#canadianarts

[opointkpoint]

"Iˈskwaɪmɔːlt"

[michaelelvidge]

Some recent gel plate mono prints I made over the past little while, 9 inches x 12 inches acrylic paint and sharpie marker ( it lifts the marker ink off the plate, it isn't drawn on the paper) on printmaking paper...

[ghostacolytev2]

Did you know there are TWO places claiming the world's largest peace pipe? 🌬️ Pipestone, Minnesota, and Zhiibaahaasing First Nation on Manitoulin Island both boast this title! 🍃 While we have the dimensions for the one in Minnesota, the size of the Zhiibaahaasing peace pipe remains a mystery. 🥁 Bonus: Zhiibaahaasing also has the world's largest dreamcatcher and drum!

[thewoodsmansgold]

[homesick-mountain-beast]

So... I wrote a book... pre-orders available or u can just wait til it's on Webtoon and Kindle

forms.gle/nqDTAW55fE9YKrrW9

[nathanielgmooreart]

enjoy the show

#catullus

[arthistoriansdiary]

The Scream

Kent Monkman, The Scream (2017). Acrylic on canvas, 213.4 x 274.3 cm. Private Collection.

Kent Monkman’s The Scream is a haunting and visceral representation of one of Canada’s darkest chapters—the forced removal of Indigenous children from their families. Through his signature blend of historical references and contemporary critique, Monkman does not just depict history; he demands that we confront it.

The Violence of Colonialism

At first glance, The Scream is overwhelming. Chaos erupts across the canvas as uniformed government agents, priests, and nuns violently seize Indigenous children from their mothers. The raw, desperate emotion in the figures’ faces is nearly unbearable. Monkman captures a moment that is both historical and ongoing, referencing the traumatic legacy of the residential school system and the Sixties Scoop. The painting’s vivid, almost cinematic quality forces viewers to witness the horrors inflicted upon generations of Indigenous peoples.

Subverting Traditional Art Forms

Monkman frequently reinterprets classical European painting styles to expose colonial violence, and The Scream is no exception. The composition recalls Baroque and Romantic historical paintings, yet the subject matter is far removed from the grand narratives of European conquest and power. Instead of glorifying authority, Monkman lays bare its brutality. By using a style typically reserved for stories of heroism, he turns the lens on the aggressors, making them impossible to ignore.

The Power of Perspective

While the oppressors in the painting are detailed and recognizable, the Indigenous figures are depicted in varying states of distortion, their faces frozen in expressions of anguish. This visual choice reflects how Indigenous voices and stories have often been silenced or erased. Yet, through this distortion, Monkman makes their suffering undeniable. The painting shifts the focus from the colonizers—so often the centre of historical narratives—to the victims and survivors of these violent policies.

Reflecting on Trauma and Resilience

Beyond its depiction of trauma, The Scream is also an act of reclamation. Monkman, a Cree artist, creates work that reclaims Indigenous stories and spaces in the art world. This painting is not just about suffering—it is about survival. By forcing audiences to bear witness, he ensures that these histories are not forgotten, and that dialogue around reconciliation continues.

What Does It Mean to Bear Witness?

The Scream demands more than passive viewing. It forces us to ask: What does it mean to bear witness to history? How do we move beyond acknowledging past atrocities and toward real justice for Indigenous communities?

[hope-well-blog]

[biffmitchell]

Canadians Ink on watercolor paper

[opointkpoint]

"Go Kart"

[michaelelvidge]

another new one, "Street Scene" 12 x 16 inch ink and watercolour on watercolour paper....

[esthersuzannescott]

It’s a Magicial Thing

[thewoodsmansgold]

[studioloiclefebvre]

[Behind the scenes] Découvrez les coulisses de l’exposition Générations – La famille Sobey et l’art canadien au MNBAQ.

[jfishburnartworks]

Just out of reach

[nathanielgmooreart]

Print, 2025