"MORE or LESS" showcases how D.C.'s affinity for Abstraction has always been a part of its artistic DNA.
by KRISTON CAPPS, Washington City Paper
MAY 24, 2018 11 AM
Process-based abstraction has always been a staple of painting in D.C. The Washington Color School was built by artists who defined their work by their approach to the canvas, whether by staining it or draping it or something else. MORE or LESS, a group show on view at Hemphill Fine Arts, shows how new trends in contemporary painting continue to line up with the work that put D.C. on the map in the 1960s and ’70s. Read More
by Kimberli Gant, PhD, McKinnon Curator of Modern & Contemporary Art
“…an Earth alive in my consciousness as a living crystal being whose etheric geometric skeleton could be mapped in its patterns of energy flows…in ocean currents, the winds, river systems, and distributions of precious minerals. It seemed to me that ancient humans had known this sacred, hidden body of Earth and had settled on it in ways that took advantage of very visceral powers of place.” - Bethe Hagens Read More
by Cara Ober, BmoreArt.com
BmoreArt: Before settling in Washington, DC, you lived all over the world. Can you talk about how your family and upbringing has impacted your life as an artist?
My family is from the Caribbean – primarily from St. Thomas, US Virgin Islands, Puerto Rico, and Antigua, West Indies. I was born in Puerto Rico, raised in Arlington, Virginia, and have lived in Washington, DC for the last 20 years. Read More
BYT Staff, https://brightestyoungthings.com
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. Read More