In presented In partnership with University of Maryland, College Park David C. Driskell Center Moderated by Professor Curlee R. Holton, Contemporary Artists, Kevin Cole (Atlanta), Rodney Jackson (Miami), Alfred Conteh (Fort Valley, GA), Larry Cook (Baltimore), Tawny Chatmon (Maryland), Amber Robles-Gordon (D.C.), Delita Martin (Texas) explore the following points of inquiry: 1. Who gets to determine the value and significance of a work of art? 2. What role should the artist play in the critical evaluation of a work of art? 3. When has your work been accurately evaluated and interpreted?
Amber Robles Gordon
These two bodies of artwork are about claiming and occupying space. The exhibition features photography and large-scale painted collages. The large-scale collages and some of the photography reflect the phenomenon, known as the Terminator Crossing, “the line that divides the daylight side and the night-side of a planetary body”. In this work, the planet is the Earth…Read More
Today we’d like to introduce you to Mikhaile Solomon.
Mikhaile, please kick things off for us by telling us about yourself and your journey so far.
I was born and raised in Miami, Florida and am of Caribbean heritage. My parents are the from the islands of St. Kitts – Nevis. I graduated of Florida International University’s Graduate program in Architecture and completed my undergraduate degree in Theatre Arts at the University of South Florida. With my varied professional experiences comes many years of developmental work in design, education, arts advocacy and community development.
One of my favorite parts about working with The Studio Visit is the opportunity to get to know artists and learn more about their practice on a more personal, intimate level. I like to spend a little time before we begin a story to have a few one on one visits as well reading as much background information as possible.
Amber and I had this opportunity before we met at her studio on a warm overcast day to film a story about her life, work and process.
Amber Robles-Gordon is a multimedia visual artist with a joyful, positive, happy vibe. Her strikingly colorful work is a powerful fusion of ethnicity, identity, gender and cultural and social interests. Her childhood also informs her work which was filled with a wide range of challenges and the loving, nurturing support of her mother.Read More
Material-isms: The Cultivation of Womanhood and Agency Through Materiality
CHESTERTOWN — The Kohl Gallery at Washington College kicks off the 2018-19 academic year with a solo exhibit "Material-isms: the cultivation of womanhood and agency through materiality," featuring Washington, D.C.-based mixed-media artist Amber Robles-Gordon.
The exhibit features assemblage and installation works created from a range of found objects and textiles.
Opening on Thursday, Sept. 6, with a public reception from 4:30 to 6:30 p.m., "Material-isms" will run through Oct. 10. Robles-Gordon will also deliver a public talk in the gallery at 3 p.m. Thursday, Sept. 13.
According to a news release, Robles-Gordon’s artistic practice draws upon the often-paradoxical experiences of her gender, ethnicity and social and cultural influences, including her Latino, African and Caribbean heritage.
The release states, what the artist calls “hybridism” is reflected in her varied material strategies and vibrant use of color, often invoking a spiritual and energetic sensibility.
“Materials intrigue me, but colors uplift and excite me,” Robles-Gordon said in a 2017 interview with Bmore Art Magazine.
"Material-isms" will highlight Robles-Gordon’s spirited use of a bold color palette in a series of mixed-media and installation works that conjure themes of femininity and masculinity, duality, spirituality and the natural and cultural environment.
Robles-Gordon earned her Masters in Fine Arts from Howard University and has more than 15 years of experience as a practicing artist, curator and arts educator.
Her work has been reviewed or featured in The Washington Post, Washington City Paper, Hyperallergic, Huffington Post, ebony.com, The Miami Herald, Bmore Art Magazine, Support Black Art and Callaloo: Art and Culture in the African Diaspora, among other publications.
Robles-Gordon’s work has been exhibited throughout the U.S. and in Germany, Italy, Malaysia, London and Spain. She has created temporary and public installations for the DC Commission on the Arts and Humanities, the Northern Virginia Fine Arts Association, Howard University, The Schomburg Center for Research in Black Culture, Washington Project for the Arts, Salisbury University and Martha’s Table.
In 2012, Robles-Gordon was selected for Under the Influence, in association with the Corcoran Gallery of Art’s 30 Americans exhibit. As an arts advocate, Robles-Gordon has served the Washington, D.C. regional arts community as an active member of Black Artists DC, serving as exhibitions coordinator, vice president, and president. She is also the co-founder of Delusions of Grandeur Artist Collective.
Kohl Gallery is located on the first floor of the Gibson Center for the Arts at Washington College in Chestertown, Maryland. The gallery is open Wednesday through Friday 1:30 to 5:30 p.m.; Saturday and Sunday noon to 4 p.m. For more information, email: email@example.com.
"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 Lyric Prince, www.sugarcanemagazine.com
Morton Fine Art, a gallery that is off to the side of the U Street Corridor in Washington D.C., fills in a niche for vibrant artists of color that are pushing boundaries and expectations on art and its potential. Mixed-media installation artist Amber Robles-Gordon's solo exhibition Third Eye Open, which closes on May 20th, was comprised of 8 assemblages produced in 2018, and presented the meeting between the physical world and the intuition of human experience. The chosen forms of the show – circles and ovum – alluded to the ongoing cycle of inserting and patterning elements for self-discovery, incubation, and introspection. Throughout, Robles-Gordon explored abstract art's potential for demonstrating spiritual growth and emotional connection on a metaphorically cosmic scale – where the rules of time and gravity fall to the wayside.Read More
by Mark Jenkins, Washington Post
Fabric scraps and damaged tissue paper are the essential ingredients of new work now at Morton Fine Art. Those materials might sound negligible, but Amber Robles-Gordon and Maya Freelon employ them with ambition and impact.
Robles-Gordon, a D.C. native, is known for hanging strands of textiles and other found objects in intricate arrangements. The pieces in her “Third Eye Open” are wall-mounted rather than suspended, and feature circular drawing-collages orbited by smaller rounded objects, some partly covered in bits of garments. The forms suggest zygotes and planets, as well as eyes, but at the heart of each of the larger circles is a leafy motif. Whether seen as cosmic or botanical, the artist’s circling compositions exalt natural cycles.Read More
Third Eye Open, represents an internal conversation about the inter-connectedness of human life, from the infinitesimal individual to the expanse in which our universe exists and operates within - yet there are laws of physics, and highly shared beliefs and practices that hinge or bind us together…Read More
More or Less: Thoughts on a Comment Made by Walter Hopps
Spring of 1979; only a month after arriving in Washington, Walter Hopps, the revered and now mythical curator, pulled a chair around my desk and sat down beside me. I barely knew Hopps, but I did know enough to see the opportunity in the moment.
So I asked the star curator what he thought was the most important movement in American art. Hopps drew hard on his cigarette, not so much for the need of nicotine, but to give his response the flare of an actor revealing the secret to the plot. His answer: Abstract Expressionism. American art would always tend toward representation, because American art and the American character were bound by a literalness. Therefore Abstract Expressionism would be seen as the most unique and revealing of the American art movements. I cannot say if this was his true belief, or if Hopps was throwing out a response meant to push his inquisitor to think more openly. Nearly 40 years later, the number of artists creating abstract works is not waning.
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. Established at Howard University in 1990, the Colloquium is named in honor of James A. Porter, the pioneering Art Historian and Professor, whose 1943 publication, Modern Negro Art, laid the foundation for the field of study. The annual Colloquium continues his legacy through dynamic programming, scholarly research, and artistic leadership.Read More
Rush Art Galleries is proud to debut Faculty, a new exhibition that presents the work of Washington, D.C. artist collective, Delusions of Grandeur. Through a lens of critical intellectualism and psychic vision, the six artists who form the collective, Jamea Richmond-Edwards, Shaunté Gates, Stan Squirewell, Amber Robles-Gordon, Wesley Clark, and Larry Cook use their powers of ancestral memory to render symbols of communal black instincts within contemporary art in the new millennium. The ability to hear and bridge ancient history with the present and that which does not yet exist, drive the artists to capture transcendental ideas, cultural iconography and the everyday masses of people seeking to survive and transform the current political, social and economic landscape which threatens human beings. The works in the exhibition draw the viewer into fantasy paintings interspersed with digital photography, mixed media portraits, conceptions of human energy beginning with binary code, and a standing installation of lost and found objects to create new storytelling patterns and provide hopeful change in black culture and community.
Delusions of Grandeur came together to articulate difficult conversations of race, class, social access and community through a shared commitment and desire for making new texts out of visual concepts. Wesley Clark constructs fictional artifacts, which he ‘antiques’ from an ability to ‘see’ beyond current belief systems of what is beautiful and conventional. With White neon lettering glowing upon a black backdrop that says, “Some of my best friends are black.” Larry Cook questions if that’s the case by asking the viewer to understand black culture and identity from a place of agency and nonlinear time. In Shaunté Gates’ surreal dream affects grounded in reality based photography, the color red repeats itself in remembrance of fire and sacrifice. Jamea Richmond-Edwards portraits of black women are at once ethereal and bold. Using ink and graphite, featuring bright faux couture patterns made of paper, sequins and textiles against black space, the faces come alive in the frame imploring the viewer to return their gaze and listen to the story being told through the women's piercing eyes. Light, rich color combinations of yellows, reds and blues weave the concepts of feminine and masculine energy to mine the healing terrain of holistic power sources found in Amber Robles Gordon’s work. The science of 1’s and 0’s known as binary code informs Stan Squirewell’s exploration of birth and repetition of three-dimensional vision and sound through standing installations.
The sites of inquiry used by the artists place logical reasoning and sixth sense intuition at the center of shifting dialogue and perceptions of what black culture and community have been and what it’s becoming. Each artist, in turn, puts Faculty at the forefront of thought design, adding another layer of language to the current codes of blackness and representation.
Faculty will run from February 22nd through April 5th, 2018 at Rush Arts Gallery (located at 526 West 26th Street, Suite 311, New York, NY 10001). An opening reception will be held on Thursday, February 22nd, 6:00-8:00 p.m.
The DSU Arts Center Gallery is currently featuring the exhibition “At the Altar: From the Fruit of My Love and Labor” by Amber Robles-Gordon.
At the Altar: From the Fruit of My Love and Labor” consists of six altars, which are large installation pieces. The exhibition will be on display until Nov. 17.Read More
art + justice is a platform for adults to explore the intersection of tactile art-making, thoughtful reflection, and personal enrichment. Through artist-led guided projects audiences unlock their creative potential within themselves, while also enjoying the opportunity to exchange ideas with community towards social justice. art + justice is a hands-on maker space that stimulates creative agency, while providing the mental and emotional space to work through complicated issues around race, gender, identity, and social cohesion.Read More
At the Altar: Fruit of My Love and Labor, represents the process of bringing forth the efforts of my daily thoughts, intentions and actions as best as I can. Then I lay them down at my altar, for myself, for my loved ones, my ancestors and for Spirit. This exhibition is specifically centered on the intersections of creating and using installation art as a form of altar. A personal altar is a dedicated space, designed and erected to celebrate or commemorate something important; an idea, a person, goal or a life intention. These installations are instruments that speak to my personal exploration of loving Spirit, loving myself, my family and specifically my son.Read More
At face value, there’s an able group show at the Washington Project for the Arts, filled with work that ranges from the aesthetically pleasing, to the conceptual, and the socially relevant. A 55-color lithograph, “Ramble,” by Benjamin Edwards, is a dizzying map exploding with color and shape. Margaret Boozer’s “Red Dirt Print,” a four-foot square patch of dirt, re-contextualizes the ground beneath our feet into an aesthetic object to hang on the wall. Naoko Wowsugi’s “Thank You For Teaching Me English” presents several photographed portraits against high-key color backgrounds: people mouthing English words for the artist to learn (English is her second language).Read More