Event
"These amazing and accomplished thinkers will be engaging in a discussion about the impressive visual presentation and critical investigations present Amber’s current exhibition on view at our gallery: soveREIGNty: Acts, Forms, & Measures of Protest & Resistance."
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JUN 30, 2022
Northern Mariana Islands, Political, Spiritual,
Tinney Contemporary will be sticking with its June show through July 9. I reviewed Amber Robles-Gordon’s Sovereignty exhibition for the Scene — it’s a prime example of how artists can incorporate political and social content into a body of work while also making art that’s formally striking. We’ve seen lots of messaging about social and political issues in the contemporary art of the 21st century. However, much of that work will never be remembered or reconsidered — timely art is rarely timeless. Robles-Gordon’s work is visually successful irrespective of its critiques of the U.S. policy toward — and governance of — its populated territories and the District of Columbia. I’ve seen powerful political art and dim political art, and I often question whether visual art is an effective medium for political messages. But the work in Sovereignty is formally distinctive. Tinney Contemporary will be open this Saturday from 2 to 8 p.m.
https://www.nashvillescene.com/arts_culture/visualart/crawl-space-july-2022/article_4d18f0c8-f6e7-11ec-a1b5-8f437edaf809.html
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THESE AMAZING AND ACCOMPLISHED THINKERS WILL BE ENGAGING IN A DISCUSSION ABOUT THE IMPRESSIVE VISUAL PRESENTATION AND CRITICAL INVESTIGATIONS PRESENT IN AMBER’S CURRENT EXHIBITION ON VIEW AT OUR GALLERY, SOVEREIGNTY: ACTS, FORMS, & MEASURES OF PROTEST & RESISTANCE
AMBER ROBLES-GORDON lives and works in Washington, D.C., and is a key advocate and participant in the arts community there. She is a member of the Delusions of Grandeur Artist Collective and Black Artists DC (BADC). Her artwork has been exhibited extensively nationally and internationally.
Most recently, her work has been featured in exhibitions at Galleria de Arte, Universidad del Sagrado Corazón, (Sacred Heart University), in her birthplace of San Juan, Puerto Rico, (PR), by Tafeta Gallery in 1-54 Contemporary African Art Fair in London, England, American University, Katzen Art Center, by the Royal Academy of Arts Sumer Exhibition in London, England, and more.
She has created numerous site-specific commissions, including a public installation with the D.C. Creates Public Arts Program. Her work has been extensively covered in publications such as The Washington Post, Hyperallergic, Art Daily, Puerto Rico Black Art Blog, Bmore Art, Culture Type, and more. She has been selected for various teaching residencies internationally, including the Centro Cultural Costarricense-Norteamericano, in Limon, Costa Rica, and Washington Projects for the Arts and DC Public Schools.
DR. KELLI MORGAN is a Professor of the Practice and the inaugural Director of Curatorial Studies at Tufts University. A curator, educator, and social justice activist who specializes in American art and visual culture, her scholarly commitment to the investigation of anti-blackness within those fields has demonstrated how traditional art history and museum practice work specifically to uphold white supremacy.
Besides her own curatorial experience, she mentors emerging curators and regularly trains staff at various museums to foster anti-racist approaches in collection building, exhibitions, community engagement, and fundraising. Over the past year, Dr. Morgan has become a leading and influential voice in bolstering anti-racist work in art museums. She has held curatorial positions at the Indianapolis Museum of Art at Newfields, the Birmingham Museum of Art, and the Pennsylvania Academy of the Fine Arts and teaching positions at Wayne State University, the University of Michigan, and the Tyler School of Art at Temple University
She earned her Ph.D. in Afro-American studies and a graduate certificate in public history–museum studies from the University of Massachusetts Amherst in 2017
“Guam Political,” Amber Robles-Gordon
By JOE NOLAN / JUN 15, 2022
Tracking art-world trends often means simply noting the shifting balance between form and content over time. Midcentury American painting was formalist, elemental art for art’s sake. It was interested in line, shape, space, form, tone, texture, pattern, color and composition. An important work of art was something, but nowadays an important work of art is oftenaboutsomething: politics, social causes, various identity expressions.
Midcentury art favored abstraction over figuration, but contemporary art is full of figures along with the narrative content they inevitably inspire. Luckily, no matter how the trends swing, we can always look back to the Greeks and remember that there is beauty in balance. And it’s not surprising that some of today’s best art manages to message and signal and narrate after first capturing the eye, drawing attention, and igniting the imagination of the viewer.
Even the title of Amber Robles-Gordon’s Tinney Contemporary exhibition — SoveREIGNty: Acts, Forms, and Measures of Protest and Resistance — expresses an activist message. And it’s emblematic of a display of large-scale, mixed-media quilts brimming with signals and symbolism interrogating U.S. policy toward — and governance of — its populated territories and the District of Columbia…
This exhibition features Amber Robles-Gordon’s large-scale, mixed-media quilts–assemblages incorporating paint, textiles and hand-stitching–in an interrogation of U.S. policy towards–and governance of–its populated territories and the District of Columbia.
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On November 13, 2021 the Millennium Arts Salon provided a salon talk featuring Artist Amber Robles-Gordon in an interview with Interim Chief Curator of the National Museum of African American History and Culture, Dr. Tuliza Fleming, at the American University Museum.
Greetings,
Please consider supporting this project! THE BEAUTIFUL: Poets Reimagine a Nation. THE BEAUTIFUL features the nation's' foremost poets and revolutionizes our ideas of beauty and belonging. I'm so pleased that DanaTeen Lomax choose my artwork "By Intricate Design" as the cover art.
Blessings!
Invite beauty in!
In the chaos of a constantly shifting world, we can turn to the poets. They invite us to re-envision beauty and challenge conventional ideals. They ask us to co-create just and equitable communities. And they show us how. This multicultural, multi-generational anthology redefines beauty in order to sustain and protect it.
In THE BEAUTIFUL, truth-telling, mentorship, activism, art-making, and sustainability practices inspire communal responsibility and help us reimagine beauty in surprising ways.
THE BEAUTIFUL contributors include:
Introduction Juan Felipe Herrera
Editor’s Note Dana Teen Lomax
Sāmoa ‘i Sasa’e/American Samoa
Dan Taulapapa McMullin
Guåhan/Guam Evelyn San Miguel Flores
Northern Mariana Islands
Joey “Pepe Batbon” Connolly
Puerto Rico Julio César Pol
U.S. Virgin Islands Tiphanie Yanique
Alabama Jacqueline Allen Trimble
Alaska X’unei Lance Twitchell
Arizona Felicia Zamora
Arkansas Dana Teen Lomax
California Jaime Cortez
Colorado Jovan Mays
Connecticut Rayon Lennon
Delaware Gemelle John
Florida Nicole Brodsky
Georgia Jericho Brown
Hawai‘i No‘u Revilla
Idaho Janet Holmes
Illinois Sarah Rosenthal
Indiana Marianne Boruch
Iowa Akwi Nji
Kansas Megan Kaminski
Kentucky Kristen Renee Miller
Louisiana Megan Burns
Maine Stuart Kestenbaum
Maryland Linda Pastan
Massachusetts Eileen Myles
Michigan Rob Halpern
Minnesota 신 선 영 Sun Yung Shin
Mississippi E. Ethelbert Miller
Missouri Dorothea Lasky
Montana Prageeta Sharma
Nebraska Matt Mason
Nevada Vogue Robinson
New Hampshire Kate Greenstreet
New Jersey Cortney Lamar Charleston
New Mexico Arthur Sze
New York Jennifer Firestone
North Carolina Dorianne Laux
North Dakota Denise K. Lajimodiere
Ohio Amit Majmudar
Oklahoma Joy Harjo
Oregon Douglas Manuel
Pennsylvania Raquel Salas Rivera
Rhode Island Sawako Nakayasu
South Carolina Marcus Amaker
South Dakota Lee Ann Roripaugh
Tennessee Ama Codjoe
Texas Ching-In Chen
Utah Craig Dworkin
Vermont Camille Guthrie
Virginia giovanni singleton
Washington Sally and Sam Green
Washington, D.C. Sarah Anne Cox
West Virginia Marc Harshman
Wisconsin Oliver Baez Bendorf
Wyoming David Romtvedt
Cover Art by Amber Robles-Gordon
Book Design by Roberta Morris
Gualala Arts is a Mendocino-based nonprofit whose mission is to promote interest and participation in the arts. Since 1961, Gualala Arts has served Sonoma and Mendocino County coastal residents and visitors with year-round programs of art, music, theater and education. Gualala Arts operates with 12 members on the board of directors, an executive director and management team including: events, office, operations, project and publicity. Gualala Arts is also supported hundreds of dedicated volunteers.
Date: February 17, 2022
Time: 2:00 pm—3:30 pm
Location: Paul Robeson Gallery Workshop B
Sarah Stefana Smith – Mount Holyoke College
Moderator
Alex Callendar
This panel is devised around the work of Carribeanist scholars and thinkers, Edouard Glissant and Sylvia Wynter. Both articulate a desire to conceive of other worlds through a reconsideration of diasporic time, space and territory, and the opacities of history. Or, as artists we ask through their theoretical frames; how do you mark a territory to something that is a void, or an abyss, or unspeakable, or mistaken as a thing? Through studio practices, which include mixed-media, drawing, time-based works and performance, we consider in an open sense, historical recovery as sites of intervention, provisionality, and play, holding space for the language of transparency and opacity emergent in Black aesthetics.
The roundtable puts to use this year’s convening of Black Portraiture and the capaciousness of play. Play then, to use the words of Stuart Hall, becomes a mode to consider Black diaspora being, refusal and resistance with no guarantee. Hall notes on play with no guarantee,
“Far from being eternally fixed in some essentialized past, they are subject to the continuous “play” of history, culture and power. Far from being grounded in mere “recovery” of the past, which is waiting to be found, and which when found, will secure our sense of ourselves into eternity, identities are the names we give to the different ways we are positioned by, and position ourselves within, the narratives of the past” (Hall 2000, 23).
Thus, we conceive of this roundtable on play with no guarantee in manifold ways. Some negotiate historical counternarratives through the afterlife of the archive, while others meditate on materiality and matter as psychic scaffolding and memory work.
Bios
Alex Callender’s practice uses methods of drawing, painting, and installation to trace and remap historical materials as a means to explore with both criticality and care, how we might disentangle the interwoven relations of race, gender, and capitalism. Callender is an Assistant Professor of Art at Smith College.
Amber Robles-Gordon, is a mixed media visual artist. Her creations are visual representations of her hybridism: a fusion of her gender, ethnicity, cultural, and social experiences. Known for recontextualizing non-traditional materials, her assemblages, sculptures, installations emphasize the essentialness of spirituality and temporality within life. Robles-Gordon, received a Bachelor of Science, Business Administration from Trinity University, and a MFA from Howard University.
Nyugen E. Smith (USA, Haiti, Trinidad and Tobago) is a first-generation Caribbean-American interdisciplinary artist based in Jersey City, NJ. Through performance, found object sculpture, mixed media drawing, painting, video, photo and writing, Nyugen deepens his knowledge of historical and present-day conditions of Black African descendants in the diaspora. He holds a BA, Fine Art from Seton Hall University and an MFA from The School of the Art Institute of Chicago.
Sarah Stefana Smith is an interdisciplinary scholar and visual artist. Their sculpture and installation work explores the intersection of repair and disrepair. Their research communicates between the fields of Black art and culture, queer theory and affect studies, visuality and aesthetics. Smith is an Assistant Professor of Gender Studies at Mount Holyoke College.
https://www.blackportraitures.info/bp7/event/marking-territory-in-the-void/
Obervacion de Influentes cultura y herencia Taino, el clima y el machismo (Observation of Influencers: Taino culture and heritage, the climate and machismo), 2020
mixed media collage on canvas
18 x 24 in.
Desde el 6 de enero y hasta el 5 de febrero de 2022, la Derek Eller Gallery presenta dos exposiciones individuales de las artistas Jiha Moon y Amber Robles-Gordon.
Fuente: Derek Eller Gallery. Imagen: Amber Robles-Gordon, “Observación de Influencers: cultura y herencia Taino, el clima y el machismo” (Observation of Influencers: Taino culture and heritage, the climate and machismo), 2020
Nacida en Puerto Rico en 1977, pero criada en los suburbios de Washington DC, la herencia caribeña siempre ha estado presenta en la obra de Amber Robles-Gordon. Utilizando una amplia gama de materiales -incluyendo pintura acrílica, fotografía, tela y el dibujo a tinta- Robles-Gordon rinde homenaje a los temas tradicionales puertorriqueños a la vez que denuncia la relación colonialista entre Estados Unidos y Puerto Rico. La galería explica como el árbol del caucho (Fiscus Elastica, planta autóctona de Puerto Rico) es un tema recurrente en las obras expuestas en “Place of Birth and Breath” (Lugar de nacimiento y respiración), estando a veces rodeada “de ‘ecoesferas’ circulares, densamente repletas de información y artefactos relacionados con su conexión espiritual y etérea con su entorno.”
Al mismo tiempo, la galería presenta también Jiha Moon: Stranger Yellow, una exposición de obras de la artista Jiha Moon, nacida en Corea del Sur en 1973 pero residente en Atlanta. El título de la exposición hace referencia a un tono particular de amarillo empleado por la artista en sus obras, que Moon describe como “un color misterioso, exuberante, pero cautelosamente alto, que destaca”. La pieza central de la exposición, “Yellowave (Stranger Yellow)”, un díptico de unos tres metros de largo, muestra varios de los elementos habituales en la obra de la artista, desde el uso del “Stranger Yellow” hasta la presencia de elementos del folklore y la cultura popular coreana.
Ambas exposiciones pueden contemplarse en la Galería Derek Eller de Broome Street, Nueva York, de martes a sábado de 11 a 18 horas, y con cita previa.
https://theartwolf.com/es/exposiciones/jiha-moon-robles-gordon-eller-2022/
Derek Eller Gallery is pleased to present a solo exhibition of mixed media works on canvas by Amber Robles-Gordon. With an array of materials including acrylic paint, fabric, beads, magazine images, photographs, and ink drawings, Robles-Gordon assembles patchwork compositions which interweave her personal narrative within the fraught political, socioeconomic, and environmental threads that define the colonialist relationship between the United States and Puerto Rico.
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“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.
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.
Washington, DC — Seven “flags” hang in Amber Robles-Gordon’s show at the American University Museum: one for each of the five unincorporated United States territories in the Caribbean, one for the District of Columbia, and one to signify the artist’s place in between those locales.
Read MorePeople, food, and horticulture are among the things that move. Amber Robles-Gordon’s use of the Ficus Elastica is part of the symbology that reverberates throughout her exhibition, Successions: Traversing US Colonialism, on view at the American University Museum at the Katzen Arts Center in Washington, DC, through December 12, 2021. The Ficus Elastica—colloquially known as the rubber tree—has its roots in South Asia, though it was later nativized in the West Indies through the rubber trade. Dear reader, among your houseplants you are likely to find the genus of the rubber plant.
Read MoreResidents of D.C. are used to seeing the place as an almost-state, much like Maryland or Wyoming, yet not quite. Amber Robles-Gordon, a longtime Washingtonian who was born in Puerto Rico, has a different take. Her American University Museum show, “Successions: Traversing U.S. Colonialism,” groups D.C. with her birthplace and four other inhabited territories: Guam, the U.S. Virgin Islands, American Samoa and the Northern Mariana Islands. She represents these disenfranchised territories on two-sided quilted banners, one face for “political” and the other for “spiritual.”
Read MoreJoin our panelists as they journey through texts by Octavia Butler and bell Hooks, Parable of the Sower and Salvation: Black People and Love. They will explore and discuss parallels and intersections between themes posited in these seminal texts and their own individual curatorial/artistic practices.
Read MoreThis panel explores the power of contemporary visual art through the practices of the Diaspora’s most preeminent artists who innovate through the use of textiles. The panel will also share how their works are impacted by black existential thought. Followed by Cocktails and Light Bites Vranken Pommery and Red Rooster.
Read MoreThis candid conversation featured Daniel Immerwahr, author of "How to Hide an Empire: A History of the Greater United States" and visual artist Amber Robles-Gordon. They spoke regarding the threads of intersection between his book and her current solo exhibition at the American University
Read MoreThis Week: John Oliver’s hand-picked AVAM exhibition, A Passion for Collecting: The Vision of Louis Allan Ford at Galerie Myrtis, Zoë Charlton in conversation presented by Cade Gallery, Bridget Z. Sullivan at Hamilton Gallery, Jonna McKone/Keep A-Knockin’/Noah Breuer/Solo Lab 5 opening at VisArts, Amber Robles-Gordon at the Katzen Art Center, Katie Pumphrey: Night Swim at Project 1628, The Guardians presented by the Peale at Carroll Mansion, and more … plus Maryland Art Place UNDER $500 2021 and other featured calls for entry.
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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
Join the Office of Alumnae/i Relations for Trinity Talks with Amber Robles-Gordon ’05, Cultivating Inner Voice, Connective Tissues and Threading Visions, the Artwork of Amber Robles-Gordon on Tuesday, November 16, 2021 at 6:00 pm ET via Zoom.
Join Amber for an artist talk that focuses on following and cultivating a relationship with one’s inner voice and how that has directed her path thus far. She will highlight projects that exemplify this premise and how that lead to her first solo exhibit featured at American University.
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Join Daniel Immerwahr, author of How to Hide an Empire: A History of the Greater United States and visual artist Amber Robles-Gordon for a candid conversation regarding the threads of intersection between his book and her current solo exhibition at the American University Museum, Successions: Traversing US Colonialism. The talk will illuminate the historical underpinnings of US colonialism, Americanism, institutional racism, anti-Blackness, and their immeasurable impact in the US territories.
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