Hypnotic Brass Ensemble wants to make jazz cool again with young people

"Art is Business"  Public Affairs Director Global Resources ID Lavon N. Pettis

 Hypnotic Brass is  prepared to offer workshops on the history of jazz, and it's relationship to funk & hip hop!  We are also interested in offering any age students musical fundamentals for each instrument.  Hypnotic would be willing to offer comprehensive & constructive critiques for high school jazz students. 

Our goal is to inspire youth interested in learning, developing and sharing ideas about how to sustain & make a living in the music industry.   HBE will speak at length about every aspect of the business including how to collaborate with other artists, how to get your music in films, and how to protect your intellectual content.  We will also look at the ever evolving role of technology in the music industry. 

Our normal rate for one school workshop is $2,500.  4 concert/workshops in one academic year or 4 different school visits.  $10,000. If you are interested in scheduling a workshop 

contact Public Affairs Director Global Resources ID Lavon N. Pettis, 773-458-9864

Project Manager Southside Music Series. lavonnpettis@gmail.com.

 

See Hypnotic perform for the youth and the Cultural Ambassador of  Mexico!

Hypnotic Brass Ensemble y la Orquesta Azteca | Noticias de Cultura (YOUTH CONCERT):

 http://youtu.be/rwiWzi7UdPM

Here's a write up about our project in the Southside Weekly University of Chicago:  http://southsideweekly.com/artful-outreach/

Hypnotic Brass Ensemble Live at Julian High School (Chicago):  
http://www.pljulianhs.net/apps/news/show_news.jsp?REC_ID=338124&id=0

Dublin Hypnotic Brass Ensemble all ages event listing:
http://journalofmusic.com/listing/01-12-14/hypnotic-brass-ensemble-1

ASSOCIATION FOR THE ADVANCEMENT OF CREATIVE MUSICIANS (AACM) 50TH ANNIVERSARY.

"Art is Business" Curator/ Douglas Ewart/

 "Life isn't about waiting for the storm to pass. It's about learning to dance in the rain."  -- unknown--

Press list is growing:

http://www.nytimes.com/2015/03/08/arts/music/50-years-on-

association-for-advancement-of-creative-musicians-influences-jazz.html

The Freedom Principle: Experiments in Art and Music, 1965 ...
www2.mcachicago.org/.../the-fre...

Museum of Contemporary Art, Chicago

The Freedom Principle: Experiments in Art and Music, 1965 to Now ...Advancement of Creative Musicians (AACM), a still-flourishing organization ofChicago ... Combining historical materials with contemporary responses, The Freedom ... to be presented on the MCA Stage, and on a related installation within the exhibition.

The Freedom Principle: Experiments in Art and ... - Do312

do312.com/.../the-freedom-principle-experiments-in-art-and-music-1965... 

• This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator, and Dieter Roelstraete, Manilow Senior Curator, at the Museum of Contemporary Art Chicago.

... in Art and Music, 1965 to Now at Museum of Contemporary Art in Chicago on July ... Advancement of Creative Musicians (AACM) in 1965 and the MCA in 1967. ...of The Freedom Principle is very much on contemporary artists' responses to  ...

Sat, Jul 11

The Freedom Principle ...

Museum of Contemporary Art ..

50th anniversary of AACM celebrated at DuSable Museum ...

www.chicagotribune.com/.../reich/ct-jazz-aacm-201501... 

Chicago Tribune

Jan 27, 2015 - howardreichHow is Puerto Rican saxophonist David Sanchez reinventing ... the AACM was born in 1965, a copy of the Articles of Incorporation  ...

Howard Reich Articles, Photos, and Videos - Chicago Tribune

www.chicagotribune.com/.../arts.../journalism/howard-r... 

Chicago Tribune

50th anniversary of AACM celebrated at DuSable Museum. Howard Reich. Jazz was in trouble. In the early 1960s rock was ascendant, jazz clubs were closing,  ...

Missing: acm

DuSable Museum of African-American History Articles ...

www.chicagotribune.com/.../arts.../dusable-museum-of-... 

Chicago Tribune

50th anniversary of AACM celebrated at DuSable Museum. Howard Reich. Jazz was in trouble. In the early 1960s rock was ascendant, jazz clubs were closing,  ...

Missing: acm

A growing list of AACM celebrations - Chicago Tribune

www.chicagotribune.com/.../reich/ct-aacm-events-new-... 

Chicago Tribune

Feb 27, 2015 - howardreichHow is Puerto Rican saxophonist David Sanchez reinventing his quartet? ... 6 at the DuSable Museum of African American History, 740 E. 56th Place. ... At the Museum of Contemporary Art, 220 E. Chicago Ave.;  ..

Kehinde Wiley's Empire of Vulnerability- by Joel Kuennen- ArtSlant

“Kehinde Wiley is everywhere right now,” said Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum, as the small press tour began. This was not an exaggeration by any means; Wiley garnered recent attention when his paintings appeared as backdrops in Fox's Empire, a highly stylized melodrama from Lee Daniels and Danny Strong that collages black stereotypes while positioning black bodies into a King Lear-like drama, and for his fashion week photoshoot with New York Magazine. Wiley has been an art star since the mid 2000s when his masterful paintings of black men posing in the tradition of classical portrait painting first began making the rounds, yet he is certainly having a moment right now with the opening today of the largest survey to date on the 37-year-old artist at the Brooklyn Museum. New works include masterful stained-glass portraits from Prague and appropriated from Christian chapels, bronze busts crafted in China, and a selection from his series An Economy of Grace. Kehinde Wiley (American, b. 1977), The Sisters Zénaïde and Charlotte Bonaparte, 2014, Oil on linen, 83½ x 63 in. (212 x 160 cm). © Kehinde Wiley. (Photo: Robert Wedemeyer, courtesy of Roberts & Tilton, Culver City, California) As many critics have noted over the years, Wiley is well-packaged. A young black artist from a disadvantaged background, raised on the mean streets of LA by a single mother, etc.—Wiley fits the narrative. His practice of “street casting”—where he asks people he sees on the street to select poses to inhabit from the art historical canon—as well as his brilliantly-direct practice of inserting black bodies in poses of power and affluence is often derided as too easy. It is easy, but it should not be disregarded. New York Times Critic Martha Schwendener is not a fan, and has onmultiple occasions dismissed the premise behind Wiley’s paintings while refusing to go into the intricacies of black male identity that his work takes on. In one of her shadiest rebukes, Schwendener uses Wiley’s premise itself to discount his project: From the outside, the problem might seem merely that Wiley's genre is stale. He's coming late to the game of figurative art; what he's doing isn't particularly new or interesting, except that he's depicting African-Americans and Africans instead of white Europeans. Schwendener goes on to point out that Wiley isn’t the first to insert black bodies into the Western art historical canon—Barkley Hendricks was doing this back in the 70s to much more controversial effect. But who really cares about firsts other than historians? The contestation of black identity within a visual culture of white supremacy—it takes a lot of visual repetition to inscribe the black body with violence and danger—must be an ongoing project. Kehinde Wiley (American, b. 1977), Napoleon Leading the Army over the Alps, 2005, Oil on canvas, 108 x 108 in. (274.3 x 274.3 cm). Collection of Suzi and Andrew B. Cohen. © Kehinde Wiley. (Photo: Sarah DiSantis, Brooklyn Museum) The criticism of Wiley as "too packaged" betrays a lack of nuanced understanding behind the project itself—for it has an agenda far beyond the art world. His brand drifts between confrontational and consumable and his prior use of only black male bodies as his subjects (An Economy of Grace, focuses on the black female body for the first time in his practice) reveals the artist’s intention of remaking the brand of the black man in Western society. Wiley’s work is consumable and it needs to be if it wants to be successful at more than finding its way into museum collections and TV-mansions. Kehinde Wiley (American, b. 1977). Saint Remi, 2014, Stained glass, 96 x 43 1/2 in. (243.8 x 110.5 cm). Courtesy of Galerie Daniel Templon, Paris. © Kehinde Wiley  The concept and practice of branding is practically synonymous with self-identity in a culture that primacies the visual the way ours does. Brands can elevate; they can evoke power, affluence, and class, but they can also denigrate. A particularly detached marketing executive might say that “the black man needs some rebranding.” Wiley’s project is just this: an extensive rebranding project that hinges on the deep, racial assumptions within American culture. A representative study Wiley painted in 2006 is on view in The New Republic: a careful painting of a young black man on a white background. Underneath his image is a set of large, white-washed numbers that indicate the painting is of a mugshot. Wiley says he found the mugshot crumpled up on the sidewalk one day and the young man’s image struck him: his softness, his vulnerability. This point of view is where Wiley diverges from popular culture. Kehinde Wiley, Mugshot Study, 2006, Oil on Canvas, 36 x 24 in. Sender Collection. Image courtesy of the author  Herman Gray, Chair of Sociology at UC Santa Cruz, puts it succinctly in his essay "Black Masculinity and Visual Culture": “Self representations of black masculinity in the United States are historically structured by and against dominant (and dominating) discourses of masculinity and race, specifically (whiteness).” This posturing counter to the visual hegemony of whiteness led to the seemingly mutually beneficial “thug/gangsta” trope where whiteness can accept the black body as outsider and criminal and the black subject can enact resistance and participate in self representation. Empire engages with these tropes melodramatically, portraying a black hero who rose to the top through breaking the law and sometimes murdering his closest friends, or as it is characterized on the show: “hustling.” The fine line here is between a portrayal of very real life experiences for many oppressed and marginalized people and the reification of damaging stereotypes, a line that is echoed in feminist debates on self-representation of the female nude. The brilliance of Wiley, for this writer, is that he is able to redirect the discussion towards vulnerability and stage that vulnerability as power. Wiley’s New Republic is an empire of vulnerability as strength. — Joel Kuennen (Image at top: Kehinde Wiley (American, b. 1977). Shantavia Beale II, 2012. Oil on canvas, 60 x 48 in. (152.4 x 121.9 cm). Collection of Ana and Lenny Gravier, courtesy Sean Kelly, New York. © Kehinde Wiley. Photo: Jason Wyche) > COMMENTS ON KEHINDE WILEY'S EMPIRE OF VULNERABILITY (0)    [add a new comment] Reposted by Alpha Bruton- Phantom Gallery Chicago Network

Kulturbrücke/Culture Bridge International Art Encounters From Germany & USA

"Art is Business" Curator PIOTR WOLODKOWICZReposted for IAG by Alpha Bruton

Kulturbrücke/Culture Bridge Exhibition: Feb. 21 - March 21, 2015 International Art Encounters from Germany & USA at the DANK Haus, 4740 N. Western The DANK Haus presents KULTURBRUECKE, a cultural bridge of musicians, painters, dancers, and sculptors from Germany and the United States. Curated by Piotr Wolodkowicz and Marianna Buchwald, the International Arts Group Chicago, with more than 50 artists from 5 different continents, features a broad range of works with an intention to deepen cross-cultural ties. Opening Reception and performances by Ursula Gallenkamp and Kao Ra Zen at 8 pm Saturday, February 21, 2015, 6pm – 10 pm ANKE KORIOTH,URSULA GALLENKAMP,GABI PAUL,RENATE GOLDE,HENNING GREVE,ELSA TOEBELMANN,KARINA WANG,CHRISTA ZOCH,H.-U.BUCHWALD,WILLIAM WHITEHALL,KAO RA ZEN,PIOTR WOLODKOWICZ,PENELOPE THRASHER,MARTHA JUAREZ,TAMARA WASSERMANN,NICHOLE HARROD,SPENCER HUTCHINSON,ELIZABETH PARKER,SUSAN MULLEN,NANCY STRAHINIC,TIMOTHY RODENHISLER,CHRISTINE PERRI,REBEKKA WOLFRAM,EWA BLOCH, ULLI SONGS,MARK VAN DIJK,SIDDHA WEBER, LINDA PLATH,RENEE BAKER, HILDE DE BRUYNE, GLADY GLADYS,AGA FURTAK,ANA SALINAS,ANA WINSKA-BAJENA,DEIRDRE FOX,EWA BLOCH,GEORG LARSON,JOANNA SZYMANSKA,PATRICK PUTZE,SUE TURAYHI,URSZULA LELEN,TERESA ROZAN,STANISLAW KIELAR,ROBERT POCKMIRE,PIOTR ANTONOV,LESZECH BAJENA,KASIA SZCZESNIEJEWSKI,GOSIA GORALCZYK,DAVE KOHN,KATHRYN GAUTHIERS,DIANE PONDER,LOTHAR SPEER,JAVIER ENRIQUEZ Opening Reception Refreshments Provided by: Chicago Brauhaus, Cafe’ Selmarie, Jewel Osco in Andersonville.

M&S Enterprises ~ "Get it, Keep It Together"

Art is Business , Shauntele Y Pridgeon, is a member of the Phantom Gallery Chicago Network Broad Directors: 

Happy New Year, we hope your 2014 has been healthy & prosperous, Its that important time of the year, so lets get this season off to a great start! 

Every year we work on improving our services & making tax season as stress free as possible. I would like to introduce the newest members of our team, Ms. Tina Hall & Ms. Cindy Triplet! Tina & Cindy both operated tax prep services for numerous years & after several years of begging for their expertise, they have come aboard to M&S!

IMPORTANT NOTES/REMINDERS/CLARITY:

1. REFER TO ATTACHMENT FOR FEE INFORMATION
2. You can submit your documents to M&S via fax, email, mail or drop-off.
3. It is very important that you wait for all your forms (W2, 1099, etc) & send ALL information together; this avoids confusion, missed information, amendments & delays.
4. Once M&S receives yours tax documents, it may take 5-7 days to review & process. We process in order received (on an average day that is 6-10 clients per day). When we have submitted the return, you will receive a text informing you of the refund amount. Once the IRS updates the refund status you will receive another text message with the IRS date of deposit & payment options (usually within 14 days).
5.  ALWAYS it is the client’s responsibility to inform us of ANY changes (address, names, dependents, bank accounts, emails, telephone numbers, etc); we default to the previous year's personal information and are not aware of your 2013 changes unlessyou notify us. Every year there are numerous clients that don't give us the changes until AFTER they have forwarded their information & either their refunds are deposited to closed accounts, mailings delivered to wrong addresses, returns rejected because dependents are no longer current, etc. We do NOT call to double check your information with you, most of the time we are working late into the night & it would be impossible to call every client to make sure we have up-to-date information. Any errors and/or delays due to outdated information are not M&S responsibility and payment is due for services rendered. Any errors and/or delays of M&S are taken seriously and we will work to resolve to the satisfaction of our clients.

We are looking forward to your continued business and are always striving to improve services to best fit the needs of our clients!

Sincerely,

"The Chitlin' Circuit"

"Art is Business" Curator Angela Mayes, Manager & Assistant to Milton Bowens

Milton currently has an exhibition titled "The Chitlin' Circuit" at The Brickhouse Gallery in Oak Park (Sacramento). The exhibition runs Jan. 10th - Jan. 31st

Keeping in theme of the exhibition we well be showing Classic Black Movies on Thursdays, we'll also have a comedy night, poetry night as well as a panel discussion and of course a closing art talk by Milton himself the last day of the exhibition.

In addition to Milton's paintings there are also paintings of a young art collective formed by Milton called The New Power Generation (NPG), which includes Allahiya Shabazz (my daughter (proud mother moment), Tashelle Miller and Aliyah Sidqe.  It's a collective of young up and coming artist. In addition to original paintings available for purchase of Milton's and NPG there are limited edition of posters and catalogs available as well.

We hope to see you at least one if not all of the exhibition events.  

The exhibition and events have received wonderful reviews with a nice write up in The Sacramento Observer and thus far a packed house on exhibition days.

If you have any questions please feel free to call or email me.

 Angela Mayes, Manager & Assistant to Milton Bowens

916-233-6060

Panel Discussion on: Chitlin’ Circuit and the State of Black Entertainment Saturday, Jan 24th - Music featuring Michael Annotti Panelist: Staajabu, Miss Marianna, Daunte Burks, Harley White Jr., Ross Hammond, Sean King, Mista Malik and Michael Annotti Moderator: Kareem Daniels ,7 - 10 pm FREE  Classic Black Movie Night Thursday, Jan 29th – Movie - Showing: Idlewild 6 - 9 pm $3 Cover Juke Joint Friday Friday, Jan 30th –

 Featuring comedy of . Tyler and Headliner Trenton Davis Movie – Showing: Iconoclast: Maya Angelou & Dave Chappelle Conversation Hosted by: Kareem Daniels 7 - 10 pm $10 Cover Closing Reception,  

Art Talk, Film & Tap Dancing Saturday, Jan 31 - Movie - Showing: Bamboozled Art Talk: Milton “510” Bowens with Kareem Daniels And featuring Tyehimba Kokayi of Lion’s Den Ent. Inc. dancing the artistry of TAP Dance 5 - 9:30 FREE

Panel Discussion on: Chitlin’ Circuit and the State of Black Entertainment

Saturday, Jan 24th -

Music featuring Michael Annotti

Panelist: Staajabu, Miss Marianna, Daunte Burks, Harley White Jr., Ross Hammond,

Sean King, Mista Malik and Michael Annotti

Moderator: Kareem Daniels

7 - 10 pm

FREE

Classic Black Movie Night

Thursday, Jan 29th –

Movie - Showing: Idlewild

6 - 9 pm

$3 Cover

Juke Joint Friday

Friday, Jan 30th –

Featuring comedy of D. Tyler and Headliner Trenton Davis

Movie – Showing: Iconoclast: Maya Angelou & Dave Chappelle Conversation

Hosted by: Kareem Daniels

7 - 10 pm

$10 Cover

Closing Reception, Art Talk, Film & Tap Dancing

Saturday, Jan 31 -

Movie - Showing: Bamboozled

Art Talk: Milton “510” Bowens with Kareem Daniels

And featuring Tyehimba Kokayi of Lion’s Den Ent. Inc. dancing the artistry of TAP Dance

5 - 9:30

FREE

Circuit and the State of Black Entertainment

Saturday, Jan 24th -

Music featuring Michael Annotti

Panelist: Staajabu, Miss Marianna, Daunte Burks, Harley White Jr., Ross Hammond,

Sean King, Mista Malik and Michael Annotti

Moderator: Kareem Daniels

7 - 10 pm

FREE

Classic Black Movie Night

Thursday, Jan 29th –

Movie - Showing: Idlewild

6 - 9 pm

$3 Cover

Juke Joint Friday

Friday, Jan 30th –

Featuring comedy of D. Tyler and Headliner Trenton Davis

Movie – Showing: Iconoclast: Maya Angelou & Dave Chappelle Conversation

Hosted by: Kareem Daniels

7 - 10 pm

$10 Cover

Closing Reception, Art Talk, Film & Tap Dancing

Saturday, Jan 31 -

Movie - Showing: Bamboozled

Art Talk: Milton “510” Bowens with Kareem Daniels

And featuring Tyehimba Kokayi of Lion’s Den Ent. Inc. dancing the artistry of TAP Dance

5 - 9:30

FREE

N'NAMDI CONTEMPORARY- Network Sponsor 2014-2015

"Art is Business"Project Manager Lavon N.Pettis-, Global Resources ID, is building new and exciting relationships in Miami, Florida. Jumaane N'Namdi, Director of N'Namdi Contemporary Fine Art in Miami, was instrumental in referring the Phantom Gallery Chicago to participate in the Soul Basel in Overtown. Lavon delivered the installation of Lucy Slivinski, who is represented by the N'Namdi Contemporary.

Born in 1958, Lucy currently lives in Chicago, Illinois. 

holds an MFA from Cranbrook Academy of Art and a BFA, 

from Northern Illinois University. 

Slivinski could not have described her work better when she 

mentioned

Artist Statement:

“I live in the collaborative space of ideas, 

Conception and construction. 

My process with materials is focused on found objects integrated into conceptual art-making, inspiring me by all connections and contributions. 

My work is the investigation of connectivity. 

I am both humbled and amazed at the regenerative power of life…. 

Through recycling, we have blessed opportunities to reshape 

things that are perceived as decay into replenished 

mysteries of beauty.” 

With a creative eye for materials that people overlook she 

has managed to book an extensive resume. 

Hosted by: Jumaane N'Namdi, Deryl Mckissack, Olivia White & Diane Carr

Please join Fusion MIA and BET as it presents The N'Namdi Collection of African American Masters. This museum-caliber collection features astonishing works by many of today's premier artists, including Ed Clark, Howardena Pindell, David Hammons, Rashid Johnson, Nanette Carter, Herbert Gentry, Norman Lewis, Bob Thompson, Chakaia Booker, Robert Colescott, Al Loving, Sam Gilliam, Frank Bowling, and others. George N'Namdi began assembling his private collection in 1968, and select pieces have been compiled and curated for Fusion MIA by his son, Jumaane N'Namdi, Director of N'Namdi Contemporary Fine Art in Miami.     The N'Namdi Collection will be on view at the Fusion MIA tent located at the corner of NW 2nd Ave and NW 23rd St across from the N'Namdi Contemporary Gallery in the Wynwood Art District. Availability   Thursday, December 4           10am - 10pm  Friday, December 5                10am - 5pm  Saturday, December 6*          10am - 10pm   Sunday, December 7              10am - 6pm  *On Saturday, from 11am to 12pm, N'Namdi Contemporary will host a discussion between legendary Artist and Historian Dr. David Driskell and Tuliza Fleming, Curator of the Smithsonian National Museum of African American History and Culture.

Like many lensmen before him, D-Nice shoots to stay close to the music he loves. However,  unlike most of his peers, the Bronx, NY native has enjoyed a lengthy career of his own, rapping, producing, and DJing as part of legendary hip-hop group Boogie Down Productions.  At age 19, D-Nice launched his solo career, releasing two successful albums before transitioning to another craft managing the online presence of fellow artists, including Aaliyah, Alicia Keys, and Wyclef Jean.

In 2003, with the help of his close friend, Chris Lighty, D-Nice returned to the turntables and began DJing major events. Next, after realizing he had no record of his life's exploits to show his newborn daughter, D-Nice began to focus on photography. Due to his profile in the music industry, D-Nice was quickly offered campaigns for Reebok and Major League Baseball. He has since captured a wide range of recording artists, from 50 Cent and Jay-Z to Samantha Ronson and Kid Rock. Though his music pedigree gained him an entrance, his eye and ability--combined with the strength of his enthusiasm for his subjects and craft--have allowed D-Nice opportunities he could have never imagined growing up as a teenager in the Bronx.

Branching out into film with his True Hip Hop Stories, with artists like Dana Dane and Masta Ace, D-Nice is always on the scene, always shooting, always slightly ahead of the herd.

"I prefer to shoot candid images. For me, that's what means the most. It's my reason for even taking out the camera in the first place, just to document my life."