How did Monkman go from this epic work, to his recent choice to monetize #clickbait outrage? https://twitter.com/palliddh/status/931278734757388288

The current contentious painting is all over the social media, being gleefully shared by RebelMedia zealots and many other RWNJ, Canadian MAGAt, homophobic, racist chuds. I won't post it in this thread.

Many Indigenous and Métis women have directed specific criticism at Monkman's tableau, since he has given them front-row seats to the self-indulgent spectacle he has conceptualized. I urge you to read and take in what they say, reflect & read some more to understand the context.

Dozens of Indigenous women are used in Monkman's painting. He shows their faces twisted by (what seems to me) contemptuous laughter & cathartic anticipation for the activity depicted. It's puzzling to me since I've never seen the collective or individual malevolence KM suggests.

Ersatz concern trolls like KonJay claim there's a bidding war amongst RW "art patrons" to acquire this Monkman painting. No surprise - this work smacks of astute opportunism. Can't imagine it'd be as marketable & profitable if say.. Stephen Harper were the target of KM's scorn.

Monkman shrewdly pursues career strategies that successful artists like Koons & Picasso leveraged profitably while gratifying their wealthy clients' prurient proclivities. Posthumously, those who invest in their valuable art laugh all the way to the bank. https://www.newyorker.com/magazine/2015/06/01/art-and-money-gopnik

How will Monkman use the $$$ and notoriety this painting will provide him? He could rightfully share it w/ people who were instrumental in advancing his work, and community-based initiatives that he might lift alongside his own success. Such as this one: https://www.cbc.ca/radio/unreserved/from-immersion-camps-to-podcasts-innovation-attracts-new-indigenous-language-speakers-1.5470178/a-look-inside-nimkii-aazhibikong-an-anishinaabe-culture-camp-1.5470179