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Cover Image : Invisible Loss Movement, Performed in the Summer of 2008 by Sage Deal and Gregg Deal. 2008. Photograph.
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GREGG DEAL, Artist, Speaker, Disrupter
Acknowledgements
Heather Sincavage, MFA, Associate Professor of Art, Director/Curator Sordoni Art Gallery
The Sordoni Art Gallery opened its doors over 50 years ago, commencing with the work of Wilkes-Barre native George Catlin, an American artist renowned for his portraits of Native Americans. Catlin painted over 500 tribes in the United States, including members of the Paiute Tribe. As we begin 2025 and envision the next 50 years at the gallery, it feels particularly fitting to kick off this new chapter with the work of Gregg Deal, a member of the Pyramid Lake Paiute Tribe. Our approach at the Sordoni Gallery is rooted in honoring the lived experiences of all people, guiding us in our “Forever Forward” vision.
I first encountered Deal’s work at the Emmanuel Gallery, part of University of Colorado-Denver, and was introduced to him by director/curator Jeff Lambson. Lambson is an unwavering advocate of Deal’s and I appreciate all of his help in making this exhibition possible.
Gregg Deal’s exhibition, “I am so bored with the USA,” is a profound exploration of Indigenous identity that fearlessly addresses the complexities of contemporary American culture. Through a captivating fusion of visual art and performance, Deal challenges us to engage critically with the stereotypes and misconceptions that persist about Native peoples. His ironic use of media and intervention performances serve
as a powerful counterpoint to the often-overlooked narratives of Indigenous experiences, encouraging us to reevaluate the historical and cultural contexts we inhabit.
The exhibition’s dynamic compositions and striking visuals resonate deeply, amplifying the voices of those who have been marginalized. Deal masterfully intertwines personal narrative with broader social critique, fostering a space for dialogue that is both enriching and essential. He cultivates an environment where viewers can engage meaningfully with themes of identity, visibility, and the ongoing impacts of colonization.
I extend my heartfelt gratitude to Gregg Deal for his dedication to illuminating these crucial issues through his art. “I am so bored with the USA” is more than just an exhibition; it is a vital call to action, inspiring us to confront and engage with the narratives that shape our collective consciousness. This work stands as a testament to the transformative power of art as a catalyst for change and understanding.
Artist’s Statement: I’M SO BORED WITH THE U.S.A.
GREGG DEAl, Artist, Speaker, Disrupter
The perception of Native people often overshadows the reality of Native people. As a young person, I quickly recognized the political status as an Indigenous person before I truly understood it to be a factual position, canonized in the founding documents of the great experiment called the “United States of America.” As a child of the ‘80s and ‘90s, my own stark awareness of my place in this country became clear, as did my own sense of rebellion against it.
My existence as an Indigenous person is inherently political, and so it shines through in my work. It becomes part of the identifying factor of my own Indigeniety, informing all aspects of my life. It prompts a desire to educate myself past required schooling, to become familiar with history, along with the how’s, and who’s and where’s of it. It requires a constant state of discussion, critical thinking and consideration as I work out how to articulate myself visually through art mediums that excite me, and complete the task of that self expression.
In this artistic process, I find myself understanding history to the degree of finding redundancy in the fight. The demonization of marginalized peoples, Indigenous people among them, for the same arguments and excuses. The systemic existence of racial bias, and power structures that were clearly
not built for someone that looks like me. As I state this, I also recognize that this work, and these words are in one of these spaces. All is not loss. There are allies afoot, willing to trust and give chances to those of us working to fight the good fight, while simultaneously trying to find ourselves in the medium of visual arts.
Nevertheless, there is a frustration that exists in my own work, and if you pay attention enough you can see it. There is an exhaustion in the discourse, but not the kind of exhaustion that would denote fatigue. Instead it’s the kind of exhaustion that exists when someone is exasperated, and are actively rolling their eyes at having to continue to repeat themselves. I am hopeful that this won’t always be the case. I am hopeful that the Indigenous fight for equality, rights, existence and liberation will continue to move forward. I won’t stop my own articulation of what excites me and frustrates me. I’d be remiss if I didn’t admit that even in my love of work, life, my own people and family, fully recognizing my own privilege, and blessings that I am indeed so bored with the USA.
The Unapologetic Storyteller: Gregg Deal
Heather Sincavage, MFA, Associate Professor of Art, Director/Curator Sordoni Art Gallery
The notion that “history is written by the victors” is a widely discussed yet contentious perspective on historical interpretation. This idea implies that the narratives of the past are often shaped by those in power — political and cultural leaders — who can control how events are portrayed through different mediums. For instance, these leaders might author history books that celebrate their own achievements while casting the defeated in a negative light, thus influencing collective memory and understanding.
The American history many of us encounter in classrooms often reflects this issue. While students learn about the nation’s founding, there was little focus on the Indigenous peoples who originally inhabited the land or those who were forcibly brought here. Marginalized groups, often omitted from history books or reduced to fetishized representations in museums, have had to take on the responsibility of preserving their own narratives. Artist and Pyramid Lake Paiute tribe member, Gregg Deal emphasizes this need: “History is so much a part of what we do. It is actually a tool of survival. We
have to know our history so it can counter the things that you’re saying in the classroom and so that we can maintain our own dignity and our understanding. It frequently makes us the ‘expert in the room.’”1
Gregg Deal is a husband, father, artist, activist, and disruptor currently working outside of Denver, CO. His creative practice includes painting, sculpture, murals, design, spoken word, music, and performance art. All of these descriptors culminate into one powerful title: Storyteller.
The stories that Deal’s work addresses are the Native experience and its complex history of colonialism, which arguably go hand in hand. Deal is motivated to break apart the romanticism depicting Native people in art, photography, and cinema in order for a more accurate portrayal and inclusiveness. He states:
Inclusiveness feels simple to me. Recognizing Black and Brown people, different genders, sexual preferences, Women and their place in the society is paramount… inclusivity is a constant progressive effort. I am a firm believer that the progression
1. American Alliance of Museums. (2023, June 19). *#AAM2023 Keynote: Gregg Deal*. American Alliance of Museums. https://www.aam-us.org/2023/06/02/aam2023-keynote-gregg-deal/?gad_ source=1&gclid=Cj0KCQjw-uK0BhC0ARIsANQtgGPpzaGqaYlsvO2YKeZI5OTuLQbEptQ7JfKuonoSa4zZsjsczCPwKk
of elevating Indigenous people is recognizing their stake in these, our homelands. Supporting efforts of representation, systemic change and an overall effort toward equality for this country’s First Peoples.
-Gregg Deal, AAM2023
Keynote2
He acknowledges his work can be sometimes confrontational, but that could be a matter of who is listening. Despite that, he warns viewers to prepare to have their feelings hurt.3
Never Forget: Reclamation of Indigenous Culture
Gregg Deal’s artwork would not be described as polite or passive. Much of Deal’s inspiration is drawn from counterculture and punk movements, influenced by bands like Minor Threat, The Clash, and Black Flag. Gregg Deal’s references to punk music serve as a powerful commentary on Indigenous marginalization and the broader themes of rebellion and resistance.4 Punk music, known for its raw energy and antiestablishment ethos, resonates deeply with the struggles faced by Indigenous communities, who have historically fought against systemic oppression and cultural erasure. By aligning his work with the punk genre, Deal taps into a rich cultural narrative that emphasizes defiance and authenticity, positioning Indigenous voices within a larger context of resistance against societal norms.
The Clash’s confrontational lyrics and Minor Threat’s advocacy for personal and political freedom echo the urgency of Deal’s message, highlighting the need for visibility and agency in a world that often seeks to render Indigenous experiences invisible. This intersection of punk and Indigenous identity underscores the complexities of cultural expression, revealing how art can serve as a conduit for activism.5 Deal’s artistic choices not only amplify his critique of marginalization but also invite a reexamination of the punk movement itself, suggesting that the ethos of rebellion can be a unifying force in the fight against oppression. By weaving these influences into his work, Deal challenges audiences to consider the broader implications of resistance, urging a dialogue that recognizes the intersections of culture, identity, and social justice. This multidimensional approach highlights the transformative potential of art as a means of advocacy, reinforcing the significance of Indigenous perspectives in contemporary discourse.
Gregg Deal’s incorporation of Indigenous textile patterns into his artwork serves as a potent form of activism, intertwining cultural heritage with contemporary social commentary. By utilizing these patterns coupled with appropriated media from comic books, sports team logos, and film, Deal not only celebrates the richness of Indigenous traditions
Jomei, K. (n.d.). End of silence: A punk survey of Gregg Deal [Interview; Photo by W.
Birdy Magazine. Retrieved from https://www.birdymagazine.com/text/end-of-silence-apunk-survey-of-gregg-deal-interview-by-krysti-jomei-photo-by-wes-magyar/ 5. ibid 5 6
Magyar].
but also challenges the commodification and appropriation of Indigenous identities. The textiles become a visual language through which he asserts the importance of representation and the reclamation of narrative. Each pattern carries historical significance, evoking ancestral stories and connections that are often overlooked in mainstream discourse. Through this lens, Deal’s work becomes a means of resistance, asserting the visibility and validity of Indigenous experiences in a world that frequently seeks to silence them. This intentional integration of textile patterning fosters a dialogue about cultural resilience, inviting audiences to engage with the complexities of identity while acknowledging the ongoing impacts of colonialism. In bridging past and present, Deal not only honors his heritage but also calls for a deeper understanding of Indigenous issues, encouraging viewers to reflect on their own connections to culture and community.
performance as a medium of resistance. As a result, Deal developed the concept for his renowned 2013-2014 performance, The Last American Indian on Earth.
The Last American Indian on Earth: Existence as Protest
Awarded with a fellowship from the Ford Foundation, Gregg Deal’s mentorship under James Luna profoundly shaped his artistic trajectory. Deal accompanied Luna during his participation in the
Venice Biennale in 2005. Luna’s “multimedia installation, Emendatio, challenges mainstream assumptions about Native people and pays tribute to Pablo Tac, a 19th-century Luiseiio Indian who traveled to Rome,”7 per a press release from the Smithsonian National Museum of the American Indian. Luna, a pioneering Indigenous artist known for his incisive commentary on identity and cultural representation as well as the first Indigenous person to represent the United States at the Venice Biennale, provided Deal with invaluable insights into the power of
6. Fogden, Katherine. James Luna performing Emendatio at the Smithsonian’s National Museum of the American Indian in Washington D.C. Photograph. New York, 2005. New York.
7. Vargas, T. (2014, February 13). ‘Last American Indian’ finds challenges in performance art. The Washington Post. https://www.washingtonpost.com/lifestyle/magazine/last-americanindian-finds-challenges-in-performance-art/2014/02/13/08b88100-82ba-11e3-8099-9181471f7aaf_ story.html
In this work, he addresses critical issues such as stereotypes, the realities of modern Indigenous existence, and the inequities that Native peoples encounter in public life. Deal navigates public spaces clad in exaggerated stereotypic Indigenous attire, confronting audiences with a striking embodiment of the harmful stereotypes that persist about Native Americans.8 This performance sheds light on the microaggressions and misconceptions that Indigenous peoples encounter in contemporary society, while also delving into themes of Indigenous identity, and the systemic inequities they face within mainstream culture. Ultimately, Deal’s work is a direct challenge to how the public perceives and interacts with Native peoples, urging a critical examination of the impact of these stereotypic images on their lived realities.
complexities of modern existence. As he navigates performance as a public intervention, Deal’s work resonates deeply, prompting conversations that extend beyond the performance itself, asking the viewer to examine their own behaviors. His ability to engage
The Last American Indian on Earth garnered national acclaim for its bold exploration of identity and cultural commentary. In this provocative piece, Deal positions himself as a contemporary Indigenous figure grappling with the weight of history and the
with pressing social issues through art underscores his vital role in reshaping the narrative around Indigenous identity in contemporary society, solidifying his place as a leading voice in the national art scene. Guillermo Gómez-Peña and Coco Fusco’s collaborative 1992 performance, Couple in a Cage serves as a crucial prologue to the discourse of Indigenous art activism, laying foundational concepts that resonate powerfully with the work of artists like Gregg Deal.8 In this groundbreaking performance, Gómez-Peña/Fusco
8. Workneh, L. (2014, August 25). Native artist Gregg Deal says he wants people to confront the R-word. HuffPost. https://www.huffpost.com/entry/gregg-deal-redskin_n_5711845
Coco Fusco / Artists Rights Society (ARS), New York.9
embodied the objectification and commodification of Indigenous peoples, critiquing the ways in which colonial narratives have shaped perceptions of identity. By placing themselves in a literal cage, they illuminated the absurdity and violence inherent in viewing Indigenous culture through a lens of spectacle.10 This act of provocation echoes in Deal’s own artistic endeavors, where he confronts the ongoing legacies of colonialism and systemic erasure. Much like Gómez-Peña/Fusco, Deal utilizes performance to reclaim space, challenging audiences to confront uncomfortable truths about history and identity. Through their respective works, each artist not only highlights the struggles of Indigenous communities but also inspires a new generation of activists and artists to use their voices and platforms as instruments of resistance and empowerment. GómezPeña/Fusco’s innovative approach laid the groundwork for the kind of bold, critical engagement that Deal embodies, creating a lineage
of art activism that continues to evolve and inspire.
Gregg Deal’s Invisible Loss Movement performance serves as a metaphor for existence. It captures the feeling of being present, yet overlooked and not truly seen. This work is influenced by powwow culture, although certain elements have been intentionally stripped away. Visually, the outfits lack color; typically, color plays a vital role in these garments, enhancing the movement of dance and ceremony. However, in this instance, all color has been removed—featuring only black beadwork, black ribbon work, and black leather. This culminates in an outfit that, even in sunlight, renders the performers almost like silhouettes.
Invisible Loss Movement intentionally conceals certain aspects of the performance from the audience. Each performer wears headphones, moving to rhythms that are audible only to
them. For viewers, the primary auditory element is the gentle jingling of the regalia. These carefully curated sounds evoke a profound sense of loss and absence, mirroring the visual theme of invisibility. Whether they manifest as subtle, haunting echoes or rhythmic patterns, these sounds enhance the emotional depth of the performance, inviting audiences to engage with the intricate complexities of Indigenous identity and trauma. This dynamic interplay between sound and movement creates an immersive experience, encouraging viewers to reflect on the historical silencing of Indigenous voices and fostering a deeper appreciation for resilience.
Dead Pioneers: Vehicle for Change
Gregg Deal’s band, Dead Pioneers, emerged as a dynamic extension of his performance art, seamlessly blending music with critical cultural commentary. Rooted in the same themes of identity and resistance that define his visual work, the band’s sound acts as a powerful platform for addressing the complexities of Indigenous experience. Deal harnesses the raw energy of punk and alternative influences to challenge prevailing narratives, using lyrics that provoke thought and evoke emotion. Just as his performance art confronts the legacies of colonization and systemic marginalization, Dead Pioneers engages audiences in a visceral dialogue about survival, resilience, and reclamation of voice. This musical endeavor not only amplifies his artistic vision but also creates a space for collective expression and
solidarity, inviting listeners to reflect on the intersections of culture, history, and identity in a contemporary context. Through Dead Pioneers, Deal continues to assert that art, in all its forms, can be a powerful vehicle for activism and change.
In sum, Gregg Deal’s multifaceted approach to activism—encompassing visual art, performance, and music— embodies a profound commitment to reclaiming Indigenous narratives and fostering dialogue about cultural identity. Through his striking imagery and powerful performances, Deal challenges dominant historical narratives and confronts the ongoing impacts of colonization. His work serves as a catalyst for reflection and understanding, inviting audiences to engage with complex issues surrounding Indigenous identity, trauma, and resilience. By intertwining personal and collective histories, Deal not only amplifies marginalized voices but also inspires a new generation of artists and activists to use their platforms for social change. Ultimately, his activism transcends art; it becomes a vital expression of survival and empowerment, urging us all to participate in the critical conversations that shape our shared humanity.
I Am visible, yet invisible. i exist, but I don’t exist. i am here but i am not here. i am a shadow. i am nobody..... from Invisible Eulogy, 2019
TEXTILE & PATTERN
Never Forget
acrylic, ink and enamel on canvas
300 x 96”
Untitled (Abstract)
Untitled
acrylic, ink, 24k gold leaf on paper
22 x 30”
acrylic on canvas
67 x 64” 2023
Textile Series #3 (cross, claw, and arrows)
approx. 30 × 9” 2022
Textile Series No. 2 (#’s 1-4)
black and white acrylic gesso, acrylic paint and ink on canvas
61 x 50”
2021
Indigenous Flag
acrylic, ink and enamel on canvas
300 x 96”
The commodification of the indigineous image....the image that is perpetuated through American culture, that can only exist in headdress or single feather coming from the back of your head. You have to dress a certain way, or talk a certain way in order to be considered an indigineous person.
from The Last American Indian On Earth (TLAIOE)
2013/14
Existence as Protest
acrylic on panel
18 x 24”
2022
Marigold
acrylic on panel
18 x 24”
2022
Colonialism Spray Can
acrylic on panel
18 x 24”
2022
Untitled (flower)
acrylic on panel
18 x 24”
2022
Indigenous Beauty is Older Than America
screen print, acrylic, spray paint, enamel and grease marker on cotton rag paper
20 x 30”
System
acrylic, grease marker, and ink on canvas
30 x 40”
2023
The Punch Line (Minutemen)
Got Each Other (Interrupters)
acrylic on canvas
x 96”
acrylic and ink on canvas
x 48”
American Fascism
I am so bored with the USA
acrylic and ink on canvas
x 48”
x 48”
The
weight and measure of being indigenous is no joke. the words we have for ourselves often mean people are human beings, numu. but human beings in this western landscape did not include us...
from Indian Pedigree, 2018
Free Fall or The Most Dangerous and Insecure Parachute in America
mixed media (found cabinet, toy figurines, acrylic paint, horsehair, and bullet casings)
25 x 20 x 3.75” 2022
The Space Where
Spirits Get Eaten
wooden chairs, hardware, stain, human hair
2022
Things Happened
The Space Where Spirits Get Eaten NO.2
The foundation of this country is rooted in slavery and genocide born in the bosom of colonialism America places the original inhabitants as foreigners in their own lands Don’t be scared of learning the whole historical story, it’s not going to hurt you.
from TIRED - Dead Pioneers 2023
Invisible Loss Movement
The Invisible Series is about existing, but not existing. It’s about being visible but invisible. A piece that is both literal and metaphorical, it uses the familiar image of Indigenous dance, spoken word, song, drum and occupying space physically and auditorily while taking away various things that inform the what is traditionally like color, music and environment. Using light to take away from the already monochromatic regalia creates play on shadow, light and definition, all standing as a metaphor to the Indigenous existence as we know it in the United States.
The Whites Are Coming/Spectator Sport is a twopart performance by Gregg Deal, a Colorado-based artist and member of the Pyramid Lake Paiute Tribe. Taking place in Trinidad, Colorado, during the Bicentennial Anniversary Celebration of the Santa Fe Trail, the performance acknowledges the ongoing erasure of Indigenous peoples in the American West. The Santa Fe Trail served as a trade route (1821 – 1880) that connected Missouri to Santa Fe, New Mexico and played a key role in colonial expansion. In direct response to the trail’s 200th anniversary, Deal’s instigative performance centers on the presence of Indigenous peoples to demonstrate the displacement and subjugation of Native communities, both historically and presently.
Dressed in traditional and modern-day regalia, the cast of Indigenous performers are positioned like spectators at a sporting event—sitting on bleachers and watching passersby celebrate a trail located on land first stewarded by Indigenous peoples. The latter part of the performance, features Deal as his newest performative character, Pudusoo (Paiute for “In A While”), an optimistic embodiment of the Indigenous future.
THE WHITES ARE COMING 2021
The Last American Indian On Earth (TLAIOE)
The Last American Indian On Earth (TLAIOE) is Gregg Deal’s first performance piece, produced between 2013 and 2014. Tackling issues like stereotype, modern Indigenous existence and the inequities Native people openly face in the public. TLAIOE turned into a strange but poignant social project pinpointing the micro-aggressions Native people face while simultaneously facing American culture’s perception of Indigenous people.
MODERN Indigenous LIVING
In the performance, Modern Indigenous Living, Gregg Deal critiques stereotypes of Native identity by reimagining symbols like the teepee—adorned with graffiti and surveillance cameras—to highlight misconceptions. Although Paiutes, Deal’s tribe, do not use teepees, he leverages this symbol of “Indigeneity” to challenge non-Native perceptions. Deal integrates his community’s basket designs into furniture and reclaims 1940s-50s comic imagery in paintings where punk rock lyrics depict Natives as heroes. His inverted American flag, consisting of patterns common in his community instead of the traditional stars and stripes, reflects personal narrative over activism, asserting Indigenous humanity and resilience.
2020
Exhbition Checklist
Invisible Loss Movement
performance
2008
The Last American Indian On Earth (TLAIOE)
performance
2013/14
Indigenous Flag Tapestry #1-4
Acrylic spray paint and acrylic marker on cotton rag paper
2021
Textile Series No. 2 (#’s 1-4),
Black and white acrylic gesso, acrylic paint and ink on canvas
61 x 50”
2021-2022
Never Forget
acrylic, ink, enamel on canvas
300 x 96”
2022
Textile Series #3 (cross, claw and arrows) neon LED 30 x 9” APPROX.
mixed media (found cabinet, toy figurines, acrylic paint, horsehair, and bullet casings)
25 x 20 x 3.75”
2022
These Things Happened
acrylic paint on wood with mounted brass “Corpse Tag”
18 x 24”
2022
Untitled (Abstract)
acrylic on canvas
67 x 64”
2023
Existence as Protest
acrylic on panel
18 x 24”
2023
Marigold
acrylic on panel
18 x 24”
2023
Untitled (flower)
acrylic on panel 18 x 24” 2023
Colonialism Spray Can
acrylic on panel
18 x 24”
2023
Fall or The Most Dangerous and Insecure Parachute in America
Indigenous Beauty is Older than America
Screen print, acrylic, spray paint, enamel and grease marker on cotton rag paper
The mission of the Sordoni Art Gallery is to...
Encourage an appreciation of the arts and an understanding of its role in society through direct engagement with art. Our main focus is to present high-quality exhibitions, related programming, and publications in a wide range of media, topics, cultures, and time periods.
The vision of the Sordoni Art Gallery is to be a recognized and respected center for the creation of innovative learning environments and programs for the appreciation and study of visual art benefiting the academic and cultural community of Wilkes University and the surrounding Region.
