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Her Dreams Are True (Julia Bad Boy)

2021

Six-color lithograph on Somerset Satin soft white, with archival pigment printed chine collé on mulberry paper

20.25 x 20 inches

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Peelatchiwaaxpáash / Medicine Crow (Raven)

2014

Artist-manipulated digitally reproduced photograph by C.M. (Charles Milton) Bell, National Anthropological Archives, Smithsonian Institution

24 x 16.45 inches with additional 1" border

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Catalogue Number 1949.73

2019

Pigment print on archival paper

18 x 28 inches

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No Good Dirt Plateau (Wild Horse Ridge)

2021

Acrylic, graphite, kitakata paper, marble paper

111 1/2 x 183 1/2 inches

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"Fall"

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"Winter"

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"Spring"

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"Summer"

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Second Wall- Works Inclusive of Cultural Iconography

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Second Wall- Works Inclusive of Cultural Iconography

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"Southern Illinois University Edwardsville exists in and serves a region that includes the lands of the Kiikaapoi (treaty in Edwardsville, 1819); The Illinois Confederacy, including the Peoria, Kaskaskia, Michigamea, Cahokia, and Tamaroa (treaty in Edwardsville, 1818); Dhegiha Siouan peoples; and others. We affirm their contemporary and ancestral ties to the land and their contributions to this place. In alignment with the academic mission of the institution, we are committed to building responsible relationships with indigenous communities through the development of educational pathways and opportunities for indigenous students and the advancement of research and knowledge about indigenous peoples, cultures, and histories."

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Theme for artworks chosen: Subversion of Hegemonic Culture (Countering American Colonialism)

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Theme for artworks chosen: Subversion of Hegemonic Culture (Countering American Colonialism)

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The Last Thanks

2006

Archival pigment print

24 x 36 inches

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The Soil You See…

2023

Site specific monument at the Constitution Gardens, National Mall

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Fourth Wall- "Home is Where my Tipi Sits" Series, 2011

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Fourth Wall- "Home is Where my Tipi Sits" Series, 2011

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In using a combination of contemporary imagery alongside older indigenous visual imagery, Wendy Red Star combats the erasure of Indigenous Americans through colonization. I choose this theme because I think it is such a meaningful way to recontextualize indigenous cultures. Even today as Americans, we are fed the idea that Native Americans are a past culture and a dying one, we've seen that theme repeatedly in American Art History. These cultures are still very alive and very important to American history.

What Red Star does, is she places her experience with her culture as a contemporary indigenous woman usually next to some sort of colonialist symbolism which subverts its power.

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Wendy Red Star was born in 1981 in Billings, Montana. She now is located in Portland, Oregon. She is part of the Apsáalooke (Crow) Tribe. She works in a variety of mediums to work through her thoughts. She often focuses on institutional and systemic colonialism. She focuses on these themes by combining contemporary and past experiences from her and her ancestors indigenous culture. Her work is centered around pop culture, Crow tradition and conceptualism. She has quite a few artists preceding her in her family and a lot of her inspiration comes from her paternal grandmother.

She received her BFA from Montana State University, Bozeman in sculpture in 2004 and in 2006 she received her MFA in Sculpture from the University of California, Los Angeles.

She has shown her work throughout the United States and internationally at venues including the Metropolitan Museum of Art (New York, NY); The Newark Museum (Newark, NJ), Brooklyn Museum (Brooklyn, NY), The Broad (Los Angeles, CA); the Getty Museum (Los Angeles, CA); Fondation Cartier pour l’Art Contemporain (Paris, France); Seattle Art Museum (Seattle, WA), just to name a few amongst many.

Her art reclaims appropriated images of Native Americans and changes the narrative created about them within the system of American colonialism.

(Wendy Red Star).