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.
Read Moreexhibit
The Story Behind Delusions of Grandeur
The Washington Post
By Michael O’Sullivan
“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
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
Honfleur Gallery Presents
With Every Fiber of My Being
by Amber Robles-Gordon
MARCH 9 – APRIL 27 2012
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.
Honfleur Gallery
1241 Good Hope Road SE
Washington DC 20020
202-365-8392
Hours: Tuesday-Friday 12-5 · Saturdays 11-5
And by appointment
http://www.honfleurgallery.com/
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-Edwards, and Amber Robles-Gordon
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.
Admission is FREE Pre-registration is encouraged.
Presented by the Corcoran Contemporaries and Washington Project for the Arts
‘Options 2011’ combines minimal and conceptual art
By Mark Jenkins
Washington Post
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.
Delusions of Grandeur: Ascension
Press Release
Shaunté Gates, In my dreams II, 2011
Amber Robles-Gordon, Peacock. 2011
Jamea Richmond-Edwards, Revealation, 2011
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.
Artists:
Exhibition Dates: August 19- September12, 2011
Opening Reception: August 19, 2011 6-8pm
Parish Gallery
1054 31 Street NW
Washington, D.C. 20007
Amber Robles-Gordon's Solo Exhibition WIRED at Pleasant Plains
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 reception on June 18th, from 6-9 PM.
Pleasant Plains Workshop
2608 Georgia Avenue NW
Washington, DC 20001
Amber Robles-Gordon, Lisa Gold
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
Works by artist Victor Ekpuk (wall) and Joel D’Orazio (sculpture)
By Daniel Brooking
April 2011
Process: Reaffirmation
Presented by Hillyer Art Space in collaboration with Washington Project for the Arts, and Black Artists of D.C.
Curated by Gina Marie Lewis, Process: Reaffirmation focused on and reaffirmed the processes of artists within their studios. The exhibition honored the personal philosophies, practices, and vocabularies of eight artists and attempted to explore a visual dialogue between their works.
The artists selected for this exhibition include Anne Bouie, Daniel Brookings, Joel D’Orazio, Victor Ekpuk, Corwin Levi, Barbara Liotta, Adrienne Mills, and Cleve Overton. In some cases, the relationships between their works may be obvious, and other instances invite the viewer to inquire and explore the relationships from their own point of view. As a starting point, such aspects as linear relationships, creation of new processes, innovative use of materials, the making of marks, and defining space were most apparent during the curatorial process.
https://athillyer.org/portfolio/hillyer-art-space-washington-project-for-the-arts-and-black-artists-of-dc/
Visions, Voices, Viewpoints and Victories of African American Artists at Peltz Galler
Guest curator: Della Wells
Opening 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
George Williams, Jr.,
Amber Robles-Gordon.
James Richmond Edwards
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.
Image by Suzanna Fields, Pretty Polly
Beyond The Pale at Emerson Gallery, McLean Project for the Arts
Featured Artists:
Amber Robles-Gordon
Huguette Roe
Suzanna Fields
Gina Denton
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
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
https://dcartscenter.org/2010/11/19/focus-group-four-walls-five-women-curated-by-zoma-wallace-november-19-january-9/
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
Howard University 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
Jamea Richmond-Edwards and Amber Robles Gordon: Pretty Things, Little Treasures and Hidden Meanings
Amber Robles-Gordon Milked, 2010, 30x30 on canvas
Jamea Richmond-Edwards Unforsaken, 2010, 18x24 on canva
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
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
Reclaiming Those Negative Images: Mixed Media Reflections Exhibit at The Corner Store Gallery
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
www.cornerstorearts.org
Metro: Within 2 blocks of the Eastern Market Station Orange and Blue Lines