- Details
- By Wendy Red Star
Guest Essay. In early April of last year, I made a special trip to Washington, D.C., from Portland, Oregon, to research the archives pertaining to my community, the Apsáalooke. I was specifically looking for information on the last chief of the Crow Nation, Chief Plenty Coups. I was not only delighted to find information on him in print, books, newspapers and glass plate negatives, but I also discovered a wealth of material on my tribe.
[This is as guest essay by Wendy Red Star, a visual artist who engages with archival materials in her work. She is an enrolled member of the Apsáalooke (Crow) Nation. It also appears in the May-June issue of the Library of Congress Magazine.]
The information I found is a valuable resource for a solo exhibition I will have at the National Portrait Gallery in D.C. in 2026. This exhibition will focus on Chief Plenty Coups’ life, his travels to D.C., his reverence for the land and his congressional testimonies advocating for the Crow people.It also will highlight his inspiration for creating his own mini-Mount Vernon on the Crow Indian Reservation, land he gifted to be turned into a state park that now holds his estate, burial site, visitor center, house and sacred spring. This vision was deeply influenced by his first trip to Washington, D.C., in 1880 as part of a delegation of Crow chiefs. I can even imagine that on one of his many trips, he might have visited the Library of Congress.
The Library holds an extensive archive related to the Crow tribe, offering invaluable historical insight. Among its collections are early 20th-century photographs of Crow leaders, daily life and regalia, including the works of Edward S. Curtis. Additionally, the American Memory Project provides digitized collections of historical documents, interviews and photographs that offer a deeper understanding of Crow history.
The National Archives and Records Administration records key House documents related to U.S. policies, treaties and governance of the Crow Nation, including the Fort Laramie treaties of 1851 and 1868, which shaped Crow lands and sovereignty. Historical maps detail the evolution of Crow territory before and after U.S. expansion, illustrating land cessions and boundary changes.
Furthermore, oral histories and folklore preserve the voices of Crow elders and veterans, capturing language, traditions and pivotal historical events. The Chronicling America collection includes digitized newspapers covering Crow history, featuring articles on Chief Plenty Coups and the Crow people’s contributions to the U.S. military.
This vast repository of knowledge at the Library is not only a treasure trove for historians and researchers but also for tribal members seeking to reconnect with their heritage and understand the legacies of their leaders.
As I explored these archives, I felt a deep connection to my community, even while far from the Crow Reservation. This connection was further strengthened by the knowledge that several of my own artworks are now part of the Library’s collections. These include lithograph prints created at Crow’s Shadow Institute of the Arts, as well as photographic prints from my Apsáalooke Feminist series.
Knowing that my work is housed within an institution that also holds so much of my people’s history reinforces the importance of artistic and archival preservation in shaping historical narratives. The Library stands as an essential resource for understanding not just the past but also the ongoing contributions of the Apsáalooke people.
Wendy Red Star is a Native American visual artist whose work has received widespread acclaim and been awarded the MacArthur Fellowship, commonly galled the "genius grant." Her work is also collected at the Library of Congress.
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