Most of our earliest experiences of art are forged at museums. In this episode artist Kent Monkman recounts his own youth visiting institutions that didn’t reflect the lived reality around him and his Cree community in Winnipeg.
Since those formative years, Monkman has become an important voice in contemporary art who challenges the histories told inside the hallowed halls of museums, pushing them to reflect the complexity of the world around them. He is an artist who teaches us to imagine the world we want to see, one that refuses to erase the stories of pain, but instead uses them to portray the power of resilience and future possibilities.
This is the first in a four-part series by Hyperallergic in conjunction with the Gardiner Museum and its Community Art Space, a platform for experimentation and socially-engaged art. The series explores the role of museums, ceramics, and the stories they tell.
A special thanks to Brooklyn-based musician SunSon for providing the music to this episode, and you can check out his website sunson.band. You can also follow him on Facebook or Instagram.
This and more in our current episode of our weekly Art Movements podcast.
Subscribe to Hyperallergic’s podcast, Art Movements, on iTunes or anywhere else you listen to podcasts.
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The Rijksmuseum’s traveling show strives to remind us that we are all, in some way, a part of this chapter of human history, whose legacy continues today.
The Milton Resnick and Pat Passlof Foundation Presents The Feminine in Abstract Painting
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Textured Histories at Shiprock Santa Fe
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Renaissance Portrait of “Ugly Duchess” Likely Depicts a Man
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NYU Steinhardt Opens 2023 MFA Thesis Exhibitions
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The Wider World and Scrimshaw
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Three Looted Antiquities at the Met Repatriated to Turkey
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This week, the world’s lightest paint, Pakistan’s feminist movement, World Puppy Day, and were some of Vermeer’s paintings created by his daughter?
Last week we were decolonizing the center; now we’re decentering the colonial. I simply must try to keep up with these things.
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