Category Archives: winnipeg art gallery

The Important Thing About Easter

Easter Morning-La Petite Penitente, Brittany- by Mary Riter Hamilton- photographed at the Winnipeg Art Gallery

The important thing about Easter is it reminds us that life can always begin again. 

It is true that Easter is a time when many families get together to eat traditional food, and laugh about memories from their shared past, and catch up on what is going on in their lives  

But the important thing about Easter is it reminds us that life can always begin again. 

It is true that at Easter children dye eggs in a rainbow of color and wait excitedly for the Easter bunny to come and eat lots of rich chocolate treats

But the important thing about Easter is it reminds us that life can always begin again. 

It is true that Easter is a religious holiday when people of the Christian faith celebrate the inspiring life of Jesus and his tragic death and the story of how he miraculously reappeared to his friends

but the important thing about Easter is it reminds us that life can always begin again. 

It is true that this Easter we will not physically share a meal with our families.  Grandparents won’t be able to hug their grandkids after they find their Easter baskets. People of faith will not be able to meet in their houses of worship

but creation rich with the sight of budding trees and the honking sound of returning geese and the warm embrace of the spring sun will be a sign

that the important thing about Easter is it reminds us that life can always begin again. 

Friends Rejoicing by Daphne Odjig- photographed at the Winnipeg Art Gallery

With credit to The Important Book by Margaret Wise Brown. 

Other posts…………

The Easters of My Childhood

Easter a Time of New Beginnings

Easter Story at the Winnipeg Art Gallery


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Dave Makes a Mask And We Make a Movie

So yesterday, in the Globe and Mail, Dr Tam, Canada’s chief medical officer, and my husband’s hero, suggested it might be a good idea to wear a mask when you leave your home. Dr Tam said we shouldn’t use medical masks but make our own masks from things around the house.  Dave got right to work. Using the sleeve of one of his T-shirts and the elastic from an old pair of underwear he quickly fashioned a mask.  Later in the morning, he offered to let me use it when I went to the post office to mail my grandson’s birthday gift. I politely declined.

Monday night when we went for a walk along the river it was still jammed with ice.  Yesterday it was warmer and on our bike ride, we noticed the ice had broken loose and the river was flowing freely.

How can the Canada geese stand that icy water?

The Canada geese are returning in droves and without the usual traffic noise in the downtown area where we live their honking seems exceptionally loud. It is kind of reassuring to see the natural world moving in its usual cycles despite how unusual our current human situation is. 

Someone in our condo building is a budding artist and when we get in the elevator it’s a surprise to see what new artwork they may have posted there. It’s always related to the pandemic in some way.  I thought this one which appeared yesterday was quite clever.

This is our set where we spent more than three hours filming on Monday.  Our church is having online services and we were asked to contribute a Scripture reading and song for the Good Friday service. Since we didn’t think it was safe to meet at the church we decided to record ourselves at home, something that was a bit of a technical challenge for the two of us, but we figured it out. That’s the Scripture taped to the television.  My laptop sat on the pillows.  This set up allowed us to read the assigned verses looking up at the camera rather than down into a Bible. We also had to record a song. Since we lack the technical expertise to edit video we had to do an entire run-through of the Scripture reading and song without making too many mistakes. That was hard! I’m sure we made at least a dozen recordings before we figured out how to film ourselves properly and had a recording without too many errors.  COVID-19 is certainly ramping up my technology skills.  I’ve learned how to change views on Facetime calls and use a Google drive link to send large files.  I can enter a zoom meeting, participate in one, and even host a zoom session. And now I can make video recordings of myself on my computer. 

Giving folks from Siloam Mission a tour at the art gallery

I found out I’d been temporarily laid off from my job as a learning facilitator and tour guide at the Winnipeg Art Gallery this week and it made me sad but  I TOTALLY understand.

Photo of me doing art with children on the Winnipeg Art Gallery site

The gallery has been closed for weeks. Even when it opens again it will probably take a while before education, business and community groups will have the resources, impetus or time to book tours. Their institutions will be focused on beginning the process of recovering from the impact of the pandemic.  Although we have been temporarily laid off we were assured that when things return to some kind of normalcy the gallery will put us back to work. I am glad many staff members can continue to work. On the WAG website you can see the wonderful things they are doing to keep in touch with our members and visitors with a whole variety of interesting activities and information pieces. 

Guiding a group from Winnipeg’s Chinese community at the art gallery. I am in the back row just to the left of Picasso’s portrait. 

I absolutely love my job at the Winnipeg Art Gallery and I will treasure the fact that my last day of work before the gallery closed was such a memorable one.  

Kent Monkman’s The Scream which depicts indigenous children being rounded up and taken away to residential school

In my final months at the gallery, I was able to guide literally hundreds of children, adults and teens through the Kent Monkman exhibit, a groundbreaking collection of work that helped visitors see Canada’s history from an indigenous perspective. It was such an honour.

Doing a music activity with kids at the Winnipeg Art Gallery

I am incredibly grateful to the Winnipeg Art Gallery for giving me the privilege of working there.  I have learned so much. My work there has opened up new writing and speaking opportunities for me.  I have met such wonderful people. I hope to be back before too long. 

Literally thousands of people who work in the fields of art, music, theatre, literature and dance are losing their jobs.  The institutions and organizations they work for will need tremendous support both during and after the pandemic. We will all need to do what we can to continue to support them. 

Other posts………

Siloam Mission at the Winnipeg Art Gallery

Spring in Winnipeg’s Exchange District

My Movie Debut


Filed under COVID-19 Diary, winnipeg art gallery

Memorable Final Day

I’ve given my last tours of the amazing Kent Monkman exhibit at the Winnipeg Art Gallery. It’s still on view till February 23 but I am off on a trip and won’t return till after the exhibit is gone. Taking people through Monkman’s  Shame and Prejudice has been one of the highlights of my eight years of working at the Winnipeg Art Gallery. I think between touring groups for my job at the WAG and touring friends, family, acquaintances and people from my church, I have given more than thirty tours of the exhibit. My last day of work was certainly a memorable one for me.On my first tour, I was with a group of students from a rural high school.  They kept noticing details in the work I hadn’t seen before.  I’ll give you one example.  In his Res House installation Monkman addresses the issue of sports teams appropriating indigenous names and symbols by having the father figure wear a Chicago Black Hawks jersey. He has reimagined the hockey’s teams’ insignia using the face of Miss Chief.  Miss Chief is a trickster, two-spirited character who appears in many of  Monkman’s works. But what I had never noticed before was that Miss Chief’s initials were in her black hair.  One of the students pointed out the MC to me and there it was plain as day.  

Then at the end of the tour, an indigenous student approached me and asked to shake my hand.  He told me how much he had liked the tour and how impressed he was with Kent Monkman’s work. He told me he had been in the care of Child and Family Services since he was a baby and had been in dozens of different foster homes. We had a fairly long talk about some of his experiences, some of his hopes for the future, and how he had learned to become an advocate for himself.  It was such a valuable and important learning experience for me. 

I was sorry to have to break off our conversation because I had another tour waiting this time a group of government employees.  They were very engaged and appreciative and they filled me in on some additional information about the various pieces of art. For example, in the painting Luncheon in the Grass or  Dejeuner sur l’Herbe, which Kent says in a CBC interview addresses the issue of violence against indigenous women, one of my tour participants spotted the clerical collar on the dashboard of the expensive car in the painting. It also features a licence plate with a symbol of the early Christian church and rosary beads wrapped around the mirror. I had never noticed the clerical collar before.

One man on that same tour was very inspired by the story of how as an elementary school student in Winnipeg, Kent Monkman had been part of a program that sponsored children to take art lessons at the Winnipeg Art Gallery.  The gentleman wanted to know more about similar current programs.  I had to cut off that interesting conversation because another tour awaited me. 

My third group of the day were university students.  We started in the room with Kent’s riveting and disturbing painting The Scream about children being forcibly taken from their families to attend residential schools.  Several of the young women in the group were in tears as we discussed the artwork, one indigenous student was weeping openly.  I stopped for a moment so she could collect herself before we went on to the next area of the exhibit.  This group had so many great comments, observations and insights.  

Another memorable thing about the day was that a warm and wonderful art teacher from Japan who is doing a study term in Canada and has been serving as an intern at the Winnipeg Art Gallery for many months now was shadowing me on my tours to prepare for giving a tour of the Kent Monkman exhibit in the Japanese language to some of her fellow students from Japan.  She drew a sketch of me during one of the tours.  

My feet were sore but my heart was full after giving three back to back tours of Kent Monkman’s Shame and Prejudice A Story of Resilience.  I couldn’t have asked for a better way to end my experience with the groundbreaking exhibit.   

Other posts………

A Different Kind of Nativity Scene

The Scream


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Books and Brushes – Please Join Me!

If you’ve been at McNally Robinson Booksellers recently you will have seen this attractive display of Margaret Atwood’s books. The display is advertising Books and Brushes a feature we run several times a year at the Winnipeg Art Gallery in cooperation with McNallys. Books and Brushes is a book club and an art gallery tour combined. On February 4th at 11:30 at the Winnipeg Art Gallery, we will be discussing Margaret Atwood’s The Testaments which won the 2019 Booker Prize. 
I’ve been reading The Testaments and looking for artwork currently on view at the WAG that might connect with the novel. It hasn’t been hard to find lots of interesting pieces that relate to scenes in the book.

I’ll try to pique your interest in joining us by showing you four of the art pieces we will take a look at.

Afternoon Tea or The Gossips by John Everett Millais- 1889

Esther and Ahasuerus by Melchior Lorck- 1560

Tree Movement by Emily Carr 1937-1938

Delilah by Kent Monkman and Chris Chapman-2017

We will be looking at lots of other art pieces too and of course, having a lively discussion about the novel.  If you’d like to join us you can get all the details and register here.  Hope to see you next week. 

Other posts……………

Esther and Ahasuerus- A Storyboard in a Painting

Emily Carr- Talk About Defying Convention

The Family of Jesus Portrayed in a Controversial Way

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A Different Kind of Nativity Scene

This afternoon I will be giving a group from my church a tour of the Kent Monkman exhibit Shame and Prejudice at the Winnipeg Art Gallery. One of the installations we will spend time looking at is a nativity scene that is part of an area of the exhibit called The Res House. In one of his lectures Kent Monkman explains how in this artwork he has set the birth of Jesus in a house on one of Canada’s First Nations’ reservations. Kent clearly shows the less than ideal condition of the housing. One of the first things you notice is that the Mary, Joseph and Jesus figures all have the same face and it is the face of artist Kent Monkman.  Kent explains that he was visiting the Natural History Museum in New York when he realized they had used one male face on all the indigenous mannequins in every single diorama, no matter what First Nation they belonged to, or even whether they were male or female.  So Kent thought “well, then I’m just going to put my head on everybody now.”

The baby is lying on a Hudson’s Bay blanket. The arrival of fur trading companies like the Hudson’s Bay in Canada changed the lives of Canada’s indigenous people forever. 

There is Coke in the baby’s bottle.  Could that be because the container of milk on the shelf costs nearly $20 on some reserves? Kent has food on the shelves in the house with their real prices.

In the background you can see a child being taken away to residential school.  Will that be the eventual fate of the new baby? 

There is bottled water in the house- a reference to the fact that there is still a boil water advisory in some Canadian communities and people have to drink bottled water because their water source isn’t clean or safe. 

Joseph is wearing a Chicago Black Hawks jersey and it can start a discussion about how professional sports teams have appropriated indigenous names and symbols.  Kent has replaced the face of the man on the jersey with his alter ego, trickster character Miss Chief who appears in many of Kent’s pieces in the Shame and Prejudice exhibit. 

The Mary figure is holding a rosary in her hand.  Instead of Jesus on the cross, there is a beaver. Beavers with praying hands look heavenward on the top frame of the exhibit which features Latin words that mean Love Conquers All.  

Adoration of the Magi by Jorg Stocker 1510

The placement of this installation is also interesting because just behind it in an adjoining gallery is another nativity scene that is very different from the one Kent has created.  

There are so many details in Kent’s nativity scene to notice and discuss. I think the tour I give my church will be the 15th one of the Monkman exhibit I have led and each time I learn something new from the visitors I show Kent’s work.  I am excited about what the people from my church may find this afternoon. 

Other posts………….


The Scream


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Three Women – Love This Piece

One of my favourite sculptures at the Winnipeg Art Gallery is this one of three ordinary village women in rural Quebec. I think they are either going home from the market with their bags and baskets full of produce or maybe they are going off to the market with things they plan to sell there. They walk with purpose, perhaps into the wind, managing their loads with their strong arms.  The sculpture is called Femmes de Caughnawaga and was made in 1924.  From the way their robes are wrapped around them I like to think it is a chilly autumn day.  Maybe they are hurrying home down a country road to make supper for their families. 

Marc- Aurele de Foy Suzor – Cote in his studio- photo from the McCord Museum

The sculpture was made by Marc-Aurèle de Foy Suzor-Coté a Canadian who travelled to France in the 1890s and studied art in Paris. He returned to Canada in 1907 and used his paintings and sculptures to show the people and landscape of Quebec’s Eastern Townships. The women in this sculpture are from his village. 

Crouching Venus by Pietro Barzanti 1890 is in the same gallery as Femmes de Caughnawaga. 

Three other sculptures in the gallery where Femmes de Caughnawaga is displayed are of idealized women from Greek and Roman mythology.  The sculpture of ordinary Canadian women going about their daily routines in rural Quebec offers a refreshing contrast. 

Look for them the next time you are at the Winnipeg Art Gallery. 

Other posts………..

So Tiny

What’s an Amauti

Talk About Defying Convention

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prayer installationA new exhibit at the Winnipeg Art Gallery by artist James Webb is called Prayer.  The installation is an ongoing project that began in Cape Town South Africa in 2000.  The 10th version currently at the Winnipeg Art Gallery was created in the city of Chicago.  The exhibit consists of dozens and dozens of recordings of prayers spoken by people of many different religious affiliations. There are prayers said by Catholics, Lutherans,  Occultists, Episcopalians, Hindus, Bahai, Presbyterians, Mormons and Methodists.  There are prayers spoken in Buddhist temples, Jewish synagogues, Muslim mosques and evangelical churches. 

james webb prayerVisitors can take off their shoes and walk down the red carpet listening to the prayers arising from all the different speakers or they can sit down in front of one speaker and listen to the variety of prayers emanating from it.

prayer james webbJames Webb is a musician and visual artist from South Africa and has a degree in comparative religions.  As he moves his project to one city after another Webb creates a collaborative community of people from many different faiths and provides a sort of spiritual and religious landscape of that city.  As I experienced the Chicago version of Prayer I thought how interesting it would be to create a similar installation with people from the city of Winnipeg.  

Prayer will be in Winnipeg till May.  Be sure to stop in and experience it on your next visit to the Winnipeg Art Gallery. 

Other posts………..

A Prayer For a Golf Tournament

An Artist’s Prayer

A Prayer for the New Year

Two Artists on Prayer


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Filed under Art, Religion, winnipeg art gallery

Generation Lockdown

The other day I walked into a Winnipeg kindergarten class just as the teacher was instructing the four and five-year-olds in her room about how they should behave during the lockdown drill that was going to happen in a few minutes.  I thought how sad it was that such little children needed to be educated in the steps to take should a dangerous person with deadly intent enter their school building. How did it make them feel ? 

On Wednesday night we went to the Winnipeg Art Gallery for a special showing of the Cannes Lions International Festival film that features all the award-winning advertisements for the past year. One that really made an impression on me was a public service announcement by the organization March For Our Lives.

A school girl instructs warehouse workers in active shooter protocol

It shows a schoolgirl named Kayleigh giving adults in a warehouse work area a training session on how to survive an active shooter event. The employees in the advertisement at first seem a bit amused that a young girl has come to talk to them. But as she solemnly instructs the adults in how to recognize different kinds of gunfire sounds, how to hide from a shooter, how to barricade doorways and ultimately escape by breaking windows, the faces of the people around her register shock and sadness. You can tell they are thinking, “What kind of world do we live in that a little girl needs to know these things?”

The advertisement titled Generation Lockdown reminds viewers that lockdown drills have become commonplace in schools ever since the Columbine High School shooting twenty years ago.

The ad ends by asking people to learn more about a variety of gun control measures being proposed in the United States that would prevent dangerous people from getting guns.  The organization that made the ad says 95% of school kids beginning at age five are now trained in what to do in active shooter situations because they have to be prepared for them to happen at any time. 

You can watch Generation Lockdown here.

You can find out when you can see the Cannes Lions film at the Winnipeg Art Gallery here. 

Other posts……..

Duck and Cover

Best of the Cannes Lions

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The Scream

This painting by Kent Monkman currently on exhibit at the Winnipeg Art Gallery is one that rivets most visitors. It is called The Scream and I’ve witnessed more than a few tears from people viewing it. It shows indigenous children torn away from their parents by RCMP officers, nuns and priests. They are being taken to residential schools. A few of the children are trying to escape or run away. Some of the fathers and men of the community have been knocked unconscious and the women and children are terrified about what is happening. 

Children at the Brandon Residential School

Kent has dedicated the painting to his grandmother Elizabeth Monkman who was a survivor of the Brandon Residential School here in Manitoba. He says it was only on her deathbed that his grandmother spoke about the suffering and abuse she had experienced at the school. 

Edvard Munch The Scream 1893

The title of the painting references Edvard Munch the Norwegian artist who created an iconic work also called The Scream.

An art critic writing in Muskrat Magazine says the woman at the centre of the painting

Dorthea Lange’s Migrant Mother -1936

is reminiscent of Dorthea Lange’s famous Migrant Mother photo.

Massacre of the Innocents by Peter Paul Rubens- 1611

Monkman’s The Scream is part of the permanent collection of the Denver Art Museum. They purchased it in 2017 and in their description of the painting they mention that Kent Monkman was inspired by a work by Peter Paul Rubens called Massacre of the Innocents which depicts the Biblical account of all the baby boys in Bethlehem being killed on the orders of King Herod. 

 Girls sewing at the St. Bernard Residential School in Grouard Alberta between 1925 and 1935- photo from the Smithsonian Institute – Kent Monkman has included artifacts from this school in the same exhibit room as The Scream

In his notes about The Scream Kent talks about how the final report of the Truth and Reconciliation Commission in 2015 informed and enlightened many Canadians who didn’t really understand the devastation wrought by residential schools. Thousands of children never returned home from the schools because they were dead or missing. Thousands were sexually and physically abused, some starved, most forced into free labour and some used in medical experiments. Children were required to sever their ties with their language and culture during their time in the schools.

Kent says the trauma the schools inflicted continues to impact indigenous families today. He asks questions about whether our country can heal, reconcile and offer restitution for the thousands of lives shattered by the residential school system. 

The Scoop by Kent Monkman 2018

On his Facebook page Kent displays another similar painting called The Scoop.   The Sixties Scoop is a name given to the practice in Canada from the 1950s to 1980s  of taking, or “scooping up”, Indigenous children from their families and communities for placement in foster or adoptive homes. 

In a video, on the Winnipeg Art Gallery website, Kent Monkman says that sometimes art needs to take us to dark and challenging places. His painting The Scream does exactly that. 

The Scream is only one of the many thought-provoking works in the current Kent Monkman exhibit at the Winnipeg Art Gallery called Shame and Prejudice: A Story of Resilience.  You don’t want to miss it. 

Other posts………..


Filed under Art, winnipeg art gallery


One area of the current Kent Monkman exhibition at the Winnipeg Art Gallery is titled Incarceration.

Reincarceration by Kent Monkman 2013

This large painting in the section depicts Manitoba’s own Stony Mountain Penitentiary founded in 1877. It is the oldest federal penitentiary still in use in Canada. In the painting wooden, puppet-like figures emerge from the prison, walk through the water and then come to life to take part in a dance or pow-wow on the other side of the river.

Big Bear to the left of the man in the middle and Poundmaker to his right in Stony Mountain Penitentiary

The wall adjacent to the painting features photos of Big Bear and Poundmaker, indigenous leaders who were incarcerated at Stony Mountain Penitentiary for treason after the Northwest Rebellion.

Minimalism by Kent Monkman- 2017

The exhibit includes this installation of Kent Monkman’s alter ego Miss Chief in a prison cell, on her knees, watching the sunrise and set through a window. She is holding a piece of braided sweetgrass in one hand and a feather in the other.
In his commentary, Kent says he wants to draw attention to the large number of indigenous people in Canada’s prisons, particularly on the prairies. At Stony Mountain penitentiary nearly 65 % of the inmates are aboriginal but indigenous people represent only 18% of the province’s population.

Artwork featured in Minimalism by Kent Monkman

On the outer walls of the cell are pieces of artwork by prisoners and a set of letters written to Kent’s mother Rilla from a woman named Lisa Peltier, who is in prison. In one of the letters, she talks about her father Leonard Peltier and how she hopes President Obama will give him a pardon.

Letter to Kent Monkman’s mother from Leonard Peltier’s daughter

Leonard Peltier is a 75-year-old man who was convicted of taking part in the murder of two FBI officers at the Pine Ridge Indian Reservation in 1975. Pine Ridge in South Dakota is home to Wounded Knee, the site of a massacre of 200 Sioux men, women and children by the American army’s 7th Cavalry in 1890.  

Peltier was a member of the American Indian Movement and was part of a nearly three-year occupation at Wounded Knee. It tried to bring attention to the unfair treatment of First Nations people in the United States. A virtual civil war had broken out between the American Indian Movement and traditional First Nations leadership. The AIM said the leadership was corrupt. It was backed and supported by federal agencies including the FBI.

FBI officers came to Pine Ridge in 1975 to arrest a robbery suspect and were met with a torrent of rifle fire. Peltier was given two consecutive life sentences for his participation in the murders. Three other AIM members who went to trial for the murders were acquitted. Peltier maintains his innocence to this day. 

Leonard Peltier in the prison art studio – photo CBC

Desmond Tutu, Jesse Jackson, Amnesty International, Robert Redford and Oliver Stone have all advocated for Leonard and asked he be released immediately from prison. Leonard is elderly and has health problems. His supporters maintain there were many errors and inconsistencies in the way his case was handled. Some of these are highlighted in Peter Matthiessen’s best selling book called In the Spirit of Crazy Horse.

Peter Matthiessen’s book tells Leonard’s story

When Barak Obama was leaving office there was hope he would give Leonard a pardon and Lisa, Leonard’s daughter refers to that in her letter to Kent Monkman’s mother Rilla. Obama decided not to pardon Leonard.

There is another case of an indigenous person’s experience with the justice system included in Kent Monkman’s Incarceration exhibit.

Handcuffs and Leg Irons from the collection of the Museum of Vancouver

These handcuffs and leg irons are artefacts from Canada’s only lynching. Louie Sam was born in 1870 a member of the Fraser River Salish First Nation. When he was 14 he was accused of the murder of James Bell a shopkeeper just across the Canadian border in Nooksack Washington. Two men told the Nooksack sheriff they had seen Louie near Mr Bell’s store on the day of the murder and so the American sheriff came to British Columbia to talk to William Campbell the local justice of the peace at the time. On February 24 Campbell rode out to Louie Sam’s home and arrested him. He put him in handcuffs and leg irons.  Louie was taken to the home of a hastily deputized local citizen named Sam York to spend the night. The next morning Louie was to go to New Westminster some fifty miles away to stand trial.

Drawing of Louie Sam from an Annick Press book trailer

During the night an angry mob of Americans, who were in costumes- some wearing women’s clothing and others with their faces painted with Indian war paint crossed the border into Canada, stormed into the York house and captured Louie Sam. They hung him from a tree close to the U.S. border.

Although more than five thousand lynchings happened in the United States during the post Civil War period Louie Sam’s is the only Canadian lynching on record.

A subsequent investigation by Canadian authorities strongly suggested that Louie Sam was innocent and that the likely murderers were two Americans who were the leaders of the lynch mob. They were William Osterman, the Nooksack telegraph operator who took over Bell’s business, and David Harkness, who at the time of Bell’s murder was living with Bell’s estranged wife. Neither man was ever prosecuted.

The Lynching of Louie Sam a novel by Elizabeth Stewart tells Louie’s story for a teen audience

It has been interesting to discuss the case of fourteen- year old Louie Sam with the teenagers who visit the Kent Monkman show. I ask them why they think Kent chose to include Louie’s handcuffs and leg irons in his exhibit.

Minimalism by Kent Monkman- 2017

Incarceration is just one area of nine in the current Kent Monkman exhibit at the Winnipeg Art Gallery. As you can see each area is rich in meaning and well worth multiple visits to explore. Hope to see you there.

Other posts……….

Kent Monkman is From Winnipeg


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