Amber Robles-Gordon’s anti-colonial quilts and personal histories at American University Museum at the Katzen Center

“y mi bandera vuela mas alto que la tuya,” 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

By Andrea KirshDecember 17, 2021

An artist’s visit to her mother’s birth place in Puerto Rico awakens her to the complexities of immigration and family – and to the dubious socio-political actions and inactions, by the U.S. government in its far-flung territories. Our reviewer Andrea Kirsh is moved by the powerful collage works and double-sided quilts of Amber Robles-Gordon. The show closed Dec. 12.

Amber Robles-Gordon‘s first grade classmates in Arlington, VA bullied her for speaking Spanish, so she learned to speak to her mother in English. It wouldn’t be until middle age that the artist finally visited her mother’s birthplace in Puerto Rico. Successions: Traversing U.S. Colonialism, her solo exhibition at the the American University Museum at the Katzen Center (August 28 – Dec. 12, 2021) in Washington, D.C. was the product of that initial trip and a her return for a six-week residence on the island in 2020.

The exhibition presented two bodies of work. The first, “Place of Breath and Birth” is a series of ten vibrant collages on canvas, all 18 x 24 inches; two, represented by full-scale pigment prints. The collages are constructed from masses of tiny images cut from paper; even the bands of color that form their backgrounds are assembled from minute, colored fragments. And there is a very personal rhythm – like distinctive brushwork – in the way Robles-Gordon arranges the fragments.

Another personal language of Robles-Gordon’s appearing in the fragments is inspired by multiple, non-Western cultural traditions and imagery taken from magazines and photographs. These fragments are used as structuring and framing elements, incorporating the artist’s drawings of detailed and decorative, spiky, geometric patterns. An occasional small trinket or charm adds surface texture, as does the profusion of tiny, sparkly beads which outline the central, circular forms on each collage. The beads and high-keyed colors capture the intense sunlight of the Caribbean and lend a festival-like quality to the series.

Robles-Gordon culls her imagery from photographs she took in Puerto Rico or found elsewhere that evoke its lush, intensely-polychromed environment – both natural and human. While on the island, she was fascinated by the rubber trees and palms, the coconuts and mangos, street murals and public art. The titles of individual collages suggest the range of topics that were prompted by her visits: “Observation of Influencers: Taino culture and heritage, the climate and machismo,” “For bioluminescent bays and turtles.”

Her long-time interest in spirituality and syncretic, New World religious practices inspire aspects of the collages’ format, which the artist likens to personal altars. The imagery of fruit and floral offerings, flickering candles and the crystalline forms of her drawing run throughout the series and reinforce their spiritual associations. She includes photos of herself – both earlier and contemporary images – in several collages, and there is no question that the series itself is a diary of self-discovery.

“Reflexiones sobre el yo, la virgen maría y el colonialismo,” 2020. Mixed media, collage on canvas, 18 x 24 in. Courtesy of the artist.

Quilts of pointed anti-colonial critique

If the collages capture Robles-Gordon’s connection to her ancestral culture in the form of personal, spiritual reflection, the second part of the exhibition responded to her developing political understanding of Puerto Rico’s position as a U.S. Territory. The works are a public forum in which to teach, to encourage discussion, to heal, and to begin building a congregation of territorial residents. Six, large, double sided, appliqued quilts hung throughout the high-ceilinged gallery. The installation, which gave its name to the exhibition, was titled “Successions; Traversing U.S. Colonialism.” The quilts include dense references to histories that have yet to be acknowledged and the dark underside of U.S. power. Their format entangles the conventionalized emblems of history and patriotism with the domestic craft of quilting, the masculine pursuit of territory and power with a feminine tradition of healing.

On one side of each quilt Robles-Gordon addresses political history, with references to each of the U.S. Territory’s flag or seal, as well as to the exploitation of its indigenous people for medical experimentation, military support and economic interests; on the other side she constructs an altar dedicated to healing the damage of historical exploitation and the racism which underpins it. Both sides bear central medallions; they are greatly enlarged versions of the circles in the collages, and make references to the circle as a foundational religious image and form of celebration – to healing circles and ceremonial dancing. The healing altars are constructed with the same spiky, geometric patterning that Robles-Gordon used in the collages, and all have hieratic, symmetrical designs. Here they suggest abstracted figures of deities, and their patterning makes reference to a variety of Afro-diasporic and non-Western decorative histories seen in painting, textiles and ceramics. Although painted, they appear to be drawings in chalk on black backgrounds, which suggests religious images in various cultures which are intended to be temporary.

The timing of Robles-Gordon’s residency in Puerto Rico reinforced her understanding of the disparity between U.S. government support to the island after the overwhelming damage from Hurricanes Maria and Irma in 2017, and the level of disaster relief Americans have come to expect on the mainland. This understanding, in turn, led to her interest in the U.S. Territories as a group; areas under United States dominion with the highest percentage of poverty, where the government has exploited resources and sited strategic military bases, with little concern for the inhabitants – all people of color, who are largely, only nominally U.S. Citizens. The territories function, rather, as U.S. colonies.

Puerto Rico, Guam, American Samoa, the Virgin Islands, and the Northern Mariana Islands are unfamiliar to many on the mainland United States. Few Americans know that their residents are U.S. Citizens with the right to vote – although they lack full representation in Congress. Robles-Gordon included Washington, D.C., her current home, among the territories because it’s residents, too, fall under U.S. jurisdiction but have no fully-empowered Congressional representative.

Robles-Gordon used her childhood bullying as a spur to understanding her own cultural traditions, and it is characteristic of her long-developed career of teaching and producing art that she didn’t respond to the history of territorial exploitation with rage, but with honesty, offering understanding, teaching and healing as a foundation on which to advocate for social justice in the outlying regions of the United States and in powerless communities internationally. The sense of spirituality and turning towards a better future pervades her work as much as her personally-developed language of forms and patterns, use of repurposed materials, passionate polychrome, and fusion of visual traditions.

Amber Robles-Gordon, “Successions: Traversing U.S. Colonialism” is now closed. It was on view at the American University Museum at the Katzen Center in Washington, D.C., August 28–December 12, 2021.

“The eternal altar for the women forsaken and souls relinquished. Yet the choice must always remain hers/ El altar eterno de las mujeres abandonadas y las almas renunciadas. Sin embargo, la elección siempre debe ser de ella.,” 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

“Successions: Traversing U.S. Colonialism” on Exhibit at American University Museum

“USVI Spiritual, Moko Jumbie: Walk Tall and Heal Forward” Mixed Media on quilt, (back of “USVI Political”) 2021 (Courtesy of Amber Robles-Gordon)

Amber Robles-Gordon’s “Successions: Traversing U.S. Colonialism” has a dual purpose. It consists of her “Place of Birth and Breath” solo exhibit viewed first in her native Puerto Rico in 2020, and it has evolved into a component exhibit, which is an exploration of the historical underpinnings of U.S. Colonialism.

Robles-Gordon is a mixed media visual artist whose solo exhibit at the American University Museum opened in August and can be viewed Fridays through Sundays, from 1 p.m. to 4 p.m. until Dec. 12.

What began as a quest, “to heal my five-year-old self: to empower her to fight for herself, her language and her culture,” the exhibition took on “the intersections of language, culture, institutional racism, anti-blackness and their immeasurable impact within the U.S. territories,” said Robles-Gordon.

A native-born Puerto Rican with family from St. Thomas, St. John, Puerto Rico, Tortola and Antigua, Robles-Gordon created a visual discussion of the historical and political plight and resilience of the District of Columbia, where she resides, and the five U.S. territories that her two-sided quilts represent. They embody the artist’s creation of a political study of the territories and on the reverse side, a spiritual and cultural study.

Robles-Gordon’s early love of art and creativity moved her delight with fabrics, quilts and found objects to the discovery that these could and would be her artistic narrative.

A writer uses words to express; my medium of expression is my art, she said. “I use a myriad of materials according to what I’m trying to convey in a particular project or a particular narrative. It’s very essential that I match up with what I’m trying to convey,” Robles-Gorden said.

The decision to dismiss her native language, Spanish, came as a result of the teasing and ridicule Robles-Gordon experienced as a five-year-old kindergartener at her school in Arlington, Virginia, far away from her birthplace of Puerto Rico. She did not look like a Latina girl that was familiar to her classmates, and hence developed the bullying of this little brown-skinned girl.

In time, Robles-Gordon realized the importance of embracing her language and her culture and the need to find ways to heal through her research and employ it through her art as the medium on her journey to healing.

Speaking of her years as an artist, Robles-Gordon’s journey toward healing is what she brings creatively in her discoveries about U.S. Colonialism, “I think that it’s a beginning. There’s not an end to my journey. It’s a part of my journey. I think I’ve done a hell of a job in starting it. I actually feel proud about it in my own life. That feels good,” she said.

Robles-Gordon made the universe know how important this part of her journey is. “I think I’ve done that,” she said.

“Successions: Traversing U.S. Colonialism” exhibits the component of Robles-Gordon’s body of work containing six quilts embodying the Commonwealth of the District of Columbia, and the five U.S. territories of Guam, the U.S. Virgin Islands, Puerto Rico, the Northern Mariana Islands and American Samoa. The other component, “Place of Birth and Breath,” is the collage on canvas series created in 2020 and exhibited at the Universidad del Sagrado Corazon, (University of the Sacred Heart) in Puerto Rico.

“Place of Birth and Breath” is Robles-Gordon’s 10 mixed-media collage canvases that are a result of the visit with her mother to Puerto Rico where both women recaptured their roots, one of her childhood home, and the other of her birthplace.

“Isla del Encanto” collage, 18×24, 2020. (Courtesy of Amber Robles-Gordon)

A foundational symbology of the “Birth and Breath” body of work is the rubber tree that grows on the campus of the University of the Sacred Heart, which Robles-Gordon was introduced to while in Puerto Rico. “This tree appeared to be a literal fusion of past, present and future states of creation or sustaining an ecosystem. Throughout the series, are abstracted representations of the rubber tree – an entanglement of strong roots – as an example of its resiliency this tree most recently stood-fast to its native soil while 155 mph winds battered the campus,” Robles-Gordon noted.

Robles-Gordon shares her intricate ideas of how she layered her work depicting and interpreting the transitions of day to night and night to day. She relates to three major ethnic/racial groups – the Taino, the Spaniards and Africans, the stranglehold of the United States and the impact of the Caribbean Sea with its threat of hurricanes, scorching summer heat and lush landscapes.

Successions: Traversing U.S. Colonialism at American University exhibition closes on Dec. 12. The journey continues. The conversation continues. The healing continues.

See Amber Robles-Gordon’s website here..

Amber Robles-Gordon's Artwork Navigates US Colonialism for its Colonies, including DC

About this event

Millennium Arts Salon provides this salon talk featuring Artist Amber Robles-Gordon in interview with Interim Chief Curator of the National Museum of African American History and Culture, Dr. Tuliza Fleming, at the Katzen Arts Center of American University. Ms. Robles-Gordon, who was born in Puerto Rico, and raised in the DC area, examines the role of the United States as a colonial power with both Puerto Rico and the District of Columbia as two such colonies, with intimations of paternalism, tyranny, and containment of citizen aspiration attendant thereto. Dr. Fleming as scholar, will guide our better understanding of Amber's magnum opus, as she explores the underpinnings of the artwork from conceptualization to execution.

Millennium Arts Salon honors our relationship with the Katzen Arts Center in bringing programs of importance to our joint and several audiences in their beautiful and monumental space.

The MAS Salon Talk will be delivered over Zoom. Please register via the Eventbrite ticket engine and an email of the Zoom link will be sent to you before the event. 

Please join us Saturday November 13 at 3:00 pm

Artfully yours,

The Board of Directors of Millennium Arts Salon

https://www.eventbrite.ca/e/salon-talk-amber-robles-gordon-with-tuliza-fleming-at-katzen-art-center-tickets-204795648297

Gallery Talk for Successions: Traversing US Colonialism

Gallery Talk: "Successions"

DC mixed-media artist Amber Robles-Gordon talks "Successions" with curator Larry Ossei-Mensah.

About this Event:

Successions is a conceptual juxtaposition that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. 

This event will be held virtually. Please register to receive the Zoom link via email.  Learn more about the exhibition. 

OrganizerAmerican University Museum At The Katzen Arts Center

Organizer of Gallery Talk: "Successions"

Housed in the dynamic and multidisciplinary Katzen Arts Center, the American University Museum builds its programming on the strengths of a great college and great university. We focus on international art because American University has a global commitment. We show political art because the university is committed to human rights, social justice, and political engagement. We support the artists in our community because the university takes an active and responsible role in the formation of our contemporary art and culture. 

We present exhibitions that mirror American University’s aspiration to be the premier Washington-based, global university. Our programming puts the best art of our region in a national and international context. Our collections enable us to present the art history of Washington, while our Kunsthalle attitude brings the most provocative art of our time to our place.

You may also like the following events from American University Museum at the Katzen Arts Center:

• Next month, 12th October, 06:00 pm, Gallery Talk: "Seeing Climate Change"

• Next month, 14th October, 06:00 pm, Gallery Talk: "Reveal" in Online

• This November, 17th November, 06:00 pm, Gallery Talk: “In the Light of Memory” in Online

Also check out other Arts Events in Online,Exhibitions in Online.

Ticket Information: RSVP

Tickets for Gallery Talk: "Successions" can be booked below.

https://www.eventbrite.com/e/gallery-talk-successions-tickets-163405503259

Ticket Price: Free

Image: Amber Robles-Gordon, y mi bandera vuela mas alto que la tuya (detail), 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

Successions: Traversing US Colonialism Amber Robles-Gordon

August 28–December 12, 2021

American University Museum Curated by
at the Katzen Arts Center Larry Ossei-Mensah

Amber Robles-Gordon presents Successions: Traversing US Colonial- ism, a solo exhibition on view at the American University Museum at the Katzen Arts Center in fall 2021. Successions is a conceptual juxta- position that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. By highlighting nuances relat- ed to US governance in its federal districts and territories, Robles-Gor- don seeks to question who has access to resources, citizenship, and the right to sovereignty.

y mi bandera vuela mas alto que la tuya., Mixed Media Collage on Canvas, 18 x 24 in., 2020

Robles-Gordon creates artwork imbued with a layered visual language replete with cultural signifiers and abstract gestures. Successions is a celebration of abstraction as an artistic expression. Robles-Gordon uti- lizes iconic artists like Robert Rauschenberg, Alma Thomas, Romare Bearden, and members of the Washington Color School as vivid refer- ence points for her own dynamic use of color, form, and material within the works she created for the exhibition. These explorations will provide insights into a number of inquiries that undergird the construction of the exhibition. Successions creates a pathway towards discursive crit- icism around issues impacting marginalized communities oppressed by the United States’ hegemonic domestic and foreign policies. The exhibition features a new body of colorful abstract paintings, collages, and quilts created in 2020 and 2021 between San Juan, Puerto Rico (Robles-Gordon’s birthplace) and Washington, DC (where she current- ly lives).

USVI Political, Detail, Front, Mixed Media on Quilt, 86 in. x 90 in., in., 2021

During the height of the COVID-19 pandemic, Robles-Gordon’s creative strategies were directly impacted as a result of sheltering in place in San Juan. The lack of access to materials and arduous circumstances she was confronted with in Puerto Rico and upon returning to Washington, DC catalyzed Robles-Gordon to impro- vise her approach to making works for the exhibition. Moreover, the ex- perience heightened her awareness of how communities on the margin are adversely treated during mo- ments of crisis.

Robles-Gordon’s also uses works featured in Successions to mine the stories, personal narratives, and aesthetics of the women of the Caribbean, particularly of African de- scent, in an effort to investigate the political, socio-economic, and envi- ronmental implications of placemaking, contemporary colonial policy, and notions of citizenship on these social groups. The debate over DC statehood, similar to Puerto Rico, has been a prevalent point of con- tention in the District but rarely featured in the national conversation. Robles-Gordon seeks to use her “backyard” as a metaphor that would

expand our understanding of notions of freedom, liberty, and justice.

A fully illustrated catalog with essays by Ossei-Mensah and Noel Anderson and in-person and virtual programs will accompany the exhibi- tion, enriching the viewer’s experience.

Successions: Traversing US Colonialism @ American University Museum at the Katzen Arts Center

Amber Robles-Gordon

Curated by Larry Ossei-Mensah
August 29–December 12, 2021

DC Political, Welcome to the District of Colonialism, Front, Mixed Media on Quilt, 86 (L) in. x 90 (H) in., 2021

Amber Robles-Gordon presents Successions: Traversing US Colonialism, a solo exhibition on view at the American University Museum at the Katzen Arts Center in fall 2021. Successions is a conceptual juxtaposition that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. By highlighting nuances related to US governance in its federal districts and territories, Robles-Gordon seeks to question who has access to resources, citizenship, and the right to sovereignty.

Robles-Gordon creates artwork imbued with a layered visual language replete with cultural signifiers and abstract gestures. Successions is a celebration of abstraction as an artistic expression. Robles-Gordon utilizes iconic artists like Robert Rauschenberg, Alma Thomas, Romare Bearden, and members of the Washington Color School as vivid reference points for her own dynamic use of color, form, and material within the works she created for the exhibition. These explorations will provide insights into a number of inquiries that undergird the construction of the exhibition. Successions creates a pathway towards discursive criticism around issues impacting marginalized communities oppressed by the United States’ hegemonic domestic and foreign policies. The exhibition features a new body of colorful abstract paintings, collages, and quilts created in 2020 and 2021 between San Juan, Puerto Rico (Robles-Gordon’s birthplace) and Washington, DC (where she currently lives).

During the height of the COVID-19 pandemic, Robles-Gordon’s creative strategies were directly impacted as a result of sheltering in place in San Juan. The lack of access to materials and arduous circumstances she was confronted with in Puerto Rico and upon returning to Washington, DC catalyzed Robles-Gordon to improvise her approach to making works for the exhibition. Moreover, the experience heightened her awareness of how communities on the margin are adversely treated during moments of crisis.

y mi bandera vuela mas alto que la tuya, 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

Robles-Gordon’s also uses works featured in Successions to mine the stories, personal narratives, and aesthetics of the women of the Caribbean, particularly of African descent in an effort to investigate the political, socio-economic, and environmental implications of placemaking, contemporary colonial policy, and notions of citizenship on these social groups. The debate over DC statehood, similar to Puerto Rico, has been a prevalent point of contention in the District but rarely featured in the national conversation. Robles-Gordon seeks to use her “backyard” as a metaphor that would expand our understanding of notions of freedom, liberty, and justice.

Reflexiones sobre el yo, la virgen maría y el colonialismo, (Reflections of Self, The Virgin Mary and Colonialism,) Mixed media, collage on canvas, 18 x 24 in. Courtesy of the artist.

A fully illustrated catalog with essays by Ossei-Mensah and Noel Anderson and in-person and virtual programs will accompany the exhibition, enriching the viewer’s experience.

Click the link below for additional information and artwork included in the exhibition.

https://www.american.edu/cas/museum/2021/successions.cfm

About the Artist:

Amber Robles-Gordon is a mixed media visual artist of Puerto Rican and West Indian heritage. She is known for her commissioned temporary and permanent public art installations for numerous government agencies, institutions, universities, and art fairs.

Robles-Gordon has over twenty years of experience exhibiting and in art education, commissioned critiques, lectures, teaching, and exhibition coordination. She received a BS in business administration from Trinity University and an MFA in painting from Howard University, Washington, DC. She has exhibited nationally and internationally, including Germany, Italy, Malaysia, England, and Spain. Robles-Gordon has participated in residencies in Costa Rica, Washington, DC, and at the American Academy in Rome, Italy. Her artwork has been reviewed and featured in numerous magazines, journals, newspapers, and online publications.

Most recently, she held an online solo exhibition at Galeria de Arte, Universidad del Sagrado Corazón, San Juan, Puerto Rico, and was featured by Tafeta Gallery in the 1-54 Contemporary African Art Fair in London, England, and during London Art Week. In 2022, she will create a traveling exhibition in collaboration with Cultural DC and El Cuadrado Gris Galeria in Puerto Rico. 

About the Curator:

Larry Ossei-Mensah uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. A Ghanaian-American curator and cultural critic, Ossei-Mensah has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome, featuring artists including Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Modou Dieng, Glenn Kaino, Joiri Minaya and Stanley Whitney. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today, including Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.

A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity of Black and Brown artists around the world via virtual and in-person experiences. Ossei-Mensah was a contributor to the first-ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye.

Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit and currently serves as Curator-at-Large at Brooklyn Academy of Music (BAM), where he curated the New York Times heralded exhibition Let Free Ring and A Return: Liberation as Power respectively.       

Ossei-Mensah has been profiled in publications including the New York Times, Artsy, and Cultured Magazine, and was recently named to Artnet’s 2020 Innovator List. Follow him on Instagram at @larryosseimensah and Twitter at @youngglobal.