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    <loc>http://www.deborahrobertsart.com/news</loc>
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    <lastmod>2025-01-28</lastmod>
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      <image:title>News - MODERN ART NOTES PODCAST</image:title>
      <image:caption>By Tyler Green</image:caption>
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      <image:title>News - Deborah Roberts first solo in Europe</image:title>
      <image:caption>BY Katy Cowan CREATIVE BOOM May 16 2019 “Entitled 'If They Come', Roberts uses Baldwin’s words to highlight the cross-generational struggle against racism and the socio-political parallels between 1970 and 2019. Continuing this call for solidarity, Roberts’ use of collage speaks to the challenges encountered by young black children as they strive to build their identity, particularly as they respond to preconceived social constructs perpetuated by the black community, the white gaze and visual culture at large.” [Image caption] “Hip bone” 2019 (Mixed media collage on canvas, 65 x 45 inches)</image:caption>
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      <image:title>News - Will the Art World Ever Be the Same? A Brief Oral History of a Tumultuous Year</image:title>
      <image:caption>BY Kelly Crow WSJ MAGAZINE July 13,2020 “From the coronavirus to Black Lives Matter protests, the first half of 2020 shocked and shook the art world. Prominent artists, dealers, collectors and executives discuss what happened and what the future might hold.” Image Left: Highbrow, 2018</image:caption>
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      <image:title>News - In Deborah Roberts’s Art, an Interrogation of What Society Imposes on Black Children</image:title>
      <image:caption>BY Marley Marius VOGUE January 21, 2021 “Deborah Roberts is making some of the best work of her life—just ask the artist herself. In “I’m,” a solo exhibition opening this weekend at The Contemporary Austin (her first at a museum in Texas, her home state), Roberts’s interrogations of Black bodies—how they’re seen, and when prejudice diminishes them—have a new urgency. Her figures loom larger in the frame than they used to, claiming more space for themselves.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5419ea64e4b073da92212ecf/1592422082636-4QP3438YL1IEKLIA4JU4/BennyAndrews_NoMoreGames_1970.png</image:loc>
      <image:title>News - How to visit a gallery during a pandemic</image:title>
      <image:caption>Hosted by Ben Luke &amp; Magarete Carrigan THE WEEK IN ART PODCAST June 12th 2020 “…in the latest in our series of Lonely Works behind the doors of closed museums, the artist Deborah Roberts explores Benny Andrews’ “No More Games” in the Museum of Modern Art, New York.” Image Right: Benny Andrews, No More Games, 1970</image:caption>
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      <image:title>News - A Dream Deferred, For Now</image:title>
      <image:caption>BY Robin Pogrebin NEW YORK TIMES April 12 2020 “The coronavirus has pushed Deborah Roberts’s art exhibition at the Contemporary Austin at least to January. She is looking at the postponement as a gift.” Pictured Right: Red,White, and Blue, 2018</image:caption>
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      <image:title>News - Deborah Roberts’ unique take on blackness featured in new book</image:title>
      <image:caption>ART DAILY October 8 2019 “Artists often use their medium to express identity — both how society views others and how we view ourselves….Authors Erin J. Gilbert, Kirsten Pai Buick and Antwaun Sargent each wrote an essay for the book from an academic perspective, examining Roberts’ use of serigraphs and collage, her focus on childhood and her text-based works.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5419ea64e4b073da92212ecf/1602169885937-YFNUJ2LHJ1HVEJNYSDGM/COVER+ROBERTS_pdf_asura_1.jpg</image:loc>
      <image:title>News - Harper’s Bazaar Limited Edition Covers</image:title>
      <image:caption>BY Helena Lee and Hannah Ridley HARPER’S BAZAAR November 2020 “…for the eighth annual issue of Bazaar Art, our magazine dedicated to women in the art world, we have four limited-edition covers by the artists Deborah Roberts, Cassi Namoda, Louise Bourgeois and Michaela Yearwood-Dan (in collaboration with the author Margaret Atwood).” COVER IMAGE: “The unseen” 2020</image:caption>
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      <image:title>News - Roberts' powerful statement of black female identity</image:title>
      <image:caption>BY Sharon Mizota LA TIMES May 29, 2018 "Roberts’ works capture perfectly what it feels like to have assumptions and expectations foisted upon you, to feel like a collection of pieces instead of a person. If you are lucky, you will also be buoyed and strengthened by the traces of those who came before, in the creation of someone unprecedented."</image:caption>
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      <image:title>News - The Hirshhorn Museum Asked Artists About Their Influences..</image:title>
      <image:caption>BY Victoria L. Valentine CULTURE TYPE August 25 2019 “For its fifth annual gala in New York, the Smithsonian’s Hirshhorn Museum and Sculpture Garden is paying tribute to 42 artists, an “intergenerational vanguard” including Jordan Casteel, Faith Ringgold, Amy Sherald, Deborah Roberts, and David Hartt. The museum is assembling the group by inviting 21 artists to identify an additional honoree who ‘has influenced their thinking.’”</image:caption>
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      <image:title>News - Art Review: "The Evolution of Mimi" at Spelman Museum</image:title>
      <image:caption>By Jordan Amirkhani BURNAWAY April 25, 2018 "Aware of the unrealistic standards and pressures facing black women in a society shaped by white standards of beauty, Roberts reconstitutes the misogynistic and racist stereotypes inflicted on black women into powerful images of female strength, vulnerability, and self-love."</image:caption>
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      <image:title>News - Artist Deborah Roberts is using her pandemic downtime to edit her next museum show.</image:title>
      <image:caption>BY Helen Holmes OBSERVER April 13 2020 “Due to the fact that her upcoming exhibition at the Contemporary Austin in Texas was postponed from January to September, Roberts is using her quarantine-time to produce new works for the show and to deepen its themes.” Pictured Left: We are soldiers, 2019</image:caption>
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      <image:title>News - The Postponement of ‘Deborah Roberts: I’m’ Let the Artist Make More Timely Art</image:title>
      <image:caption>BY Robert Faires THE AUSTIN CHRONICLE July 24, 2020 "Because this is my hometown," [Deborah Roberts] says, "doing this show at the Contemporary was a really personal act. I wanted to throw the kitchen sink at this show." More significantly, the postponement "has allowed something different to happen, which I'm really happy about." Image Right: Either by the hawk or by the dove, 2018</image:caption>
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      <image:title>News - Hirshhorn Museum Celebrates Intergenerational Artist Crushes</image:title>
      <image:caption>VULTURE November 6 2019 “It was really cool because I love Amy’s practice. I think we have the same work ethic. I was really honored that she chose me for that….We just want to push the work as far as we can and try to tell a story, an American story, that happened to black culture. That’s important to us. I think our practices are similar in that vein.” — Deborah Roberts on Amy Sherald Pictured : Deborah Roberts, Jordan Casteel, and Amy Sherald. Photo: David Benthal/BFA.com</image:caption>
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      <image:title>News - Artist Deborah Roberts on Yinka Shonibare exhibition and why 'black is not a colour any more'</image:title>
      <image:caption>BY Ben Luke EVENING STANDARD June 6, 2018 "Shonibare taps into what he calls the “magic and subversive beauty” of art, addressing “the spirit of African resistance and representation”. For Roberts, the show is about diversity within blackness. 'It is not a colour any more,” she says. “So what does that mean, what does blackness mean? This show exudes blackness in a way that has never been seen before.'"</image:caption>
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      <image:title>News - Culture Type Picks: 14 Best Black Art Books of 2019</image:title>
      <image:caption>BY Victoria L. Valentine CULTURE TYPE January 10 2020 “The catalog documents an exhibition organized by Andrea Barnwell Brownlee at the Spelman College Museum of Fine Art that feature more than 80 works–paintings, collages, and hand-painted serigraphs made between 2007 and 2017. The show traced the evolution of Roberts from a figurative painter to a collage artist with a sustained interest in the power and vulnerability of black girls and the complexity of blackness….It’s a wonderful volume that provides invaluable insight into the timeless and timely work of Roberts.”</image:caption>
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      <image:title>News - Deborah Roberts at Luis de Jesus</image:title>
      <image:caption>BY Ikechukwu Casmir Onyewuenyi CONTEMPORARY ART REVIEW LOS ANGELES August 2018 ISSUE 13 "Contemporary Art Review Los Angeles (Carla) is a quarterly magazine, online art journal, and podcast, committed to being an active source for critical dialogue surrounding L.A.’s art community. Carla acts as a centralized space for art writing that is bold, honest, approachable, and focused on the here and now."</image:caption>
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      <image:title>News - The Arts Hour</image:title>
      <image:caption>BY Nikki Bedi BBC October 3, 2020 “Nikki Bidi’s guests this week are American artist Deborah Roberts who joins from Austin Texas to talk about her latest work, and VFX designer and filmmaker Paul Franklin.” IMAGE: “Fight the good fight (RR)” 2019</image:caption>
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      <image:title>News - Issue 109/110: The Place Issue</image:title>
      <image:caption>OXFORD AMERICAN Summer/Fall 2020 This double issue explores the theme of place, an idea as large and unwieldy as the diverse (and disputed) region of the South–from the Ozark to the coastline to the Delta, from rural communities to urban centers. Features contributions by Minnijean Brown Trickey, Bryan Washington, Jayne Anne Phillips, Timothy Hursley, Mike Awake, Baynard Woods, Rosalind Bentley, Ansel Elkins, Marcus Wicker, John Lingan, and many others. COVER IMAGE: “When you see me” 2019</image:caption>
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      <image:title>News - Deborah Roberts @ Jenkins Johnson</image:title>
      <image:caption>BY Mark Van Proyen POSTED February 19, 2018 The hopes, frustrations and perilous potentials of African-American girlhood provide the subject matter for Deborah Roberts’ new series of 14 collages....Each simultaneously embraces and steps away from most of the well-known examples of the African-American collage tradition as practiced by the likes of Romare Beardon and updated by Mickalene Thomas, among many others....Whereas the work of those prior artists makes a point of placing their figurative protagonists in complex, highly narrativized environments, Roberts purposefully separates her figures from any indication of context save that which might be inferred from their flamboyant dress, ungainly body language and ambivalent facial expressions. All of these aspects come together to force the viewer to take note of what is truly salient about them, that being their affecting call for the viewer to exercise a particular kind of empathy toward the cobbled-together identities of young persons who, through no fault of their own, are represented in a state of uncomfortable isolation, with all of its potential peril.</image:caption>
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      <image:title>News - Artists Flood the US With Massive Amounts of Anti-Trump Art in the Final Week Before the Election – See Images Here</image:title>
      <image:caption>ARTNET NEWS October 28, 2020 “New York Magazine cover with artworks by Shantell Martin, Shaina McCoy, Julie Mehretu, Duane Michals, Marilyn Minter, Toyin Ojih Odutola, Peter Paid, José Parlá, Adam Pendleton, Stephen Powers, Duke Riley, and Deborah Roberts.”</image:caption>
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      <image:caption>BY L. Lamar Wilson OXFORD AMERICAN MAGAZINE ISSUE 103 November 20 2018 [Image caption] “Grillz, don’t pee on my head and tell me it’s raining [fish]” 2017 From the series “Not on Me”</image:caption>
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      <image:title>News - The power and pathos of girlhood defines Deborah Roberts' collages</image:title>
      <image:caption>BY Felicia Feaster POSTED March 6, 2018 Perhaps the ideal show for this #metoo moment, Deborah Roberts’ exhibition at the Spelman College Museum of Fine Art, “The Evolution of Mimi,” is at its heart a look at how black female identity is formed</image:caption>
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      <image:title>News - Vision 2020: “Deborah Roberts: I’m”</image:title>
      <image:caption>BY Robert Faires THE AUSTIN CHRONICLE January 9 2020 “In 2020, Roberts is receiving a new measure of recognition at home. The Contemporary Austin is mounting a solo exhibition of new work by the artist – her first one in Texas. Curated by Heather Pesanti, the museum’s chief curator and director of curatorial affairs, it will include collages and paintings, plus a pair of new interactive sound, text, and video sculptures and a figurative mural for the exterior of the Jones Center, commissioned by the museum. “Deborah Roberts: I’m” will open Sept. 12 and run through Jan. 21, 2021.” Image Right : The Redress, 2018</image:caption>
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      <image:title>News - Now We Can Deal with the Nuances of Who We Are</image:title>
      <image:caption>BY Teka Selman SOUTHERN CULTURES Vol 26 No 2 Art &amp; Vision “Amy Sherald and Deborah Roberts are friends, fellow southerners and tremendously talented artists. Each in her own way makes work that is meaningful without being didactic and facilitates thoughtful, critical consideration….. ….In January 2020, we caught up by phone in out respective locations–Amy in New Jersey, Deborah in Austin, Texas, and me in Durham, North Carolina–to talk about their work, ideas, and influences.” Image Left: That’s not ladylike (No.2), 2019</image:caption>
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      <image:title>News - Deborah Roberts: Twenty Years of Art/Work</image:title>
      <image:caption>“Deborah Roberts: 20 Years of Art/Work provides the definitive look at the artist’s practice over the past two decades. With newly commissioned texts and a thorough dive into Roberts’ archive, this monograph offers a comprehensive view of one of today’s most significant artists and social observers… “</image:caption>
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      <image:title>News - 14 Best Black Art Books of 2019</image:title>
      <image:caption>BY Victoria L. Valentine CULTURETYPE January 10 2020 “The cursory observer might assume that artist Deborah Roberts’s origin story began about five years ago. That’s when her mixed-media collages of black girls began to be more widely recognized. But she’s actually been developing her practice for decades.” Image Left : Cover of “Deborah Roberts: The Evolution of Mimi,” Edited by Andrea Barnwell Brownlee, with a foreword by Mary Schmidt Campbell, contributions from Kirsten Pai Buick, Erin J. Gilbert, Beverly Guy-Sheftall, and Antwaun Sargent, and a postscript by Franklin Sirmans (Georgia Museum of Art, University of Georgia for Spelman College of Fine Art, 160 pages). | Published July 29, 2019</image:caption>
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      <image:title>News - Austin Art Talk: Deborah Roberts Episode 71</image:title>
      <image:caption>BY Scott David Gordon AUSTIN ART TALK PODCAST October 4 2019 “Deborah shares how her work has been evolving and where it is headed, her studio practice, as well as giving us a peek into some ideas for her upcoming one women show at The Contemporary Austin a year from now.”</image:caption>
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      <image:title>News - Deborah Roberts has exhibited art worldwide. She hasn’t had a solo museum in her hometown–until now.</image:title>
      <image:caption>BY Doyin Oyeniyi TEXAS MONTHLY January 14, 2021 “When Deborah Roberts is about to start a new collage, she looks for a Black child’s face that possesses a certain purity. ‘It has to be a face that reminds me of someone who has not been touched by pop culture,’ the Austin-based artist explains. ‘That’s the innocent person I want you to find in the multiplicity of faces.’ “</image:caption>
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      <image:title>News - 6 must-see art exhibitions coming soon to Austin museums</image:title>
      <image:caption>BY Lauren Jones AUSTIN CULTURE MAP February 5 2020 “Austinite Deborah Roberts is having her first solo Texas museum exhibition at The Contemporary Austin beginning in September…In 2020, racism and violence are still seen in this country on a daily basis and Roberts wants viewers to question these issues and continue the conversation toward a better America.”</image:caption>
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      <image:title>News - Get Up, Stand Up Now: Q&amp;A with Artist Deborah Roberts</image:title>
      <image:caption>BY Bridget Minamore SOMERSET HOUSE August 30 2019 “Forcefully confronting the hyper-sexualization of women, and the media’s privileging of whiteness and youth, Roberts’ figures often take the form of young African girls whom she presents with strength and power. Her composite figures represent an expanded view of beauty that prioritises marginalized narratives, while fighting discriminatory perceptions of the Black female experience. Her Untitled piece in Get Up, Stand Up Now suggests bodily fragmentation, but the composite figures at the forefront of her world also exude imagination and vitality.”</image:caption>
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      <image:title>News - VICE : The Artist Changing the Face of Black Girlhood</image:title>
      <image:caption>BY Antwaun Sargent POSTED March 6, 2018 "EVEN BEYONCÉ ADORES DEBORAH ROBERTS'S COLLAGED PORTRAITS OF STRONG, BEAUTIFUL BLACK GIRLS AND WOMEN."</image:caption>
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      <image:title>News - Postracial Resistance: Black Women, Media, and The Uses of Strategic Ambiguity</image:title>
      <image:caption>BY Ralina L. Joseph NEW YORK UNIVERSITY PRESS October 2018 Postracial Resistance explores how African American women celebrities, cultural producers, and audiences employ postracial discourse—the notion that race and race-based discrimination are over and no longer affect people’s everyday lives—to refute postracialism itself. In a world where they’re often written off as stereotypical “Angry Black Women,” Joseph offers that some Black women in media use “strategic ambiguity,” deploying the failures of post-racial discourse to name racism and thus resist it.</image:caption>
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      <image:title>News - Why Some Artists Turn Away Would-Be Buyers</image:title>
      <image:caption>BY Alina Cohen ARTSY March 27 2020 “Deborah Roberts, who shows with Vielmetter Los Angeles and London’s Stephen Friedman Gallery, is candid about her wishes. She directs her galleries to sell to museums, she said, so that “someone who looks like me can be inspired by my work and think, ‘I could do this too.’”” Pictured Left: One history, two versions (Bullet Points), 2019</image:caption>
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      <image:title>News - Deborah Roberts' #EvolutionOfMimi Art Tackles Heavy Topic of Colorism</image:title>
      <image:caption>BY Ashia Miller ROLLINGOUT May 25, 2018 "Bringing this heavy topic to the mainstream, Deborah Roberts, unashamedly tackled it in her #EvolutionOfMimi artwork which recently exhibited in the Spelman College and Museum of Fine Art. The exhibition featured a series of think-pieces that nudge the viewer to think deeply about their own preconceived notions, misguided thoughts, and implicit bias."</image:caption>
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      <image:title>News - “Native Sons: Many thousands gone” at Vielmetter Los Angeles</image:title>
      <image:caption>BY Victoria L. Valentine CULTURE TYPE April 23 2019 VIELMETTER LOS ANGELES announced its representation of Deborah Roberts in late February and her first exhibition with the gallery opened last week. [Image caption] “From feet to wings (Nessun Dorma Series),” 2018 (Mixed media collage on canvas, 65 x 45 inches)</image:caption>
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      <image:title>News - Coffee chat: Deborah Roberts</image:title>
      <image:caption>BIG MEDIUM in conversation with Betelhem Makonnen July 16, 2020 Coffee Chats feature leaders in the creative community sharing their personal and professional experiences to inspire others pursuing careers in art.</image:caption>
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      <image:title>News - ART REVIEW "Deborah Roberts: Fragile but Fixable"</image:title>
      <image:caption>BY Shana Nys Dambort ART AND CAKE June 10, 2018 "Her work employs a system for organizing elements of composition which mirrors the way the human brain learns and grows, by a sponge-like process of absorption, mimicry, experimentation, and eventually, decision-making. From many parts, one person.</image:caption>
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      <image:title>News - Deborah Roberts Renders the Complexity of Black Childhood in Collage</image:title>
      <image:caption>BY Elizabeth Fullerton ART IN AMERICA October 7 2019 “The overlaying of adult features on children’s bodies offers a sober reminder that white people often perceive black adolescents as threatening adults rather than innocent children, sometimes with tragic results. However, invoking the black luminaries also serves a positive function: to present a historical community of role models or guiding spirits.”</image:caption>
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      <image:title>News - Long-Running 'Anonymous Was a Woman' Grants Awarded for 2018, With Betty Tompkins and Deborah Roberts Among 10 Winners</image:title>
      <image:caption>BY Alex Greenberger ARTnews POSTED December 11, 2018 “The once-secretive Anonymous Was a Woman program has named the 10 winners of its 2018 grants, which recognize women artists over the age of 40. Each winner receives $25,000.”</image:caption>
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      <image:title>News - fields Magazine</image:title>
      <image:caption>AUTUMN/WINTER 2018 ISSUE 10 fields is a print publication designed to spotlight writers, poets, painters, illustrators, and creative types of all stripes, with an emphasis on the up and coming and the unsung.</image:caption>
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      <image:caption>BY Joshua Bennett ART IN AMERICA May 4, 2021 “Throughout our conversation, Roberts’s responses were in the first-person plural: the focus in the work was not only her individual experience but ours, what our children go through, what they see and survive, how we might help them make it through that situation, and move on to a better one, together.”</image:caption>
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