Indigenous Blood Memory and Abstraction in the work of Anishinaabe Artist Rebecca Belmore

Jessica Rachel Jacobson-Konefal

Resumo


Anishinaabe artist Rebecca Belmore responds to globalizationthrough artistic methods that include longstanding Indigenous traditionsand conceptual frameworks. In this article I focus on the entwinedaesthetics of abstraction and blood memory in her works. Generally,cultural studies scholars have considered globalization through patternsof abstraction, or making-autonomous elements previously embedded ina specific context. These thinkers emphasize processes of innovation andchange as fundamental tenets of abstraction, culturally and aesthetically.Eschewing this framework, Belmore’s framings of abstraction centerIndigenous knowledge –what I am calling blood memory (MITHLO,2011; BENESIINAABANDAN, 2013; LINKLATER, 2013)—in orderto uncover the aesthetic foundations of modern abstraction in Indigenousthought. Abstraction has been a continuous and principal element ofIndigenous aesthetics in North America for many thousands of years(PHILLIPS and BERLO, 1998).

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DOI: http://dx.doi.org/10.15210/interfaces.v14i2.6736

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ISSN eletrônico: 1984-5677

ISSN impresso: 1519-0994