The Haines Gallery presents ~Just One Work/ Wendy Red Star~ as part of the 250 Year , Indigenous Futures show currently at the gallery.

 Wendy Red Star, Crow Tribal member, work a photographic collage with fabric features her piece depicting  the 2025 Crow Fair, Montana,. Ms, Red Star is a distinguished artist with multiple museum show, fellowships, and art awards.  See details below 

Just One Work | Wendy Red Star Take a closer look at a single artwork from our current exhibition 250 Years, Indigenous Futures. Today, we proudly present:   WENDY RED STAR Chiaxxúapilake (Fifty), 2025 Fabric with archival pigment print photograph on board 25.25 x 49.25 x 1.25 inches, framed INQUIRE Wendy Red Star’s multidisciplinary practice is grounded in the histories, archives, and her lived experience of the Apsáalooke (Crow) Nation.  Drawn from her ongoing series A Float for the Future, Red Star’s 2025 photographic collage Chiaxxúapilake (Fifty) highlights a pair of ornately decorated parade cars of the annual Crow Fair. Held each August in Crow Agency, Montana, where the artist was raised, the six-day event is the largest gathering of Native Americans in the United States. There, in a daily morning parade, automobiles join horses as ceremonial vehicles adorned with beadwork, saddles, Pendleton blankets, traditional regalia including elk-tooth dresses, and other markers of Apsáalooke pageantry—symbols of an enduring Tribal culture adapted for contemporary life.   Detail from Wendy Red Star, Chiaxxúapilake (Fifty), 2025   Red Star likens these parade vehicles to “maps of identity,” offering insights into the families and lineages they represent. She collages her images onto backdrops of colorful satin fabric often worn under traditional regalia made of wool. “Incorporating both the outer regalia and the clothes underneath is a way of acknowledging the identity of the Apsáalooke people, not just in terms of how we celebrate publicly,” the artist shares. “It’s a window into what’s normally hidden or less visible; our public and private selves are set side-by-side.” Turning objects into subjects and allowing them to speak, Red Star reveals forms that, as she has said, “represent a resilient and proud community…that overcomes obstacles to keep its culture alive.” Wendy Red Star (b. 1981, Billings, MT; lives and works in Portland, OR), of the Piegan clan and from the district of Pryor, is a multidisciplinary artist whose practice is deeply rooted in the community, culture, and history of the Apsáalooke (Crow) people. Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023.   Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum of Art in 2019 and traveled to the San Antonio Museum of Art and Columbus Museum of Art through 2023. Her work has been presented internationally at institutions including the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, The Broad, J. Paul Getty Museum, and Fondation Cartier pour l’Art Contemporain, as well as the 2023 Sharjah Biennial and 2026 NGV Triennial. A major solo exhibition will open at the Smithsonian’s National Portrait Gallery, Washington, DC, in 2027. Red Star was named a MacArthur Fellow in 2024, the same year she received the International Center of Photography’s Infinity Award. Other honors include an Anonymous Was A Woman Award (2022), Smithsonian Artist Research Fellowship (2018), and Louis Comfort Tiffany Foundation Biennial Award (2017). Her monographs include Delegation (Aperture/Documentary Arts, 2022) and Wendy Red Star: Bíilukaa (Radius Books, 2023). Her work is held in more than 80 public collections, including the Guggenheim Museum, Metropolitan Museum of Art, Museum of Modern Art, San Francisco Museum of Modern Art, Smithsonian American Art Museum, and Whitney Museum of American Art. Installation view of Wendy Red Star's works in 250 Years, Indigenous Futures at Haines Sales Inquiries: alexandra@hainesgallery.com Press Inquiries: irene@hainesgallery.com   Images: 1 & 2) Wendy Red Star, Chiaxxúapilake (Fifty), 2025. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson; 3) Portrait of Wendy Red Star. Courtesy the artist and Roberts Projects, Los Angeles. Photo: John D. and Catherine T. MacArthur Foundation; 4) Installation view of 250 Years, Indigenous Futures. Photo: Shaun Roberts.

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The National Museum of the Native American showcases ~A Prairie Band of Potawatomi Doll~ Mighty MIniatures~See details below.

 Thes figurines/ dolls are special to see! Visit the Smithsonian site of the museum itself to see the collection of dolls or use the database link below . . 

FROM THE COLLECTION A Prairie Band Potawatomi Doll November in New York will bring a major new exhibition to the National Museum of the American Indian showcasing some of the collection's smallest works. Mighty Miniatures will feature more than 300 works from the museum's collection of more than 1,300 miniatures from around the Western Hemisphere, including baskets woven from strands of horsehair, pottery that could balance on a fingertip, and intricately made small toys such as tipis or boats. Prairie Band Potawatomi doll, 1880–1920 Kansas. Hide, horsehair, cotton cloth, silk ribbon, wool yarn, glass beads, German silver, wood, vermilion. 9.8 × 5.3 × 2.0 in. NMAI 24/1799. Although many pieces in the exhibition were created as souvenirs or keepsakes to be sold to tourists and collectors, some were made and then used by the Indigenous communities that created them. This is the case with dolls and playthings, such as this one made by the Prairie Band Potawatomi during the late 19th or early 20th century. Dolls and other miniatures were important teaching tools for Indigenous children as they learned about the world around them and the communities they lived in. Through play, children began to learn the skills they would need as adults, such as pretending to hunt with small bows, learning to set up a toy tipi, or sewing small clothes for a doll. These practical lessons helped develop problem-solving, physical, and social skills over time. Details that reflect a community Dolls especially are used by children to decipher their world as they use them to mimic the adults that surround them. Dressed and adorned like their community, these dolls preserve the traditional techniques used at the time and typically use the same materials. The body, moccasins, and pouch of this Prairie Band Potawatomi doll are made of deer hide or buckskin, and her hair is made of black yarn and horsehair. Embellished with beadwork and silk ribbons mirroring Potawatomi ribbonwork, her clothing is made from wool and cotton fabrics. Back view of the Prairie Band Potawatomi doll, showing details of the clothing and ribbonwork. The miniature replicas of German silver jewelry, ornaments, and beaded necklaces reflect her wealth, while the representation of a bear claw tied around her neck, the beaded medicine bag, the prescription stick, and the leather pouch containing vermilion illustrate that the woman is likely a healer. When compared to a photograph of Prairie Band Potawatomi women from Mayetta, Kansas, wearing ribbonwork dresses during the time the doll would have been made, the similarities are clear. Wakabushkuk and Wam-to-she-quart, Prairie Band Potawatomi women from Mayetta, Kansas, wearing ribbonwork dresses, 1860–1930. David C. Vernon Collection. NMAI P22021, NMAI Archives. These tiny works from locales ranging from North, Central, and South America and Hawai‘i spark wonder and delight at their minuscule size while their histories and stories are so massive. As we welcome Mighty Miniatures to New York, we hope you will join us to celebrate our smallest works in big ways. Explore Mighty Miniatures View the doll in the collections database Your support helps the museum care for the collection, share stories like this one, and create opportunities for people to learn more about Native peoples and cultures. DONATE TODAY © 2026 National Museum of the American Indian Fourth Street & Independence Avenue, Washington, DC 20560 #nationalmuseumnativeamericanindian#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#fineartnativeamerican#fineartindigenous#fineartfun#artfunnow#artfunindigenous