FAT LADY SINGS AT TRIBES!

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LAST SWAN SONG @ TRIBES/STEVE CANNON’S PLACE

“Come hell or high water, Tribes will exist.” 
– Steve Cannon
Via Bob HolmanThings are moving very fast at Tribes.

A new apartment in a former homestead, outfitted for the handicapped, has been located for our dear Steverino on East 6th St. It’s a great place and Steve’s happy.

So rather than an Occupy Tribes Demo, we’re having an Occupy Tribes Farewell Blast/Moving Party.

Clean it up, move him out. I’ll be auctioning off everything that’s left for Steve’s moving expenses–Books, Art, the veritable kitchen sink…

So come by, bid farewell to this legendary arts salon, and help us raise funds for Steve and Tribes’ next incarnation ( there’s some old debts to pay off too.)

Food + auction.. Bring what you can to contribute.


Tuesday, April 15, 6 pm to Midnight.

285 East 3rd Street, 2nd floor, betw. C and D

If you cannot make it to Tribes for the farewell. Maybe you can make it on April 23, 2014 to the The Nuyorican Poets Cafe for a benefit party. Follow this link for more details: A Evening of Poetry & Jazz in Celebration of Tribes & Steve Cannon.More links on Steve & Tribes:
EV Grieve covers Tribes’ Story
The Villager article by Sarah Ferguson
G
angster Poet: Steve Cannon
Bedford & Bowery on Tribes
S
teve Cannon named Poet Laureate of LES/Howl! Festival
PAYPAL DONATION

The Friends of Steve Cannon: A Evening of Poetry and Jazz In Celebration of A Gathering of the Tribes & An Incredible Man

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The Friends of Steve Cannon: A Evening of Poetry and Jazz In Celebration of A Gathering of the Tribes & An Incredible Man

A National Poetry / Jazz Appreciation Month
Benefit for A Gathering of the Tribes

Hosted by Mariposa, Frank Perez & Sheila Maldonado

Featuring: Jesus-Papoleto Melendez, Melanie M. Goodreaux-Fielder,Stephanie Agosto, Dusty Rhodes, Ron Kolm, Danny Shot, Tsaurah Litzky, Bonafide Rojas, LaTasha N. Nevada Diggs, Patricia Spears Jones, Paul Beatty, Eve Packer, David Henderson,Bob Holman, Sophie Malleret, Bonny Finberg, Howard Pflanzer, John Farris, Willie Perdomo, Anyssa Kim, Jill Rapaport, Thaddeus Rutkowski and others

Wed, April 23, 2014 @
The Nuyorican Poets Cafe
236 E. 3rd St. (Pedro Pietri Way)
Bet Aves. B & C
http://www.nuyorican.org/

Doors open 5:30pm
Show 6pm – 9pm

ADMISSION: $20 at the door / $15 in Advance
Students & Seniors $10

“Come hell or high water, Tribes will exist.” – Steve Cannon

For more info: http://www.tribes.org/web/

Tribes, exuberant East Village arts space, faces eviction

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BY SARAH FERGUSON  |  Last week, the Howl! Festival announced that it had selected blind poet and playwright Steve Cannon to be 2014’s poet laureate of the Lower East Side. But the news of this latest feather in Cannon’s cap is bittersweet, because he and his iconic E. Third St. gallery/performance salon, A Gathering of the Tribes, are now on the verge of losing their home.

According to the terms of a legal settlement with his landlord, Lorraine Zhang, both Cannon and Tribes — which has operated out of Cannon’s second-floor apartment since 1991 — have to get out by April 15.

While the 78-year-old Cannon has been battling to stave off eviction for the past three years, news of the finality of this legal agreement came as a shock to many of his supporters.

“It’s the deathknell of a generation. It’s the end of the free spirit of the anarcho-artist of the Lower East Side,” charged Bowery Poetry Club founder Bob Holman, who is on the board of Howl! “The era of the poets crashing on couches has been taken over by Airbnb. Tribes is the last holdout for the gallery/performance crash pad,” Holman opined.

But though he may have lost his legal fight with Zhang, Cannon says he’s not ready to quit holding out just yet. In a letter last month to supporters, Cannon once again pitched the idea of finding a “benevolent donor” to buy back the four-story row house at 285 E. Third St. and help convert it into an artists’ residence.

As the letter notes, Zhang, who purchased the property from Cannon for $950,000, is looking for a buyer — the property is currently listed online at $3.35 million.

“It would be a tragedy to lose our space in spite of such ongoing recognition of the services we provide as an arts incubator on the Lower East Side,” reads the Feb. 19 appeal. “We are one of last places left that nurtures young aspiring artists in all disciplines. Please help, or help pass the word. SAVE TRIBES!”

Among Tribes fans, there’s now talk of a Kickstarter campaign to muster funds, or even a last-ditch occupation to “fill the place with bodies” and so pre-empt the marshals from carrying off the blind professor (along with his myriad books and poetry zines).

“People should contact Steve, go by his house, the door is always open,” urges Holman.

It’s all pretty 11th hour, which is why Cannon concedes he’s simultaneously  looking for another apartment in the neighborhood where he might continue some scaled-down version of Tribes.

“I could keep the Web site and publish a few poetry books a year,”  he said. “That’s the backup plan. But, really, my hope is to find a way to stay here,” Cannon added, sunk into his living room couch where he has held court for decades.

Zhang declined to comment and referred all questions to her attorney, Steven Gee.

“We intend to enforce the litigation,” Gee told The Villager. “I hope he can relocate his organization. He should have been looking for a long period of time. There’s been plenty of notice.”

Cannon first purchased the crumbling row house back in 1970 for $35,000, using the royalties from his first novel, “Groove Bang and Jive Around.” In 1989, after his failing eyesight forced him to quit teaching at Medgar Evers College, Cannon began informally schooling young poets and writers on the stoop of his building, located just a block away from the Nuyorican Poets Cafe, and catty-corner to the old Living Theater.

That stoop workshop became the genesis for Tribes, which morphed into a literary magazine, art gallery, poetry salon, periodic performance venue and perpetual hangout.

Over the years, Tribes has received funding from the New York State Council of the Arts, the city’s Department of Cultural Affairs, the Andy Warhol Foundation and an abundance of private donors. In 2007, Mayor Bloomberg even issued a proclamation honoring Tribes for its role in hosting the East Village’s annual Charlie Parker Festival.

Nevertheless, Cannon fell into debt trying to sustain Tribes and maintain the dilapidated building. (A fire in 1990 had gutted the top floors, and Cannon’s former partner ran off with the insurance money, he claims.) Frustrated with trying to play landlord as a blind man, Cannon sold the building to Zhang in 2004, with an agreement that he be able to continue living there, and holding “non-for-profit” [sic] arts activities in his apartment and the back garden for another 10 years.

Cannon concedes it was a bad move to set a time limit on his and Tribes’ occupancy.

“I was just looking for a good person to run the building,” he explained. “I thought I would let her take over the building and I would just stay here, that’s all.”

The initial agreement allowed him to remain for five years at a rent of $1,000 per month, with the option to renew for another five years at $2,200 per month. So, even if he didn’t get into a court battle with Zhang, legally he only had the right to remain in his apartment until August 31, 2014.

Cannon says he realized he was in trouble in early 2011, when he found out that Zhang had listed the building for sale. Later that year, Zhang moved to evict Cannon, alleging that Cannon had never given proper notice of his intent to renew the second five-year term of his possession agreement, and that Tribes’ late-night gatherings were disturbing other tenants and neighbors.

Zhang also charged that Cannon’s use of his apartment for Tribes was illegal, citing a 2006 violation issued by the Department of Building, which claimed Cannon had converted his apartment into an “office and art gallery.” In fact, according to the city’s zoning laws, it’s legal to have a noncommercial arts space in one’s home under the so-called “home occupation” provision, as long that use does not exceed more than 500 square feet. (Whether the foot traffic or noise generated by Tribes’ at-times boisterous happenings would be permitted under that statute was never determined in court.)

Faced with a trial and the possibility of having to pay Zhang’s legal costs if he lost, Cannon’s attorney recommended he settle the case. Last year, Cannon agreed he and Tribes would leave by May 30, 2014. But the date got whittled back to April 15 after Zhang moved to take Cannon to court again for allegedly exceeding the number of public events allowed under the stipulation.

Zhang and her attorney declined to comment on the specifics of the case.

“The pleadings speak for themselves,” Gee told the Villager.

Indeed, Gee seemed exasperated by the continued uproar over Cannon’s loss of the space.

“He wasn’t supposed to occupy forever,” Gee pointed out. “There was an agreement all along that he would have to move out. Now we’re at the end of the agreement, it’s not fair for Mr. Cannon to say it’s unfair.

“If this case had gone to trial, he would have faced a shorter time. I don’t understand why now it’s such a big affair,” Gee added.

For his part, Cannon says he regrets not taking the case to trial to present his side of the story. He claims that Zhang’s real motive for getting him out is financial. He says Zhang got into hot water after she subdivided the building’s other three floors and began renting out the rooms to students and tourists. In 2009, she was cited by the Department of Buildings for operating a “transient hostel.”

“She put 33 beds in two small apartments,” charged poet Chavissa Woods, who was living in Cannon’s back room at the time. “There were dozens of people moving in and out at all hours, and then the place got infested with bed bugs. Steve was covered in bites, and the neighbors were complaining,” Wood claimed.

Gee declined to comment on any of these allegations.

The Buildings Department slapped Zhang with fines and issued a vacate order for the subdivided floors, leaving Cannon the only rent payer while Zhang worked to restore the other apartments to single-family residences.

City property records show Zhang has accrued substantial debt on the property.

Still, Cannon probably didn’t help his case by allowing young artists to continue to stage exuberant performances on both weeknights and weekends, some of which carried on into the wee hours. One neighbor forwarded a video she shot in 2011 from her back window showing a stripper flogging herself in the backyard while audience members seated on risers in the backyard hooted and hollered. Earlier this month, Cannon confessed he’d just let a group host a “Chinese punk art show” in his living room.

“It was funny as all hell,” he quipped.

In spite of such unorthodoxies, Cannon’s downstairs neighbor told The Villager he didnʼt mind  having Cannon and Tribes there.

“I can’t begrudge a blind guy for doing something interesting with his life,” said the resident, who asked not to be named. Similarly, the neighbor who sent the newspaper the video said the noise problems had subsided two years ago, and even offered to write a letter in support of Tribes.

According to supporters, the real problem is that Tribes’ freewheeling existence clashes with the now-gentrified norms of the far East Village.

“Maybe we don’t really have a great legal defense, but what we have is an artistic, and very human defense,” Woods insisted. “Steve is preserving what’s been happening down here since the ’70s, ’80s and ’90s, and now people are complaining about that. When people say we’re crazy, well, O.K., but that’s what made this neighborhood so valuable in the first place.”

http://thevillager.com/2014/03/20/tribes-exuberant-east-village-arts-space-faces-eviction/

Eugene Hyon’s Non-Ephemeral Moments Realized

Link

Photographs Merging Urban Landscapes and Humanity:  Fine Art Photography From a Joint Exhibition @ A Gathering of the Tribes

February 8 – 15, 2014

The highly energized yet, at times, startlingly tranquil exhibition of art photography by native New York photographer, Eugene Hyon, organizer and curator at A Gathering of the Tribes on East 3rd Street in Manhattan, was an original artist’s view of urbanites and cityscapes not to be missed. The gallery show entitled, Urban Landscape and People: A Symbiosis of Nature and Culture, was a joint showing of recent works by him and Multimedia Artist, Musician and Professor of Fine Arts, Pilar Viviente of the University Miguel Hernandez, Altea, Valencia, Spain.  Included in the week-long exhibition were art-evoked poetry recitals by Howard Pflanzer and Helen Peterson. There were also piano improvisations by Prof. Viviente and Richard Clements, enriched by the art.

Artistic and Photographic Styles and Methods of Exhibitors

In her abstract multimedia art works, Viviente strongly projects the message, “Save Nature, Save Culture!  She reveals the symbiotic relationship between the two as primary factors supporting humankind’s reliance on both nature and culture in building a healthful, functional and rewarding urban habitat.  Starting from stacked constructions of books and CD cases as model city scenes, she creates the familiar dynamics of brightly lit skyscrapers against dense night darkness.  With touches of color, she adds sparks of light to the ebony sky, and in some paintings, an over-glaze of translucent brush-strokes of color to lend a Zen-like mystique of reassuring continuity.

In sharp but pleasing contrast to her style, Hyon magnifies, demystifies and dramatizes the organic, pliable balances that underlie the urban environmental core and humanity.  By combining three distinctive modes of understanding and focus through his lens─spiritual, poetic and painterly, he artfully guides his viewers to a realization of these balances against the characteristic, somewhat predictable background of city buildings. Yet through his unique lens and vision, nothing is quite predictable or totally definable, and this is what makes his photographs at once arresting and reassuring.

Within his compositions, there is an outward appearance of simplicity, but after a deeper look are layers of subtle complexity that interplay with blatent verity in areas of seemingly opaque mystery.  By means of these creative balances and layers of death, destruction, decay, vibrant energy, vitality and extreme beauty, he very astutely and artistically shows us specific aspects of the totality of the active urban lifestyle, death mode, and the stages of existence and experience among them all.  We find ourselves absorbed and fascinated by these facets depicted, minus any tendency toward hesitancy or avoidance of viewing even the most destructive or disparaging scenes.  We delight in the lighter moments and grieve with or ponder on the darker ones.  As a highly accomplished artist, photographer and philosopher, he is able to guide viewers of his works through the complete essence and embodiment of each moment in time, human experience and artistic vision that he captures and conveys.

Eugene Hyon’s Artistic Journey Traced

Hyon’s personal involvement with photography began in the late 1960s, working with his father who was an independent commercial black and white darkroom/studio photographer focusing mainly on fashion, industrial and commercial subjects in New York City.  Quoting from him, “There is ‘magic‘ in having a photographic idea and letting it materialize, then doing as many different things to it.  I have watched as this transformative process takes on a life of its own.” 

When discussing his art photography, he states, “My work has been described by others as down-to-earth, intimate, mysterious, evocative and visionary.  No matter the description, I seek to turn the everyday experience into an extraordinary ‘non-ephemeral’ moment from the very things that others take for granted.”  He works with black and white, because it clearly communicates the barest essence of the idiosyncrasies and attributes of our environment and is most suitable for depicting nostalgia. He explains that use of color grasps and concisely conveys instants in the “here and now” modern surroundings.

His art photography has been substantially influenced by the late 19th and early 20th Century photographic works of Eugene Atget, Berenice Abbott, Andre Kertesz, Paul Strand, and Irving Penn. Additional interests of his include living as an integral part of nature and traveling to distant destinations, preferably on the fringes of society. 

Hyon’s Individual Art Photography Works on Display

Beard Street Slip Beard Street Slip II

His works of art photography speak to us on different levels.  For example, in his fine art photographs entitled, Beard Street Slip and Beard Street Slip II, the use of sepia toning lends a touch of history and nostalgic warmth to the still, deserted scenes of factory buildings and open structures in Brooklyn built around the 19th Century behind empty boats moored at the weathered dock. What is especially evident is that the subtlety of the sepia tones in both works elevate unpretentious, ordinary and true-to-life scenes to classical levels of composition and proportion, as well as evoke by-gone days.  The viewers are transported into an alternate reality that looks back in time without having to leave the present.  If one looks closely within the photographs, there are only contemporary boats and cars along the docks and streets.

Mannequin On Van Brunt Street Slip

In the stark reality of the scene depicted in Mannequin on Van Brunt, the damaged yet stylish legs of a discarded mannequin dangle over the edge of a large industrial garbage bin.  On one level, these legs, though mud or blood-stained and grotesque in their embodiment of a life roughly lost, hint at a previous lifestyle of posed elegance and beauty.  Since the torso, head and arms are not visible, this former figure and existence may compel the viewer to imagine horrors underneath the pile of refuse.  On a second level, the whole picture takes on a completely surreal vision with half a woman’s figure left dangling off the side of the boat. The third level deals with the actual context, which is the collection of damaged commercial artifacts inflicted by Hurricane Sandy.

Sunken Taxis

In Sunken Taxis, a large fleet of yellow city cabs lies dormant and half-submerged in a flooded parking lot. Their yellow exteriors are offset by the dark murkiness of the rising water engulfing them.  With a wide-angle lens, the diamond-like geometry of the grouping of taxis is exaggerated almost to the point of saying that even in state of being engulfed during a super storm like Hurricane Sandy, order somehow survives disruption and chaos. This makes one think that there still might be hope for society and culture in the face of ever more destructive and uncontrollable floods of the urban landscape created by Global Warming.

Cooling Off On Milton Street

In Cooling Off On Milton Street, a young man and woman in swimsuits enjoy the cool, forceful spray of water from an opened fire hydrant on a hot day in a city neighborhood.  Water, which is a theme that runs throughout the entire exhibition, is seen here in it’s benevolent and most controlled form, completely in the service of humanity for pleasure.  In the background, the orange and white cylindrical warning barriers surrounding a parked heavy construction vehicle typify the constant mix of different residential and commercial/industrial environments, accessories and attitudes in city environments.  The human spirit, culture and social interaction are a reflection of the natural world, even if that natural world manifests itself in an urban environment.  Humanity shapes itself around the urban landscape as much as the urban landscape shapes humanity.

Greenpoint Welcome

Greenpoint Welcome shows the large, nearly street-to-rooftop sign on the side of an urban building.  Of prominence are the expansive block letters “BK” for “Brooklyn.”  They are a curiosity, because of the difficulty in determining whether the ghoulish graffiti lettering was the original work of the artist or added by passersby afterward, as well as strangely reminiscent of European political propaganda posters of the 1930s.  The three figures rushing off with a baby-in-stroller down the sidewalk bring a sense of normalcy to the overall scene.

In the art photography displayed in this exhibition, Hyon has definitely transformed ordinary objects, scenes and experiences into bigger than life, non-ephemeral time segments.  With his choice of subject matter that is often overlooked or taken for granted by others, he artfully applies his unique spiritual, poetic and painterly perspectives to focus his lens.  The result is a visionary’s diversified and complex, yet direct and concisely dynamic art photography.  The intimate and warm humanistic qualities of urban life merge with its stark, bold and often harsh realities.  With artistic expertise, he captures the very heart of the commercial-industrial impact on city dwellers and environments in subtle sepia, honest black and white or playful, emotional and infinite gradations of color.

Eugene Hyon’s link:  http://about.me/eugenehyon/#

Eugene Hyon, writer and collaborator with Ellen Gilmer.  Ellen Gilmer, writer, Culture & Art section, IMPress/International Press Association Publication, an online magazine. Article published March 6, 2014.

Montera @ IATI Theater

MONTERA-TAXI

A play that gives a voice to the silenced forever.

Written by Loren Escandon

Directed by Marisol Rozo

Guest Director: Alberto Ferreras

Light Designer: Miguel Valderrama

Dates:

Thursday, April 3, 2014 at 8:00pm
Friday, April 4, 2014 at 8:00pm
Saturday, April 5, 2014 at 8:00pm
Sunday, April 6, 2014 at 3:00pm
Wednesday, April 9, 2014 at 8:00pm
Thursday, April 10, 2014 at 8:00pm
Friday, April 11, 2014 at 8:00pm
Saturday, April 12, 2014 at 8:00pm
Sunday, April 13, 2014 at 3:00pm
Language: Spanish with English Supertitles

Location: IATI Theater: 64 East 4th Street, NYC 10003

Website: http://www.iatitheater.org/programs/detail/montera1

Synopsis
MONTERA follows the adventures of La Guiri, exhibiting the human side of the most dehumanized profession. With comedy and fearlessness, her story confronts physicality, experiences, beliefs and dreams. How does society view such a person once she has exposed her soul? This piece is a human analysis of the oldest profession throughout history. She, La Guiri, fearlessly carries the audience through stimulating observations. Ultimately, society’s duality between the blame and victimization of women is challenged.

Press Contact:
Yani Perez | (212) 505-6757 | yani@iatitheater.org

Tickets
$25 General
$20 Student
$20 Senior Citizen

http://www.iatitheater.org/programs/detail/montera

 

MONTERA-HIGHWAY

STEVE CANNON NAMED POET LAUREATE OF THE LOWER EAST SIDE

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PLOTLES PR.031014

PRESS  RELEASE

10 March 2014

Beloved Wordsmith and Living Treasure Honored

howl festivalPhoto: “Steve Cannon On The Couch” © 2014 by Eugene Hyon.

STEVE CANNON NAMED POET LAUREATE OF THE  LOWER EAST SIDE HOWL! Arts Inc. is pleased to announce that Steve Cannon—Writer, Poet, Playwright, Teacher, and Sage—has been named 2014’s Poet Laureate of the Lower East Side (PLOTLES). Cannon will be featured at the signature Allen Ginsberg Poetry Reading that opens the HOWL! Festival on Friday, MAY 30.   HOWL! Festival will take place in Tompkins Square Park Fri-Sun, May 30, 31 and June 1, 2014. Visit howlfestival.com. Cannon’s work and life is part and parcel of the neighborhood. Founder of A Gathering of the Tribes, the iconic East Village Gallery and Performance  space, Cannon has been a local legend and East Village treasure for more  than twenty years.  Mentor and magnet to young poets and seasoned. Bards alike, his residence as salon has provided a nurturing forum for art exhibitions, poetry readings, musical events, and other  activities which showcase the East Village’s cultural history, energy, and grit.  For more on Steve’s remarkable life.

“Steve Cannon is the only admittedly blind gallery owner  in New York City, as well as the only Paid Heckler in town,” says Dean of the Scene Bob Holman, founder/proprietor of the Bowery Poetry Club and board member  of HOWL!. “When you walk into his gallery aka his living room, you know this is the secret  portal to the real Art World—as open, creative, wild, and outside the establishment as it’s been since the days of the Beat poets and Abstract Expressionist painters.”

But as the neighborhood changes, artists and creative spaces are being displaced by rising rents and gentrification. “This is a call to arms,” says Holman, as Mr. Cannon is being threatened with eviction from his residence  and Tribes as an incubator of visual and performing artists may be shuttered. To help out, contact Tribes Here.

About Tribes

Tribes was conceived as a venue for underexposed artists, as well as a networking center and locus for the development  of new talent. The formation of Tribes was motivated by the thriving artistic community in and around the Lower East Side: poetry  at The Nuyorican Poets Café; performances and plays at the Living Theater; activist art at Bullet Space; as well as hundreds of artists trying to find and develop a voice in their medium and a place in which their work might be appreciated. Housed in a historic federal house built by the founder of The Nation magazine, (Hamilton Fish), Tribes is located on East 3rd Street  between  Avenues C and D.

About HOWL! Festival

Founded “to lionize, preserve,  and advance the art, history, culture, and counterculture unique to the East Village and Lower East Side,” the HOWL! Festival is a call to arms across time and boundaries of culture, taste, and creative expression. Named the Village Voice’s Best Outdoor Festival, HOWL! Festival is the quintessential community event celebrating the history and creativity of the EV/LES. The spirit of Allen Ginsberg comes alive as more  than 350 artists, poets, and performers, including youthful new talent, transform the Park into a participatory artwork  infused with the creative energy, flamboyance, and panache that’s the hallmark of the neighborhood. A three-ring circus of wonderment and amusement, HOWL! Festival is entirely FREE. Signature Events include:

•   The Great  HOWL! OUT LOUD Kids Carnival

•   Art Around the Park and Kids Around the Park

•   The group reading of Allen Ginsberg’s Howl

•   Riki Colon’s Men in Skirts

•   Chi Chi Valenti and Johnny Dynell’s Low Life 8

•   Soap Box Poets

•   The Beatification Station featuring dance and theater

•   And continuous performances on the Main and Kids Stages

 

X            X            X            X            X

For further information, high resolution images, interviews contact MartinMPR Susan Martin / 505 685 4664 /  susan@martinmpr.com or Norma  Kelly / 818 395-1342 / norma@martimmpr.com

SAVE TRIBES! For Immediate Release!!!

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2/19/2104

From: Steve Cannon
Director of A Gathering of the Tribes

SUBJECT: Help us turn 285 E. 3rd St into a non-for-profit arts residence !
!Dear Friends:

As you may already know, our landlord Lorraine Zhang has put 285 E. 3rd St. on the market, and has taken Steve Cannon to court for what she asserts is an unlawful use of the premises. As a result, we are now subject to a legally binding agreement to leave by April 15.

We are reaching out to you now with an urgent appeal to avert the displacement of Cannon and the dissolution of this internationally recognized arts space.

A Gathering of the Tribes was founded in 1990 here at 285 E. 3rd Street. We are a 501 C3 and have received funding support from the New York State Council of the Arts, NYC Department of Cultural Affairs, Jerome Foundation, Andy Warhol Foundation, Bloomberg LP, as well as an abundance of private donors.

Our literary magazine, which is published annually, is distributed to museums, schools and libraries worldwide. Our gallery space showcases both seasoned and emerging artists from across the US, as well as Russia, India, China, Africa and beyond. We host an average of 10 exhibitions per year, in addition to the annual Charlie Parker Festival in August. Fly By Night Press, our publishing arm, publishes poetry by writers from diverse backgrounds. Tribes also sponsors and hosts music and dance performances, poetry readings, lectures, forums, open mic’s, and other happenings. We have been featured in the Wall Street Journal, the New York Times, literary magazines, art journals and numerous local and international publications.

Because we’ve been established for close to 25 years and have made the East Village our home, we would like to continue to operate here and offer a base of support and community for artists in our neighborhood.

This is why we need your help. Tribes is in search of a benevolent donor to purchase this property on behalf of our 501 C3. We plan on continuing and expanding our activities on the second floor as described above (gallery, poetry and performance salon, publishing magazine bi-annually, as well as 2 to 4 books per year). And we would like to convert the rest of the building to residences for poets, writers, musicians, and artists of all stripes. Our plan is to partner with foundations, schools or other institutions that can provide stipends to artists to reside here for 3-6 months, up to 1 year periods of time. We will continue offering internships through local universities to young artists, who can get involved in our programming and be mentored by the artists we house.

In order to manage such an operation, we would expand our staff to include at minimum a full-time office manager, grant writer, program coordinator, online editor and maintenance staff.

[The cost of running this building is relatively low. Fuel is approx. $10,000 per year (heat and hot water), insurance is approx. $5,000 per year, and real estate taxes are just $3620 per year. That’s a total of $18,620 annually. ]

There are many possibilities for how Tribes can thrive and grow—including leasing floors to groups that could fund such artist residences. We are open to any and all kinds of creative financing. At this point what we need is to secure the building.

If you are interested in buying the building or donating to a fund to purchase the building, please get in touch. We have exhausted our legal appeals, so we either need to find someone(s) to purchase the property or get out.

This year, the HOWL! Festival will honor Steve Cannon by naming him the poet laureate of the Lower East Side. There is even now a Two Boots pizza named after A Gathering of the Tribes.

It would be a tragedy to lose our space in spite of such ongoing recognition of the services we provide as an arts incubator on the Lower East Side. We are one of last places left that nurtures young aspiring artists in all disciplines. Please help, or help pass the word. SAVE TRIBES!

Thank you for your careful consideration of this matter. If you would like further information about the property or any details of our legal situation, please do not hesitate to call.

Sincerely,

Steve Cannon
Director, A Gathering of the Tribes aka the Blind Guy

Lee Klein Reviews A Venetian Tour Part 3

So there and then in and out of the chambers of the arsenale; in one stretch lo and behold laid out were a whole pack of nations.   Many were represented; but, Chile and Indonesia packed a smoking one two punch (but there was a dive>>>>)…..Something was going to take a dive for Chile’s pavilion featured a singular work by Alfredo Jaar where the Giardini (that being a full scale model of it and all its pavilions) was timed to submerge and emerge from the murky green waters like a synchronized sea monster (if this piece was not deemed culturally or artistically significant by someone other than the curators and officios in Santiago, well it was a hell of an amusement). Continue reading

12 Years Slave reviewed by Norman Douglas

Run, Piggy, Run! Nigger’s Gonna Gitcha!
12 Years A Slave, a film review by Norman Douglas

Directed by…………………………………………. Steve McQueen

Screenplay by…………………………………….. John Ridley

Based on the book Twelve Years a Slave by Solomon Northup

Starring

Chiwetel Ejiofor…………………………………… Solomon Northup

Adepero Oduye……………………………………. Eliza

Benedict Cumberbatch……………………….. Ford

Liza J. Bennett…………………………………….. Mistress Ford

Paul Dano……………………………………………. Tibeats

J.D. Evermore………………………………………. Chapin

Michael Fassbender……………………………. Edwin Epps

Sarah Paulson…………………………………….. Mistress Epps

Lupita Nyong’o…………………………………….. Patsey

Scott Michael Jefferson……………………….. Master Shaw

Alfre Woodard……………………………………… Mistress Shaw

Garret Dillahunt…………………………………… Armsby

In 1968, LSU Press published a historically annotated version of Solomon Northup’s Twelve Years a Slave (1853) co-edited by Louisiana State University at Alexandria historian Sue Eakin and historian Joseph Logsdon of the University of New Orleans. Sub-titled Narrative of Solomon Northup, citizen of New-York, kidnapped in Washington city in 1841, and rescued in 1853, from a cotton plantation near the Red River in Louisiana, this reprint enjoyed popularity among students and civil rights activists alongside other 19th century texts by black writers and activists like Frederick Douglass and James Weldon Johnson. Originally published in 1853, Northup’s tale appeared not long after Harriet Beecher Stowe’s Uncle Tom’s Cabin and enjoyed a wide readership, especially among abolitionists. Last year, a film directed by Turner award-winning artist Steve McQueen and starring Michael Fassbender and a sweaty- and furrow-browed Chiwetel Ejiofor in the role of Solomon Northup saw wide release in cinemas, and is currently nominated for several awards by the Academy of film and theater artists in America, having already won best picture from the judges of the British Academy last week. Continue reading

The Great Gatsby reviewed by Norman Douglas

F. Scott Fitzgerald’s now classic novel, The Great Gatsby, has once again been brought to the screen. This time, director Baz Luhrman has given contemporary movie hunks Leonardo diCaprio and Tobey Maguire the opportunity to give life to Fitzgerald’s Jazz Age tragedy. The story is simple enough. Yale graduate Nick Carraway (Tobey Maguire) gives up his dream of becoming a writer to join the frenzied bond business thriving on Wall Street during the Roaring Twenties. Maintaining a low profile at the firm of one Walter Chase, Nick moves into a modest cottage in the town of West Egg, Long Island, where he can enjoy his off hours without the distractions of the city. Ironically, his humble home sits in the shadow of the “colossal castle” owned by Jay Gatsby (DiCaprio), a mysterious millionaire of whom he knows nothing, other than the fact that he hosts impossibly lavish parties each and every weekend of the summer that serves as the story’s timeframe. Continue reading

Interview with Nancy K. Miller by John Wisniewski

1. What captivated you about Paris?

Seen from the New York fifties, Pariswasheaven for intellectuals. We all knew about the Beauvoir/Sartre couple and were fascinated by the fact that they were equally brilliant, famous, and bound by a pact other than marriage. We alsowere enchanted with Albert Camus, readyto believe his claimthat the world was “absurd.” But, of course, the appeal of Paris was not just about braininess. There was style, glamor, and sophistication in sexual matters. While Doris Day was starring in movies in which she never lost her virginity, nouvelle vague movies were showing us the opposite. I was entranced instead by Jeanne Moreau, and especially, though she wasn’t French, the American actress Jean Seberg, who starred in Jean-Luc Godard’s Breathless. Continue reading

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