Fringe

Label

Rebecca Belmore’s reclamatory riff on a 19th-century odalisque allows her historically and ever-assaulted Native woman to rise up from her couch, barely wrapped in the bloody, yet healing, fringe of her shawl.

Some people look at this reclining figure and see a cadaver, but I look at it and I don’t see that. I see it as a wound that is on the mend. It wasn’t self-inflicted, but, nevertheless, it is bearable. She can sustain it. So, it is a very simple scenario. She will get up and go on, but she will carry that mark with her. —Rebecca Belmore

Course History

WRIT 5, Expository Writing, William Nichols, Winter 2012

NAS 30.1, ARTH 17, Modern Native American Art History, Joyce Szabo, Summer 2013

WRIT 5, Memoirs of Family, Ellen Rockmore, Fall 2013

WGST 10, Sex, Gender, and Society, Giavanna Munafo, Fall 2013

ANTH 12.3, WGST 42.5, The Ethnography of Violence, Chelsey Kivland, Fall 2013

WGST 37.2, GEOG 41, Gender, Space and Islam, Jennifer Fluri, Fall 2013

NAS 42, WGST 40, Gender Topics in Native American Life, Vera Palmer, Fall 2013

ANTH 31, WGST 36, Gender in Cross-Cultural Perspective, Lauren Gulbas, Fall 2013

NAS 42, WGST 40, Gender Topics in Native American Life, Vera Palmer, Fall 2013

SART 30, Photography II, Fall 2013

SART 29, Photography I, Fall 2013

NAS 8, Perspectives in Native American Studies, Vera Palmer, Spring 2014

NAS 8, Perspectives in Native American Studies, Vera Palmer, Spring 2014

WGST 10, Sex, Gender, and Society, Zahra Ayubi, Fall 2014

WGST 65.6, Radical Sexuality: Of Color, Wildness and Fabulosity, Eng-Beng Lim, Winter 2015

SART 17.9, The Photographer as Activist: Making Art Inspired by the Hood Museum's Collection, Virginia Beahan, Winter 2015

ANTH 12.3, WGST 42.5, Ethnography of Violence, Chelsey Kivland, Winter 2015

ANTH 12.3, WGST 42.5, Ethnography of Violence, Chelsey Kivland, Winter 2015

COLT 73.4, Violence, Ayo Coly, Winter 2015

NAS 41, Native American Literature and Law, N Bruce Duthu, Winter 2019

SART 29, Photography I, Christina Seely, Spring 2019

WGSS 10.01, Sex, Gender, and Society, Douglas Moody, Fall 2019

WGSS 10.02, Sex, Gender, and Society, Kristen O'Rourke, Fall 2019

WGSS 10.03, Sex, Gender, and Society, Jenn Sargent, Fall 2019

WGSS 10.04, Sex, Gender, and Society, Susan Brison, Fall 2019

SART 29, Photography I, Christina Seely, Fall 2019

WGSS 10.01, Sex, Gender, and Society, Susan Overton, Winter 2020

NAS 30.21, Native American Art and Material, Jami Powell, Spring 2020

WGSS 10.01, Sex, Gender and Society, Douglas Moody, Winter 2021

SPEE 20.02, Public Speaking, Svetlana Grushina, Fall 2021

ANTH 28/AAAS 88.08/WGSS 42.05, Ethnography of Violence, Chelsey Kivland, Spring 2022

ANTH 55.01, Anthropology of Global Health, Anne Sosin, Spring 2022

WGSS 10.01, Sex, Gender, and Society, Zahra Ayubi, Summer 2022

WGSS 10.02, Sex, Gender, and Society, Zahra Ayubi, Summer 2022

Women’s Gender and Sexuality Studies 10.01 – Sex, Gender, and Society, Zahra Ayubi, Summer 2023

Exhibition History

A Space for Dialogue 88, Still We Rise, Women of Color Existence / Resistance in Contemporary Art, Taylor Payer, Class of 2015, Kathryn Conroy Intern, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 30 -July 12, 2015.

Native American Art at Dartmouth: Highlights from the Hood Museum of Art, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 8, 2011-March 12, 2012.

Perspectives: Native American Art from the Hood Museum of Art's Collection, Perspective in Native Studies, NAS 8, Spring 2014, Vera Palmer, Teaching Exhibition, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 24-June 16, 2014.

Portrait of the Artist as an Indian / Portrait of the Indian as an Artist, Harteveldt Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26-April 21, 2019.

Shadowplay: Transgressive Photography from the Hood Museum of Art, Owen Robertson Cheatham and Friends Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 10-December 8, 2013.

Virtual Space for Dialogue: 2017, Vanity: Disrupting The Female Nude, Jessica King Fredel, Class of 2017, Levinson Intern, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire. https://www.jkingfredel.vsfd.hoodmuseum.dartmouth.edu/

Publication History

George P. Horse Capture, Sr., Joe D. Horse Capture, Joseph M. Sanchez, et al., Native American Art at Dartmouth: Hightlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2011, ill. no p. 49 and p. 172, no. 139.

Taylor Payer, A Space for Diagolgue 88, Still We Rise, Women of Color Esistence / Resistance in Contemporary Art, Hanover, New Hampshire: Trustees of Dartmouth College, 2015, ill. p. 1, checklist no. 1.

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 207, ill. plate no. 138.

Provenance

The artist, Vancourver, British Columbia, Canada; sold to present collection, 2010.

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