Gibson, Jeffrey A (1972- )

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    At Venice Biennale, Israel’s Show Is Halted, but Protests Go On

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    The country’s exhibition was already closed after its artist refused to exhibit her work until there was a cease-fire and hostage deal in Gaza. But that didn’t calm the discontent.The Israel pavilion at the Venice Biennale is closed this year, since its creative team decided not to exhibit work until there was a cease-fire and hostage deal in Gaza, but it was nonetheless the site of a large demonstration on Wednesday that drew more than 100 protesters.“Viva, viva Palestina!” the protesters chanted as they marched through the gardens where much of the Biennale takes place. The protest was organized by a mix of artists involved in the Biennale and activists not affiliated with the event. “We gather as arts workers to refuse silence,” one demonstrator shouted to a crowd of onlookers.Tensions surfaced in February, when activist groups began calling on the Biennale to ban Israel from the event over its conduct of the war in Gaza. Since the Oct. 7 Hamas-led attacks in Israel, in which Israeli officials said about 1,200 people were killed and 240 taken hostage, and Israel’s campaign in Gaza, which the authorities there say has killed more than 33,000 people, protests have rippled through the art world.The Biennale’s organizers and Italy’s government affirmed Israel’s right to participate this year, but when the media preview began on Tuesday, visitors to the pavilion found the doors locked. Ruth Patir, the artist chosen to represent Israel at the Biennale, had refused to open her exhibition, posting a sign on the window that the pavilion would remain shut until “a cease-fire and hostage release agreement is reached.”But Patir’s action was not enough to calm the discontent among many artists at the event, which opens to the public on Saturday. During the preview week, attendance is restricted to art world figures, including artists, curators, gallerists and critics.“I think it is the right place to make a protest,” said Maj Hasager, the rector of the Malmo Art Academy in Sweden, who watched the protest. “We need to lay out the different positions, and there is no Palestine pavilion,” she added.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeffrey Gibson: Representing the U.S., and Critiquing It, in a Psychedelic Rainbow

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      People in Venice might hear the jingle dress dancers before they see them. On April 18, some 26 intertribal Native American dancers and singers from Oklahoma and Colorado will make their way through the winding streets and canals of the Italian city. Wearing brightly colored shawls, beaded yokes and dresses decorated with the metal cones that give the dance its distinctive cshh cshh rattling sound, they’ll make their way to the Giardini, one of the primary sites of the Venice Biennale. There, they’ll climb atop and surround a large red sculpture composed of pedestals of different heights and perform.The jingle dress dance, which originated with the Ojibwe people of North America in the early 20th century, typically takes place at powwows. In Venice, it will inaugurate the exhibition in the United States Pavilion on April 20. Titled “the space in which to place me,” the show is a mini-survey of the rapturous art of the queer Choctaw and Cherokee artist Jeffrey Gibson. Flags, paintings, sculptures and a video envelop and fill the stately building with proliferating geometric patterns, intricate beadwork, evocative text, a psychedelic overdose of color and political references to Indigenous and broader American histories.“How do I relate to the United States?” mused Gibson, 52, who in conversation slips effortlessly between earnestness and flashes of playful, dry wit. It was late December, and we were sitting in a room in his upstate New York studio whose nondescript furniture was dotted with evidence of ongoing work on Venice: a maquette here, paint samples there, a test flag folded loosely in a chair. The deadline for finishing nearly two dozen artworks was about a month away, but Gibson was calm — at least outwardly so — as he showed me images and the pieces in progress.“I have a complicated relationship with the United States,” he said. His ancestors were among the Native Americans forcibly displaced by the federal government. Both his parents came from poverty and went to boarding schools, where Native children were frequently abused. As his studio manager zoomed in on a digital image of a painting, I could see a large block of text surrounded by angular, radiating lines. Gibson read the title: “The returned male student far too frequently goes back to the reservation and falls into the old custom of letting his hair grow long.”The chilling line came from a 1902 letter written by the Commissioner of Indian Affairs to a school superintendent in California about the need to assimilate Native students returning home from boarding schools. Once he found it, Gibson decided that all three busts he was working on for the Biennale should have prominent hair: a beaded mullet; long, flowing locks made from ribbon; and an elaborately-styled shawl-fringe “do.” The choice represents one of his artistic strengths: taking a point of pain and turning it into a kind of celebration, without losing its critical edge.Installation view of Gibson’s works at the U.S. Pavilion, from left: “The Returned Male Student Far Too Frequently Goes Back to the Reservation and Falls Into the Old Custom of Letting His Hair Grow Long,” which references a letter by the Commissioner of Indian Affairs; “I’m a Natural Man”: “Liberty, When It Begins to Take Root, Is a Plant of Rapid Growth,” which cites a letter from George Washington to James Madison.Brian BarlowWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeffrey Gibson Will Bring Sculptures of Ancestral Spirits to Met Facade

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      The Met named its 2025 art commissions, which include Gibson’s facade sculptures and a roof garden installation by the soundsmith Jennie C. Jones.Last summer, Jeffrey Gibson received an honor that most artists wait for their entire lives. Would he represent the United States at the Venice Biennale, the art world’s version of the Olympics? Only a few weeks after accepting, there was another auspicious ring on the telephone.It was the curator David Breslin, wondering if Gibson would become the sixth artist to alter the Metropolitan Museum of Art’s facade with newly commissioned sculptures.“He called me from the beach,” recalled Gibson, a Choctaw-Cherokee artist known for infusing abstract works with queer and native themes.For the commission, Gibson will return to the ancestral spirit figures he started assembling in 2015. The challenge will be translating these delicate structures of beadwork, textiles and paint into four weatherproof sculptures that will gaze upon museum visitors from their plinths above Fifth Avenue. They will be on view from September 2025 through May 2026.Breslin, who leads the Met’s modern and contemporary art department, described Gibson as “one of the most incredible artists of his generation.”Gibson’s 2015 sculpture, “Can’t Take My Eyes Off of You,” an ancestral spirit figure made from glazed ceramic and repurposed tipi pole, artificial sinew and copper jingles. Gibson will explore his Indigenous heritage, abstraction and popular cultures on the Met facade.Jeffrey GibsonWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More