It was 1970, a year after Steve Cannon’s novel, “Groove, Bang and Jive Around,” was published, that he used proceeds from its sale to buy a three-story townhouse on East Third Street, just east of Avenue C, with a brick facade and a hospitable stoop.
Over the decades, that stoop became a gathering spot where Mr. Cannon and friends, including many from the nearby Nuyorican Poets Cafe, held wide-ranging conversations that lasted all night. Those freewheeling discussions moved indoors in 1991, when Mr. Cannon turned parts of the building into a gallery and salon known as A Gathering of the Tribes. There, he and others published magazines and organized readings and art exhibitions.
“It became a center for poets, musicians and artists from all over the world,” Mr. Cannon said. “People realized they could be themselves there because it gave the feeling of being at home.”
Faced with debt, Mr. Cannon sold the building in 2004, with an agreement that he could continue living and holding events on the second floor. That arrangement began to fray in 2011, and last year Mr. Cannon, 79 and blind, moved out of his home of more than 40 years.
The photographer Gaia Squarci spent several weeks documenting life inside the Tribes gallery. Her images show Mr. Cannon’s comrades arriving for final farewells, helping to pack books and using saws to remove a section of wall that had been painted by the artist David Hammons.
Mr. Cannon moved into an apartment a few blocks away. He has continued to organize readings, but they are now held in other places. Friends still visit to work on an anthology of art and poetry that Mr. Cannon is putting together or to discuss their own projects. Sometimes, he said, they reminisce about the good times on Third Street.
“It’s the same spirit here,” he said, “Only there’s less room and fewer people stopping by.”
Represent: 200 years of African American Art. Now through April 5, 2015 at the Philadelphia Museum of Art.
Represent takes the patron through the 19th and 20th centuries of the African American experience as illustrated mainly by artists centered in Philadelphia and New York. The pieces in this collection are drawn from the permanent collection of the Philadelphia Museum of Art and arranged conveniently and chronologically in a gallery for your enjoyment. The exhibit tells a story of isolation and assimilation and the works demonstrate parallel cultures which are both intertwined and separate. The pieces featured in the show range a diverse range of perspectives and styles. The exhibit includes works from painters, artisans, sculptors, crafters, and photographers encompassing everything from a practical storage vessel to activist and abstract art.
As you enter the gallery you are greeted by a very moving black and white portrait of a young Martin Luther King by John Woodrow Wilson in 1988. The portrait is charcoal on cream wove paper. The stark image with downcast black eyes in bold black and white contrast is highly evocative. One’s thoughts turn to the history of Africans in America; the triumphs and the tragedies. This is a perfect welcome into the exhibit. (more…)
It is thought that studies involving the use of genome-editing tools to modify the DNA of human embryos will be published shortly1.
There are grave concerns regarding the ethical and safety implications of this research. There is also fear of the negative impact it could have on important work involving the use of genome-editing techniques in somatic (non-reproductive) cells.
We are all involved in this latter area of work. One of us (F.U.) helped to develop the first genome-editing technology, zinc-finger nucleases2 (ZFNs), and is now senior scientist at the company developing them, Sangamo BioSciences of Richmond, California. The Alliance for Regenerative Medicine (ARM; in which E.L., M.W. and S.E.H. are involved), is an international organization that represents more than 200 life-sciences companies, research institutions, non-profit organizations, patient-advocacy groups and investors focused on developing and commercializing therapeutics, including those involving genome editing. (more…)
Kehinde Wiley: A New Republic
The Brooklyn Museum
February 20–May 24, 2015
Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, 5th Floor
Often it takes a retrospective to even begin to comprehend an artist’s work (i.e. Gerhard Richter, Cy Twombly) as many pieces come together to form the larger picture. That said this writer has been witness to Kehinde Wiley’s canvasses for the duration of his once nascent and now prolonged trip into art-world superstardom (even accidentally stumbling upon his studio and a party therein and been present when Jeffrey Deitch exhibited his portrait of Michael Jackson on horseback after Peter Paul Reuben’s painting of King Phillip ll of Spain at Art Basel Miami Beach in the wake of the megastar’s death the previous annum).
Therein I have always found the works alluring if not after a while repetitive. Moreover, I enjoyed this painter’s replacing figures from Western European history with youngish African American males and then implanting often luxuriant patterned backdrops. Wiley with a sense of expert timing even took up VH1’S baton and painted the works for their ” Hip Hop Honors” awards show and then painted everybody of the male variety internationally when for PUMA he rendered the teams of the world Cup. (more…)