2015.8.12 Jeffrey Gibson CV
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JEFFREY GIBSON B. 1972, Colorado Lives and Works in New York
JEFFREY GIBSON b. 1972, Colorado Lives and works in New York EDUCATION 2016 Honorary Doctorate, Claremont Graduate University, Claremont, CA 1998 MA, Royal College of Art, London, United Kingdom 1995 BFA, The Art Institute of Chicago, Chicago, Illinois 1992 Studied with sculptor Ernest Mirabal, Nambe, New Mexico SOLO EXHIBITIONS 2019 Jeffrey Gibson: Like a Hammer, Seattle Art Museum, Seattle, WA, catalogue Jeffrey Gibson: Like a Hammer, Madison Museum of Art, Madison, WI, catalogue Jeffrey Gibson: This is the Day, Blanton Museum of Art, Austin, TX, 2018 Jeffrey Gibson: Like a Hammer, Denver Art Museum, Denver, CO, catalogue (touring) Jeffrey Gibson: Like a Hammer, Mississippi Museum of Art, Jackson, MS, catalogue Jeffrey Gibson: This is the Day, Ruth and Elmer Wellin Museum of Art, Clinton, New York, catalogue (touring) DON'T MAKE ME OVER, The de la Cruz Gallery of Art, Georgetown University, Washington, DC 2017 In Such Times, Roberts & Tilton, Culver City, CA Look How Far We've Come!, Haggerty Museum of Art, Milwaukee, WI Jeffrey Gibson: Speak to Me, Oklahoma Contemporary Arts Center, Oklahoma City, OK 2016 A Kind of Confession, Savannah College of Art and Design Museum, Savannah, Georgia (traveling to Atlanta, Georgia) 2015 MARC STRAUS, New York, New York A. Lange & Sohne, New York, New York 2014 MARC STRAUS, New York, New York 2013 Love Song, Institute of Contemporary Art, Boston, Massachusetts Said the Pigeon to the Squirrel, National Academy Museum, New York, New York Tipi Poles Performing as Lines, Cornell Fine Arts Museum, Winter -
Photographic Presence in New Mexico
Past, Present and Future: Photographic Presence in New Mexico Devorah Romanek A thesis submitted for the degree of Doctor of Philosophy in Anthropology, Department of Anthropology, University College London (UCL), 2019 I, Devorah Romanek Confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Photograph on frontispiece: Will Wilson (2012). “Zig Jackson, Citizen of the Mandan, Hidatsa, and Arikara Nation, Professor of Photography, Savannah College of Art and Design.” Label text from the 2013 exhibition Toward a Critical Indigenous Photographic Exchange: Will Wilson’s CIPX at the Maxwell Museum of Anthropology, University of New Mexico: “Critical Indigenous Photographic Exchange, New Mexico Museum of Art, Santa Fe Indian Market, 2012. Archival pigment print from wet plate collodion scan. Jackson takes a picture of an Indian taking a picture of an Indian as Andrew Smith protects his soul from theft.” Photo credit: © Will Wilson, courtesy of the artist. ii Abstract This thesis investigates the relationship between historical ethnographic photographs of Native Americans, their disposition in archives and collections, and the relationship of those images to their contemporary circulation and use by Native American artists, and others, particularly in New Mexico. Having undertaken original research into mid-19th century photographs in archives internationally, pertaining to Native America in the American Southwest, new histories and a re- framing of the photographs in question has been assembled. This portion of the research was undertaken both as a starting point for further investigation, and as a return to the people of New Mexico, particularly the Indigenous inhabitants of that place. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.