RAMMΣLLZΣΣ: a Roll of Dice 2 October – 10 November 2018
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Schirn Presse Basquiat Boom for Real En
BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly. -
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24 Friday Lifestyle | Feature Friday, May 11, 2018 People look at the art of the conceptual artist, graffiti artist, hip-hop pioneer, Rammellzee (RAMMSLLZSS), during a private preview at Red Bull Arts New York, in New York. — AFP photos From graffiti to gothic mythology, Rammellzee is remembered in New York early a decade after his death, a New NYork retrospective of the rapper, com- poser, graffiti artist, painter, sculptor and cosmic theorist Rammellzee hopes to re- veal to the world his multifaceted, iconoclastic work. While street art has worked its way into everyone’s living room, and a painting by Jean- Michel Basquiat can fetch more that $100 mil- lion, Rammellzee, although a key figure of 1980s New York, remains-as Sotheby’s put it- ”perhaps the greatest street artist you’ve never heard of.” Like many aspiring artists of his time, a teenage Rammellzee in 1970s Queens, New York, started out spraying on subway trains. But as time passed, his letters transformed into abstract figures-compositions that by the start of the 1980s could be found in galleries, even Rotterdam’s prestigious Boijmans Van Beunin- gen museum in 1983. He also rapped-and Basquiat produced-his single “Beat Bop,” which would go on to be sampled by the Beastie Boys and Cypress Hill. Next, he made a stealthy cameo in Jim Jarmusch’s cult film “Stranger Than Paradise.” But instead of being propelled to the same heights as Basquiat, Rammellzee changed course-inventing the concept of gothic futur- rative arch that could convey his intentions,” ism, creating his own mythology based on a explained Max Wolf of Red Bull Arts New York, manifesto. -
Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, No
ISSN: 2471-6839 Cite this article: Peter R. Kalb, review of Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11870. Writing the Future: Basquiat and the Hip-Hop Generation Curated by: Liz Munsell, The Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate Exhibition schedule: Museum of Fine Arts, Boston, October 18, 2020–July 25, 2021 Exhibition catalogue: Liz Munsell and Greg Tate, eds., Writing the Future: Basquiat and the Hip-Hop Generation, exh. cat. Boston: Museum of Fine Arts, Boston, 2020. 199 pp.; 134 color illus. Cloth: $50.00 (ISBN: 9780878468713) Reviewed by: Peter R. Kalb, Cynthia L. and Theodore S. Berenson Chair of Contemporary Art, Department of Fine Arts, Brandeis University It may be argued that no artist has carried more weight for the art world’s reckoning with racial politics than Jean-Michel Basquiat (1960–1988). In the 1980s and 1990s, his work was enlisted to reflect on the Black experience and art history; in the 2000 and 2010s his work diversified, often single-handedly, galleries, museums, and art history surveys. Writing the Future: Basquiat and the Hip-Hop Generation attempts to share in these tasks. Basquiat’s artwork first appeared in lower Manhattan in exhibitions that poet and critic Rene Ricard explained, “made us accustomed to looking at art in a group, so much so that an exhibit of an individual’s work seems almost antisocial.”1 The earliest efforts to historicize the East Village art world shared this spirit of sociability. -
FUTURA2000 (Born Leonard Hilton Mcgurr in New York City) Is a Graffiti Pioneer Who Began Painting Subways in the Late 1970S
FUTURA2000 (born Leonard Hilton McGurr in New York City) is a graffiti pioneer who began painting subways in the late 1970s. In 1980 he painted the iconic whole car titled “Break,” which was recognized for its abstraction, rather than a focus on lettering. This painting established some of the enduring aesthetic motifs and approaches FUTURA2000 would explore over the decades that followed. FUTURA2000 was among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. His paintings were shown at Patti Astor’s Fun Gallery and Tony Shafrazi, alongside those of his friends Keith Haring, Jean-Michel Basquiat, Rammellzee, DONDI, and Kenny Scharf. MoMA PS1 brought the artists together in their landmark 1981 exhibition, “New York / New Wave.” In this period, FUTURA2000 illustrated the sleeve cover for The Clash’s ‘This is Radio Clash’ seven-inch single. He accompanied The Clash on their Combat Rock tour, spray painting in the background while the band played. He painted as an accompaniment to demonstrations of break dance by the Rock Steady Crew, and concerts by Grand Master Flash and Afrika Bombataa. With the Clash, he recorded the vinyl “The Escapades of Futura 2000,” a manifesto for graffiti. By the 1990s, as the commercialization of global street culture in the 1990s inspired collaborations with fashion and lifestyle brands, FUTURA2000’s work moved toward a more refined expression of his abstract style. Commissions from brands such as Supreme, A Bathing Ape, Stüssy, and Mo' Wax saw his artwork canonized as an elemental component of cross-genre street aesthetic. He has collaborated with Nike, BMW, Comme des Garçons, Louis Vuitton, and Off-White. -
Hip Hop Music to Enhance Critical Discussions
HipHip Hop Hop Using Hip Hop Music to Enhance Critical Discussions JEFFREY L. BROOME MCs kick rhymes to beats, or a cappella Graf artists tagging year round through all weather Our culture’s evolving, what next will it bring Hip-hop is one of my favorite things DJs, b-boys, and b-girls are so clever They called it a fad, but we’re hip-hop forever We love our culture, to it we shall cling Hip-hop is one of my favorite things (Substantial, 2008, track 7) As an adolescent during the late 1980s and early 1990s, a favorite secondary art students could identify these links too. The purpose of activity among my peers was to listen to hip-hop music. We were this article is to detail my resulting instructional experiences using fascinated by this fairly new addition to popular culture (partially hip-hop music as a tool for enhancing critical discussions on post- because older generations told us it wasn’t “real music”), enjoyed modern art. I begin with a literature review on postmodernism and most of it, but never discussed it critically. All of that changed for on sampling in hip-hop music, before detailing my efforts in incor- me when friends played the song “The Magic Number” (Huston, porating hip-hop into my own collegiate instruction. A concluding Mercer, Jolicoeur, Mason, & Dorough, 1990) by De La Soul. I imme- section discusses the applicability of such methods at the secondary diately recognized parts of the tune and adapted lyrics from a short level and other implications for art education. -
Basquiat Boom for Real February 16 – May 27 2018
FILMING AND PHOTOGRAPHY – IMPORTANT GUIDELINES BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27 2018 Please ensure that you read and adhere to the following conditions: PHOTOGRAPHY IN THE EXHIBITION: IMPORTANT: Photography is not permitted in: o Sections “The Scene“, “Warhol“ and “Beat Bop“: no photography of any objects OR photography on loan from The Andy Warhol Foundation (see attached list) o Section “The Screen“: no photography of excerpt on TV „State of the Art“ o Section “Downtown 81“: Film “Downtown 81“ may only appear in background shots All images may only be used for current coverage of the exhibition. Their use for commercial purposes and the disclosure to third parties without further permission is prohibited. All works must be photographed in the context of the exhibition. No close up shots of individual works allowed. The images may not be changed in any significant way. All caption information must appear whenever an image is reproduced: Basquiat. Boom for Real Schirn Kunsthalle Frankfurt February 16 – May 27, 2018 Artworks: © VG Bild-Kunst Bonn, 2018 & The Estate of Jean-Michel Basquiat, Licensed by Artestar, New York. Press installation images are available from the Newsroom: http://www.schirn.de/en/m/press/newsroom/basquiat_boom_for_real/#images FILMING IN THE EXHIBITION IMPORTANT: Filming is not permitted in: o Sections “The Scene“, “Warhol“ and “Beat Bop“: no filming of any objects OR photography on loan from The Andy Warhol Foundation (see attached list) o Section “The Screen“: no filming of excerpt on TV „State of the Art“ o Section “Downtown 81“: Film “Downtown 81“ may only appear in background shots All recordings may only be used for current coverage of the exhibition. -
Reading Sample
BASQUIAT BOOM FOR REAL 191115_Basquiat_Book_Spreads.indd 1 20.11.19 14:31 EDITED BY DIETER BUCHHART AND ELEANOR NAIRNE WITH LOTTE JOHNSON 191115_Basquiat_Book_Spreads.indd 2 20.11.19 14:31 BASQUIAT BOOM FOR REAL PRESTEL MUNICH · LONDON · NEW YORK 191115_Basquiat_Book_Spreads.indd 3 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 4 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 5 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 6 20.11.19 14:31 8 FOREWORD JANE ALISON 4. JAZZ 12 BOOM, BOOM, BOOM FOR REAL 156 INTRODUCTION DIETER BUCHHART 158 BASQUIAT, BIRD, BEAT AND BOP 20 THE PERFORMANCE OF FRANCESCO MARTINELLI JEAN-MICHEL BASQUIAT ELEANOR NAIRNE 162 WORKS 178 ARCHIVE 1. SAMO© 5. ENCYCLOPAEDIA 28 INTRODUCTION 188 INTRODUCTION 30 THE SHADOWS 190 BASQUIAT’S BOOKS CHRISTIAN CAMPBELL ELEANOR NAIRNE 33 WORKS 194 WORKS 58 ARCHIVE 224 ARCHIVE 2. NEW YORK/ 6. THE SCREEN NEW WAVE 232 INTRODUCTION 66 INTRODUCTION 234 SCREENS, STEREOTYPES, SUBJECTS JORDANA MOORE SAGGESE 68 EXHIBITIONISM CARLO MCCORMICK 242 WORKS 72 WORKS 252 ARCHIVE 90 ARCHIVE 262 INTERVIEW BETWEEN 3. THE SCENE JEAN-MICHEL BASQUIAT, GEOFF DUNLOP AND SANDY NAIRNE 98 INTRODUCTION 268 CHRONOLOGY 100 SAMO©’S NEW YORK LOTTE JOHNSON GLENN O’BRIEN 280 ENDNOTES 104 WORKS 288 INDEX 146 ARCHIVE 294 AUTHOR BIOGRAPHIES 295 IMAGE CREDITS 191115_Basquiat_Book_Spreads.indd 7 20.11.19 14:31 Edo Bertoglio. Jean-Michel Basquiat wearing an American football helmet, 1981. 8 191115_Basquiat_Book_Spreads.indd 8 20.11.19 14:31 FOREWORD JANE ALISON Jean-Michel Basquiat is one of the most significant painters This is therefore a timely presentation of a formidable talent of the 20th century; his name has become synonymous with and builds on an important history of Basquiat exhibitions notions of cool. -
Saving Basquiat: Seeing the Art Through the Myth-Making at
Saving Basquiat: Seeing the Art Through the Myth-Making at ... http://www.blouinartinfo.com/news/story/886916/saving-basqui... Search All, Venues, Artists Submit Saving Basquiat: Seeing the Art Through the Myth-Making at Gagosian by Ben Davis Published: April 5, 2013 With over 50 Jean-Michel Basquiat / Courtesy of ITVS / Lee Jaffe paintings, “museum-quality” is probably the © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013. Courtesy Gagosian Gallery. Photography by Robert term you'd use to describe Gagosian’s Jean-Michel McKeever Basquiat show, which has been drawing rock-star Installation view of the Jean-Michel Basquiat exhibition at Gagasion, West 24th Street, New York crowds to West 24th street since it opened. But really, it might be better to call it “warehouse-quality.” The show is overwhelming and difficult to write about, partly because there doesn’t seem to be any idea behind it at all; the works are hung neither by chronology nor by theme. They are merely a spectacularly impressive collection of largish Basquiats from a number of private collections. In this way, the show replicates the tragedy of this artist’s short and chaotic life, where the feverish buzz of celebrity came to overpower any assessment of the works as individual objects. Basquiat’s art is brimming with life — he worked fast, and painted everywhere, on everything around him — and it owes much of his continued cachet to the enduring legend of its unfiltered immediacy. But if you look closely, what you will see is that they are records, almost every one, of an almost crippling self-consciousness. -
Title: Writing the Future: Basquiat and the Hip-Hop Generation
Title: Writing the Future: Basquiat and the Hip-Hop Generation Type: Segment Subject(s): Museum Exhibit Project Contact: Name: Robert Judge Company: WGBH Email: [email protected] Original Broadcast/Publish Date: 10/23/2020 Runtime: 00:04:56 Main Asset File Size: 1.9 GB Short Description: A look at the exhibition, “Writing the Future: Basquiat and the Hip-Hop Generation” at the MFA Long Description: A look at the exhibition, “Writing the Future: Basquiat and the Hip-Hop Generation” at the MFA Rights Information Media Rights: Please refer to the MMG Arts Initiative Agreement for full rights information. Sensitive Material: N/A Special Instructions: N/A File Clean of Graphics: Yes Language English Embed Code: WWW.MFA.ORG Lower Thirds TC In Lower Third In Cue 00:00:27 Liz Munsell He often gets Contemporary Art Curator, MFA 00:01:50 Greg Tate There's a lot of chaos... Co-curator, Writing the Future Production Credits: Executive Editor/Arts: Jared Bowen Executive Producer: Delores Edwards Associate Producer: Rory Sheil Production Manager: Bob Judge Videographer: Howard Powell Editor: Rob Fagnant Photo credits: The Museum of Fine Arts, Boston The Trust for African Rock Art William Coupon Cold Open ARTIST JEAN-MICHEL BASQUIAT AND THE HIP HOP GENERATION THAT GRABBED HOLD OF THE ART WORLD. 1 / 4 Lead IN THE LATE 1970S AND EARLY 80S, A GROUP OF ARTISTS MOVED FROM THE STREETS OF NEW YORK, WHERE THEIR CANVASES WERE SUBWAY CARS AND BRICK WALLS, TO THE TONY CONFINES OF EXCLUSIVE ART GALLERIES. IN A NEW EXHIBITION, THE MUSEUM OF FINE ARTS CHARTS THE COURSE OF ARTIST JEAN- MICHEL BASQUIAT AND THE HIP-HOP GENERATION. -
RAMMELLZEE: the Private Collection of The
Ayn Foundation presents: Inside each of The Private Collection’s ten cases is one letter of the word magistrate, written in Rammellzee’s own script. The artist describes these letters as having RAMMELLZEE: The been “dropped from hell—the one place God cannot go.” Located in the hallway outside the gallery is Private Collection Rammellzee’s Mettropposttsizzer Gothicure 107 Hits Light Speed to Break it Down (1982), which was first exhibited in Future Futurism at New York’s Barbara of the Magistrate Braathen Gallery in 1986. ABOUT MANA CONTEMPORARY Founded in 2011, Mana Contemporary is dedicated to providing a platform for contemporary art and artists through exhibitions, studio programs, and public programs. Mana’s community network began in New Jersey and has since expanded to include Mana Chicago and Mana Miami. Mana Contemporary con- tinues to create new partnership opportunities that explore the intersection of contemporary art, design, new technologies, and music. For more information, visit manacontemporary.com. Rammellzee, The Private Collection of the Magistrate (detail), 1982. Acrylic, CONTACT spray paint, epoxy resin, and ink on wood. Ten parts: five parts 32 x 82 x 4 Alison L. Roberts in. each; five parts 32 x 42 x 4 in. each. Photo: Courtesy of Ayn Foundation [email protected] FOLLOW US Ongoing @manacontemporary Floor 1 #ManaContemporary “I am not an artist. Rammellzee is an equation, and I Mana Contemporary come to the art scene as a gangster.” —Rammellzee 888 Newark Avenue Jersey City, NJ 07306 JERSEY CITY, April 28—Mana Contemporary and the Ayn Foundation are pleased to present Rammellzee’s ten-part “resin fresco” installation The Private Collection of the Magistrate (1982). -
Kid Creole and the Coconuts + Arto Lindsay 10.20Pm Justin Strauss – Clubstage + Justin Strauss
Sat 7 Oct, 2017 7. 3 0 p m Kid Creole Arto Lindsay 8.45pm and the Coconuts Justin Strauss – clubstage 9.05pm Kid Creole and the Coconuts + Arto Lindsay 10.20pm Justin Strauss – clubstage + Justin Strauss Arto Lindsay guitar, vocals Jane Cornwell takes us on a trip back to They’re here tonight. In the flesh: Lindsay, Marivaldo Paim percussion Downtown NYC in the 1970s and ‘80s as she Strauss and the Kid. The rest are here in spirit, Cinque Kemp drums speaks to three musicians at the apex of a but particularly Basquiat – a preternaturally Paul Wilson keys cultural scene that gave birth to some of the talented renegade who threw his net wide, Melvin Gibbs bass 20th century’s most lauded creative minds. drawing inspiration from Bebop and Hip Hop, architecture and performance, screen Kid Creole and the Coconuts New York City. The late ‘70s, early ‘80s. Graffiti and street, and whose work is currently being and glitter; safety pins and shoulder pads; torn celebrated in the Barbican Art Gallery. August Darnell – The Kid jeans, Lycra, big bouffy hair. Musical genres band leader swirling and fizzing: Punk and Jazz, New Wave ‘Jean-Michel was a loyal friend, sure of himself Roos Van Rossum coconut and No Wave, Pop, Electronica and a myriad from the beginning, rightfully aggrieved, always Sarah Mcgrath coconut sounds from elsewhere. At the city’s dirty generous,’ says Lindsay, himself a man of many Charlotte De Graaf coconut Downtown heart beat clubs like the Mudd, the things. Singer, songwriter, composer. Producer, Toby Goodman drums Ritz and Area, which along with Midtown’s showy curator, artist. -
The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture
arts Article The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture Adam de Paor-Evans Faculty of Culture and the Creative Industries, University of Central Lancashire, Lancashire PR1 2HE, UK; [email protected] Received: 24 October 2018; Accepted: 12 November 2018; Published: 16 November 2018 Abstract: Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.