Wendy Red Star height - How tall is Wendy Red Star?

Wendy Red Star was born on 1981 in Billings, MT, is a Native American contemporary artist. At 39 years old, Wendy Red Star height not available right now. We will update Wendy Red Star's height soon as possible.

Now We discover Wendy Red Star's Biography, Age, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of net worth at the age of 39 years old?

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Age 39 years old
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Born
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Birthplace Billings, MT
Nationality MT

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Wendy Red Star Weight & Measurements

Physical Status
Weight Not Available
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Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

Family
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Wendy Red Star Net Worth

She net worth has been growing significantly in 2018-19. So, how much is Wendy Red Star worth at the age of 39 years old? Wendy Red Star’s income source is mostly from being a successful Artist. She is from MT. We have estimated Wendy Red Star's net worth, money, salary, income, and assets.

Net Worth in 2020 $1 Million - $5 Million
Salary in 2019 Under Review
Net Worth in 2019 Pending
Salary in 2019 Under Review
House Not Available
Cars Not Available
Source of Income Artist

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Timeline

2014

Red Star has advocated for improved opportunities for Native women in the art world. In 2014, she curated Wendy Red Star's Wild West & Congress of Rough Riders of the World, "the first-ever all-Native contemporary art exhibition at Bumbershoot", which took place in Seattle during the annual musical concert. There were 10 artists that exhibited, and most of them were Native artists that primarily worked with identity-based artworks. In 2017, Red Star curated an exhibition at the Missoula Art Museum called Our Side, which featured four contemporary Indigenous female artists: Elisa Harkins, Tanya Lukin Linklater, Marianne Nicolson, and Tanis S'eiltin.

For "Walks in the Dark" of the Thunder Up Above series, she created a costume with European and Victorian motifs in a Native American design, and photoshopped an interplanetary background. Dundas observes, "The sci-fi results evoke the intrigue and suspicion of first contact with an unknown people—or, as she put it in her artist's statement, 'someone you would not want to mess with'."

For Red Star's Four Seasons series, the Metropolitan Museum of Art catalog noted, "In this four-part photographic work, Wendy Red Star pokes fun at romantic idealizations of American Indians as 'one with nature.' " Luella Brien of the Native Peoples Magazine wrote the Four Seasons series had an avant-garde quality, with traditional "Native American imagery juxtaposed against authentic imagery". Red Star also uses humor to draw viewers into her work. Blake Gopnik of Artnet News commented, "Posing amid blow-up deer, cut-out coyotes and wallpaper mountains, Red Star uses her series to go after the standard blather about Native American's inevitable 'oneness' with nature." The Saint Louis Art Museum acquired Four Seasons as part of its permanent collection, describing it as among "some of the amazing works of art acquired by the Art Museum in 2014".

2013

In 2013, Red Star began collaborating with her daughter Beatrice Red Star Fletcher, who "figures prominently in her work" and participates as a tour guide for their exhibitions. Their collaborations have been shown at the Tacoma Art Museum, the Seattle Art Museum, and twice at the Portland Art Museum.

2012

In 2012–2013, she was a manager at Chief Plenty Coups State Park, located in Pryor, Montana. In 2014, she moved to Portland, Oregon and worked on Medicine Crow and the 1880 Crow Peace Delegation. As of 2016, it was reported that Red Star works as a full-time artist in Portland.

2004

Red Star's undergraduate and graduate level specialization was in sculpture. Her work also includes photography, fashion design, bead work, fiber art, performance art, and painting. In 2004, Red Star was awarded her Bachelor of Fine Art degree from Montana State University, Bozeman. Red Star furthered her studies at the University of California, Los Angeles where she earned a Master of Fine Art degree in 2006.

2003

Red Star has been actively exhibiting her work since 2003. Her résumé lists the following exhibitions since 2011:

1981

Wendy Red Star (born 1981) is a Native American contemporary multimedia artist born in Billings, Montana, in the United States. Her humorous approach and use of Native American images from traditional media draw the viewer into her work, while also confronting romanticized representations. She juxtaposes popular depictions of Native Americans with authentic cultural and gender identities. Her work has been described as "funny, brash, and surreal".

Red Star was born in 1981 in Billings, Montana. She is of Apsáalooke (Crow) and Irish descent, and was raised in Pryor, Montana, on the Crow Reservation, "a rural community that's also a sovereign nation and cultural powerhouse." At age 18, she left the reservation to attend Montana State University - Bozeman.

1950

Red Star characterizes her work as research-based, especially as she investigates and explores cliched Hollywood images like beautiful maidens or western landscapes. While conducting research on the term squaw, she found a reference to White Squaw, a 1950s movie, and later books with pulp-fiction style covers, published as recently as 1997. Red Star took photographic prints of the covers, substituting her own image in a cheap costume for the character "White Squaw", using all the original taglines, with comical satiric effect.

1880

In 1880, six Crow chiefs traveled to Washington, D.C. to talk with the president because the settlers were about to build a railroad through their hunting territory. She researched Medicine Crow/Peelatchiwaaxpáash (Raven) for her exhibit of the Crow Peace Delegation to Washington in 1880 and discovered the narratives behind elements of the iconic picture. She used a red pen on a print of this famous image to notate his outfit and the symbolism attached to elements such as his ermine shawl, the bows in his hair, and the eagle fan he is holding. Red Star said she wanted to use the details of his clothing, and the ledger drawings he made upon his return to the reservation, to humanize Medicine Crow. What she learns in research emerges in her creative process, which she articulates with visual means.