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Kent Monkman: Life & Work
Kent Monkman's art has been described as "stupendous" ( New York Times ), "sure to alarm and educate" ( The Observer ), and beating "Western history painting at its own game" ( The Globe and Mail ). Subversive, bold, and groundbreaking, the work of this Cree artist has transformed contemporary Canadian visual culture. Monkman's art is included in major Canadian and international public institutions and he is the only artist in this country to be commissioned by The Metropolitan Museum of Art. Kent Life & Work is the first comprehensive book about the celebrated Monkman (b.1965). It is the only publication to trace the arc of his career, from his early abstract paintings to his rise to fame creating works that re-visit and reinterpret historic paintings to offer a powerful commentary on Indigenous resistance, remembrance, and the re-thinking of history. Author Shirley Madill chronicles the origins of Miss Chief Eagle Testickle-Monkman's time-travelling, shape-shifting, gender-fluid alter ego, who features prominently in his work-and details his youth in Manitoba growing up as a member of the Fisher River First Nation, where he first became aware of profound social injustice. Madill explores Monkman's provocative interventions into Western European and American art history, and shows how he created a body of work that raises awareness of the critical issues facing Indigenous peoples by fiercely addressing North America's legacy of colonialism, while also critiquing Western art history. Kent Life & Work is the definitive publication for anyone passionate about Indigenous issues, art in North America, and contemporary culture.
144 pages, Hardcover
Published July 31, 2022
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Displaying 1 - 3 of 3 reviews
November 30, 2023
I read Volume 1 of the memoir of Miss Chief, which covered her recollections from the beginnings of Turtle Island( North America), the coming of the white man, and up to the time of Confederation. Wanting to learn more about Kent Monkman's life and art, this was a scholarly examination, with many of his paintings shown in full colour. The hardcover book is approximately 8 by 11 inches. Most illustrations only cover half the page to make room for writing. I wished the dimensions had been larger (more the size of what we call a coffee table book), as some of the details were difficult to scrutinize. Additional information was added to note where each painting can be viewed. The larger ones are in the Metropolitan Museum of Art in New York.
The book describes his upbringing in an urban Cree community in Manitoba and his early interest in art. His early paintings were abstract, but he soon became influenced by 18th and 19th-century European realistic painters. Monkman adopted that art form to show a different historical narrative based on the indigenous reality and viewpoint.
His art draws attention to their loss of traditional land and lifestyle, betrayal by treaties, the eradication of their hunting and fishing, and being forced onto reservations. Generations of frightened children were forcibly removed from their families and sent to residential schools. There, they were abused, their language, religion, and culture were eliminated, and many of these children died. Those who survived are still traumatized. Others were taken by social services from their parents and adopted, never to learn their true identities. Also addressed are the tragedy of missing and murdered native women and the disproportionate number of native people incarcerated in jails and prisons. Two-spirited and trans-gendered people held an honoured place in native culture but were scorned and shamed by the newcomers. The slaughter of beaver and buffalo was depicted in his art.
Miss Chief (mischief) Eagle Testickle (egotistical) is a play on words and introduced into Monkman's paintings as a two-spirited erotic supernatural being able to move through time. She acts as an alter-ego for Monkman. Usually depicted as feminine, some paintings take on a more masculine appearance despite the signature spike-heeled shoes. It took me awhile to notice that she bears the artist's face. Her appearance in the paintings draws the viewer's attention from history as we know it to a new historical version told from the native viewpoint.
The book describes his upbringing in an urban Cree community in Manitoba and his early interest in art. His early paintings were abstract, but he soon became influenced by 18th and 19th-century European realistic painters. Monkman adopted that art form to show a different historical narrative based on the indigenous reality and viewpoint.
His art draws attention to their loss of traditional land and lifestyle, betrayal by treaties, the eradication of their hunting and fishing, and being forced onto reservations. Generations of frightened children were forcibly removed from their families and sent to residential schools. There, they were abused, their language, religion, and culture were eliminated, and many of these children died. Those who survived are still traumatized. Others were taken by social services from their parents and adopted, never to learn their true identities. Also addressed are the tragedy of missing and murdered native women and the disproportionate number of native people incarcerated in jails and prisons. Two-spirited and trans-gendered people held an honoured place in native culture but were scorned and shamed by the newcomers. The slaughter of beaver and buffalo was depicted in his art.
Miss Chief (mischief) Eagle Testickle (egotistical) is a play on words and introduced into Monkman's paintings as a two-spirited erotic supernatural being able to move through time. She acts as an alter-ego for Monkman. Usually depicted as feminine, some paintings take on a more masculine appearance despite the signature spike-heeled shoes. It took me awhile to notice that she bears the artist's face. Her appearance in the paintings draws the viewer's attention from history as we know it to a new historical version told from the native viewpoint.
March 14, 2023
Kent Monkman is a very impressive Indigenous artist from Manitoba. He spent most of his formative years in Winnipeg, as I understand it from the brief biography in this book. His works are startling. They politically and historically challenge the preconceived impressions of Indigenous people portrayed in European/North America art. And they can be irreverent and controversial as well – as our Prime Minister, Justin Trudeau, knows (the work “Hanky Panky” is not featured in this book).
Kent Monkman flips the coin, where prior it was European/North America artists (particularly in the 19th century) looking and giving their view of indigenous people. Kent Monkman is altering that gaze. He, at times, co-opts their paintings to give an entirely different perspective.
Kent Monkman started off with abstract art, but switched to a more traditional European style which does not hide (or abstract) his point of view – which is about the demolition and attempted eradication of Indigenous culture. Some of his paintings show Mounties (RCMP) and Roman Catholic clergy ruthlessly abducting Indigenous children from their families.
Study For Black Robe by Kent Monkman 2017
There is often a playful sexual innuendo in his paintings - high-lighted by the presence of Chief Eagle Testickle – a Two-Spirit Identity in high-heels which represents sexuality and gender as fluid (this was an accepted element of many Indigenous cultures prior to the arrival of European and Christian settlers, as per page 22-23).
Many of Kent Monkman’s canvas’ are enormous –featuring many people and themes. There are now two paintings in the entrance-way in the Great Hall of the Metropolitan Museum of Art in New York City – “Welcoming the Newcomers” and “Resurgence of the People”. Having your paintings in this major museum, as a juxtaposition of the European/North American portrayal of Indigenous people, is a major accomplishment.
In the text, the author refers to North America as Turtle Island – an Indigenous term (maybe Cree). She does rather insinuate that Kent Monkman’s art is the point of view of all Indigenous people. This is a stretch.
The reproductions in the book are wonderful. I wish there would have been an index of the paintings.
Kent Monkman flips the coin, where prior it was European/North America artists (particularly in the 19th century) looking and giving their view of indigenous people. Kent Monkman is altering that gaze. He, at times, co-opts their paintings to give an entirely different perspective.
Kent Monkman started off with abstract art, but switched to a more traditional European style which does not hide (or abstract) his point of view – which is about the demolition and attempted eradication of Indigenous culture. Some of his paintings show Mounties (RCMP) and Roman Catholic clergy ruthlessly abducting Indigenous children from their families.
Study For Black Robe by Kent Monkman 2017
There is often a playful sexual innuendo in his paintings - high-lighted by the presence of Chief Eagle Testickle – a Two-Spirit Identity in high-heels which represents sexuality and gender as fluid (this was an accepted element of many Indigenous cultures prior to the arrival of European and Christian settlers, as per page 22-23).
Many of Kent Monkman’s canvas’ are enormous –featuring many people and themes. There are now two paintings in the entrance-way in the Great Hall of the Metropolitan Museum of Art in New York City – “Welcoming the Newcomers” and “Resurgence of the People”. Having your paintings in this major museum, as a juxtaposition of the European/North American portrayal of Indigenous people, is a major accomplishment.
In the text, the author refers to North America as Turtle Island – an Indigenous term (maybe Cree). She does rather insinuate that Kent Monkman’s art is the point of view of all Indigenous people. This is a stretch.
The reproductions in the book are wonderful. I wish there would have been an index of the paintings.
April 29, 2023
Informative and beautiful book, although some information was repetitive.
Displaying 1 - 3 of 3 reviews