Jeffrey Gibson’s 15-Year Survey Is an Unapologetic Expression of Love

At the Jordan Schnitzer Museum of Art at Washington State University, Jeffrey Gibson’s current solo exhibition, “They Teach Love,” stands as a vibrant departure from the conventional narratives entrenched in the Western art canon. Marking Gibson’s most expansive and versatile showcase to date, the exhibition transcends mere artistic display; it emerges as both a platform amplifying Indigenous voices and a kaleidoscopic exploration of the artist’s conceptual prowess.

Curated by Ryan Hardesty, the museum’s executive director and curator of exhibitions, “They Teach Love”radiates warmth and eloquently conveys the artist’s deep appreciation for communal practices, song, human connection, and kinship. Situated on the ceded lands of the Nimiipuu Tribe and the traditional homelands of the Palouse Band of Indians, the exhibition showcases graphic visuals that engage with Native American cultures as well as sexuality, resulting in a globalized vision of love free from borders.

Through the recontextualization of Indigenous sentiments and traditions, Gibson, who has ties to both the Mississippi Choctaw and Cherokee Tribes, infuses his art with pride, power, and vulnerability. The exhibition, which is on view through March 9, 2024, addresses questions of identity tied to one’s birth place. This takes on added significance ahead of the 2024 Venice Biennale, where Gibson is set to make history as the first Indigenous artist to represent the United States with a solo presentation at its national pavilion. The milestone is not only monumental for Native Americans, but also a long-overdue moment in global history. This notion of overdue recognition resonates throughout “They Teach Love,” with captivating works like the psychedelic monoprints of Look How Far We’ve Come (2016) and the large, digitally printed garments of Stand Your Ground (2019).

As visitors stand at the entrance of “They Teach Love,” they are guided into the main gallery, where 50 oversized garments, born from a powerful performance, hang suspended from the ceiling. Titled To Name Another (2019), the installation features garments previously worn and brought to life through the bold, digital text phrases—like “they fight for the land” and “they choose their family”—printed on them, which have previously been spoken aloud by performers who identify as LGBTQ, Indigenous, Native American, and people of color. Elk hide drums, screenprinted with corresponding graphic statements were also featured in the performances, creating a dynamic, sensory-rich experience.

Now, the garments hang as a testament to that living dialogue, continuing to amplify voices often unheard. Through this fusion of visual and performance art, Gibson invites viewers to engage with his belief that collaborative actions can decolonize minds, institutions, and, in turn, shape a future we collectively aspire to inhabit.

The vibrant energy of To Name Another extends beyond the gallery walls and into the programming of “They Teach Love.” A panel discussion on ideas of adornment, individuality, and community, moderated by Michael Holloman, a member of the Confederated Colville Tribe and coordinator of Native arts outreach and education at WSU, invited fellow Native scholars to join Gibson and share their perspectives on Indigenous and generational relationships to clothing and fashion. Historian Nakia Williamson-Cloud and Native American Women’s Association president Fabian Sanchez Mondejar explored specific textiles in Gibson’s show, such as the printed chiffon and repurposed Japanese fabric in A Wag A Wit A Witness (2018) and the holographic vinyl and druzy beading in Double Fortune (2022).

Throughout the discussion, Gibson offered personal insights, including reflections on the clothing he now creates and childhood memories of the garments he saw upon travelling to Oklahoma during powwow season.

“I just remember being fascinated by everybody’s regalia,” Gibson recalled. “This notion of how tribal people, Native people, Indigenous people...move forward with contemporary times has always been of interest to me. Clothing and garments would be one of those things, yet I’m not making things for the powwow. One of the first questions is how, if I make a garment, is it more related to sculpture or to performance than it is to powwow? I started thinking about those things. If I look at traditional regalia, and how people signify who they are in their color choices and their beadwork, I have to turn that question back on myself.”

Exclusively curated from the distinguished collections of Jordan D. Schnitzer and his family’s foundation, “They Teach Love” stands as an emblem of artistic collaboration and philanthropy. Schnitzer has a strong relationship with Gibson, characterized by mutual respect and a shared commitment to breaking new ground. This was evident during my visit as I witnessed their impassioned discussions about the creative ceilings that Gibson has had to shatter throughout his career.

With over 40 of Gibson’s works spanning 2008 to 2023, Schnitzer possesses the largest private collection of Gibson’s oeuvre. (The works are a notable component of Schnitzer’s expansive Native American collection, which is only growing.)

“For me, Jeffrey’s work transcends time and place, and yet deals in a contemporary way with issues facing our country,” Schnitzer said. “A huge issue is that we are divided. The impact of opinions, stereotyping, information, misinformation…Art is the bridge that allows us to deal with difficult subjects in a collegial and constructive way instead.

“Our collection of Jeffrey’s is protected forever,” Schnitzer continued, “and therefore his artwork will always be there for audiences to understand his time and place, the themes that he felt were important for his history, his culture’s history, his thoughts, and the time in which we all live now.”