The Scream 2017

Editor: This is "The Scream" by Kent Monkman, a drawing from 2017. Looking at the scene, I'm struck by the sheer distress etched on everyone's faces, but I'm also confused. What's your take on this work? Curator: Monkman's work often tackles difficult histories. Knowing this piece and artist, my attention is drawn to the complex interplay of colonialism, the impact of residential schools, and the historical trauma inflicted upon Indigenous communities. Monkman invites us to consider not just the emotionality of the figures depicted—their profound grief and desperation—but also to recognize how power structures facilitate these injustices. What elements within the image communicate this tension to you? Editor: Well, there’s the soldier, pulling the mother away, versus the priest carrying the child. The drawing seems to set up opposing forces: colonial power and perhaps… the Church? Curator: Precisely. Monkman frequently utilizes historical painting styles and re-appropriates iconic images to disrupt dominant narratives. This drawing asks us to think about complicity and active participation in systems of oppression, who benefits from it, and at what cost. How does reframing these narratives serve as a form of resistance? Editor: I see, so the emotional 'scream' is not just individual, but a collective outcry against systemic injustice? Curator: Exactly! And it also prompts reflection: Whose stories are being silenced, and whose voices are amplified? In "The Scream", Monkman gives visibility to Indigenous pain and loss, and critically confronts institutions like the church and the state. Editor: That makes the artwork so much more powerful. I originally only saw pain and confusion, but now I see the history it represents. Curator: Understanding the historical and social context really can transform how we view a piece of art. The silences it breaks can resonate deeply, as it bears witness.