dates:\nAugust 18th\, 2025 – Exhibition Opening Day\nSeptember 5th\, 2025 – Exhibition Reception 5:30PM – 7:30PM in the Community Gallery\nSeptember 5th\, 2025 – Exhibition Closes\n\n \nArtists’ Statements:\n\nAlexandra Ackerman:\nFor as long as I can remember I have found comfort and joy in making things with my hands. Art has helped me process and respond to the beauty and complexity of the world through every phase of life. Now\, as an adult\, I can see that all my work is in honor of childhood and in dedication to my childhood self\, the girl who found pure freedom in creating her own worlds. My paintings are “internal landscapes”\, unique environments that reflect a deep love of color\, pattern\, nature\, and play. My visual language draws from my years of experience farming and gardening across the country. I have found infinite pleasure in the simple act of watching plants grow; my hands in the soil\, bearing witness to the life cycle from seed to fruit\, contemplating the mysteries of clouds\, bugs\, and steaming piles of compost. The transformative experience of pregnancy and motherhood have also shaped me as an artist\, giving new meaning to the concept of “creation”.\nFor the past twenty years I have constantly sought to balance my roles of mother and artist\, finding joy and tears in the process. During the pandemic I shifted my focus from watercolor to acrylic and mixed media. I began gluing fabric scraps onto wood panels\, and painting around and over them. Cutting and gluing was grounding and healing in a time of extreme uncertainty. My current work – a series of acrylic and fabric paintings on wood – explores a combination of contrasting themes: wild vs. cultivated landscape\, domestic vs. natural environment\, order vs. chaos. Each painting seeks harmony and balance in color and composition\, texture and pattern. I am especially inspired by folk art\, botanical art\, aboriginal art\, and patchwork quilts. I hope my paintings will stimulate curiosity and encourage the viewer to look at the world with fresh eyes. \nJeremy Ackerman:\nThe irreverent artist Ray Johnson produced a series of seemingly improvised performances during his career that he referred to as “Throw Away Gestures.” Usually consisting of a few unremarkable objects\, Johnson would break down social norms by interacting with these objects in playful yet unsettling ways. These performances were not slick but rather a series of untethered gestures that were meant to surprise those\nbearing witness. Simple\, uncomplicated\, yet full of possibilities. In my most recent series of mixed media cut paper collages\, I’ve adapted Johnson’s concept of the “Throw Away Gesture” for two dimensional work. Scribbles became loose forms that were drawn up very quickly; sometimes without even looking at the paper. As the number of my throw away gestures accumulated I would look for interesting relationships between them. The drawn gestures then went through a comically tedious process of being cut out with an x-acto blade. Ultimately\, I was left with a collection of forms that were chopped up\, reduced\, expanded\, connected\, colored\, layered and sometimes actually thrown away.\nMy lifelong fascination with music played a major role in the aesthetic of these works. Rhythm and color push against each other as the cut out gestures dive\, slam\, twerk\, bounce and pogo; avatars for all the things floating around in my head. In these artworks the viewer might see glimmers of my lived experience of punk rock\, doo-wop\, death obsession\, new age philosophy\, hamburgers\, boom boxes\, spirits in the material world\, guilt\, divine comedies\, garbage collection\, aboriginal dreamtime conduits\, cosmic jazz and other such additions to a life time laundry list. In the end\, these sets of throw away gestures and random rules ushered in a new era of psychedelic storytelling that was in hot pursuit of self actualization. \n \nArtists’ Biographies:\n \nAlexandra Ackerman:\nAlexandra Ackerman is a mixed media artist who uses color\, pattern\, and form (both organic and geometric) to create playful and dynamic abstract landscapes. Her artwork has been influenced by her years of experience working on farms and in gardens across the U.S. She is also inspired by folk art\, patchwork quilts\, abstract expressionism\, and the Midwest landscape. Originally from Ann Arbor\, Michigan\, Ackerman grew up a keen observer of the natural world\, knowing from a young age that she would be an artist. She earned her BFA at Massachusetts College of Art\, where she explored a variety of media\, often incorporating fabric\, collage\, and found objects into her work. Ackerman has continued her exploration for three decades\, maintaining a childlike freedom in her painting while balancing her roles as artist and mother. She has participated in numerous solo and group exhibitions nationally and her work has found a home in many public and private collections. Recent exhibitions include the Iowa State Capitol\, Memorial Union Gallery at ISU\, and the Dubuque Museum of Art biennial. Her work can be found at Liz Lidgett Gallery and Prairie Lights Bookstore. Alexandra shares a studio with her husband\, Jeremy\, in downtown Iowa City. \nJeremy Ackerman:\nIn the 1990’s\, visual artist Jeremy Ackerman attended Massachusetts College of Art in Boston. There he studied unconventional painting and installation with Afro Cuban artist Magadlena Compos-Pons. Heavily influenced by Compos-Pons’ polymathic approach to art making\, Jeremy began to explore a multitude of media including drawing\, sculpture\, film and performance. After moving back to his hometown of Minneapolis at the end of the century\, Jeremy continued to create art work while also founding the critically acclaimed eclectic pop group\, Walker Kong. During this creative era of music making\, Jeremy also began to experiment with cut paper collage. As his cut paper practice developed\, so did his vision for what could be expressed with the medium. Jeremy has spent the last two decades creating a body of cut paper work that distills hyperactive movement into eye popping psychedelic dreamscapes.\nDuring the pandemic Jeremy created his most ambitious work to date “Run Run Run (We Could Have Died)!” The first public viewing will be at Octagon Center for the Arts. In addition to growing his visual art\, Jeremy recently started a recording studio/ DIY music label\, Mouse Traxx Sounds. He is a current member of the music group\, Oranj Ruffs\, whose debut album was released in June 2024. He lives in Iowa City with his partner Alexandra\, and their two children.
URL:https://octagonarts.org/event/just-duet-reception/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events,Exhibits
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DTEND;TZID=America/Chicago:20250906T140000
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SUMMARY:Art Supply Treasure Hunt!
DESCRIPTION:Find your art supply treasures and bag them up for free!   \nFrom 10am – 2pm\nIn the Octagon 2nd Floor Dance Studio \nPrairie Rose Needleworks\, Knittery Nook and the Octagon have been gathering art and craft supplies from the community throughout August. And now we want to make them available to you – for free! Join us on the 2nd floor of the Octagon on September 6 and hunt for the art supplies you need. Or the art supplies that you wanted but didn’t know if you would use. Now is the time to find out! (We know there’s a big game that day – come before it starts or sneak away at halftime. There’s time!) \nFree and open to all ages; 12 & under must be accompanied by an adult 
URL:https://octagonarts.org/event/art-supply-giveaway/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events
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DTSTART;TZID=America/Chicago:20250912T100000
DTEND;TZID=America/Chicago:20250928T170000
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SUMMARY:Solo Art Exhibition: Christopher Hynes “Visions of Hildegard”
DESCRIPTION:Visions of Hildegard\nSolo Exhibition by Christopher Hynes\n\nExhibition Dates:\nSeptember 12th\, 2025 – Exhibition Opening Day\nSeptember 12th\, 2025 – Exhibition Reception 5:30PM – 7PM in the Community Gallery with choir performance by the group “Good Company” at 6pm\nSeptember 28th\, 2025 – Exhibition Closes \n \nArtist Statement:\n“There is a little bit of something in everything and that is what I like to explore.” \nMy work is all about storytelling–my Assemblages\, Sculptures\, Collages\, and Pigmented Plasters all bear a narrative element. Through observing\, reinterpreting\, repurposing\, and reimagining objects\, materials and artifacts\, I create visual poems that are sometimes political and serious\, sometimes whimsical and humorous\, but always with purpose and intent. When I’m in my studio everything I need is there and the universe is perfect. \nHildegard of Bingen saw the world as a whole – nearly nine  centuries before spaceflight allowed us to see the Earth as a  vulnerable orb against the darkness of space. I have long had a  personal connection with this exceptional mystic. Having raised  ten children- I was the tenth- my mother returned to her vocation  as a Benedictine nun after my father passed away. She told me  about Hildegard\, her work and her visions in the early eighties  before she became known and celebrated in bibliotherapy  research. So when Alex [collaborative composer] shared his ideas of working with Hildegard of  Bingen’s concepts and music for our second collaboration\, I was immediately drawn in. The number 3 occurs with regularity in  Hildegard’s writings\, and Alex made this central in his new  composition. I then decided to base my palette on the three  primary colors and their opposites. The nine paintings divided in  three subsets of three sizes – 24 x 24\, 48 x 48\, and 24 x 48 inches  determined the size of the paintings. I worked exclusively in pigmented plaster\, which dates back to  the Babylonians. It is a material that Hildegard would have been  familiar with and that I discovered while working the trades in  the early 2000s. I apply the plaster with a variety of knives ranging  from large mud knives to very small palette knives typically used  for oil Paint on a surface of wood Panels or from plywood found  on job sites. Each tool allows me to create different textures and  details\, working with this ancient medium in a modern context. I  chose the orbs to reflect Hildegard’s visionary depictions and the  larger expansive world she perceived. The paintings represent the  vibrant energy she found within her contemplative state in  monastic life. I must say creating them takes me into a deep  meditative state. The first three paintings I created\, measuring 24″ x 24″\, have the  primary colors red\, blue\, and yellow\, on a field of their complementary opposites\, green\, orange\, and purple. \nAt the heart of each piece is an orb within a square\, symbolically  enclosed by a gilt cross. These simple yet powerful forms are  inspired by Hildegard’s Benedictine tradition\, evoking spiritual  balance\, the intersection of the earthly and the divine\, and the  cyclical nature of spiritual growth. The gold reflects spiritual awareness. Hildegard explained that  her visions were not observed by the senses but within her soul\,  opened to experience. She called it “the reflection of the living light” and said it was “not spatial\, but far\, far brighter than a  cloud which carries the sun. The three larger square paintings\, 48″ x 48”\, have an orb in a  secondary color on a field of blended primary and secondary  colors. These paintings symbolize Hildegard’s visions of the great  unknown cosmos and her mystical experiences of astral travel.  The orbs serve as metaphors for Hildegard’s visions and meditations on the divine order of the cosmos\, which she documented in  her manuscripts. These orbs also evoke the mystical nature of her  “Music of the Spheres\,” an ancient and medieval philosophical  idea where the movements of celestial bodies are not random but  instead follow a harmonious and ordered system\, stirring with  life. As she writes in her final text\, The Book of Divine Works: “the  waters flow as if alive\, and the sun lives within its own light\, and  when the moon has waned it is rekindled by the light of the sun  and thereby lives anew\, and the stars shine forth in their own light  as though alive.”‘ The final three paintings are horizontal works\, measuring 24×48\,  inspired by the trio of musicians’ free improvisations that run  throughout the jazz composition. The three primary colors in  these pieces mirror the fluid and spontaneous nature of improvisation\, where distinct yet interconnected elements come together  to create a cohesive whole. The paintings have a visual reference  to Physica\, Hildegard’s treatises on medicinal plants\, recording  one of the first compendiums of European plants that offered  insight into their herbal properties and their use as remedies.  \nArtist Biography:\nChristopher Hynes is the youngest of 10 children and grew up in Washington\, D.C. around artists\, writers\, and politicos. As a young man he was a studio assistant for several Washington artists. He also worked in an archival frame shop but\, mostly\, he played in rock and roll bands. In 1988 he turned to the visual arts full time. He is mostly self-taught and has had numerous group and one-man shows in Texas\, New York\, D.C.\, and other cities. His work is in many private collections across the United States. He’s lived in Austin since 1984.
URL:https://octagonarts.org/event/solo-art-exhibition-christopher-hynes-visions-of-hildegard/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events,Exhibits
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DTSTART;TZID=America/Chicago:20250912T173000
DTEND;TZID=America/Chicago:20250912T190000
DTSTAMP:20260424T213801
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SUMMARY:“Visions of Hildegard” Reception
DESCRIPTION:Visions of Hildegard\nSolo Exhibition by Christopher Hynes \n\nExhibition Dates:\nSeptember 12th\, 2025 – Exhibition Opening Day\nSeptember 12th\, 2025 – Exhibition Reception 5:30PM – 7PM in the Community Gallery with choir performance by the group “Good Company” at 6pm\nSeptember 28th\, 2025 – Exhibition Closes \n \nArtist Statement:\n“There is a little bit of something in everything and that is what I like to explore.” \nMy work is all about storytelling–my Assemblages\, Sculptures\, Collages\, and Pigmented Plasters all bear a narrative element. Through observing\, reinterpreting\, repurposing\, and reimagining objects\, materials and artifacts\, I create visual poems that are sometimes political and serious\, sometimes whimsical and humorous\, but always with purpose and intent. When I’m in my studio everything I need is there and the universe is perfect. \nHildegard of Bingen saw the world as a whole – nearly nine  centuries before spaceflight allowed us to see the Earth as a  vulnerable orb against the darkness of space. I have long had a  personal connection with this exceptional mystic. Having raised  ten children- I was the tenth- my mother returned to her vocation  as a Benedictine nun after my father passed away. She told me  about Hildegard\, her work and her visions in the early eighties  before she became known and celebrated in bibliotherapy  research. So when Alex [collaborative composer] shared his ideas of working with Hildegard of  Bingen’s concepts and music for our second collaboration\, I was immediately drawn in. The number 3 occurs with regularity in  Hildegard’s writings\, and Alex made this central in his new  composition. I then decided to base my palette on the three  primary colors and their opposites. The nine paintings divided in  three subsets of three sizes – 24 x 24\, 48 x 48\, and 24 x 48 inches  determined the size of the paintings. I worked exclusively in pigmented plaster\, which dates back to  the Babylonians. It is a material that Hildegard would have been  familiar with and that I discovered while working the trades in  the early 2000s. I apply the plaster with a variety of knives ranging  from large mud knives to very small palette knives typically used  for oil Paint on a surface of wood Panels or from plywood found  on job sites. Each tool allows me to create different textures and  details\, working with this ancient medium in a modern context. I  chose the orbs to reflect Hildegard’s visionary depictions and the  larger expansive world she perceived. The paintings represent the  vibrant energy she found within her contemplative state in  monastic life. I must say creating them takes me into a deep  meditative state. The first three paintings I created\, measuring 24″ x 24″\, have the  primary colors red\, blue\, and yellow\, on a field of their complementary opposites\, green\, orange\, and purple. \nAt the heart of each piece is an orb within a square\, symbolically  enclosed by a gilt cross. These simple yet powerful forms are  inspired by Hildegard’s Benedictine tradition\, evoking spiritual  balance\, the intersection of the earthly and the divine\, and the  cyclical nature of spiritual growth. The gold reflects spiritual awareness. Hildegard explained that  her visions were not observed by the senses but within her soul\,  opened to experience. She called it “the reflection of the living light” and said it was “not spatial\, but far\, far brighter than a  cloud which carries the sun. The three larger square paintings\, 48″ x 48”\, have an orb in a  secondary color on a field of blended primary and secondary  colors. These paintings symbolize Hildegard’s visions of the great  unknown cosmos and her mystical experiences of astral travel.  The orbs serve as metaphors for Hildegard’s visions and meditations on the divine order of the cosmos\, which she documented in  her manuscripts. These orbs also evoke the mystical nature of her  “Music of the Spheres\,” an ancient and medieval philosophical  idea where the movements of celestial bodies are not random but  instead follow a harmonious and ordered system\, stirring with  life. As she writes in her final text\, The Book of Divine Works: “the  waters flow as if alive\, and the sun lives within its own light\, and  when the moon has waned it is rekindled by the light of the sun  and thereby lives anew\, and the stars shine forth in their own light  as though alive.”‘ The final three paintings are horizontal works\, measuring 24×48\,  inspired by the trio of musicians’ free improvisations that run  throughout the jazz composition. The three primary colors in  these pieces mirror the fluid and spontaneous nature of improvisation\, where distinct yet interconnected elements come together  to create a cohesive whole. The paintings have a visual reference  to Physica\, Hildegard’s treatises on medicinal plants\, recording  one of the first compendiums of European plants that offered  insight into their herbal properties and their use as remedies. \nArtist Biography:\nChristopher Hynes is the youngest of 10 children and grew up in Washington\, D.C. around artists\, writers\, and politicos. As a young man he was a studio assistant for several Washington artists. He also worked in an archival frame shop but\, mostly\, he played in rock and roll bands. In 1988 he turned to the visual arts full time. He is mostly self-taught and has had numerous group and one-man shows in Texas\, New York\, D.C.\, and other cities. His work is in many private collections across the United States. He’s lived in Austin since 1984. \n  \nPerformers:\nGood Company is a premier women’s ensemble\, bringing together women of all ages and walks of life to share the beauty of choral music in Ames. A small group of Good Company members will be performing two works by Hildegard of Bingen\, under the direction of Steve Hoifeldt.  \nWebsite: goodcompanysings.com
URL:https://octagonarts.org/event/visions-of-hildegard-reception/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events,Exhibits
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250918T170000
DTEND;TZID=America/Chicago:20250918T200000
DTSTAMP:20260424T213801
CREATED:20250821T231529Z
LAST-MODIFIED:20250908T202241Z
UID:17215-1758214800-1758225600@octagonarts.org
SUMMARY:Third Thursdays: Downtown Ames Music Walk!
DESCRIPTION:  \nDowntown Ames Music Walk!\nThursday\, September 18th\, 5:00pm – 8:00pm \nParticipate in Music Walk\, from 5:00-8:00pm\, throughout downtown and stop by to see our featured band\, Foxpin!\nJoin us on the Octagon Patio in the alley on the west side of the building for good music and good company! \nOur Performer:\nFoxpin is a band from Ames\, Iowa that performs earnest rock music with bluesy keys and a tasteful rhythm section. Foxpin members are Ben Erbes (keys)\, Chase Abner (bass/vocals)\, Dan McClanahan (drums)\, and Lane Jahn (guitar/vocals). \nCheck our their music and socials:\nMusic LinkTree\nFacebook\nInstagram
URL:https://octagonarts.org/event/third-thursdays-downtown-ames-music-walk/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:Events
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ORGANIZER;CN="Octagon Center for the Arts":MAILTO:info@octagonarts.org
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20250928T100000
DTEND;TZID=America/Chicago:20250928T160000
DTSTAMP:20260424T213801
CREATED:20250818T152832Z
LAST-MODIFIED:20250821T195924Z
UID:17159-1759053600-1759075200@octagonarts.org
SUMMARY:54th Annual Octagon Art Festival
DESCRIPTION:The Octagon Art Festival takes place the fourth Sunday of September along Main Street in downtown Ames\, IA. The festival is held outdoors on pavement\, RAIN OR SHINE. Visual arts\, children’s art area\, food vendors and performing arts form the foundation of the Octagon Art Festival. Approximately 10\,000 people attend the festival.
URL:https://octagonarts.org/event/54th-annual-octagon-art-festival/
LOCATION:Octagon Center for the Arts\, 427 Douglas Avenue\, Ames\, IA\, 50010\, United States
CATEGORIES:General
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ORGANIZER;CN="Octagon Center for the Arts":MAILTO:info@octagonarts.org
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END:VCALENDAR