STANDARDS

Core Art Standards: VA1, VA5, VA11

CCSS: R1, 53, R9

Igniting History

How does Jeffrey Gibson use found text and materials?

How does Jeffrey Gibson use found text and materials?

Jeffrey Gibson (b. 1972), the space in which to place me, 2024. Installation view, United States Pavilion, 60th International Art Exhibition–La Biennale di Venezia. Photo: Timothy Schenck.

For his exhibition at the Venice Biennale, Gibson adds color to the walls, which makes viewing the artworks an immersive experience.

A blank canvas, a sheet of white paper, a lump of clay. How do you begin? For Jeffrey Gibson, the art-making process often starts with research. He collects phrases from historical documents, literature, and music. Then he incorporates this found text into his art, using traditional techniques and materials to explore what it means to be Indigenous.

Native American artist Jeffrey Gibson starts his work with research. He studies historical documents, books, and music. He collects words and phrases. Then he uses this found text in his art. He also uses traditional techniques and materials to explore his culture and identity.

Olympic-Sized Achievement

Cara Romero

Jeffrey Gibson

Born in Colorado in 1972, Gibson is a member of the Mississippi Band of Choctaw Indians and is of Cherokee descent. His family moved a lot when he was a kid, and by the time he was 13 years old, Gibson had lived in several states, Germany, and South Korea. “I had a lot of exposure to other cultures at an early age,” he says. “That experience of placing myself in environments I didn’t come from built a kind of confidence, less fear of the unknown.”

This past year, Gibson made history as the first Indigenous artist to represent the United States in a solo exhibition at the Venice Biennale. Many people call this international art show “the Olympics of the art world.”

Gibson created each of the works featured here for his show in Venice. He began with research, reading some of the United States’ founding documents. He says, “I wanted to map out some moments in American history when there is this real promise of equality, liberty, and justice and then think about what those terms mean.”

In Gibson’s 2024 We Hold These Truths to Be Self-Evident, below, fringe forms a skirt around a bead-covered punching bag, a gentle contrast to the aggressive sport of boxing. Gibson uses text from the Declaration of Independence. To read the familiar words on the suspended sculpture, viewers must raise their eyes and move around the circular form.

Gibson was born in Colorado in 1972. He is of Mississippi Choctaw and Cherokee descent. He lived in many different places as a kid. “I had a lot of exposure to other cultures at an early age,” he says.

“That experience of placing myself in environments I didn’t come from built a kind of confidence.” This past year, Gibson participated in the Venice Biennale. This international art show is often called “the Olympics of the art world.” He was the first Native American artist to represent the United States there.

Gibson created the works on this page for the 2024 exhibition. He began by reading the founding documents of the United States. “I wanted to map out some moments in American history when there is this real promise of equality, liberty, and justice,” he says. “And then think about what those terms mean.”

Gibson’s work We Hold These Truths to Be Self-Evident is below. It’s made from a punching bag that is suspended, or hanging. He covers it in traditional beads. Punching bags are for boxing, but this one looks gentle. Gibson added text from the Declaration of Independence in beads.

Jeffrey Gibson, We Hold These Truths to Be Self-Evident, 2024. Glass beads, plastic beads, nylon fringe, nylon thread, acrylic felt, found punching bag. Courtesy of Sikkema Malloy Jenkins, New York/©Jeffrey Gibson.

How does this punching bag-turned-sculpture change your understanding of what can be used to make art?

Gibson’s Alphabet

Geometric shapes appear throughout Gibson’s figurative and abstract art, as in his 2024 If Not Now Then When, below. This work also features a stylized, multicolor typeface, sometimes called the “Gibson alphabet.” If you didn’t know the work’s title, would you be able to read the phrase at the bottom?

Gibson was partly inspired by graffiti when he designed the letters that appear in many of his recent works. Using this alphabet is another way in which Gibson transforms words, inviting viewers to slow down as they read.

Geometric shapes are common in Gibson’s art. A good example is If Not Now Then When, below. This work features stylized text in a colorful typeface, or letters. Gibson often uses these letters in his work. They’re often called the “Gibson alphabet.”

Graffiti was one of the inspirations for Gibson’s alphabet. Using these letters is another way he transforms words. He invites viewers to slow down as they read and think about what the words really mean.

Jeffrey Gibson, If Not Now Then When, 2024. Acrylic on watercolor paper, acrylic felt, glass beads, silicone adhesive, vintage pinback button. Courtesy of Roberts Projects/©Jeffrey Gibson.

Gibson found the title of his work, If Not Now Then When, in a song by Tracy Chapman. What do you think it might refer to in this context?

Moving Materials

Notice the cone-shaped bells that adorn Gibson’s 2024 Treat Me Right, below. They are associated with the Jingle Dance. Scholars believe the dance originated in the 1920s and was originally performed for medicinal purposes.

The materials Gibson uses take on new meaning in his sculptures as well as in the context of the Venice Biennale. Many are traditional, such as the Jingles in Treat Me Right and the fringe in We Hold These Truths to Be Self-Evident and the two sculptures at the top of the page. But he also recognizes the importance of using those materials in ways that honor their histories. So he invited Indigenous American dancers and musicians to perform the Jingle Dance at the opening of the exhibition.

Gibson is interested in “bringing those traditions back and also continuing to build upon them.” How does his use of traditional materials and processes shine a light on history as well as the future?

The work below is called Treat Me Right. Notice the cone-shaped bells at the bottom. They relate to the Native American Jingle Dance. Experts believe the dance is from the 1920s. People originally performed it for healing purposes.

Gibson honors history by using traditional materials like bells, beads, and fringe. He also invited Native American dancers to perform the Jingle Dance in Venice.

Gibson is interested in “bringing those traditions back and also continuing to build upon them,” he says. How does he use traditional materials in modern ways?

Jeffrey Gibson, Treat Me Right, 2024. Glass beads, nylon fringe, tin jingles, vintage pinback buttons, metal bells, plastic bone pipe beads, cold-rolled mild steel, nylon thread, acrylic felt, steel plate, marble base. Courtesy of Sikkema Malloy Jenkins, New York/©Jeffrey Gibson.

Why does Gibson use beads and fringe in works like this bust?

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