Annual Member Show
The DAI AMS returns with a theme: We Hold These Truths
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January 1, 2026 December 31, 2026 America/Chicago 2026 Exhibitions : We Hold These Truths Introducing the 2026 Exhibition Theme As we planned our exhibitions for 2026, the 250th anniversary of the Declaration of Independence, the DAI team and a panel of regional arts professionals asked one powerful question: What is American art? We reached a clear conclusion: American identity holds many truths—complex, diverse, and sometimes contradictory—and art uniquely expresses every story, perspective, challenge, and hope that shapes our nation’s past and present. In 2026, we invite you to explore these truths with us. Throughout the year, we’ll host exhibitions, classes, and programs that celebrate the many facets of American art and identity. Reflect, create, and share with us: What does your truth look like? Exhibition Schedule Q1: Truths of Culture and HistoryOn view January 12–April 3, 2026 Fur Trade Nation: An Ojibwe’s Graphic HistoryCarl Gawboy Ojibwe Adornment In Ribbons, Cloth, Beads, and FurWendy Savage Q2: Truths of Community 2026 Annual Member ShowTheme: We Hold These Truths Q3: Truths of Visual Language Ish Meets a MermaidJonathan Thunder, Vera Bianchini, Camila Guillen Send FlowersCody Paulson and Stephen Pestalozzi Q4: Truths of Self and Materials Lauren Faherty, Robb Quisling, and Andrew Webster Thank You to Our 2026 Exhibition Advisory Panel Christina Woods, Deb Eagle, Tia Keobounpheng, Paul LaJeunesse, Wendy Savage, Jesse Switters, Madeline Kayser, Aurora Webster, Meg Litts, Robb Quisling, Jonathan Thunder, Sam Zimmerman Duluth Art Institute
January 12, 2026 April 3, 2026 America/Chicago Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur Truths of Culture and History Our “We Hold These Truths” themed year starts with an exploration of Truths of Culture and History. Two exhibitions are in conversation: Fur Trade Nation: An Ojibwe’s Graphic History by artist and historian Carl Gawboy provides education of the history and impact of the Fur Trade Nation, and Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur by designer and curator Wendy Savage demonstrates how past creative tradition informs and enriches our present. A collection of songs created by musician Tufawon, inspired by the same topics, enriches the visual gallery experience with this newly created EP. Together, they present watercolor paintings, multimedia textiles, music, and designed works by Savage and eight additional Anishinaabe artists. At its heart, the dual-exhibition experience reflects the history of international trade and exchange in the northern region. For generations, the Anishinaabe have been central to these interactions, acting as cultural connectors across languages, traditions, and geographies. As Gawboy reminds us, “There isn’t ONE northern culture.” These exhibitions offer a view of how this confluence of culture has continued to impact and shape our modern society and artforms. Ojibwe Adornment Savage extends the history-centered dialogue of Fur Trade Nation into the present through her practice in textiles and fashion, which merges Anishinaabe traditional attire, textile styles, and production methods with contemporary ideas. Savage brings in the work of eight additional Anishinaabe artists, each contributing their own truths and designs. Their pieces invite viewers to consider how the past continues to shape the present. This exhibition honors traditional Ojibwe designs and ideology, while presented as contemporary art—through belongings, images, and narrative. Additional Featured Artists: Chi Ma’iingan / Herb Fineday (Fond du Lac), Rene Ann Goodrich (Bad River), Marcy McIntire (Grand Portage), Warren Miller (Fond du Lac), Joe Savage (Fond du Lac), Dr. Lisa Savage (Fond du Lac), Christina Woods (Bois Forte) Curation Statement by Wendy Savage I begin designing an exhibition by gathering inspiration from many sources. I draw from past experiences, conversations, and the constant question of how to create an exciting and engaging event for my audience. I am influenced by the wisdom I received many years ago from George Morrison and Carl Gawboy. We must include the work of new and upcoming Native artists—pieces that carry powerful narratives rarely seen by the public. My goal is to bring those perspectives forward and to give voice to both contemporary and traditional Native artists of our Northern region, presenting work that represents a lifetime of knowledge. Coming from a family of accomplished artists and with more than 40 years of curating experience, I have a deep well of knowledge to draw from. The traditional art forms of our local Tribes must be passed on and preserved by younger artists. Many Native artists are embracing and embarking on an exciting blend of new materials and concepts within traditional practices. This exhibition began with a visit to Carl’s studio, where we shared our pieces and let ideas build. When he wondered about including Joe Savage’s quilled coat, I immediately said I’d ask—he’s my cousin. Then came the idea of a fully beaded bandolier bag, and we knew Marcie McIntire would be perfect. Our creative exchange flows naturally after years of collaboration. Working with Native artists takes intentional effort and relationship-building over time. I have dedicated my life to building these relationships and am grateful for the family, extended family, and community connections that allow me to bring these artworks together. This has been my life’s work as an artist and curator. A Note About Language The term Anishinaabe is the name that people traditionally use to refer to themselves. It translates roughly to “original people” or “first people.” Anishinaabe is a term used to emphasize self-identification, culture, and language identity. It encompasses a broader cultural and linguistic group that includes Ojibwe, Odawa, and Algonquin peoples, among others. Ojibwe is the more commonly used English-language term for one branch of the Anishinaabe people. Usage tip: When writing or speaking, it is respectful to use "Anishinaabe" when referring to the people in a cultural or self-identified context, and "Ojibwe" when referring specifically to the language, certain communities, or historical contexts that use that term. Duluth Art Institute
January 12, 2026 April 3, 2026 America/Chicago Fur Trade Nation: An Ojibwe’s Graphic History Truths of Culture and History Our “We Hold These Truths" themed year starts with an exploration of Truths of Culture and History. Two exhibitions are in conversation: Fur Trade Nation: An Ojibwe’s Graphic History by artist and historian Carl Gawboy provides education of the history and impact of the Fur Trade Nation, and Ojibwe Adornment in Ribbons, Cloth, Beads, and Fur by designer and curator Wendy Savage demonstrates how past creative tradition informs and enriches our present. A collection of songs created by musician Tufawon, inspired by the same topics, enriches the visual gallery experience with this newly created EP. Together, they present watercolor paintings, multimedia textiles, music, and designed works by Savage and eight additional Anishinaabe artists. At its heart, the dual-exhibition experience reflects the history of international trade and exchange in the northern region. For generations, the Anishinaabe have been central to these interactions, acting as cultural connectors across languages, traditions, and geographies. As Gawboy reminds us, “There isn’t ONE northern culture.” These exhibitions offer a view of how this confluence of culture has continued to impact and shape our modern society and artforms. Fur Trade Nation Watercolors Gawboy’s watercolors highlight everyday life, personal histories, and the overlooked stories of the fur trade nation. Gawboy states that he "realized that Minnesotans (Ojibwe and others) have a blank spot about the fur trade, some 250 years worth of history disappeared.” Having dedicated much of his life to teaching and researching, Carl Gawboy taught in the Indian/Native American Studies program at UMD and St. Scholastica. His teaching repertoire included a survey of American Indian Arts, based on his background in art. Later on, he developed and taught a course on the history of the fur trade, from the perspective of Indigenous history and culture. Gawboy reflects that, as he grows older, “the upcoming generation is removed from these events. So the stories become just as important as the subject.” Having parents who were born in 1905, Gawboy absorbed their stories and set out to educate the public along with his lifetime research in his paintings. A Note About Language: The term Anishinaabe is the name that people traditionally use to refer to themselves. It translates roughly to “original people” or “first people.” Anishinaabe is a term used to emphasize self-identification, culture, and language identity. It encompasses a broader cultural and linguistic group that includes Ojibwe, Odawa, and Algonquin peoples, among others. Ojibwe is the more commonly used English-language term for one branch of the Anishinaabe people. Usage tip: When writing or speaking, it is respectful to use "Anishinaabe" when referring to the people in a cultural or self-identified context, and "Ojibwe" when referring specifically to the language, certain communities, or historical contexts that use that term. Duluth Art Institute
Upcoming ExhibitionsPast Exhibitions
April 21, 2026 July 10, 2026 America/Chicago Annual Member Show 2026 Something new is coming to the Annual Member Show! For the first time, the AMS will center around a theme: “We Hold These Truths.” This theme continues throughout the 2026 exhibition schedule, contributing to a broader conversation about American art. Next year’s AMS is a chance for our member artists to weigh in on the conversation, expressing their truth through their art. Truth can take many forms. It can emerge from cultural heritage, lived experience, artistic process, or community connection. When brought together, artwork creates a collective conversation, showing us the richness and diversity of perspectives within our community. Your voice contributes to a broader dialogue about who we are and what we hold to be true. As you plan for the 2026 AMS, think about how the piece you submit tells your truth. Open Call January 16–March 9, 2026On View April 21–July 10 Learn more and submit your art here Add or renew your DAI membership Eligibility: •Current DAI member as of April 9, 2026 • Ages 18+ • Artwork made in 2025 or 2026 Duluth Art Institute
