La Nouvelle Odalisque 2017

Curator: Kent Monkman's 2017 oil painting, *La Nouvelle Odalisque*, presents a striking image. The almost academic style contrasts with its contemporary themes, doesn't it? Editor: It does! The figures are rendered so realistically, yet the scene feels… strange. The nude figure in the center, surrounded by Indigenous figures, is a bit unsettling. What's your read on this work? Curator: I'm particularly drawn to the way Monkman employs the very *act* of painting – the layering of oil, the meticulous brushstrokes – to dismantle colonial narratives. Notice the material contrast; how the Indigenous figures are adorned, even adorned by what looks like simple woven or leather clothing and accessories that are central to their identity. Consider that relative to the smooth, almost porcelain-like finish given to the central, passive figure. Editor: So you’re saying the way he’s painted them emphasizes the power dynamic? Curator: Precisely! And even more so, consider the context in which this work is presented and sold. Are we implicated in its consumption? Who profits from these depictions and stories? Who owns these images? These are crucial material considerations when viewing this work. Editor: That’s a fascinating point – the painting itself becomes a commodity within a system that has historically exploited Indigenous peoples. Curator: Exactly. The consumption of this artwork raises questions about how art institutions perpetuate, perhaps unintentionally, historical power dynamics. Editor: This gives me so much to think about, thank you! It’s made me see the work in a completely different light.