Monday, March 16, 2015

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

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

Displaying ChicagoMade_SXSW_MusicShowcasePoster.jpg

 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.

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

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

Here's a write up about our project in the Southside Weekly University of Chicago:

Hypnotic Brass Ensemble Live at Julian High School (Chicago):

Dublin Hypnotic Brass Ensemble all ages event listing:

Sunday, March 15, 2015

Protect Illinois Arts Council Agency Funding

"Art is Business" Curator

Please forward this letter to your State Representative, and whom ever your person is who can make a difference. They will respond, if they don't try again. I have been awarded projects annually as an artist teaching in schools, and for my individual creative projects. The projects are funded in part and made possible by funding from the Illinois Arts Council.

As a resident and voter in Illinois, I urge you to protect funding for the Illinois Arts Council Agency (IACA).

The arts in Illinois – our theaters, museums, dance companies, symphonies, art galleries, and cultural centers – are a source of pride and a driving economic force for our state. The nonprofit arts sector alone is a $2.75 billion industry in Illinois that supports more than 78,000 full-time-equivalent jobs and delivers $324 million in local and state revenue annually.

The state's investment in IACA is crucial to the success of artists and arts organizations throughout Illinois. Since its creation in 1965, the agency has been working to bring the economic, educational, and civic benefits of the arts to communities – large and small – across Illinois.

While shared sacrifice is necessary to solve the state’s fiscal crisis, the IACA's budget has already been slashed by nearly 55 percent, from $22.2 million in FY2007 to $10.1 million in FY2015. Illinois’ current per-capita spending on the arts is just $0.79 per year, ranking us 20th nationally and $0.25 below the national average.

Illinois’ continued investment in the IACA is vital to sharpening our state’s competitive edge, creating jobs, and retaining and attracting successful businesses and talented people. I urge you to ensure that funding for the Illinois Arts Council Agency is preserved in the FY2016 budget at an amount no less than its FY2015 funding level of $10.1 million.


Alpha Bruton
440 E 47th St, Rm 205
Chicago, IL 60653

Tuesday, March 10, 2015


"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:


The Freedom Principle: Experiments in Art and Music, 1965 ...

  • 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.
  • Hors-Champs
  • The Freedom Principle: Experiments in Art and ... - Do312

    ... 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
    Museum of Contemporary Art ..
  • 50th anniversary of AACM celebrated at DuSable Museum ... 
    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 
    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 ... 
    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 
    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.;  ..
  • Saturday, February 28, 2015

    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.
    (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)

    Saturday, February 21, 2015

    Kulturbrücke/Culture Bridge International Art Encounters From Germany & USA

    "Art is Business" Curator PIOTR WOLODKOWICZ
    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 both 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
    Opening Reception Refreshments Provided by: Chicago Brauhaus, Cafe’ Selmarie, Jewel Osco in Andersonville

    Reposted for IAG by Alpha Bruton