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Rebecca Belmore RCA D.F.A. (born 1960) is an interdisciplinary Anishinaabekwe artist who is notable for politically conscious and socially aware performance and installation work.[1][2] She is Ojibwe and member of Obishikokaang (Lac Seul First Nation).[3][4] Belmore currently lives in Toronto, Ontario.

Rebecca Belmore
Rebecca Belmore performing at Nuit Blanche 2016 in the Art Gallery of Ontario
Born (1960-03-22) March 22, 1960 (age 62)
Upsala, Ontario, Canada
NationalityLac Seul First Nation (Canadian)
Known forinstallation artist, Performance artist
AwardsGovernor General's Award 2013
Websiterebeccabelmore.com

Belmore has performed and exhibited nationally and internationally since 1986. Her work focuses on issues of place and identity, and confronts challenges for First Nations People.[5] Her work addresses history, voice and voicelessness, place, and identity. Her work, be it sculpture, video or photographic in nature, is performance-based.[1] To address the politics of representation, Belmore's art strives to invert or subvert official narratives, while demonstrating a preference for the use of repetitive gesture and natural materials.[1] Belmore's art reveals a long-standing commitment to politics and how they relate to the construction of identity and ideas of representation.[6] She has exhibited across Canada, the US, Mexico, Cuba and Australia.


Life


Belmore was born on March 22, 1960 in Upsala, Ontario, Canada.[7] Until the age of 16, Belmore spent her summers in Northwestern Ontario with her grandparents. During these summers, her grandmother taught her about harvesting native foods from the land.[8] Author Jessica Bradley describes Belmore's adolescence as difficult due to "the custom ingrained through the [Canadian] government imposed assimilation, she was sent to attend high school in Thunder Bay and billeted with a non-Native family." Bradley adds that as a result of her experience as an adolescent, notions of displacement and cultural loss are "reformed into acts or objects of reparation and protest [within her various works]." [9] Belmore attended the Ontario College of Art and Design in Toronto in 1988.[5]

Belmore's mother was born on a small island in Northern Ontario and her journey to visit her mother's birthplace has had a significant impact on her work.[10]


Career


ishkode (fire) (2021) at the Whitney Biennial in 2022
ishkode (fire) (2021) at the Whitney Biennial in 2022

Belmore has presented work in biennial exhibitions throughout her career. In 1991, she exhibited at the IV Bienal de la Habana, Havana, Cuba.[1] She has twice represented Canada at the Sydney Biennale; in 1998 in the exhibition Every Day, and in 2006 in the exhibition Zones of Contact. In 2005 her work Fountain was shown at the Canadian Pavilion of the 51st Venice Biennale, as the first aboriginal artist ever to represent Canada at the event.[11][12] In the same year she exhibited as part of Sweet Taboos at the 3rd Tirana Biennale, Tirana, Albania.

Jolene Rickard's Venice Biennale Catalogue essay describes Belmore's work:

As a First Nations or Aboriginal person, Belmore's homeland is now the modern nation of Canada; yet, there is reluctance by the art world to recognize this condition as a continuous form of cultural and political exile. The inclusion of the First Nations political base is not meant to marginalize Belmore's work, but add depth to it. People think of Belmore as both Canadian and Anishinabe—l think of her as an Anishinabe living in the continuously colonial space of the Americas.[13]

Belmore has had two major solo touring exhibitions, The Named and the Unnamed, a multi-part installation that commemorates women missing from Vancouver's Downtown Eastside, at the Morris and Helen Belkin Art Gallery, Vancouver (2002); and 33 Pieces, Blackwood Gallery, University of Toronto at Mississauga (2001). In 2008, the Vancouver Art Gallery hosted Rising to the Occasion, a mid-career survey of Belmore's artistic production.[1] In 2014, Belmore was commissioned to create an original work for the Canadian Museum for Human Rights[14] The work consists of a blanket of hand pressed clay beads, engaging the community in Winnipeg to help produce them.[15]

In 2010, Belmore was involved in a legal dispute with the Pari Nadimi Gallery of Toronto, that sued her for punitive damages and for lost future revenues to $750,000.[16][17]

In 2017, Belmore's work was exhibited at documenta 14 in Athens, Greece and in Kassel, Germany.[18]

In 2018, the Art Gallery of Ontario staged a touring retrospective of Belmore's work, Facing the Monumental.[19][20][21] Curated by Wanda Nanibush, Facing the Monumental incorporates sculptures, installations, photography and videos spanning 30 years of Belmore's career.[22] It has been the largest exhibition of her work to date, and shown at galleries in Canada and the United States.[22][23]

Belmore participated in the 2022 Whitney Biennial in New York. Her sculptural installation ishkode (fire) (2021), a clay sculpture of a figure shrouded in a sleeping bag and surrounded by empty bullet shell casings, was included in the exhibition. Journalist Gabriella Angeleti described the piece in The Art Newspaper as "a critique of the historic genocide and ongoing disproportionate violence against Indigenous people," calling the work "a centerpiece" of the exhibition.[24][25]


Artworks



Descriptions of important works

Belmore's interactive installation Mawa-che-hitoowin: A Gathering of People for Any Purpose (1992), featured a circle of chairs from Belmore's kitchen and kitchen chairs owned by other women close to her, arranged in a circle. Each chair had a pair of headphones resting on it. Visitors were invited to sit in each chair, put on the headphones, and listen to the stories of the struggles and triumphs of different indigenous women in Canada, told in their own voices. The work was commissioned for an exhibition of Indigenous art on the 500th anniversary of Columbus's arrival in Hispaniola. As such, it used Indigenous traditions of storytelling and passing on wisdom from elders as a way to push back against Native stereotypes and victimization.[26]


Select works[1]


Exhibitions



Select solo exhibitions[1]


Selected group exhibitions


Awards, honours and residencies


Belmore has been awarded membership in the Royal Canadian Academy of Arts.[33] In 2004, Belmore completed a residency with MAWA (Mentoring Artists for Women's Art) in Winnipeg, Manitoba. In 2005, she won the Victor Martyn Lynch-Staunton Award from the Canada Council.[34] and she was the first Indigenous woman representing Canada at the Venice Biennale.[15] Also in 2005, OCAD University conferred an honorary doctorate on Belmore in recognition of her career.[5] She is also a Governor General's Award in Visual and Media Arts (2013),[35][15]as well as the recipient of the 2016 Gershon Iskowitz Prize[36] and an honorary doctorate from Emily Carr University in 2018.[37]


Bibliography



Further reading



References


  1. Augaitis, Daina and Kathleen Ritter, ed. (2008). Rebecca Belmore: Rising to the Occasion. Vancouver: Vancouver Art Gallery. ISBN 9781895442687.
  2. Great women artists. Phaidon Press. 2019. p. 57. ISBN 978-0714878775.
  3. "Lac Seul First Nation | Home". lacseulfn.org. Retrieved 2019-09-09.
  4. "Rebecca Belmore: Facing the Monumental" Archived 2018-04-08 at the Wayback Machine, Art Gallery of Ontario, 2018.
  5. University, OCAD. "1980s - Alumni Profiles - Our Alumni - Alumni - OCAD U". www.ocadu.ca. Archived from the original on 2017-10-22. Retrieved 2017-10-21.
  6. Augaitis, Daina, and Kathleen Ritter (2008). Rebecca Belmore: Rising to the Occasion. Vancouver: Vancouver Art Gallery. p. 14. ISBN 9781895442687.
  7. Belmore Archived 2018-03-10 at the Wayback Machine at The Canadian Encyclopedia, accessed September 8, 2019
  8. Nixon, Lindsay. "Rebecca Belmore Wants Us to Listen to the Land". Canadian Art. Archived from the original on March 30, 2019. Retrieved Oct 18, 2019.
  9. Bradley, Jessica (2006), "Rebecca Belmore: Art and the object of performance", in Tanya Mars; Johanna Householder (eds.), Caught in the Act: An Anthology of Performance Art by Canadian Women, Toronto, ON: YYZ Books, pp. 120–129, ISBN 0-920397-84-0
  10. "Rebecca Belmore | Artist Info". www.belkin.ubc.ca. Archived from the original on 2018-03-17. Retrieved 2017-10-21.
  11. "Rebecca Belmore on her gradual trek eastward and life as an artist". Archived from the original on 2016-09-17. Retrieved 2016-09-17.
  12. Martin, Lee-Ann. "The Waters of Venice: Rebecca Belmore at the 51st Biennale". Canadian Art. Archived from the original on 23 March 2016. Retrieved 17 March 2016.
  13. Rickard, Jolene. "Rebecca Belmore: Performing Power" (PDF). Archived (PDF) from the original on 3 March 2016. Retrieved 11 April 2015.
  14. Sandals, Leah (2014-01-24), Rebecca Belmore to Make Major Human Rights Museum Piece, Canadian Art, archived from the original on 2016-02-19, retrieved 2016-01-21
  15. Charleyboy, Lisa (2014-03-15), First Nations artist Rebecca Belmore creates a blanket of beads, CBC News, archived from the original on 2015-11-12, retrieved 2016-01-21
  16. Griffin, Kevin (2010-09-15), "Rebecca Belmore Takes Legal Case to The Street", The Vancouver Sun
  17. Lederman, Marsha (2010-09-22), "The story behind Rebecca Belmore's "I quit" performance", The Globe and Mail, archived from the original on 2017-03-21, retrieved 2017-09-10
  18. "Rebecca Belmore". www.documenta14.de. Archived from the original on 2019-03-23. Retrieved 2019-03-23.
  19. "Rebecca Belmore: Facing the Monumental". Art Gallery of Ontario. Archived from the original on 2019-10-07. Retrieved 2019-08-28.
  20. Simpson, Leanne Betasamosake. "I Am the Artist Amongst My People". Canadian Art. Retrieved 2020-01-06.
  21. "Rebecca Belmore: Facing the Monumental". MAC Montréal. Retrieved 2020-01-06.
  22. "Rebecca Belmore: Facing the Monumental". MAC Montréal. Retrieved 2020-06-26.
  23. "Rebecca Belmore: Facing the Monumental". Fine Arts Center. Retrieved 2020-06-26.
  24. Angeleti, Gabriella (7 April 2022). "Indigenous artists highlight shared histories of abstraction and survival in the Whitney Biennial". The Art Newspaper. The Art Newspaper. Archived from the original on 17 July 2022. Retrieved 11 August 2022.
  25. Cotter, Holland (31 March 2022). "A Whitney Biennial of Shadow and Light". NYTimes. The New York Times. Archived from the original on 29 July 2022. Retrieved 11 August 2022.
  26. Catherine., Berlo, Janet (1998). Native North American art. Phillips, Ruth B. (Ruth Bliss), 1945-. Oxford: Oxford University Press. pp. 236-237. ISBN 0192842668. OCLC 40139820. Retrieved 2019-09-07.
  27. St. James guide to native North American artists. Matuz, Roger. Detroit: St. James Press. 1998. pp. 68-70. ISBN 1558622217. OCLC 37341203.{{cite book}}: CS1 maint: others (link)
  28. Freeman, Morgan E. "Rebecca Belmore: Facing the Monumental". First American Art. 21, Winter 2018/19: 80–81.
  29. Shapeshifting : transformations in Native American art. Kramer, Karen, 1971-, Berlo, Janet Catherine., Ash-Milby, Kathleen E., Peabody Essex Museum. Salem, Mass.: Peabody Essex Museum. 2012. ISBN 9780875772233. OCLC 758982985.{{cite book}}: CS1 maint: others (link)
  30. Besaw, Mindy N. (October 2018). Art for a new understanding : native voices, 1950s to now. Hopkins, Candice., Well-Off-Man, Manuela. Fayetteville. ISBN 9781610756549. OCLC 1059450735.
  31. Hearts of our people : Native women artists. Ahlberg Yohe, Jill,, Greeves, Teri,, Silver, Laura (Editor),, Feldman, Kaywin,, Minneapolis Institute of Art,, Frist Art Museum (Nashville, Tenn.). Minneapolis, Minnesota. 2019-05-17. ISBN 9780295745794. OCLC 1057740182.{{cite book}}: CS1 maint: others (link)
  32. "Indigenous artists highlight shared histories of abstraction and survival in the Whitney Biennial". The Art Newspaper - International art news and events. 2022-04-07. Retrieved 2022-06-16.
  33. "Members since 1880". Royal Canadian Academy of Arts. Archived from the original on 26 May 2011. Retrieved 11 September 2013.
  34. "Prizes". Canada Council. Retrieved 15 August 2022.
  35. "The Canada Council for the Arts - Governor General's Awards in Visual and Media Arts". ggavma.canadacouncil.ca. Archived from the original on 4 February 2014. Retrieved 20 January 2016.
  36. "'Consistently provocative' Rebecca Belmore wins $50K visual arts prize". CBC News. Archived from the original on 18 November 2016. Retrieved 16 November 2016.
  37. "Honorary Doctorates - 2018". www.ecuad.ca. ECU. Retrieved 18 June 2022.

На других языках

[de] Rebecca Belmore

Rebecca Belmore (geb. 1960) ist eine interdisziplinäre Anishinabe-Künstlerin, die sich besonders durch politisch und sozial bewusste Performance- und Installationsarbeit auszeichnet.[1] Sie ist Anishinabe und Mitglied des Lac Seul First Nation.[2] Belmore lebt derzeit in Montreal, Quebec, Kanada.[3]
- [en] Rebecca Belmore

[fr] Rebecca Belmore

Rebecca Belmore (née le 22 mars 1960 à Upsala, Ontario) est une artiste canadienne de renommée internationale. Elle est la première femme autochtone à être choisie pour représenter le Canada à la Biennale de Venise en 2005[1].


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