The Daddies by Kent Monkman, 2016. Acrylic on canvas. Collection of Christine Armstrong and Irfhan Rawji.Three-and-a-half years, one pandemic and several anti-racism uprisings ago, Kent Monkman’s exhibition Shame and Prejudice: A Story of Resilience opened at the University of Toronto’s art gallery. It was January, 2017, and Canada was launching into a year marking 150 years of Confederation.focusing on the effects of colonialism on Indigenous people was Monkman’s response to the anniversary.
As you move through the galleries, it is impossible not to consider current events. Monkman’s works are ingenious: wise and sometimes cheeky, his beautiful large-scale paintings recall classic Western history paintings, but do not shy away from this country’s fraught history in terms of Indigenous people.
The exhibition at MOA was a moving experience for me on several levels. It was the first time I had been to a public museum since COVID-19, and that in and of itself felt like a gift. Only 30 people can be in the exhibition at a time, and this creates a hushed kind of intimacy. But Monkman’s work is so glorious and cutting, so striking and smart – and the subject matter so relevant and crucial, that this show would be unmissable in any circumstance.
“I stepped into a role of an educator with Shame and Prejudice more than I ever had as an artist before, because the things I was looking at and examining ... were dark, dark chapters of Canadian history that have been kept under the rug and kind of buried,” Monkman said in the interview. “Shame and Prejudice was an effort to bring them into the light and to share perspectives of Indigenous experience across North America that was really a result of the colonial experience.
The wall panels for this show are written in the voice of Miss Chief. Monkman is now collaborating on a full-length memoir with writer Gisèle Gordon. was interpreted by many as depicting Prime Minister Justin Trudeau being sexually assaulted as a group of Indigenous women look on, laughing. The image provoked a lot of outrage on social media, some of it directed at the women who modelled for the painting.who issued an apology back
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