Mixed Race Studies

At Peace With Many Tribes

The New York Times
2013-05-19

Carol Kino

HUDSON, N.Y. — One sunny afternoon early this month Jeffrey Gibson paced around his studio, trying to keep track of which of his artworks was going where.

Luminous geometric abstractions, meticulously painted on deer hide, that hung in one room were about to be picked up for an art fair. In another sat Mr. Gibson’s outsize rendition of a parfleche trunk, a traditional American Indian rawhide carrying case, covered with Malevich-like shapes, which would be shipped to New York for a solo exhibition at the National Academy Museum. Two Delaunay-esque abstractions made with acrylic on unstretched elk hides had already been sent to a museum in Ottawa, but the air was still suffused with the incense-like fragrance of the smoke used to color the skins.

“If you’d told me five years ago that this was where my work was going to lead,” said Mr. Gibson, gesturing to other pieces, including two beaded punching bags and a cluster of painted drums, “I never would have believed it.” Now 41, he is a member of the Mississippi Band of Choctaw Indians and half-Cherokee. But for years, he said, he resisted the impulse to quote traditional Indian art, just as he had rejected the pressure he’d felt in art school to make work that reflected his so-called identity…

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The Graffitist Who Moved Indoors

The New York Times
2013-03-28

Carol Kino

SAN FRANCISCO — “This is one of my favorite things to do,” Barry McGee said as he drove along the Bayshore Freeway on a glowering winter day, pointing out random patches of new graffiti. He was supposed to be talking about his traveling midcareer retrospective, which opens Saturday at the Institute of Contemporary Art in Boston. Instead, he was revisiting some of the places where he’d spent time in the late 1980s and early ’90s, as he rose to prominence as the graffiti artist known as Twist.

“That was the key, to have every rooftop in San Francisco,” Mr. McGee reminisced as he took an off-ramp down toward the industrial reaches of the Mission District, one of many places where he and his crew once tagged the road, safety barriers and every visible roof below. “It seems completely ridiculous now,” he said, laughing, “but then it was the most important thing.”

Since those days, the whole South of Market area, once known for its seediness, has been redeveloped, gentrified. Mr. McGee had to drive past several blocks of trendy loft buildings before finding a slice of ruined waterfront that resembled the streets he once roamed. He finally stopped at a crumbling warehouse by the bay…

…But perhaps the person with the biggest expectations is Mr. McGee himself.

He grew up in South San Francisco, the child of a Chinese-American secretary and an Irish-American father who worked in auto body shops and collected junked hot rods. As a teenager, he was fascinated by the anarchic tactics of the Bay Area’s activist groups, some of which were spray-painting anti-government slogans on banks and underpasses. (Unsurprisingly, one of his favorite words is “radical.”)

A friend introduced him to graffiti and Mr. McGee, who had “always drawn,” said his creative life took off. “It was really empowering,” he said. “I really thought I was doing art on the street.”…

Read the entire article here. View the slide show here.