Skip to main content

Tickets & Info

What might the idea of multiple or parallel universes look like? Artist Frank Big Bear’s new work presents an expansive view of life on Earth as it reflects the greater cosmos. Imagery related to space, science, popular culture, art history, and significant events of America’s past—from the Vietnam War, the American Indian Movement, and 9/11—span his composition of 432 collages.

Amid the dizzying array of pictures taken from books and magazines, Big Bear has included portraits of his family, other artists, and figures who have impacted his life. Clusters of plastic photo corners, like those used in keepsake albums, form shimmering constellations among his universal yet personal images.

For more than 40 years, the Minnesota-based artist’s intricate collages, paintings, and drawings have portrayed a world teeming with vitality, activity, and people. Raised on the White Earth Reservation and now residing in Duluth, Big Bear (b. 1953) lived in Minneapolis for decades, where he pursued his art while also working as a cab driver. These experiences, he says, profoundly influenced his artworks, which vibrate with the energy of contemporary urban life. The Walker Collage, Multiverse #10 inaugurates an annual series of commissions for this new space.

Project 1: Frank Big Bear, located in Target Project Space, is made possible by generous support from Caroline Amplatz.

Related articles

Out of Line: Nicholas Galanin Rejects the Traditional/Contemporary Binary

Out of Line: Nicholas Galanin Rejects the Traditional/Contemporary Binary

While Nicholas Galanin's art often melds seemingly disparate elements—an AR-15 modified with Tlingit engraving, a mashup of Princess Leia and a 1906 photo of a Hopi-Tew woman, a bear skin rug clad in a US flag—he rejects a binary often applied to his work: the one that divides it into contemporary and traditional elements. "Like colonial national borders cutting through land and people who have lived here longer than those invented lines, these lines drawn through creative production are also an attempt to control."
How Can Contemporary Art Be More Inclusive of Native Voices?

How Can Contemporary Art Be More Inclusive of Native Voices?

Why is Jimmie Durham the artist—or, at least, one of very few artists—selected for a major touring retrospective? Why isn’t more art by Native Americans collected, contextualized, and presented by major institutions? And why is there so little representation—both within museum staffs and in the critical art press that covers them—of Native American, First Nations, and indigenous peoples? In a recent Skype conversation, a panel of Native artists and thinkers—Kathleen Ash-Milby, Jeffrey Gibson, Luzene Hill, Dyani White Hawk, and Candessa Tehee—address these questions.
“The Most American Thing Ever Is in Fact American Indians”

“The Most American Thing Ever Is in Fact American Indians”

How is it that Indians are present everywhere—in place names, popular culture, advertising, sports team names, weapons systems—yet barely present in history and largely absent from the great national debates of our time? At his August 31 talk, author and curator Paul Chaat Smith examined this question through twin lenses: Americans, the new show he curated at the National Museum of the American Indian, and the controversy surrounding the identity of Jimmie Durham, an artist whose Cherokee heritage has been questioned.

Dates & Tickets

No dates are currently available for this event.