RAMMELLZEE: the Private Collection of The

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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). The work was originally made by the late Afrofuturist visionary for his exhibition at New York’s Gallozzi-La Placa Gallery, and this will be its first public showing since its 1982 debut. Rammellzee (1960–2010) began his artistic practice in the mid-1970s as a teenage graffiti writer on the New York City subway, becoming part of the emergent street culture of hip-hop, which also incorporated rap and breakdancing. It was primarily through graffiti tagging that Rammellzee aimed to empower those who had traditionally been ignored. In 1979, the artist published IONIC TREATISE: GOTHIC FUTURISM, which outlines a new “wild style” alphabet- ic system derived from gothic lettering. Inspired by an order of medieval monks whose mission was to subvert the hierarchy of those seeking to control language, Rammellzee’s text similarly attempts to democratize the process of communication. .

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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.
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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
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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.
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