TRIBES’ Open house!
April 14, 3:00PM- Onward
285 E. 3rd St. 2nd FL
Books for sale! Art for sale! Tribe’s memorabilia for sale!
Refreshments & Snacks available
If you can’t buy anything, stop by and say hello to Steve Cannon “The Blind Guy”
Category Archives: Art Exhibit
Michael Randall at 490 Atlantic
Michael Randall at 490 Atlantic
“Twenty (odd) small paintings”
“I believe that both painting and abstraction — far from being exhausted, irrelevant or dead — still contain limitless fresh possibilities.” -Michael Randall
I first became acquainted with the paintings of Michael Randall when I found a batch of cast-off watercolors in the garbage outside his building. I liked the energy of the abstract forms, the vitalism they seemed to exude, encompassing both a joyous buoyancy and an undefined anxiety. I scooped them up and took them home. (My entire art collection is composed of works the artists themselves have rejected. Many of these end up in storage.) Some of the Randalls still hang on my walls.
OUT OF THE CLOSET AND INTO THE OPEN
Here is the Chinese Baby You Ordered.
Chris Twomey (1954-2012), “Haplogroup B Red” (Madonna Series), 2005. ultrachrome ink on archival paper 13×19 $500
Part of our benefit show, up now at Tribes, 285 E 3rd St. 2nd Floor. Stop by for a rare find and support us!
FIRE ESCAPES, WATERFRONTS & ROOFTOPS AS URBAN LANDSCAPE
FOR IMMEDIATE RELEASE:
“FIRE ESCAPES, WATERFRONTS & ROOFTOPS AS URBAN LANDSCAPE,” A SOLO EXHIBITION BY EUGENE HYON, A NEW YORK-BORN ART PHOTOGRAPHER
New York, December 5, 2012—Emerging artist/photographer Eugene Hyon
will exhibit sepia tone and digital color photographs for one week in Steve Cannon’s art gallery at A Gathering of the Tribes, located at 285 East 3rd Street, 2nd floor, between Avenues C & D. After January 25, 2013, this exhibition will be extended to February 1, 2013. Closing Reception Party will be held Saturday, February 2, 2013 between the hours of 5:00PM-7:00PM.
The theme of the exhibit is a photographic series that calmly observes those features that make buildings part of an urban landscape, which on the surface is man-made in structure, yet is made physically natural and spiritually alive in its use and occupation by people.
I create with a painter’s eye for composition. Each photo is evidence of the patience required to get things just right and my attention to craft and detail is what holds a viewer’s attention. Stillness, elegance and classical proportion are the stylistic characteristics that make my photographic compositions. A viewer never senses overweening intention or manipulated intervention. What is uplifting occurs simply and as a result of patient witness in which that kernel of hope ultimately shines through. Soulfulness is that crucial element that prevents my photography from becoming lost in the noise of the temporary and trivial.
The gallery at A Gathering of the Tribes was chosen for its strong sense of history, artistic neighborhood atmosphere and relevance to the exhibit’s photographic subject matter. The popularly known “Tribes” on the Lower East Side was founded by Steve Cannon, author, well-known mentor of emerging contemporary artists and an iconic figure of the Lower East Side art scene.
For further information about the art photography of Eugene Hyon:
80 La Salle Street, Apt. 7G
New York, NY 10027-4713
1.646.388.2962 (cell)
E-mail address: eugenehyon@hotmail.com
Web site: http://local-artists.org/user/9203
Art Show Rules
Tribes is seeking art show proposals for all of 2013. In the interest of honesty and clarity:
If you want to show
ART at TRIBES GALLERY
here is
EVERYTHING YOU NEED TO KNOW and EVERYTHING YOU NEED TO DO.
This can be turned into a contract if necessary.
- Send samples of your work and a description of the show to janet@bruesselbach.com and gatheringofthetribes@gmail.com at least 2 months in advance of when you want to show. We will give you the go ahead or not.
- We do not have funding to support art shows unless you bring it to us. Write a grant or collect enough to donate to Tribes to cover its operational costs: at least $200/day, $1000/week, $3000/month. You may be able to fulfill some of this by donating your labor in the office or in restoring the space, but this still involves grant writing. Be competent, frequent, and useful at these things. Get to know Steve and make yourself part of the community.
- We do not have a permanent paid staff, so don’t rely on the volunteers. If you cannot either promote, prepare, and install yourself or hire someone to do it for you and follow these terms, you should not show here. YOU MUST COVER ALL EXPENSES. You can cover them with the aforementioned grant or crowdfunding, but these are not included in the operational costs listed above.
- Confirm the dates and terms of the show 6 weeks before its starting date. Openings can be any evening, but neighbors have complained too much about Saturdays.
- Have a press release 1 month before the opening date, and send it to gatheringofthetribes@gmail.com. Come to Tribes and use our press contacts, bulk mail permit, and printer. Make sure you have FINALIZED your press release before it goes out online. It should include the title, participants, date, time, address, contact information, and at least a paragraph of description. An image is also good. The press release MUST go out before 2 weeks prior to the opening date.
- Begin installing 3-7 days before your opening date.
- DON’T DO ANYTHING TO THE SPACE YOU CANNOT AND WILL NOT REVERSE. You are responsible for cleaning everything up.
DO NOT:
- Use glue or tape on the wall
- Use water soluble paint or pens
- Paint over light switches
- Use candles
- Embed mounts in the wall
- Leave fasteners in the wall
- Spill paint on the floor. Lay down tarps or newspaper.
- ALTER IN ANY WAY THE DAVID HAMMONS INSTALLATION WALL
You will owe us at least $1000 in damages for each of these things if you do them, but what’s more important than the punishment is that you DON’T DO THESE THINGS.
8. At the opening, it is customary to pay for the wine and other refreshments by taking donations of $3/cup and sometimes door donations as well. You must find someone to pour the wine and work the door. Ask Tribes volunteers.
9. You must stop playing music in the back yard by 10 pm, in the apt by 12pm, and everyone must leave by 2 am. Come in before an event to make sure the place is in good shape, and clean it up afterward because visitors will be there the next day.
9. Tribes requests a donation of 40% of sales of any work. Officially, Tribes isn’t selling anything, but checks written to us count as donations, so we operate as a go-between, and it makes buying things easier. Understand that you have to be paying enough attention and be present enough to sell work and keep track of your money.
10. Re-emphasizing because it’s important: CLEAN UP. Leave the space in better shape than you found it. Remove fasteners, spackle, sand, remove everything you put on the walls and repaint if you made art on the wall. Don’t leave art here after the closing date. We have enough “donated” as it is.
The main point is, it is up to you to make things look professional. You need to make something to be proud of. Regardless of your genius, it is not a privilege of yours to have other people do the gallery work for you. This means that things can be as you want them, but it also means that you must show respect for yourself and others. I don’t mean to insult you – all of this should be obvious and possible, and we really want to show your art here. But if you don’t promise to take care of these things, you cannot show at Tribes.
Janet Bruesselbach, 11/27/2012
TRANSFORMATIONS
Empty Chambers at Tribes
FOR IMMEDIATE RELEASE:
EMPTY CHAMBERS AT TRIBES
Curated by Steve Cannon
The show includes permanent installation by award winning artist David Hammons
Now showing through Nov. 5
Tribes Gallery
285 E.3rd St 2nd FL
New York, NY 10009
Eugene Hyon: The Non-Ephemeral
“Coming To Brooklyn,” an exhibition of the Brooklyn Waterfront Artists’ Coalition
Reviewed by Susan Scutti
Still photography more than any other art form is all about time. When we “take” a photograph, we essentially snatch a single moment, a single image from the infinite number of moments and images that eternally pass us by. In this way we redeem what is random and pronounce it worthy. Art, though, is an interpretation of the world and not simply a capturing of cascading reality. The artifice inherent in all great photographs, then, is the discovery of what is timeless in what is momentary. And so an exceptional photographer — and Eugene Hyon is exactly that — teaches us what is immutable about our world and ourselves.
Hyon’s range of subjects is vast and he seamlessly moves back and forth between digital and film photography, yet no matter what subject he chooses or which method he selects, he creates with a painter’s eye for composition. Each of his photos evidence the patience required to get things just right and his attention to craft and detail is what holds a viewer’s attention. And although it takes mere seconds to lift a camera and press the shutter, Hyon’s many years of making art and his wide-ranging knowledge of art history inform each momentary image. This timelessness is not only seen but more importantly felt by a viewer. Absolutely nothing he does is throwaway.
His work is currently exhibited in the show, “Coming to Brooklyn,” at the Brooklyn Waterfront Artists’ Coalition, as well as on the website Artslant.com. A digital photograph ”Baked Goods and Books” (July 2011) shows a storefront bakery within a yellow brick building which also boasts a sign advertising a Polish bookstore and “Garage Gallery.” A 718 area code in the sign locates this building in Brooklyn and so one infers the neighborhood is Greenpoint, with primarily Polish residents. A huge hat painted beside the sign onto an area of whitewashed wall spills alphabetical letters, words, punctuation marks and phrases from its gaping brim. Significantly, the building stands behind a delicate wrought iron fence delicately painted white. What Hyon conveys in this elegant composition is diaspora as opposed to desperation; looking at this image a viewer senses the success and not just the struggle of American immigration.
In “Welcome to Greenpoint,” July 2011, a painted mural occupies the left half of his photograph while three adults and a baby stroller walk out of the frame in the lower right hand corner. The mural, which is painted in green, blue, white, gray, black and red on a concrete block wall, appears to be a government commission; the banality of its message — “Welcome to Greenpoint BK” — suggests this most of all. Scrawled on top is the indecipherable tag of some local graffiti artist — an embellishment of perfect disrespect. Painted within the mural’s block lettering is a separate image of a smiling, heroic-seeming man as well as a crowd of workers and the proportions of these figures are reminiscent of Eastern European propaganda during the years of the Cold War: the heroic, smiling man is twice the size of “the people.” He neatly echoes and subverts this idea within his photograph; the cluster of real, live people are also half the size of the heroic man, no different from the painted people except for the fact that they are walking away from their supposed leader. Thus, he subtly conveys a feeling of individuals who ignore and disobey what dwarfs them and so escape their historic past of oppression.
It seems appropriate that Hyon would choose digital photography for his urban fringe, but when documenting the natural world, he turns to film and achieves a more classical countenance. “Revival” (2010) and “Dancing at Night” (2005) are both black and white film photographs. The former is a lengthwise (11X14) close-up of leaves at the farthest edge of a branch weighted by snow; despite the starkness of this winter image, with its gray tones and icy whiteness, he impossibly conveys the promise of a Spring bloom. The second photo is an upper story view of city trees; dressed in white lights, they appear to be moving, essentially tangoing against a background of buildings, sidewalk, and street. Because the names of the stores are blurred in the photograph and cannot be read, he suggests that what is most significant and most soulful in the city is the natural world.
Stillness and elegance can be found within each of his images. The subjects and images which another, lesser artist might glibly sensationalize, he calmly observes until he finds a kernel of hope. More importantly, a viewer of his photographs never senses overweening intention or manipulated intervention; what is uplifting occurs simply and as a result of patient witness. And so the rigorous, spiritual beauty infused in each of his images prevents his photographs from becoming lost in the noise of the temporary and trivial.
Photos from “Two Word Jewels”
Nothing To See Here Sept. 28
Two Word Jewels
The show is an experiment in ritual and time. Firstly, it will exist in space, minutes, and season. Second, the imprint of participation can last for a long while. Third, someday all present will decompose, geology will take over, and Tribes will have been real.
On October 5, 2012 join us for the October 5th of your life, including homemade applesauce, sculpture, sound, light, and cheap beer/live girls. Bring the extra contents of your extra pockets to empty and we’ll turn it into treasure.
Collaborating artists include Rob Peterson, Sarah Skenazy, Sophie Nichols, Allyson Packer, Graham Parker Ansell, Olivia Peebles, Moira Connelly, and Jane-Claire Quigley.