Jeffrey Gibson

Jeffrey A. Gibson was born on March 31, 1972, in Colorado Springs, Colorado. His father was a citizen of the Mississippi Band of Choctaw Indians, as was his paternal grandfather Homer Gibson, from Conehatta, Mississippi. His parents came from a background of poverty and both attended boarding schools where the Native American children were often abused. moving frequently because his father worked as a civil engineer for the United States Department of Defense. Gibson has identified as queer and gay. He is married to Norwegian artist Rune Olsen, and together they have a daughter and son. ==Career==

Gibson is an artist in residence at Bard College, where he also teaches in studio art courses. Gibson's art deals with issues of identity and labels. His work has featured the use of mixed media including Native American beadwork, trading post blankets, metal studs, fringe, and jingles. Gibson is represented by Roberts Projects in Los Angeles, Sikkema Jenkins & Co. in New York, and Stephen Friedman Gallery in London. In 2024, Gibson represented the United States in the Venice Biennale with a solo survey exhibition in the United States Pavilion, titled The Space in Which to Place Me. The title of the show is from a line in a poem by Layli Long Soldier. The work referenced politics in relation to Indigenous and a range of American histories. Artworks included paintings, sculpture, flags, video and beadwork rendered in psychedelic colors. The New York Times describes his work as having "political valences" and also "many layers of form and meaning." ==Influences==

Gibson draws influence in materials, processes, media, and iconographies. Pow-wows, nightclubs, and raves provide contrasts as rural and urban venues, serving as spaces for dancing, movement, and dramatic fashion/regalia. Keeping with regalia, 19th-century Iroquois beadwork also provides inspiration, as colorful beads often find their way into Gibson's artworks. Gibson also provides his own spin on graffiti, which is seen frequently in his works. He also credits his nomadic lifestyle as a major influence, bringing together what he describes as: == Artworks ==

Rawhide painting series Gibson's practice has involved painting in oil and acrylic on rawhide-clad wood panels. He is recycling found objects such as antique shaving mirrors and ironing boards and covers them in untanned deer, goat, or elk skin. Gibson combines domestic, Native American, and Hard-edge modernist references. His punching bag made from found Everlast punching bags, U.S. Army wool blankets, glass beads, tin jingles, and the artist's repurposed paintings exemplify the dialogue between mainstream pop culture and Native American powwow aesthetics. His work Document, 2015 (2015) is made with acrylic and graphite on deer rawhide, hung with steel spikes. Under Cover (2015) was a made with rawhide stretched over wood panel. Alive (2017) Alive showed as part of the Desert x exhibition in the Coachella Valley from February 25 to April 30, 2017. Totems series Creating his own totem sculptures, in 2009 Gibson produced the Totems series for an exhibition at Sala Diaz in San Antonio, Texas. This series of sculptures involved Gibson arriving five days before the opening to put together a collection of found objects to create what have been described, by the artist, as "fantasy sex partners, objects of desire". The Totems feature objects such as mannequins acquired from Craigslist, a wig, plastic flowers, toys, cowboy boots, flower pots, his signature spray paint and other objects. In the end Gibson created two human-like figures and a totem pole from the flower pots. Writer Ben Judson described Totems as way Gibson "uses the stereotyping of his own people as a way of exploring the use of metaphor in identity formation, cultural critique and consumerism without forfeiting lyricism or indulging in self-righteousness (apart, that is, from his press release)." The Animal That Therefore I Am (2025) From September 12, 2025 to June 9, 2026, Gibson's The Animal That Therefore I Am was the Genesis Facade Commission at the Metropolitan Museum of Art. The work consists of four large sculptures that reference a deer, coyote, squirrel and hawk. The new sculptural works are said to be inspired by Jacques Derrida, an Algerian-born French philosopher. Yet With a Steady Beat (2026) On April 9, 2026, the Obama Foundation announced that it had commissioned Gibson to create a work for the Obama Presidential Center. Gibson’s work "is a wall installation featuring 17 circular prints that reference Gibson’s use of political buttons and drums, which are recurring elements in his interdisciplinary practice." ==Reception==

Gibson's abstract works have been compared to artists such as Martin Johnson Heade, Cy Twombly, Chris Ofili, and Indigenous Australian art. While some celebrate him as a Native artist, others celebrate his ability to move freely in and out of Native and non-Native contemporary art worlds. ==Notable collections==

• Crystal Bridges Museum • Denver Art Museum • Eiteljorg Museum of American Indians and Western Art • Hood Museum • Metropolitan Museum of Art • Mississippi Museum of Art • Museum of Fine Arts, Boston • Nasher Museum of Art • Nerman Museum of Contemporary Art • Philbrook Museum of Art • Smithsonian Institution, National Museum of the American Indian • School for Advanced Research • Speed Art Museum • Whitney Museum of American Art ==Notable exhibitions==

• ''Jefferey Gibson: POWER FULL BECAUSE WE'RE DIFFERENT'', 2024, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts • Jeffrey Gibson: The Body Electric, 2023, Frist Art Museum, Nashville, Tennessee • This Burning World, 2022, solo exhibition, Institute of Contemporary Art San Francisco, San Francisco, California • Stretching the Canvas: Eight Decades of Native Painting (2019–2021), National Museum of the American Indian George Gustav Heye Center, New York, New York • Jeffrey Gibson: This Is the Day, 2018–19, Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, New York, Blanton Museum of Art, Austin, Texas • Jeffrey Gibson: Like A Hammer, 2018–19, Denver Art Museum, Denver, CO, Mississippi Museum of Art, Jackson, MS, Seattle Art Museum, Seattle, WA, Madison Museum of Contemporary Art, Madison, WI • Sakahan, 2013, National Gallery of Canada, Ottawa, Ontario • Said The Pigeon to the Squirrel, 2013, National Academy Museum and School, New York, NY • Love Song, 2013, Institute of Contemporary Art, Boston, MA • Tipi Poles Performing As Lines, 2013, Cornell Fine Arts Museum, Winter Park, FL • Marc Straus, 2012, New York, NY • Shapeshifting, 2012, Peabody Essex Museum, Salem, MA • Changing Hands 3, 2012, Museum of Arts and Design, New York, NY • Recent Acquisitions, 2011, Denver Art Museum, Denver, CO • Recent Acquisitions, 2011, Museum of Fine Arts, Boston, Boston, MA • Collision, 2010, Rhode Island School of Design, Providence, RI • Vantage Point, 2010, National Museum of the American Indian, Washington, DC ==Notable awards and grants==

• Frederic Church Award, 2026 • MacArthur Fellowship, 2019 • Joan Mitchell Foundation Painters and Sculptors Grant, 2012 • TED (conference) Foundation Fellow, 2012 • Smithsonian Institution Contemporary Arts Grant, 2012 • Jerome Hill Foundation, 2012 • Eiteljorg Museum Fellowship for Native American Fine Art, 2009, Eiteljorg Museum of American Indians and Western Art • Ronald & Susan Dubin Fellowship, 2008, School for Advanced Research ==Kavi Gupta Gallery lawsuit==

In May 2023, Gibson filed a lawsuit against the Kavi Gupta gallery in United States District Court for the Northern District of New York, alleging that the gallery has withheld over $600,000 from the artist. On 27 February 2025 the Gibson and the Gallery settled their dispute confidentially. ==References==