|Articles, Arts, Gay & Lesbian, Media Archive, Native Americans/First Nation on 2013-05-25 02:18Z by Steven|
The New York Times
HUDSON, N.Y. — One sunny afternoon early this month Jeffrey Gibson paced around his studio, trying to keep track of which of his artworks was going where.
Luminous geometric abstractions, meticulously painted on deer hide, that hung in one room were about to be picked up for an art fair. In another sat Mr. Gibson’s outsize rendition of a parfleche trunk, a traditional American Indian rawhide carrying case, covered with Malevich-like shapes, which would be shipped to New York for a solo exhibition at the National Academy Museum. Two Delaunay-esque abstractions made with acrylic on unstretched elk hides had already been sent to a museum in Ottawa, but the air was still suffused with the incense-like fragrance of the smoke used to color the skins.
“If you’d told me five years ago that this was where my work was going to lead,” said Mr. Gibson, gesturing to other pieces, including two beaded punching bags and a cluster of painted drums, “I never would have believed it.” Now 41, he is a member of the Mississippi Band of Choctaw Indians and half-Cherokee. But for years, he said, he resisted the impulse to quote traditional Indian art, just as he had rejected the pressure he’d felt in art school to make work that reflected his so-called identity…
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