ABSTRACT
Twenty-first-century photographer Matika Wilbur has created a visual response to the history of European American photographers recording Native American subjects. Wilbur's portrait of Robert and Fannie Mitchell, an elderly Dine couple, depicts a subject that race theory and feminist theory are sometimes at odds with heterosexual love. Anishinaabe Canadian artist Rebecca Belmore has focused her career on performance art, and she also has created film and multimedia exhibits and photographs that intersect with her performance pieces. Belmore's photograph State of Grace also complicates its own position in the art world of the gallery and museum. This chapter concludes by discussion of Rebecca Belmore's photography with a look at Belmore's early twenty-first-century photograph White Thread. In the figuring forth of resistance, the articulation of the oppressed person's capacity for power and transformation, if the thread that binds her can be raveled, Belmore's photograph White Thread is most deeply feminist.
