Exhibits, Reviews and Articles


Opening Reception - i found god in myself: the 40th anniversary of Ntozake Shange’s for colored girls…
Thursday, October 6 • 6-9PM
African American Museum in Philadelphia
701 Arch Street, Philadelphia, PA 19106
For more information and to RSVP click here

Curated by Souleo

Join us for the opening of AAMP's latest special exhibition i found god in myself: the 40th anniversary of Ntozake Shange’s for colored girls. This two-gallery art exhibit celebrates the 40th anniversary of the choreopoem, for colored girls who have considered suicide/when the rainbow is enuf, and is curated by Souleo.

Through 20 commissioned artworks by artists including Renee Cox (in collaboration with Rafia Santana), Kimberly Mayhorn, Dianne Smith, Margaret Rose Vendryes and Danny Simmons the exhibition is a tribute to the Broadway play. Each work honors the individual poems and underscores their enduring significance in highlighting issues impacting the lives of women of color.

Additional works by nationally acclaimed artists including Deborah Willis, Carrie Mae Weems and Saya Woolfalk further expand upon related themes of sexuality, race, sisterhood, violence and self-love depicted in and inspired by Ms. Shange’s work. The exhibition will also include archival material that highlights the creation and evolution of the original text from its 1974 California debut to its Broadway run, courtesy of the Barnard Archives and Special Collections at Barnard College.

i found god in myself originally debuted in 2014 at the Schomburg Center for Research in Black Culture, Long Gallery Harlem (formerly The Sol Studio) and La Maison d’Art.

This event will include a wine and cheese reception and performance by local artists.

Exhibiting Artists
Adrian ‘VIAJERO’ Roman, Alexandria Smith, Amber Robles-Gordon, André St. Clair + Tavet Gillson of AndréTavet, Arlene Rush, Beata Drozd, Beau McCall, Carrie Mae Weems, Celestine Wilson-Hughes, Cheryl R. Riley, Chompunutt Mayta, Colette Fu, Danny Simmons, Deborah Willis, Dianne Smith, Dindga McCannon, Fay Ku, Gregory Saint Amand (GOGO), Janet Goldner, Jas Knight, Jeanine Alfieri, Katherine Daniels, Kathleen Granados, Kimberly Mayhorn, Laura R. Gadson, Lauren Kelley, Margaret Roleke, Margaret Rose Vendryes, Melissa Calderón, Michael Paul Britto, Noelle Lorraine Williams w/Stafford Woods, Nona Faustine, Pamela Council, Renee Cox w/Rafia Santana, Ruben Natal-San Miguel, Sage Gallon, Saya Woolfalk, Sheila Pree Bright, SOL’SAX, Stan Squirewell, Tamara Natalie Madden, The Colored Girls Museum (Barbara Bullock, Betty Leacraft, Devyn L. Briggs, Lorrie Payne, Marie Mathol-Clark, Michael Clemmons, Monna Morton, Natalie Erin Brown, Rhashidah Perry-Jones, Toni Kersey), Uday K. Dhar, Wura-Natasha Ogunji


A Mosaic of Voices, Mediums and Black Womanhood
September 29, 2016

When “i found god in myself: the 40th anniversary for Ntozake Shange’s for colored girls” exhibit premiered, Shange herself attended to view the 20 original works curated by Peter “Souleo” Wright.

By then, she had suffered two strokes and was in a wheelchair. But when she saw the life-size portrait of herself by painter Margaret Rose Vendryes, Shange tried to get out of her wheelchair to show how the tattoos on her body perfectly matched the ones in the painting.

“She was so excited to be there and see what we had done with her work and what we did to make her work visible and take it off the page,” Vendryes said. “She’s more beautiful than the painting.”

Two years later the portrait, the other original works, four new commissions and some non-commissioned pieces will be on view at the African American Museum, opening Oct. 6. The exhibit includes sculptures, paintings, videos and bigger installations.

The show celebrates the play “for colored girls who have considered suicide/when the rainbow is enuf,” which premiered in California in 1974. The play explores themes like black womanhood, sexuality, violence and love in all its forms.

Souleo said the play was “groundbreaking” for him when he first saw it.

“Women of color are a largely underrepresented segment of our community,” he said. “[The play] eloquently and creatively explores the nuances.”

The process from curation to opening night was a long one, but for Souleo, it ultimately paid off.

He began with the “seed of inspiration”—in this case, the text of the play—and then did research on other existing conversations around the topic. He reached out to artists and, based on examples of work they’d submitted, gave them each a poem from the play to guide their creations.

Souleo said he suggested one to three poem options that he “felt the body of work would connect to.”

“It was very much a give and take, a conversation, a dialogue,” he added. “I wanted each artist to feel comfortable with the text so they could put their heart and soul into it.”

Souleo constantly referred to the text throughout the entire process, carrying the book around in his bag everywhere he went.

Kimberly Mayhorn, a multi-disciplinary artist, also relied heavily on the text while she was creating her piece, which is a multi-medium, audio-visual experience. Mayhorn’s works often utilize installation, sculpture, sound and video. The poem she used, “Dark Phrases,” is also the prologue of the play.

“When I was working on the work in the beginning, I knew I wanted to use sound,” she said. “I approached it by creating a music scale grid to play off the melody of what I was feeling what I was reading the words.”

She added that Shange’s writing seems very lyrical, and she wanted to enhance that musicality.

The piece is a “mosaic of voices” with recordings of five women reciting excerpts of the poem and a piano melody layered with the audio. A black satin nightdress is also part of the site-specific installment, “to give a sense of essence of this body,” Mayhorn said.

“I wanted to create this conversation between different textures, the sound you’re able to access and hear,” Mayhorn said. “It’s abstract, so there’s no physical image of a black woman, but what I’m aiming to do is to respond to the melody of the complexities of how ‘Dark Phrases’ was written and how I was responding to it.”

Amber Robles-Gordon, a mixed-media visual artist, was drawn to the show because of the way she connected so personally with the play when she first saw a performance at about 11 years old.

“I remember as a young girl, my mother took me to see this play,” she said. “I remember the energy … the feeling of camaraderie and collective reaction to portions of the play. … I remember coming out of that play and feeling older, maybe a little bit wiser and definitely feeling more connected to women like my mother and the women in my family.”

The poem she was assigned, “A Laying On of Hands,” can be interpreted with themes like religion, being in love and healing, she said.

The sculpture is made of found objects, fabric and other materials attached to chicken wire and divided into the colors of the rainbow. Robles-Gordon used the spectrum of the rainbow and applied each color to each of the seven main characters and their roles in the play. Her works are often large-scale sculpture and installations using textiles and found objects.

“The message I try to convey through my work is that we are all powerful and to think about how we use our resources, our message, our power … and how we transform dust into gold,” she said.

Vendryes’ portrait of Shange is part of her “African Divas” collection, a series of multi-medium paintings celebrating black women like Janelle Monae, Eartha Kitt and Whitney Houston.

The portrait is based off a photo of Shange at the premier of the movie adaptation of the play. The assigned poem “No More Love Poems” is directly incorporated into the piece—the words are written into wax and are arranged like rain down the canvas. To Vendryes, the poem is about “continuity, self-enlightenment and loss.”

“As I started doing research, I realized [Shange] was very much a diva even though she was not a performer like the other ones [in the series],” Vendryes said. “She emerged as her diva even though she’s a writer.”

“I remember seeing for colored girls when it came out in ‘74 and she performed on stage and I was blown away by the willingness she had to bare the soul of troubled women,” she added. “[The themes were] unheard of and quite exciting for young black women like myself.”

In the diva series, each woman is wearing an African mask. In the beginning of the series, Vendryes painted on the masks, but she now uses real masks on top of the painting.

Vendryes had to saw a mask from Cote D’Ivoire in half to accommodate for the position of Shange’s face in profile in the life-size portrait. The other half of the mask is held in Shange’s hand.

Souleo said the artists he worked with each brought a new perspective to the text of the play, which “expanded the universality of the message.”

“No matter where you are in the world, you can connect to this exhibition,” he said. “People are looking to see themselves reflected in media and in the creative arts.”

At the Schomburg exhibition, Souleo said there was one woman who cried after seeing a piece.

“She saw her own experiences in that art piece,” he said. “I think when you see that people are touched by it, getting that emotional, visceral response, it’s really the best thing for me and for the artist.”

Souleo said he is excited to explore more about Philadelphia’s art scene. He added that the African American Museum is historic and it’s important to celebrate it.

“It’s good to support these institutions that support our communities,” he said. “Sometimes there’s nothing like having your own and celebrate that.”

Lian Parsons can be reached at lian.parsons@temple.edu and @Lian_Parsons.
African American Museum in Philadelphia, Ntozake Shange, Margaret Rose Vendryes


Lest We Forget
September 12 – October 16, 2016

Opening Reception: Sunday, September 18, 2016, 3-6 pm
Artists’ Talk:Sunday, October 9, 2016, 3-6 pm
Sponsored by: Darryl Gorman, Patron of the
Arts Closing Reception/Healing Ceremony Sunday, October 16, 2016, 3-6 pm
Facilitator: Geoffrey Edwards, LAC, Nu Healing Arts*

About the Exhibition

The exhibition presented at Galerie Myrtis, Lest We Forget examines pivotal moments and figures in U.S. history, as well as the everyday occurrences and unknown individuals that have impacted, to various degrees, the African American experience here, and by extension, throughout the world.

Too often individuals, movements and ideas are discounted, overlooked or ‘smudged out’ in an attempt to lessen their societal and cultural agency and potency. What has come before is particularly poignant now, more than ever, and continues to reverberate in current issues, both progressive and problematic, such as Black Lives Matter and the examination of President Obama’s legacy in the final months of his administration.

Featured Artists

Larry Cook, Wesley Clark, Shaunte Gates, Delita Martin, Jamea Richmond-Edwards, Amber Robles-Gordon and Stan Squirewell

Curated by: Jarvis DuBois and Deirdre Darden



American University Museum at the Katzen Arts Center
Curated by Sandy Bellamy
Sept. 10
6-9 pm
Early Fall Opening Reception
Free, open to the publicSept. 26
6 pm
“All Power to all the People!”
An Artist’s Talk with Emory Douglas
Free, open to the publicClick here to download the pdf


Millennium Arts Salon, in partnership with The Philips Collection, presents

Trends in Contemporary American Art
Where is contemporary art headed? The panel brings together a collector, curator/scholar, art consultant, visual artist, and performance artist, all based in DC, to share their views on the topic.

University of Maryland Center for Art and Knowledge at The Phillips Collection
1600 21st Street, NW, Washington, DC (Dupont Circle Metro)

· Jessica Stafford Davis (moderator), Founder and President, The Agora Culture, an online contemporary art resource

· Vesela Sretenovic, Senior Curator of Modern and Contemporary Art, The Phillips Collection

· Sheldon Scott, Performance artist

· Amber Robles-Gordon, Visual artist

· Henry Thaggert, Attorney, collector, and art patron

FREE; RSVP to Kelley Daley at kdaley@phillipscollection.org

Organized by the Millennium Arts Salon in partnership with The Philips Collection
With support from The Agora Culture and the David C. Driskell Center at the University of Maryland, College Park



East City Artnotes: The Critiqued at Otis Street Arts Project
By Eric Hope on April 6, 2016

Visitors take in the art at opening night of The Critiqued.
Photo for East City Art by Eric Hope.

Coinciding with the organization’s one-year anniversary, Otis Street Arts Project recently unveiled its newest exhibition The Critiqued featuring works by thirteen area artists. Artists on display have all participated in the Project’s Critique program, an ongoing series of critical dialogues open to the public and facilitated by area arts professionals. Several of the finished pieces on display in this current exhibition were shown and discussed in unfinished states during those earlier peer reviews, giving audience members a unique perspective into the artists’ thought processes as they work to determine when a work is indeed finished.

At the Altar: Jade
Amber Robles-Gordon
Photo for East City Art by Eric Hope

The exhibition is refreshingly full of visual experiences. While painting and photography are included, the show also includes sculptural and video work, as well as pieces that combine disparate media in intellectually challenging ways. One rewarding aspect of watching an artist’s process is examining how they relate their aesthetic to artists who have come before. While At the Alter: Jade by Amber Robles-Gordon lightly references the early works of Sam Gilliam, the artist creates something strikingly modern with updated materials including zippers, snaps and gold appliqués. The resulting work is perhaps more sculpture than painting as it extends rigidly from the wall, highlighting her grasp of precedent as she simultaneously strives for something unique.

The evolution of thought is also on display in Ceci Cole Mcintruff’s included work. For her critique several months ago, Mcinturff presented a small series of sculptural forms directly referencing the female breast. For this exhibition, the artist has contributed a larger, more formal grouping of those fragile works entitled Feminine Organe. Gently nestled in a black, sandy substance within an elongated box, the piece could either be a womb-like offering of delicate flesh or a sculptural reliquary of organs. Seeing them now, in a variety of groupings and forms, adds layers of intrigue simply not available if viewed singly.

Strife and Haul
Katie Pumphrey
Photo for East City Art by Eric Hope.

Two other works that play nicely off one another are Katie Pumphrey’s Strife and Haul and Christian Tribastone’s Charlotte and Wintrop, which hang on opposing gallery walls. The only common visual element is the works’ two-dimensionality, yet each piece creates a scene filled with a similar emotional resonance. In the case of Pumphrey, the roundness of the picture plane easily suggests an undersea realm with an influx of grey towards the top of the work underscoring the breaking of surface tension. Daubs of whites, blues and umber create the illusion of koi in an underwater ballet. The mood is serene, yet slightly ominous, as the quick brushstrokes lend a sense of frenetic movement. Tribastone’s work casts a similarly serene mood in an urban landscape devoid of occupants. His prowess with ink is clearly on display, but the lack of humanity eerily echoes the disquietude in Pumphrey’s work. It is just these sorts of juxtapositions that make this exhibition as edifying for the mind as it is for the eyes.

The Critiqued runs through April 30, 2016 at the Otis Street Arts Project in Mount Rainier, MD.


Prizm: A Basel Fair Featuring Artists of Color
Cara OberFebruary 3, 2016Art and CultureFeature StoryVisual Art

A Conversation with Mikhaile Solomon, Director and Founder of Prizm, Art Basel Miami Beach’s only art fair dedicated to artists of color

After completing its third year at Art Basel Miami Beach, Prizm art fair has grown in size, in audience, and in programming. Founded by Mikhaile Solomon, a Miami native and curator with a background in architecture, the fair presents work by artists of color who “reflect global trends in contemporary art.” This year’s Prizm presented a curated exhibition of works by individual artists, and also performances, parties, and panel discussions that all drew bigger crowds than ever before.

A month after Basel ended, I caught up with Solomon to find out more about the fair this year.

Morel Doucet with Mikhaile Solomon

Can you talk about the mission behind Prizm?

Prizm and its mission is defined by its very definition – a “prism” is a transparent solid body used for dispersing light into a spectrum or for reflecting rays of light. That’s essentially the goal: to strongly represent artists from all over the world, especially the African diaspora. Our long term goal is to create a multi-cultural fair.

I appreciate the culture that I am a part of. I want all people to have a deeper appreciation for it in a broader sense.

That being said, the things people of color are expressing are valid and unique and three years ago I felt they weren’t being represented enough at the art fairs I attended. Artists of color explore ideas and issues that all people, no matter what race or ethnicity, are affected by – not just people of color. We all benefit from presence of PoC (People of Color) and the inclusion of their dialogue in the artistic landscape. Art (various disciplines within the arts) is one of the few forums within which one can have very honest and open discourse without filter.

How would this change the current structure of Prizm?

In the future, I would like to invite artists & galleries from Africa, Middle East, India, and a number other places… I want to create a space where creative voices can come together and coalesce and speak in the broader arts market. They’re not doing that yet.

Also I would love to actually have people from these ethnicities be the stewards of their own voices – it’s one thing to have gallerists and collectors representing artists of color, but it’s different when people of color represent themselves — become the stewards of their cultural capital. There’s not a whole lot of minority-run art galleries in this country, which is unfortunate. Creating spaces where diversity really exists – not just a buzzword – is what I want Prizm to be.

Jefferson Pinder artist talk at Prizm 2015

I am thrilled that Prizm continues to offer a solid range of options that are quite unique and different than every other fair I visited. Did you do anything differently this year than in the past two years?

We definitely had more community engagement this year. I think people were much more verbal about the the programming we had this year and about the impact of the work at the fair. We sold more work, which is great and we had a larger turnout too.

Maybe this is natural progress since this is our third year. I think the press we received the year before helped get people interested in attending this year. As far as audience, we had people who returned from past years and a lot of new faces… New collectors showed up and people who were interested in supporting this fair came. We’ve just gotten a lot of positive feedback and also just received additional grant funding since the third fair ended from the Knight Foundation and Green Family Foundation, which has been supporting Prizm since 2014.

Is Prizm a fair in progress? What changes will you continue to make?

This year I am planning to focus on Prizm 110% to ensure that it be what it needs to be for 2016. Last year, I juggled many balls and wore many hats. This year, I will streamline by processes and exclusively focus of Prizm’s seasonal programming and Prizm 2016.

In terms of the fair’s structure, it’s unique and dynamic. I am still figuring out best structure for it and I am happy to test and see what works best. I co-curated Prizm 2013 with another colleague in the arts, Marie Vickles, in 2014, I was the sole curator and 2015 co-curated the fair with Rosie Gordon Wallace and A.M. Weaver. I like to share the platform with other voices in the arts community. I’m looking forward to shaping the 2016 program. It’s already shaping up. Stay tuned.

How did you come to found and direct an art fair? How do you make business decisions?

Although we haven’t worked with galleries (who typically pay steep funds to present work at a fair), our artists do not pay for their spaces or for their shipping which is pretty expensive. These are the people with the talent; the reason why we can actually have the fair is their talent. In the future, we plan to work with individual artists and also with galleries.

What is the effect of the building on the fair?

My goal is to place Prizm in a larger, more beautiful space next year. My formal educational background is in architecture, so having a really great space so that I can design a beautiful exhibition is my ultimate goal. To enjoy the process of putting a great fair together, that is the process that I love. Last year I only had about four months to put everything together – I was so thankful when it came together – but it was still so mentally and physically draining.

Jason Fitzroy Jeffers screened Third Horizon Media’s award winning film Papa Machete at Prizm Panels!

What was the impact of programming on the fair?

Curating the panel series was really great. I loved all of the panel talks! They were great and I honestly think, ours was one of the most robust and content-heavy during Basel. I am a huge proponent of education so I was really excited to have the guests that were had. The films that we showed were great too – Papa Machete, a Sundance & Toronto film festival winner and Serendipity shown at MOMA’s summer film series in 2015 are two examples.

Can you talk about Jefferson Pinder’s performance at Prizm?

Jefferson and I were talking every single day to make sure his performance was a success. Basel week in 2015 was unpredictably rainy every day, so we had to make many logistic adjustments, including bringing the performance in doors as it was originally planned for the outdoors. Working with him and Lionz of Zion (Bboy crew) was a joy. To have them do such a timely and poignant piece was great at Prizm in the wake of several atrocities against young black males by law enforcement in the United States was an unfortunate narrative that needed be expounded upon and Jefferson choreographed piece, Dark Matter(s) did just that.

How many of the artists participated in Prizm from the Baltimore-Washington area? It seems like a high percentage.

A good 55% of participating artists are from Baltimore-Washington area. It’s a part of the country that produces really strong work and I have a past history in the region. I was working on a different project a few years ago as assistant producer, and worked with Amber Robles-Gordon and a number of other artists.

At that time, I was selecting a lot of talented artists for that particular project. Many of the artists I selected then were just emerging, but now their careers are really growing in the art world. I decided to start my own project and most of the artists I continue to work with do extremely well.

Michelle Gomez and Dr. Leslie King Hammond at Prizm

As a Miami Native, what is your response to the giant crazy thing that Art Basel Miami Beach has turned into?

It’s funny. I went to Basel Switzerland last year for their fairs and it’s much more serious. It’s like the Wall Street of art fairs. People are there specifically on a mission to buy or sell. Celebrities aren’t there, or if they are it’s in secret. The Basel Fair emphasizes the culture of the city. There was a lot of programming at important museums in and around town and receptions at foundations. While Basel was the main focus there was still a clear mindfulness paid to its context and local culture, too… and this is a cue I hope Basel | Miami Beach will draw from.

Thanks so much for all that you do for artists and having this conversation! We wish you the best in your next year of planning for Prizm!






Friday, October 30, 2015
The Critique- Part III
It's been so much fun, we're doing it again!
Please join us as we host The Critique!

We’re interested in elevating our conversations about art. We feel that group studios and areas of artist density provide fertile ground for interaction, conversation, growth and development. While this is an important part of our daily interaction as artists, we also feel that Curators, Critics, Gallarists, Collectors, Art Writers, and other Arts Professionals bring an amazing amount of insight for an Artist. With the our first two sessions of The Critique having received a great amount of interest and positive feedback, we’re going to keep it up!

Please join us for the 3rd session of The Critique

We will show the work of 3 artists and have an invited arts professional guide us through talking about the work. Our aim is to intelligently discuss the work, pointing out strengths and flaws in the pieces, and providing a suggested guidance for the future.

Each session will be led by a different professional and will accordingly be slightly different.

Our 3rd session will be led by gallarist Adah Rose Bitterbaum www.adahrosegallery.com
The artists whose work will be critiqued will be Amber Robles- Gordon www.amberroblesgordon.com
Steven Durow http://www.stevendurow.net
Stephanie Booth http://perstef.com

We would like to invite everyone that is interested in hearing this conversation about specific works of art to sit in on The Critique The conversation is meant to be critical, and constructive. We aim to discuss what works, what doesn’t work, and to lead the artist toward possible resolutions or developments.

Please join us between 6:00 and 7:00 for a meet and greet with refreshments, and to see the Otis Street Arts Project space.

The Critique will begin at 7:00. Some works we will discuss will be jpgs, Some will be actual pieces.
The Critique Wednesday November 11th 6:00-9:30
Meet and Greet from 6:00-7:00 Critique starts at 7:00 Facebook Event Page

Otis Street Arts Project
3706 / 3708 Otis Street
Mount Rainier, MD 201712


Washington Post:
In the galleries: Heading home
By Mark Jenkins September 19, 2015

Graham Coreil-Allen, "NPS: The Ragged Edge of Rockville," 2015; on view at
Kaplan Gallery. (Courtesy Graham Coreil-Allen and VisArts)
By Mark Jenkins September 19

F. Scott Fitzgerald, group portraits and that R.E.M song. Lottery tickets, gentrification and a fast-food sign. These are among the artifacts and phenomena that define Rockville and D.C., respectively, in exhibitions that seek to reveal something of those places’ characters. The titles are telling. VisArts’s “(Come Back to) Rockville!” is a pep-squad cheer; Honfleur Gallery’s “How We Lost D.C.” is a blues lament.

The different tones are partly a matter of definition. VisArts’ show is about the area of Rockville that could be called its downtown, home to the neo-urban Town Center and the “Great Gatsby” author’s grave. Honfleur’s is about the majority African American “Chocolate City” that lasted — by U.S. Census tallies — from 1960 to 2010. Both Rockville (as a tag for the entire agglomeration between Bethesda and Gaithersburg) and the District of Columbia are bigger than the territory covered in these shows.

It would be correct but misleading to say that just two artists produced the work about Rockville. Naoko Wowsugi combined video of activity at Town Center, shot from above, with audio interviews of 10 people who live or work there. (One announces her imminent wedding — at VisArts.) Wowsugi also built a network of group photographs, beginning with an image of VisArts staffers, interns and board members. She then photographed other groups that included people in the first picture until she had a wall-size suite of alumni-club, dance-troupe and sports-team portraits. Rockvillians don’t bowl alone, apparently.

Graham Coreil-Allen’s “The Ragged Edge of Rockville” is about place, not people, but he encourages visitors to become part of the project. They can follow his map of the neighborhood and use the provided paper and crayons to make rubbings to add to the ones already in the gallery. Possible sites to visit include the grave of Fitzgerald (from whom Coreil-Allen borrowed the “ragged edge” line and a 1913 monument whose Confederate sympathies recently became newsworthy. More interesting, though, are the service roads around the Town Center, which reveal the place’s stage-set architecture and fundamentally suburban character. Maybe R.E.M. was right to warn, “(Don’t Go Back to) Rockville.”

(Coreil-Allen will lead two-hour walking tours of the “ragged edge,” leaving from VisArts on Sept. 27 at 3 p.m. and Oct. 17 at 4 p.m.) McCain McMurray. "Metropolis," acrylic on canvas, 48 x 68 in; on view at Touchstone Gallery. (Courtesy McCain McMurray and Touchstone Gallery)

“How We Lost D.C.” was organized by a Delusions of Grandeur, a collective of six local African American artists. Its centerpiece is Wesley Clark’s “The Playing Field,” a large wooden map of the city overlaid with a diagram of football-style strategy. One team seems to be moving west to east, while
another leaves the field altogether. Clark also constructed a chess set whose pieces include skyscrapers and for-sale signs. On a related theme, Stan Squirewell offers a cluster of dialogue with such remarks as “You sold it for how much?” Pens are provided so visitors can add commentary.

Larry Cook contributed a neon sign that hangs in the window, advertising subs, chicken and Chinese food. It may draw hungry passersby in the gallery’s eatery-deprived neighborhood. He also assembled a pile of lottery tickets and tiny pencils, flanked by a broom. It’s a sort of impromptu memorial to the get-rich-quick dreams among the underpaid and underemployed.

Other pieces are less pointed, and sometimes less D.C.-centered. Shaunté Gates’s black-and-white collage-paintings, each accented by a touch of red, include one in which a man navigates a maze-city that has multiple Washington Monuments. Amber Robles-Gordon’s large wall hangings feature circular motifs, notably the snake that encircles one of them, perhaps representing the cycle of existence. Rather than winning and losing, the ringed figure suggests, there is only waxing and waning.

*(Come Back to) Rockville!* On view through Oct. 18 at Kaplan Gallery, VisArts at Rockville, 155 Gibbs St., Rockville. 301-315-8200. www.visartscenter.org.

*How We Lost D.C.* On view through Oct. 31 at Honfleur Gallery, 1241 Good Hope Rd. SE. 202-365-8392. www.honfleurgallery.com.


Washington City Paper:
"How We Lost DC" at Honfleur Gallery Wednesday, Sept. 16
By Emily Walz • September 11, 2015

Few cities are undergoing a period of gentrification as lengthy as D.C.’s, and perhaps none are gentrifying as quickly. The individual stories of displacement, as well as the larger narrative arc that shows how class and racial lines overlap to push out poorer minority communities, have particular poignancy in D.C., one of the first cities in the U.S. with a black majority. Against this backdrop, the local African-American artist collective Delusions of Grandeur created How We Lost DC, an exhibition the group calls “a visual discourse on gentrification.” The work of Wesley Clark, Larry Cook, Shaunté Gates, Jamea Richmond-Edwards, Amber Robles-Gorden, and Stan Squirewell encompasses photography, textile, paintings, mixed media, and sculpture in a show that moves between portraiture and would-be artifacts to tapestry and art made from maps of the District itself. The group uses these works to provide commentary on a world where, in their words, “the rise to wealth is ever present, yet elusive.” The exhibit takes place at Honfleur Gallery, itself a project of ARCH Development Corporation, a nonprofit dedicated to sparking economic and residential revitalization in Anacostia, one of D.C.’s poorest neighborhood and one that could gentrify soon.

The exhibition is on view Tuesdays through Fridays noon to 5 p.m. and Saturdays 11 a.m. to 5 p.m., to Oct. 31, at Honfleur Gallery, 1241 Good Hope Road SE. Free. (202) 365-8392. honfleurgallery.com


Published in the Miami Herald!


Sheroes and Womanists: An exhibition inspired by Howard University’s 26th Annual James A. Porter Colloquium

Exhibition dates: April 11-25, 2015* *Opening reception: Friday, April 10, 6-8pm

Flashpoint Gallery is pleased to announce a special two-week exhibition highlighting the 2015 James A. Porter Colloquium’s theme, Sheroes and Womanists: An Examination of Feminist(s) Subjectivity in Modern and Contemporary African American Art. Curated by students Breeonna Hill (Howard University) and Kourtney Riley (George Mason University) under mentor Tim Davis (International Visions Gallery & Consultants), the exhibition features artists whose work explores subjects and perspectives around feminist identity.

Featured artists are Ronald Beverly, Anne Bouie, Adrienne Gaither, Aziza Claudia Gibson-Hunter, Kelly Lorraine Hendrickson, Jessica Maria Hopkins, Gloria Kirk, Tamara Natalie Madden, Betty Murchison, Amber Robles-Gordon, Stan Squirewell, Lynn Sylvester, Joyce Wellman, Deborah Willis, and Helen Zughaib.

The James A. Porter Colloquium is the leading forum for scholars, artists, curators, and individuals in the field of African American Art and Visual Culture. Held annually at Howard University, it is free to attend although registration is required. More information: http://www.art.howard.edu/portercolloquium/program/



MARCH 31, 2015 | 3:00PM

March is Women’s History Month. Throughout the month we be profiled D.C. based women you should know. Amy Morse, the founder of Ideas Club, headed the project. Today she profiles Amber Robles-Gordon.

Amber is a D.C.-based changemaker who turns big ideas into visual art. Her work, which ranges from 50-foot banners draped on D.C. buildings, to installation art and mixed media assemblages, addresses global consumerism, gender imbalance and other major social cultural themes. Through the symbolic use of materials and their interactions, she exploratory meditations on her work read like spiritual healing practice. Her vantage point is unique, academically grounded (MFA in painting from Howard University), and incredibly beautiful. For those who enjoy interacting with creative nonfiction cultural critiques, she is a gem in D.C. of social commentary, drawing from an intuitive connection to herself and her spiritual practice.

Her work is representational of her experiences and the paradoxes found in the female experience. She focuses on fusing found objects to convey memories, inspired by nature, womanhood, and her belief in recycling energy and materials. Amber’s intention is to create artwork that visually parallels the social and gender inequalities that are manifested in the world due to the imbalance of feminine and masculine energies. The foundation of most of her artwork is composed of fences, grids, ropes or representations of a matrix. These symbolically masculine items, when composed of metal, are traditionally used to provide structure, delineate boundaries and to control or dominate. She chooses materials that seem to exemplify femininity as well as question perception of self, other women, and our consumer behaviors and materialistic values. She juxtaposes and weaves colorful objects and materials, symbolic of the feminine energy, through the masculine forms in attempt to balance the implied social boundaries the original structure represents. Through her artwork she explores her love and connection to color, to nature and to her experiences of being a woman in a patriarchal society. Through the act of creating with color, she is connected to a natural source of energy and thus to hope, life and vitality.

Recycling is very important aspect of her artwork. She uses found objects and recyclable materials to bring forth a dialogue about societal consumption and global consumerism. She intentionally combines found or used objects and various colored materials for their intrinsic value and energy as well as to encourage recycling within our communities and world.

*Women Who Inspire Her*

There is no one woman she admires. She is inspired by the collective energy of women—the feminine—that has allowed women, and specifically women of color, to move metaphysical mountains within their own lives, their communities and throughout the world. She is also encouraged by the women who see themselves and other people of color as more than the imposed boundaries of society. Examples of women who had this perspective were: Harriet Tubman (who kicked serious ass in every way until she was 93), Ida B. Wells (Civil Rights activist and journalist), Alma Thomas (DC-based expressionist painter), Lous Mailou Jones (Harlem Renaissance painter), Bell Hooks (feminist writer) and Octavia Butler (sci-fi writer and MacArthur Foundation Genius Grant recipient).

*Learn More*

Amber’s awesome website <http://www.amberroblesgordon.com/> Visit images of her at the Anacostia Arts Center <http://anacostiaartscenter.com/about/> (it is soooo cool – in case you haven’t been yet)

Black Artists of DC <http://badconline.info/> (BADC)


African Heritage Cultural Arts Center
at African Heritage Cultural Arts Center

Divinity Revealed Amadlozi Gallery Exhibition, March 5–30, 2015: Curated by Mikhaile Solomon, Divinity Revealed premieres work by national artists, LaToya Hobbs, Sheena Rose, Martin Nyarko, and Amber Robles-Gordon.

In honor of Women’s History Month, the African Heritage Cultural Arts Center presented the Amadlozi Gallery Exhibition

Divinity Revealed will premier works by national artists, LaToya Hobbs, Sheena Rose, Martin Nyarko, and Amber Robles -Gordon. This exhibition explores femininity from the artist’s perspective within the context of their community and the world. The gallery’s opening reception is March 5th at 6pm with curatorial presentations at 6:30pm at the African Heritage Cultural Arts Center, 6161 NW 22nd Avenue, Miami, FL 33142. It is free to attend, rsvp required. The Divinity Revealed exhibition is part of “Sankofa: Looking Back, Going Forward,” a year-long series of events and performances that bring alumni back to the African Heritage Cultural Arts Center to inspire the next generation of talent, in celebration of the Center’s fortieth anniversary with funding support from The John S. and James L. Knight Foundation, as part of its Knight Arts Challenge.

Photo credit: Carla Jamieson

Stay up-to-date as we continue to celebrate 40 years of service and artistic excellence to the S. Florida community. All of our programming for the 40th anniversary has been made possible in part by funding support through the Knights Arts Challenge.




Examiner.com: DC artists bring local flavor to Prizm Art Fair in Miami
December 6, 2014

A talented group of creatives from the DC area are showing their work in the Prizm Art Fair at Art Basel Miami. Prizm is a curated exhibition founded in 2013 by Mikhaile Solomon, a Miami-based designer, arts advocate and producer. According to Solomon, the mission of Prizm is to promote artists of color and “expand the spectrum of international artists from the African Diaspora and emerging markets at one of the most prestigious art festivals in the world.”

The Prizm Art Fair, located at the Miami Center For Architecture And Design (100 NE 1st Avenue), is one of many events held during Art Basel week - an international showcase for contemporary art featuring over 300 distinguished galleries and attracting an estimated 80,000 visitors.

The participating artists from the DMV are: Wesley Clark , Jamea Richmond-Edwards, Shaunte Gates, Amber Robles-Gordon, Adrienne Gaither, Stan Squirewell and Holly Bass. Amber Robles-Gordon, an accomplished mixed media artist, also exhibited several pieces in last year’s inaugural Prizm show.

To celebrate the opening of Prizm, MoCADA and Rush Philanthropic co-hosted a VIP Preview on Thursday evening featuring music by King Britt. Many exhibiting artists attended the VIP soiree, including Adrienne Gaither, a painter and graphic designer who resides in the Trinidad section of Northeast.

“I am very excited and honored to exhibit with all of the talented and dynamic artists in the Prizm Art Fair,” Gaither said. “This opportunity has allowed me to foster successful working relationships with other DC artists.”

Also in attendance at the preview was Holly Bass, the brilliant multidisciplinary performance and visual artist. Bass expressed gratitude for the Prizm opportunity.

"It's really wonderful that Mikhaile Solomon opted to do a month-long exhibition and not just a week-long fair. The residents of Miami will have a chance to see our work and engage with it on a deeper level. The show connects artists from across the diaspora. It's beautiful to see the connections, not only with black artists from various regions of the United States, but also Africa and the Caribbean. This year, DC is repping really solid with seven artists, so there's a really beautiful sense of community happening."

Prizm will be open to the public from December 5th through the 22nd. For a complete listing of artists, and a schedule of special activities that will take place during the month, please visit www.prizmartfair.com.



Hybrid Mastery – Artists’ Corner: Amber Robles-Gordon

Photography courtesy of the artist

Two years ago, Virgin Islands Property and Yacht magazine interviewed famous local artist Joseph Hodge, unveiling his artistic finesse and wealth of experience to our readers. It is of little surprise that his bloodline has conceived more talented individuals in cousin Amber Robles-Gordon, a mixed media sculptor and installation artist, who has recently discovered several of her relatives, including Joseph Hodge via our technological accessibility to the globe.

Born in Puerto Rico, raised in Arlington, Virginia and having lived in Washington DC for the last 17 years, the majority of her family reside in St Thomas, Tortola, St John, and Antigua; a few months ago, she contacted VIPY, enquiring about her cousin Joseph and has since established a relationship with her family here in the BVI.

With the apple not falling far from the tree, the young artist revealed that she has led a successful career to date as an artist. Formally educated with a Masters of Fine Arts in painting from Howard University, Washington, she has won numerous awards and grants during her time studying, including a Special Projects Grant from the DC Commission in the Arts and Humanities.

Amber explained, “My artwork is a visual representation of my hybridism: a fusion of my gender, ethnicity, cultural and social experiences.”



Washington DC, District of Columbia, United States

Bum Rush Art Basel!

Seven artists from DC have been invited to participate in the Prizm Art Fair and we need your help to get there!

In recent years, DC artists, collectors and gallerists have been making the pilgrimage to Art Basel Miami Beach in ever-growing numbers. With 260 leading galleries participating and over 50,000 people in attendance, Art Basel Miami is one of the most highly exposed art fairs in North America. This year a group of 7 Black artists will be showing work together at the Prizm Art Fair, along with other jury-selected American and international artists. This is an incredible opportunity, not only as artists but as ambassadors of DC’s contemporary art scene.

Participation in Prizm will allow us to exhibit our work to a much wider audience on a scale we could not achieve individually. Each artist will show up to five works, more than is typical for an art fair. As well, the exhibition will be on view from December 4-22. We are asking for your help to offset the expenses associated with participating in a traveling exhibition.

The Selected Artists:

Holly Bass

Wesley Clark

Jamea Richmond-Edwards

Shaunte Gates

Amber Robles-Gordon

Adrienne Gaither

Stan Squirewell



November 5, 2014 - January 31, 2015

South Capitol Skyscape: Amber Robles-Gordon

November 20, 2014, 7-9pm


South Capitol Street Facade

Capitol Skyline Hotel

10 I (Eye) Street SW

Washington, DC 20024



WPA presents a new work by DC-based artist Amber Robles-Gordon for the second installation in its South Capitol Skyscape series. For the 50-foot banner on the South Capitol Street façade of the hotel, WPA has excerpted a portion of Robles-Gordon's new work entitled At the Altar: Dance of the Serpents. Created through her signature assemblage process combining textiles and found objects, the work takes new form using a recycled hammock as its support and foundation, representing the structural constructs of the past and the restrictive patterns of repetitive thinking.

The original sculpture featured in the banner will be on view in the lounge of the Capitol Skyline Hotel from October 29 through November 28, 2014.


Amber Robles-Gordon (Howard University, M.F.A.) is a Washington, DC-based mixed media artist whose preferred medium is collage and assemblage. Her work is representational of her experiences and the paradoxes within the female experience. Robles-Gordon focuses on fusing found objects to convey her own personal memories inspired by nature, womanhood, and her belief in recycling energy and materials.


Utilizing the unique and historic façade of the Capitol Skyline Hotel, South Capitol Skyscape will present a rotating series of oversize contemporary art installations, featuring the work of both local and national artists. These commissioned works are intended to spark public discussion on art and culture and enrich the daily lives of the residents, workers, and car passengers who inhabit the world of the South Capitol Street Gateway corridor. Each of the South Capitol Skyscape artists will lead free community art making workshops at the Randall Recreation Center in conjunction with their project.

Major support for WPA comes from its members, Board of Directors, invaluable volunteers, and by generous contributions from numerous individuals and the DC Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts, The Morris & Gwendolyn Cafritz Foundation, Abramson Family Foundation, Asmar, Schor & McKenna PLLC, Peggy Cooper Cafritz, Capitol Skyline Hotel, The Annie E. Casey Foundation, Center for Democracy and Technology, The Chesapeake Framing Company, Clark Construction, DC Office of Planning, Design Cuisine, Raymond Garcia, Carol Brown Goldberg and Henry Goldberg, Graham Holdings Company, Gucci, Hickok Cole Architects, Giselle and Ben Huberman, Intel Corporation, International Association of Privacy Professionals,The JBG Companies, Kirkland & Ellis LLP, Yvette Kraft, Maphook, Marshfield Associates, NoMa Business Improvement District, Bill & Alison Paley, William S. Paley Foundation, Peacock Cafe, ripe, Robert Shapiro, Sheppard, Mullin, Richter & Hampton LLP, Taproot Foundation, Andres Tremols and Michael Reamy, Turner Construction, and Vornado/Charles E. Smith & Gould Property Company.


Genius or Gobbledygook? “Real Beauty” at Carroll Square Gallery
Louis Jacobson

Art theory is often inscrutable, and it’s doubly so for abstract painting. That’s why the framing of the “Real Beauty” at Carroll Square Gallery needs to be taken with a grain of salt.

“Abstraction is arguably the truest representation of how the world feels, though by definition it obscures how the world actually appears,” reads the exhibit’s wall-posted introduction.

Is this genius or gobbledygook? It’s hard to tell. And most of the works—all of them abstractions, by four different artists—don't offer much help in sorting it out.

Ashlynn Browning’s paintings reference architecture, though with a crumpled, skewed perspective that doesn’t look the least bit structurally sound. Unlike Browning, whose paintings use a muted palette, Deborah Zlotsky uses buoyant shades of fluorescent orange, peach and lemon (above). Her paintings are flat, two-dimensional agglomerations of box shapes (and the occasional form that suggests either a woven basket or a hand grenade).

Amber Robles-Gordon, by contrast, takes three-dimensionality to its extreme, with imposing wall-mounted sculptures made from chicken wire, ribbons, discarded water Beauty 3bottles, and other gewgaws (left). Intentional or not, the works suggest those impromptu memorials that spring up after tragedies.

The clear standout, though—with, alas, only one work in the show–is Mariella Bisson. She contributed the 34” x 74” “Falls Creek Panorama,” a landscape with a somewhat rubbery surface. The impressive thing about “Falls Creek Panorama” is that, from a distance, it genuinely suggests a landscape (a notch less representational than, say, Paul Cezanne used in his late Aix-en-Provence works), yet viewed close up, it’s as abstract as any Ab-Ex canvas.

If you’re looking to reconcile representation and abstraction, as the exhibit appears to want to do, then Bisson’s bravura canvas is about as appropriate a bridge as can be imagined.

Through Aug. 29 at Carroll Square Gallery, 975 F Street, NW, Washington, D.C. (202) 347-7978. Mon-Fri 8-6.


WAMU 88.5 : Art Beat

Art Beat With Lauren Landau
May 13, 2014

Click here to play


Catalyst Projects
716 Monroe Street, NE, St. 13
Washington, DC 20017

For Immediate Release:

Catalyst Projects is pleased to announce ~

Sculptors Draw - Julia Bloom and Amber Robles-Gordon
March 6, 2014 through March 29, 2014
Opening reception is Saturday, March 8, 6-9 pm with the artists in attendance.

The creative process for a sculptor can more often than not include drawing. Whether it be the technical planning of a three dimensional work, documenting the creative process or a wish to expand their vision to include other mediums, a sculptors approach to drawing is widely varied and unique.

Julia Bloom (DC) presents large scale charcoal drawings on paper for this exhibition. Bloom's three dimensional works are in a large way drawings themselves. Constructed from sticks and wire, and sometimes covered in paint or rust, her sculptural pieces take on a tenuous, airy quality. In contrast, the drawings, which are meant as portraits of the sculptures, are bold, dense images of the structures they represent.

Amber Robles-Gordon (DC) Known mainly for sculptural wall hung work consisting of densely layered colorful textiles, Robles-Gordon shifts her modus operandi to drawings of floating forms built with dark lines and colorful, playful shapes. Robles-Gordon's drawings for this exhibition were partly inspired by her long fascination with abstract artist Alma Thomas' paintings of vibrant color and geometric shapes. What transpires is an investigation into spatial relationships, positive/negative space, and color distribution.

Amber Robles-Gordon, Prismatic, acrylic marker on watercolor paper

Julia Bloom, Monolith I, charcoal on paper

Media contacts: Gail Vollrath at 336-253-6224 or Zofie Lang 443-310-3076.

Gallery hours are Thursday thru Saturday, noon to 7 pm and by appointment.

Catalyst Projects is located at the Brookland-CUA metro stop on the red line and on the 80 bus route. Street parking is available.


Catalyst Project's mission is to present the DC arts community to the world beyond the DMV. By presenting arts programming with a focus on exchange, we hope to cross-pollinate with arts communities outside of the DC metro area. It is our goal to make contemporary art accessible through educational programs such as panel discussions, artist workshops, and contemporary art exhibitions.
Facebook - www.facebook.com/pages/Catalyst-Projects/145025502316089


40 amazing black artists to watch in 2014

Emerald City

Amber Robles-Gordon

No, not every deserving artist gets their first taste of attention through one of the art world's largest platforms such as the legendary Art Basel show, or the Frieze Art Fair. In particular, African-American artists and other artists of color are still working towards greater visibility in the highest spheres of the rarified art community. Thus, there can never be too many lists bringing attention to the abundance of talented creators on the cusp of discovery who are ready to emerge.

Here are the fresh faces and more established visionaries still gaining ground that you need to know in 2014. The African diasporan artists compiled in the photo gallery above carry forth the traditions set in motion by visual artists from significant eras such as the Harlem Renaissance and Black Arts Movement, yet speak with new images and forms that lead us into the future.

With their various approaches to creativity, visual communication, and craft, these artists each examine critical issues of the past, present and future that reflect our shared experiences across the intersecting lines of race, class, gender, sexuality and politics. Through their works, the experiences of those of the African diaspora -- and beyond -- are critiqued, celebrated and preserved.

Visibility is essential to supporting the continued success of these artists, and ensuring that black artists -- who are increasingly gaining recognition -- continue to render our images in refined and thoughtful forms from the art world's center stage. Regardless of whether these artists ever appear at Art Basel, or already have, please keep your eyes to the wall (and in some cases the floor, ceiling, and sidewalks), because you will want to follow these folks, who are the latest provocateurs, innovators and dreamers.

These selections are not ranked in any order to acknowledge equally the importance of each artist's style -- with the awareness that there are likely more great visual "voices" out there who deserve recognition. Let us know who else should be included in the comments section below.

*Follow Souleo on Twitter @Souleo <https://twitter.com/Souleo>*

(Editor's note: Living editor of theGrio.com, Alexis Garrett Stodghill, owns a painting by one of the artists featured, Tamara Natalie Madden. This list was independently curated by the article author.)


Amber Robles-Gordon impresses at Art Basel December 7, 2013 www.examiner.com/article/amber-robles-gordon-prizm

Amber Robles-Gordon, an accomplished mixed media artist, is a featured participant in this year's Prizm Art Fair (Marquis Miami, 1100 Biscayne Blvd.). Prizm is one of many exhibitions held during Miami Art Basel, one of the most prestigious art festivals in the world. The Prizm Art Fair is a collaborative effort between Mikhaile Solomon, a designer and arts advocate, and Marie Vickles, an independent curator and arts educator. Solomon created Prizm to expand the spectrum of international artists from the African Diaspora and promote the work of artists of color.

Amber Robles-Gordon's work in Prizm is from a project entitled "Heal Thyself", and was motivated by a painful back injury she incurred while in graduate school. While recovering from her injury, she often reflected upon the spiritual, emotional and physical layers that make up every human being. Both pieces represent those layers by using a variety of recyclable materials (glass, fabric, tiles, etc.).

Robles-Gordon is a Howard University alumnus with over fifteen years of exhibiting and art educational experience. She has been commissioned by the Smithsonian Anacostia Museum and WETA Television to teach, give commentary and present about her artwork. She has also served as President, Vice President and exhibitions coordinator of the Black Artists of DC organization.

Closer to home, Robles-Gordon's artwork is currently on display as part of the Against The Bias exhibition at the Joan Hisaoka Healing Arts Gallery (1632 U Street, NW) until December 21, 2013.


Inaugural Edition of Prizm Art Fair Launches Featuring Artists Representing the African Diaspora and Emerging Markets at Marquis Miami on December 5-8, 2013

Miami, Fl- A talented collective of established and emerging artists from locales as varied as the Democratic Republic of Congo to Washington D.C. will showcase contemporary art at the inaugural blockbuster Prizm Art Fair to be held December 5-8, 2013 at the Marquis Miami (1100 Biscayne Blvd, downtown Miami). The opening night reception will take place on December 5th from 11pm-2am and is open to the public. Admission is free. Prizm Art Fair is a collaborative effort between, Mikhaile Solomon, designer and arts advocate who is the founder of Prizm Art Fair and Marie Vickles, an independent curator, arts educator, and artist based in South Florida. Salient works presented will highlight the diversity evident in contemporary visual art practices including painting, sculpture and mixed media installations. The goal of Prizm Art Fair during Art Basel week is to showcase a diverse group of artists who reflect the depth of talent in emerging markets adding to the caliber of artists represented in South Florida. Ms. Solomon and Ms. Vickles are two women committed to creating a platform to ensure that Prizm Art Fair provides opportunities for artists of the African Diaspora, emerging markets and those inspired by the Diaspora within one of the biggest art destination events in the country.

Curator and Creative Director of the Fair, Marie Vickles, states that “Prizm Art Fair is presenting a new aesthetic inspired by varied forms of traditional art-making paired with contemporary techniques and technology, which is the essence of creativity meeting spirituality in the purest sense of holistic creation. Artists will present work that will inspire and challenge the notions of what the African Diaspora and emerging art markets are creating in a ‘stream-of-consciousness’ beyond the mainstream. Both the serious collector and new-comer should expect a refreshing experience.”

Prizm Art Fair will feature the works of some of the most talented local and international artists of color and galleries including: Lerone Wilon, Amber Robles-Gordon, Addonis Parker, T. Eliott Mansa, Bayunga Kialeuka, Asser Saint-Val, Jerome Soimaud, Gallery Guichard: National Curator for the Bombay Sapphire Series and Yeelen Gallery. The select artists are actively engaged in perpetuating Miami’s growth as a cultural hub or are truly redefining their world by bringing into focus socio-political and cultural issues pertinent to the people of African descent in our global community.

"We're really excited about the submissions we've received from local, national and international artists. We're looking forward showcasing an exceptional group of exhibiting artists and galleries from the African Diaspora. We are deeply thankful for the support of Marquis Miami, Frank Frazier, Ms. Deborah Shelton Tynes, Minna Dunn and all of our sponsors for their unwavering support and belief in our project”, states Mikhaile Solomon, Founder and Director of Prizm.

About Prizm

PRIZM is the producer of a cutting-edge art fair that is multidisciplinary in scope. Our goal is to expand the spectrum of international artists from the African Diaspora and emerging markets at one of the most prestigious art festivals in the world. PRIZM is the producer of a cutting-edge art fair that is multidisciplinary in scope. As a Miami – based art fair workshops and special events will be organized throughout the year to advance the careers of local and regional artists.


Click HERE to download the pdf show information


by Amanda Erickson on May. 22, 2013 at 6:47 pm

The art of Amber Robles-Gordon is the art of Anacostia, quite literally.

Robles-Gordon cobbles together sculptures and canvas collages from scraps of paper and fabric she finds in the neighborhood’s trash cans and storefront windows. She’s shown her work at the Honfleur Gallery. Right now, she has a striking wire and fabric mesh artwork on view near the Deanwood Metro stop.

But as ARCH Development Corporation continues to expand its constellation of arts destinations in Anacostia—the latest is the Anacostia Arts Center on Good Hope Road SE—Robles-Gordon wonders if her neighborhood will still have room for her.

There’s a tendency to see Anacostia, long on talent and struggle but short on just about everything else, as a blank canvas. With the right kinds of art and advertising, the thinking goes, Anacostia can become a hub for the creative class. But who gets left out?

“The artists here need gallery space, they need exposure,” Robles-Gordon says. “I don’t want [Anacostia] to become a shipping factory, where you’re just shipping people in, giving them something, and shipping them back out. That’s not how you build a community.”

Whether—and how—a community’s art infrastructure should aim to draw new people to the neighborhood or serve the people who already live here (or do a little of both) has animated the debate over Anacostia’s cultural scene for 50 years. As District officials and neighborhood fixtures like ARCH try to use arts institutions to spark economic growth, that same question is popping up again: Whom should these organizations try to reach?

In the 1960s, the Smithsonian struggled to attract Washington’s African American residents to the Mall. So it decided to bring the arts to them instead <http://siarchives.si.edu/history/anacostia-community-museum>. The Smithsonian’s outpost in Anacostia first opened in 1967, and it was run out of a storefront (the abandoned Carver Theater, on Martin Luther King Jr. Avenue SE). A neighborhood-based advisory committee selected which works would show.

The museum hired a photographer to document the neighborhood’s changes; the Carnegie Corporation funded a research center with the express purpose of taking oral histories from residents. The result was something of an anomaly in Washington, at the time and even now—a museum dedicated to promoting east-of-the-river artists and issues. (One 1969 exhibit documented the rodent problem in the streets.) But over time the museum’s mission evolved from chronicling the neighborhood to examining the African-American experience.

The new ARCH projects, too, are designed to attract cultural consumers more than a neighborhood-specific space might. But to make that work, ARCH CEO*Duane Gautier* thinks he needs art that looks beyond Anacostia’s borders. “I want something that’s cutting-edge,” he says. That means recruiting shows on graffiti, tattoos, or whatever else from across the city, country, or world. (Already, ARCH runs an international exchange program, bringing artists-in-residence to stay in Anacostia for a year at a time.) “I don’t only want to show only African-American art,” says Gautier, who believes all kinds of people want to see all kinds of work. “Why do you think African American people only want to see African American art?”

Near Fort Stanton Park,*Juanita Britton* also wields art as a community-development weapon. But though she works directly with ARCH (and supports their mission), her own gallery is focused on creating a beautiful space within the neighborhood that will appeal to Anacostia residents.

Britton’s Anacostia Gallery is a colorful mish-mash of African masks, full-bodied fertility-goddess statues, beaded drums, and east-of-the-river history books—anything that falls under the auspices of the African diaspora. In her backyard, there is the Kwame Nkrumah Garden, named for the 1960s-era Ghanian president who founded the Organization of African Unity. The gallery, nestled on a quiet residential street, is Britton’s former home.

A Detroit native, Britton has lived in Washington since the 1980s; she bought the space in 2003. For the next few years, she painted the house a neon lemon with purple and blue swirls, filled the front porch with paintings, covered the columns in rainbow geometric patterns, and refused to put up curtains. Britton wanted the neighborhood to feel welcome at her monthly dinner parties, she says. It worked. Though D.C. police stats show there have been 38 violent crime incidents within 1,000 feet of her gallery in the past year, no one has tried to steal her art or break in. “People left me alone because they thought I did voodoo magic,” she jokes.

Instead, kids come by after school to twirl one of the 30 hula hoops she keeps in the back yard. About 150 people stop by each month, many to browse, some to buy a piece of art. Britton moved to a nearby place in 2010 and converted her house into an art space. Today, an Anacostia Gallery sign covers the second-floor windows. Two signs flash “OPEN” in bright red. She sees herself as the dean of the neighborhood’s art scene—or this part of it, at least.

In the two hours I’m with her, several locals drop in to chat, buy Mother’s Day cards, or request help promoting an event. (Britton runs a Facebook page and an email list, and has been known to put out robocalls to solicit attendees to her events.) “I am of here and from here,” she says. “I love Anacostia, I want to pull people up here.”

* * *

Eighteen years ago, the Smithsonian Museum was renamed the Anacostia Museum and Center for African American History and Culture, reflecting its broader focus. As plans for the Mall’s National Museum of African American History and Culture came together, Anacostia’s museum again got a new name: the Anacostia Community Museum. Now, an outpost that had once served only Anacostia would be dedicated to urban life and what it means to be a community.

Today, alongside some D.C.-focused programming, there is an exhibit called “Reclaiming the Edge: Urban Waterways and Civic Engagement.” The website champions the event as the “inaugural exhibit of the museum’s reinvention,” celebrating its ability to examine the conservation efforts in Pittsburgh, Louisville, Los Angeles, and Beijing.

That’s fine with *Bruce McNeil*, a photographer who’s shot in the communities around the Anacostia River for two decades. He grew up in Anacostia and moved back a decade ago to help his ailing mother. He describes his work as “abstract expressionism,” often blending several images together, tweaking colors, and hiding jokes among the trees and trash. McNeil has shown his work at the Anacostia Community Museum; last year he had a pop-up in ARCH’s LUMEN8 festival. His photos have also been featured at Parish Gallery in Georgetown. His work is about the way the neighborhood and the river interact, but he likes finding an audience outside of Anacostia: “I appreciate the opportunity to have my work seen around.”

The key, explains *Jason Anderson*, an actor and music manager who goes by *Jay Sun*, is balance. When arts organizations come into a neighborhood, he explains, they’re often pulled by the creative culture that’s already there. So arts companies have to offer local people a place at the table, even if other seats are filled by nonlocals.

As a model, he points to the soon-to-open Anacostia Playhouse, where he, among others, will perform this summer: “They’re getting our artistic voice in, while still bringing in other companies and doing more traditional things.”

*Photo by Darrow Montgomery*



The D.C. Commission on the Arts and Humanities celebrates the completion of work by local Artist Amber Robles-Gordon at the Deanwood Recreation Center Library

Beyond the Visual Rainbow Please Join Us for An Artist’s Talk Saturday, June 1, 2013 from 1-2pm The Deanwood Recreation Center Library @1350 49th Street, NE, Washington, D.C. With Opening Remarks by Wanda Aikens, Executive Director of the Ward 7 Arts Collaborative, Inc.

Beyond the Visual Rainbow is a large-scale, sculptural, wall hanging. The foundation of the sculpture is made of chicken wire and consists of hundreds of yards of colored and textured fabric and different shaped and sized objects. Residents of the Deanwood Community donated most of the fabric incorporated into the piece. Through the process of creating this sculpture, everyday objects developed historical meaning. The design of the artwork was created to reflect the vibrancy, resiliency, and diversity of the Deanwood community, past and present. The multi-colored fabrics honor Deanwood’s rich history and its resident’s strong engagement and love for their community. Questions? Please contact the DC Commission on the Arts and Humanities 202.724.5613; tonya.jordan@dc.gov


Hair Apparent

May 30 - July 14, 2013 Opening Reception, Sunday, June 2, 4 - 6 pm (free) Hair-Centric Events, Sunday, June 16, noon - 4 pm (free)

Three works from Hair Apparent, Athenaeum *No Me Without You* (left) Emilia Olsen and Sara Winston, photography;* Composition 337*, (center) Dagmara Weinberg, photography and image manipulation; * ** Sauvage*, (right) Kate Kretz, human hair embroidery on hair

*Hair Apparent* is a multimedia exhibit including sculpture, photography, assemblage, and performance. The show explores artists' relationships with hairreferencing cultural perception, myth, ritual, and memory - and reflections on a private asset as a public statement.

Represented in *Hair Apparent* are Holly Bass - performance Shelly Bell - spoken word poetry Emily Biondo - sculpture installation Stephanie Booth - photography, video, hair embroidery Caryl Burtner - assemblage Kate Kretz - human hair embroidery Emilia Olson - photography, works on paper Betsy Packard - sculpture, assemblage Amber Robles Gordon - sculpture installation Danielle Scruggs - photography Dagmara Weinberg - photography, image manipulation Sara Winston - photography

The opening reception on Sunday, June 2 from 4:00 to 6:00 (free) will feature an opportunity for attendees to participate in Richmond artist Caryl Burtner's work as an interactive installation.

On Sunday, June 16 from noon to 4:00 a variety of Hair-Centric Events (free) will be staged in the gallery. Holly Bass will perform Come Clean, a ritualized performance in which strangers are invited to wash the artist's hair and engage in structured dialogue. By allowing others to wash her hair, the artist evokes the relationship between mother and child, as well as ideas of culture, identity, privacy, pleasure, renewal and surrender. Shelly Bell will perform her spoken word poetry and add a tactile component to the events. And Amber Robles Gordon will invite attendees to participate in her elaborate Hair Shrine.

Athenaeum 201 Prince Street, Alexandria, Va 22314 703.548.0035 / nvfaa.org

We invite you to join us Thursday, Friday and Sunday from 12 to 4 pm, and Saturdays from 1 to 4 pm. The Athenaeum is closed on holidays. Admission is free.

The NVFAA is partially supported by funding from the Virginia Commission for the Arts, the National Endowment for the Arts, and the Alexandria Commission for the Arts.The NVFAA is committed to compliance with the Americans with Disabilities Act. To request a reasonable accommodation or materials in an alternative format contact us at nvfaa@nvfaa.org or call 703.548.0035.


Subtle attention-seekers without strings By Michael O'Sullivan Friday, January 4, 2013

Delusions of Grandeur seems about right for the name of an artists’ collective showing in a hole in the wall in Brentwood.

Located on the second floor of the Gateway Arts Center, the 39th Street Gallery is a 450-square-foot box that has been known to put on pretty cool little shows, including a recent micro-retrospective of the great D.C. painter Manon Cleary, who died last year. But the National Gallery of Art it is not.

Still, who knows where the five artists who make up Delusions of Grandeur will be showing 40 years from now? That is sort of the point.

The exhibition, “No Strings Attached,” features a mere two artworks by each of the five artists (with the exception of Wesley Clark, whose contribution is a handsome installation of 50 plywood boxes, scored with a kind of crudely beautiful, graffiti-like calligraphy). The small sampling is enough to get a sense of the individual artists, whose diverse styles -- true to the show’s name -- have little to do with one another.

Among the most arresting pieces are two portraits by Jamea Richmond-Edwards. Virtually unreproducible in photographs, the drawings depict the faces of two black women. The manner in which they’re made -- mostly dark ink, chalk pastel and colored pencil on dark black boards -- render their subjects all but invisible, unless one stands in just the right place, with the gallery lights hitting the surface just so.

It’s an apt metaphor for the theme of visibility that Richmond-Edwards’s works seem to traffic in. The larger show takes on that theme, too. The young artists featured in “No Strings Attached” are African American. The question of race, in the context of the art establishment, seems to percolate just below the show’s surface.

Take Stanley Squirewell’s digital prints. In each, a naked black man can be seen posing, almost hiding, behind works of modernist geometric abstraction. The implication -- that the African American artist has a fraught, and perhaps contentious, engagement with the art canon -- is clear.

That theme is echoed in the work of Shaunte Gates, whose surrealistic collage “Bull’s Eye” features a gun-toting black youth against a dreamlike landscape populated by classical statuary.

Like Clark’s scarified wooden cubes, the work of Amber Robles-Gordon doesn’t seem particularly concerned with race. Her two assemblages of dangling ribbon and brightly colored string suggest an interest in gender over skin color. They’re tied -- albeit loosely -- to the legacy of the Washington Color School, though in a medium often associated with the so-called women’s work of sewing.

The five artists here have few delusions. Their work is clear-eyed, but so is their determination to be taken notice of. http://www.washingtonpost.com/gog/exhibits/no-strings-attached,1245339/critic-review.html



The story behind Delusions of Grandeur By Michael O’Sullivan Friday, January 4, 2013

“You have to be delusional to want to be an artist,” says Amber Robles-Gordon, who, with Shaunte Gates and Jamea Richmond-Edwards, debuted as the art collective Delusions of Grandeur with two back-to-back exhibitions in the summer of 2011. Originally funded by a grant from the D.C. Commission on the Arts and Humanities, the group has expanded to five members with the addition of Wesley Clark and Stanley Squirewell.

As tough as it is for anyone to make it as an artist, Robles-Gordon says it can be tougher for artists of color. It’s also tough, she believes, for artists struggling to balance careers and parenthood. (Several members of the group have young children.)

Having first come together as a kind of art salon, with the goal of fostering dialogue among its members, the collective has now set its sights on somewhat loftier goals. Its name may be tongue-in-cheek, but Robles-Gordon admits that “we do want to be in the history books.” http://www.washingtonpost.com/gog/exhibits/no-strings-attached,1245339/critic-review.html


Wild Fabric by Mark Jenkins The Washington Post July 15, 2011

Click here to open the pd

Wild Fabric

Amber Robles-Gordon’s show at Pleasant Plains Workshop is called “Wired,” but fabric is the principal ingredient. Working entirely with found objects, the Caribbean-rooted local artist arrays ribbons and scraps on (mostly) wire frameworks. The result is a riot of colors and patterns, evoking the tropics while playing on the contrast between the rigid frames and malleable fabric. In such pieces as “Dynasty,” the tightly clumped tatters suggest both thick vegetation and the rhythms and hues of island life.

Although Robles-Gordon does sometimes bend the found frameworks to achieve the basic contour she wants, a few of the pieces still seem a little haphazard. The most appealing works are the ones built on recognizable shapes, notably “And So It Is.” Here, the colorful remnants hang on a gold-painted bicycle wheel, giving form to the patchwork. The artist has compared this piece to a family crest, but even without the personal connotations, the abundance of tones and textures is pungent.

Jenkins is a freelance writer.

Wired by Amber Robles-Gordon

on view through July 23 at the Pleasant Plains Workshop. 2608 Georgia Avenue NW, Washington, DC 20001. pleasantplainsworkshop.blogspot.com.


‘Delusions of Grandeur’

One link between the three young, local artists featured in “Delusions of Grandeur: Ascension” is African American identity. Another is fabric. Amber Robles-Gordon (whose work was reviewed by The Post in July) makes abstract hanging assemblages that feature ribbons and scraps. Jamea Richmond-Edwards does idealized portraits that incorporate textiles, sequins and bows. Shaunte Gates includes bits of cloth and other found materials in allegorical paintings that draw on the tradition of biblically themed medieval and Renaissance canvases, but also sometimes suggest the heroic poses of sci-fi and comic-book characters.

The artists chose the exhibition’s title, and in a statement explain that it refers to “the ‘delusions of grandeur’ that each artist possesses in order to continue progressing . . . in their artwork.” The “ascension” part comes from one of Gates’s paintings, which depict muscular men who are both divine and debased, as likely to sprout wings as to wear to a crown of barbed wire. His figures are rendered realistically, as are some of his settings, notably the urban alley shown in “January 6, 1956: Time Traveler.” But other backdrops are wilder, sometimes verging on abstract expressionism. “May 28, 2004: Lost One” shows a man plunging into a loosely rendered whirlpool, as if diving into the picture plane itself.

Richmond-Edwards’s work is more formal. Faces, penciled in shades of gray, combine African American features with the somber bearing of Greco-Roman sculpture. Many of the countenances are identical, giving the work a paper-doll quality. These visages are surrounded by bright colors and patterns, and adorned with a rose-petal print in various colors. If the result seems a little too fashion-schooled, clothing is a part of cultural identity. Playing dress-up is one way that people define, or redefine, themselves.

Jenkins is a freelance writer.

Delusions of Grandeur: Ascension

on view through Sept. 16 at Parish Gallery-Georgetown, 1054 31st St. NW, 202-944-2310, www.parishgallery.com. www.washingtonpost.com/lifestyle/style/photos-reach-deep-into-go-gos-pocket/2011/08/31/gIQAAaq6uJ_story_1.html


‘Options 2011’ combines minimal and conceptual art By Mark Jenkins, Published: October 13, 2011



For its 30th annual survey exhibition, “Options 2011,” the Washington Project for the Arts has temporarily claimed a floor of an industrial building near the Convention Center. The space gives the show — curated by Arlington Arts Center Executive Director Stefanie Fedor — room for large, dramatic pieces, as well as the expected painting, photography and video. The work ranges from computer animation and fabric art — including Amber Robles-Gordon’s third gallery showcase of the last six months — to issues of Bittersweet, a new magazine that covers social issues of non-federal D.C.

Many of the 13 artists combine the minimal and the conceptual. John James Anderson combines sculpture made from lumber, nails, screws and carpentry tools, with commentary about hiring immigrant day laborers to work with him. Stewart Watson impales pillows with steel rods to make site-specific, anxiety-ridden “events.” Lisa Dillin’s photographs and sculptures coolly parody corporate environments and mindsets. Heather Boaz renders the commonplace eerie by photographing toy furniture posed on or near body parts such as eyes and knees, as well as less commonly displayed ones.

Among the show’s most engaging work are monumental pieces that mock artistic monumentality. Artemis Herber is showing shell-like forms that look to be made of rusted steel, evoking the sculptural colossuses of Richard Serra and Anthony Caro, along with pillars whose shapes are modeled on fallen trees (although they’re painted a shade of green that’s more redolent of celery than forests). But Herber’s work is made of cardboard; that rusty patina is paint.

Jimmy Miracle also uses inexpensive materials, including plastic carryout food containers. For “Beam,” he stretches filament from wall to floor to simulate a gleaming shaft of light. Like Herber’s “trees,” Miracle’s pieces give everyday stuff a pretense to glory. www.washingtonpost.com/lifestyle/style/options-2011-combines-minimal-and-conceptual-art/2011/10/12/gIQA24UPiL_story.html


WETA Around Town

Jasper Johns: Variations on a Theme at the Phillips Collection through September 9, 2012. Discussion with Robert Aubry Davis, Amber Robles-Gordon, and Bill Dunlap.

Join the circle of prominent art, theater and film critics who make WETA Around Town your one source for the latest Washington-area reviews and recommendations.

WETA Around Town video segments are broadcast on TV 26 in between programs, nightly prior to the 7:00 pm program, and weeknights prior to Charlie Rose.

You can also subscribe to the WETA Around Town podcast and automatically receive the latest reviews each week. Or watch anytime online by clicking on a video below or visiting our video portal. www.weta.org/tv/local/aroundtown


Beyond the Big Chair New galleries and community spaces pop up east of the river

Washington’s newest arts enclave isn’t tucked away in Georgetown, or even on burgeoning H Street. It’s east of the river, in Anacostia. The area — once known as Nacotchtank, after the first Native American settlers of the region — has a long history of creative expression. Go-go music was born here; graffiti by street artists such as BK Adams (the man behind all those I AM ART wheatpasted posters around the city) dot the walls of buildings. But unlike Shaw, with its recently reopened Howard Theatre, or H Street, anchored by the refurbished Atlas Performing Arts Center, Anacostia has lacked the arts infrastructure to draw visitors.

That is changing. In the past five years or so, a handful of small-but-vibrant galleries have sprung up, complemented by a smattering of new public art pieces and festivals celebrating a homegrown arts scene. LUMEN8Anacostia, a wide-ranging fest that ran over three months this spring, brought dozens of artists, performers and temporary arts spaces together and received encouraging media coverage.

“Anacostia is emerging as a cultural hub,” says Josef Palermo, who works with the Pink Line Project, a group that organizes events promoting local arts across D.C. Palermo moved to Anacostia in 2008. “At the time, there were not a lot of restaurants, really no nightlife to speak of,” he recalls. “Now, a revitalization is taking place.”

That energy comes, in part, from a flurry of investment by groups such as the ARCH Development Corporation. The organization, founded in 1991 to help the area’s homeless, has increasingly put resources into local arts to infuse new life into the neighborhood. It sponsors three closely clustered galleries — Honfleur Gallery, Vivid Solutions and Blank Space SE — along with HIVE, a shared workspace for freelancers. “We want to draw on local and international resources,” says Phil Hutinet, chief operating officer of ARCH. “We want to showcase what will really become the future arts district of the city.”

That means highlighting works by artists such as Amber Robles-Gordon, a sculptor and mixed-media artist. Robles-Gordon has lived in Anacostia for 15 years. “For me, there’s an energy that I get from the area,” she says. When she paints on her porch, children scurry up and ask what she’s doing. Every once in awhile, she scours her neighborhood for old fliers and scrap paper, pieces she recycles into her own work.

Not long ago, Robles-Gordon — who’s shown at several international galleries — had to travel to Northwest or even into Maryland to show her work locally and connect with other artists. With galleries such as Honfleur as an anchor, that’s shifting. “Now, more of us know about each other,” she says. “You have a working-class group of people more like a creative class. It’s about us coming together and finding each other.”

Behind the Scenes at the Anacostia Community Museum Though the Anacostia Community Museum is undergoing renovations until July 29, it is still offering public programs — such as a behind-the-scenes tour. Guides will focus on the 45-year-old museum’s evolving role in the community. Smithsonian Anacostia Community Museum, 1901 Fort Place SE; July 13, 10 a.m., free; 202-633-4820. (Anacostia)

Citified: Arts and Creativity East of the Anacostia River The creative history of Anacostia gets spotlighted at this year’s Smithsonian Folklife Festival with a full schedule of events. African dancers and drummers, church choirs, hip-hop artists and go-go bands will perform, and storytellers will tell neighborhood tales. Tattoo artists will demonstrate their craft, as will members of a multigenerational quilting guild. National Mall; through July 8, 11 a.m.-5 p.m., free; 202-633-1000, Festival.si.edu. (Smithsonian)

Public Art East of the River Walking Tour Explore the history of Anacostia’s public and street art with Deidra Bell, as she leads a walking tour of neighborhood gems includ-ing Martha Jackson-Jarvis’ river-themed mosaics and Uzikee Nelson’s quirky metal sculptures, left. Smithsonian Anacostia Community Museum, 1901 Fort Place, SE; July 10, 10 a.m., free; 202-633-4820. (Anacostia)

Inside Outside The U.S. has the highest incarceration rate in the world, with more than 5 million Americans in prison. In Washington, the numbers are even more stark: Three out of four young black men will serve time in prison. Artist Gabriela Bulisova, whose work is pictured below, chronicles the experience of the incarcerated through photography. The Gallery at Vivid Solutions, 2208 Martin Luther King Jr. Ave. SE; July 13-Sept. 28, free; 202-365-8392. (Anacostia)

East of the River Exhibit From July 13 through Sept. 8, Honfleur Gallery will host its sixth annual local juried show, a great primer to the neighborhood’s hottest artists — with key pieces that explore the neighborhood’s social, environmental and historical challenges. Honfleur Gallery, 1241 Good Hope Road SE; July 13-Sept. 8, free; 202-365-8392. (Anacostia)


"Art Beat' With Sean Rameswaram, Mar. 28



With Every Fiber of My Being Amber Robles-Gordon Opening Reception: March 9, 2012 at 7pm Exhibition Dates: March 9 to April 27, 2012

Honfleur Gallery is proud to present a solo exhibit of mixed media artist, Amber Robles-Gordon, opening on March 9th. With Every Fiber of My Being, Robles-Gordon’s will showcase textile assemblages on canvas, found objects and other sculpture forms.

In recent years Amber has shown at Pleasant Plains Workshop, Parish Gallery and Options 2011 Biennial Showcase with Washington Project on the Arts. “I’ve watched Amber’s career grow these last few years and realized in the fall, it was time for a solo exhibit of her work here in Anacostia. We worked together a few years ago on a pop up space and since than have kept her projects on my radar,” said Beth Ferraro, Honfleur’s Creative Director. “This summer will be our Sixth Annual East of the River Exhibit, but Amber’s solo exhibit is a step in the right direction for local talents and Honfleur Gallery.” Robles-Gordon was also selected for a DC Creates Public Art grant for the Deanwood Recreation Center, from DC Commission on the Arts and Humanities in 2010-2011.

The new works included in With Every Fiber of My Being will highlight the intrinsically personal themes Robles-Gordon explores in her art through its incorporation of re-purposed second-hand materials such as clothing and accessories. The artist draws connections between her use of personal found items; the idea that varied elements come together to make one individual in work that is marked by her bold use of color and rhythmic melding of disparate objects.

Robles-Gordon earned a MFA from Howard University in May 2011, and has lived and made art in Southeast DC for the past 13 years.

Honfleur Gallery is a contemporary art space located in Historic Anacostia that focuses on exhibitions from the USA and abroad. It is a project of the ARCH Development Corporation, whose mission is to act as a catalyst for local cultural and economic revitalization. Honfleur Gallery opened in 2007 and is located at 1241 Good Hope Road SE, Washington DC 20020. More details: www.honfleurgallery.com


Fibers, Filaments, and Fragments: Amber Robles-Gordon and the Deconstruction of Self By Jessica N. Bell

The power of a fiber rests within the nature of its unitary value. The interconnectivity of fibers creates a whole, an object that comes into existence because of the unification of its parts. Memory, personhood, and identity are conflated with the materiality of our things- our fashions, our gadgets, the products we buy, the things we keep and the detritus we discard. Our sense of “being” can be discovered with a thorough examination of what we leave behind. What we value, things we remember, in the modern world, material culture is the conduit to the self. In the meticulously rendered textile and mixed media sculptures of the exhibition “With Every Fiber of My Being”, artist Amber Robles-Gordon destabilizes the power of the fiber in its familiar context of object-hood, by restructuring the parameters with which the viewers come to understand it; fibers and filaments transform into representations of a deeper sense of one’s personal memory and self-constituted identity.

The intentional fragmentation of an object conveys an act of disjuncture- a ripping apart, a shredding of, a tearing up- of familiarity, of stability, of normality. So, what happens when this disjuncture becomes a repetitive act of labor in self-rendering? Binaries explode. Polarization’s collide. Linear understandings of histories become a painterly, disjointed pointillism. Robles-Gordon destabilizes the specificity of our “stuff”- lace adorned dresses, rackets, worn t-shirts, beaded bracelets, badminton balls, etc.- and threads together a reformed sense of self through abstracted amalgamations of material culture. In Air, Water, and Earth. Layers of Self, Robles-Gordon’s mixed media sculpture reshapes disparate parts and fragments into lines of color that coalesce in a circular form. Principles of abstraction are still at play in this sculptural entanglement. Excised from objects disjoined from their past modalities, filaments function as undulating lines of color across the picture plane. Grid-like wires attempt to contain the rotund mass, creating a vivid, precarious sense of tension and fragility. It is in this moment of contained visual clutter and chaos, in which power is reassigned and the accepted meaning or constitution of object-hood is simultaneously bifurcated into its past and re-situated at the limen- a space of betweenness where agency flourishes and categories collapse.

The condition of the postmodern and millennial artist is also situated at the liminal space of particularity, where sampling and fragmentation meet at the axis of hybridity. Furthermore, contemporary practitioners like Egypt-born, New York-based Ghada Amer, as well as South African artists Nicholas Hlobo and Nandipha Mntambo, have taken to the act of immolating textiles and objects to reconstruct notions of gender, sexuality, and personal identity. Through tedious and laborious acts of puncture, stitching, and re-binding fragments, the artist could possibly regain control of representation and the deconstruction of self vis-à-vis the destruction of object-hood. In short, the artist can reconstitute the self through reassigning the meaning and function of parts of things ripped apart and ruptured.  This new modality and materiality relies upon the vocabulary of fibers and filaments strung and threaded along to chart new spaces of visual memory and selfhood.Jessica N. Bell


With Every Fiber of My Being Amber Robles-Gordon MARCH 9 – APRIL 27 2012 Honfleur Gallery 1241 Good Hope Road SE · Washington DC 20020 · 202-365-8392 · arts@archdc.org Hours: Tuesday-Friday 12-5 · Saturdays 11-5 · And by appointment http://www.honfleurgallery.com/


With Every Fiber of My Being By Amber Robles-Gordon

Exhibition Concept:

The phrase With Every Fiber of My Being captures the energy I bring to my creative process, my artwork, and how I relate to life.  Fibers, are everywhere in the body, they work in intricately bounded bundles to funnel and connect the life force with information and nutrients that sustain a fully functioning organism1.

I create with every fiber of my being, because I have to and because it brings me joy. Starting at the bundles of axons within my brain, to every hair fiber and through the nerves of my muscles, a network of fibers precisely distributed throughout wants to see, smell, hear, taste, and create, art.  

In this series, I am interested in creating a visual representation of the pieces that make up the mental, physical, spiritual and emotional aspects that make one human. I use personal items: parts of old purses, jeans, jackets, and jewelry. As well as stamps, post cards, and old cd cover artwork. Most of these things will be recognizable at first glance. Although, I hope that some items won’t be, at least at first. My intent is show the process of creating and exploring the layers of one’s self, one fiber at time. Then to notice a bundle, and then to see, and identify the life source that flow within each piece of art. Ultimately to the view the whole body artwork as living, breathing organisms.  

With Every Fiber of my Being refers to my overall beliefs that creating art is a means of promoting healing. Creating textile work is a very precise and time-consuming task: Every tile, piece of paper, cloth, or stitch of thread must be properly placed in order to craft the intended compacted mosaic of information. Hence, there are very few visual resting points with in a portion of these works. This is intentional, because when do the fibers of our being ever rest.

I will present a body of mixed media on canvas and sculptural textile works. The majority of the artwork will be a combination of found objects and other fiber products sewn or adhered to canvas. Additional works will be sculptural mixed media on canvas forms and mixed media on other found objects.




New York Armory Week #2

ARTSLANT INSIDER* - Amber Robles-Gordon

Amber Robles-Gordon, "Lace", 2010, Mixed Media on canvas, 36 x 36.

Amber Robles-Gordon - Amber Robles-Gordon’s preferred medium is collage and assemblage. She focuses on fusing found objects to convey personal memories, inspired by nature, womanhood, and her belief in recycling energy and materials. Robles-Gordon completed her MFA from Howard University in Dec., 2010. Since then, several of her exhibitions have been reviewed in the Washington Post. She has recently been selected to present for the Under the Influence competition as part of the 30 Americans exhibition at the Corcoran Gallery of Art.

Amber has been commissioned by the Smithsonian Anacostia Museum, WETA Television and AlJazeera to teach workshops, give commentary and present about her artwork. She was commissioned by the DC Commission on the Arts and Humanities (DCCAH) to create a mural and granted an apprenticeship to create a public art installation.


Features and Reviews

WAMU 88.5 - American University Radio

‘Art Beat’ With Sean Rameswaram: wamu.org/programs/art_beat/11/09/01/art_beat_with_sean_rameswaram


30 Americans: Under the Influence Thursday, November 17, 2011, 6-9 p.m. Frances and Armand Hammer Auditorium, Corcoran Gallery of Art

Featuring 30 Americans artist John Bankston and presentations by Mazin Abdelhameid, Cedric Baker, Holly Bass, Tom Block, Wesley Clark, Michele Coburn, Lori Crawford, Gary Lockwood/ Freehand Profit, Carrie Nobles, Jamea Richmond-Edward, and Amber Robles-Gordon

Presented by the Corcoran Contemporaries and Washington Project for the Arts

Admission is FREE Pre-registration is encouraged

Join us for an evening celebrating local artists and the artists of 30 Americans! Under the Influence will feature eleven artists giving five-minute presentations about their work and the influence one of the artists in 30 Americans has had on their artistic practice. 30 Americans artist John Bankston selected the eleven artists from an open call and will begin the evening with a short presentation about his own work and influences.

Under the Influence highlights the influence of the artists of 30 Americans on the work of up-and-coming artists and invites the audience to engage with artists and their work in an exciting, innovative way. The presentations will be followed by a reception and viewing of 30 Americans.

above images, clockwise from left: Jamea Richmond-Edwards, I am Here (detail), 2009, Ink, acrylic, graphite and collaged paper on canvas; Kerry James Marshall, Untitled (detail), 2009, Acrylic on PVC; Holly Bass, African Futures: DC, 2010, Photo documentation of live performance, photo by Rosina Photography; Kara Walker, Slavery! Slavery! Presenting a GRAND and LIFELIKE Panoramic... (detail), 1997, Cut paper and adhesive on wall

WPA is supported by its members, Board of Directors, invaluable volunteers, and by generous contributions from numerous individuals and the William C. Paley Foundation, The Morris and Gwendolyn Cafritz Foundation, Susan & Dixon Butler, Giselle & Benjamin Huberman, Abramson Family Foundation, Carolyn Alper, Akridge, Arent Fox LLP, The Athena Foundation, Bernstein Family Foundation, Liz & Tim Cullen, Caroline Fawcett & Tom O'Donnell, Sandra & James Fitzpatrick, Carol Brown Goldberg & Henry H. Goldberg, Corri Goldman & Michael Spivey, Haleh Design, Hickok Cole Architects, Betsy Karel, Yvette Kraft, Aimee & Robert Lehrman, Stephanie & Keith Lemer/WellNet Healthcare, Marshfield Associates, Carol & David Pensky, Susan Pillsbury, Heather & Tony Podesta, Richard Seaton & Dr. John Berger, Sidley Austin Foundation, Robert Shields Interiors, TTR Sotheby's International Realty, Vivo Design, Alexia & Roderick von Lipsey, The Washington Post Company, and William Wooby.

‘Art Beat’ With Sean Rameswaram: wamu.org/programs/art_beat/11/09/01/art_beat_with_sean_rameswaram

The Washington Post articles: www.washingtonpost.com/lifestyle/style/options-2011-combines-minimal-and-conceptual-art/2011/10/12/gIQA24UPiL_story.html




Mahwish Chishty, Untitled 1 (detail), 2011, Gouache

Washington Project for the Arts is pleased to announce OPTIONS 2011, Amber Robles-Gordon (Washington, DC)

Exhibition Dates: September 15 - October 29, 2011 Exhibition Location: 629 New York Avenue, NW, 2nd Floor, Washington, DC Opening Reception: Thursday, September 15, 6-8pm Curators Talk: Saturday, October 1, 3pm

Washington Project for the Arts is pleased to announce OPTIONS 2011, the fourteenth installment of WPA's biennial exhibition of emerging and unrepresented artists from DC, Maryland, and Virginia. OPTIONS 2011 will take place from September 15 through October 29, 2011 at 629 New York Avenue, NW, 2nd floor, Washington, DC. Highlighting the breadth and diversity of contemporary art practice in the area, OPTIONS 2011 will include work by fourteen artists selected by curator Stefanie Fedor.

Participating artists include: John James Anderson (Washington, DC), Bittersweet Zine (Washington, DC), Heather Boaz (Baltimore, MD), Amy Chan (Baltimore, MD), Mahwish Chishty (Hyattsville, MD), Lisa Dillin (Baltimore, MD), Adam Dwight (Takoma Park, MD), Twig Harper (Baltimore, MD), Artemis Herber (Owings Mills, MD), Katherine Mann (Washington, DC), Jimmy Miracle (Washington, DC), Amber Robles-Gordon (Washington, DC), Oscar Santillan (Richmond, VA), and Stewart Watson (Baltimore, MD).


Young black professionals: The new face of gentrification

Anacostia, a neighborhood once synonymous with crime and violence, now offers yoga studios and chai lattes. Young black professionals are spurring development and gentrification of Ward 8.

Amber Robles-Gordon works in the living room of her Anacostia home. Gordon earned an Master of Fine Arts degree from Howard University.

In addition to making art, Gordon teaches yoga at Anacostia’s Spirit Anacostia Health and Wellness Center. Her commute to work is 10 minutes.

Amber Robles-Gordon displays her work at the Pleasant Plains Workshop, a shared studio space on Georgia Avenue.

Bonnie Jo Mount / The Washington Post

Click here for the full article

Delusions of Grandeur: Ascension

Shaunté Gates, Amber Robles-Gordon and Jamea Richmond-Edwards

Shaunté Gates. In my dreams II. 2011 Amber Robles-Gordon Peacock. 2011 Jamea Richmond-Edwards Revealation. 2011

Parish Gallery Exhibition: August 19- September12, 2011

Reception: August 19, 2011 6-8pm

WASHINGTON, DC- Parish Gallery, in conjunction with the DC Commission on the Arts and Humanities is pleased to present an exhibition by three artists – Shaunté Gates, Jamea Richmond-Edwards and Amber Robles-Gordon, “Delusions of Grandeur: Ascension”. This show will open with a reception from 6:00-8:00 pm on Friday, August 19th, and will run through September 16th, 2011.

This exhibition is the result of an artistic dialog about the “delusions of grandeur” they each possess in order to continue progressing in their careers and most importantly in their artwork. Ascension, the act of rising to an important position or a higher level, is the theme adapted for this current body of work. Each artist presents their individual interpretation of the act of ascending.

Artists Shaunté Gates work combines multiple processes and genres, by taking appropriations and gestures from pop culture and print media which are combined to create elusive narratives. Gate’s works seduce us into an imaginary world of juxtaposition and fantasy, a place when the contradictions of culture and the human psyche are collided. His mixed media paintings capture the beauty in subjects that may appear bleak to the average eye at first glance. Gates ideas are derived from the pain, joy, and the beautiful way everything universally is connected.

Jamea Richmond-Edwards work explores the contradictions of female and cultural identity and with reference to Greek Mythology, African folklore and international fashion. Richmond- Edwards examine how mythologies from ancient times translate into today’s culture and time allegorically. Her figures are empowered by their survivalist adaptation to circumstance. Their sharp features are inspired by both high fashion models and the everyday women in her community.

Amber Robles-Gordon mixed media artworks draw upon her journey through motherhood, genealogy, healing, and being alive today. They represent her technical and scholarly growth as an artist, and are supported by her professional development in the Washington, DC area. Her two- and three-dimensional pieces it within an expansive notion of painting and sculptural form. She uses stretched canvas to support an accumulation of media in low- or sharp-relief. These assemblages require a close look to interpret their individual parts. Collectively, these parts form a visual energy comprised of the previous “lives” of the objects, their former owners, and the artist’s hand.

Parish Gallery primarily, but not exclusively, represents contemporary visual artists of significance from Africa and the African Diaspora. In selecting art and artists, Parish Gallery exercises high ethical, curatorial and market selection standards, catering to the spirit of social preservation and regeneration in collecting the art. Parish Gallery is open Tuesday thru Saturday from noon to 6:00 PM or by appointment.

Parish Gallery 1054 31 Street NW Washington, D.C. 20007


Wild Fabric: Washington Post Review of Wired exhibition

Amber Robles-Gordon’s show at Pleasant Plains Workshop is called “Wired,” but fabric is the principal ingredient. Working entirely with found objects, the Caribbean-rooted local artist arrays ribbons and scraps on (mostly) wire frameworks. The result is a riot of colors and patterns, evoking the tropics while playing on the contrast between the rigid frames and malleable fabric. In such pieces as “Dynasty,” the tightly clumped tatters suggest both thick vegetation and the rhythms and hues of island life.

Although Robles-Gordon does sometimes bend the found frameworks to achieve the basic contour she wants, a few of the pieces still seem a little haphazard. The most appealing works are the ones built on recognizable shapes, notably “And So It Is.” Here, the colorful remnants hang on a gold-painted bicycle wheel, giving form to the patchwork. The artist has compared this piece to a family crest, but even without the personal connotations, the abundance of tones and textures is pungent.

Jenkins is a freelance writer.

Wired by Amber Robles-Gordon on view through July 23 at the Pleasant Plains Workshop. 2608 Georgia Avenue NW, Washington, DC 20001. pleasantplainsworkshop.blogspot.com.

Art For Joy, Love and Life

a community voice project

digital storytelling

In Fall 2010, film and anthropology students from American University’s School of Communication and College of Arts and Sciences, working with the Smithsonian Anacostia Community Museum, assisted community artists in Southeast Washington to create their own original digital stories.

In this class, COMMUNITY DOCUMENTARY: Stories of Transformation, storytellers use photographs, family documents, community archives, and their own voice to create first-person narratives.

Amber Robles-Gordon received some blunt criticism during her graduate studies when she was told she couldn’t seem to separate herself from her artwork. Robles-Gordon became introspective, and identified why she’s so entrenched in her art.

Click the link to watch the video: communityvoiceproject.org/artjoylifelove/

"I really enjoyed the experience. Lena was wonderful, we really clicked. We became friends, exchanging stories and music." - Amber Robles-Gordon

JUNE EXHIBITION: Amber Robles-Gordon, WIRED curated by Kristina Bilonick June 18 - July 16, 2011 Opening Reception: Sat. June 18, 6-9pm

Pleasant Plains Workshop is pleased to present a solo project, Wired, by artist, Amber Robles-Gordon. Robles-Gordon recently received her MFA from Howard University and works in mixed media, textile, photography, and painting.

For this exhibition, Robles-Gordon has transformed found objects with ribbons, gimp, fabric, wire and other materials to create exciting wall works that explore patterns, color and material. The works also speak to her cultural identity which is influenced by Caribbean, Latin-American, and African-American cultures.

Please join us for the opening on June 18th, from 6-9 PM.

Pleasant Plains Workshop 2608 Georgia Avenue NW Washington, DC 20001 pleasantplainsworkshop@gmail.com www.pleasantplainsworkshop.com

Amber Robles-Gordon: The Sweet Glitter Juju of Life

Amber Robles-Gordon‘s work is deeply personal. Her mixed media paintings and sculptures draw upon her journey through motherhood, genealogy, healing, and being alive today. They represent her technical and scholarly growth as an artist, and are inspired by her professional development in the Washington, DC area. A recent graduate of the Howard University MFA Program (2010), Robles-Gordon is a board member of Black Artists of DC (BADC), and takes part in a diverse and multigenerational arts community. She is also an arts advocate who participates in several cross-cultural and cross-town initiatives that characterize Washington, DC‘s history of individual and grassroots organizational support for artists. Robles-Gordon has expressed that this rigorous and nurturing technical and conceptual dialogue has enriched her artistic process and her life; it has affected her approach to materials, techniques, and her vision as an artist. She notes the influence of many artists who have inspired her to see art-making as a profound engagement with oneself and the world.

Her two- and three-dimensional pieces fit within an expansive notion of painting and sculptural form. She uses wood or painted, stretched canvas, or chicken wire to support an accumulation of media in low- or sharp-relief. These assemblages require a close look to interpret their individual parts. Collectively, each object contributes to the palpable energy of the overall piece—hinting at their previous functions and the ?lives? of their former owners—configured by the artist‘s hands.

Robles-Gordon gathers and reshapes the sweet glitter juju of life into her work. Individual moments, personal vignettes, and more universal themes are equally woven into it. She examines spirituality, the phenomena of childbirth and motherhood, and the assignment of value to every little thing. She considers the blessings and burdens of femininity, and what it means to be a woman. She recycles fragments of garments, handbags, and accessories to engage the ways that these vanity objects—often used to define beauty—are also traps. She explores various metaphysical systems as a source of inspiration after an accident gave her the opportunity to test her faith and healing ability. Glitter-coated streams of paint add sparkle and shine to a range of discarded or thrifted objects. She breaks them down and reassembles them into collaged arrangements that are influenced by artists such as Romare Bearden, James Brown, Francine Haskins, Frida Kahlo, Georges Seurat, Frank Smith, and Alma Thomas. Robles-Gordon fuses varied influences into compositions that balance blank space, color, and hyper-materiality. She creates a subtle tension, and the possibility of opposing readings in her placement of assemblaged elements amidst dripping paint—which may represent the lyrical expression of painful experiences. These works belong to the series Milked, and simulate the outstretched wings of birds-in-flight against blue or yellow skies, butterflies, or the seductive curves of women‘s undergarments. Her affinity for lacy details, gloves, doilies, slips, and purses consist of a range of past and present accessories and small objects of home décor. She chooses from things—her own and others‘—to pull apart and reform; to give new life, and to scatter between various works like a sprinkling of fairy dust.

She plays with notions of masculine and feminine energy (as objectified) to address distinctions between the admiration of beauty, and its ethereal source or essence. Found dragonflies, dolls, deconstructed fan parts, remote controls, billiard balls, trophies, curling irons, hood ornaments, handles, and sparkly red children‘s maryjanes refer to male/female dynamics, and popular culture references, like fairy princesses, Oz, and what it may mean to be “?behind the eight ball.”

Robles-Gordon‘s collage sensibilities were influenced by artist-activist Romare Bearden (1901– 1988). Bearden‘s prolific work in collage shaped a visual narrative style that conveyed a palpable sense of 20th-century black life in America. Robles-Gordon states: I identify with Bearden‘s collages because I employ similar techniques and processes of cutting, pasting, reconstructing forms, faces, and concepts from photographs, magazines, and other paper sources to convey a message. I interpret his method and collages as a form of visual journaling. Through making collages, I have established a relationship between texture, symmetry, harmony, and compositional balance.

Inspired by Mexican surrealist, Frida Kahlo (1907-1954), Robles-Gordon considers Kahlo‘s ability to overcome tragedy, illness, and grief as an expression of her strength, and its role as a source for her paintings. As one of the best-known women artists of the early 20th-century, Kahlo used life‘s obstacles as a way to hone and articulate her artistic voice:

Kahlo was a master at rendering her dreams, pain, and innermost thoughts and feelings. I am inspired by her personal connection to her art and its role within her life. Further, her artistic treatment of women and the depiction of her traumatic life have influenced my desire to create works reflective of my experiences as a woman.

In Bearden and Kahlo, Robles-Gordon discovered the arts to be a meaningful ways to convey personal narratives and relevant sociopolitical issues. She admires each artist‘s work as an embodiment of cultural pride, and as a means to stake a position on identity, subjugation, and giving voice to the voiceless. By combining personal elements with timeless and universal themes, Robles-Gordon uses collage, and non-traditional painterly devices to examine contemporary social issues: accumulation and waste, beauty and femininity, motherhood, spirituality, and the nonsensical or unexplainable juxtapositions that characterize daily existence.

In the work of pioneering abstract painter Alma Thomas (1891-1978), Robles-Gordon reflects upon Thomas‘s interpretation of primary color schemes, geometry, and composition. From French artist Georges Seurat‘s (1859-1891), she learned about the process of optical color mixing. Robles-Gordon states:

Thomas left small spaces of white canvas in between her brush strokes, creating the appearance of mosaics or stained glasswork.... [By studying this,] I began to evaluate the value, purpose, and aesthetic aspects of my art.... [Seurat] used white space to enhance the perception of color. He created a technique called ‘pointillism,‘ in which an image is rendered using tiny dots of primary and secondary colors. When the image is viewed from afar, the eye fuses the colors and creates intermediate colors.

She applied these concepts of color and technique to a body of untitled works in the series, Identification of the Matrix Grid. Begun in 2004, these pieces evolved from an artistic inquiry that used grid structures to create multi-colored layered matrices based on squares or rectangles. She cites Thomas and Seurat as sources for her grids: In my early works, I used torn, colored paper to create figurative paper mosaic compositions. Ripping the paper revealed its white fiber pulp, and provided areas of white space between each portion of color. Many of my paper mosaics appear from afar to look like Thomas‘s paintings until you come closer and see the texture of overlapping paper. The manner in which Thomas and Seurat used color and white space has influenced the way I visually perceive color and has informed my placement of color in the majority of these works.

As a member of BADC, Robles-Gordon has positioned her art as a part of an artist community that values African-inspired techniques and philosophies as a tool for exploring personal and artistic awareness. Her series, Cosmic Black, was created for the 2009 BADC exhibition, The Black Exhibit. Like the 20th-century exhibitions devoted to the color black as an expression of the sociopolitical issues associated with blackness, the focus of this show was to reinforce principles such as ?black is beautiful? and the positive attributes of the color.

Within BADC, fiber and textile artist James Brown, and mixed-media artist Francine Haskins have inspired Robles-Gordon‘s professional development. In Brown and Haskins, Robles- Gordon appreciates how each artist has contributed to an expansive understanding of the possibilities of textiles, fiber arts, and found objects in her own work. She also sees the work of artist, professor, and AfriCOBRA member, Frank Smith as an inspiration for developing mixed- media canvases and sculptures that combine sewing and painting. The physicality of Smith‘s work comes from layers of painted, cross-hatched squares, stamps, or other materials featured in kinetic arrangements. The wall-mounted draped textiles in her series, Heal Thyself Series, pay homage to Smith‘s quilted paintings, his use of space and brilliant palettes. Robles-Gordon says of these three artists:

In their own individual styles and techniques, Brown, Haskins, and Smith create two- dimensional figurative and abstracted compositions that appear to have varying planes of visual movement and rhythm that document, explore, and celebrate African and African American history and culture. Through exposure to their works and my relationships with Brown, Haskins, and Smith, they have supported and challenged me to continue my exploration of textiles, cloth, and sewing and have strongly encouraged my desire to go beyond the conventional practice of presenting works in frames.

In Robles-Gordon‘s recent work, familiar elements—straps, curling irons, gloves, shoes, dragonflies, and fans—take on new meanings and forms on her characteristically canvas, chicken wire, or wooden supports. The compositional possibilities are as limitless as her stockpile of materials and their conceptual associations. As the work moves this direction, her structural sensibilities—that once relied on grids and matrices—are being transformed into less regimented, more three-dimensional, and visually-interactive compositions. She states:

Though the matrix is still at the core of most of my compositions, the works are no longer defined by a grid format or flat surface. Taking away the boundaries of traditional framing encouraged me to allow the materials, colors, and energy to hang, flow, and ?leap off? of flat canvas, which ultimately leads to the shift from two-dimensional to three-dimensional works.

These developing concepts are best revealed in the Heal Thyself Series, the Chicken Wire Series, and At the Altar. Heal Thyself consists of wall hangings made from textiles and other media mounted on canvas. The Chicken Wire Series is comprised of mixed media works woven through and sculpted around a chicken wire base. At the Altar is composed of folded and draped canvases that are brightly painted and adorned with an array of found objects from plastic fruit to things associated with childbirth and maternity.

Tosha Grantham is an artist, writer, and independent curator. She is completing a PhD in African Diaspora Art History at the University of Maryland College Park.

Amber Robles-Gordon is a mixed media artist who lives in Washington, DC.

Upcoming Exhibitions

Wired (June 17 – July 17, 2011)

Pleasant Plains Workshop: 2608 Georgia Avenue, NW, Washington, DC 20009 Opening Reception: June 18, 2011 from 6-9 pm Curator: Kristina Bilonik Tel: (202) 415-1466 Website: www.pleasantplains.com (Solo exhibition)

Delusions of Grandeur (July 8 – August 30, 2011) Mandarin Oriental Hotel/DC Commission on the Arts and Humanities Exhibition Space 1330 Maryland Avenue, SW, Washington, DC 20024 Opens: July 8, 2011 Contact: Jamea Richmond-Edwards Tel: (571) 288-1086 (Group exhibition: Shaunte Gates, Jamea Richmond and Amber Robles-Gordon)

Pen Arts presents: Lace works by Amber Robles-Gordon (October 31 - November 5) Keynote speaker for the DC Branch's November meeting The National League of American Pen Women National Headquarters Pen Arts Building 1300 Seventeenth Street N.W. Washington, D.C.  20036-1973 Opening Reception: To be announced phone - 202-785-1997 fax - 202-452-8868 Website: www.americanpenwomen.org (Solo Exhibition)

Amber Robles-Gordon: The Sweet Glitter Juju of Life ©Tosha Grantham, April 2011

A Group Exhibition of Recent Works by BADC and WPA Member Artists opens at Hillyer Art Space in Washington, D.C.

A GROUP EXHIBITION, titled "Process: Reaffirmation," presenting recent works by Black Artists of D.C. (BADC) and Washington Project for the Arts (WPA) member artists opened at Hillyer Art Space on Friday evening, April 1. The exhibition, which is curated by Gina Marie Lewis, focuses on and reaffirms the processes of artists within their studios, honors the personal philosophies, practices, and vocabularies of eight artists and attempts to explore a visual dialogue between their works.

Read the full article: www.swedishscene.com/2011/04/a-group-exhibition-of-recent-w.html

Image by Suzanna Fields, Pretty Polly

Beyond The Pale: Works by Amber Robles-Gordon, Huguette Roe, Suzanna Fields, Gina Denton and Joseph Barbaccia. Emerson Gallery, McLean Project for the Arts January 20 – March 5, 2011

The term Beyond the Pale was originally used to describe a barrier meant to enclose or define territory during military maneuvers beyond which it was not permissible to go. In more general contemporary terms, it has now come to mean an action or thing that is regarded as outside the limits of what is acceptable. The five artists in this exhibition, Amber Robles-Gordon, Huguette Roe, Suzanna Fields, Gina Denton and Joesph Barbaccia, all work fearlessly and with determination outside the barriers usually associated with traditional art making. They create works that are distinct, idiosyncratic expressions of their own individuality, breaking old rules only to write new ones regarding materials used, processes employed, and formal traditions no longer strictly adhered to.

Although the artists were chosen for their individuality, there are also commonalities that emerge when their works are seen together. All are interested in both the idea and process of accumulation, many parts merging to become a whole. All are also collectors in their own way, bringing together imagery, materials, and ideas. And all five bring these components together carefully and primarily by hand, through processes that embrace repetition and the creative, meditative state it can induce.

Amber Robles-Gordon works in a studio full of the accumulations necessary to create her work. Bits of fabric, tile, beads, string, ribbons, and wire are collected and organized, ready to become mixed media wall oriented pieces. Some of her works are structured and geometric, while others are masses of vibrant complexity organized around basic shapes such as an eye, the DNA helix or a rising wingspan. These are works that entice the viewer to look in as well as at, to experience fully a carefully controlled chaos and all the beautiful paradoxes encompassed therein.

Huguette Roe’s photographs depict collections of images of accumulated recycled materials. Photographed from a close-in vantage point, the images become studies of color, pattern and repetition. They are profoundly beautiful in a formal sense, and also silently profound conceptually, as they highlight and represent the beauty in what we refuse and reuse. Roe’s choice of subject matter lies outside the boundary, but she skillfully employs the full strength of her artistic skills to create works that entice visually as they simultaneously raise some of our society’s largest quandaries.

Suzanna Fields uses the traditional material of acrylic paint in distinctly new and non- traditional ways. Working with the paint in both two and three dimensions, she employs just about everything except a brush to build abstract works that celebrate both wonder and unease. Like the other artists in this exhibition, she is comfortable with the fullness of paradox, as she explores and embraces cycles, rejuvenation, oscillation, order and patterns undone. Fields is at her core an experimenter, bringing this to bear fully through both method and materials.

Baltimore artist Gina Denton is also a collector and compiler. Working primarily with textile materials of one sort or another, she builds oddly beautiful and slightly sinister sculptures that refer, by virtue of their shape and colors, to body parts or living beings. At one point stating her artistic goal as “ protecting and personifying the pseudo-animate” Denton has indeed created works that seem to have crossed the border to reside in a world all their own. Using recycled sweaters, felted colored wool, bits of fabric scraps and hair of both the human and animal variety, she has formulated fantastic objects that are at once familiar, friendly and also a bit frightening.

Joseph Barbaccia’s sculptures are both simple and complex. Using as a base clear and meaningful forms- a knot, a gathering of flames, an animated but unidentifiable creature- Barbaccia then covers the shape with a complex skin of shining sequins, a distinctly unorthodox but very effective material choice. The pieces become jewel-like and are digested wholly, through a gestalt-like process, experienced as much as seen. He describes his intention as “paring down visual insight to a more essential level of expression” and the viewer finds that he has done just that. One meets each individual piece in the same way one meets another person-simply as itself.

The works in this exhibition, shown together, do develop a dialogue. They speak in unison fleetingly, but enough to create an undercurrent of harmony that resonates throughout the space. They speak together of unabashed and unconventional beauty, and of interpretive acceptance; an invitation to read the work on your own terms. They speak of the calmness of repetition and the excitement of a different approach: a new material; a new way of working with the familiar; an innovative choice. They speak of accumulating and assimilating. And mostly they speak together of barriers pushed, borders crossed, and new territory explored.

Nancy Sausser Curator


Visions, Voices, Viewpoints and Victories of African American Artists @ Peltz Gallery

Guest curator: Della WellsOpening

Reception: Friday, January 21, 6 to 9:30pm

Artists: David Anderson, Reginald Baylor, Trenton Baylor, Portia Cobb, Willie Cole, Sam Gilliam, Sharon Kerry Harlan, Sonji Hunt, Mutope Johnson, Ras' Ammar 'Nsoroma, Alison Saar, Evelyn Patricia Terry, Kara Walker, Della Wells, Kehinde Wiley and George Williams, Jr., Amber Robles-Gordon.

Paintings, drawings, collage, wall hangings and original prints by more than 25 artists.

PELTZ GALLERY 1119 E. Knapp St. Milwaukee, Wisconsin 53202 USA 414.223.4278 www.artnet.com/gallery/851/peltz-gallery.html

Saturday, January 22 11am to 4pm - coffee, food and conversation with artists.

MATRICES OF TRANSFORMATION: A Process of Discovery through Collage and Assemblage

The Art of Amber Robles-Gordon

My Thesis Defense Exhibition

Exhibition: Monday November 22, 2010- Wednesday December 1, 2010 Thesis Defense: Monday November 29, 2020 3:00-500 pm

Michael Platt’s Studio 1468 Chapin Street, NW Washington, DC 20009 (Between Adams and Bryant Street.) Viewing by appt. Contact (202) 332-6917 or michealbplatt@verizon.net Amber Robles–Gordon (240) 417-4888 aroblesgordon@yahoo.com

FOCUS GROUP: Four Walls, Four Women Presented by Black Artists of DC (BADC)

Featuring work by Jamea Richmond Edwards, Danielle Scruggs, Kristen Hayes, Amber Robles-Gordon Curated by Zoma Wallace

FOCUS GROUP: Four Walls, Four Women seeks to spark a visual discussion between artworks created by Black women and a verbal dialogue between those who view and purchase them. The topic of discussion is material. What are artists using? What materials do they feel drawn to? How does Black femininity affect or reflect itself in the chosen material(s), if at all? How does femininity affect the delivery and/or reception of the message? 

The voices of the women artists in this exhibition are heard primarily through material form. Embracing both visual and verbal discussion, FOCUS GROUP: Four Walls, Four Women hopes to determine how effectively unique material languages are deciphered/valued/appreciated/acquired by a universal audience and market. 

FOCUS GROUP: Four Walls, Four Women is the second in a series of collaborations between DC Arts Center and Black Artists of DC. The purpose of Black Artists of DC (BADC) is to create a Black artists community to promote, develop and validate the culture, artistic expressions and aspirations of past and present artists of Black-Afrikan ancestry in the Washington, DC metropolitan area.

Opening Reception Friday November 19, 7-9pm  District of Columbia Arts Center 2338 18th Street NW, Washington, DC 20009 http://www.dcartscenter.org/submit_gallery_future.htm


Intersecciones Culturales: Voces de América Latina y el Caribe Cultural Crossroads: Voices of Latin America and the Caribbean Felix Angel - Joan Belmar - Rafael Corzo - Amber Robles-Gordon

September 15 - October 15, 2010 Opening Reception: Saturday, September 18, 5 - 8pm


The Brentwood Arts Exchange at the Gateway Arts Center is proud to present, Intersecciones Culturales: Voces de America Latina y el Caribe / Cultural Crossroads: Voices from Latin America and the Caribbean, an exhibition featuring artwork by Felix Angel, Joan Belmar, Amber Robles-Gordon, and Rafael Corzo. Curated by Carmen Toruella-Quander, and assisted by Ricardo Penuela-Pava, Cultural Crossroads is a celebration of National Hispanic Heritage Month, a time when we honor the contributions of Hispanic Americans to the United States and celebrate Hispanic heritage and culture. Intersecciones Culturales / Cultural Crossroads is compact, with the intent to overload. Rafael Corzo, presenting art in the gallery as well as the craft store, brings an ambitious embodiment of youthful energy and freedom. Amber Robles-Gordon exhibits dazzling wall sculptures evocative of Carnival, steeped in the Afro-Caribbean heritage of objects imbued with symbolism so deeply felt that even when open to intellectual interpretation, their emotional interpretation rings clear. Joan Belmar presents an installation of abstractions rendered with incredible precision and care. Each creates delicate illusions of space that rest on balance between external structure and the fluidity of emotions. And, that's all before mentioning Felix Angel, who lends the exhibition nine works of undeniable power. The most established and longest experienced of this talented group, Angel - better known in the DC region as a curator than as an artist - brings forth refinement, eloquence, and poignance, that are always and only the outcome of years of creation, focus and discipline. As a whole, Intersecciones Culturales / Cultural Crossroads is an expansive, energetic and positive stand against any generalization of "Latin Art". It steps in many directions, danced in embrace with all of life - the expression of which makes art powerful. It is not THE voice from Latin America and the Caribbean. It is four voices, artists varied in age and experience, creating contemporary art informed by cultural heritage from Columbia, Chile, Puerto Rico, and Mexico - places as distant and distinct from one another as from here, yet bound by language and post-colonial legacy, and by their living contribution to the fabric of our lives.

Brentwood Arts Exchange - exchanging ideas through art. A facility of the Maryland-National Capital Park & Planning Commission. Hours: Monday through Friday: 10am - 8pm Saturday: 10am - 6pm Closed Sunday @ Gateway Arts Center 3901 Rhode Island Avenue Brentwood, MD 20722 301-277-2863/ tty. 301-446-6802 www.pgparks.com/Things_To_Do/Arts/Brentwood-Arts-Exchange-at-Gateway-Arts-Center.htm

Amber Robles-Gordon Milked, 2010, 30x30 on canvas

Jamea Richmond-Edwards Unforsaken, 2010, 18x24 on canvas

Jamea Richmond-Edwards and Amber Robles Gordon: Pretty Things, Little Treasures and Hidden Meanings

Friday September 3- Friday September 17, 2010

WASHINGTON, D.C. — The Gallery at AYN Studio in the Penn Quarter neighborhood, will present an exhibition of collage and assemblage creations by artists Jamea Richmond-Edwards and Amber Robles-Gordon entitled, “Pretty Things, Little Treasures and Hidden Meanings”. The exhibition will open on Friday September 3, 2010 with a public reception from 6:30-8:30 pm. The exhibition will remain on view by appointment until Friday September 17, 2010.

“Pretty Things, Little Treasures and Hidden Meanings” is inspired by the themes in their work that convey the feminine mystique. Both women focus on their personal stories and the roles of women in society. The “Pretty Things” refers to the physical beauty and the sentiment that women attribute to the things they collect and adorn themselves with. “Little Treasures” are the intricate details that create the narratives. The “Hidden Meanings” are the various images and concepts that encompass the feminine mystique, yet reproduce social norms that confine.

This exhibition is the product of an artistic partnership and dialogue about emerging women artists. The dialogue began about how to navigate through the art world and challenge the notion of the individual and isolated artist. The two artists met while working on their MFA’s at Howard University and through their affiliation with Black Artists of DC. They discovered commonalities in their work and decided to partner and exhibit works focusing on womanhood.

Detroit native Jamea Richmond-Edwards studied painting and drawing at Jackson State University.

She primarily paints women and is influenced by childhood memories and the complex lives of the women in her life. She has developed her own unique style of mixed media portraiture using paper, graphite, and ink.

Amber Robles-Gordon is an artist, student, and native of Puerto Rico. She is currently finishing her Masters in Fine Arts at Howard University. Her medium is collage and assemblage. She focuses on fusing found objects to convey her own personal memories, inspired by nature, womanhood, and her belief in recycle energy.

Artist work can be viewed at www.jamearichmondedwards.com, www.amberroblesgordon.com

Interview Contact and to make appt: Amber Robles Gordon Telephone: 240-417-4888

Contact: The Gallery at AYN Studio 923 F St. NW Suite#201, Washington, D.C. 202-271-9475 http://www.aynstudio.com/ gediyon@AynStudio.com


African American Art Alive in the District: Partnerships, exhibitions help the Black Artists of D.C.

In a city with a changing art scene, 10-year-old organization Black Artists of D.C. fosters a community of support and inspiration.

Amber Robles-Gordon is an African American artist who teaches yoga and pilates, organizes art workshops, and writes an art blog.

“[My work is] colorful, intuitive, and abstract,” Robles-Gordon said of her art, which includes three-dimensional pieces, collages and paper mosaics.

Robles-Gordon’s work was recently featured in an exhibition at the D.C. Arts Center called “Black” that focused on artists’ personal perceptions of blackness. Her work personifies a growing black art movement in the District that is often overlooked.

A Supportive Art Family

Since 2004, Robles-Gordon, 32, has been active in Black Artists of D.C., a growing art organization with about 400 members.

“I just jumped in, and at that time there was a wonderful group, but there wasn’t a whole lot of structure,” she said of the organization, which elected her president in 2009.

Robles-Gordon has been a leader in the group since she joined, curating exhibits and publicizing the organization. She cites Black Artists of D.C. as a major support system.

“My family’s not here,” she said of relatives in her native Puerto Rico, “so I was searching not only for artists; I was also searching for family, and it was like I inherited an artistic family.”

The group, which partners with other organizations and has strong ties to Howard University, provides inspiration to Robles-Gordon and other members.

“Beyond what they gave me in terms of love and support, I also learned so much,” she said.

Read more and view interviews with artists Amber Robles-Gordon and Michael Platt, Janell Blackmon,art history professor at Howard University and Norman Parish owner of the Parish Gallery in Georgetown... http://onlinejournalismworkshop.com/artists/story.html


!!!!!!!!!!!Exhibitions !!!!!!!!!!!!


Reclaiming Those Negative Images: Mixed Media Reflections Exhibit at The Corner Store Gallery

Amber Robles-Gordon's "Cosmic Black 2" is one of the works on display at the Corner Store Gallery"

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Reclaiming Those Negative Images Feb. 16, 2010 By Kristin Coyner Roll Call Staff

Oftentimes, there’s more talent under our noses than we realize. That’s certainly true when it comes to “Mixed Media Reflections,” a new gallery at the Corner Store, a multiuse arts space at 900 South Carolina Ave. SE.

Alec Simpson and Tray Patterson, both Washington artists, are acting co-curators for the gallery. Simpson, who often deals in abstract art, is one of 12 Washington-area African-American artists whose works are on display.

The idea for the show started rather simply, over a meal between Patterson and Simpson.

“We just got together over lunch one day and decided to put on a show last fall,” Simpson said.

In light of Simpson’s own success last year with a one-man show at the Corner Store — Simpson sold all his small works in “Flashback/Fast Forward” — it followed that the planners focused on small works. “In view of what people were saying about the economy, we just thought that maybe we’d stick with that concept,” Simpson said.

All works at the gallery are on sale for $240 to $1,000.

“We didn’t have any idea how many artists there would be in it, how many pieces there were going to be, how big they were going to be, but we did know that we didn’t want them to be priced out of the market,” Simpson said. With the theme of Black History Month, the mixed media motif pulls everything together.

Stepping into the front room of the Corner Store, where the works are on display, is a treat. The front space is warm and beautiful, with colored walls and exposed brick. The artists’ works are accentuated by the lack of a modern white-walled space.

As for the works, some pieces use found objects, others use silk, some are on ceramic and still others are on paper. One artist, Alonzo Davis, even uses bamboo poles and fabrics.

The show is a mixture of materials and artistic styles, but the works manage to tie to the theme of Black History Month in a compelling way. All the artists in some way touch on the African diaspora, from clear visual images of brutality to parodies of mockery of black personhood to abstract works that offer the chance to create new meaning.

Works by Aziza Gibson Hunter, “Prayers to Haiti,” were a late addition to the show. Gibson Hunter composed a series that incorporates elements of African cloth and other found objects, including Haitian money, to offer homage to the small island nation devastated by an earthquake a month ago. Gibson Hunter intends to donate all proceeds to Doctors Without Borders.

One wall in particular seems to deal most directly with ancestral issues and imagery, which are most readily visualized through Anne Bouie’s “Ancestry 5,” “Ancestry 6” and “Ancestry 8.” Bouie incorporates Aunt Jemima and Uncle Tom figures but creates new meaning with the images.

And that, to Simpson, underscores a driving theme of the entire show. “It’s a matter of transformation, transforming it into something different and new,” he said. “It’s about seeing new things in what wasn’t necessarily good.”

Patterson added: “It’s also reclaiming it. Reclaiming a negative stereotype that was out there to turn it.”

The breadth of artistic techniques that individual artists have perfected is another striking aspect of the show. For example, artist Juliette Madison uses mixed media clay pieces by transferring images onto clay using ink that she created.

Madison’s “Lord Why” displays the technique with a veritable gut punch. The work shows the archival photograph of a lynched woman who, along with her son, was accused of theft. The significance of the story is made clear with the phrase “Lord why is my seed in the wind?” emblazoned on top of the image.

“African-American artists don’t feel backed into a corner,” Simpson said. “They create and let the chips fall where they may. There’s an authenticity to what you see.”

The exhibit, which opened Feb. 5, will run until the 28th. The Corner Store doubles as an art space and home to Kris Swanson, a sculptor who for the past eight years has welcomed any variety of art events into her home, including author readings, CD release parties and theatrical performances.

Because the space functions as a home, the Corner Store isn’t open for regular hours. However, Swanson makes appointments at webmaster@cornerstorearts.org or 202-544-5807.

The Corner Store Gallery 900 South Carolina Avenue, SE Washington, DC 20003 (202) 544-5807


Metro: Within 2 blocks of the Eastern Market Station Orange and Blue Lines


Exhibition Dates: November 9 – December 5, 2009 Opening Reception: Tuesday November 10, 2009 8-9pm

Washington, DC American University is pleased to present Colorblind/Colorsight, curated by A.U. MFA candidate Rachel Sitkin and featuring the work of area MFA candidates Yumi Hogan, Hedieh J. Ilchi, Amber Robles-Gordon, Mekbib Gerbertsadik, Beverly Paul, Kenyatta A. C. Hinkle and recent MFA graduate Matthew Owen Wead.

Colorblind/Colorsight looks at the diverse practices of these seven emerging artists who deal with issues of gender, race and ethnicity. In conjunction with the American University 2009 Fall Colloquium series, Beyond the Binary: Race-ing Art, this exhibition examines what it means to identify as an “ethnic” artist in a “post-racial” America.

Please join us for a panel discussion with Howardina Pindell, Sanford Biggers, Jiha Moon, Galo Moncayo and Isabel Manalo followed by a reception for Colorblind/Colorsight on Tuesday, November 10, 2009.

Panel Discussion: 6-8pm in the Abramson Recital Hall Gallery Reception: 8-9pm in the Rotunda Gallery free American University Katzen Art Center 4400 Massachusetts Ave. Washington, DC 20016

For more information contact: Rachel Sitkin rachelsitkin@gmail.com

Windows into DC

Aroblesgordon @ Artomatic 2009


Featuring the C-Wire Piece on 2nd floor

Opening Reception: May Friday 29, 2009

Time: 8:00 pm - 2:00 am Exhibit: Friday May 29 -June

Open: Wed.-Thurs., Noon-10 pm Sun. Noon-10 pm Fri.-Sat. Noon-1 am

Location: 55 M ST SE Washington, D.C. How: Take the Metro! Navy Yard, Green Line West Entrance


To View Additional Artwork/Videos

www.myspace.com/aroblesgordon www.youtube.com/user/aroblesgordon www.saatchi-gallery.co.uk/yourgallery/artist_profile//10521.html


Black Artists of DC blackartistsofdc.org/ badcblog.blogspot.com/

Washington Projects for the Arts artfile.wpadc.org/view_artist.php?aid=1424

Art Registries

Maryland State Art Council Registry www.msac.org/registry/



Public Art and Installations

Mixed Media

Video Journaling

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