In my own Crow community, we have a whole policing system that uses teasing. Any time a tribal member is getting egotistical, there is a cousin who will notice it, and their job in the community is to make fun of you and bring you down a couple notches. If you are sick, their purpose is to come and joke with you. So it’s very natural for me.
Humor is healing to me… To have that element in my work is quite Native, or Crow, and I’m glad that it comes through. It’s universal. People can connect with the work that way. Then they can be open to talking about race. — Wendy Red Star
This week, a livestream of Red Star’s UCLA DEPARTMENT OF ART LECTURE is presented by the university and the Hammer Museum. Red Star’s installation focused on the 1898 Indian Congress is currently at the Joslyn Art Museum in Omaha.
See link below for art lecture r.s.v.p. information.
Thursday , February 4.
6:30 pm on the West Coast; 9:30 pm East Coast.
Wendy Red Star, from top: Apsáalooke Feminist #1, 2016, pigment print; Catalogue Number 1948.102 Parade Rider: Unidentified, 2019, pigment print on archival paper; Déaxitchish / Pretty Eagle, 2014, from the series 1880 Crow Peace Delegation, inkjet print and red ink on paper, Birmingham Museum of Art collection; Stirs Up the Dust, 2011, Autry Museum of the American West, Los Angeles, collection image; Indian Summer, 2006, from the series Four Seasons, archival pigment print on Sunset Fiber rag; Wendy Red Star. Images © Wendy Red Star, courtesy of the artist and Sargent’s Daughters, New York.