Kent Monkman in collaboration with Chris Chapman
2018
Framed Giclee Print
14" x 10.5"
Edition of 25 + 5 AP
Kent Monkman in collaboration with Chris Chapman
2018
Archival Chromogenic Print, Pressed Aluminum, Velvet, Resin Box
Edition of 10 + 1 AP
Kent Monkman in collaboration with Chris Chapman
2018
Archival Chromogenic Print, Pressed Aluminum, Velvet, Resin Box
Edition of 10 + 1 AP
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
From the series Fate is a Cruel Mistress
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival Paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
From the series Fate is a Cruel Mistress
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival Paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
From the series Fate is a Cruel Mistress
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival Paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
From the series Fate is a Cruel Mistress
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival Paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
From the series Fate is a Cruel Mistress
Kent Monkman in collaboration with Chris Chapman
2017
Archival Giclée Print on Archival Paper
Paper size: 11” x 14”
Framed size: 16” x 19”
Edition of 25 with 5 AP
Kent Monkman in collaboration with photographer Christopher Chapman & makeup artist Jackie Shawn
2006
Series of five photographs (chromogenic prints on metallic paper)
Photo size: 4.5" x 6.5"
Framed size: 16" x 13.25"
Signed edition of 25 with 5 proofs
The studio portraits, shot, printed and framed to emulate antique daguerrotypes, feature my alter ego Miss Chief Eagle Testickle in various performance guises. The photos trace the history of Aboriginal performance culture — more specifically “Indians” performing for a European audience.
Near left: Miss Chief as a performer in George Catlin’s Gallery that toured Europe in the 1850’s. Catlin’s Gallery was a precursor to the Wild West Shows.
— see first portrait for description of work —
(continued) Throughout my work in various mediums, the persona of Miss Chief challenges the authoritative version of history by playing the starring role in “period” photographs, silent era films and romantic paintings.
Left: Miss Chief as Vaudeville performer. After the popularity of the Wild West shows waned, many Aboriginal performers transitioned their performance careers onto the Vaudeville stage. This photo is styled closely after a photo of one vaudeville performer, Molly Spotted Elk, who also danced in all-female revues in Paris in the 1920’s.
— see first portrait for description of work —
(continued) Through this re-imaging of history, missing narratives are explored as Miss Chief subverts the authority of the often flamboyant artists who created images of Aboriginal people in the 19th century.
Left: Miss Chief as Cindy Silverscreen, a fictitious Hollywood silent film starlet in references to the transition of Aboriginal performers from the stage to the silver screen. Also references the fake names given to Aboriginal actors (Harold J. Smith became Jay Silverheels, most famous for his role as Tonto).
— see first portrait for description of work —
With a showmanship that rivals that of nineteenth century artists like George Catlin and Edward Curtis, Miss Chief challenges the subjectivity of their work by calling into question personal motivations, career ambitions and ego (“Eagle Testickle” plays on “egotistical”).
Left: Miss Chief as movie director poses with bullhorn and camera in front of a backdrop of Monument Valley. This references the Hollywood Western, specifically The Searchers, one of the most racist Westerns ever made.
— see previous image for description of work —
The title of the photo series references the construction of an artist’s own mythologies. In the 5 portraits I explore the emergence of Miss Chief as a performer by imagining her in different performative roles across time.
Left: Miss Chief as The Trapper’s Bride imagined as a performer in Buffalo Bill’s Wild West Show, like a Cree Annie Oakley (also in reference to the Cree brides who married the French trappers — the mothers of the Metis Nation).
