April 12 – October 12, 2008

The art of Earl Biss, Jr. (Crow/Chippewa) represents an important departure from traditional approaches to Native American art. A central figure during the 1960s along with Fritz Scholder, T.C. Cannon, and Kevin Red Star, he contributed to changing the face of Indian and Southwest Art. Considered one of the foremost Indian painters of his time, Biss received a classical education in the arts at the Institute of American Indian Arts in Santa Fe. Studying under Fritz Scholder, he was exposed to Abstract Expressionism as an emotional outlet and using this tool he presented a contemporary Native American perspective, portraying in a modern visual language the Indian living in the modern world. After graduating, Biss attended the San Francisco Art Institute on a scholarship. In a subsequent year of independent study in Europe he frequented museums and painted, maintaining a studio in the Netherlands and painting on the Greek island of Corfu for six months. Influenced by the European masters, Biss also considered as creative influences Joseph M.Turner, the Fauvists, and Edvard Munch, along with Jackson Pollack and Willem DeKooning. Though primarily a painter, his drawings reflect the same responsive and expressive qualities, with a focus on gesture rather than detail.

Earl Biss was born in Renton, Washington in 1947, a descendant of Chief White Man Runs Him who was contracted by the U.S. government to track the Sioux for General George Custer. Earl was given the name “Meadow Lark Boy” as a child and was raised by his grandmother at

Crow Agency, Montana. He contracted rheumatic fever at age eight and was taken out of school, filling his time with drawing and painting.

After he married, according to tribal custom Biss took a new name “Spotted Horse”. As a member of the Crow Nation he frequently returned to the Montana reservation to live and work. Inspired by tribal legends and the history of his people, as well as the mountains he roamed, he found material for his work. His subject matter is drawn from the landscape and the rich spiritual background of his people. He considered his work as abstract expressionism, though it is representational. He began with specific ideas, representing them in abstraction, universalizing his experiences. His art is both Indian and not Indian, representing a common spirituality.

I am not concerned with capturing the outward image of nature, but rather those powers or forces of nature which play such an important part or basis for the way things are. A concept of reality drawn from spontaneous abstractions, and controlled with the subtlety I wield as the creator. Earl Biss

These forces of nature become visible in his drawings. Lines dance across the paper in free-flowing movements generating a sense of energy, liveliness, and rhythm, creating a kind of visual poetry. The moods of joy, sorrow, and wonder reflect the Crow Indian people, yet are common to all. Subtle but powerful, these images are universal - glimpses of ephemeral moments reflecting the transience of time.

Works by Earl Biss hang in museums around the world. His critical place in the rise of contemporary Native American art stands as a tribute to his creativity. He died of a stroke in 1998 at the age of 51, in his studio, painting.

The exhibition runs April 12, 2008 through October 12, 2008

April 19, 2008 – July 13, 2008

Thirty-five participating artists contributed 144 pieces of art to the show, including featured artist Tim Shinabarger. Works by Hollis Williford, Rendezvous 1988, are also featured and serve as a celebration of the life and work of this great artist. Rendezvous 2008 includes the Rendezvous Legacies gallery featuring past Rendezvous artists’ works from the Gilcrease collection.

Rendezvous 2008 will open to the public on April 19 and continue through July 13, 2008. Works not sold at the opening art sale and gala dinner (April 18th) will be available for purchase throughout the exhibition by calling the Gilcrease Museum Shop at 918.596.2725.

Click here to preview the artists’ bios and artwork in the show.

All works are subject to availability.

July 1, 2008 – January 25, 2009

The life and excitement of the 101 Ranch will come alive this summer with the opening of 101 Ranch: The Real Wild West on July 1 running through January 25, 2009.

Valued at more than $2 million, over 3,700 pieces make up the collection that was acquired from 101 Ranch experts Ruth and Jerry Murphey, and was made possible by support from Randi and Fred Wightman, the Gilcrease Museum Endowment Trust, and the City of Tulsa.

Through the collection, Gilcrease acquired thousands of rare photographs, including many that are one-of-a-kind, numerous posters and costumes, along with dozens of firearms once used in the show. The collection also includes rare glimpses into life on the thriving ranch through hundreds of artifacts and memorabilia from the ranch.

The Murpheys wanted their collection to stay intact and reside in Oklahoma, the home of the 101 Ranch. Their collection represents a lifetime collecting 101 Ranch related items, beginning when Jerry was just 15 years old. Jerry Murphey’s interest was sparked by his grandmother’s background as an American Indian performer with the “Miller Brother’s Real Wild West” show.

Started in the late 1800s by Col. George C. Miller, the 101 Ranch rose to prominence near present day Ponca City. Through the turn-of-the-century, Miller’s three sons – Joe, George, and Zack – expanded their father’s holdings to some 110,000 acres and became one of the most prominent and profitable ranching and farming enterprises of its time.

In 1905, the Miller Brothers created the “Miller Brother’s Real Wild West,” a wild west show that featured 101 cowboys like Tom Mix, Hoot Gibson, Yakima Cannutt and Bill Pickett. The show also featured notables like Stack Lee, Tex Cooper, Zack Miller and sharpshooter Lillian Smith, known the world over as “Princess Wenona.”

The 101 Ranch also grew famous for the number of feature films shot on location at the Oklahoma ranch. Filmmakers found the setting ideal, along with the fact it was a working ranch full of its own hoards of steer, buffalo, cowboys and Native American performers, and acres upon acres on which to film.

101 Ranch: The Real Wild West includes over 300 items relating to the 101 Ranch and its Wild West Show.

Gilcrease Museum will host a number of programs related to 101 Ranch: The Real Wild West throughout the run of the exhibition, including a lecture from the 101 Ranch Old Timer’s Association. For more information on the group, visit www.101ranchota.com.

101 Ranch: The Real Wild West is presented by The Commonwealth Foundation, Janet and Frederick Drummond, The Stuart Family Foundation, The David E. and Cassie L. Temple Foundation, Randi and Fred Wightman and Mollie B. Williford. 

August 14, 2008 – January 4, 2009

The Gilcrease Museum is pleased to present a special exhibition featuring 138 iconic prints by the hand of master photographer, Ansel Adams. The works are on loan from the Meredith Collection, Austin, Texas.

Throughout his prolific career, Ansel Adams celebrated the beauty of America’s magnificent landscapes and the spirit of its people. His beloved Yosemite National Park; his hometown, San Francisco; and the vistas of the American Southwest play significant roles in this encyclopedic collection.

Adams was also a keen conservationist, environmental lobbyist and spokesperson for the Sierra Club. His haunting photographs documented a passing natural world and a spirit of place few individuals have experienced first hand.

Plan on exploring the world of this 20th Century Master and enjoying the breathtaking scenic beauty of America.

Gilcrease Museum exhibits student art year-around in the Student Art Gallery. Schools and organizations are invited to submit their proposals.
Learn more.