Ive been deep in the hood, in the gut of a Tannery where goats were skinned to coolin out drinking at Churchills Bar at the most luxurious hotel Ive ever seen-  La Mamounia http://www.mamounia.com/uk/index.php

About Agents of Change     http://www.agents-of-change.co.uk

Agents of Change are a collective of 12 artists who attack space. Formed in 2009, the international collective create work that responds on a site specific basis, integrating both the aesthetic and historical resonance of the environment they’re working in. Each project brings greater potential for innovation, both on a practical level in technique and on a more emotive basis in dealing with ever larger historical and political ideas.

David Bloch Gallery is located at 8 bis rue des Vieux Marrakchis, 40000 Marrakech, Morocco, and Unfolding will run from May 10 to June 8.

Press enquiries:
For further information please contact: 
Tim Daly tim@agents-of-change.co.uk Tel: +44 7939 510 724
or David Bloch  contact@davidblochgallery.com Tel: +212 5 24 45 75 95

For Sales enquiries:
Please contact David Bloch  contact@davidblochgallery.com Tel: +212 5 24 45 75 95

Each of the participating artists share a common language that originated from the graffiti art explosion in the late 70’s and early 80’s. In the following decades their work has progressed and diversified to create its own distinct and refined voice. A deep-rooted understanding of form, material and space has allowed the artist’s work to unfold, expanding outwards toward new contexts.

Unfolding showcases artists whose work incorporates a strong leaning toward plasticity – using a wide variety of media to produce work ranging from painting through to sculpture and installation. Through experimentation with new materials Unfolding will bring about an examination of new journeys and the opportunity to exploit future dialogues within a well established aesthetic.

About Agents of Change http://www.agents-of-change.co.uk

Agents of Change are a collective of 12 artists who attack space. Formed in 2009, the international collective create work that responds on a site specific basis, integrating both the aesthetic and historical resonance of the environment they’re working in. Each project brings greater potential for innovation, both on a practical level in technique and on a more emotive basis in dealing with ever larger historical and political ideas.

Participating Artists

Carlos Mare aka Mare 139 (USA)   http://www.carlosmare.com
Mare is a NYC based sculptor/ painter/ scholar/ US Cultural Ambassador who in 1985 pioneered a novel version of urban graffiti as modern sculpture. Throughout his career as a sculptor, Mare has consistently brought innovation to the genre’s aesthetic and vocabulary. His metal sculptures are inspired by his interests of form, light, space in an architectural environment. His admiration of early avant-garde art and sculpture inspired the merging of aesthetics between ‘graffiti’ styles and the modernists of the early 20th century.

Derm (UK) http://www.dermographix.com
Derm’s work is based on a combination of abstracted typographical forms, architectural influences, and graphic and geometric shape. Taking inspiration from the colours and textures of the natural, urban and industrial environments in Scotland, he makes work in found spaces that responds to and comments on the aesthetics of its environment.

Jaybo Monk (France/Germany)   http://www.jayboisms.squarespace.com
Jaybo (1968) is a runaway, setting out and wandering along in a physical as well as in a creative sense – urban subculture is the driving force behind his artistic activities. This is especially true of his paintings, which are erratic and chaotic as they directly quote various fragments of what surround him – often plumbing great psychological depths, thematically speaking, with lightness meeting existentialistic melancholy, aggressiveness meeting passion and a seemingly standard romantic streak and visionary dimension.

LX One (France)   http://www.lxone.eu
LX explores the pixel, the smallest unit, as a means to research the base of form, and the skeleton of colours. He works to the beat of geometry, the noise of shapes and a system of tensions in free space that response to architecture, urbanism and design. Inspired by Piet Mondrian and Vasarelly, LX One portrays the absolutes in life: Vertical and horizontal lines.

Remi Rough (UK)   http://www.remirough.com/blog
There are few artists whose recent works could be described as “painting visual haikus” without the reader needing to roll their eyes, but Remi Rough is one of them. South London born and bred, Remi has been breaking boundaries with the aid of a spray can and a paintbrush for over 27 years. Transcending the traditional and somewhat idealised vision of a graffiti writer, he is passionate and unforgiving in his creative progression.

Steve More (UK)   http://www.stevemore.net
Steve More uses materials from his surrounding environment to create abstract works concerned with the passing of time, decay and regeneration. In 2005, following 20 years as a graffiti artist, More switched from painting on the city surfaces to focusing on the inherent qualities of the materials that lay beneath. He works with materials such as concrete, bill posters and found objects to explore wider concepts of urban life. His work is often highly textural occupying a space between painting and sculpture.

Wednesday, March 20, 2013, 6 p.m.
PROGRAM LOCATION:
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, Bruno Walter Auditorium

40 Lincoln Center Plaza
New York, NY 10023-7498

BLACK BOOK MASTER CLASS WITH STYLE MASTER PART ONE TDS

APPLICATIONS DUE FRI. MARCH 15TH

Hi-ARTS, the producers of the Hip-Hop Theater Festival, will launch a free, unique, six-week Black Book Master Class series for young people ages 14-18 years old, taught by the influential graffiti Style Master, Enrique “PART ONE” Torres.
During this course, students will receive their own personal black book, colored pencils, and marker- sets, learn various graffiti techniques such as lettering, penciling and color theory. Several guest speakers will also impart professional development knowledge from various creative industries and offer excellent networking opportunities. Upon the conclusion of the course, Hi-ARTS will present an exhibition of students’ work at our space in East Harlem/El Barrio.
PART ONE is a veteran of the golden years of New York City subway painting and considered a style master in the graffiti world. His specialty is his own unique brand of lettering, which he began to develop in 1974. From 1974 – 1985, he was one of the most accomplished artists on the New York City subway trains. His art has been featured in the classic film Style Wars, as well as critically acclaimed books such as, Martha Cooper’s Hip Hop Files and the ON THE RUN’s PART ONE: The Death Squad.

COURSE REQUIREMENTS-
MUST BE A RESIDENT OF NEW YORK CITY
MUST BE BETWEEN THE AGES OF 14 - 18 TO PARTICIPATE
MUST BE A FULL-TIME STUDENT OR ENROLLED IN A GED PROGRAM

Applications Due: March 15th
Interviews:March 21 & 23rd
Cost:Free upon being accepted into the Course
Class Schedule:3/27, 4/3, 4/10, 4/17, 4/24 and 5/1 from 4:30pm-6pm
Class Exhibition Opening:May 11th from 3pm-6pm
Location:Hi-ARTS, 304 E. 100th St @ Second Ave.,
East Harlem/El Barrio, NYC

For applications and more info, please email blackbook@hiphoptheaterfest.org or call 718-497-4282

Institute of Arts Management and individual supporters like you. HHTF is a Round 6 recipient the New Generations Program, funded by Doris Duke Charitable Trust/The Andrew W. Mellon Foundation and administered by Theatre Communications Group, the national organization for American Theatre.

Tackling a different music style or subject each week—hip-hop, punk, the folk music revival, Prohibition-era jazz, Mambo and Salsa, and the Brill Building’s heyday—Rhapsodic City: Music of New York features panel discussions with icons and experts, performances by leading artists, special film screenings and presentations of the Performing Arts Library’s remarkable collections.

Highlights from the series include a discussion of punk style and sound with Blondie’s Debbie Harry and Chris Stein; performances by Jazz Age Lawn Party founder Michael Arenella, Grammy-nominated bandleader Bobby Sanabria, and Joe McGinty from the Losers Lounge Band; a celebration of women in hip-hop; and an exploration of Greenwich Village in the ‘50s and ‘60s led by Elijah Wald, author of the book that served as source material for the Coen Brothers’ latest film.

“At The New York Public Library for the Performing Arts, we are deeply aware of how vital music is to this city’s cultural fabric,” said Jacqueline Z. Davis,  Barbara G. and Lawrence A. Fleishman Executive Director of The New York Public Library for the Performing Arts. “Using our vast archival materials—including sheet music, films, recordings and more—Rhapsodic City: Music of New York provides an opportunity for us to illustrate some of the most compelling examples of how New York inspires new genres of music, and how musical styles from around the world have become part of the city’s own cultural narrative, creating a distinctly New York story.”

All events included in the Rhapsodic City: Music of New York series take place at The New York Public Library for the Performing Arts (40 Lincoln Center Plaza) unless otherwise noted below, and are free and open to the public.

Hip-Hop
Nearly 40 years ago, hip-hop started in the Bronx during one of the lowest points of the borough’s history. Counteracting the urban decay, violence, and corruption, hip-hop culture emerged as a musical nexus, emanating creativity and liberating struggle. Today, the now global movement transcends race, gender, and socioeconomic status.

Wednesday, March 20 @ 6pm
A 30th Anniversary celebration of Style Wars
With Henry Chalfant, Carlos “Mare139” Rodriguez, and iona rozeal brown
http://on.nypl.org/Y61Z1N
Style Wars is regarded as the indispensable document of New York street culture and subway graffiti art of the early ‘80s, Tony Silver and Henry Chalfant’s filmic record of a golden age of youthful creativity that exploded into the world from a city in crisis. In partnership with the Tribeca Film Institute and the Schomburg Center for Research in Black Culture, this event will feature a screening of Style Wars followed by a discussion of the documentary’s enduring influence with Chalfant and a panel of artists and scholars, including sculptor/painter Carlos “Mare139” Rodriguez and moderated by painter/DJ iona rozeal brown.

Saturday, March 23 @ 4pm Reception, Program Begins at 5pm
Fresh, Bold, and So Def Women in Hip-Hop
The Schomburg Center for Research in Black Culture
515 Malcolm X Boulevard
http://on.nypl.org/11lxr3C (advance registration recommended)
As part of Women’s History Month and the Schomburg Center for Research in Black Culture’s Hip-Hop 4.0 Initiative, this program highlights the contributions and achievements of women in hip-hop. The event features
Performances by Genesis Be, Ebonie Smith, and FM Supreme
Screening of Nuala Cabral’s Who’s That Girl: Women of Color & Hip Hop (17 min)
Sneak peek preview of Breaking Silence: Passing the Mic to Our Daughters Project, a forthcoming documentary exploring how Black and Latina teenage girls today respond and relate to hip-hop culture
Panel discussion with guests including Nuala Cabral; Dr. Brittney Cooper; Autumn Robinson; Beverly Bond; Ebonie Smith; Piper Carter; and moderated by The Schomburg Center’s Hip-Hop Scholar In Residence Martha Diaz

Tackling a different music style or subject each week—hip-hop, punk, the folk music revival, Prohibition-era jazz, Mambo and Salsa, and the Brill Building’s heyday—Rhapsodic City: Music of New York features panel discussions with icons and experts, performances by leading artists, special film screenings and presentations of the Performing Arts Library’s remarkable collections.

Highlights from the series include a discussion of punk style and sound with Blondie’s Debbie Harry and Chris Stein; performances by Jazz Age Lawn Party founder Michael Arenella, Grammy-nominated bandleader Bobby Sanabria, and Joe McGinty from the Losers Lounge Band; a celebration of women in hip-hop; and an exploration of Greenwich Village in the ‘50s and ‘60s led by Elijah Wald, author of the book that served as source material for the Coen Brothers’ latest film.

“At The New York Public Library for the Performing Arts, we are deeply aware of how vital music is to this city’s cultural fabric,” said Jacqueline Z. Davis,  Barbara G. and Lawrence A. Fleishman Executive Director of The New York Public Library for the Performing Arts. “Using our vast archival materials—including sheet music, films, recordings and more—Rhapsodic City: Music of New York provides an opportunity for us to illustrate some of the most compelling examples of how New York inspires new genres of music, and how musical styles from around the world have become part of the city’s own cultural narrative, creating a distinctly New York story.”

All events included in the Rhapsodic City: Music of New York series take place at The New York Public Library for the Performing Arts (40 Lincoln Center Plaza) unless otherwise noted below, and are free and open to the public.

Hip-Hop
Nearly 40 years ago, hip-hop started in the Bronx during one of the lowest points of the borough’s history. Counteracting the urban decay, violence, and corruption, hip-hop culture emerged as a musical nexus, emanating creativity and liberating struggle. Today, the now global movement transcends race, gender, and socioeconomic status.

Wednesday, March 20 @ 6pm
A 30th Anniversary celebration of Style Wars
With Henry Chalfant, Carlos “Mare139” Rodriguez, and iona rozeal brown
http://on.nypl.org/Y61Z1N
Style Wars is regarded as the indispensable document of New York street culture and subway graffiti art of the early ‘80s, Tony Silver and Henry Chalfant’s filmic record of a golden age of youthful creativity that exploded into the world from a city in crisis. In partnership with the Tribeca Film Institute and the Schomburg Center for Research in Black Culture, this event will feature a screening of Style Wars followed by a discussion of the documentary’s enduring influence with Chalfant and a panel of artists and scholars, including sculptor/painter Carlos “Mare139” Rodriguez and moderated by painter/DJ iona rozeal brown.

Saturday, March 23 @ 4pm Reception, Program Begins at 5pm
Fresh, Bold, and So Def Women in Hip-Hop
The Schomburg Center for Research in Black Culture
515 Malcolm X Boulevard
http://on.nypl.org/11lxr3C (advance registration recommended)
As part of Women’s History Month and the Schomburg Center for Research in Black Culture’s Hip-Hop 4.0 Initiative, this program highlights the contributions and achievements of women in hip-hop. The event features
Performances by Genesis Be, Ebonie Smith, and FM Supreme
Screening of Nuala Cabral’s Who’s That Girl: Women of Color & Hip Hop (17 min)
Sneak peek preview of Breaking Silence: Passing the Mic to Our Daughters Project, a forthcoming documentary exploring how Black and Latina teenage girls today respond and relate to hip-hop culture
Panel discussion with guests including Nuala Cabral; Dr. Brittney Cooper; Autumn Robinson; Beverly Bond; Ebonie Smith; Piper Carter; and moderated by The Schomburg Center’s Hip-Hop Scholar In Residence Martha Diaz

The mural portrays nature and humanity joining forces to evict water polluters from their bay. Nature is painted as a character, surrounded by trees, flowers, life, and water. Animals, insects, and people are housed in the hair and along the body. The left arm directs the attention of all the life that depends on her towards a barge in the river. The barge contains the impact of resource extracting industries. Graffiti on the sides of the ship attest to the resistance that it has faced in its travels from port to port.

February 28 - March 29, Edward Tyler Nahem Fine Art, 37 West 57th Street

March 5 - April 27, Salon 94 Freemans, One Freeman Alley

Edward Tyler Nahem Fine Art and Salon 94 Freemans are pleased to collaborate on exhibitions featuring artist iona ROZEAL brown, in her first solo shows with each. The galleries coincided their shows to highlight brown’s multiple mediums and expansive imagination. Both bodies of work represent chapters in the artist’s ongoing myth “on spirit children and the like,” an ever-expanding pantheon of other-worldly, gender-unspecific, cross-cultural spirits.

introducing…THE HOUSE OF BANDO, at Salon 94 Freemans is comprised of a series of painted portraits of Benny and Javier Ninja, of the Legendary House of Ninja, along with Monstah Black. The performers were all featured in “the battle of yestermore,” the artist’s critically lauded commission at the 2011 Performa festival. The three formed the House of Bando with brown as homage to Bando Tamasaboro, the famed female impersonator or onnagata of the Kabuki stage. The exhibited paintings are derived from photos taken for an upcoming collaboration with photographer Joshua Cogan and, as installed, reflect the artist’s own take on Byzantine iconography.

Six new paintings, including a diptych measuring five by eight feet, will be featured at Edward Tyler Nahem Fine Art. The new works reflect brown’s continued fascination with the ukiyo-e woodblock prints of late-Edo period Japan, in particular the works of 19th century printmaker Kitagawa Utamaro, who was widely considered as the greatest exponent of this style of woodblock prints. Brown referenced the artist and his work in her earlier a3 blackface series. The Japanese tradition of erotic art, Shunga, continues to play a strong role in brown’s work with intimacy emphasized over ostentation in the imagery. Titles of the works are loosely based on verses of the Song of Solomon as well as hip-hop rhymes. Additionally, the artist incorporates a haiku poem on the back of each.

Brown also mines the rich cross-cultural territory of the ganguro, a subculture of Japanese adolescents that sports tanned skin, bright makeup, blonde wigs, and gold chains, in order to model themselves after the stereotypical African- American hip-hop look—the word ganguro translates literally to “blackface.” Luxury accessories like strands of pearls and oversized gold jewelry are featured throughout brown’s compositions, on display with overlaid irregular patterns and painterly drips on raw woodgrain in brown’s signature approach to figuration.

Queens based artist Alice Mizrachi presented new works for her solo exhibition in Tel Aviv exploring the recollection of memory. Through her raw, instinctual process, Mizrachi explores her Israeli American identity while retrieving past memories and experiences. Due to the malleable nature of memory, these fragments of internal memory allow her to preserve her history, preventing it from deteriorating. Whether a glimpse of a vivid character on the street or a dynamic cityscape she sees from a bridge, the reflection of these everyday memories comes out in her work subconsciously. The encoded images she stores and expresses in her art invite the audience to participate in universal themes we all share.

There is a real Graffiti scene here and my new friend Turbo S2K has been instrumental in filling in the blanks and gifting me his book on its history. The style writers here give a run to any other in the world yet little is known about them, I will soon post imgs and text about the scene here. Im happy to be an Ambassador for our culture especially in areas of the world like this where there is a wealth of talent and hunger for knowledge about the scene in America.

If you follow me on Instagram #carlosmare you will see many imgs of this trip.

The historical sites are abundant and breath taking. I feel I need a year to really tour this country.

I was recently interviewed by Dan Feral regarding the position-

CM- I believe there have been other writers in this position, to mind Daze Ellis was just an Ambassador to Ecuador. Its not a permanent position but an opportunity to represent America abroad for cultural exchange. The U.S. State Department and U.S. embassies worldwide regularly work with famous musicians (i.e. Yo Yo Ma, Wynton Marsalis, Mary Wilson), sports figures (i.e. Bernie Williams), journalists, and film producers/directors (i.e. Ron Silver).

CM- It is not partisan nor a permanent post, it is in fact one of the more brilliant things this country does in the form of cultural diplomacy. We have a deep history in this regard but its been a broken link in our policy which President Obama and Secretary of State Hillary Clinton have been mending. 
 
DF- What lead up to your appointement? (who recommended you? how long was
the process leading up to it?)

CM- I was appointed by the Ambassador to Uruguay Jullisa Reynoso who I met several years ago at an informal dinner through a mutual friend writer/activist Raquel Cepeda. It came as a surprise to me but given that I have been talking with several embassies in the Middle East about Ambassadorship it was a destined opportunity in a way. Most meaningful that it is comes from a Latin nation.

DF- What does the job entail in terms of structure and duties? (is this a
full time position? how long is the appointment for? wil you have an
office somewhere? will you be moving to washington DC or going there a
lot? who will you be answering to? do you do press releases and promote
things)

CM- Its not a permanent appointment its an opportunity to represent the artistic culture of America, in this regard ‘Graffiti’ and Hip Hop which is a world culture so I represent not just me but our global community. It is specific to ‘Graffiti art” which I think is unique as it allows me to provide more insight to both the policy makers and educators so they can better understand the underpinnings of potential emerging artists in their communities or as I call them “cultural equity”. I will not be a policy wonk nor hold an official post, perhaps more traveling through the State Department and other foreign embassies. They continually promote art as part of American goodwill and cultural exchange.

DF- What is the purpose of the position? (what is the intent of the
ambassador? what is the message and who is the audience? is there a
difference in the governments reason for the post and what you will want
to do with it?

CM- The purpose is clear, the world has changed and Americas image has been tarnished a bit, that said we still have more of what other countries lack and that is cultural capital, it has been our greatest export for so many years but since art and government have not been particularly good bedfellows it has suffered in recent years. By being able to represent the culture abroad I can present a compelling argument not for vandalism or solely graffiti but for the defense and promotion of living and supporting a free and expressive life. One must remember that Uruguay where I begin my mission had gone through a serious censorship period of text based graffiti during the Dirty Wars of the 1970s-80s, this graffiti was political and considered a serious crime, yet in some small part it transformed the country, it was the voice of the people. So if we can harness the voice of the children creatively imagine what transformations can occur.

DF- Will you be lecturing about the history or agressively
promoting graff as a valid form of expression? explain and justify the
significance of graff to non-believers? will you be dealing with the
issue of vandalism or just focussing on the aesthetics and other
cultural manifestations such as murals, fashion, etc. will you be
dealing with or defending writers that are in trouble here or in other
countries? is it the governments attempt to throw spin when there is
negative backlash to graffiti or to agressively promote it as a postive
cultural expression?)

CM- I will be speaking broadly about the topic but focusing on ‘potential’ -the creative power of the culture and the social and economic opportunities for young artists. I want to see more Latino artists engaged in arts in their community, academy and the art market. These areas where we are largely under represented and marginalized by a system of economics, class and race, need to be addressed by explaining the repercussions of this underrepresentation, I hope the message of ‘cultural capital’ gets understood. Art is not just for the rich, white or privileged its a universal experience and by product of many many people across many continents and herein lays the power of the graffiti/hip hop culture where the lines of color amalgamate to form a loose knit community of common interest in arts.

 
DF- Will you be creating your own agenda or are there things already set in
motion that you will be dealing with? (do you have goals in mind that
includes certain artists, groups, locations or issues?)

I was recently interviewed by Dan Feral regarding the position-

CM- I believe there have been other writers in this position, to mind Daze Ellis was just an Ambassador to Ecuador. Its not a permanent position but an opportunity to represent America abroad for cultural exchange. The U.S. State Department and U.S. embassies worldwide regularly work with famous musicians (i.e. Yo Yo Ma, Wynton Marsalis, Mary Wilson), sports figures (i.e. Bernie Williams), journalists, and film producers/directors (i.e. Ron Silver).

CM- It is not partisan nor a permanent post, it is in fact one of the more brilliant things this country does in the form of cultural diplomacy. We have a deep history in this regard but its been a broken link in our policy which President Obama and Secretary of State Hillary Clinton have been mending. 
 
DF- What lead up to your appointement? (who recommended you? how long was
the process leading up to it?)

CM- I was appointed by the Ambassador to Uruguay Jullisa Reynoso who I met several years ago at an informal dinner through a mutual friend writer/activist Raquel Cepeda. It came as a surprise to me but given that I have been talking with several embassies in the Middle East about Ambassadorship it was a destined opportunity in a way. Most meaningful that it is comes from a Latin nation.

DF- What does the job entail in terms of structure and duties? (is this a
full time position? how long is the appointment for? wil you have an
office somewhere? will you be moving to washington DC or going there a
lot? who will you be answering to? do you do press releases and promote
things)

CM- Its not a permanent appointment its an opportunity to represent the artistic culture of America, in this regard ‘Graffiti’ and Hip Hop which is a world culture so I represent not just me but our global community. It is specific to ‘Graffiti art” which I think is unique as it allows me to provide more insight to both the policy makers and educators so they can better understand the underpinnings of potential emerging artists in their communities or as I call them “cultural equity”. I will not be a policy wonk nor hold an official post, perhaps more traveling through the State Department and other foreign embassies. They continually promote art as part of American goodwill and cultural exchange.

DF- What is the purpose of the position? (what is the intent of the
ambassador? what is the message and who is the audience? is there a
difference in the governments reason for the post and what you will want
to do with it?

CM- The purpose is clear, the world has changed and Americas image has been tarnished a bit, that said we still have more of what other countries lack and that is cultural capital, it has been our greatest export for so many years but since art and government have not been particularly good bedfellows it has suffered in recent years. By being able to represent the culture abroad I can present a compelling argument not for vandalism or solely graffiti but for the defense and promotion of living and supporting a free and expressive life. One must remember that Uruguay where I begin my mission had gone through a serious censorship period of text based graffiti during the Dirty Wars of the 1970s-80s, this graffiti was political and considered a serious crime, yet in some small part it transformed the country, it was the voice of the people. So if we can harness the voice of the children creatively imagine what transformations can occur.

DF- Will you be lecturing about the history or agressively
promoting graff as a valid form of expression? explain and justify the
significance of graff to non-believers? will you be dealing with the
issue of vandalism or just focussing on the aesthetics and other
cultural manifestations such as murals, fashion, etc. will you be
dealing with or defending writers that are in trouble here or in other
countries? is it the governments attempt to throw spin when there is
negative backlash to graffiti or to agressively promote it as a postive
cultural expression?)

CM- I will be speaking broadly about the topic but focusing on ‘potential’ -the creative power of the culture and the social and economic opportunities for young artists. I want to see more Latino artists engaged in arts in their community, academy and the art market. These areas where we are largely under represented and marginalized by a system of economics, class and race, need to be addressed by explaining the repercussions of this underrepresentation, I hope the message of ‘cultural capital’ gets understood. Art is not just for the rich, white or privileged its a universal experience and by product of many many people across many continents and herein lays the power of the graffiti/hip hop culture where the lines of color amalgamate to form a loose knit community of common interest in arts.

 
DF- Will you be creating your own agenda or are there things already set in
motion that you will be dealing with? (do you have goals in mind that
includes certain artists, groups, locations or issues?)

Carmela Zagari supported her husband with unflinching commitment and with her passing the estate and the legacy of Rammellzee remains in the balance. She did manage to organize the exhibition at Suzane Geiss Gallery and the most recent at the New York Childrens Museum of the Arts- http://www.cmany.org/event/therammellzeegalaxseum/ (open now until February). It will likely be the last time we get to see a comprehensive exhibition of his works in this manor. Once the art world maggots, lawyers, and hedgers get done with the remains I suspect it will be spread out between NYC and Europe.

Rammellzees greatest fear was about the pariahs of the art industry and Carmela was his last hope to insure his legacy, I hope there were stipulations in place to preserve his work respectfully and with a worthy institution.

I am at a lost for words really, but this I can say on the heels of an important Archiving and Preservation conference I participated in last week, we as artists and a community must learn the ways of preserving our works and insuring its ongoing legacy either through our families or cultural institution for higher learning. We are losing many of the greatest artists of our time too soon and more importantly a direct link to our history.

Purple
October 19 – November 19, 2012

September 2012, Brooklyn, NY — This October, eleven female contemporary artists will explore Purple as a color, word and psychological context in a freestyle exhibition where medium, formal strategies and process intersect to create original content.

Purple will be on view at Causey Contemporary Gallery, 92 Wythe Avenue in Williamsburg, Brooklyn, from October 19 - November 18, 2012, with an opening reception from 6pm – 9pm on Friday, October 19th. This exhibition is produced by YOUNITY, an international collective of urban female visual artists, designers and craftswomen. The collective collaborates on creative projects, resource networks, mentoring of youth, community building, and the production of art exhibitions that promote women in the arts.

The New York City Festival shows us that the culture of Hip-Hop in theater is maturing, while in continues to expand and grow as cultures do. From Miami based artists mashing up Caribbean and South Asian culture to stories about being ill, the opening of its new space in East Harlem- HI-Arts: A center for Hip_Hop Theater, Dance, Music + Art.

Get ready for the next ten years!

The 12th Annual Hip-Hop Theater Festival begins this upcoming weekend Come experience “Fat Boy” at the HERE Arts Center on October 12th & 13th // Located on 145 6th Avenue, New York, NY.

Get your tickets here—> http://www.here.org/shows/detail/1061/