WENDY RED STAR
Wendy Red Star is an artist living and working in Portland, Oregon. Red Star received her B.F.A. from Montana State University-Bozeman and her M.F.A from UCLA in 2006. She has exhibited both nationally and internationally. Her exhibitions include shows at the Fondation Cartier pour l’Art Contemporain, Hallie Ford Museum, The Eiteljorg Contemporary Art Fellowship 2009, Utah Museum of Contemporary Art, Missoula Art Museum, St. Louis Art Museum, National Museum of the American Indian-New York, Portland Art Museum, Minneapolis Institute of Arts, Indianapolis Museum of Contemporary Art, Metropolitan Museum of Art, Bockley Gallery, and Haw Contemporary gallery. She has been a visiting lecturer at a range of respected institutions, including The Banff Centre, CalArts, National Gallery of Victoria (Melbourne), Portland State University, Dartmouth Hood Museum, Figge Art Museum, Fairhaven College, Fine Artworks Center-Provincetown, and I.D.E.A. Space-Colorado College.
Born in Los Angeles of mixed Navajo (Diné) and Euro-American heritage, John Feodorov grew up in the suburbs of Southern California while making annual visits to his family’s land near Whitehorse, NM. The time he spent with his mother and grandparents on their homestead near the Anasazi ruins at Chaco Canyon continues to inform and impact his work.
John has been called a conceptual artist, a political artist, as well as a Native American artist, but he is still not sure how to define what he does. His work includes painting, drawing, assemblage, installation, video, music and songwriting. He also has engaged in experimental performance in the past, but not lately. Currently, he writes and performs with his art/pop band, The Almost Faithful.
John’s work as been widely exhibited and has been featured in several publications; most recently in Time and Time Again, by Lucy R. Lippard, and Manifestations, edited by Dr. Nancy Marie Mithlo. He was also featured in the first season of the PBS series, “Art 21: Art for the 21st Century”.
John has also worked with the Seattle-based afterschool arts program, Artscorps, and served as an Arts Commissioner for the City of Seattle. He is currently an Associate Professor of Art at Fairhaven College.
Sara Siestreem (Hanis Coos and American, 1976-) is from the Umpqua River Valley in South Western Oregon. She grew up in Portland, Oregon. She is a Master Artist and Educator. She comes from a family of professional artists and educators and her training in both fields began in the home. Siestreem graduated Phi Kappa Phi with a BS from PSU in 2005. She earned an MFA with distinction from Pratt Art Institute in 2007. Siestreem is the weaving student of Greg Archuleta, Greg Robinson, and Nan MacDonald. She is represented by Augen Gallery in Portland and her work has been shown in museums and figures in prestigious private and public collections nationally.
Her studio work is multi-disciplinary. Her primary language is painting, but she also works in photography, printmaking, drawing, sculpture, video, and traditional weaving.
She teaches Foundations in Studio Arts and Indigenous Studies at PSU and Traditional Weaving Practices for The Confederated Tribes of Coos, Lower Umpqua, and Siuslaw Indians. She works as a consultant and free lance educator for museums and cultural groups regionally. Siestreem also serves various youth organizations and individuals in the role of mentor, workshop leader, promoter, public speaker and volunteer.
She lives and works exclusively in the arts in Portland, Oregon.
Corwin (Corky) Clairmont is a contemporary artist and enrolled member of the Confederated Salish and Kootenai Tribes. Living in Los Angeles, Corky pursued a contemporary exhibiting artist career as well as teaching and becoming department head of printmaking at the Otis/Parsons Art Institute located in Los Angeles, Ca. Upon his return to Montana in 1984, Corky began administrative work at the newly credited Salish Kootenai College located in Pablo, Montana on the Confederated Salish and Kootenai Reservation. This included the creation of the SKC Fine Arts Department and art degree program. Through work as a printmaker, conceptual and installation artist, Corky’s images discuss and explore situations or issues that effect tribal people such as sovereignty, colonization, giving a cultural and historical perspective. Corky’s artwork has been exhibited through out the United States and in several Countries including Germany Norway, New Zealand, France, and most recently at the US Embassy located in Kinshasa, Democratic Republic of Congo, Africa. Awards have included Ford and National Endowment of the Arts, the Eiteljorg Fellowship Award, and the 2008 Montana Governors Award for Visual Arts. He currently serves on the State Board of the Montana Arts Council.
We’re now in high gear producing perks for our Indiegogo campaign and will start shipping several this coming week. We are nearly at $16,000 of our stretch goal of $19,000!
Our window restoration guy Dave King has taken measurements of the window, probed the wall below for rot, and is getting ready to start the process. It’s hard to believe that we can already get this important work done with the money raised so far. The campaign success also means that The Nutcracker tree can be safely and hopefully creatively removed.
Now we’re really dreaming that we can also install the french drain, repair the siding, and then paint next summer. Help us keep our campaign buoyed-up by sharing with your friends!
And now on to our stretch goals!
Thank you, Olympia, friends, family, and supporters of all kinds from all places! We are absolutely thrilled and immensely grateful to you for supporting our restoration campaign!
Our stretch goal is $19k. We are already over 75% of the way there, and contributions are still rolling in. So we are becoming more hopeful that this restoration can be more fully realized, with a drainage system, siding repairs and a glorious layer of protective PAINT!
We still have great perks available, and will come out with a few more during the rest of our campaign, has another 34 days to go. We’re going to take a slower approach for the next month, but rest assured, we are still going to drive hard at our final goal, because the press building needs it, and our future depends on the press!
Stay tuned for more!
Today we spent an hour and a half with Rolf Boone, staff writer for the Olympian, and Steve Bloom, Olympian photographer. We had a great time chatting about the press and I probably kept them far longer than they intended, but they seemed to enjoy their time at the press. Here is the resulting article!
I’m just so thrilled to have such a positive update about our Indiegogo campaign: The Sherwood Press 75 Year Restoration Fund. We launched last friday and thanks to 118 wonderful friends and supporters, we are now just dollars away from reaching the $10,000 mark! Thank you everyone who has helped bring us to this point and all those who intend to take us further!
I’m pretty sure than everyone who launches a fundraising campaign feels a mixture of fear, doubt, embarrassment, humility, excitement, and hopefulness. I did. I was really worried that repairs aren’t “sexy” enough to stimulate people’s generosity. I’m so glad to say I am wrong! I like to think we have a great story and great perks, too. But what we really have are great friends and community here in Olympia, and a supportive community of letterpress printers, designers and enthusiasts who are giving our campaign this unexpected lift.
The next big goal is to raise enough to remove “The Nutcracker”. This enormous fir tree has lived a wonderful life here at the press, but it has to go. You can see that it now stands less than an inch away from the eaves of the press building. And the roots are already crushing our bathroom. We have lots of great ideas for the large amount of wood that will come of this tree, and will be planting more seedlings to help compensate the loss of this beloved tree.
I am in the process of hanging a copper tag for every single contributor to our campaign. My hand is quite sore from writing everyone’s name deeply into the copper. This “Garland of Well-Wishers” is hanging over the window that we are NOW ABLE TO RESTORE because of the campaign. and once it is, we will take the garland outside and hang it in the memorial garden I built for Jocelyn back in the spring of 2004, and every name will wave and rustle among the trees from now on. Soon you will be able to not only visit your name in the garden, but visit the new window and the spruced-up building, ready for the next 25 years!
Thank you everyone!
Lisa Blas is a visual artist of Guamanian / Italian-American descent working in painting,
collage, photography, and installation. Based in New York, she draws from art history,
nature, and current events to reflect on specific cultural and political legacies, past and
present. She has exhibited nationally and internationally, while living and working in Los
Angeles, Washington, DC, Lille, France and Brussels, Belgium during the years of 2001
– 2012. Concurrent with exhibiting her work, Blas has taught across disciplines in Fine
Art and Art History at the undergraduate and graduate level, with a special focus on the museum and historical archives. Recent solo exhibitions are LISA BLAS / Still Lifes, Sometimes Repeated at Rossicontemporary, Brussels, LISA BLAS / As if pruning a tree, after Matisse at Musée Matisse, Cateau-Cambrésis, France, and group exhibitions A Particular Kind of Solitude: An exhibition inspired by the writings of Robert Walser at the Elizabeth Street Garden, New York, and Sensations That Announce The Future at Evergreen College Gallery, Olympia, Washington. She is currently working on a project for the forthcoming issue of Public Art Dialogue: The Dilemma of Public Art’s Permanence, to be published in winter 2016.
B.A. 1996 University of Southern California / Political Science
M.F.A. 2001 Claremont Graduate University / Painting