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As a young artist, Kent Monkman experimented with abstraction, but he has become famous for representational works that draw on historic Western painting and contemporary popular culture to confront colonial realities. In addition to his mastery of medieval and Renaissance iconography, Monkman has a finely tuned understanding of the history of painting, particularly of the grand European works of the seventeenth and eighteenth centuries. In his art, disparate sources converge and are recontextualized in relation to Indigeneity, sexuality, nationalism, and climate change, emphasizing that the allegories of the past are warnings for the future.


  • Shall We Gather at the River, 2001

    Shall We Gather at the River 2001

  • Jack Pine, 2001

    Jack Pine 2001

  • Study for Artist and Model, 2003

    Study for Artist and Model 2003

  • The Impending Storm, 2004

    The Impending Storm 2004

  • Group of Seven Inches, 2004 and 2005

    Group of Seven Inches 2004 and 2005

  • The Triumph of Mischief, 2007

    The Triumph of Mischief 2007

  • Lot’s Wife, 2012

    Lot’s Wife 2012

  • Miss America, 2012

    Miss America 2012

  • Le Petit déjeuner sur l’herbe, 2014

    Le Petit déjeuner sur l’herbe 2014

  • Casualties of Modernity, 2015

    Casualties of Modernity  2015

  • The Daddies

    The Daddies 2016

  • The Scream, 2017

    The Scream 2017

  • Resurgence of the People, 2019

    Resurgence of the People 2019

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