b. 1960, Upsala, Ontario
First Nations Affiliation: Ojibwa

A graduate of the Ontario College of Art and the recipient of several Ontario Arts Council grants, Rebecca Belmore has looked consistently to her community and the Anishnabe worldview as guides in her negotiation of the complex, hybrid, and trans-cultural positions she and most Native people occupy. Belmore's multi-disciplinary practice includes performances, installations, and objects (including a bookwork for the exhibition catalogue Cowgirls and Indian Princesses). Two common strands throughout much of her work are her belief in the critical importance of Aboriginal attachment to the land, and her inclusion of other peoples voices, perspectives, and experiences in her work.

R E C E N T   E X H I B I T I O N S

S E L E C T E D   B I B L I O G R A P H Y

Augatis, Daina, and Sylvie Gilbert. Between Views. Banff, Alberta: Walter Phillips Gallery, 1991.

Barkhouse, Mary Anne. "Land, Spirit, Power." Matriart: A Canadian Feminist Art Journal 3, no. 2 (1992): 16-21.

Belmore, Rebecca. "Autonomous Aboriginal high-tech teepee trauma mama." The Canadian Theatre Review, no. 68 (Fall 1991): 44.

Belmore, Rebecca. Wana-na-wang-ong. Poetry by Florence Belmore; essay, Lee-Ann Martin. Vancouver, British Columbia: Contemporary Art Gallery, c.1994. [Catalogue of an exhibition held at the Contemporary Art Gallery, 30 October - 27 November 1993]

Chapman, Steve, Susan Jeffrey, and Ruth Denny. "Art of the people." Art Paper 12, no. 3 (November 1992): 9-11.

Dompierre, Louise, and Fred Gaysek. Liaisons: Rebecca Belmore, Wyn Gelenynse, Roberto Pellegrinuzzi, Laurel Woodcock. Toronto, Ontario: The Power Plant, 1996.

Durand, Guy Sioui. "Creative currents: Métissage merges Native and non-Native creativity." Aboriginal Voices 1, no. 4 (Fall 1994): 42-45.

"Exhibition explores spectacles of place: Appropriately enough, Santa Fe, a place as much imagined as real, is the site of an exhibit of works on our collective ideas about belonging (Longing and Belonging)." Globe & Mail Metro Edition, 4 October 1995, p. C1,C2.

Fraser, Marie, Guy Sioui Durand, et al. Metissages. Saint-Jean-de-Jolie, Québec: Centre de Sculpture, 1996.

Kelley, Caffyn. "Broken silence, visible wounds: Canadian artists expose social space with contradictions intact." High Performance 18, nos. 1-2 (Spring-Summer 1995): 48-53.

Laurence, Robin. "Wana na wang ong." Canadian Art 11, no. 1 (Spring 1994): p. 77, 79. [Review: Contemporary Art Gallery, Vancouver, British Columbia]

Marginsofmemory: Rebecca Belmore, Marlene Creates, Sarindar Dhaliwal, Wyn Geleynse, Jan Peacock, Jin-me Yoon, Sharyn Yuen. Windsor, Ontario: Art Gallery of Windsor, 1994.

Martel, Richard. "Rencontre internationale d’art performance de Québec." INTER(Canada) no. 62 (Summer 1995): i-xxviiip.

Miller, Edith. "Rebecca Belmore: Ihkewak Kaayamihat II: means women who are speaking." ARTSatlantic 10, no. 4 (Spring/Summer 1991): p. 52. [Review: Owen Art Gallery, Mount Allison University, Sackville, New Brunswick]

Mitchell, Charles Dee. "Report from Santa Fe: Introducing site Santa Fe."  Art in America 83, no. 10 (October 1995): 44 -47.

"Native artist puts new spin on the western: Rebecca Belmore brings her character High-Tech Tipi Trauma Mama to Vancouver in a story where the girls and the Indians win." Globe & Mail Metro Edition, 22 September 1990, p. C3.

Nemiroff, Diana, Robert Houle, and Charlotte Townsend-Gault. Land, Spirit, Power: First Nations at the National Gallery of Canada. Ottawa, Ontario: National Gallery of Canada, 1992.

"Realities of Ojibway culture pervasive in artist's work." Halifax Chronicle Herald, 30 January 1991, p. C3.

Riddle, Mason. "Rebecca Belmore." High Performance 15 (Winter 1992): 24-25.

Rushing, W. Jackson. "Contingent histories, aesthetic politics." New Art Examiner 20 (March 1993): 14-20.

Seaton, Beth. "Indian Princesses and Cowgirls: Stereotypes from the Frontier --  Rebecca Belmore." Parachute, no. 69 (1 January 1993): 41.

"Temple." Aboriginal Voices 3, no. 3 (July/August/September): p. 34-35. [Review: JS McLean Gallery, Toronto, Ontario]

Townsend-Gault, Charlotte. "Having voices and using them." Arts Magazine 65 (February 1991): 65-70.

Townsend-Gault, Charlotte. "Ritualizing ritual’s rituals (ritual as a vehicle for personal and social negotiation in contemporary Native American Art)." Art Journal 51 (Fall 1992): 51-58.

Tuer, Dot. "At the gates." Canadian Art 15, no. 1 (Spring 1998): 72-78. [Review: InSITE 97]

Valaskakis, Gail Guthrie and Marilyn Burgess. Princesses indiennes et cow-girls: stereotypes de la frontiere / Indian Princesses and Cowgirls: Stereotypes from the Frontier. Bookwork by Rebecca Belmore. Montréal, Québec: Oboro, 1995.

Walter Phillips Gallery. Between Views and Points of View. Banff, Alberta: The Gallery, 1991. [Catalogue of a series of six commissioned projects which took place from June to September 1991: exhibition curators, Daina Augaitis and Sylvie Gilbert]

"Wana na wang ong." Vancouver Sun, 20 November 1993, p. D7. [Review: Contemporary Art Gallery, Vancouver, British Columbia]