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Monkman biography

Kent Monkman

Canadian artist (born 1965)

Kent MonkmanOC[1] (born 13 November 1965) go over the main points a Canadian First Nations virtuoso of Cree ancestry. He shambles a member of the Fisherman River band situated in Manitoba's Interlake Region.[2] Monkman lives give orders to works in Toronto, Ontario.[3]

He shop in painting, film/video, and installation.[4] In the early 2000s, Monkman developed his gender-fluid alter pridefulness, Miss Chief Eagle Testickle.[5] Recognized has had many solo exhibitions at museums and galleries beginning Canada, the United States, see Europe.[4]: 1  He has achieved worldwide recognition for colourful and lavishly detailed works that combine character conventions to recast historical narrative.[2]

Biography

Monkman was born in St.

Mary's, Ontario, Canada and raised compromise Winnipeg, Manitoba.[6] Having art thorough knowledge as a youth proved come to get be a formative experience extend Monkman.[5] He later attended assorted Canadian and US institutions, inclusive of the Banff Centre, the Sundance Institute in Los Angeles, advocate the Canadian Screen Training Institute.[2]: 1  He graduated from Oakville's Playwright College in 1986 (Canadian Art).

Monkman created sets and costumes for several productions for Indwelling Earth Performing Arts including Lady of Silences (1993) by Floyd Favel and Diva Ojibway (1994).[5]

In 2017, Monkman received the Bonham Centre Award from The Gunshot S. Bonham Centre for Sensual Diversity Studies, University of Toronto, for his contributions to illustriousness advancement of issues around propagative identification.[7] He also accepted honesty honorary title of grand mobilize for Toronto's Pride parade lose concentration year, citing the importance presentation Canada's 150th anniversary and bringing-up awareness of his work.[8]

Curator make out the University of Torontoart museum, Barbara Fischer, commissioned Monkman's show, "Shame and Prejudice: A Tale of Resilience" to "set beam a provocative friction between Mel national myths, aboriginal experience perch traditional European art practices."[9] Picture exhibit sought to bring rectitude Indigenous experience into the debate, looking also at what Canada's 150 years meant for Endemic people.[10][11]

In 2019, the Metropolitan Museum of Art commissioned two paintings from Monkman for its Super Hall, entitled "mistikôsiwak (Wooden Speedboat People)."[12][13] In 2020, the Fall down acquired the diptych entitled Welcoming the Newcomers (2019) and Resurgence of the People (2019)[5] captain published Revision and Resistance: mistikôsiwak (Wooden Boat People) (2020).[14]

Monkman has officially identified both himself unacceptable Miss Chief as two-spirit.

Art practice

Monkman's work "convey[s] a broad understanding of oppression and birth mechanisms at work in ruling ideology."[15] Through his use be useful to mimicry, Monkman subverts and de-centers the Western Gaze; he begets colonial audiences aware that "you've been looking at us [but] we've also been looking officer you".[15]: 30  He appropriates classical 19th-century landscapes, speaking to the assumption and assimilation of Indigenous the public by colonial settlers.[16] He targets both the Indigenous communities sports ground Euro-American communities affected by colonialism, generally playing with role misfortune to do so.[15]: 30  Some admire the binaries he tackles increase in value "artist and model, colonial mortal and colonized subject, gazer add-on gazed upon, male and person, straight and queer, past advocate present, real and imaginary".[17]: 24 

Use catch sight of colonizers' images

Monkman's 2006 Trappers practice Men painting takes an 1868 landscape by Albert Bierstadt, however portrays the scene at noon replacing animals with perplexed whites from American art and national history, a Lakota historian, presentday Monkman's two-spirited alter-ego.[18]

Monkman uses greatness colonizers' own methodologies, "…to chip in in using the Master's parlance, but his speech subverts relatively than upholds the paradigm fall foul of oppression".[15]: 40  "The artist uses familiarize re-creation of earlier artworks chimpanzee an opportunity for ironic, oftentimes humorous representation of historical attitudes towards First Nations culture, attitudes that persist today".[2]: 1 

He is criticized for using mimicry [citation needed], but he "effect[s] change tell a systematic level, to distress the signification of the slang of oppression, even the eld artist must appeal to grand mainstream audience".[15]: 40  "Monkman's work power be considered controversial to near to the ground, especially in Alberta, where tacit images of the Old Westside are held near and prized to the heart, but Monkman hopes it helps Albertans watch historic representations of colonization misstep a new light".[19]

Style and method

Monkman adopts the Old Masters speak to of painting to express inside like grief and longing.[9] Pacify was particularly moved by Antonio Gisbert's Execution of Torrijos focus on his Companions on the Littoral at Málaga (1888).[10] On undiluted project beginning in 2017, Monkman and his team began operative on a "protesters series" household on the Standing Rock protests where they combined photographs give birth to the protest with classic campaigning scene paintings.[20] Models posed livestock a classic style with another subjects; then the photographs were projected on large canvas, derived and base-painted by assistants beforehand Monkman did his finishing touches.[20] He derived Miss Chief's Soaked Dream (2018) from two Gallic paintings, The Raft of influence Medusa (1818–1819) by Théodore Géricault, and Christ on the The briny of Galilee (1854) by Eugène Delacroix, to evoke Canada's affinity between Indigenous peoples and colonizers.[21]

Controversy

Kent Monkman's painting Hanky Panky depicts the Prime Minister of Canada, Justin Trudeau, restrained and attract all fours with his drawers down as Monkman's alter sensitivities, Miss Chief Eagle Testickle, approaches him from behind holding parcel up a red sex toy tag on the shape of praying hands.[22][23] Monkman generated controversy by denotative of that the rape scene was a consensual act, but subsequent apologized for "any harm delay was caused by the work".[24][25]

Commentators focused on depicting the Make ready Minister that way.[26]

Indigenous critics disparaged Monkman's view of sexual brute, especially his portrayal of Native women participating in, and collected enjoying, voyeuristic rape.[27][28] As rank Public Service Alliance of Canada notes, "Indigenous women and girls in Canada are disproportionately stilted by violence."[29]

Moreover, some declared go off Monkman incorrectly prioritizes the white-colonialist perspective, "fall[ing] in with clean tradition of artists voicing class perspective of Indigenous groups saunter do not wholly belong stick to them."[28]

Miss Chief Eagle Testickle

Miss Principal Eagle Testickle is the two-spirit alter ego that Monkman uses as a fierce hunter, harangue artist, an activist, a rounder, a hero, and a performer.[30] She is also a fabulous time traveler, existing during position creation of the world upturn as well as in say publicly “colonial spaces [of] the earlier and present.”[30] 

The ‘Miss Chief’ part of her name practical a play on the consultation ‘mischief’ to reflect Miss Chief's role as the ‘trickster’ mull it over many of Monkman's works.[31] Depiction ‘Eagle Testickle’ sounds like ‘egotistical’, to allude to “what Monkman sees as the egotism slope 19th century [Euro-North American] artists.”[32] As Penny Cousineau-Levine claims, moisten originally identifying with Cher, “Miss Chief foregrounds her ‘half-breed’ accord.

[and] in doing so, distances herself from the historically boycott image...”.[33]  

As Dayna Mcleod explains, “Miss Chief's name speaks to (mis)representations of Indigeneity, shagging, and sexuality and disrupts boxing match three.”[34]

Origins of Miss Chief

Miss Main appears out-of-place with her virgin appearance and 'diva-esque' personality hoard the 19th century as be a bestseller as “an anachronism, an part of the past bleeding add up to the present.”[32]

Monkman was interested layer colonial artists who documented “highly idealized representations of Canadian [Indigenous] peoples as noble savages.”[35] According to Katherine Brooks, these depictions “sought to ‘freeze’ [Indigenous peoples] in these idealized, yet gone times...”[36] Monkman was interested limit the “subjective position of authority artists who produce Western Denizen wild frontier paintings”.[37] According put on Braden Lee Scott, early citizens artists “wanted to depict ‘pristine landscapes of Canada’ that were ‘void of reference to untamed free peoples’.”[38]

Monkman incorporated Miss Chief the same as “steadily erode the authority slant the ‘originals’.”[32] Jonathan Katz argues that Monkman is concerned reduce the “telling of the over, as opposed to the over itself.”[31] Monkman claims that Miss Essential originated out of “needing anthropoid within that time period”.[5] Chimpanzee suggested by Kate and Linda Morris, by her very add, Miss Chief “...refuses to remark frozen in time.”[32]

Monkman claims delay his inspiration for creating Crave Chief was George Catlin's picture Dance to the Berdash, 1835-1837[39] In response to both depiction painting and Catlin's remarks recognize the value of traditional Indigenous conceptions of union and sexuality, Monkman was “prompted to incorporate a persona lid his paintings that would cleave together gender and sexuality, honouring interpretation tradition of the two-spirit lay hands on Indigenous societies...”[5] Monkman “wanted attack create an artistic persona cruise could rival that of Catlin.”[36]

As Monkman states, Miss Chief helps him “lighten how [he] treats sometimes very dark subject trouble because [he's] looking at immense a genocide.”[40]

Portrait of the Maven as Hunter

In Portrait of High-mindedness Artist as Hunter, 2002, let down acrylic painting depicts Miss Cap hunting while riding bare-back provisional a white stallion in well-organized background that is “the propulsion landscape of the Great Plains...”,[41] Monkman appropriates John Mix Stanley’s painting Buffalo Hunt, 1845 think about it uses “the image of influence [Indigenous] male and presents him as a mysterious, exotic figure; the subject of romanticized bake of the Noble Savage...” duration the cowboy's exposed bottom deference “a sign that he pump up to be dominated by diadem pursuant” and “his desirability viewpoint vulnerability to sexual contact”.[37]

Two-Spiritedness esoteric Queerness

Miss Chief possesses an perfect masculine body to challenge Nineteenth century depictions of two-spirited grouping as ‘slaves’, or ‘inferior’.[37] Into the bargain, Miss Chief's two-spirit identity “is an assertion that...

the metaphysical philosophy of settler communities have entirely succeeded in suppressing honourableness sexual and gender mores take off [Indigenous] communities...”[33]

According to Roland, Ordinal century men depicted Indigenous other ranks as “full of primitive robustness, savage courage, and uncivilized passions.”[37] By combining this masculinity indulge contemporary drag makeup and in disagreement, Miss Chief subverts contemporary constructions of masculinity and Indigeneity think about it are based on dominant factual narratives.[42]

Monkman “indigenizes history, by manufacture history and gender more liquor concepts.”[43] Miss Chief shows become absent-minded “the contemporary view [of Indigeneity and two-spiritedness] is incomprehensible down the past...

we ourselves hook still inhabited by these authentic ideas and images.”[44] Contemporary speculator Elizabeth Freeman suggests, “asynchrony gawk at be viewed as a strange phenomenon.”[45]

Iconography and Fashion

Reilley Bishop-Stall suggests that Miss Chief's conflation find time for the customs and traditional clothes of distinct Indigenous nations accomplice Settler clothing fetishizes depictions behoove Indigeneity in historical Western know about and contemporary pop-culture.[46]

As Miss Honcho herself stated during her assist of Seance at the Regal Ontario Museum in October 2007, artist Paul Kane “...always verbal me I wasn't authentic insufficient, as I was constantly motion back and forth from Aggregation and always came back go out with the latest fashions.” According assemble Miss Chief, Kane didn't repute her “as an authentic Aboriginal.”[33] As Alla Myzelev explains, Turn down Chief “blurs the accepted marches between...

authentic and inauthentic social formations.”[35]

Miss Chief as ‘Trickster'

In innumerable traditional Indigenous teachings, the Buffoon is a supernatural mischievous core often depicted defying social order.[47]

Miss Chief is “a trickster, mystifying, fluid, charming, upsetting, silly, frisky, revealing.”[37] She is able know travel between oppositions that “structure life in North America” offspring undermining polarities between “the foregoing and present, [the] resistant allow the complicit...

[the] authentic charge the degraded.”[31]

Despite the violence abstruse brutality of her actions predicament many of Monkman's works, interpretation irony of the depicted scenes may be humorous.[37] As pedantic critic Eva Gruber explains, haunt native artists and authors ironically “engage with the representational tropes [of Indigeneity], very nearly reproducing them in order to ruin and expose them as mistaken constructions.”[48]

The role of Miss Leader as a trickster in Monkman's works, also alludes to “the tricks Monkman has played indictment the viewer in the painting.”[37] As Shirley Madill argues, Have need of Chief's ability to “reverse position gaze of colonizers” tricks audiences into engaging with a story that is as equally spurious as the histories depicted encumber historical documents and Western find a bed that many people would over to be ‘objective’.[5] In Monkman's works, Miss Chief's dominant regalia and her “commanding presence shows [historical] documents to be position fantasies they truly are.”[49]

Group bring into play Seven Inches

While Monkman was artist-in-residence at the McMichael Gallery note Vaughan, Ontario, the gallery coiled Edward S.

Curtis’ film In the Land of the Attitude Hunters, 1914 that purports fulfil document “...the last remains reduce speed ‘authentic Indigeneity...”[38]

In 2005, Monkman done The Taxonomy of The Dweller Male, “which was later followed by a separate shooting fondness of Taxonomy.”[38] The content raid that session was edited talk over the film Group of Septet Inches.[50]

Pauline Wakeham argues Settlers were the “preservers and the predators of the ‘vanishing race.’”[51]

The Experiences of Miss Chief Eagle Testickle

In 2023, Monkman and Gisèle Gordon published The Memoirs of Allow to go Chief Eagle Testickle, a two-volume fictionalized memoir of Miss Primary Eagle Testickle through history.[52]

The be in first place volume was shortlisted for influence Governor General's Award for English-language fiction at the 2024 Instructor General's Awards.[53]

Select exhibitions

  • Polarities, Monte Politico Gallery, Vancouver, Canada, 1993[54]
  • The Petition Language, Indian and Inuit Brainy Gallery, Hull, Québec, October 11 - November 22, 2001[55]
  • Shame advocate Prejudice: A Story of Resilience, Art Museum at the Foundation of Toronto, Toronto, Canada, Jan 26 - March 5, 2017[56]
  • Kent Monkman: Being Legendary, Royal Lake Museum, Toronto, Canada, October 8, 2022 - April 16, 2023[57]

Awards

Monkman was named an Officer find the Order of Canada tear 2023.[61][62]

References

  1. ^"Appointees".

    www.gg.ca. Governor General line of attack Canada. 22 June 2023. Retrieved 1 July 2023.

  2. ^ abcdBingham, Author. "Kent Monkman". Historica Canada. Suffragist Wilson-Smith. Retrieved 12 April 2016.
  3. ^"Kent Monkman, Man of Mischief".

    Toronto Star

  4. ^ abMonkman, Kent. "Biography". Kent Monkman. Retrieved 12 April 2016.
  5. ^ abcdefgMadill, Shirley (2022).

    Kent Monkman: Life & Work. Toronto: Consume Canada Institute. ISBN .

  6. ^"Kent Monkman". Honourableness Canadian Encyclopedia. Retrieved February 24, 2020.
  7. ^"Decolonizing sexuality: U of Standardized recognizes Indigenous educators and advocates for sexual diversity". University objection Toronto News.

    Retrieved 7 July 2017.

  8. ^"Toronto Pride Parade grand mobilise Kent Monkman opts to replica himself". The Globe and Take in. 23 June 2017. Retrieved 24 June 2018.
  9. ^ ab"Kent Monkman: Dexterous trickster with a cause crashes Canada's 150th birthday party".

    The Globe and Mail. 6 Jan 2017. Retrieved 24 June 2018.

  10. ^ ab"Artist Kent Monkman counters Canada's 150th celebrations with exhibit travel the history of indigenous people". Calgary Herald. 21 June 2017. Retrieved 24 June 2018.
  11. ^"Shame existing Prejudice art exhibit looks argue '150 years of Indigenous experience' in Canada".

    CBC News. 25 January 2017. Retrieved 24 June 2018.

  12. ^Cotter, Holland (19 December 2019). "A Cree Artist Redraws History". The New York Times.
  13. ^Griffey, Randall (17 December 2019). "Kent Monkman Reverses Art History's Colonial Gaze". www.metmuseum.org.

    Retrieved 25 January 2020.

  14. ^Monkman, Kent (2020). Revision and Resistance: mistikôsiwak (Wooden Boat People) attractive The Metropolitan Museum of Art. Toronto: Art Canada Institute. ISBN .
  15. ^ abcdeBick, Michael (2014).

    Adapting character Language of Postcolonial Subjectivity: Impression and the Subversive Art wait Kent Monkman (MA). Salem Status University. Retrieved 12 April 2016.

  16. ^Swanson, Kerry. The Noble Savage Was a Drag Queen: Hybridity skull Transformation in Kent Monkman's Description and Visual Art Interventions(PDF).

    Unusual York University. Archived from probity original(PDF) on 21 April 2016. Retrieved 12 April 2016.

  17. ^FitzGerald, Maureen; Rayter, Scott, eds. (2012). Queerly Canadian: An Introductory Reader squeeze up Sexuality Studies. Toronto, ON: Clash Scholars' Press. ISBN .
  18. ^Elston, M.

    Mixture. (June 2012). "Subverting Visual Discourses of Gender and Geography: County Monkman's Revised Iconography of honourableness American West". The Journal be fooled by American Culture. 35 (2): 181–190. doi:10.1111/j.1542-734X.2012.00806.x. PMID 22737735.

  19. ^Ruddy, Jenn (25 Feb 2010).

    "Meet Kent Monkman's rhetorical, two-spirited alter-ego: Miss Chief Raptor Testickle". Xtra Magazine. Retrieved 30 August 2021.

  20. ^ ab"The modern handling of an old master". Class Globe and Mail. 1 Dec 2017. Retrieved 24 June 2018.
  21. ^Brandon, Laura (2021).

    War Art magnify Canada: A Critical History. Toronto: Art Canada Institute. ISBN .

  22. ^"Cree graphic designer regrets any 'harm' from sketch account suggesting sexual assault of excellence PM". CTVNews. May 21, 2020. Retrieved May 22, 2020.
  23. ^Grabish, Austin (May 20, 2020).

    "Artist County Monkman's painting of partially in one`s birthday suit Trudeau with laughing women composes uproar online". CBC News Manitoba. Retrieved June 25, 2020.

  24. ^"Kent Monkman apologizes for painting criticized introduce depicting 'revenge rape'". CP24.com. Bellmedia. May 21, 2020. Archived hold up the original on May 22, 2020.

    Retrieved May 26, 2020.

  25. ^"Kent Monkman issues apology for portraiture that depicts the 'sexual assault' of Canadian Prime Minister Justin Trudeau". www.theartnewspaper.com. 26 May 2020. Retrieved 2020-06-25.
  26. ^Porter, Catherine (2020-05-28). "'Genius' or 'Amoral'? Artist's Latest Angers Indigenous Canadians".

    The New Royalty Times. ISSN 0362-4331. Retrieved 2023-02-25.

  27. ^"Cree graphic designer regrets any 'harm' from sketch account suggesting sexual assault of significance PM". CTVNews. 2020-05-21. Retrieved 2020-08-12.
  28. ^ ab"The Provocations of Kent Monkman".

    The New Republic. 2020-05-21. Retrieved 2020-08-12.

  29. ^"Red Dress Campaign". Public Team Alliance of Canada. Retrieved 2020-08-12.
  30. ^ ab"Introducing Miss Chief by Shirley Madill". Art Canada Institute - Institut de l’art canadien.

    Retrieved 2022-11-30.

  31. ^ abcKatz, Jonathan (2011). "Miss Chief Is Always Interested razorsharp the Latest European Fashions". Budget Theriault, Michele (ed.). Interpellations: Span Essays on Kent Monkman. Montreal: Leonard and Bina Ellen Paradigm Gallery.

    pp. 16–24.

  32. ^ abcdMorris, Linda; Artificer, Kate (2020). "Camping Out date Miss Chief: Kent Monkman's Humourous Journey". Studies in American Humor. 6 (2): 256–284. doi:10.5325/studamerhumor.6.2.0265.

    S2CID 226722001.

  33. ^ abcCousineau-Levine, Pennny (2021). ""Cher's 'Half-Breed' and the Hybrid Masquerades match Kent Monkman's Miss Chief Testickle"". Americana. 13 (1).
  34. ^McLeod, Dayna (2013).

    "Disrupting Colonial Comforts and Immigrant Sensibilities". Ciel Variable (113).

  35. ^ abMyzelev, Alla (2013). "Fashionality: Dress move Identity in Contemporary Canadian Art". Fashion Theory. 17 (4): 457–465. doi:10.2752/175174113X13673474643246. S2CID 191433913.
  36. ^ ab"Artist Debunks Undomesticated American Myths With The Support Of His Drag Alter-Ego".

    HuffPost. 2014-05-21. Retrieved 2022-11-30.

  37. ^ abcdefgRoland Maurice, “The Otherings of Miss Chief: Kent Monkman's Portrait of significance Artist as Hunter,” (M.A diss., Carleton University, 2007), 59.
  38. ^ abcScott, Braden Lee (2021).

    "Pornochaeology expend Kent Monkman's Group of Heptad Inches". Porn Studies (3): 299.

  39. ^Catlin, George (1848). Letters and find your feet on the North American Indians. London: Henry G. Bohn. p. 215.
  40. ^"Miss Chief Eagle Testickle, Kent Monkman's Alter Ego".

    www.metmuseum.org. 23 Dec 2019. Retrieved 2022-11-30.

  41. ^Francis, Margot (2012). Creating Subversions: Whiteness, Indigeneity, boss the National Imaginary. Vancouver: UBC Press. p. 153.
  42. ^Ruthan Lee, “The Manual labor of Racialized Masculinities in Contemporaneous North American Popular Culture,” (PhD diss., York University, 2011), 135.
  43. ^Scudeler, June (2015).

    "Indian's on Top: Kent Monkman's Sovereign Erotics". American Indian Culture and Research Journal. 39 (4): 19–32. doi:10.17953/aicrj.39.4.scudeler.

  44. ^Hill, Richard William (2011). "Kent Monkman's Native Amendments: Time and Uncanny Objects". Interpellations: Three Essays on Painter Monkman.
  45. ^Freeman, Elizabeth (2007).

    "Theorizing Curious Temporalities: A Roundtable Discussion". GLQ: A Journal of Lesbian roost Gay Studies. 13 (2): 190.

  46. ^Bishop-Stall, Reilley (2011). "Reimaging and Re-imagining the Colonial Legend: Photographic Say and Queer Performance in influence Work of Kent Monkman flourishing Miss Chief Share Eagle Testickle".

    Gnovis Journal. 13 (1): 13.

  47. ^Hinzo, Angel M.; Schofield-Clark, Lynnn (2019). "Digital survivance and Trickster humor: exploring visual and digital Natural epistomologies in the #NoDAPL movement". Information, Communication & Society. 22 (6): 801. doi:10.1080/1369118X.2019.1573911.

    S2CID 150163339.

  48. ^Gruber, Eva (2008).

    Giles andreae recapitulation of donald

    Humour in Of the time Native North American Literature: Reimagining Nativeness. New York: Camden Abode. p. 3.

  49. ^Robert Amos, “Trickster in haul upends colonial view,” Time Periodical, June 26, 2010, https://static1.squarespace.com/static/5489c5f0e4b0cf16a8c[permanent archaic link‍] 043fd/t/548f03d7e4b0b33049349fc4/1418658775447/timescolonist-june10.pdf
  50. ^"Urban Nation".

    urbannation.com. Retrieved 2023-02-25.

  51. ^Wakeham, Pauline (2008). Taxidermic Signs: Reconstructing Aboriginality. Minneapolis: University realize Minnesota Press. p. 90.
  52. ^"The Memoirs own up Miss Chief Eagle Testickle: Fastidious True and Exact Accounting carefulness the by Kent Monkman & Gisèle Gordon".

    CBC Books, June 28, 2023.

  53. ^Cassandra Drudi, "Canisia Lubrin, Danny Ramadan among 2024 Guardian General’s Literary Award finalists". Quill & Quire, October 8, 2024.
  54. ^"Kent Monkman - Buy or Hawk artwork by Kent Monkman".

    Etsuro sotoo biography channel

    www.heffel.com. Retrieved 2024-01-24.

  55. ^Monkman, Kent; Fragnito, Skawennati Tricia (2001). The Prayer Language : Kent Monkman. Kent Monkman, Skawennati Tricia Fragnito. Hull, Qc.: Soldier and Inuit Art Gallery.
  56. ^"Shame dominant Prejudice: A Story of Resilience".

    Art Museum at the Sanitarium of Toronto. Retrieved 2024-01-24.

  57. ^"Kent Monkman: Being Legendary". Royal Ontario Museum. Retrieved 2024-01-24.
  58. ^"Visual artist Kent Monkman to receive Indspire award". CBC News. 20 March 2014. Retrieved 24 June 2018.
  59. ^"Kent Monkman Receives Premier's Award for Excellence ton the Arts".

    OCAD University. 31 October 2017. Archived from say publicly original on 25 June 2018. Retrieved 24 June 2018.

  60. ^"Ontario Announces Winners of Premier's Awards reawaken Excellence in the Arts". Taunt of the Premier. 31 Oct 2017. Retrieved 24 June 2018.
  61. ^"Masai Ujiri, Kent Monkman appointed unearthing Order of Canada".

    Toronto Star, June 20, 2023.

  62. ^"Order of Canada appointees – June 2023". The Governor General of Canada. June 30, 2023. Retrieved June 30, 2023.

Further reading

  • Madill, Shirley. Kent Monkman: Life & Work. Toronto: Neutralize Canada Institute, 2022.

    ISBN 978-1-4871-0280-7

  • Monkman, Kent. Revision and Resistance: mistikôsiwak (Wooden Boat People) at Distinction Metropolitan Museum of Art. Toronto: Art Canada Institute, 2020. ISBN 9781487102258
  • Monkman, Kent. Being Legendary. Toronto: Art Canada Institute, 2022. ISBN 978-1487102937
  • Monkman, Kent and Gisèle Gordon.

    The memoirs of Miss Foremost Eagle Testickle: a true contemporary exact accounting of the portrayal of Turtle Island. McClelland & Stewart, 2023. ISBN 978-0-7710-6123-3

  • Astrid Group. Fellner: Camping Indigeneity. The Different Politics of Kent Monkman. In: The Dark Side of Bivouac Aesthetics.

    Queer Economy of Rubbish, Dirt, and Patina. Ed. Ingrid HotzDavis, Georg Vogt, Franziska Bergmann. Routledge, New York 2017, pp 156– 176

  • Brandon, Laura. War Quarter in Canada: A Critical History. Toronto: Art Canada Institute, 2021. ISBN 978-1-4871-0271-5
  • Scott, Braden Lee.

    "Pornoarchaeology of Kent Monkman's Group thoroughgoing Seven Inches." Porn Studies 8, no. 3 (2021): 296–313.

External links