Featured Exhibit
I'm So Bored with the USA
Gregg Deal, (Pyramid Lake Paiute Tribe) is a multi-disciplinary artist, activist, and "disruptor." I Am So Bored With The USA by Deal unapologetically reclaims Indigenous narratives, challenging the dominance of colonial histories. Heavily influenced by punk culture, the exhibition title references The Clash鈥檚 song 鈥淚鈥檓 So Bored With the U.S.A.鈥� Deal鈥檚 art dismantles stereotypes and questions the erasure of Indigenous identity in mainstream culture.
His practice鈥攕panning painting, sculpture, performance art, and music鈥攐perates as a potent protest. This exhibition brings forward the strength of Indigenous voices and the resilience that shapes them, positioning Indigenous representation not just as inclusion but as reclamation.
A special Art in Context lecture with Gregg Deal on Feb. 4 at 4:45 pm with a reception to follow. This event is free and open to the public.
Invisible Loss Movement, 2008 performance by Sage Deal and Gregg Deal
Events
Second Saturday Family Hour: 鈥淎ll About Me鈥� Zine
Join us as we create zines inspired by ourselves. A lot of Gregg Deal鈥檚 work explores his identity. This theme, along with the influence of punk culture, is the perfect mixture for a zine, a self-made magazine!
Using collage and drawing materials, kids will create a zine while thinking about who they are.
Don鈥檛 forget to join us for storytime with the Osterhout Free Library at 1 PM!
Art in Context Lecture Series: 鈥淐atlin Revisited: Interpreting the Artist and His Legacy from Indigenous America鈥� by Julia Grummitt, PhD
Artist George Catlin was born in Wilkes-Barre in 1796 and dedicated much of his career to depicting Native American life and culture, becoming the best-known 鈥淚ndian painter鈥� of the nineteenth-century United States. Catlin鈥檚 paintings aimed to preserve the traditions of Indigenous peoples facing displacement but also perpetuated racial stereotypes and reflected the colonial attitudes of his era. This presentation will examine Catlin鈥檚 complex legacy, tracing evolving scholarly interpretations of his work and highlighting how contemporary Indigenous artists engage with Catlin鈥檚 imagery to reframe persistent historical narratives and challenge ongoing legacies of colonization. These perspectives offer new insights into Catlin鈥檚 role in shaping representation and identity in Indigenous art.