This article was posted by Mare 139 3 months, 22 hours, 14 minutes ago.
Presented by BRIC Arts | Media | Bklyn and El Museo del Barrio, NY
Curated by Elvis Fuentes, Rocío Aranda-Alvarado, and Trinidad Fombella, El Museo del Barrio
BRIC Rotunda Gallery serves as the sole Brooklyn venue for The (S) Files 2011, El Museo del Barrio’s sixth biennial featuring innovative work Latino, Caribbean, and Latin American artists currently working in the greater New York area. This year’s edition highlights street art movements as a point of creative departure, with an expansive exploration of the visual energy, events, and aesthetics of urban environments.
The exhibition spreads across the city, showcasing 75 emerging artists at seven venues. BRIC Rotunda Gallery presents the video and photo documentation of performance and political art of 10 of the participating artists grouped by theme and media. Artists include: MARE139/Carlos Rodriguez, Javier Bosques, Alexis Duque, Felipe Galindo, Ellis Gerard, COCO144/Roberto Gualtieri, Alicia Grullón, Las Hermanas Iglesias, Armando Mariño, Jessica Mein, Leonor Mendoza, Felix Morelo, Rafael Sánchez and Kathleen White, Rafael Sánchez,VJ Demencia/Rene Juan De La Cruz, and Nicoykatiushka
This article was posted by Mare 139 3 months, 1 week, 4 days, 1 hour, 20 minutes ago.
Slick K2S earns the Complex Best Hip Hop Album Cover in the number 20 spot for the Pharcydes Bizarre Ride II as he put it- “This was a great project all around, I was painting rails for days. It was all by hand, we still weren’t hip to the computer technology yet. I even got attacked by fire ants while painting this biatch. They got Fuct listed a photographer, it was actually Block from Venice. Back then I used to draw all the blue line and Erik Brunetti used to have to decipher my scribbles and ink it, I’ll try and post sketches when I dig em up……Erik and I were FUCT GRAPHICS before we did clothing……”
This article was posted by Mare 139 3 months, 2 weeks, 3 days, 2 hours, 26 minutes ago.
Come support our good friend Lady Pink. Support her amazing new work!
PInk was born in Ecuador, but raised in NYC. In 1979 she started writing graffiti and soon was well known as the only female capable of competing with the boys in the graffiti subculture. Pink painted subway trains from the years 1979-1985. In 1982 she had a starring role the motion picture “Wild Style”. That role and her other significant contributions to graffiti have made her a cult figure in the hip-hop subculture.
While still in high school she was already exhibiting paintings in art galleries, and at the age of 21 had her first solo show at the Moore College of Art. As a leading participant in the rise of graffiti-based art, Lady Pink’s canvases have entered important art collections such as those of the Whitney Museum, the MET in New York City, the Brooklyn Museum and the Groningen Museum of Holland. She has established herself in the fine arts world, and her paintings are highly prized by collectors.
Today, Lady Pink continues to create new paintings on canvas that express her unique personal vision. She also shares her 30 years of experience with teens by holding mural workshops and actively lecturing to college students throughout the Northeast.
The more support we receive the more expansive the effort will become to advance the exhibition in the gallery and public space. This will be a groundbreaking effort for my sculptural graffiti works and I hope you all can be a part of it. My collaboration with John Wendelbo will push into new boundaries and we want you all to own a part of it by becoming advocates for the show.
What are we doing?
a LIVE 28 foot long, 8 foot tall graffiti and stencil mural outside the Carrack on Parrish Street Saturday Nov 19th: you, your kids, somebody gets to bring home a part of the wall, and it’s all during Durham ART WALK.
What’s the deal?
The wall mural has been subdivided into a bunch of panels of different sizes, some 1’x1’ and up to 4’x8’. We are pre-selling only blank panels ahead of time to pay for the show (we have a seriously wild installation for you that week end indoors at the Carrack): you can purchase a panel, you have no idea what will be on it besides the excellent Art of any and all MARE139 / WENDELBO collaborations. What you do know is that it’s going to be awesome, raw, genuine and authentic. Of course panel sales stop before the beginning of the performance, wouldn’t be fair otherwise! We also DO NEED to pre-sell $1000 within the next two weeks to make sure all goes smoothly.
Hi Arts NYC pledges to match $2,500 towards the show if we meet that goal!
To get more info, view a video of a 3D sculpture we will be using as the basis for one of our lay-ups, or to buy a panel now and visit our kickstarter page here! (simply follow the ‘back this project’ button once you’re there).
See you on Saturday November 19th downtown Durham at 111 west Parrish Street!
This article was posted by Mare 139 3 months, 4 weeks, 1 Day, 22 hours ago.
VOCES: The (S) Files at El Museo del Barrio, Wednesday, October 12 at 6:30pm
Nine artists, three curators, one evening of unrestrained conversation, with a special performance by Thessia Machado, aka link. Featuring artists Firelei Báez, Juan Betancurth, Julio Granados, Juan Hinojosa, Thessia Machado, Rachelle Mozman, Ronny Quevedo, Carlos “Mare139” Rodriguez and Elena Wen in conversation with curators Rocío Aranda-Alvarado, Trinidad Fombella and Elvis Fuentes.
Performing as link, Thessia Machado, opens VOCES: The (S) Files with a special performance. A self-avowed noisician, Machado employs a changing line-up of handmade, found and modified instruments to build driving, meditative soundscapes. In improvised sets, lo-fi sounds get top billing and incidental rhythms are layered into looping patterns – uncovering and exposing the latent musicality of clicks, hums and buzzes.
This article was posted by Mare 139 4 months, 4 days, 15 hours ago.
When the Revolution comes by The Last Poets
When the revolution comes
When the revolution comes some of us will probably catch it on TV, with chicken hanging from our mouths. You’ll know its revolution cause there won’t be no commercials
When the revolution comes
When the revolution comes
Preacher pimps are gonna split the scene with the communion wine stuck in their back pockets
Faggots won�t be so funny then and all the junkies will quit their noddin� and wake up When the revolution comes
When the revolution comes
Transit cops will be crushed by the trains after losing their guns and blood will run through the streets of Harlem drowning anything without substance
When the revolution comes
When the revolution comes
When the revolution comes
Our pearly white teeth froth the mouths that speak of revolution without reverence
The cost of revolution is 360 degrees understand the cycle that never ends
Understand the beginning to be the end and nothing is in between but space and time that I make or you make to relate or not to relate to the world outside my mind your mind. Speak not of revolution until you are willing to eat rats to survive
When the revolution comes
When the revolution comes
When the revolution comes; guns and rifles will be taking the place of poems and essays. Black cultural centers will forts supplying the revolutionaries with food and arms when the revolution comes
When the revolution comes
White death will froth the walls of museums and churches breaking the lies that enslaved our mothers when the revolution comes
When the revolution comes
Jesus Christ is gonna be standing on the corner of Lennox Ave and 125th St trying to catch the first gypsy cab out of Harlem, when the revolution comes
When the revolution comes
Jew merchants will give away motza balls and gifilka fish to anyone they see with afros. Frank Shieffin will give away the Apollo to the first person he sees wearing a blue dashiki, when the revolution comes
When the revolution comes afros gone be trying to straighten their heads and straightened heads gone be tryin to wear afros
When the revolution comes
When the revolution comes
When the revolution comes
But until then you know and I know niggers will party and bullshit and party and bullshit and party and bullshit and party and bullshit and party…
Some might even die before the revolution comes
The Bottle by Gil Scott Heron
See that black boy over there, runnin’ scared
his ol’ man’s in a bottle.
He done quit his 9 to 5 to drink full time
so now he’s livin’ in the bottle.
See that Black boy over there, runnin’ scared
his ol’ man got a problem
Pawned off damn near everything, his ol’
woman’s weddin’ ring for a bottle.
And don’t you think it’s a crime
when time after time, people in the bottle.
See that sista, sho wuz fine before she
started drinkin’ wine
from the bottle.
Said her ol’ man committed a crime
and he’s doin’ time,
so now she’s in the bottle.
She’s out there on the avenue, all by herself
sho’ needs help from the bottle.
Preacherman tried to help her out,
she cussed him out and hit him in the head with a bottle.
And don’t you think it’s a crime
when time after time, people in the bottle.
See that gent in the wrinkled suit
he done damn near blown his cool
to the bottle
He wuz a doctor helpin’ young girls along
if they wuzn’t too far gone to have problems.
But defenders of the dollar eagle
Said “What you doin’, Doc, it ain’t legal,”
and now he’s in the bottle.
Now we watch him everyday tryin’ to
chase the pigeons away
from the bottle.
And don’t you think it’s a crime
when time after time, people in the bottle.
This article was posted by Mare 139 4 months, 1 week, 3 days, 18 hours, 37 minutes ago.
Issac ‘WEST’ Rubenstein presents Freedom Suite a collection of his new paintings at Environment in Los Angeles today. 8126 Beverly Blvd from 7pmm-10pm.
In his new paintings WEST delves deeper into linear abstraction and expressionism to produce some of the most ambitious and unique post graffiti paintings today. Though not literal in its relationship to graffiti the works express the gestures and rhythms closely associated to his memories as a writer. But as Freedom Suite suggests there is a detatchment from the formal constraints found in his traditional graffiti art as well his early abstract expressionistic work.
Looking at the paintings over time you slips into the subconscious journey of his line and the emotional weight of his painting where one moves through temperate stages not just in tonal values but with aggressive brush strokes and graphic lines throughout.
Based on a theory of style writing and action painting the works also show his ability to cake history in layers in to these new works. I find them inspired by heritage in some part and in a greater part his way of extending it.
