Proceeds from the sale will be donated to Toronto Aboriginal Support Services Council (TASSC), a nonprofit that provides cultural, socio-economic, health, and housing support for the city’s Indigenous residents.
In a new major commission for the Met, Monkman renders the past injustices and contemporary challenges endured by Indigenous people in the style of academic history painting.
Leading contemporary artist Kent Monkman discusses how museums have influenced his life and his art, and what he is doing to help change them to tell a fuller picture of Canadian history.
Wendy Vogel’s curated section at Volta NY reminds us that we carry our identities with us always — even inside the artificial environment of an art fair.
ANN ARBOR, Mich. — Scroll quickly enough past a photograph of Kent Monkman’s new installation, “Scent of a Beaver,” at the University of Michigan’s Institute for the Humanities, and you might mistake it for a painting.
In Irreverent: A Celebration of Censorship, opening next month at the Leslie Lohman Museum of Gay and Lesbian Art in New York, all of the art has previously been censored from major museums.
Let’s face it: there’s Brooklyn, and then there’s the rest of New York City. (Sorry, rest of New York City!)
In Kent Monkman’s first New York solo show, which closes this weekend at Sargent’s Daughters, art history commingles with cultural mythology in a passion play about masculinity and belonging.
TORONTO — Appropriation and amalgamation take center stage at “Beat Nation,” organized by the Vancouver Art Gallery and currently on view at The Power Plant in Toronto, a show focusing on the influence of hip hop culture in Aboriginal contemporary art.
NORTH ADAMS, Massachusetts — Framed on the faux-log-cabin wall of Kent Monkman’s piece “Two Kindred Spirits” (which depicts the American western characters of Tonto and the Lone Ranger as lovers in a sort of Horatio/Hamlet life-sized diorama death scene) is a hand-embroidered phrase: “The Love That Dare Not Speak Its Name.” This Oscar Wildean quotation also encapsulates the ever-nuanced Canada/U.S. relationship, and may give us a clue as to what’s really up with our neighbor to the north.
Gender issues and neo-colonialism are having a fine frippery field day courtesy of Kent Monkman a gay First Nations Manitoba Swampy Cree Canadian artist … is part of a small, but burgeoning contingent of Canadian First Nations artists who are engaging in sociological and scatological commentary on the state of the nations, First or otherwise.