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Conquest, Consequences, Restoration: The Art of Rebecca Belmore

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Please use this identifier to cite or link to this item: http://hdl.handle.net/1928/12035

Conquest, Consequences, Restoration: The Art of Rebecca Belmore

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dc.contributor.author DeBlassie, Kathleen
dc.date.accessioned 2011-02-08T17:39:27Z
dc.date.available 2011-02-08T17:39:27Z
dc.date.issued 2011-02-08
dc.date.submitted December 2010
dc.identifier.uri http://hdl.handle.net/1928/12035
dc.description.abstract Rebecca Belmore (Ojibwa/Anishinabe, b. 1960 in Upsala, Ontario), embraces three themes in her oeuvre: conquest, consequences and restoration.Through the mediums of performance art, installation, video and photography, Belmore confronts Indigenous issues regarding land theft, identity, gender, racism, stereotypes,memory, contested histories, and the recovery and reclamation of a decolonized self. All of these themes are sub-categories that fall under the larger theme of the consequences of conquest. The most significant component of Belmore’s work, however, is restoration, which embraces themes of healing, self-determination and sovereignty. Traditional art-historical methodologies can and have been used to analyze Indigenous art. This thesis proposes that Indigenous art is best examined through Native performance traditions as suggested by Courtney Elkin Mohler’s theatre praxis. Mohler argues that the goal of Indigenous performance art can be achieved through (1) exposing popularly accepted racial and ethnic stereotypes as identity constructions; (2) rewriting history in a manner that repositions historically marginalized and objectified cultures as active subjects; (3)utilizing residual creative energies that transcend the normative methods for “art making,” thereby exposing an alternative indigenous worldview; and (4) destabilizing historical “facts” that constitute an essence of “timelessness” and edifice of authority for neocolonial and imperialist practices. These four components are an integral part of Belmore’s work. Because Belmore utilizes her own body as the primary medium, she becomes at once the text, the victim, the victor, and catapults the performance into the arena of restoration. en_US
dc.language.iso en_US en_US
dc.subject Rebecca Belmore en_US
dc.subject.lcsh Belmore, Rebecca--Criticism and interpretation
dc.subject.lcsh Indians of North America--Canada--Arts
dc.subject.lcsh Performance art
dc.subject.lcsh Photography, Artistic
dc.subject.lcsh Video art
dc.subject.lcsh Installations, Art
dc.title Conquest, Consequences, Restoration: The Art of Rebecca Belmore en_US
dc.type Thesis en_US
dc.description.degree MA Art History en_US
dc.description.level Masters en_US
dc.description.department University of New Mexico. Dept. of Art and Art History en_US
dc.description.advisor Szabo, Joyce
dc.description.committee-member Barnet-Sanchez, Holly
dc.description.committee-member Singer, Beverly
dc.description.committee-member Tsiongas, Mary


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