Joe Feddersen 
Bio/CV | Website


The Renwick Invitational: Sharing Honors and Burdens, through March 31, 2024, Washington DC ︎

The House Edge, The Shelley & Donald Rubin, New York, NY, on view through January 13th, 2024 ︎

The Land Carries Our Ancestors: Contemorary Art by Native Americans, National Gallery of Art, Washington DC, on viethrough Jan 15th 2024

Indie Folk: New Art and Sounds From the Pacific Northwest, The musuem of Craft and Design, San Francisco CA Februray 24 - June 30, 2024

Here Now and Always, Zimmerli Museum, Rutgers, NJ, 2023 
The Museum of Art and Culture, Joe Feddersen Retrospective, Spokane WA 2024

Recent Work: May 5-28, 2023, studio e, Seattle WA
Grey Magic, studio e gallery, Seattle WA 2022

Printmaking has been central to Joe Feddersen’s practice from the beginning, and his interest in basket weaving began with using motifs such as triangular mountain designs in his prints. Feddersen often combines such motifs with modern imagery and modernist abstraction, as in these monotypes. The use of spray paint and graphic rendering connects his work with popular forms such as graffiti. The idea for the drips, Feddersen related, came from Warhol’s famous quip about Abstract Expressionism à la Jackson Pollock that goes something like “without the drips it’s not art.”

Joe Feddersen, a member of the Colville Confederated Tribes lives and works in Omak, WA. A faculty member at The Evergreen State College in Olympia, WA from 1989 until his retirement in 2009, he was awarded Faculty Emeritus Status. In 2018, he was granted the MoNA Luminaries Legacy Award from the Museum of Northwest Art. His work was included in Weaving Past into Present: Experiments in Contemporary Native American Printmaking at the International Print Center, New York, Autumn 2015. He has been featured in numerous national exhibitions, including Continuum 12 Artists: Joe Feddersen, National Museum of the American Indian, Smithsonian Institution at the George Gustav Heye Center, New York, NY; Land Mark, Northwest Museum of Arts & Culture, Spokane, WA; and was the subject of a major retrospective exhibition and monograph, Vital Signs, organized by the Hallie Ford Museum of Art at Willamette University in Salem, OR and published by the University of Washington Press.

Additional works on paper