Description
By Rebecca Belmore and edited by Florene Belmore. The Foreword is by Glenn Alteen. Contributions include those by Curtis Collins, Jen Budney, Wanda Nanibush, Jessica Jacobson-Konefall, Kathleen Ritter and Richard William Hill.
Rebecca Belmore, member of Lac Seul First Nation, is an interdisciplinary Anishinaabe-kwe artist known for her politically conscious and socially aware performance and installation work. Wordless documents over thirty years of Rebecca Belmore’s remarkable, poignant and important performance career, bringing together essays, inquiries and personal reflections from a community of artists, scholars, writers and Indigenous thinkers. The book also features five new photographs of Belmore’s re-presented work produced by the grunt gallery. As Kathleen Ritter writes, “Belmore’s work addresses some of the most challenging and urgent issues of our time—injustice, racism, violence, trauma, resilience and, ultimately, hope. Her use of voice is political inasmuch as the subjectivity of an Indigenous woman is inherently political; her work an assertion of presence in the face of society’s efforts to silence and to erase… ‘The role of an artist is a worker, art-making is a job,’ she says… ‘We have the responsibility to carry the past and look towards the future. This book contains 200 photographs.
Rebecca Belmore, member of Lac Seul First Nation, is an interdisciplinary Anishinaabe-kwe artist known for her politically conscious and socially aware performance and installation work. Wordless documents over thirty years of Rebecca Belmore’s remarkable, poignant and important performance career, bringing together essays, inquiries and personal reflections from a community of artists, scholars, writers and Indigenous thinkers. The book also features five new photographs of Belmore’s re-presented work produced by the grunt gallery. As Kathleen Ritter writes, “Belmore’s work addresses some of the most challenging and urgent issues of our time—injustice, racism, violence, trauma, resilience and, ultimately, hope. Her use of voice is political inasmuch as the subjectivity of an Indigenous woman is inherently political; her work an assertion of presence in the face of society’s efforts to silence and to erase… ‘The role of an artist is a worker, art-making is a job,’ she says… ‘We have the responsibility to carry the past and look towards the future. This book contains 200 photographs.