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Catherine Black Horse: The Power of Blessings & Beauty
January 22, 2018 –March 17, 2018
Please join us for a Closing Reception on Wednesday, March 14 from 5-7pm.

“Designing my dresses is a gift from Creator. I pray, and the dress tells me what it wants to be. I have made dresses for Bundle-Holder Women on the Blood Reserve and Blackfeet Reservation as gifts from Creator to bless them for their heart and prayers for our Indian people.” ~ Catherine Black Horse

Catherine Black Horse is enrolled in the Seminole Nation of Oklahoma and a member of the Tom Palmer Band and the Beaver Clan. She is a self-taught artist who is known for her traditional dresses and bold paintings. When creating her dresses she uses materials dating from the 1800’s including fine wool, silk, ribbons, metal sequins, dentallium shells, real elk teeth and antique thimbles. Black Horse’s paintings reflect a contemporary abstract style that radiate beauty with balance. Featuring a single subject in the center of the canvas, Black Horse ad's natural elements and traditional shapes to the foreground. Here color schemes are simple yet striking, producing a powerful image for the audience to reflect upon.

Though she is a relative new come to two dimensional art, Black Horse’s traditional dresses have won numerous prestigious awards across the country. Her work was chosen for First Place in 2007 and Second Place in 2011 at the Santa Fe Indian Market and the artist won Best of Division at the 2011 Autry Museum Intertribal Market Place. She has also exhibited her work in the Santa Fe Indian Art Market Native American Clothing Contest where her dresses, modeled by her daughters Bree and Victoria, have received multiple awards. Catherine also placed First at the Eiteljorg Museum Indian Art Market in 2004, was awarded Best of Classification at the Heard Museum Indian Art Market in 2012, and Best of Division at the Heard Museum and Santa Fe Indian Art Markets in 2014.

Museums also recognize Black Horse’s talent. The National Museum of the American Indian at the Smithsonian Institute in Washington D.C. selected her as a featured artist in 2007. The Heard Museum selected the artist to collaborate on a Trail of Painted Ponies design for the 54th Annual Heard Indian Fair and Market in 2008 to benefit Native American scholarships. She is an alumni of Willamette University where she serves on the Willamette University Native American Advisory Board and resides in western Washington with her husband who is also an artist, Terrance Guardipee.


Old Thoughts & New Visions: Terrance Guardipee
January 22, 2018 –March 17, 2018
Please join us for a Closing Reception on Wednesday, March 14 from 5-7pm.

Terrance Guardipee is an internationally acclaimed Blackfeet painter and ledger artist, consistently recognized for the traditional depiction of his Blackfeet heritage and contemporary innovation demonstrated in his work. Terrance was one of the first Native artists to revive the historical ledger art tradition, and was the first ledger artist to transform the style from the single page custom into his signature map collage concept. The map collage concept is based in the ledger art style, but incorporates various antique documents such as maps, war rations, checks, in addition to single page ledgers. Terrance utilizes antique documents in all of his artwork, dating from the mid-19th century, and typically originating from the historical and present Blackfeet homeland of Montana.

Guardipee was raised in the Blackfeet homeland in northern Montana. The contemporary cultural life and history of the Blackfeet people became a foundational part of Terrance’s identity which is expressed in his work. He is an enrolled member of the Blackfeet Nation and regularly participates in the traditional Blackfeet ceremonies. He attended the Institute of American Indian Arts located in Santa Fe, New Mexico, where he studied two-dimensional arts. His educational experience at IAIA enabled Terrance to incorporate the contemporary color palate he is known for in a manner that is consistent with Blackfeet tradition. Presently, Terrance resides in Seattle, Washington with his wife Catherine Black Horse.

The innovation Terrance Guardipee has demonstrated in his artwork is recognized by numerous museums, prominent Indian art markets, and private collectors alike. His work is featured in the permanent collections of prestigious institutions such as the Smithsonian Institute, Gene Autry Museum, Hood Museum at Dartmouth College, and the Museum of Natural History in Hanover, Germany. Terrance was the featured artist at the National Museum of the American Indian in 2007, and was selected to create an image for The Trail of Painted Ponies at the 2008 50th Anniversary Heard Museum Indian Art Market. In addition, at the 2008 Santa Fe Indian Art Market, Terrance was awarded first place in his category and best of division. In recognition of the ledger art style, the Santa Fe Indian Art Market has established a category specifically for ledger artists, and Terrance has placed first in this category since its commencement in 2009. The leading institutions in the Native art community consistently acknowledge Terrance’s innovative incorporation of authentic Blackfeet images into his own contemporary form of art.


21st Century Swag: Dwayne Wilcox
January 22, 2018 –March 17, 2018
Please join us for a Closing Reception on Wednesday, March 14 from 5-7pm.


Dwayne Wilcox’s ledger drawings are compelling, multi-layered, and beautifully executed. Each humorous work begins with a story that draws the viewer in, usually by way of a cultural reference such as a powwow, a biographical reference, or a historical reference. Although his ledger art is immediately laugh-out-loud amusing in the way it pokes fun at white and native cultures, the viewer will find many layers of meaning beneath the surface of the cleverly presented stories. Wilcox’s newest work in this exhibition features three-dimensional pieces including embellished ledger book covers, early 20th century hats and a shield inspired by an original 19th century ledger drawing by Red Dog. Wilcox’s chosen medium is ledger paper, and he uses this historic medium to convey, in the most contemporary way, a living culture through humor, dance, or vices of the modern times. The artist’s goal is to share a continuing view of how natives see the European culture and to reverse the paradigm.

“Pictographs, our traditional visual language, were once put on familiar things such as hides. That changed with the disappearance of the bison and the loss of freedom to hunt when the reservations bound the native people. The first paper on the Great Plains was found in used ledger books from white merchants. That paper became a new medium to my people, in addition to the colored pencils and inks available for trade. Like beads and beadwork, which were also traded, paper from ledgers has become a traditional form of art called ledger art.”
-Dwayne Wilcox, 2018

Dwayne Wilcox is an enrolled member of the Oglala Lakota and was born in Kadoka, SD 1957. His family is from Wanblee, SD and he attended Crazy Horse High school. Following graduation, Chuck enlisted in the military for four years. His wife was a career military member and they have lived in Colorado, South Carolina, Maryland and Montana. Wilcox has been a full-time professional artist since 1987, but has always been a lifelong producer of art.  While he has no formal art training, Wilcox had his first commissioned art piece  in 1974. Both private and public collections boast his work including the Smithsonian Institution, National Cowboy & Western Heritage Museum in Oklahoma City, Missoula Art Museum, Charles M Russell Museum, University Of Missouri At Saint Louis, South Dakota State University, Red Cloud Indian School Heritage Center, Akta Lakota Museum, United Tribes Museum, Hood Museum of Art at Dartmouth, Peabody Museum, Harvard University Cambridge Massachusetts and many others. Wilcox has won many awards and is featured in numerous publications.


Maria Wimmer: Suburban Whimsy
November 16, 2017– February 2, 2018

“I want people to go there and find something they connect with. They can find a deeper meaning or can find it charming or whimsical. Either is fine with me. Hopefully they’ll do both.”
- Maria Rose Wimmer

Suburban Whimsy is a collection of twenty vibrantly colored acrylic ink on canvas paintings which summon a playful vintage illustrative aesthetic. The work pairs seemingly disparate subjects like dinosaurs and human infants setting the stage for multiple narratives. Light-hearted on the surface, Wimmer’s subject matter evokes a darker undertone; which invites the viewer to consider deeper themes such as: isolation, a quest for perfection, and the loss of childhood dreams. The paintings may appear Surrealist in nature, but rather than looking for inspiration from dreams, Wimmer creates metaphors pulled from real life experiences including motherhood, death and the predictability of suburban life. By coupling these often heavy topics with playful imagery set against a stark white background, Wimmer challenges the viewer to discover their own personal metaphors. What does the work mean to you? Why was this made? What comes next?

Maria Rose Wimmer was born in Havre, Montana and has worked and lived throughout the West. She began formal art training at age thirteen. In 1999 she attended college at Eastern New Mexico University on the Lorraine Schula Scholarship for Art. Maria Rose Wimmer later received a BA from the University of Montana and her Master’s Degree in Art History from the University of Denver. She moved to Casper, Wyoming in 2009 and teaches at Casper College and Southern New Hampshire University. Her work has been displayed regionally and nationally, including several group shows and solo exhibitions. Maria Rose Wimmer’s work can be found in private collections throughout North America, Europe, Asia and Australia.


E. K. Wimmer: Path of Destruction
November 16, 2017– February 2, 2018

“The Path of Destruction” is a collection of hand-cut analog collages that were created over the course of three years. Each work was designed with intention and uniformly presented to create visual flow as a cohesive group; sharing similar sociological subject matter like abandonment and depression while surveying the adverse effects of isolation, introversion and paranoia. What started as a means to cope with dissolving friendships and the death of loved ones developed into a recognition that loss is not necessarily an unhealthy experience, but rather, it can be a catalyst for positive growth. Several recurring themes such as metamorphosis, animals, masks and the supernatural work to construct a larger narrative about allowing one’s self to transform through loss and use those experiences to examine the meaning and purpose behind each occurrence. Both deeply personal and universally relatable, “The Path of Destruction” offers the viewer an opportunity to question how loss has and will continue to shape their own path.

E.K. Wimmer is a multi-media artist, film composer and curator currently serving as Chief Curator of Art for the Nicolaysen Art Museum in Casper, Wyoming. He was born in New York, was raised in New Mexico and has lived throughout the West. He studied photography at Eastern New Mexico University and Art History at the University of Montana. E.K. received his MA from the School of Art and Art History at the University of Denver. In addition to collage, he works in other disciplines including photography, video installation, painting, film composition and printmaking. His work has been included in numerous group and solo exhibitions throughout the United States and can be found in collections nationally, spanning New York City to Los Angeles, including the Wyoming State Museum. Internationally his work is held in Europe, Asia and Australia with work in the Permanent Collections of the Homna Art Museum in Japan and the Scandinavian Collage Museum in Norway.


Nancy Erickson: Encounters
November 15, 2017 - March 1, 2018

Paris Gibson Square Museum of Art is honored to present larger-than-life painted textiles and drawings by Nancy Erickson in her exhibition, Encounters.  Erickson’s works will be shown in the Wylder Gallery from November 15, 2017 through March 1, 2018.  Encounters is a touring exhibition that is brought to us through the Montana Art Gallery Directors Association (MAGDA.)  MAGDA is an organization devoted to providing professional development and resource sharing for galleries and museum throughout the state.

Erickson is nationally-recognized fiber artist who lives in Pattee Canyon outside of Missoula. She was raised on a cattle ranch near Livingston.  She holds a BA in Zoology and an MS in Nutrition from the University of Iowa and an MA and MFA from the University of Montana. Her work resides in numerous public and private collections and has been featured in over 500 exhibitions nationally and abroad, most recently in a fiber work symposium in Raleigh, NC, the Museum of Art & Design in NY, and in 2013 at the Montana Museum of Art & Culture. 

Erickson’s artwork recognizes the complex relationship between wild animals and humans. Since the 1960s, she has created remarkable fabric constructions, quilts, paintings, and drawings and is renowned for her pioneering free-floating quilted paintings.  This exhibition features her large-scale, free-form textile compositions which are inspired by the cave art found at Chauvet Pont d’Arc and Lascaux.


This programming is made possible by the generous support of our members and supporters, with ongoing support from the National Endowment for the Arts, the Montana Arts Council and Cascade County.

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