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Solo exhibition of new work by Wendy Red Star opens at Sargent's Daughters
Leads the White Horse & Green Skin, Akbaléaashíiupashku, (Lakota), 1890, Toledo Museum of Art, "In the Spirit of Green Skin", 2021, Acrylic, graphite, kitakata paper, marble paper, 22 x 30 inches.



NEW YORK, NY.- Sargent’s Daughters is presenting Brings Good Horses, a solo exhibition of new work by Apsáalooke (Crow) artist Wendy Red Star. This will be Red Star’s second solo show with the gallery. The exhibition presents three new installation drawings of horses, comprising 30 original drawings 22 x 30 inches each, sketched from historical ledger drawings and mounted on marbleized paper to form a large grid. Each wall “corral” of horses will be presented as a unit and form one work on the three back walls of the gallery. A procession of horse drawings leads into the back of the gallery, headed by a drawing of Red Star herself and her ancestor, Green Skin, a holder of “horse getting” medicine bundle which gave him extraordinary skills to take horses from enemies. This feat, also known as “going on a raid,” required unflinching courage and a willingness to risk death, but brought honor, wealth, and greater sustainability for the Tribal Nation.

In Brings Good Horses, Red Star references the enduring importance of the horse to Plains Indian Tribal Nations since their introduction by the Spaniards in the 18th Century. Agility with horses and having a sizable herd of good horses was necessary for hunting and safeguarding the Tribe. Naturally, it became point of pride for Plains Indian warriors, who measured wealth, status and courage in the capture of horses from competing tribes. Often, hundreds of horses were taken in the dead of night, leaving their enemies bewildered at the disappearance.

The best horses were kept in the center of the camp or tied to the owner's lodge. Taking these horses was considered a rite of passage, and successful warriors were awarded lifelong “bragging rights,” leadership, and memorialized on buffalo hides. This pictorial tradition of the Plains Indian people was crucial to the “ledger drawings” which became widely known after the release of drawings by imprisoned Plains Indians in Fort Marion, Florida in the 1870s. These ledger drawings continued the tradition of depicting major events in the lives of the Plains people—hunting, fighting and war.

Horses have played an important role in Red Star’s life as well: as a child she spent considerable time with a small group of horses on her family's ranch on the Crow Reservation in Montana and developed into a skilled rider and trainer, winning many awards. While researching at the Smithsonian National Museum of the American Indian, Red Star came across the legacy of her family’s involvement with horses. Her 18th century relative, Green Skin, possessed a medicine bundle specifically for “getting horses.” Her great-grandfather, Red Star, was ambushed and shot by cattle rustlers while protecting the Tribal cattle. When he recovered from his wound, he retaliated by taking the cattle rustler’s horses. This act, formerly considered fair and necessary in his father’s day, was now considered larceny and Red Star was prosecuted in county court.




This familial legacy inspired Red Star to employ her own mode of “horse getting” by sketching the horses from historical ledger drawing and requisitioning them for her own work, and perhaps freeing them from long captivity and obscurity in institutions that appropriated them in their own fashion. She was especially drawn to scenes depicting battle with Crow warriors. She notes the Tribal affiliation of each horse she took for her new herd, giving tribute to the original artist and source. In addition to denoting each horse’s Tribe, she meticulously assigned a name to each of the 100 horses from the original 1907 Crow Reservation allotment map, paying particular attention to names that have disappeared from use. In this way Red Star asserts her place of honor as a horse getter in the continuing tradition of Apsáalooke warriors and artists, connecting a vibrant tradition to an ongoing pursuit of history and identity.

Wendy Red Star (b.1981, Billings, MT) lives and works in Portland, OR. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l’Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others.

Her work is in the permanent collections of the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Amon Carter Museum of American Art (Fort Worth, TX), the Denver Art Museum (Denver, CO), the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), the Baltimore Museum of Art (Baltimore, MD), the Fralin Museum of Art at the University of Virginia (Charlottesville, VA), the Nasher Museum of Art at Duke University (Durham, NC), and the Birmingham Museum of Art (Birmingham, AL).

She served a visiting lecturer at institutions including Yale University (New Haven, CT), the Figge Art Museum (Davenport, IA), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), CalArts (Valencia, CA), Flagler College (St. Augustine, FL), and I.D.E.A. Space in Colorado Springs (Colorado Springs, CO). In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition “Wendy Red Star: A Scratch on the Earth” was on view at the Newark Museum in Newark, New Jersey through May 2019, concurrently with her first New York solo gallery exhibition at Sargent's Daughters.

Red Star is currently exhibiting at MASS MoCA (North Adams, MA), the Tang Teaching Museum at Skidmore College (Saratoga Springs, NY), and the Contemporary Art Museum St. Louis (St. Louis, MO). She also currently has a solo exhibition at the Joslyn Art Museum (Omaha, NE).

Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She is represented by Sargent's Daughters.










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