#Miss Chief Eagle Testickle

[yourdailyqueer]

Kent Monkman (Miss Chief Eagle Testickle)

Gender: Two spirit - genderfluid (he/him)

Sexuality: Queer

DOB: 13 November 1965  

Ethnicity: First Nation (Cree)

Occupation: Artist, activist

[earthpiecevii]

Kent Monkman, The Ford Erections, 2014, acrylic on canvas

[tsunflowers]

I really wish this video I saw at the national gallery today was available for free online but artists gotta make money. it was so good though

the artist's drag persona is Miss Chief Eagle Testickle and the video is her dancing, a bunch of handsome guys in traditional clothing and makeup dancing, and then clips from karl may's winnetou movies. so you have this guy, one of the whitest looking film "Indians" I have ever seen, saying something like "we must marry for the good of our people" and then it cuts to miss chief vogueing

the artist kent monkman both performs as miss chief in video and performance art and paints her into satirical paintings riffing on the so-called Canadian classics

I just love the energy and I think "miss chief" is one of the best drag names to exist

[janedyson4thyear]

decolonial artist concepts

Modern Art and Decolonisation: Art as a Decolonial Weapon

The article explores how contemporary artists employ the method of appropriation to challenge and subvert colonial iconography, paving the w

DELIVERYPDF.SSRN.COM

Fernando Castillo, Daniel Boyd and Kent Monkman appropriate colonial iconography in an attempt to decolonise western epistemological understandings of European settlement within the scope of modernity and global inequality.

Fernando Castillo in his 2018 artwork Swing

"appropriates the colonial monument to decolonise settler memory"

colonial monuments serve as a pronouncement of hegemony

An indication of who chooses how history is remembered and what moral standards are to be upheld today.

decontextualising the piousness of the monument and reframing the way in which settler history is both remembered and sanctified.

By trivialising the colonial form Castillo is able to remove the sanctified veil that shrouds the public installation and transform the material space into a decolonised dominion that is no longer saturated by the commemoration of violence, genocide and dispossession.

Daniel Boyd

Boyd’s appropriation of the photograph Badgers Creek (1870) by German photographer Fred Kruger.

He superimposes semi-transparent dots over the photograph to obstruct its legibility and consecrates an alternative atmosphere of ambivalence.

This obstruction of clarity manifests the decolonial discourse surrounding the formation and dissemination of an ‘incomplete history'

Kent Monkman

Welcoming the Newcomers, appropriates a range of colonial art sources

the motif character of Miss Chief Eagle testickle who personifies the Indigenous Two Spirit Tradition and subsumes the notion of a non binary gender and sexuality

- a conception that is antithetical to the heteronormative constructions of gender imposed by European settlers and their apostolic values.

analogical linking of race, gender and sexuality, arguing that Western mindset relegates the ‘other’ into a subjects of inquiry, measured in relation to the heterosexual Western man within the actuality of their own existence.

It is furthermore conclusive that the method of artistic appropriation has been used on a global scale to challenge and subvert colonial epistemologies and institutions.

In this way, contemporary global enables the ‘reconstitution’ of the oppressed Indigenous narrative through the stimulation of intercultural dialogue.

[theartsjunkie]

Video of the Week - Kent Monkman at The Met

Cree artist Kent Monkman, one of Canada’s best known artists, is recognized internationally as a credible commentator on Canada’s colonialist past, and as an authoritative voice on Indigenous issues generally. One of his seminal works “Shame and Prejudice” was featured on The Art Junkie in the past. Have you met Miss Chief Eagle Testickle? But there is so much more since then to explore in…

[libbyjanestudio4]

decolonial artist concepts

Fernando Castillo, Daniel Boyd and Kent Monkman appropriate colonial iconography in an attempt to decolonise western epistemological understandings of European settlement within the scope of modernity and global inequality.

Fernando Castillo in his 2018 artwork Swing

"appropriates the colonial monument to decolonise settler memory"

colonial monuments serve as a pronouncement of hegemony

An indication of who chooses how history is remembered and what moral standards are to be upheld today.

decontextualising the piousness of the monument and reframing the way in which settler history is both remembered and sanctified.

By trivialising the colonial form Castillo is able to remove the sanctified veil that shrouds the public installation and transform the material space into a decolonised dominion that is no longer saturated by the commemoration of violence, genocide and dispossession.

Daniel Boyd

Boyd’s appropriation of the photograph Badgers Creek (1870) by German photographer Fred Kruger.

He superimposes semi-transparent dots over the photograph to obstruct its legibility and consecrates an alternative atmosphere of ambivalence.

This obstruction of clarity manifests the decolonial discourse surrounding the formation and dissemination of an ‘incomplete history'

Kent Monkman

Welcoming the Newcomers, appropriates a range of colonial art sources

the motif character of Miss Chief Eagle testickle who personifies the Indigenous Two Spirit Tradition and subsumes the notion of a non binary gender and sexuality

- a conception that is antithetical to the heteronormative constructions of gender imposed by European settlers and their apostolic values.

analogical linking of race, gender and sexuality, arguing that Western mindset relegates the ‘other’ into a subjects of inquiry, measured in relation to the heterosexual Western man within the actuality of their own existence.

It is furthermore conclusive that the method of artistic appropriation has been used on a global scale to challenge and subvert colonial epistemologies and institutions.

In this way, contemporary global enables the ‘reconstitution’ of the oppressed Indigenous narrative through the stimulation of intercultural dialogue.

[flagellant]

It's called Artist and Model by Kent Monkman!

From the placard I took a picture of:

"Kent Monkman Cree, born 1965, Ontario, Canada; lives and works in Toronto

Artist and Model

2012 Acrylic paint on canvas

Kent Monkman plays with conventions from art history to reevaluate settler narratives about Indigenous bodies. He combines historical subject matter with queer identity, symbolized by Miss Chief Eagle Testickle, his gender-fluid alter ego. In this painting, Miss Chief assertively pins early-1900s photographer Edward Curtis to a tree in a St. Sebastian pose with arrows from her Louis Vuitton quiver. Monkman's layers of cultural appropriation disrupt Euro-American representation of Native subjects.

religious themed art is rad bc you see a bound nearly naked guy covered in bloody wounds and it could be a 200 year old oil painting by a god-fearing european man who died of consumption in his 30s OR it was drawn 2 months ago by a 20-something queer ex-catholic with religious trauma and a lot of fucked up kinks

[lgbt-and-indigenous-artists]

Kent Monkman

Kent Monkman is a queer twospirited artist and member of the Fisher River Cree Nation. He is famed for his subversive artistic themes and techniques that deliberately recast and reframe what is depicted as the typical historical narrative. His works - especially his paintings - have been highly celebrated, having been featured in a number of art museums and exhibitions across Canada and the world at large. Especially concerned with the representation of the mixing of queer and Indigenous perspectives, Monkman frequently uses portrayals of sexuality, nudity, and settler-indigenous confrontations of all sorts to express his ideas.

Always connecting themes of queerness to Indigenous contexts, Monkman’s most pervasive character in his paintings is his alter ego, the genderqueer trickster Miss Chief Eagle Testickle (a deliberate homophone for “mischief egotistical”). Miss Chief represents an incredibly common figure in Indigenous tales - the trickster - while also serving as a representative for what it means to be queer. Miss Chief’s presence helps denote viewpoints that have historically had very little coverage by introducing an agent that completely avoids the settler focused, binary, heteronormative perspectives popularized in such accounts. Sources: Monkman, Kent. “Biography.” Kent Monkman. https://www.kentmonkman.com/ . Bick, Michael. Adapting the Language of Postcolonial Subjectivity: Mimicry and the Subversive Art of Kent Monkman. Salem University Press, 2014.

[piizunn]

i went to massy books (Indigenous owned and operated!!!) in Vancouver today and got a copy of the the north west is our mother by jean teilet and full metal indigiqueer by joshua whitehead- which is a rare find but i’m so excited. i read one poem from it for class last semester and it ruined me. i don’t love all of kent monkman’s work but the painting on the cover of full metal indigiqueer is so good, probably one of my favourites by monkman

[bbyfggt]

The other day, I had the great fortune and pleasure to be able to see Kent Monkman’s exhibition, Shame and Prejudice: A Story of Resilience, at the McCord Museum here in Montreal and it was really really good. I highly recommend going to see it if you get the chance. Even if you can’t see it in person, they made a digital tour when it was on display at the Agnes Etherington Art Centre and you can see the accompanying brochure, Excerpts from the Memoirs of Miss Chief Eagle Testickle, too!

 http://liberty360.ca/QueensUniversity/Agnes/2018/Winter/360.html?s=pano40

https://agnes.queensu.ca/exhibition/kent-monkman-shame-and-prejudice-a-story-of-resilience/

At its core, Shame and Prejudice: A Story of Resilience is a celebration of Indigenous resilience. The exhibition uses humour and critical insight to create a troubling retrospective of what Monkman refers to as “the most devastating period for First Peoples.” (x)

[2spiritstudies]

Two Spirit artist, Kent Monkman.

Article covers biography, painted works, depictions of queer indigenous people in paintings,reclamation of Indigenous self- representation, incorporation of the drag persona Miss Chief Eagle Testickle. 

Unsettling 150 contributions in Shame and Prejudice: A story of Resilience. Remixs of paintings by Robert Harris and Paul Kane.

[queerasfact]

Queer artists 11/30 - Kent Monkman

Kent Monkman is a Cree artist who works in painting, film, video, performance and installation. His work often explores historical and modern Indigenous experiences and incorporates themes of sexuality, colonisation and resilience. Kent responds to and reinterprets Western European and American art history and his art often includes his alter ego Miss Chief Eagle Testickle "as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples."

Resurgence of the People [top image], was inspired by news images of refugees fleeing small boats and is a reinterpretation of Washington Crossing the Delaware, painted by Emanuel Leutze in 1815 [bottom image]. In his painting, Kent replaces George Washington with Miss Chief Eagle Testickle who stands tall and resilient. Her pose also evokes the Statue of Liberty, although she holds an eagle feather instead of a torch and the American flag behind her has been replaced with an Indigenous coup stick, a sign of bravery in battle. Washington's sailors are replaced with Indigenous people who offer salvation to those who are displaced and adrift in the waters.

You can see more of Kent’s work here and read more about this particular work here.

[Image descriptions: Resurgence of the People depicts a small wooden boat on open water. Miss Chief Eagle Testickle, an Indigenous person swathed in pink silk, stands at the prow, holding an eagle feather aloft. The boat is filled with other Indigenous people who surround her, some pulling in figures from the water; one man stands behind her, raising a coup stick. Washington Crossing the Delaware depicts a small wooden boat crossing a river. George Washington, a white man in uniform, stands at the prow. The boat is filled with other men who are mostly rowing; one stands behind him with the American flag.]

[disneybritton]

Artist: Kent Monkman (Canada, Cree, 1965) Title: "Reconciliation" of the artwork (in bold or italic), year created. Style: Socio-political art Medium: Copper Plate Etching on Acid Free Paper; Paper Size: 8.5” x 11”; Plate Size: 4” x 5”s; Edition of 100 + 5 AP Mark: Etching is hand signed and numbered by the artist Brief description: Monkman explores themes of colonization, sexuality, loss, and resilience—the complexities of historic and contemporary Indigenous experiences. Monkman’s gender-fluid alter ego Miss Chief Eagle Testickle often appears in his work as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples.

[moodybites]

Kent Monkman is an awesome Two-Spirit artist who paints beautiful pictures that basically bring critical awareness about society’s attitudes and stereotypes towards the First Nations people and sexuality.