JOE FEDDERSEN VITAL SIGNS JOE FEDDERSEN VITAL SIGNS

Rebecca J. Dobkins

With contributions by

Barbara Earl Thomas

Gail Tremblay

      

           Copyright © 2008 by the Hallie Ford Museum of Art, Willamette University, and the University of Washington Press “Introduction” © 2008 by Barbara Earl Thomas CONTENTS “Joe Feddersen: Pulses and Patterns” © 2008 by Rebecca J. Dobkins “Speaking in a Language of Vital Signs” © 2008 by Gail Tremblay

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information stor - age or retrieval system, without permission in writing from the publisher.

Hallie Ford Museum of Art Willamette University PREFACE 900 State Street Salem, OR 97301 John Olbrantz www.willamette.edu/museum_of_art/index.htm 9 University of Washington Press PO Box 50096 Seattle, WA 98145-5096, USA INTRODUCTION www.washington.edu/uwpress Barbara Earl Thomas Library of Congress Cataloging-in-Publication Data 13 Dobkins, Rebecca J. Joe Feddersen : vital signs / Rebecca J. Dobkins, Barbara Earl Thomas, and Gail Tremblay. — 1st ed. JOE FEDDERSEN: PULSES AND PATTERNS p. cm. — (Jacob Lawrence series on American artists) Includes bibliographical references. Rebecca J. Dobkins ISBN 978-0-295-98860-3 (pbk. : alk. paper) 1. Feddersen, Joe, 1958– —Themes, motives. I. Thomas, Barbara Earl, 1948– 17 II. Tremblay, Gail. III. Feddersen, Joe, 1958– IV. Hallie Ford Museum of Art. V. Title. N6537.F36D63 2008 SPEAKING IN A LANGUAGE OF VITAL SIGNS 709.2—dc22 2008016223 Gail Tremblay 35 ISBN 978-0-295-98860-3 Printed in Canada PLATES Front cover: Okanagan II (detail), 2002. siligraph, relief stencil; 53 84 panels, 15 ½ x 15 ½ in. each; 93 x 217 in. overall Collection of the Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana

Frontispiece: Joe Feddersen, 2007. Photograph by Mary Randlett. ©Mary Randlett ARTIST HISTORY 117 Back cover: Stealth , 2006. blown glass, sandblasted; 10 x 15 ½ x 15 ½ in. Collection of Arlene and Harold Schnitzer, Portland, Oregon

Designed by Phil Kovacevich SELECTED BIBLIOGRAPHY Copyedited by Laura Iwasaki Photography (unless otherwise noted) by Bill Bachhuber, pp. 27, 47, 50, 75–83, 86–102, 115; 123 Rebekah Johnson, pp. 8, 11, 25, 28, 40, 45, 54–66, 74, 84, 85, 103; Frank Miller, front cover, pp. 12, 16, 21, 23, 31–34, 36, 39, 42, 46, back cover; Richard Nicol, pp. 67–69; Michael Ryan, pp. 104–113; Susan Seubert, pp. 70–73 GLOSSARY OF PRINTMAKING TERMS

The paper used in this publication meets the minimum requirements of American National 126 Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1984. JOE FEDDERSEN: PULSES AND PATTERNS

Rebecca J. Dobkins

  , the pulses and patterns of the When asked what his work is about, Feddersen body, are indicators of essential life functions. Joe says it is about inquiry—being curious, pursuing Feddersen’s work speaks to the relationship of questions. Like a scientist or the mathematician body and earth and the patterns that have he once thought he might be, Feddersen is imagi - emerged from this relationship. He has said that natively methodical. Intrigued by signs, he sets off his work “deals with the importance of how peo - on investigations of landmarks, artifacts, and ple respond to their environment, often embed - urban place markers. His inquiry is rooted in ding in simple pattern the innate connection to place and time. place.” 1 His Plateau ancestors “spoke to the land in the patterns of the baskets,” and today contempo - Joseph Feddersen was born in 1953, in Omak, rary designs continue to speak to the land, even as Washington, on the border of the Colville Indian the earth has been transformed by industrializa - Reservation, the third of six children. His mother, tion. Patterns, as Feddersen understands them, are Jeanie Alex, was Okanagan 2 and Lakes from abstracted forms of nature, pulsing through our Penticton, B.C., Canada, and his father, Ted lives, a language for our connection to place. Feddersen, was the son of German immigrants.

Memory V 1992 Monoprint 30 x 22 in. Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, gift of the artist Near the Colville Indian Reservation, Washington, 2007. Photograph by Joe Feddersen.

16 17 magazines that came to the Feddersen home reproduced the work of Fritz Scholder (Luiseño, 1937–2005) and T. C. Cannon (Caddo-Kiowa, 1946–1978), and in those pages, Feddersen glimpsed what was happening in the nascent con - temporary Native American art world of the 1960s. Scholder was famous for his use of Pop Art and Expressionism to depict the contemporary American Indian and destabilize the romanticized image of the noble savage. Cannon, Scholder’s student at the Institute of American Indian Arts, similarly employed modernism in his satirical portraits, which became part of the discourse of Native radicalism in the 1960s and early 1970s. 3

Feddersen children, Christmas, ca. 1957. Left to right: Antony, Timothy, Vicky (front), Yvonne, and Feddersen graduated from Omak High School in Joe. Photograph by Ted Feddersen 1971 and applied to Wenatchee Valley College in border. Contemporary tribal affiliations—such as Wenatchee, Washington. He wanted to study art View from Omak, Washington, 2007. Photograph by Joe Feddersen. the Feddersen family’s enrollment in the but had decided that he would study math if the Confederated Tribes of the Colville Reservation— art program was full. Math was appealing Feddersen points out that both his parents had a the ancestral homeland of the twelve bands that are a result of imposed bureaucratic divisions because, like art, it involves investigation and sys - mother tongue other than English and related make up the Colville Confederated Tribes. The rather than pre-contact social and cultural associ - tematic research. Fortunately, the art program throughout their lives to their families and com - traditional territory of Feddersen’s mother’s ations. Feddersen grew up traveling the region had room for Feddersen and was staffed by teach - munities of origin, even while creating a geo - people spanned the present-day U.S.-Canadian with his family to camp, hunt, and fish and to visit ers who would prove to be highly influential. graphical center in the family home in Omak, a relatives across the reservation and in Canada. town with a majority non-Indian population. Ted Feddersen worked in a lumber mill in Omak, and According to Feddersen, everyone in his family Jeanie Alex Feddersen worked full-time raising made things with their hands. From an early age, the children. he tinkered and observed the results, and by the time he was in high school, he not only was taking The Colville Reservation, in northeastern art at school but had found a job in a ceramics Washington State, encompasses nearly 1.5 million store in Omak, where he traded wages for dis - acres of lowland valleys and mountain forests in counted art supplies. The shop owner, H. H. Hall, the heart of the Columbia River and Okanogan encouraged Feddersen’s experimentation, allow - River basin systems. Grand Coulee Dam, at the ing the student time and resources to engage his southwestern edge of the reservation, has had a imagination. Although the message Feddersen got profound effect on reservation topography; it is in his high school art classes was that representa - the largest of dozens of dams that have trans - tional art was the only “true” art, he had leanings formed the salmon-rich runs of the Columbia toward abstraction. He had few links with the art River and its tributaries since the early twentieth Joe Feddersen at an exhibition of his work at the Omak Jeanie and Lucille Alex, Feddersen’s mother and maternal world outside Omak, but the Arizona Highways library, 1972. Family photograph century. The reservation represents a fraction of aunt, ca. 1940. Family photograph.

18 19 fits. Throughout his seven years as a hydro- were.” Alps used this anecdote to get his audience mechanic and hydromatic operator at the PUD, to think about the heightened sense of awareness Feddersen continued to take courses at Wenatchee artists and art students have when engaged in the Valley College, earning his associate’s degree in self-conscious pursuit of art education in school. 1979. Feddersen believes the lecture was intended to raise many questions in the minds of listeners: Is Ultimately, Feddersen chose the life of an artist the ideal for the artist to be in a heightened sense over a career with the PUD. During those of awareness most of the time, or to routinely years, He seems to have maintained a vision of return to “normal,” to have art flow naturally, like the future that fundamentally included art breath? making—and in 1979, he resigned from his job, GLEN ALPS took Graves’s advice, and went to the University of Blue, Green, Violet and Orange Along with Alps, other faculty at the University of Washington to study with Glen Alps. Although he 1955 Washington School of Art added important Lithograph 1 left behind the workaday world of hydropower 20 x 26 /2 in. dimensions to Feddersen’s training. Painter and operations, the visual world of the dam and its Collection of the artist, Lacey, Washington printmaker Michael Spafford (b. 1935), known surrounding high voltage towers (a common sight marks and emphasizing color, are visible in for his abstracted images inspired by classical Joe Feddersen with parents Jeannie and Ted, 1985. across the Northwest) was to appear later in his Feddersen’s prints, but clearly Alps’s legendary mythology, offered encouragement to Feddersen Family photograph. Urban Indian series of the 1990s and 2000s. “talks” were profoundly important to those who and other junior artists. Feddersen began the studied with him. Feddersen recalls three crucial Rainscapes series, abstracts that convey the rich Artist Robert Graves (b. 1929) was chief among From 1979 to 1983, Feddersen pursued a BFA at talks—one on the individual freedom of the complexity of the rainy Northwest weatherscape, them. Trained at the University of Washington the University of Washington School of Art. His artist, another on the catalytic power of yellow, while taking a course with Spafford. In the pho - under renowned printmaker Glen Alps (1914– primary mentor was Glen Alps, who by the 1970s and the third about the heightened awareness of tography courses Feddersen took with Ron 1996), Graves recognized Feddersen’s emerging was one of the foremost printmakers working in the artist. Alps emphasized that the artist must Carraher, 4 he began the self-portraits that eventu - talent and steadily encouraged him. In the early the United States. Alps was known for developing follow his or her own direction and take responsi - ally received the critical acclaim of writers such as 1970s, Graves arranged for Alps to offer a print collagraphy, a print process that involves creating bility for doing so, avoiding trends. Famously, Lucy Lippard, who wrote in 1990 of Feddersen’s workshop and exhibition of prints at Wenatchee a collage (materials such as thin layers of paper or Alps was a colorist, and he spoke specifically of concern with “the relationship of the human to Valley College, and Feddersen attended. Painter plastic glued to a plate) and then printing an the power of yellow to enliven one’s artwork. Alps the environment” and the expression of that con - Darryl Dietrich was also significant in Feddersen’s image from it using a relief or intaglio process. At reminded his students that yellow is the center of cern in the artist’s photo-collages. 5 art training, and the entire art department the University of Washington, Alps had research the rainbow and that its relationship to other col - at Wenatchee was unusually vibrant for a commu - facilities devoted to exploring the possibilities of ors gives a sense of radiant luminosity. In the 1970s and early 1980s, American Indian nity college. In addition to printmaking, Fed - the collagraph and offered Feddersen studio space Studies was emerging at the University of dersen studied drawing, painting, ceramics, and there. It was a lively intersection for undergradu - In one talk, Alps shared his insight into the com - Washington and elsewhere. One of the most

sculpture. ate and graduate students, just slightly off the plexity of what it means to be an artist, drawing important figures in the Northwest was Vi v e main campus and providing a shelter of sorts upon a common experience to make his point. He (ta qws blu) Hilbert (Upper Skagit, b. 1918), a But after just a year, Feddersen’s full-time studies from everyday distractions. referred to the experience of going to the doctor native speaker of the Lushootseed language, the drew to a close. In 1972, he was offered employ - and being asked to breathe deeply as the doctor language of Chief Seattle. Hilbert taught courses ment with the Public Utility District working at When Feddersen discusses his mentor’s influence, listens to the lungs for the vital sign of respiration. on the Salish language and the legends and oral the Rocky Reach and Rock Island Dams near he speaks less of the teaching of technical processes The patient is highly conscious of inhaling and literature of aboriginal Puget Sound at the Wenatchee. The job at the PUD was appealing than of the teaching about what it means to be an exhaling. When the doctor is finished, the patient University of Washington. 6 Feddersen and other because it provided job security and union bene - artist. Yes, Alps’s ways of working, generating is told, “Breathe naturally. Go back to the way you Native students at the university found in Hilbert

20 21 an often formative role in the careers of many then-emerging Native artists, such as Feddersen’s fellow Northwesterners Rick Bartow (b. 1946), James Lavadour (b. 1951), and Lillian Pitt (b. 1943). Feddersen frequently showed and sold work at Sacred Circle, with his Rainscapes series of the 1980s being particularly successful.

Feddersen’s sense of himself as a contemporary artist was affirmed by these exchanges and other experiences. In the early 1980s, he read the book

The Sweetgrass Lives On , by Jamake Highwater, Vi (ta qwsv be lu) Hilbert and Joe Feddersen at a Seattle celebrating the work of fifty contemporary Native Corporate Council for the Arts award dinner, 1992. artists. 8 Feddersen found the abstractions of Neil Photographer unknown. Parsons (Pikuni, b. 1938) particularly influential, a connection with the first cultures of the land, a in that they affirmed abstraction as a “valid Native connection that for many of them had been dis - expression.” 9 Another pivotal moment in Fed - rupted at best and severed at worst. Hilbert gener - dersen’s early career was a gathering of artists in ously shared her knowledge of Salish legends and association with the 1982 Native American Art encouraged Feddersen, among others, to make Studies Association conference, held at the them live anew for a new generation. University of Washington. Rick Danay (b. 1942), Self-Portrait #10 1983 George Longfish (b. 1942), Truman Lowe (b. Black-and-white photograph with acrylic sheet and collage 1 Both locally and nationally during this era, Native 1944), and Jaune Quick-to-See Smith (b. 1940) 9 /4 x 12 in. Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, gift of the artist art galleries and institutions were providing space were among the artists who attended. Although for exhibitions and interactions. In Seattle, the Feddersen had previously met some of these people for generations prior to Euro-American at the University of Wisconsin–Madison. most important venue was Sacred Circle Gallery, artists, the conference allowed for extended dia - settlement. 10 Feddersen saw this as a chance to refine his work founded in 1981 under the sponsorship of United logue and led to closer relationships. Quick-to- and to step away from the art world milieu. In 7 Indians of All Tribes and directed by Jim Halliday. See Smith, in particular, became an important Well represented by several galleries, Feddersen addition to his emphasis on printmaking, he First located in Belltown, later in Pioneer Square, mentor, introducing him to key gallery dealers in benefited from the art boom of the 1980s. 11 He engaged with the emerging field of computer and eventually at the Daybreak Star Cultural Santa Fe, New Mexico, and Chicago and including was able to pursue his art full-time, subletting a graphic arts, began experimenting with glass cast - Center in Discovery Park, Sacred Circle was for him in traveling group exhibitions of Native art studio in downtown Seattle from 1983 to 1987. ing, and made time to paint. He describes the many years the epicenter of Native arts activity. such as the critically significant We the Human His work was included in exhibitions of prints move to Madison as an opportunity to grow The gallery showed the work of cutting-edge con - Beings: 27 Native American Artists and The and photographs in Canada, Germany, and the beyond the highly successful Rainscapes series temporary Native artists such as Larry Beck Submuloc Show/Columbus Wohs of the early United States and was chosen for important and, as he has put it, “investigate sign.” 12 (1938–1994), John Hoover (b. 1919), James 1990s. The two artists have continued to collabo - juried shows such as the Third Biennial Native Schoppert (1947–1992), Emmi Whitehorse (b. rate, working together (along with sculptor American Fine Art Invitational at the Heard The print program at Wisconsin was led by Dean 1956), and many others and served as a meeting Donald Fels) in 1998–2001 on the West Seattle Museum in Phoenix in 1987. Meeker (1920–2002), who, unknown to Fed- ground for artists in and beyond the Northwest. Cultural Trail. This public art endeavor celebrates dersen, was something of a rival to Alps. Meeker’s By developing a wide audience and garnering the the human history and natural environment By 1987, with his career in full swing, Feddersen reputation as a printmaker had helped establish respect of critics and curators, Sacred Circle played of the Alki Beach area, home to the Duwamish accepted the invitation of Truman Lowe to study the University of Wisconsin’s graphic arts

22 23 program as one of the finest in the country. In find a way of working that was compatible with contrast to Alps, Meeker’s tendency was toward his nine-month teaching schedule, an inquiry that representation, not abstraction, but like Alps, he could be sustained over time until term breaks emphasized exploration and process over strict permitted more concentrated work. He describes adherence to technique. Like Alps with the colla - the foundation of what was to become the Plateau graph, Meeker had developed an innovative tech - Geometrics series: “I wanted to do something that nical process, which involved a combination of is about printmaking. At the same time, I wanted silk screen and intaglio that produced rich, nearly to do something about home.” By the early 1990s, three-dimensional images. 13 Studying with these Feddersen had been printmaking for well over a two master printmakers amplified Feddersen’s decade and had also worked in many other media own sense of the medium as fundamentally (ceramics, lost-wax casting, oil, acrylic, watercol - involving keen observation and endless explo - or, and glass): “I wanted this whole set of work to ration of technique and process. play off of those things that I have just loved to do.… I wanted to take advantage of … the inher - Feddersen earned his MFA in 1989 and went ent qualities of printmaking…. The way I could directly to the Evergreen State College in work an image through layering.… The ways Olympia, Washington, and joined the art faculty. things are built up, the saturation…. [Making His approach to art has proved to be compatible multiple prints, you] play off of what’s different; with Evergreen’s pedagogical philosophy, which you can change subtle things in them. I like that relies upon inquiry-based, interdisciplinary, col - kind of inquiry.” 14 laborative teaching and learning. Feddersen has shaped his teaching programs, as they are called at So in 1995, Feddersen embarked on the Plateau Evergreen, around subjects he wishes to pursue, Geometrics series. On one level, it was a celebra - such as abstraction and contemplation. tion and exploration of the qualities of printmak - ing, and on another, it was an homage to the great At Evergreen, Feddersen continued his investiga - Plateau tradition of abstract graphic design. From tions into symbol and pattern, which inform the Feddersen’s perspective, Plateau weaving designs works in his Journal series on a new level. For have resulted from generations and generations of Plateau Geometric #10 these, Feddersen committed to working daily and, people living on the land and interpreting their 1995 like journal writing, to take the everyday things relationship with the land through abstraction— Linocut, relief etching, drypoint 26 x 20 in. that presented themselves as his material. Daily the slanting angles, triangles, and intersecting Courtesy of the artist and Froelick Gallery, Portland, Oregon observations and experiences were recorded lines that inhabit basket patterns with names such Feddersen’s work in Plateau Geometrics resonated The step from the Plateau Geometrics prints to through imagery in a methodical process that as “mountain,” “salmon gill,” and “salmon gut.” deeply with the history of Plateau abstract design. basket making was a logical one for Feddersen. allowed for the spontaneity of everyday discover - Feddersen is careful to note that he is not mimick - Though fully modernist, his Plateau Geometrics The demands of each are similar—both print - ies. So, for example, Feddersen used wings to ing specific basket designs but rendering them works are not a rejection of realism but a contin - making and weaving require discipline, persever - record the dead bird he found in the driveway and into two-dimensional interpretations and refers uation of the tradition of abstraction in his own ance, methodical practice. Each has sculptural antlers to record a hunting trip with his father. to this process as working “in the first person.” He people’s artistic heritage. By rendering this tradi - elements—scraping, making marks and incisions, intentionally chooses designs with ambiguity and tion new in the “first person,” Feddersen is paying rendering three-dimensional forms. As he contin - During those early years of teaching, Feddersen few directly representational elements, and incor - tribute to it. 15 In the late 1990s, the artist contin - ued developing the Plateau Geometrics , Feddersen was seeking direction for his art. He needed to porates them into his own work. ued this exploration in his Glyph and Tama series. decided he needed a fuller understanding of

24 25 basketry and began learning from his friend ranging body of work employs designs that in - and large-scale print installations that compose his Elizabeth Woody, an artist and poet who herself habit the urbanscape, often juxtaposed with Okanagan series. The term “Okanagan” refers to was a student of weaving. Woody writes of the Plateau-derived designs abstracted from the his people and to the concept of a gathering place, intensity with which Feddersen studied weaving indigenous landscape: “The newer designs I come and in this series, Feddersen gathers up references and his experimental use of linen, horsehair, up with just acknowledge today’s reality.… Our to both Plateau design and urban contemporary waxed paper, and beads. 16 Feddersen went home landscape is dotted with these high voltage towers. design on a vast scale. to the Colville Reservation and talked with They become part of our existence. Parking lots, renowned weaver Elaine Timentwa Emerson everything, becomes part of our land today. I don’t Feddersen made another breakthrough with the about basket designs. For Feddersen, her assertion know if things become kind of romantic, you look Urban Indian series in 2003 as he began to work that design meaning is deeply rooted in location at the landscape and ignore the high voltage tow - in glass. Mentor and friend Truman Lowe invited stood out above all. In other words, the meaning ers and the parking lots, but this is where we live Feddersen to participate in the National Museum of designs depends upon who the interpreter is and it is part of our life today.” 18 of the American Indian’s Continuum 12 Artists and where he or she is from—a very local form of exhibition in New York in 2003. Feddersen wanted indigenous exegesis. To someone else, in the next The first body of work Feddersen produced in the to show large-scale work in order to complement valley, the same design may have a different Urban Indian series is a group of modestly scaled the spacious dimensions of the George Gustav meaning. The aesthetic system allows for individ - baskets with urbanscape titles (such as Cul-de- Heye Center gallery where his work would be ual visions yet is tied to a specific environment Sac ). Although this work may be read in a number displayed. He readied his print installation and in turn to the cultures that for generations of ways—as modernist sculpture, as Native Okanagan IV (about twelve by fifty-eight feet) for have been rooted in a certain place. American basketry—the titles lead us to attend to exhibition, but weaving large baskets was techni - the way in which urban designs overlay the land - cally difficult if not impossible, so Feddersen Shifting Ground Feddersen was awarded the prestigious Eiteljorg scape and to realize that what we think of as the struck upon the idea of weaving in glass. With the 2002 Fellowship for Native American Fine Art in 2001, landscape is not neutral but is itself imprinted help of Tlingit glass artist Preston Singletary, Waxed linen 1 1 1 8 /2 x 7 /2 x 7 /2 in. only the second round of the juried biennial with an indigenous cultural stamp. In abstracting Feddersen produced several baskets that super - Collection of Penny Tetter, Burien, Washington awards sponsored by the Eiteljorg Museum of designs from structures in the environment, impose black designs similar to those in the American Indians and Western Art in Feddersen replicates an age-old tradition in woven Urban Indian baskets series on white tradi - Feddersen continues his investigations into Indianapolis, Indiana. The fellowship, which Plateau art. Just as Plateau weavers used slanted tional basket designs. abstraction, modernism, and Plateau aesthetics comes with an unrestricted honorarium and pur - triangles to represent mountains, Feddersen in glass, fiber, and print media. In the Signage chase of work for the museum collection, was an incorporates the geometric line patterns of subur - The medium of glass opened up an entire new series (2006), he integrates a multitude of signs— acknowledgment of Feddersen’s stature among ban cul-de-sacs, chain-link fences, and tire treads realm for Feddersen’s Urban Indian series. In the inverted triangles of Plateau basketry, the his peers and in the contemporary Native art into his baskets. In his hands, these everyday, and 2005, he launched other series of works in glass, parking lot motif, and, over all, traces of tire tread world. Selections from Plateau Geometrics along thus nearly invisible, elements of the urbanscape including the monochromatic Tire Track series, patterns—in a color register reminiscent of Pop with the baskets he was weaving formed the core become striking graphic designs. which superimposed tire tread designs on Plateau Art. In 2007, he began a series of small, compact of his contribution to the fellowship exhibition basket shapes, and the Fish Trap series, which prints that continue the symbolism of the Urban After the Storm. In the accompanying catalog, art The humor of the Urban Indian series is infec - introduced vibrant color into the unexpectedly Indian series. Feddersen has chosen to name this historian W. Jackson Rushing III emphasizes, as tious, but, as Feddersen stresses, works in the series elegant conical shape of traditional fish traps. Not series of prints after his many paternal and does Feddersen himself, the duality of the Plateau are not jokes. They are intended to be ironic and to content to stand still, he has more recently begun maternal aunts, not so much to make them into Geometrics works, their simultaneous reference to draw our attention to the layering of environment to use a varied and highly contrasting palette in “portraits” but to signal relationships within this modernism and to Native aesthetics. 17 and culture that surrounds us yet that we do not the creation of bowl-shaped baskets such as Brick body of work. 19 Regardless of his intention, the readily see. As Tremblay details in her essay, in the Mountain (2006) and Stealth (2007), both of real names of the titles subtly remind the viewer In 2002, Feddersen extended his inquiry into this early 2000s, Feddersen began to pursue these which use yellow to great effect, reflecting Alps’s that the integration of modernity and tradition relationship in his Urban Indian series. This wide- themes in prints (such as Wyit View ), monotypes, advice. achieved in the prints is similarly embodied in

26 27 the lives of real people. In these sharply contrast - Following from that lineage, Feddersen takes that ing images, Feddersen again works with the which surrounds him and transforms the anthropomorphic figures of high voltage towers rhythms into art forms that are both coolly mod - (Lydia 3 ) and with the silhouette of the stealth ern and warmly expressionistic. He gives the lie to bomber ( Mary Ann 8), in the latter making a the notion of a sharp dichotomy between tradi - quiet commentary about the persistent presence tion and modernity. His work arises from a long of war machines in the background of our lives. cultural heritage of artistic interpretation of the human-environment relationship: “Everybody’s In the late nineteenth and early twentieth cen - unique vision is particular to themselves, but it is turies, Plateau basket weavers incorporated con - multiplied over generations after generations after temporaneous and ubiquitous designs such as the generations [in Plateau] culture, and the culture is American flag or floral fabric patterns into “tradi - tied in place [to the land].” 20 tional” cornhusk bags and other woven genres.

1 Joe Feddersen, interview by author, July 2007. 7 For a brief discussion of the history of Sacred Circle 2 In Canada, the spelling is “Okanagan”; in the United Gallery, see Sheila Farr, “What Happened to Sacred States, the spelling is “Okanogan.” Except for proper Circle Gallery?” Seattle Times , June 8, 2007. place-names (e.g., the Okanogan River), the 8 Jamake Highwater, The Sweetgrass Lives On: Fifty Canadian spelling is used in this text. Feddersen’s Contemporary North American Indian Artists (New mother was of Canadian Okanagan ancestry. York: Lippincott and Crowel, 1980). There was an 3 See Bill Anthes, Native Moderns: American Indian accompanying exhibition with the same name that Painting, 1940–1960 (Durham, NC: Duke University Feddersen did not see. Press, 2006), pp. 180–81, for a discussion of 9 Joe Feddersen, interview by author, August 2007. Scholder’s and Cannon’s contributions. 10 Joe Feddersen, Donald Fels, Jaune Quick-to-See 4 Ron Carraher (Colville Confederated Tribes) is a Smith, and Gail Tremblay, Voices of the Community: photographer and author of Electronic Flash The West Seattle Cultural Trail (Seattle: Seattle Arts Photography (1987, Van Nostrand Reinhold Commission, 2001). Publishers). Carraher was included along with 11 In the 1980s, Feddersen was represented by, among Feddersen and many other artists in the 2004 exhi - others, Elizabeth Leach Gallery in Portland, Oregon; bition Lewis and Clark Territory: Contemporary Marilyn Butler Gallery in Santa Fe, New Mexico; Artists Revisit Race, Place, and Memory , at the and Sacred Circle Gallery. Tacoma Art Museum, curated by Rock Hushka. 12 Joe Feddersen, personal communication, August 5 Lucy Lippard, Mixed Blessings: New Art in a 2006. Multicultural America (New York: Pantheon Books, 13 Meeker collaborated with engineer John McFee to 1990), p. 29. develop the Meeker-McFee motorized etching press, 6 For a biography of Vi Hilbert, see the essay at which combines silkscreen and intaglio processes.

Signage I HistoryLink.org, the online encyclopedia of See http://deanmeekerstudios.com/. 2006 Washington State history: http://www.historylink 14 Joe Feddersen, interview by author, August 2006. Relief print on paper on panel .org/essays/output.cfm?file_id=7130. 15 Melanie Herzog has made a similar point about a 16 x 12 in. very different artist, Elizabeth Catlett. Herzog has Courtesy of the artist and Froelick Gallery, Portland, Oregon

28 29 said that African abstract sculptural traditions pro - 17 W. Jackson Rushing III, “Joe Feddersen: Sacred vide a foundation for Catlett’s work and that, rather Geometry,” in After The Storm: The Eiteljorg than seeking freedom from tradition as Western Fellowship for Native American Fine Art, 2001 artists did, Catlett paid homage to tradition. So (Indianapolis, IN: Eiteljorg Museum of American while Catlett’s work, like Feddersen’s, is at its core Indians and Western Art, 2001), pp. 33–48. contemporary, its foundation is not the same as that 18 Joe Feddersen, interview by author, August 2007. of the artist working in—and against—Western tra - 19 Feddersen further explains that his use of personal ditions. See Herzog, Elizabeth Catlett: An American names as titles in this series was inspired in part by Artist in Mexico (Seattle: University of Washington a similar use of women’s names as titles in a series Press, 2000). of works by American printmaker and painter 16 Elizabeth Woody, “Joe Feddersen: Geometric Frank Stella (b. 1936). Abstraction—The Language of the Land,” in 20 Joe Feddersen, interview by author, August 2006. Continuum 12 Artists (New York: National Museum of the American Indian, 2003).

(artist unknown) (artist unknown) Basket with chevron design Basket with stripes-and-steps design Klickitat style, ca. 1900 Klickitat style, 1900–1930 Cedar root, bear grass, commercial string Cedar root, bear grass 3 1 14 x 12 in. 11 /4 x 9 /2 in. Collection of Bill Rhoades, Madras, Oregon Collection of the Hallie Ford Museum of Art, The Bill Rhoades Collection, a Gift in Memory of Murna and Vay Rhoades

30 31 (artist unknown) Cornhusk bag, front view (back view, opposite) Plateau, ca. 1900 Cornhusk, hide, thread 1 21 /2 x 17 in. Collection of the Hallie Ford Museum of Art, The Bill Rhoades Collection, a Gift in Memory of Murna and Vay Rhoades

32 33 SPEAKING IN A LANGUAGE OF VITAL SIGNS

Gail Tremblay

  has both created and used a detail. When Feddersen talks about growing up, highly symbolic language of signs derived from he loves to tell a story about his childhood that the designs of artists, beadworkers, and basket reveals a lot about his character and his ability to makers from the Colville Confederated Tribes focus on small details. When he was a child, whose works have inspired him since his child - Feddersen’s mother would give him two coffee hood. He uses the term “vital signs” as a concept cans, one filled with stones. Joe would take the to describe his work of the last two decades, refer - cans outside, where he would sit and study each encing multiple levels of meaning. First, there are stone before moving it to the empty can. His the medical meanings: one takes the pulse and mother could occupy him with this activity for knows the heart is beating, and the person is very hours because he had the patience to study each much alive; the breath delivers oxygen to the stone in detail. As he tells this story, he sees it as a blood, and the blood carries it to the body and the joke on himself, an easy way for his mother to brain. The synapses snap and a human learns to keep him occupied, but it is also a kind of training define the world in relation to people and to in patience and really seeing things. When place; culture flowers. From this flowering, a mil - Feddersen talks about his early life in Omak, he lion concepts and ways of seeing things are born. talks about his relationship to place and the things Words and signs are created; meaning is shared. that came from a particular place. He talks about Finally, a way of seeing is born, and from that the creating things that come from and are shaped by artist gains insight and extends tradition, renew - that place and way of seeing. He talks about things ing it and making it live at the same time he or she that make reference to where a person is and what addresses, encompasses, redefines, and assimilates a person sees. Clearly, he applies this passion for new aspects of the contemporary world by inte - detail to his work as a visual artist, and it affects grating them into old patterns of culture that sus - his approach to both the concept and the process tain life. In Feddersen’s case, he is inspired by of art making. Plateau traditions of using visual abstract patterns as a language for describing place. His work Over the past thirty years, Joe Feddersen has extends a long history of developing and blending demonstrated a remarkable ability to master and Tapestry No date a variety of processes for making art. invent art-making processes in order to create Collagraph 22 x 15 in. subtle series of works that develop complex con - Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, gift of the artist Making art that involves complex processes takes nections between form and content. Nowhere is patience and an ability to see and attend to visual this more obvious than in his work as a print -

34 35 maker. A survey of Feddersen’s work offers the prints. This was an important opportunity to in the contemporary Native American art move - created opulent, mixed-media surfaces combining chance to explore the development of a unique learn processes and the philosophy of art making ment. While a student at the University of leather, metal disks, beads, and other materials, artistic vision that grows out of the patterns of from a master printmaker. Feddersen’s earliest Washington, he was given an assignment by and he applied such principles to embellish the culture he inherited from his people as well as the prints, done when he was studying with Alps, are Michael Spafford to create works in a series, and surfaces of his own work. Eventually, Feddersen personal experience of a life in which even the collagraphs printed in 1979 and 1980. Both show Spafford was startled when Feddersen chose rain used Rainscape prints to create another series of most ordinary occurrences and activities are Feddersen’s early mastery of that medium and his as the subject for his work. In conversation with powerful collages, many of which he layered with made extraordinary when they become the sub - concern with subtle elements of process, form, Feddersen, Spafford indicated that he thought the paint, pastels, and other media in combination jects of his art. and color. In these works, Untitled and Tapestry , topic lacked the complexity needed to form the with the mirrors, staples, and other objects he had Feddersen created a highly textural surface. He subject of a good series. Feddersen, however, had been using. It is startling, looking at these works, After studying with Robert Graves at Wenatchee already had begun to play with subtle gradations complex ideas about creating a vocabulary of to see how masses of embedded staples create glit - Valley Community College in the 1970s, Fed- of color that stimulate the eye. Untitled makes forms with which to explore this topic in a variety tering patterns of light. With these unusual mate - dersen continued his work as a printmaker as a reference to organic shapes in the natural world, of print media, and as Feddersen’s series of works rials, Feddersen produced powerful visual effects, student of Glen Alps at the University of while Tapestry uses color change to create subtle unfolded, Spafford changed his mind about the and his ability to use a variety of print media on Washington. Alps, a well-known member of the forms that suggest the geometric nature of woven value of rain as a topic for artistic work. In his which to experiment and create works that were Northwest artists’ community, advised Feddersen design, a theme to which Feddersen would return Rainscape series, Feddersen played organic, cloud uniquely his own helped to attract major collec - to explore with freedom those concepts that most in more complex ways later in his career. shapes against patterns of diagonal lines repre - inspired him. Because of Feddersen’s aptitude for senting rain. He explored these design elements printmaking, Alps also invited his student into In 1981, Feddersen began a major series of prints against subtle variations of color on a variety of his studio to work with him to produce his that established him as an important participant rich surfaces, sometimes creating the most sump - tuous blended rolls moving gracefully from one intensely colored ink to another. The finished effects lead the viewer to think about the nature of rain, giver of life, in the multiplicity of its aspects. In different prints, one sees the beauty of rain at dawn, at sunset, and at dusk or when clouds reflect the grid of light and dark rising from city streets at night. In creating these works, Feddersen used many different print media, including lithography, monotype, monoprint, woodblock, and serigraphy and sometimes incorporated chine collé to create a lush and luminous surface.

Some works in the Rainscape series were printed in editions, while others are unique prints, and over time, Feddersen began to enrich the surfaces of his prints with an embroidery of nails, staples, brads, and pushpins. Sometimes he separated diptychs The Changer Rainscape #25 with mirror tiles. In discussing the sources for his 1991 1982 Relief print ideas during this period, Feddersen talked about 1 Mixed media 46 x 3 3 /2 in. 3 3 28 /4 x 4 5 /4 in. the influence of traditional indigenous artists who Collection of the artist, Lacey, Washington Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, gift of the artist

36 37 encaustic to his artistic vocabulary enabled him to heighten the viewer’s sense of the power of objects to entrap.

Such works, with their obscure references to figu - rative elements, prefigure a series of computer- generated prints that Feddersen completed as a graduate student at the University of Wisconsin– Madison in 1989. Each work was produced in an edition of five. The six works from this series con - tinue Feddersen’s use of the subtle outline of his head and shoulders, in this case placed amid a complex series of webs, chevrons, or bilaterally symmetrical organic patterns in order to evoke elements of the internal life of an individual Gold Web struggling in a disintegrating world out of bal - 1988 Mixed-media collage ance. The rigid geometric grid, created by the 18 x 34 in. computer, functions like threads in a tapestry in Collection of the artist, Lacey, Washington which color is blended with sophistication to cre - tors during this significant period of his career. autobiographical self-portraits out of pieces he ate an emotional landscape of great complexity. The majority of these works, both part of and cut from his prints to create abstracted silhouettes These works provide a powerful kind of derived from the Rainscape series, were produced of his head and shoulders, a figurative reference to Rorschach test, with each viewer finding pattern between 1981 and 1985, although a few date from the body. These works explore the way in which and meaning in what is basically an abstract as late as 1987. American material culture can trap the individual design made from tiny dots of color of differing in a web, a point that is particularly obvious in the values on a field. The images and meanings view - In the early 1980s, Feddersen made his first prints work Gold Web . Collages and prints in this series ers create in examining these works may haunt Untitled

based on traditional Native American stories. are haunting. Feddersen’s introduction of wax like dangerous dreams that reveal too much about 1989 wv e Cast glass, wood Inspired by Vi (ta q s blu) Hilbert, a master story - 1 3 1 each person’s psychological state. Feddersen cre - 23 /2 x 1 1 /4 x 6 /4 in. teller who was his Salish-language teacher at the ates patterns that open the viewer’s imagination Collection of the artist, Lacey, Washington university, Joe created works based on creation in tantalizing and deliberately disturbing ways. In the early 1990s, after he had left graduate stories such as “The Changer.” These images are During the years he spent in graduate school, school and begun teaching at the Evergreen State abstract and highly symbolic but contain ele - Feddersen expanded his work, doing a series of College, Feddersen worked simultaneously on ments that are evocative of passages in the stories large paintings, wood and small bronze sculp - three important print series, dividing his time to which they refer. These works became the tures, and a cast-glass work. He exhibited several between works that explored personal metaphor source for later prints of the late 1980s and early of the paintings in conjunction with the sculp - and meaning, works that contained figurative ele - 1990s based on the same stories, which incorpo - tures, thereby creating lively mixed-media works. ments, and works that focused on pure design. rate petroglyph-style images into richly textured This period of experimentation was influenced by The works in his Broken Basket series are geometric fields that direct viewers to contem - his work with noted Ho-Chunk sculptor Truman metaphors for loss. Those in his Journal series Red Chevrons plate the tension between forgetting and preserv - 1988 Lowe, and it led eventually to suites of work that explore the ordinary things that happened in his ing stories across time. In the period between Computer print 1 extend beyond print processes. 8 /2 x 11 in. daily life: finding a bird’s wing near his house, 1987 and 1989, Feddersen also created a series of Collection of the artist, Lacey, Washington

38 39 edge of life. At the same time, Feddersen creates a visual environment balanced by luscious color, texture, and design as he makes blanket designs of greater complexity and beauty than are found among other American blanket makers. There is a pure beauty in these works that one can enjoy, and the fact that such escapism is possible makes the ordinary pain and loss that are an inevitable part of daily life more bearable. It is this ability to look at life unflinchingly and at the same time to create of it great beauty and a place of refuge from pain that makes Feddersen’s rich and varied oeu - vre such an artistic gift.

Also in the 1990s, Feddersen collaborated on two installation works with Warm Springs–Navajo artist Elizabeth Woody. They completed a work in 1991 for the national touring exhibition Submuloc Show/Columbus Wohs , in which a poem by Woody

Chief’s Blanket #17 was suspended on a scaffolding above a pool of 1992 water. The words were arranged in mirror image Monotype 3 3 47 /8 x 29 /8 in. on clear plastic above the pool, and when light Collection of the Hallie Ford Museum of Art, Willamette was projected through the poem, viewers could University, Salem, Oregon, gift of the artist read the poem’s shadow on the wall behind the killing and cleaning a deer, fishing—images that work. This evocative piece encouraged viewers to express the emotional landscape of his imagina - reflect on the way in which establishment history tion. These series are balanced by the more formal makes Native history shadowy and obscure. and abstract works from his sumptuously beauti - Archive , their other major installation, was shown ful Blankets series, with its magnificent explo - rations of color blending and symmetrical design. In viewing works from this period, one is struck by the generative power that dislocations of sense and feeling in daily life can contribute to the visual language of the artist. The wedding of the imagery of death and dismemberment with the sentimental, paint-by-numbers image of a deer

Broken Basket II allows the viewer to explore the real power of 1990 beauty in the bone. One wakes to a world where Monotype 22 x 30 in. nothing is simple. The monoprints and mono - Collection of the Regional Arts and Culture Council, Portland, Oregon types of these figurative series are full of the sharp Joe Feddersen and Elizabeth Woody, 1998. Photographer unknown.

40 41 at the Tula Foundation in Atlanta in 1994. In it, tional approaches to reading meaning in pattern. Woody’s enlarged photographs of the hands of He next used basket designs to create the small enrolled American Indian tribal members were Double Diamonds series of prints, which makes installed next to quotations from the people oblique reference to gambling on the reservation. whose hands had been photographed. The indi - He also created his first paper garments, two tra - viduals commented on cultural identity and ditional vests and a pair of gloves based on the issues important at the time, such as the Indian traditional embroidered leather garments his Arts and Crafts Act of 1990, which requires proof grandmother and great-aunts sewed. These works of tribal ancestry before art can be legally mar - contain references to gambling as well as personal keted as American Indian. Throughout the 1990s, family history. Feddersen and Woody had a very fruitful collabo - rative relationship, and in 1996, Feddersen stud - Feddersen’s work since the mid-1990s grows out ied basket-making techniques with Woody and of the exploration of traditional Plateau weaving created his first twined root bags and baskets. Four patterns that began with his Plateau Geometrics years later, a number of his baskets were included works and extends to series that examine the way in After the Storm , the 2001 fellowship exhibition in which contemporary culture has marked the at the Eiteljorg Museum of American Indians and land. When Feddersen was working on the basket Western Art in Indianapolis. designs for Plateau Geometrics , he chose not to copy traditional designs but to combine the In 1994, Feddersen made the Ocean Crest series, mnemonic signs used by basket makers and layer composed of four etchings exploring landscape. them so that viewers could organize abstract More important, he also began his Plateau visual patterns and shift the way they see designs Geometrics series, a major exploration in print when reading them. media of Plateau cornhusk bag designs. In this series, Feddersen did a focused study of the tradi - As Feddersen worked on this series, he was think - tional foundations of abstract design. In a sense, ing about the artist Jasper Johns’s use of numbers he came full circle, indulging his passion for and symbols to create a visual language. process and the formal elements of design as well Feddersen reflected on the traditions of his own as his fascination with the emotional power of culture, in which the names of geometric designs color. This series, which now contains more than make reference to natural phenomena, place, and 175 different prints, uses multiple processes, the marks animals create in the environment. sometimes in combination. Feddersen has used Traditional Plateau basketry makes use of a num - etching, aquatint, linoleum block, lithography, ber of well-known named patterns including general relief printing, and monotype to create lightning design, mountain design, ladder design, visual relationships that sometimes cause the eye snake design, and butterfly or vertebrae design. to read designs in multiple ways, shifting negative From weaver Elaine Timentwa Emerson, Fed - Deer Skull #3 1992 and positive space as the viewer focuses on shifts dersen learned that the designs were an evocative Monoprint in value and color that reveal different ways visual language that related powerfully to culture 30 x 22 in. Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, gift of the artist of understanding their geometry based on tradi - and history in a place. He began to make the

42 43 print. Feddersen worked with Eileen Foti, the mals, and scenes of the natural world. Sometimes master printmaker at Rutgers, to apply chine collé geometric and figurative designs were placed on to the works. opposite sides of a bag or other object; sometimes they were arranged in relation to each other on the While he was working on the Glyph series, same side. He thought about his interactions with Feddersen began to reflect on the use of geometric his grandmother, Ellen Alec, and the way she both designs on beaded bags, hats, and clothing made preserved and innovated on cultural traditions in by artists in his grandmother’s generation and on her embroidery and beadwork. Alec died on the frequent use of older woven designs along with November 7, 1992, but the richness of those mem - the more figurative beaded designs of flowers, ani - ories led Feddersen to begin work on the Tama

Grandfather’s Vest 1998 Paper construction with printed paper and pigment; on maple display stand 1 25 x 18 /2 in. Northwest Museum of Arts and Culture/Eastern Washington State Historical Society Glyph series of prints that layered these named to experience these works in relation to either tra - designs and combined color and geometry so that dition or modernity. Indeed, this suite of prints viewers could read the patterns in multiple ways. works equally well in both contexts. Different designs and relationships emerge depending on the way in which the human eye After completing the Glyph series, Feddersen trav - and brain organize geometric elements. This eled to Rutgers University in New Jersey in 2001 series of linocuts, with imported texture from to print a variable edition of twenty lithographs found objects, uses color with great subtlety, and using a number of traditional basketry designs. even viewers who don’t know the traditional Whereas the prints in the Glyph series were inti - names of the designs find that their eyes organize mate in scale, measuring eight inches square, this color and shape so that shifting designs come into series of lithographs was much larger, at thirty view. For viewers from the Colville Reservation inches square. In print no. 7, Interwoven Sign , tra - who are familiar with the names of the designs, ditional basketry patterns create varying visual the shifting of visual possibilities brings the vital - relationships between geometric designs. While ity of old basket patterns to mind as they recog - prints in this series are related to one another and Glyph #7 nize the various relationships among traditional build upon similar designs such as lightning, but - 2001 Unique linocut 3 designs. Feddersen’s ability to innovate allows terfly, and mountain symbols, shifts in pattern 11 x 9 /4 in. viewers with different levels of cultural knowledge and color result in different visual effects in each Courtesy of the artist and Froelick Gallery, Portland, Oregon

44 45 Feddersen was struck by the amount of change that occurs over a lifetime. This led him to think about the way in which traditional patterns coex - ist with the patterns, signs, and marks made by objects that are part of modern American life, cre - ating a new set of basketry designs. He also reflected on the large numbers of indigenous Americans who, like himself, have lived in urban areas where the land is marked by artifacts of Euro-American culture. He began to twine a series of nine baskets with titles such as Highway with HOV , Construction Barrier , Scaffolding , and Parking Lot that explore the imprint these new designs leave on the land. The baskets in this series, all intimate in scale, use bold designs, some in black on a white background and others in white on a black background. These Sally bags, ELAINE TAMENTWA EMERSON Soripa (worn-on-hip basket) made using traditional techniques but with waxed 2005 linen instead of dogbane (Indian hemp), were Cedar root, bear grass, wild cherry bark 3 5 1 6 /4 x 6 /8 x 6 /4 in. normally woven to hold varieties of wild edible Collection of the Hallie Ford Museum of Art, Willamette roots, traditional foods collected from the land for University, Salem, Oregon George and Colleen Hoyt Acquisition Fund centuries. Indeed, most viewers see the modern series ( tama means “maternal grandmother”). As designs as traditional Native American basketry with his Plateau Geometrics and Glyph series, each designs until they read the titles and begin to reor - print in the Tama series is unique, but in these ganize the designs in order to relate the images to works he chose to combine collagraph and collage. the titles. As viewers reflect on the sources for this Feddersen collaged some of these prints with flo - suite of designs, they come to appreciate not only ral designs in honor of his grandmother’s designs the series title Urban Indian but also the ironies and his mother’s calico and print dresses. These that shape urban Indian life, in which patterns of representational elements soften the geometry of land use and landownership make a traditional his designs. He also used areas of silver leaf or col - lifestyle difficult. Feddersen sees these works as laged holograph paper as well as layers of rice personal, growing out of his own experience, and paper, or chine collé , to enrich the surface of works they became the source for subsequent series of in this series. The special reverence Feddersen felt glass works and prints. as he celebrated his grandmother’s life comes through in the jewel-like beauty of these works. One of the first of these prints is an editioned lith - ograph Feddersen printed at Crow’s Shadow High Voltage Tower In considering the lives of contemporary Institute of the Arts on the Umatilla Reservation 2003 American Indian people like his grandmother, in Pendleton, Oregon, in 2002. For the print, he Woven waxed linen 8 x 6 x 6 in. mother, sisters and brothers, and friends, developed an image based on the design of Courtesy of the artist and Froelick Gallery, Portland, Oregon

46 47 Cul-de-Sac , his basket from the Urban Indian objects to create areas of texture. Eighty-four Preston Singletary to fabricate these works, which design in acrylic paint and graphite. This suite of series. While he was working on the print, he printed panels were then installed in a grid on the each combine a black design on a white field taken work ties the designs of artifacts from modern learned about a proposed housing development wall, forming a finished image about eight by from one of Feddersen’s twined baskets with a tra - American culture with traditional designs, making on the reservation, to be called Wyit View. Wyit is eighteen feet long. The effect is dramatic because ditional design sandblasted on the white back - the visual relationships among the geometric the Cayuse word for “mountain,” and Feddersen of the subtlety of color and design and the monu - ground. For example, the glass vessel Cul-de-Sac is shapes obvious to viewers, so that it is possible to decided to title his print Wyit View in honor of the mental scale of the work. Okanagan II was first sandblasted with the salmon-gut design, and the move visually from one cultural context to anoth - tribe’s project. But when tribal members began to shown at the Froelick Gallery in Portland, vessel Chain Link is sandblasted with the moun - er and see the similarities in form. survey the site, they found burial remains in the Oregon; it then moved to the Tacoma Art tain design. Some vessels feature brightly colored area and decided to cancel the multimillion- Museum and later was part of the museum’s tour - lip wraps, and all have a luminous quality that After completing the glass vessel Tire Track for his dollar federal project rather than disturb their ing exhibition Lewis and Clark Territory: draws viewers to study the subtlety of the surface NMAI show, Feddersen began to study the dead ancestors. Feddersen saw this action as an Contemporary Artists Revisit Place, Race, and designs. These pieces were created for an exhibi - designs of different brands of tires. He noticed example of the proper way to honor one’s ances - Memory in 2004. It was exhibited again in New Art tion of Feddersen’s work at the Smithsonian that tire names made reference to the West, tors. In this case, as with their struggle to protect of the West 9 at the Eiteljorg Museum in 2006 and Institution’s National Museum of the American nature, and adventure and that some were almost the bones of Kennewick Man, an ancient ancestor then purchased for the museum’s collection. Indian (NMAI) in New York. Included in the parodies of Indian names. In 2005, he began sev - whose grave was washed out by the Columbia show were a woven basket from the Urban Indian eral major series of glass vessels, two of them River, the Umatilla people chose to make tradi - In 2003, Feddersen printed a series of monotypes, series, the glass vessels, and Okanagan IV , the based on the patterns of tire tracks. He collabo - tional values vital in the modern world. In Wyit also titled Urban Indian , that continues the explo - largest print installation in the Okanagan series. rated on the first with Singletary and created the View , Feddersen combines elements of three tra - ration of ideas in his earlier baskets and in prints This work contains star, butterfly, women, and second in the glass studio at the Museum of Glass, ditional basketry designs—mountain in red, pit like Wyit View . In these works, he combined mountain designs and makes reference to Tacoma, Washington. Feddersen worked with the house in brown, and salmon gut in blue—as well images and designs from High Voltage Towers and Pendleton blankets through color. Feddersen cre - designs of tires the manufacturers had named as his Cul-de-Sac design in black to create a com - Parking Lot with traditional designs, creating a ated texture by combining relief print processes, Timberline, Winter Force, Eagle, Rugged Trail, plex layered image. complex relationship between indigenous visual- using linocuts and woodcuts, with relief stencils and Fire Hawk—many were SUV tires that could language patterns and the modern patterns that to create texture. As in Okanagan II , he formed leave dramatic marks on the earth. Works such as In 2002, Feddersen also began the Okanagan affect the environments in which contemporary panels out of sheets of variously colored paper Winter Force , made with Singletary, took the series of large print installations. The series takes Native peoples live. For this series, Feddersen used and then assembled the panels into a grid to shape of Sally bags and were made by blowing its name from the group of American Indian peo - his new abstract visual language to express the create the overall design. The work combines brown glass over a layer of amber glass and then ple of which Feddersen is a member. Colville importance of honoring traditional patterns of intensely saturated colors with complex patterns sandblasting the design through the brown glass. Confederated Tribes represents twelve different culture and maintaining its vitality; at the same that the eye may arrange so as to foreground var - Stencils were applied in layers, and areas of sten - American Indian Nations, including the time, he refused to allow his artwork to lock ious traditional symbols in the design. This exhi - cils were removed during four different stages of Okanagan people, and a group of Nez Perce peo - American Indian people in some strange ethno - bition led to a powerful breakthrough in Fed- sandblasting, creating variations in color and tex - ple captured with Chief Joseph as they tried to flee graphic present where they must not be modern if dersen’s work, which was subsequently included ture on the surface of each vessel. Works in the from Oregon to Canada. The word okanagan has they are to be authentically “Indian.” In these in several books and articles about contemporary second series, such as Rugged Trail II , are shaped many meanings, among them “a site to ren - works, Feddersen makes both tradition and Native art. The new glass works garnered particu - like berry baskets and have two layers of color, one dezvous,” “a place of gathering,” and “a place of modernity present in contemporary American art lar attention. on the outside and the other on the inside. The convergence.” Feddersen sees these works as a and reflects the real lives of people living in twenty- works in this series are compelling in their bold meeting place for multiple designs and print first-century urban Indian culture. When Feddersen had completed the works for the use of color and design. processes. For example, Okanagan II combines NMAI show, he did the print series Cultural butterfly, mountain, lightning, pit-house, and In 2003, Feddersen also began work on a series of Landscapes , which combines his own photographs Around the same time, Feddersen was also work - bear-paw designs and is printed on different- seven large, sandblasted, blown-glass vessels based of bridges and scaffolding with traditional bas - ing on a series of glass fish traps and another of colored papers. Feddersen used woodcut, silo - on designs in his Urban Indian series baskets. He ketry designs. He created these works using photo - glass bowls. Works in the Fish Trap series are graphy, and relief stencils made with found collaborated with noted Tlingit glass artist lithography techniques and applying areas of inspired by the cone-shaped traps woven of sticks

48 49 and long used by indigenous fishermen. The marks on the land at the same time that moun - shape of these vessels and the lines of contrasting tains exist under the stars as they have through color in the design suggest the traditional form of millennia. In this piece, Feddersen uses a grid of the traps, while Feddersen’s wildly experimental ninety fourteen-inch-square panels to create a use of color excites the eye. For works in the Bowl design six feet six inches high by twenty feet long. series, Feddersen combined traditional basketry The work speaks to the vitality of indigenous cul - designs and employed color in dramatic ways. ture, which survives into the twenty-first century, Stealth (2006) combines a mountain design com - and to the tenaciousness of Native people, who posed of stealth bomber silhouettes and radar dance in two worlds with a grace passed down symbols, referring to military surveillance, with from ancestors who understood how to keep areas of yellow and black above areas of turquoise things in balance. Feddersen creates a beautiful and red. This object, with its subtle antiwar mes - surface in this reduction print through the wood - sage, is visually stimulating in color and design. cut and blended roll techniques.

In 2006, Joe Feddersen completed Okanagan V for In a large body of work created since 1979, Joe an exhibition at the American Indian Community Feddersen has found it impossible to resist using House Gallery in New York. In this large print abstraction to make metaphor and meaning just installation, the artist arranged traditional star as his indigenous ancestors did from time imme - and mountain basketry designs and the Eagle, morial. In his remarkable and diverse body of Timberline, and Wilderness tire pattern designs work, Feddersen reveals that ancient roots give an so that they overlap. This is the first work in the artist the best tools for walking with beauty and Okanagan series to incorporate contemporary speaking in a language of vital signs to citizens of commercial designs, and it does so with ironic the twenty-first century. wit. One can almost see modernity leaving its

Tire 2003 Blown glass, sandblasted 1 3 3 14 /2 x 1 2 /4 x 1 2 /4 in. Collection of the National Museum of the American Indian, Smithsonian Institution

50 51 Plateau Geometric #56 Plateau Geometric #71 1996 1996 Relief stencil, intaglio, etching Siligraph, relief stencil, etching 26 x 20 in. 26 x 20 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, purchased with an endowment gift from the Confederated Tribes of Grand Ronde, through their Spirit Mountain Community Fund

54 55 Plateau Geometric #187 Plateau Geometric #177 1997 2000 Siligraph, relief stencil, etching Monotype, siligraph, relief stencil 26 x 20 in. 26 x 20 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

56 57 Plateau Geometric #202 Plateau Geometric #35 2001 1996 Siligraph Siligraph, relief stencil, etching 26 x 22 in. 26 x 20 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Collection of the Tacoma Art Museum, Tacoma, Washington

58 59 Glyph #4 Glyph #13 2001 2001 Unique linocut Unique linocut 3 3 11 x 9 /4 in. 11 x 9 /4 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

62 63 Tama #5 Tama #18 2001 2002 Collagraph, relief stencil, reflective collage, chine collé Collagraph, relief stencil, reflective collage, chine collé 22 x 30 in. 22 x 30 in. Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, purchased with an endowment gift Courtesy of the artist and Froelick Gallery, Portland, Oregon from the Confederated Tribes of Grand Ronde, through their Spirit Mountain Community Fund

66 67 Okanagan II 2002 Siligraph, relief stencil 1 1 84 panels, 15 /2 x 15 /2 in. each; 93 x 217 in. overall Collection of the Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana

71 Okanagan II (detail, opposite) Okanagan II , installation view (detail, above)

73 Cul-de-Sac Parking Lot 2002 2002 Woven waxed linen Woven waxed linen 1 7 7 6 /2 x 3 /8 x 3 /8 in. 5 x 4 x 4 in. Collection of the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, purchased with an endowment gift Collection of Preston Singletary, Seattle from the Confederated Tribes of Grand Ronde, through their Spirit Mountain Community Fund

74 75 Cinder Blocks 2003 Blown glass, sandblasted 1 1 16 x 1 1 /4 x 1 1 /4 in. Private collection

79 Cul-de-Sac Freeway with HOV 2003 2003 Blown glass, sandblasted Blown glass, sandblasted 1 14 /2 x 13 x 13 in. 14 x 11 x 11 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Collection of the National Museum of the American Indian, Smithsonian Institution

80 81 Urban Indian Series Urban Indian Series 2003 2003 Monoprint Monoprint 37 x 20 in. 37 x 20 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

84 85 Cultural Landscape III Cultural Landscape IV 2004 2004 Monoprint with acrylic and graphite Monoprint with acrylic and graphite 34 x 34 in. 34 x 34 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Collection of the City of Seattle Office of Arts & Cultural Affairs

86 87 Timberline 2005 Rugged Trail I Blown glass, sandblasted 2005 21 x 11 x 11 in. Blown glass Collection of John and Joyce Price, Mercer Island, Washington 21 x 11 x 11 in. Private collection

89 Firehawk 2005 Blown glass, sandblasted 1 1 1 21 /2 x 9 /2 x 9 /2 in. Collection of Jordan D. Schnitzer, Portland, Oregon

Opposite, left to right: Firehawk , Winter Force , Rugged Trail I

92 93 Fish Trap II Fish Trap VI 2005 2005 Blown glass Blown glass 1 1 1 1 14 x 14 x 22 /2 in. 9 /4 x 9 /4 x 27 /2 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

94 95 Eagle I 2005 Blown glass 3 1 1 20 /4 x 1 0 /2 x 1 0 /2 in. Private collection

98 99 Brick Mountain Sound Transit IV 2006 2006 Blown glass, sandblasted Reduction linocut 1 1 1 1 3 9 /4 x 10 /4 x 10 /4 in. 15 /4 x 1 9 /4 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

102 103 Lydia 3 Lydia 9 2007 2007 Reduction linocut Reduction linocut 1 1 19 x 14 /2 in. 19 x 1 4 /2 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

104 105 Mary Ann 5 Mary Ann 8 2007 2007 Reduction linocut Reduction linocut 1 1 19 x 1 4 /2 in. 19 x 1 4 /2 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

108 109 Mary Ann 10 Sophie 3 2007 2007 Reduction linocut Reduction linocut 1 19 x 1 4 /2 in. 11 x 14 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

110 111 Sophie 10 Sophie 27 2007 2007 Reduction linocut Reduction linocut 11 x 14 in. 11 x 14 in. Courtesy of the artist and Froelick Gallery, Portland, Oregon Courtesy of the artist and Froelick Gallery, Portland, Oregon

112 113 Left to right: Urban Vernacular: Freeway with HOV 2008 Handblown glass, mirroring, copper leaf 1 1 17 /2 x 15 x 12 /4 in.

Urban Vernacular: Clearcut 2008 Handblown glass, mirroring, copper leaf 1 1 1 19 /2 x 9 /2 x 9 /2 in.

Urban Vernacular: Parking Lot 2008 Handblown glass, mirroring, copper leaf 3 3 20 x 9 /4 x 9 /4 in.

Courtesy of the artist and Froelick Gallery, Portland, Oregon

114 115 ARTIST HISTORY

ARTIST RESIDENCIES AND SPECIAL PROJECTS FELLOWSHIPS

2005 Museum of Glass, Tacoma, WA, Visiting 2001 Eiteljorg Fellowship for Native American Artist Summer Series Fine Art, Eiteljorg Museum of American 2002 Within the Circle of the Rim , lead artist, Indians and Western Art, Indianapolis, The Longhouse at The Evergreen State IN College, Olympia, WA 2001 Lasting Impressions , portfolio of prints COMMISSIONS by ten Native American contemporary artists, University of Arizona, Tucson, 1999 West Seattle Cultural Trail , Seattle, WA, AZ, printer, Jack Lemon, Landfall Press, public art project; collaborators, Donald Chicago, IL Fels and Jaune Quick-to-See Smith 2001 Rutgers Print Project , Rutgers Center for Innovative Print and Paper—The State University of New Jersey, New Brunswick, NJ

CORPORATE AND PUBLIC COLLECTIONS

Air Touch Cellular, Seattle, WA Kaiser Permanente Sunnyside Hospital, Burlington Northern, Seattle, WA Portland, OR Cheney Cowles Museum, Spokane, WA King County Arts Commission, Seattle, WA City of Ephrada, WA, Ephrada High School Missoula Art Museum, Missoula, MT City of Portland, OR Merrill Lynch, New York, NY City of Seattle, WA, Portable Works Collection Microsoft Corporation, Redmond, WA Eiteljorg Museum of American Indians and Northwest Hospital, Seattle, WA Western Art, Indianapolis, IN Pacific Northwest Bell Company, Seattle, WA Farmers Credit Bank, Spokane, WA People’s National Bank, Seattle, WA Hallie Ford Museum of Art, Willamette Portland Art Museum/Gilkey Center for Graphic University, Salem, OR Arts, Portland, OR Harborview Medical Center, Seattle, WA, Pacific Northwest Bell Company, Bellevue, WA Cultural Heritage Artwork Collection Rainier Bank, Seattle, WA Heard Museum, Phoenix, AZ Seattle Art Museum, Seattle, WA Joe Feddersen, Seattle, 1986. Photograph by Mary Randlett. Johnson & Johnson Corporation, New Seattle First National Bank, Seattle, WA © Mary Randlett, University of Washington Libraries. Brunswick, NJ

117 CORPORATE AND PUBLIC COLLECTIONS (CONTINUED) Fractured Spaces , Lynn McAllister 1986 Mixed Media Prints: Joe Feddersen , Gallery, Seattle, WA C.N. Gorman Museum, University of Smithsonian Institution/National Museum of the Washington State Arts Commission, Olympia, Photographs: Joe Feddersen , Y Galleria California, Davis American Indian, Washington, DC WA Posada, Sacramento, CA 1985 Current Work , Sacred Circle Gallery, Tacoma Art Museum, Tacoma, WA Washington State University, Pullman, WA 1987 Dazzlers , Elizabeth Leach Gallery, Seattle, WA United Nations Education, Scientific, and Westfalisches Landesmuseum, Munster, Germany Portland, OR 1984 Paintings, Prints and Sculpture , Sacred Cultural Organization Whitney Museum of American Art, New York, Circle Gallery, Seattle, WA University of Hawaii at Hilo NY University of Western Sydney, Penrith South DC, Zimmer Museum of Art, New Brunswick, NJ Australia U.S. Department of the Interior, Washington, DC, Indian Arts and Crafts Board GROUP EXHIBITIONS U.S. Department of State, Washington, DC 2008 Native Voices: Contemporary Indigenous 5th Lessedra World Art Print Annual , Art , The Kentler International Drawing Sofia, Bulgaria Space, Brooklyn, NY SOLO EXHIBITIONS Borne of Myth and Fire: Celebrating 2007 Crow’s Shadow Press , Print Arts Northwest Coast Art in Glass , Stonington 2008 Urban Vernacular , Froelick Gallery, Geometrics , Kindred Spirits Gallery, Northwest, Portland, OR Gallery, Seattle, WA Portland, OR Portland, OR 8th Northwest Biennial , Tacoma Art Prints from Crow’s Shadow Press , The Art 2007 A Survey of Prints since 1990 , Froelick 2000 Joe Feddersen: Print Survey , Sacred Circle Museum, Tacoma, WA Center Gallery, Clatsop Community Gallery, Portland, OR Gallery at Daybreak Star Cultural Arts Ancestral Patterns: Joe Feddersen and Gail College, Astoria, OR Patterns , Stonington Gallery, Seattle, WA Center, Seattle, WA Tremblay , American Indian Community Crow’s Shadow Institute of the Arts 1999 Ancestral Patterns: Works on Paper House, New York, NY Biennial , Hallie Ford Museum of Art, 2005 Encode: New Glass Sculpture , Froelick Willamette University, Salem, OR Gallery, Portland, OR 1981–1998 , Port Angeles Fine Arts 2006 New Art of the West 9 , Eiteljorg Museum Center, Port Angeles, WA of American Indians and Western Art, Indigenous Motivations: Recent Land Mark: Prints by Joe Feddersen , Indianapolis, IN Acquisitions from the National Museum Northwest Museum of Arts and Culture, 1997 Prints , Gallery 2, The Evergreen State College, Olympia, WA Endangered Species/Endangered Planet , of the American Indian , George Gustav Spokane, WA Heye Center, Smithsonian Institution, 1994 Archives , collaboration with Elizabeth Simon Fraser University, Vancouver, BC, 2004 Language of the Land , Froelick Gallery, Canada New York, NY Portland, OR Woody, Tula Foundation Gallery, Atlanta, GA About Face: Self-Portraits by Native 2005 Changing Hands 2: Art without 2003 Continuum 12 Artists: Joe Feddersen , American, First Nations, and Inuit Artists , Reservations , organized by the Museum National Museum of the American 1993 Joe Feddersen , Elizabeth Leach Gallery, of Arts and Design, New York, NY Portland, OR Wheelwright Museum of the American Indian, Smithsonian Institution, George Indian, Santa Fe, NM Woven in the Round , Contemporary Gustav Heye Center, New York, NY Feddersen: Paintings and Prints , Visual Power: 21st Century Native Crafts Museum and Gallery, Portland, Joe Feddersen: Baskets and Prints , Hallie Evergreen Galleries, The Evergreen State OR College, Olympia, WA American Artists/Scholars , Rueff Ford Museum of Art, Willamette Galleries, Purdue University, West Art Objects , Portland International University, Salem, OR 1990 New Works on Paper , Elizabeth Leach Lafayette, IN Airport, Portland, OR Gallery, Portland, OR 2002 Embracing Place , Froelick Gallery, 7th Triennale Mondiale de l’Estampes 2004 Encounters , Hoffman Gallery of Portland, OR 1988 Computer Graphics , Lynn McAllister Petit Format , Chamalières, France Contemporary Art, Lewis & Clark Gallery, Seattle, WA 2001 New Work , Jeffery Moose Gallery, Made at the Museum: Northwest College, Portland, OR Seattle, WA Works on Paper , American Indian Selections , Museum of Glass, Tacoma, Lewis and Clark Territory: Contemporary Joe Feddersen , Clatsop Community Contemporary Arts Gallery, San WA Artists Revisit Place, Race, and Memory , College, Astoria, OR Francisco, CA Tacoma Art Museum, Tacoma, WA

118 119 Changing Minds/Reading Minds: Printing Entwined with Life: Native American New Art from Native America , Elaine 1991 Without Boundaries: Contemporary on Alternative Surfaces and Pushing Basketry , The Burke Museum of Natural Langone Center Gallery, Bucknell Native American Art , Jan Cicero Gallery, Boundaries , Southern Graphics History and Culture, Seattle, WA University, Lewisburg, PA Chicago, IL International Conference, New 25th Annual National Invitational 1996 Feddersen, Lavadour, Young, We, The Human Beings: 27 Brunswick, NJ Drawing Exhibition , Eppink Art Gallery, Walkingstick , Gallery 210, University of Contemporary Native American Artists , 2003 6th Triennale Mondiale de l’Estampes Emporia State University, Emporia, KS Missouri–St. Louis College of Wooster Art Museum, Petit Format , Chamalières, France Northwest Print Invitational, Part I: Native Streams: Contemporary Native Wooster, OH Dog Head Stew , Massachusetts College Washington , Davidson Galleries, Seattle, American Art , Jan Cicero Gallery, Our Land/Ourselves: American Indian of Art, Boston, MA WA Chicago, IL Contemporary Artists , University Art 2002 Native Voices on the Wind , Myhelan Who Stole the Tee Pee? National Museum Paintings and Parfleches: Native Gallery, University at Albany, State Cultural Arts Center, Long Valley, NJ of the American Indian, George Gustav American Abstract Designs , Bush Barn University of New York Transforming Traditions , Whatcom Heye Center, Smithsonian Institution, Art Center, Salem, OR 1990 We Are Part of the Earth , Centro Cultural Museum, Bellingham, WA New York, NY 1995 La Jeune Gravure Contemporaine , Salle de la Raza, San Diego, CA Hiteemlkliiksix “Within the Circle of the Indian Time: Art in the New Millennium , de Fête de la Marie du Vieme, Paris, 1989 Native Proof: Contemporary Native Rim”: Nations Gathering on Common Institute of American Indian Arts France American Prints , American Indian Ground , organized by The Longhouse, Museum, Santa Fe, NM Native Survival , American Indian Contemporary Arts Gallery, San The Evergreen State College, Olympia, Cinquième Triennale Mondiale de Community House, New York, NY Francisco, CA WA l’Estampes Petit Format , Chamalières, Northwest Biennial , Tacoma Art Alumni/Faculty Exhibit , Gallery ’76, 2001 Two Visions: Larry Ahvakana and Joe France Museum, Tacoma, WA Wenatchee, WA Feddersen , The Gallery at Bainbridge 1999 Begegnungen: Indianische Kunstler aus Contemporary Native American Prints , 1988 Native American Art: Our Contemporary Arts and Crafts, Bainbridge Island, WA Nordamerican (Indian Reality Today: Goshen College Art Gallery, Goshen, IN Visions , Stremmel Gallery, Reno, NV Contemporary Indian Art of North Facing Each Other: Prints Concerning 1994 Artists Who Are Indian , Denver Art Lawrence Beck and Joe Feddersen , Identity from the Rutgers Center for America) , Westfalisches Landesmuseum Stremmel Gallery, Reno, NV fur Naturkunde, Munster, Germany Museum, Denver, CO Innovative Print and Paper , Painted 1987 Lowe / Feddersen , Wright Museum, Bride Gallery, Philadelphia, PA Art in Two Worlds: The Native American 1993 Northwest Native American and First Nations People’s Art , Western Gallery, Beloit, IL Natural Histories , Schmidt Center Fine Art Invitational, 1983–1997 , Heard Museum, Phoenix, AZ Western Washington University, Third Biennial Native American Fine Arts Gallery, Florida Atlantic University, Boca Bellingham, WA Invitational , Heard Museum, Phoenix, Raton, FL 1998 Kunc, Feddersen, Marcus , Jan Cicero AZ Gallery, Chicago, IL 18th Annual National Invitational After the Storm: The Eiteljorg Fellowship Drawing Exhibition , Eppink Art Gallery, 1986 New Directions Northwest: Contemporary for Native American Fine Art , Eiteljorg New Acquisitions , Tacoma Art Museum, Emporia State University, Emporia, KS Native American Art , Portland Art Museum of American Indians and Tacoma, WA Museum, Portland, OR Western Art, Indianapolis, IN For the Seventh Generation , Art in Labyrinth: The Second International General, New York Contemporary Visions , Read Stremmel Lasting Impressions Print Portfolio Triennial of Graphic Art 1998 , Prague, Gallery, San Antonio, TX Exhibit , University of Arizona, Tucson, Czech Republic The Spirit of Native America , American AZ Indian Contemporary Arts, San 1985 The Photograph and the American New Art of the West 6 , Eiteljorg Museum Francisco, CA Indian , Princeton University, Princeton, Return to the Swing: International of American Indians and Western Art, NJ Exhibition of Pacific Rim Indigenous Indianapolis, IN 1992 Contemporary Northwest Native Artists , Evergreen Gallery IV, The American Art , Columbia Art Gallery, New Ideas from Old Traditions: Sex and Shamanism , C.N. Gorman Hood River, OR Contemporary Native Art , Yellowstone Evergreen State College, Olympia, WA Museum, University of California, Davis The Submuloc Show/Columbus Wohs , Art Center, Billings, MT 2000 Interwoven Narrative , Sun Valley Center 1997 Redefining Tradition: A Selection of First for the Arts, Sun Valley, ID organized by Atlatl, Phoenix, AZ Nation Artists and Their Work , Whatcom (traveling) Museum, Bellingham, WA

120 121 Pacific States Biennial National Print and Ancient Visions in Contemporary Art , Drawing Exhibition , University of Hallie Brown Ford Gallery, Willamette Hawaii at Hilo, HI University, Salem, OR SELECTED BIBLIOGRAPHY Visage Transcended: Contemporary Landscape, Landbase, Environment , Native American Masks , American American Indian Community House, Indian Contemporary Arts Gallery, San New York, NY Francisco, CA Signale Indianischer Kunstler , Amerika 1984 Photographing Ourselves: Contemporary Haus Hannover, Stuttgart, Germany Native American Photography , Southern 1983 Contemporary Native American Art , Allan, Lois. Contemporary Printmaking in the Northwest . “Continuum 12 Artists.” Southwest Art , August 2003, Plains Museum, Anadarko, OK Gardiner Art Gallery, Oklahoma State Sydney, Australia: Craftsman House, 1997. 187–94. No Beads, No Trinkets , Palais de Nations, University, Stillwater, OK ———. “Culture and the Postmodern: Joe Feddersen at Daniel, Jeff. “Two Hidden Gems: Images on Paper by Geneva, Switzerland 1982 Maske und Regenbild , Gallerie Akmak, Elizabeth Leach Gallery.” Artweek 21, no. 35 (25 Native American Artists.” Get Out, St. Louis (MO) October 1990). Post Dispatch , 24 October 1997. Native American Artists: California and Berlin, Germany the West Coast , Mission Cultural Center ———. “Matched Media: Joe Feddersen at Elizabeth “Eiteljorg Fellowship Exhibit: A New Museum Program Gallery, San Francisco, CA Leach Gallery.” Artweek (November 1993): 18. Spotlights Contemporary Native American Fine ———. “Oregon: ‘Paintings and Parfleches: Native Art.” Southwest Art 31, no. 3 (August 2001): American Abstract Designs’ at the Bush Barn Art 258–61. Center.” Artweek (December 1996): 26. Enriquez, Lucia. “Continuing the Dialogue.” Reflex , ______. “Portland, Oregon: Joe Feddersen.” Art Papers November/December 1990. Magazine , May–June 2004, 56. 5th Triennale Mondiale de l’Estampes Petit Format . Alvarez, Tina. “Lasting Impressions.” Report on Research , Chamalières, France, 2000. University of Arizona, Tucson, Winter 2001. Freeman, Michael. “Native Streams.” New Art Examiner , American Indian Contemporary Arts, Jaune Quick-to- Summer 1996. See Smith, and Kenneth Banks. Visage Glowen, Ron. “The Land: Earthly Delights in Tacoma.” Transcended: Contemporary Native American Everett (WA) Herald , 4 August 1995. Masks. San Francisco: American Indian Hartje, Katrina. Signale Indianischen Kunstler. Contemporary Arts, 1985. Exhibition catalog. Berlin: Galerie Akmak, 1984. Archuleta, Margaret. Art in 2 Worlds: The Native Hicks, Bob. “A Nearly Lost Craft Reawakens in Modern American Fine Art Invitational, 1983–1997 . Times.” The Sunday Oregonian (Portland), 9 Exhibition catalog. Phoenix, AZ: Heard Museum, October 2005. 1999. Hilde, Saralynn. Paintings and Parfleches. Exhibition cat - Carlisle, Susanna. “Group Show, Indian Time: Art in the alog. Salem, OR: Salem Art Association–Bush New Millennium.” THE Magazine: Santa Fe’s Barn Art Center, 1996. Monthly Magazine of and for the Arts , July 2000, 71. Hushka, Rock. The 8th Northwest Biennial. Exhibition catalog. Tacoma, WA: Tacoma Art Museum, 2007. Clairmont, Corwin, et al. Native American Perspectives on the Trail: A Contemporary Native American Art ———. Lewis and Clark Territory: Contemporary Artists Portfolio. Exhibition catalog. Missoula, MT: Revisit Place, Race and Memory. Exhibition cata - Missoula Art Museum, 2005. log. Tacoma, WA: Tacoma Art Museum. 2004. Complo, Jennifer, and Jean Robertson. New Art of the “Indian Photography.” Going Out Guide, New York West 6: The Sixth Eiteljorg Museum Biennial Times , 26 April 1984. Exhibition. Exhibition catalog. Indianapolis, IN: Jackson, Devon. “Signs of the Times.” Southwest Art , Eiteljorg Museum, 1998. August 2007, 188–91. “Contemporary Visions in San Antonio.” Art Talk , Josslin, Victoria. “Artist Infuses Spiritual Modernism March 1987, 28. with Native Sensibilities.” Seattle Post-Intelligencer , 7 July 2000.

122 123 ———. “Tacoma Art Museum: The Land.” Reflex 9, no. Portfolio: Eleven American Indian Artists. Exhibition cat - Wasserman, Abby. “Joe Feddersen.” Native Vision 3, no. 9 (October/November 1995): 18. alog. San Francisco: American Indian 2 (May/June 1986): 1–2. Kangas, Matthew. “Bridging Cultures, Techniques: Contemporary Arts Gallery, 1986. ———. “Portfolio: American Indian Contemporary Prolific Printmaker Joe Feddersen Evokes His Raether, Keith. “Earthly Delights.” News Tribune Arts.” Native Vision 3, no. 2 (May/June 1986): 1–8. Native American Heritage in Modern Art.” Seattle (Tacoma, WA), 23 July 1995. Weil, Rex. “Columbus Woes.” City Paper 12, no. 26 (26 Times , 15 September 2000. Rushing, W. Jackson, III, ed. After the Storm: The June 1992). ———. Craft and Concept: The Rematerialization of the Eiteljorg Fellowship for Native American Fine Art, Young, Phil, and Jeffery Chapman. For the Seventh Art Object . New York: Midmarch Arts Press, 2006. 2001. Indianapolis, IN: Eiteljorg Museum of Generation, Native American Artists Counter the ———. “Native American Glass.” Glass: The UrbanGlass American Indians and Western Art, 2001. Quincentenary, Columbus, New York. Exhibition Art Quarterly (Summer 2004): 32–37. ———. “Contested Ground: Ourland/Ourselves: catalog. Columbus, NY: Golden Artist Colors, Lester, Patrick D. “Joe Feddersen.” In The Biographical American Indian Contemporary Artists.” New Art 1992. Dictionary of American Indian Painters , 176. Tulsa, Examiner , November 1991, 25–29. Young Man, Alfred, and Alfred Hendricks. Begegnungen: OK: SIR Publications, 1995. ———, ed. Native American Art in the Twentieth Indianische Ku?nstler aus Nordamerika: Visionen- Lippard, Lucy. Mixed Blessings/New Art in a Century: Makers, Meanings, Histories . London, Positionen-Traditionen = Indian Reality Today— Multicultural America. New York: Pantheon NY: Routledge, 1999. Contemporary Indian Art of North America. Books, 1990. ———. “Of This Continent.” American Indian Art Longfish, George, et al. New Directions Northwest: Magazine 32, no. 1 (Winter): 66–76. Contemporary Native American Art . Exhibition Smith, Jaune Quick-to-See, Charlotte DeClue, et al. The catalog. Olympia, WA: The Evergreen State Submuloc Show / Columbus Wohs: A Visual College, 1987. Commentary on the Columbus Quincentennial McMaster, Gerald, and Clifford E. Trafzer, eds. Native from the Perspective of America’s First People . Universe: Voices of Indian America . Washington, Exhibition catalog. Phoenix, AZ: Atlatl, 1992. DC: National Museum of the American Indian, Spang, Bently, and Marla Redcorn. Indian Time: Art in Smithsonian Institution, 2004. the New Millennium. Exhibition catalog. Santa Fe, Nadelman, Cynthia. “Tribal Hybrids.” ARTnews 106, no. NM: Institute of American Indian Arts Museum, 6 (June): 122–27. 2000. Nahwooksy, Fred, and Richard Hill, Sr. Who Stole the Tarzan, Deloris. “Artist Gives Free Rain to His Wide Tee Pee? Exhibition catalog. New York: National Versatility.” Seattle Times , 6 February 1984. Museum of the American Indian, Smithsonian ———. “Indian Artists’ Imagery Is Abstract, Powerful.” Institution, 2001. Seattle Times , 10 September 1983. “Native American Photos.” New York Daily News , 22 Tesner, Linda Brady. Encounters: Contemporary Native April 1984. American Art. Exhibition catalog. Portland, OR: Ortel, Jo. “Exhibition Review of Continuum 12 Artists at Ronna and Eric Hoffman Gallery of the George Gustav Heye Center .” American Indian Contemporary Art, Lewis & Clark College, 2004. Art Magazine 30, no. 1 (Winter 2004): 68–77. Tremblay, Gail. “Seattle: Joe Feddersen.” Art Papers Parr, Debra. “Native Paper.” New Art Examiner , May Magazine , November–December 2000, 54. 2000. Updike, Robin. “Tacoma Art Competition Offers a Pearlstone, Zena, Allan Ryan, Joanna Woods-Marsden, Sweeping View of ‘The Land.’” Seattle Times , 1995. et al. About Face: Self-Portraits by Native American, Walkingstick, Kay. “Native American Art in the First Nations and Inuit Artists. Santa Fe, NM: The Postmodern Era.” Art Journal , Fall 1992. Wheelwright Museum of the American Indian, Walkingstick, Kay, and Ann E. Marshall. So Fine! 2006. Masterworks of Fine Art from the Heard Museum. Penn, W. S., ed. The Telling of the World: Native Exhibition catalog. Phoenix, AZ: Heard Museum, American Stories and Art. New York: Stewart, 2002. Tabori and Chang, 1996.

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