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Revision & Resistance reveals the story of Kent Monkman's monumental 2019 diptych commission mistik?siwak (Wooden Boat People) for the Metropolitan Museum of Art. This book celebrates Monkman's historic achievement with essays and contributions by today's most prominent voices on Indigenous art and Canadian painting.
Kent Monkman's new, large-scale project takes the viewer on a journey through Canada's history that starts in the present and takes us back to 150 years before Confederation. With its entry points in the harsh urban environment of Winnipeg's north end, and contemporary life on the reserve, Kent Monkman: Shame and Prejudice, A Story of Resilience takes us all the way back to the period of New France and the fur trade. The Rococo masterpiece The Swing by Jean-Honore ́ Fragonard has been reinterpreted as an installation with Monkman's alter ego, Miss Chief Eagle Testickle, in a beaver trimmed baroque dress, swinging back and forth between the Generals Wolfe and Montcalm. The book includes Monkman's own paintings, drawings and sculptural works, in dialogue with historical artefacts and art works borrowed from museum and private collections from across Canada.
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 Monkman: 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 Monkman: Life & Work is the definitive publication for anyone passionate about Indigenous issues, art in North America, and contemporary culture.
The Triumph of Mischief by David Liss,Shirley Madill,Kent Monkman,Gerald McMaster,Catherine Mattes,David McIntosh Pdf
"Cree artist Kent Monkman sweeps through art history, creating a disrupted narrative of the clash between Europeans and First Nations. His revisionist history paintings take their cue from 19th century romanticized landscapes of mid-west America. The performances transform gallery spaces into multi-media Tipi camp extravaganzas. Abundantly illustrated. With five original essays."--BOOK JACKET.
The Four Continents by John Ralston Saul,Keith Goulet,Eugene Richard Atleo Pdf
The Four Continents is comprised of a series of paintings made between 2012 and 2016. In this series, Monkman takes as his point of departure Giovanni Battista Tiepolo's epic frescoes commissioned for a private residence in Würzburg, Germany. The centrepiece of the Tiepolo series represented a day in the life of the Greek god, Apollo, with the four continents allegorized in peripheral scenes. In Monkman's reinterpretation, each continent is personified by a Two-Spirit sovereign with Miss Chief playing the roles of Africa, America, Asia, and Europe. Tiepolo's allegory is updated to include architectural wonders and notable figures from history amidst chaotic crowds.
A trickster named Coyote rules her world, until a funny-looking stranger named Columbus changes her plans. Unimpressed by the wealth of moose, turtles, and beavers in Coyote's land, he'd rather figure out how to hunt human beings to sell back in Spain. Thomas King uses a bag of literary tricks to shatter the stereotypes surrounding Columbus's voyages. In doing so, he invites children to laugh with him at the crazy antics of Coyote, who unwittingly allows Columbus to engineer the downfall of his human friends. William Kent Monkman's vibrant illustrations perfectly complement this amusing story with a message.
Fighting for a Hand to Hold by Samir Shaheen-Hussain Pdf
Launched by healthcare providers in January 2018, the #aHand2Hold campaign confronted the Quebec government's practice of separating children from their families during medical evacuation airlifts, which disproportionately affected remote and northern Indigenous communities. Pediatric emergency physician Samir Shaheen-Hussain's captivating narrative of this successful campaign, which garnered unprecedented public attention and media coverage, seeks to answer lingering questions about why such a cruel practice remained in place for so long. In doing so it serves as an indispensable case study of contemporary medical colonialism in Quebec. Fighting for a Hand to Hold exposes the medical establishment's role in the displacement, colonization, and genocide of Indigenous peoples in Canada. Through meticulously gathered government documentation, historical scholarship, media reports, public inquiries, and personal testimonies, Shaheen-Hussain connects the draconian medevac practice with often-disregarded crimes and medical violence inflicted specifically on Indigenous children. This devastating history and ongoing medical colonialism prevent Indigenous communities from attaining internationally recognized measures of health and social well-being because of the pervasive, systemic anti-Indigenous racism that persists in the Canadian public health care system - and in settler society at large. Shaheen-Hussain's unique perspective combines his experience as a frontline pediatrician with his long-standing involvement in anti-authoritarian social justice movements. Sparked by the indifference and callousness of those in power, this book draws on the innovative work of Indigenous scholars and activists to conclude that a broader decolonization struggle calling for reparations, land reclamation, and self-determination for Indigenous peoples is critical to achieve reconciliation in Canada.
Museums, Sexuality, and Gender Activism by Joshua G. Adair,Amy K. Levin Pdf
Museums, Sexuality, and Gender Activism examines the role of exhibitionary institutions in representing LGBTQ+ people, cisgender women, and nonbinary individuals. Considering recent gender and sexuality-related developments through a critical lens, the volume contributes significantly to the growing body of activist writing on this topic. Building on Gender, Sexuality and Museums and featuring work from established voices, as well as newcomers, this volume offers risky and exciting articles from around the world. Chapters cover diverse topics, including transgender representation, erasure, and activism; two-spirit people, indigeneity, and museums; third genders; gender and sexuality in heritage sites and historic homes; temporary exhibitions on gender and sexuality; museum representations of HIV/AIDS; interventions to increase queer visibility and inclusion in galleries; LGBTQ+ staff alliances; and museums, gender ambiguity, and the disruption of binaries. Several chapters focus on areas outside the US and Europe, while others explore central topics through the perspectives of racial and ethnic minorities. Containing contributions that engage in sustained critique of current policies, theory, and practice, Museums, Sexuality, and Gender Activism is essential reading for those studying museums, women and gender, sexuality, culture, history, heritage, art, media, and anthropology. The book will also spark interest among museum practitioners, public archivists, and scholars researching related topics.
Author : Susan M. Hill Publisher : Univ. of Manitoba Press Page : 307 pages File Size : 53,5 Mb Release : 2017-04-28 Category : History ISBN : 9780887554582
If one seeks to understand Haudenosaunee (Six Nations) history, one must consider the history of Haudenosaunee land. For countless generations prior to European contact, land and territory informed Haudenosaunee thought and philosophy, and was a primary determinant of Haudenosaunee identity. In The Clay We Are Made Of, Susan M. Hill presents a revolutionary retelling of the history of the Grand River Haudenosaunee from their Creation Story through European contact to contemporary land claims negotiations. She incorporates Indigenous theory, Fourth world post-colonialism, and Amerindian autohistory, along with Haudenosaunee languages, oral records, and wampum strings to provide the most comprehensive account of the Haudenosaunee’s relationship to their land. Hill outlines the basic principles and historical knowledge contained within four key epics passed down through Haudenosaunee cultural history. She highlights the political role of women in land negotiations and dispels their misrepresentation in the scholarly canon. She guides the reader through treaty relationships with Dutch, French, and British settler nations, including the Kaswentha/Two-Row Wampum (the precursor to all future Haudenosaunee-European treaties), the Covenant Chain, the Nanfan Treaty, and the Haldimand Proclamation, and concludes with a discussion of the current problematic relationships between the Grand River Haudenosaunee, the Crown, and the Canadian government.
We Interrupt This Program by Miranda J. Brady,John M.H. Kelly Pdf
We Interrupt This Program tells the story of how Indigenous people are using media tactics or interventions in art, film, television, and journalism to disrupt Canada’s national narratives and rewrite them from Indigenous perspectives. Accounts of strategically chosen moments such as survivor testimonies at the Truth and Reconciliation Commission combined with conversations with CBC reporter Duncan McCue and artists such as Kent Monkman bring to life Brady and Kelly’s powerful argument that media tactics can be employed to change Canadian institutions from within. As articulations of Indigenous sovereignty, these tactics can also spark new forms of political and cultural expression in Indigenous communities.
'If you want to learn about gouache, this should keep you satisfied for a very long time.' Artbookreview.net If you love painting with watercolour and are ready to experiment with something different, then the versatile medium of gouache could be just the thing for you. Gouache is water-based, quick-drying and, can be painted light over dark as well as dark over light. Ideal for the beginner, it can be used thinly in a watercolour style, or more thickly as with oils or acrylics. This guide covers all the materials and tools required and has a comprehensive techniques section that includes overlaying colours, colour blending and troubleshooting. Experienced author Jeremy Ford takes you through three simple, step-by-step projects, each showcasing a unique style of painting with gouache. Numerous finished paintings are included to demonstrate the range of subjects, styles and techniques that you can achieve, and encourage you to develop your own style of painting using this exciting medium.
More of Mason Currey's irresistible Daily Rituals, this time exploring the daily obstacles and rituals of women who are artists--painters, composers, sculptors, scientists, filmmakers, and performers. We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations. From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.
Saulteaux artist Robert Houle (b.1947) has claimed space and authority for Indigenous representation in contemporary art for more than fifty years. This new publication celebrates his generational influence and coincides with his exhibition Red Is Beautiful, organized by the Art Gallery of Ontario and touring to the Winnipeg Art Gallery and the National Museum of the American Indian at the Smithsonian Institution. A curator, writer, and educator as well as an artist, Houle has made a profound impact. Growing up on the Sandy Bay First Nation/Kaa-wii-kwe-tawang-kak in Manitoba, he was placed in residential school and denied access to his family and traditions. Always fiercely principled, he has dedicated his career to challenging colonialist perspectives. In 1980, he resigned from his position as the first curator of contemporary Indigenous art at the National Museum of Man (now the Canadian Museum of History) and set off on a path toward creating a remarkable body of work that spans painting, drawing, and large-scale installation. Robert Houle: Life & Work reveals how Houle's artistic output has opened critical discussion on political and cultural issues surrounding First Nations peoples, including Indigenous identity, the impact of colonialism, and land claims and residential schools. Houle has played a pivotal role in bringing contemporary Indigenous artists into the Canadian art mainstream through his writing and curating of important exhibitions, such as Land, Spirit, Power: First Nations at the National Gallery of Canada in 1992. This book also explores the artist's public art projects, critical elements of his legacy for art in Canada.
Kent Monkman: Being Legendary at the Royal Ontario Museum by Kent Monkman Pdf
Being Legendary presents a new--and never before published--body of work by the revered and internationally renowned Cree artist Kent Monkman, guided by an Indigenous worldview, historical narratives, and the artist's playful imagination. Known for his thought-provoking and groundbreaking paintings, in Being Legendary Monkman focuses on the cultural world's most urgent topic: What does the museum mean in the twenty-first century? Since time immemorial, Indigenous knowledge has been deeply embedded in the land, carried in stories, songs, and art. Yet not only has this history never been a focus of North America's greatest museum, it has been diminished by the forced interruptions of the colonial project on Turtle Island. In a landmark exhibition at the Royal Ontario Museum, Monkman, through his art and his gender-fluid, shape-shifting alter ego, Miss Chief Eagle Testickle, presents in the paintings and pages of Being Legendary a powerful counter-narrative to the conventional structures of colonial collecting institutions. By highlighting Indigenous systems of knowledge, Being Legendary upholds the continuity and transcendence of worldviews that existed for millennia before the creation of Western museums. It speaks to the interruption of Indigenous knowledge caused by colonial forces and challenges our institutions to consider a fresh way of thinking. Powerful, provocative, and inspiring, Being Legendary presents the knowledge carried by Indigenous leaders in the community who shine a light forward for future generations.
How do artists in Toronto visualise their sense of place? Are there particular made-in-Toronto ways of thinking about the city?0Bringing together work selected by internationally renowned Toronto-based artist Luis Jacob, Form Follows Fiction: Art and Artists in Toronto concentrates on a period of more than fifty years to consider the ways in which artists visualise Toronto. Presenting a thematic clustering of works by 86 artists, the book is premised on the tendency of artists in the city to favour performative and allegorical procedures to articulate their sense of place. The book looks at a period of more than 50 years of artists who have visualised Toronto, and includes work by 86 artists, including Suzy Lake, Kent Monkman, Ed Pien, Roula Partheniou and Michael Snow, all of whom have previously published with Black Dog Publishing.
