Washington's taxpayer-subsidized museums have become regular forums for the gay agenda in art. First there was "Hide/Seek" mocking Jesus on the cross at the National Portrait Gallery, followed by a Gertrude Stein-honoring exhibit at the same gallery featuring a photo of three nude black dancers and their "erotic alliance" with their choreographer. The gay D.C. magazine Metro Weekly is touting the latest example: last Friday, the Smithsonian's National Museum of the American Indian opened its doors after hours for a special free show "recommended for mature audiences."
It was a show put on by a gay Indian calling himself "Miss Chief Eagle Testickle." As Metro Weekly puts it, "The engagement marks the U.S. premiere performance of Cree-Canadian multimedia artist Kent Monkman's alter ego -- 'Miss Chief' for short."
Will O'Bryan explained that Monkman wants to get beyond the romanticized-primitive routine:
''I created a new performance piece based on the themes of 'blood quantum,''' Monkman says of the work he's bringing to Washington. ''That is how people are defined as Native American people by the U.S. government. It's a system of defining Native American status based on laws that emerged in 1705. And each tribe in the United States has varying degrees of how they define their members. …
Obviously, that becomes problematic, because when you have Native American nations that are defined by blood quantum it kind of ensures that your nation or numbers of people will eventually become extinct through intermarriage. It's the opposite of building a nation. The main theme of the piece is to engage with that kind of Colonial racist policy of how Native American people are defined. It's a policy used by the Canadian and U.S. governments to contain and, in effect, shrink Native American populations.''
O’Bryan referred back to previous Monkman routines, like “Group of Seven Inches,” which mocks the pale-faces: "Miss Chief Eagle Testickle (the outrageous alter ego of Cree artist Kent Monkman), forces innocent naked white men to become her figure models, seduces them with whiskey, and when she’s done with them, dresses them up as more 'authentic' examples of the “European male.”
“Robin’s Hood” is “the final chapter in a trilogy of the adventures and histories of Miss Chief Eagle Testickle, a wandering artist from the Great Plains of North America, who journeys far across the seas to study the unspoiled European Male in his native habitat. She meets the handsome Robin Hood in Sherwood Forest, but realises too late that one can never trust a white man, especially on his own turf.”
Metro Weekly didn’t mention the art work titled “Mary,” which plays on Jesus:
Hair holds power. Shot in slo-mo like a glossy shampoo commercial, Miss Chief Eagle Testickle, stars in her first foot fetish video. Once again oozing sex and irreverence, Miss Chief revisits the Prince of Wales' visit to Montreal in 1860 to challenge the meaning of surrender within Aboriginal treaties with the crown.
Referencing the biblical allegory of Mary Magdalene washing Christ's feet and linking them to the Prince of Wales' visit to Montreal in 1860, Miss Chief Eagle Testickle rewrites this historical narrative and adds a sexy twist that addresses the relationship of betrayal and treatment aboriginals have had with European colonizers.
Monkman's website touts a rave review in the leftist U.K. newspaper The Guardian: "Funny and politically incisive, his injection of some Cher-like glamour into the heart of America's butch psyche is like throwing a Versace wedge into an auto-repair shop."
What on Earth is the Smithsonian doing with our taxpayer dollars?
