With arms crossed, a Métis curator contemplates Kent Monkman’s The Scream (2017) at the Winnipeg Art Gallery. The history painting dramatizes Canada’s seizure of First Nations, Inuit and Métis children for incarceration and assimilation in church-run Indian Residential Schools. The tragedy roils in a sunlit yard between a modest rural house and the viewer. Two black-cassocked priests, a pair of wimpled nuns and seven men in scarlet tunics swarm a reserve to separate 10 children from their families, homes, language, spirituality, culture and dignity. One of the Mounties is armed with a rifle. Another, supervising from the porch, gestures to a trio of fleeing teens, but his comrades are preoccupied with easier game, smaller kids who variously run, buck or are paralyzed by terror. A bride of Christ takes possession of a toddler who reaches for a sibling clutched by a cop. An anguished mother, restrained from behind by a Red Coat, clings to her nearly naked offspring whose hand is grabbed by a “sister.” A second mother tries to wrest her child from a “father” who has latched onto the child’s wrist and ankle. Two Mounties yank a third woman back by her dress and long hair as she reaches out in frantic desperation to rescue her young kin from a Black Robe. The reverend has seized the dissociating child around its chest in an awkward grip that reveals underwear and flesh and foreshadows sinister intent. Two men in moccasins lie unconscious in the lush lawn and August heat. An unleashed police dog menaces the scene—or is it a rez dog barking impotent objection? Sympathetic Nature, represented by a crow and two kestrels, witnesses the apprehensions. A second crow intervenes, attacking an officer. Dark clouds roll in.
Above is the opening paragraph of David Garneau's "Writing About Indigenous Art with Critical Care" in C Magazine's current "Criticism, Again" issue, guest edited by Merray Gerges. Some of what Garneau says in this important essay was shared with me during past summers while as room mates we attended UBC Okanagan's Summer Indigenous Art Intensive, a remarkable gathering of BIPOC artists, curators, historians and critics.
With arms crossed, a Métis curator contemplates Kent Monkman’s The Scream (2017) at the Winnipeg Art Gallery. The history painting dramatizes Canada’s seizure of First Nations, Inuit and Métis children for incarceration and assimilation in church-run Indian Residential Schools. The tragedy roils in a sunlit yard between a modest rural house and the viewer. Two black-cassocked priests, a pair of wimpled nuns and seven men in scarlet tunics swarm a reserve to separate 10 children from their families, homes, language, spirituality, culture and dignity. One of the Mounties is armed with a rifle. Another, supervising from the porch, gestures to a trio of fleeing teens, but his comrades are preoccupied with easier game, smaller kids who variously run, buck or are paralyzed by terror. A bride of Christ takes possession of a toddler who reaches for a sibling clutched by a cop. An anguished mother, restrained from behind by a Red Coat, clings to her nearly naked offspring whose hand is grabbed by a “sister.” A second mother tries to wrest her child from a “father” who has latched onto the child’s wrist and ankle. Two Mounties yank a third woman back by her dress and long hair as she reaches out in frantic desperation to rescue her young kin from a Black Robe. The reverend has seized the dissociating child around its chest in an awkward grip that reveals underwear and flesh and foreshadows sinister intent. Two men in moccasins lie unconscious in the lush lawn and August heat. An unleashed police dog menaces the scene—or is it a rez dog barking impotent objection? Sympathetic Nature, represented by a crow and two kestrels, witnesses the apprehensions. A second crow intervenes, attacking an officer. Dark clouds roll in.
Apart from establishing the painting in relation to a described viewer (a Métis curator) and, in the following paragraph, a Cree artist who sidles up to the curator for a brief exchange, the opening is noteworthy for its use of language, the range of nomenclature Garneau employs in his identification of Canada's para-military police force and Christian clergy. No synonym goes unturned; all are players in a federal policy that used assimilation to cover for more sinister intentions: genocide.
Nice to see news.artnet.com highlight this essay in its "weekly digest of what's interesting in art media."
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