KENT MONKMAN
Study for kîwêtin acâhkos (The North Star)
Date: 2024
Dimensions: 24” x 36”
Medium: Acrylic on canvas
Condition: Overall very good
Provenance:
– Artist Collection
Kent Monkman’s painting series Knowledge Keepers focuses on the children who were forced by the Canadian government to attend “residential schools,” or more accurately, work camps. Students removed to the schools—a practice which began in Canada during the 1830s and continued well into the 1990s—spent most of their time undertaking forced labour in an assimilationist project designed to cut them off from Indigenous knowledge, language, and family bonds. In these new paintings, Monkman honours the history of resistance in the institutions and depicts Indigenous children reclaiming their identities in intimate moments together, sharing knowledge and comforting each other.
The Knowledge Keepers compositions take inspiration from the works of the Barbizon school. An offshoot of the nineteenth-century naturalism movement, Barbizon artists frequently portrayed scenes of field labourers as a counterpoint to the unpopulated landscapes of the Romanticism period. Their paintings were distinguished by stark silhouettes, muted tones, and “golden hour” lighting. Monkman draws from these techniques to portray the reality of Indigenous children’s experiences in the camps. Out in the fields, they perform grueling labour from sunrise to sunset while wearing ill-fitting school uniforms.
Despite the punishing drudgery of incarceration, Indigenous children in the paintings foster a close relationship to the land and to each other. Away from the prying eyes of nuns and priests, they whisper together in their own languages, draw syllabics in the dirt, and share traditional teachings about the stars. These stolen moments of intimacy, comfort, and tenderness become acts of resistance and cultural resilience in the brutal, unloving environment of the work camps.
Knowledge Keepers shines a light on the labour performed by child workers in residential schools, but it also highlights a sense of hope. As Cree scholar Wilfred Buck has discussed, what was lost to Indigenous people can be brought back again through dreams. Children like those depicted in Knowledge Keepers represent the fierce determination and resilience to maintain Indigenous knowledge and the possibility of returning to our ways of knowing.
Kent Monkman (1965– ) is a renowned Cree artist known for his provocative and visually stunning works that challenge conventional narratives of colonialism, sexuality, gender, and Indigenous history. Born in St. Mary’s, Ontario, Monkman grew up in Winnipeg. He is a member of the Fisher River Cree Nation in northern Manitoba. Monkman’s unique multidisciplinary approach to art includes painting, performance, video, and installation, making him one of the most dynamic and influential Contemporary artists of Indigenous descent.
Kent Monkman’s work has been shown Internationally, with examples featured in major Institutions such as the Smithsonian’s National Museum of the American Indian, the Art Gallery of Ontario, the National Gallery of Canada, the Glenbow Museum and the Gardiner Museum. His work has become a vital part of many prestigious collections, including the Metropolitan Museum of Art, the Hirshhorn Museum, the Royal Ontario Museum, the National Gallery of Canada, the Denver Art Museum, and the Art Gallery of Ontario, among many other Institutions.
In 2019-2020, Monkman created a monumental diptych titled mistikôsiwak (Wooden Boat People), which was prominently displayed at the Metropolitan Museum of Art in New York City. The two paintings, Welcoming the Newcomers and Resurgence of the People, explore the arrival of European settlers in North America and the resilience of Indigenous peoples in the face of colonization.
Kent Monkman has an upcoming solo touring exhibition in 2025 at the Denver Art Museum, titled Kent Monkman: History Is Painted by the Victors.