Jeffrey Gibson

Installation Views

b. 1972, Colorado Springs, Colorado Lives and works in New York

Jeffrey Gibson (b. 1972, Colorado, US) combines Native American traditions with the visual languages of Modernism to explore the contemporary confluence of personal identity, culture, history, and international social narratives. Gibson is a member of the Chocktaw and Cherokee nations. He currently lives and works in Hudson, New York.


Gibson’s multi-cultural perspective informed his study of art history, and helped him to develop his personal style. That style has manifested across several dynamic and diverse bodies of work, in which traditional native materials like animal hides, beads, and tipi poles intermingle with modern mediums like spray paint, acrylics, ceramic and tape. One of his most recognized series involves punching bags that Gibson deftly transforms into aesthetic totems.


Another of Gibson’slong running series involves an examination of ceremonial garments. A selection of these workswere exhibited in a special installation at the entrance to the 2018 New York Armory Show. The garments express a range of perspectives and influences, and seem to anticipate inhabitation, like symbols of history and culture that possess both personal and wider social meaning.

Solo Exhibitions

2022 Jeffrey Gibson, Mass MoCA, North Adams, MA

2020 Jeffrey Gibson: When Fire is Applied to a Stone it Cracks, Brooklyn Art Museum | Brooklyn, NY

She Never Dances Alone, Film Projection starring Sarah Ortegon, March 1 – 31, 2020, Times Square, NYC, presented by Times Square Arts, The Armory Show, The Brooklyn Museum, Roberts Projects, and Kavi Gupta

2019 Jeffrey Gibson: CAN YOU FEEL IT, Kavi Gupta | Elizabeth St., Chicago, IL

Jeffrey Gibson: The Anthropophagic Effect, New Museum, New York, NY

Jeffrey Gibson: Like a Hammer, Seattle Art Museum, Seattle, WA

Jeffrey Gibson: Like a Hammer, Madison Museum of Art, Madison, WI

Jeffrey Gibson: This is the Day, Blanton Museum of Art, Austin, TX,

2018 Jeffrey Gibson: Like a Hammer, traveling Retrospective, Denver Art Museum

(forthcoming) Jeffrey Gibson: THIS IS THE DAY, touring exhibition, Ruth and Elmer Wellin Museum of Art, Clinton, New York

Jeffrey Gibson: Like a Hammer, Mississippi Museum of Art, Jackson, MS, catalogue

DON’T MAKE ME OVER, The de la Cruz Gallery of Art, Georgetown University, Washington, DC


2017  Marc Straus, New York, NY
Haggerty Museum of Art, Milwaukee, WI
Rochester Art Center, Rochester, NY
Oklahoma Contemporary Arts Center, Oklahoma City, OK
2016 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 Park, Florida
The Spirits Refuse Without a Body, Shoshana Wayne Gallery, Santa Monica, California
2012 MARC STRAUS, New York, New York
one becomes the other, Participant Inc, New York, New York
one becomes the other, American Contemporary, New York, New York
2011 Jeffrey Gibson, 222 Shelby Street, Santa Fe, New Mexico
2010 Submerge, Arin Contemporary Art, Laguna Beach, California
2009 Totems, Sala Diaz, San Antonio, Texas
2007 Scope, Samson Projects, New York, New York
2006 Talkin’ Smack, Samson Projects, Boston, Massachusetts
2005 Indigenous Anomaly, American Indian Community House, New York, New York curated by Kathleen Ash-Milby
2004 The Urge That Binds, Samson Projects, Boston, Massachusetts, curated by Camilo Alvarez
2001 (re)positions, The Bronx Museum of The Arts, New York, New York
1998 Fever, G.U.N. Gallery, Oslo, Norway
1997 Transitional Bodies, Hockney Gallery, London, United Kingdom

Selected Group Exhibitions

2019Whitney Biennial, Whitney Museum of American Art, New York, NY

Suffering from Realness, Mass MoCA, North Adams, MA

Aftereffect, Museum of Contemporary Art, Denver, CO

Re:Define, Heard Museum, Phoenix, AR

2018Surface/Depth: The Decorative After Miriam Schapiro, Museum of Art and Design, New York, NY

One Way Or Another, Roberts Project, Culver City, CA
A Decolonial Atlas: Strategies in Contemporary Art of The Americas, Tufts University Art Gallery, Medford, MA
Crystal Bridges, Bentonville, AR (forthcoming)

2017 Desert X Biennial, Coachella Valley, CA
2016 SITElines.2016: New Perspectives on Art of the Americas, SITE Santa Fe, New Mexico
Recent Acquisition, exhibited as part of Beyond Limits, Museum of Fine Arts, Boston, MA
Recent Acquisition, exhibited as part of Native Artists of North America, Newark Museum of Art, Newark, NJ
Kindred Beasts: The Everson Biennial, Everson Museum of Art, Syracuse, New York
Convene, Nerman Museum of Contemporary Art, Overland Park, Kansas
March Madness, Fort Gansevoort, New York, New York
WORD, Hudson Valley Center for Contemporary Art, Peekskill, New York
New Geometries, Fleisher/Ollman, Philadelphia
Perfect Day, Roberts and Tilton, California
2015-6 Affinity Atlas, The Tang Museum, Skidmore College, Saratoga Springs, New York
Greater New York, MoMA PS1, New York, New York
An Evening Redness in the West, IAIA Museum of Contemporary Native Arts (MoCNA), Santa Fe, New Mexico
Between History and Body, The 8th Floor, Shelley and Donald Rubin Foundation, New York, New York
P3, Prospect New Orleans, New Orleans, Louisiana
2015 Piece by Piece, Building a Collection, Kemper Museum of Contemporary Art, Kansas City, Missouri
Gray Would Be The Color if I Had a Heart, MARC STRAUS, New York, NY
Geometries of Difference: New Approaches to Ornament and Abstraction, Samuel Dorsky
Museum of Art, New Paltz, New York
2014-5 Beautiful Games: American Indian Sport and Art, Heard Museum, Phoenix, Arizona
2014 Xigue-Xigue, MARC STRAUS, New York, New York
Contemporary American Indian Art, The Nerman Museum Collection, Overland Park, Kansas
2013 Fiction/Non-Fiction, Esker Foundation, Calgary, Canada
On Deck, MARC STRAUS, New York, New York
Sakahan: International Indigenous Art, National Gallery Canada, Ottowa, Ontario
Outside the Lines, Contemporary Art Museum Houston, Houston, Texas
Hotbox Forever, Steven Wolf, San Francisco, California
Totem, Aysa Geisberg Gallery, New York, New York
Group Show, Samson, Boston, Massachusetts
2012-4 Changing Hands 3, Museum of Art and Design, New York, New York; Memorial Art Gallery,  Rochester, New York; McMichael Canadian Art Collection, Kleinburg, Ontario, Chazen Museum of Art, University of Wisconsin, Madison; Museum of Contemporary Native Arts, Santa Fe, New Mexico, University of Michigan Museum of Art, Ann Arbor, Michigan
2012 Shapeshifting, Peabody Essex Museum, Salem, Massachusetts
E-Vapor-8, 319 Scholes, Brooklyn, New York, organized by Francesca Gavin
Peekskill Project V, Hudson Valley Center for Contemporary Art, Peekskill, New York
2011 Recent Acquisitions, Museum of Fine Arts, Linde Wing for Contemporary Art, Boston, Massachusetts
Close Encounters, Plug-In Institute of Contemporary Art, Winnipeg, Canada
Recent Acquisitions, Denver Art Museum, Denver, Colorado
Anthony Greaney x Dan Graham x Samson, Cottage Home Gallery, Los Angeles, California
An Exchange with Sol LeWitt, Cabinet Exhibitions and Mass MoCA, Brooklyn. New York and North Adams, Massachusetts,
Drift of Summer, RM Gallery, Auckland, New Zealand
Observe/Recognize, Berlin Gallery at Legends Santa Fe, Santa Fe, New Mexico
2010 Collision, Rhode Island School of Design Museum, Providence, Rhode Island
Lush Life, Invisible Exports Gallery, New York, New York
Everyday Mystics, Patricia Sweetow Gallery, San Francisco, California
Vantage Point, Recent Acquisitions, Smithsonian National Museum of the American Indian, Washington DC
Raw State, Shelby Street Gallery, Santa Fe, New Mexico
New Paintings, Staley Wise Gallery, New York, New York
Alluring Subversions, Timken Art Center, California College of The Arts, San Diego, California
Currents, University of Northern Colorado, Greeley, Colorado organized by Cicely Cullen
2009 On Stellar Rays, Lover, New York, New York, organized by Kate Gilmore and Candice Madey
Signs Taken For Wonders, Jack Shainman Gallery, New York, New York, organized by Isolde Brielmaier,
Surveillance, Affirmation Arts, New York, New York, organized by Rachel Vancellete
Solution, DiverseWorks, Houston, Texas, organized by Janet Phelps
Eiteljorg Museum, Recent Acquisitions, Eiteljorg 2008-09 Fellows, Indianapolis, Indiana
The Banality of Good, Claremont Graduate University, Claremont, California, organized by
Chris Christion
Currents, Metro Visual Arts Center, Denver, Colorado, organized by Cicely Cullen
Relevant, Nathan Cummings Foundation, New York, New York, organized by Amerinda
2008 Blueballs, Production Fund LAB, New York, New York, organized by Jackie Saccoccio
Visions, Flushing Town Hall Projects, Flushing, New York, organized by Omar Lopez-Chahoud
Voices of the Mound, Institute of American Indian Arts, Santa Fe, curated by Linda Lomahaftewa-Singer
Kentler International Drawing Space and Long Island University, Native Voices, New York,
New York
516 Arts, Cautionary Tales, Albuquerque, New Mexico, curated by Holly Roberts
Jersey City Museum, 1×1 Project, Shameless, Jersey City, New Jersey, curated by
Rocio Aranda Alvarez
Circa Art Fair, Puerto Rico, with Samson Projects
Volta 4, Basel, Switzerland, with Samson Projects
2007 SONOTUBE, Santa Barbara Contemporary Arts Forum, Santa Barbara, California, curated by Miki Garcia
Off The Map, The National Museum of the American Indian, Smithsonian Institution, New York, New York, curated by Kathleen Ash-Milby
New England School of Art and Design, Boston, Massachusetts, organized by Charles Giuliano
Postmillennial Black Madonna (in two parts): Paradise @ MoCADA, and Inferno @ Skylight Gallery, Brooklyn, New York
Newark Open 2007, Newark, New Jersey, organized by Omar Lopez-Chahoud
2006 The Aldrich Museum of Contemporary Art, No Reservations, Ridgefield, Connecticut, curated by Richard Klein
Paul Kopeikin Gallery, Paperworks, Los Angeles, California, curated by Daria Brit Shapiro
Westport Arts Center, BROOKLYN, Westport, Connecticut, curated by Amy Simon
State University of New York, Paumanoka, Stony Brook, New York, curated by Stephanie Dinkins
The Jersey City Museum, Tropicalisms, Jersey City, New Jersey, curated by Rocio Aranda-Alvarado
ARCO, Madrid, Spain, with Samson Projects
MACO Art Fair, Mexico City, Mexico with Samson Projects
2005 Le Désert de Retz, Massimo Audiello, New York, New York, curated by David Hunt
Alona Kagan Gallery, From the Root to the Fruit, New York, New York, curated by David Hunt
Out of Bounds, Wave Hill, Glyndor Gallery, Bronx, New York, curated by Jennifer McGregor
Evolving Pattern, New Jersey State University, Jersey City, New Jersey, organized by
Midori Yoshimoto
Play, Iandor Fine Arts, Newark, New Jersey, curated by Jomo Jelani Heywood
Artists Alliance AIR Exhibition, Cuchifritos Gallery, New York, New York
2004 The Urge That Binds, Samson Projects, Boston, Massachusetts
Jersey City Museum, Jersey (New), Jersey City, New Jersey, curated by Dr. Rocio Aranda
New American Talent, The Jones Art Center for Contemporary Art, Austin, Texas, selection by Jerry Saltz
The Space Between Words, Kean University, Union, New Jersey, curated by Judith Page
Timeless/Timeliness, Aljira Center for Contemporary Art, Newark, New Jersey, curated by Dominique Nahas
Super Salon, Samson Projects, Boston, Massachusetts, curated by Camilo Alvarez





Gibson suspends unique garments in a unified formation. His inspiration: decorated shirts worn for the Ghost Dance, which by 1890 became a spiritual movement across Native American cultures of peaceful resistance and protection against white assimilation. Believing such shirts could repel bullets, hundreds of Lakota Sioux were massacred at Wounded Knee. Gibson resurrects these legacies for a new era. Images of DAPL protests, bullseyes, and his own guardian figures, combine with fluorescents, fringe and beaded phrases of solidarity to suggest adornment can still empower.

Gibson is inspired by the histories of Ghost Dance shirts, worn across Native American cultures in ceremonies of peaceful resistance against white assimilation — until Lakota Sioux wearing them were massacred at Wounded Knee. Gibson resurrects these legacies of clothing as a shield. Imagery of DAPL protests, his own guardian figures, and phrases of solidarity unite in a suspended formation, insisting that adornment can still empower.