NORVAL MORRISSEAU BLOG

Norval Morrisseau Quotes:

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"I transmit astral plane harmonies through my brushes into the physical plane. These otherworld colours are reflected in the alphabet of nature, a grammar in which the symbols are plants, animals, birds, fishes, earth and sky. I am merely a channel for the spirit to utilize, and it is needed by a spirit starved society."

"My art speaks and will continue to speak, transcending barriers of nationality, language and other forces that may be divisive, fortifying the greatness of the spirit that has always been the foundation of the Ojibwa people."

"My goal is to break the barrier between the white world and mine. I wish only one thing, to be an artist and to be respected as one - and my paintings to be seen by all people."

"My heart and soul is reflected into my mind and my mind is reflected into my hands."

"From the first time I picked up the brush, painting became my passion. Over the years that passion has grown and strengthened. -

There is no other way to describe it. To paint is to live."

"I started to do some painting. I guess I saw some art literature from Arizona or the Southwest somewhere, but I was hungry to learn more. I wanted to paint my house and paint the walls in traditional pictographs like the ones I saw from the rock paintings and birch bark scrolls our people used to make."

"I was told by some relatives not to do this - that I should not be tampering with these forms, 'because the Indians will ostracize you'. Or the elders would not care for it, just like the Jesuits. -

Nevertheless I was determined to do it, for it is my destiny..."

"The Shaman Artist
Wishes to express to us
Through
The art form
That we are all
Like children-

Our childlike simplicity
With dignity and sweet humility
We view
One environment
and
Remind us of the Pure Spirit
Expressing itself upon ourselves."

"I don't wish my work to be exploited, but to be properly used as an art form in its proper place where for the generations of the great Ojibway people it can be seen in the future, as well as be appreciated by all our white brothers."

"I’ve been looking for books all my life – books about American Indians. Anything that I could find that was civil and worthwhile besides what my Grandfather was telling me about the Iroquois and others. There isn’t very much written about Natives in the art and history books we read today. The only thing that was written was about the Iroquois slaughtering the Jesuits somewhere and Sitting Bull and his followers being chased out of Canada."

"I want my work to be cornerstone for Indian art, to provide something that will last."

"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people."

"Love for life is a gift"

“I would like to say that I am an artist so that I can beautify the world and battle conditioned consciousness with the same tools used to condition it.

My culture is my world.”

“What I teach the people many times is that attitude and attention will determine the whole course of our lives. Get rid of fear and that is all you ever have to get rid of. Fear of anything at all.”

“My paintings are icons, that is to say, they are images which help focus on spiritual powers, generated by traditional belief and wisdom.”

"It is our Ojibwa tradition to recall our history or obtain our history in an oral manner. It is important for our children and others to benefit through the process of continuing to recall and make history."

"I guess I was increasingly seeking the art form and culture I was being taught, but there was none out there."

"The Grand Shaman is like the Pope of Rome. The Pope is on one side of coin, the Shaman on the other side of the coin."

"My Grandfather told me once that nobody, no matter how hard they tried, could he remember all of the legends, otherwise, the whole of Northwestern Ontario would be covered in Pictographs."

"I consider Manitoulin Island to be the most sacred place in Canada"

"My idea is, why I draw them, see, there's lots of stories that are told in Ojibway but that wasn't enough for me. I wanted to draw them - that's from my own self - my own idea what they look like."

"Be who you are no matter how hard it is. Never mind the ridicule."

"Just be"

"Today we wonder and are distracted by the white man's ways that we cannot cope with. Those of us who are lucky have made it. But a lot of us are still behind, by trying to live like our white brothers and their religion, ignoring our great ancestors' culture. If one has an intelligent mind we could live side by side with our ancient ways and same time get us where we should be."

"Armed with an arsenal of heavenly designs and sculptures, the priests were prepared and fearless. With their unlimited resources and soldiers they were sent to conquer the New World and bring their culture and religion to every corner."

"People had to be stripped of their culture before they could be taught to be civilized. The Natives of the Americas were not the dogs people were misled to believe, but rather a sophisticated network of different cultures, religions and so on."

"When the Jesuits came, the Indian was already around. The Indian did not understand them. He tried to understand them, what they were up to. He knew that they were going to be there for awhile. He knew how sad it was, seeing his people, how low they were put, how they had previously enjoyed living and needed to live freely again. How do we go about doing that now? We need images. We’re going to use images ourselves."

"To accomplish what I have started and to die in it feeling I have fulfilled what I started - to reach a level where I and Manitou and the Indian will always keep the Indian faith alive - to be a great Artist and Preserver of Indian culture. I accept it fully as a duty in life which was set forth for, to set an example."

"These paintings only remind you that you're an Indian. Inside somewhere, we're all Indians. So now when I befriend you, I'm trying to get the best Indian, bring out the Indianness in you to make you think everything is sacred."

"The Ojibway believed the thunder to be a great massive bird called thunderbird, whose eyes shoot out lighting and thunder. The first thunder in early spring was something good to hear, for the Ojibway welcomed their protector again from its home in the south where it had been all the winter. Offerings of tobacco were placed on the ground or on water or put into stove to burn, or sacred pipes were smoked by the elders to the thunderbird in the early spring."

"The fish, sacred trout, was the most respected of all fish. The trout gave the Indian life in abundance and according to Ojibwa Indian mythology it represented his soul carrier. The trout carried the Indian soul through transmigration into an other existence in the supernatural or reincarnation. All this belief worked for the betterment of the Indian food in reality - faith in the supernatural."

"Nepii-Naba, the merman, who brought good luck to those who offered him tobacco and, in return, helped Indians to travel safely on lakes and rivers"

“Among the Indians, as among other nations, some people are born artists, but most are not. I am a born artist. I have as much interest in my people as any anthropologist, and I have studied our culture and lore. My aim is to reassemble the pieces of a once proud culture, and to show the dignity and bravery of my people.”

"Now, when I paint a picture I just alow myself to be used. I pick up the pencil and the canvas. I allow the interaction with soul to reflect in the mind, to put down these images of people, men or women or children especially. I may draw a hundred children, but there is never the same colour."

"I go to the inner places, I go to the source, I go to the house of invention."

"Many times people tell me that I’ve cured them of something, whatever’s ailing them. But I didn’t do anything. It was the colour of the painting that did it. But now it’s even much stronger. The healing is much stronger than it ever was. What I finally find is this: We could live with turmoil and the anguish in everything and still we could feel contented and happy and compassionate. What we got rid of is the stress with colour.”

"So, if am in this World to deliver any messages I wouldn't want to be a preacher. I would want to be a painter"

"Let's put it this way. I know what is to be hungry and poor in cloths. But the spirit of one that is poor shall never be weaken by hunger, as hunger is good matter. This is what gives a man life and wisdom. I don't regret that I was hungry."

"As for the colours, one was for the heart, one was for the bum, one was for the arms, one was for all the different kinds of sicknesses."

"A long time ago, maybe two or three hundred years ago, before white men were around, some people were worried about what was going to happen.... so they went to talk to a shaman. They asked him if he could find out. The shaman went to a sacred place and started singing and drumming. He beat on his drum harder and harder until he jumped right out of his body and began to rise up in his consciousness. He went up to the third astral plane where he could fly through time. He flew through time until he reached the year 2000 and then came down to look around. Below him he could see hundreds, thousands... more than he could count... millions of ants travelling down well traveled trails... and mountains sticking out of the plains like giant ice crystals, reflecting the sun back into his face. When he returned to his own time he told the people about what he had seen. He told them that what ever these creatures were, there was lots of them and they were coming."

"All is well"

"We natives believe in the following saying: "Our God is Native. The Great Deity of the Five Planes is so. We are neither for nor against, We speak not of Christ nor of God. We say, 'Let them be.' We follow the Spirit on its Inward Journey of Soul through attitudes and attentions. Remember we are all in a big School and the Inner Master teaches us Experience over many Lifetimes."

"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people. So whenever you are looking at my pictures, you are looking at my visions, whatever they may be."

"Years ago I was walking down the street in Winnipeg feeling sorry for myself. A man was walking towards me, He had long hair and a leather jacket, and as we meet he said,'Things are not as bad as we think'. I looked away for a second and when I looked back he was gone. I never saw that man again."

"I may not have a Ferrari, but I'm the first Indian to break into the Canadian art scene and I have forever enriched the Canadian way of life. I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for 100 years."

"Why am I alive? To heal you guys who are more screwed up than I am. How can I heal you? With colour. These are the colours you dreamt about one night."

“They speak about this tortured man, me, but I'm not. I've had a marvelous time, when I was drinking and now that I'm not, a marvelous time in my life."

"I've always wanted to be a role model. I've always wanted to stay an Indian. I wanted the little kids to know that."

"Just as a fish swims in any clear northern lake (in a medium that is virtually invisible to the eye) so we, if we are to live all right, should realize we live in a dimension on which our very existence, as people and artists, depends. The dimension is that of connectivity in life shared together in mutual respect… Fish, in spawning runs, seem to urge each other on, to reach safe and secluded lakes, with plentiful food supplies. Once there, they can live more non-competitively."

"The Ojibways have great respect for the Bear. According to their legends, in the distant past the Bear had a human form and was in fact an ancestor of the Ojibways. Therefore he understands the Indian language and will never attack or fight any Indian if he is addressed properly."

"As far as sex was concerned. I did everything under the sun. In those days I was a very sexually oriented person. But things change, things develop, and everything sooner or later dies. There are some things that grow, and you constantly have to sort out your thoughts and ideas."

"I can live anywhere. I can paint anywhere. I have painted six panels of the Man Who Changed Into a Thunderbird. All these paintings came from within. I don't need to isolate myself to do them. I can paint them here, there or anywhere. A pipe band could be going by, or cars."

"I paint with these colours to heal, my paintings honour the Anishnaabe ancestors who have roamed the Great Lakes for centuries upon centuries."

"We are all one"

"My people believe the earth to be their mother and that we are children of the earth. In spirit we are one with our environment."

"Personally I am not thinking about myself truthfully in this present year but years ahead when I am death for the children of mine and the generations of my people to feel proud of the art heritage of the Ojibway and every nationality is proud of its culture."

"We Are All One in Spirit"

Others about Norval Morrisseau:

"When the history of the twentieth century art in North America is written, no chapter will be more dramatic or significant than that of the Anishnabe painters, the aboriginal people of the Great Canadian Shield. In the 1950's when it appeared that their culture was on the verge of being extinguished by the onslaught of the "white" civilization, there was a move by several individuals to preserve the ancient oral traditions by recording them in writing and in art. In so doing, the artist's developed a unique style, indigenous, distinctive, graphic, with a rare potential for narrative and an innate primitive beauty. By the very act of depicting legends, the artists defied centuries of taboos, and many interesting sociological events followed: a shift in the roles of shaman /artist/ hunter occurred in the Anishnabe culture; the art became a seminal force in a revitalization movement; and the entire Ojibway Nation, a people heretofore overlooked by the mainstream of history, was thrust suddenly into the spotlight glare of an art-loving public."
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Mary E. (Beth) Southcott
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"How was it possible for this youth to reach back to the old feelings, to conceive the images that would bear the unmistakable stamp of his people? How could this firm pride originate in a community relegated to the status of third class citizens, constantly reminded of this status and defeated by it? What was there about this lad that earned for him in a medicine woman's dream the combined names of a powerful spirit and the metal traditionally sacred to the Lake Superior Ojibway - Copper Thunderbird?"
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Selwyn Dewdney-
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"...Norval, with his incredible ability with the formal problems of art (colour-design-space) and his commitment to the world of his people, the great Ojibway, give one the sense of power that only genius provides... It is sufficient to say that in the history of Canadian Painting, few have, and will remain giants. Norval shall."

Jack Pollock -

"Morrisseau, the artist, is a teller of tales. But tales such as these are only as powerful as the power of the person who tells them. Behind the visual imagery lies the power of his personal recital of a legend. Behind the legend lies the personal vision that explains everything. It may be difficult to distinguish Ojibway mythic elements from personal ones, or to separate Indian versions of Catholic iconography from Morrisseau's own set of emblems. He is at his most Indian when he offers an explanation of what he is doing. The purpose of doing it may have been to share with the world a heritage of the Great Ojibway that is proud and full of worth. The reason for doing it is very Indian. Where other artists might claim logic, tradition or authority as justification, Morrisseau always justifies himself by the most Indian of all explanations: the imperative of a personal, unique and private vision, the only real consistency which lies at the back of all his work. Everything, ultimately, is validated by Morrisseau's unanswerable claim to be responding to the demands of that personal, unique and private vision."

Lister Sinclair

"Morrisseau's genius for unifying or braking space in his designs is astonishing, as sureness of line. It cannot be classed as primitive art, because both the ideas and the expression evince cultivated thought. As this mysticism has never been recorded he is breaking new ground."-

Pearl McCarthy-

"Norval Morrisseau stands alone in his formal innovation and largeness of personal vision. He was the first Indian to study seriously and to update his own cultural beliefs and translate them visually for contemporary Indian and non-Indian audiences. In doing so he became the first Indian to break through the Canadian professional white-art barrier. His brilliance lies in his ability to break away from his own conventions, to constantly renew his vision." -

Elizabeth McLuhan

“He blazed a path that many young artists followed. He was a great role model for younger artists. His courage, in confronting the oppression, the attempt by government policy which began in the 19th century to silence and hasten the end of traditional indigenous knowledge, it took great courage to confront that. He was an extraordinary man.”

Ruth Phillips

"He is one of the greatest painters Canada has ever produced. One day we were looking at the Group of Seven and he commented 'They paint trees, I paint loons and they connect to the sky'". -

Tom Hill

"Norval, like all innovators, had made a trajectory to contemporary cultural theory, an idea I was not to understand until quite recently. It situated Norval at the centre of a cultural transformation, contemporary Ojibwa art. This legendary artist had created a visual language whose lineage included the ancient shaman artists of the Midiwewin scrolls, the Agawa Bay rock paintings and the Peterborough petroglyphs. As a master narrator, he had a voice that thundered like the sentinel of a people still listening to the stories told since creation.” -

Robert Houle

"I believe that when Canada 'disappears', Morrisseau will remain. I believe history will note that Norval Morrisseau will be better known than Pablo Picasso. He's more original."-

Robert McMichael

''He was a role model, visionary and seminal force throughout Native America and Canada. We were especially fortunate to have the great man himself present at the opening of his major retrospective, 'Norval Morrisseau: Shaman Artist,' at our New York City museum. Through his groundbreaking and vibrant works, he positioned his rich indigenous heritage squarely within modern art; a revolutionary and uplifting achievement that influences contemporary culture through today.'"-

Kevin Gover -

"Norval Morrisseau's most significant and enduring achievement will be measured over generations as the lasting impact of his greatest ambition - to instill pride - makes itself felt in the art of new artists compelled to create by his masterful paintings."

Greg A. Hill

"Their great appeal partly derives from Mr. Morrisseau's marrying of an understanding of Indian spirituality with his own formal ambitions as a painter... New York has many museums with countless exhibitions, but it's been a long time since I saw a show of such potent spirituality, warmth and feeling."

Benjamin Genocchio -

"Norval Morrisseau's courageous and often controversial approach to his work was instrumental in encouraging First Nations people to know their spirituality, history and culture in order to better understand themselves. He taught us to be proud of who we are. He inspired countless other First Nations people to pursue a career in the arts. His legacy will remain with us and continue to inspire all Canadians for many generations to come."

Phil Fontaine

"Morrisseau was committed, from the very start, to preserving the stories and myths of his people. He never wavered. As troubled as his life was, he also went through it with this incredible sense of mission."

Paul Carvalho

"He was a courageous Aboriginal painter who, through perseverance and faith in his gift, was able to break through enormous cultural and racial barriers to bring his art not just to Canada, but to the world."

Chuck Strahl- -

"He has been described as perhaps the greatest native artist who ever lived - a primal visionary who gave form to the Ojibway legends and myths told to him by his maternal grandfather Moses "Potan" Nanakonagos."

Lloyd Dolha

Monday, February 6, 2012

>>> Paintings at the Smithsonian Institution labelled fakes by Norval Morrisseau's apprentice*

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* Ritchie R. Sinclair a.k.a. Stradreamer

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"Mother to All Things", 71"x42.5", © 1980 Norval Morrisseau

>>> The above presented image of an authentic Morrisseau's painting was originally presented in the "Norval Morrisseau: Travels to the House of Invention", © 1997 by Norval Morrisseau/Kinsman Robinson Galleries Key Porter Books Limited, ISBN: 1-55013-880-4/; page 111

/Currently part of the Collection of the National Museum of the American Indian (NMAI); Formerly in the collection of R.E. Mansfield (1937-2007), donated to NMAI in 2003; Catalog number: 26/4096/

> Click HERE to view this painting in the archives of the NMAI.

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Screen capture from www.morrisseau.com (16-DEC-2009) of the same painting (Click HERE) when its webmaster Ritchie R. Sinclair called it an "Inferior Counterfeit Morrisseau" /Click on image to Enlarge/

~ This painting which was published in the book "Norval Morrisseau: Travels to the House of Invention" had been copyrighted by Norval Morrisseau and Kinsman Robinson Galleries.

>>> I was quite surprised when I saw the post "Memorable moments with Norval" (04/04/2009) from the KRG blog where it was shown that in September 1997, Norval Morrisseau made a trip to the Kinsman Robinson Galleries to attend the book launch for "Norval Morrisseau: Travels to the House of Invention" (1997) where he met, together with Gabor (Gabe) Vadas, Ritchie R. Sinclair and even had a supper with Donald Robinson's family (click HERE to view unedited version (deleted) of the "Memorable moments with Norval" and corresponding comments including the comment of Ritchie R. Sinclair which had also been deleted by the KRG blog editors).

Comment: Ritchie R. Sinclair demonstrated a very strange behaviour when he waited two years after Norval Morrisseau died (2009) before publicly labelling this and other paintings from this book as "Inferior Counterfeit Morrisseaus". When he actually had a chance to express his concerns about these paintings' authenticity with the artist 12 years earlier at "Norval Morrisseau: Travels to the House of Invention" book launch celebration in 1997?

Note: For additional information and to to view other paintings from the same book which Ritchie R. Sinclair called "Inferior Counterfeit Morrisseaus" click HERE & HERE.

"Lily of the Mohawk, 53"x23", © 1974 Norval Morrisseau
/Click on image to enlarge/

>>> “The above presented image "Lily of the Mohawk (1974) from a private collection was exhibited at "NORVAL MORRISSEAU - SHAMAN ARTIST" - The first solo exhibition featuring a First Nations artist in 126-year history of the National Gallery of Canada. Exhibition held in Ottawa, Ontario from February 3rd to April 30th, 2006.
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"Lily of the Mohawk", 72"x35", © 1979 Norval Morrisseau
/Click on image to enlarge/

~ Note the inscription on the front of the canvas (bottom right) which includes the title, date (year) and recognizable signature of the artist

>>> The above presented image of an authentic Morrisseau's painting is currently part of the Collection of the National Museum of the American Indian (NMAI); Formerly in the collection of R.E. Mansfield (1937-2007), donated to NMAI in 2003; Catalog number: 26/4095.

> Click HERE to view this painting in the archives of the NMAI.-

Screen capture from 'Genuine vs. Fake' Category of defamatory www.morrisseau.com (30-DEC-2009) of the same paintings (Click HERE) when its webmaster Ritchie R. Sinclair called the first presented as an "Authentic" and another one as a "Forged Morrisseau" /Click on image to Enlarge/

~ Click HERE to see both of these images side by side. This confirms, more than once in the presentations on this blog, that Norval Morrisseau repeated many times his images.

BLOG MASTER'S FINAL STATEMENT: It is clear as presented herein that Ritchie R. Sinclair is labelling proven authentic Norval Morrisseau paintings which are in the archives of the National Museum of the American Indian (NMAI) as "Inferior Counterfeit Morrisseau" and "Forged Morrisseau". This shows more than once in the presentation of this blog that his opinion cannot be trusted in a professional manner in regards to the art legacy of Norval Morrisseau.

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>>> Reference posts:

- Blog Master's Public Address V,

- Who is Ritchie R. Sinclair a.k.a. Stardreamer?,

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part I),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part II),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part III),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part IV),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part V),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part VI),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part VII),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part VIII),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part IX),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part X),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part XI),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part XII),

- Changing Faces of Ritchie "Stardreamer" Sinclair (Part XIII),
- Changing Faces of Ritchie "Stardreamer" Sinclair (Part XIV),
- Changing Faces of Ritchie "Stardreamer" Sinclair (Part XV),
- The chronology of communication between Stardreamer and Spirit Walker, - The Tale of the Art of Norval Morrisseau /COURT FILE No. CV-08-00366828/, - Otavnik Vs Sinclair SC 09-00082782-0000 (Part VI) /COURT DECISION/.
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Sunday, February 5, 2012

The Morrisseau Legacy missing links (Part III)

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Steve Potosky
/Norval Morrisseau's agent in 2002/

Steve Potosky with Norval Morrisseau
'Art of the North' Gallery, Thunder Bay, Ontario - 2002 /Click on image to Enlarge/

~ Click HERE to view genuine Norval Morrrisseau showed behind the artist

Norval Morrisseau art still bowls over

Toronto Star - Toronto, Ontaro [Ontario Edition]

Date: March 28th, 2002

Start Page: K.07
Section: ENTERTAINMENT

A walk east along Prince Arthur Ave. toward Avenue Rd. was taking me deep into credit card country, where trained packs of Porsches lurk in underground parking lots. Just outside the Maslak-McLeod Gallery, I smelled smoke.

Uh-oh. I reached for my trusty Leatherman tool and rushed in. This wasn't a spray-on designer smoke smell. This was real smoke, from real wood.

Inside, I found no help was needed. The ashes were safely in a hearth, sort of an offering from gallery owner Joseph McLeod to the reason why anyone should be here in the first place: Norval Morrisseau.

My smoke-on-the brain cleared up like a shot. I was clobbered left and right by what I saw- actually by what the artist saw- by Morrisseau's painted moon-round owl's eyes gazing out from the canvases like baleful moon beams.

Over the fireplace is one of the better paintings hanging anywhere in Canada, Morrisseau's Self-Portrait As Copper Thunderbird. Upstairs is Nude, with the figure of a graphic, lusty naked woman, her body seemingly on fire. No dates of the pieces are available for "The Red Lake Years," as the show is called, but most of the pieces go back at least 30 years.

Dates. Time. I found myself playing catch-up really fast. I mean, just where along the way does one forget that Morrisseau's achievement, both on and off the canvas, may be the most singularly remarkable in Canadian art history, despite the misery and pain he's both endured and inflicted?

It's 40 years since his breakthrough show at Toronto's Pollock Gallery made him an international art star. Since then, it feels like Morrisseau's work has always been around, if not as an original then as one of the dozens of Morrisseau wannabes. More than just an influence on the Woodland School of Art, in the Red Lake area, Morrisseau's colours, contours and choice of imagery have become permanently fixed in the Canadian visual plain.

Ill health may be his problem but over-familiarity has become ours. Even the snazzy Prince Arthur address and the five-figure price tags on the walls for his work are part of the familiar, hence easily forgettable, Morrisseau tale.

Maybe he has been impoverished most of his life, but his art has gone upmarket and upscale, making it the archetypal late 20th- century Canadian cultural success story. It's that great liberal story where our rugged wilderness ways finally get the respect we think they deserve in the right, white-bread circles.

Morrisseau himself wasn't around at the gallery, nor was he expected. "He's sort of like the Scarlet Pimpernel," said McLeod. "He's never where anyone can find him. He likes it that way. No one knows where he is."

Actually, a little bit of sleuthing led to family now in Thunder Bay. Now 70, (or 71 or even 72, depending on your source), he's been confined to a wheel hair, suffering from Parkinson's Disease for the past six years. Until family members came to fetch him recently, he'd been in a Nanaimo B.C. nursing home.

Now back in the northwestern Ontario where most of the pieces in the gallery's show first saw the light, he's painting again. He even has an agent, Steve Potosky (Web site: www.artofthenorth.com - NOT ACTIVE ANYMORE; currently in operation as www.woodlandnativeart.com).

This doesn't mean the end to Morrisseau's ellusive ways. (He loves the trickster image, particularly when it's not on canvas.) For years March 14 has been given as his birthday, about the only fact about Morrisseau to remain unchanged and unchallenged over the years. (His birthplace, for instance, has been listed as Fort William- now Thunder Bay- in some sources, while others point to the Sand Point Reserve, near Beardmore, northeast of Thunder Bay.)

But only recently he received his new status card from the government, giving his birthday as "March 13, 1932."

"So he had two birthdays," said an acquaintance.

The Red Lake Years formally closes Saturday, but will in fact be around for the next few months, or at least as long as there is cash in local pockets to pay for the art on the gallery walls. And from what I hear, there might well be new work from Morrisseau to replace it.

WHAT: The Red Lake Years, paintings by Norval Morrisseau
WHERE: Maslak-McLeod Canadian Art, 25 Prince Arthur Ave.
WHEN: Official close March 30
HOURS: Phone 416-944-2577

Peter Goddard

Note: The images & additional info (in red) provided by Blog Master.

>>> Reference Links:
- The Morrisseau Legacy missing links (Part I) &
/Ref.: John Zabloski/
- The Morrisseau Legacy missing links (Part II).
/Ref.: Clifford & Eleanor Whetung/
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Friday, February 3, 2012

Grant v. Torstar and the defence of responsible communication: implications for bloggers and users of other online media

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~ On December 22, 2009 the Supreme Court of Canada has released a very significant decision which affects all media news reporting companies and bloggers in Canada

"Freedom of expression is guaranteed by s. 2(b) of the Canadian Charter of Rights and Freedoms. It is essential to the functioning of our democracy, to seeking the truth in diverse fields of inquiry, and to our capacity for self-expression and individual realization."

>>> In the recent decision of Grant v. Torstar Corp., 2009 SCC 61 (“Grant”) and its companion case, Quan v. Cusson, 2009 SCC 62 (“Quan”), the Supreme Court of Canada sought to strike a more appropriate balance between freedom of expression and the protection of reputation by creating the new defence of “responsible communication on matters of public interest” (the “Defence”). The Defence allows defendants in libel cases where statements of fact are at issue to evade liability if they can show that they acted responsibly in reporting on a matter of public interest, even if the statements of fact are untrue. Prior to the decision, defendants could not avoid liability in these cases unless they showed that the statement was substantially true (the defence of justification), or that the statement was made in a protected context (the defence of privilege).

Importantly, the Supreme Court of Canada discussed and considered at some length ‘new media’ and the ability for ‘instant’ and easy publishing on blogs or webpage’s by ‘public interest’ groups. Thus, this Defence does not just apply to newspapers, but to bloggers, special interest and social networking groups:

[T]he traditional media are rapidly being complemented by new ways of communicating on matters of public interest, many of them online, which do not involve journalists. These new disseminators of news and information should, absent good reasons for exclusion, be subject to the same laws as established media outlets. I agree … that the new defence is “available to anyone who publishes material of public interest in any medium”. [Grant, at para. 96]

[Emphasis added]

Although the extension of the Defence to non-journalist bloggers and users of other online media is an important recognition of the growing relevance and legitimacy of these groups, the Defence is – at least currently – unlikely to protect most members of these groups. To gain the protection of the Defence, the defendant must establish two elements: (1) that the publication is on a matter of public interest; and (2) that the publication was responsible, in that the defendant was diligent in trying to verify the allegation. The trial judge will determine the first element. If the judge concludes that the first element is met, the jury will determine the second element, having regard to several factors:

• the seriousness of the allegation;
• the public importance of the matter;
• the urgency of the matter;
• the status and reliability of the source;
• whether the plaintiff’s side of the story was sought and accurately reported;
• whether the inclusion of the defamatory statement was justifiable;
• whether the defamatory statement’s public interest lay in the fact that it was made rather than its truth; and
• any other relevant circumstances

In assessing whether the defendant was diligent, the jury will be guided by “established journalistic standards”:

[M]any actions now concern blog postings and other online media which are potentially both more ephemeral and more ubiquitous than traditional print media. While established journalistic standards provide a useful guide by which to evaluate the conduct of journalists and non-journalists alike, the applicable standards will necessarily evolve to keep pace with the norms of new communications media. [Grant, at para. 97]

[Emphasis added]

This indicates that the same journalistic standard must be applied to every defendant irrespective of whether or not they are journalists. As a result, the Defence will likely not apply to non-journalist bloggers and users of other online media unless they perform the due diligence expected of a journalist in the circumstances.

The problem for many members of these groups is that they are generally not guided by established journalistic norms. Although they may approach online publishing in good faith and with a level of diligence reasonably expected of non-journalists, this level of diligence is unlikely to meet the required journalistic standard. For example, although journalists will generally make a point of seeking the plaintiff’s side of the story and speaking directly to witnesses and experts, non-journalist bloggers – who are generally unpaid for their efforts – will rarely have the time, resources, training, or willingness to do so. As one American commentator argues,

Blogging and journalism clearly differ. The former ‘implies that a disinterested third party is reporting facts fairly’ (Andrews, 2003: 64). Blogs are ‘unedited, unabashedly opinionated, sporadic and personal’ (Palser, 2002) – in many ways, the antithesis of traditional US journalism. Some say that is the best thing about them. ‘Journalism is done a certain way, by a certain kind of people,’ but bloggers “are oblivious to such traditions” (Welsh, 2003). [Jane B. Singer, “The political j-blogger: ‘normalizing’ a new media form to fit old norms” (2005) 6(2) Journalism 173 at 176]

[Emphasis added]

Even if a non-journalist blogger or user of other online media does engage in the level of diligence required to meet the journalistic standard, they may unknowingly fail to do so in a way that produces a strong record of evidence from which a court can conclude that they did act diligently. As a result, many of these defendants may simply not have access to the protection of the Defence.

Nonetheless, Grant does not foreclose the possibility that courts will apply a different diligence standard to non-journalist bloggers and users of other online media as the “norms of new communications media” evolve. Although the court isn’t clear on this point, these groups might be able to gain the protection of the Defence in future cases even if they haven’t performed their diligence in the same way that a traditional journalist would have:

While established journalistic standards provide a useful guide by which to evaluate the conduct of journalists and non-journalists alike, the applicable standards will necessarily evolve to keep pace with the norms of new communications media. [Grant, at para. 97]

[Emphasis added]

Even if the standard applicable to these groups does not shift to allow them to gain the protection of the Defence, juries – who have been tasked with the responsibility for assessing whether the defendant was diligent – may be sympathetic to these groups and apply the journalistic standard less rigidly.

In summary, although the Defence extends to non-journalist bloggers and users of other online media, many members of these groups are unlikely to be protected by the Defence because it requires that they performed the due diligence expected of a journalist. Nonetheless, the law does not necessarily foreclose the possibility that courts will apply a different diligence standard to these groups in future cases, or that juries will less rigidly apply the existing journalistic standard

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Source: Defamation Law Blog
--------------/Defamation news and legal analysis with a Canadian focus/

• What media has to say?-
thestar.com: Supreme Court backs press in major libel ruling,
CBC: New Libel Defence Allowed: Supreme Court,
The Canadian National Newspaper Exopolitics Headlines:
Canada’s Supreme Court establishes new libel defence.

~ For additional information click HERE.-
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>>> Reference posts:
- Constitutional Law: 'Freedom of Expression in Canada',
- Law Tips for Bloggers (Part I) /Burden of Proof in a Civil Lawsuit/,
- Law Tips for Bloggers (Part II) /Defamation Law/ &
- Law Tips for Bloggers (Part III) /SLAPP Suits/.

~ As per decision of the SUPREME COURT OF CANADA (December 22, 2009), journalists and other media, including bloggers, will be protected from lawsuits if they diligently try to verify information on matters that are in the public interest (click HERE for more information and/or check NORVAL MORRISSEAU BLOG's DISCLAIMER @ the bottom of this page ). ~

Thursday, February 2, 2012

The Morrisseau Time Machine (Part VI)

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When: Some Time in 1985;
Where: Richmond Street, Toronto, Ontario

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"Standing Brave", 100"x56", © 1985 Norval Morrisseau
/Click on image to Enlarge/

>The above presented image of a genuine Norval Morrisseau painting on canvas is one from the 'Subway Collection' currently available for purchase at Maslak McLeod Gallery (click HERE), owner Mr. Joseph McLeod of Toronto, Ontario. Click HERE, HERE & HERE for detailed large resolution images of sections of the above painting.

"Standing Brave", 100"x56", © 1985 Norval Morrisseau
~ Inscription on the back /Click on image to Enlarge/

Note: Inscribed with black paint "Coralyn - RENT - Norval"
~ Please refer to Morrisseau History Detective Stories (Part IV)-

> The following is a letter Norval Morrisseau wrote to his landlord Carolyn some time in 1985.

Note the envelope Norval Morrisseau used to send letter to his ladlord Carolyn: 'Northern and Indian Affairs Canada' to Norval Morrisseau (received from the Honourable David Crombie, PC, OC who at that time served as a Minister of Northern and Indian Affairs).
/Click on image to Enlarge/

~ Norval Morrisseau expressed great sense of humour by drawing a post stamp with smiley face on it!-

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~ Page 1 /Click on image to Enlarge/

~ Page 2 /Click on image to Enlarge/

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~ Page 3 /Click on image to Enlarge/

~ Page 4 /Click on image to Enlarge/-

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~ Page 5 /Click on image to Enlarge/

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~ Page 6 /Click on image to Enlarge/

~ Page 7 /Click on image to Enlarge/

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~ Page 8 /Click on image to Enlarge/

~ Page 9 /Click on image to Enlarge/

> It is clear from the painting and the letter that Norval Morrisseau worked with Mr. Julian Porter (a Chairman for the Toronto Transit Commission - TTC) and The Honourable David Crombie (a Minister of Northern and Indian Affairs) on a mural project for the University Avenue subway station adjacent to the Royal Ontario Museum (ROM). He was working on a $300,000 contract with the TTC (see Page 6) and at least one of the paintings (shown above) was given to his landlord Carolyn as a rent payment (see Page 8). Also, he expressed his dissatisfaction with Ritchie R. Sinclair a.k.a. Stardreamer. Telling Mr. Sinclair to leave the project because he was not getting Morrisseau and his team anywhere except to divert him from successfully negotiating the Subway project (read Pages 2, 3, 4, 5, 7 & 8).

> Ritchie R. Sinclair a.k.a. Stardreamer scandalized this story about the 'Subway Collection' event on his website of www.morrisseau.com. Ritchie R. Sinclair misinformed the public that these paintings were stolen. He also publicly slandered Mr. Gary Lamont by calling him a drug dealer and forgery source. He has also stated that Mr. Lamont tried to create a history with Norval Morrisseau (click HERE for original post or click HERE for its screen capture). Also, Ritchie R. Sinclair wrote that I told him that it was Mr. Gary Lamont selling the 'Subway Collection' paintings through Maslak McLeod Gallery. I want to make it clear that I have never had any conversation with Ritchie R. Sinclair in regards to this matter and what he has posted on his www.morrisseau.com.

~ Click HERE to view another painting titled "Shaman with Medicine Turtle" that is offered for sale at Maslak McLeod Gallery (click HERE) that also appeared in a photograph taken in 1985 on the wall behind Mr. Gary Lamont and Norval Morrisseau in Richmond Street, Toronto, Ontario (click HERE to view original photograph taken with permission from Mr. Lamont's website).

> Mr. Gary Lamont a.k.a. Gary Bruce Thacky (Thunder Bay, Ontario) is the owner of www.woodlandartgallery.ca and he did not need to create a history with Norval Morrisseau. Mr. Lamont was a very close and good friend of Norval Morrisseu. Mr. Morrrisseu always kept Mr. Gary Lamont in high regards right from the very beginning of their relationship. Mr. Gary Lamont had a connection with the artist that went back to the beginning of the 1980's and Norval Morrisseau was a family friend since the early 1960's (click HERE).-

~ All the paintings presented now and in the past on www.woodlandartgallery.ca are authentic pieces of art by Norval Morrisseau.

Reference: The following individuals were mentioned in Norval Morrisseau's letter to his landlord Carolyn (building owner being Mr. Wayne Tricket):

~ Steven Harvey and Tony Liddell - rented space for Norval Morrisseau (Page 2);
~ Ritchie Sinclair - Norval Morrisseau's apprentice (Pages 2, 3, 8, 4, 5 & 7);
~ Larry from 'Bear Gallery' (Page 3);
~ The Honourable Lily Munro, Minister of Culture (Page 5);
~ Mr. Julian Porter, who was a Chairman of the TTC from 1979 to 1987 (Page 6) &
~ The Honourable David Crombie*, PC, OC who at that time served as a Minister of Northern and Indian Affairs (Pages 6, 7 & 8).

* The Honourable David Crombie served as Mayor of Toronto from 1972 to 1978 and as Member of Parliament from 1978 to 1988, during which time he served in three different federal Cabinet posts: Minister of Health and Welfare, Minister of Northern and Indian Affairs and Secretary of State.-

>>> Reference posts:
- The Morrisseau Time Machine (Part I),
- The Morrisseau Time Machine (Part II),
- The Morrisseau Time Machine (Part III),
- The Morrisseau Time Machine (Part IV),
- The Morrisseau Time Machine (Part V),
- Morrisseau History Detective Stories (Part V),
- Otavnik Vs Sinclair SC 09-00082782-0000,
- Who is Ritchie R. Sinclair a.k.a. Stardreamer? &
- CASE SUMMARY: Otavnik Vs Sinclair SC 09-00082782-0000.
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Wednesday, February 1, 2012

After 3 years of RCMP & Thunder Bay Police Service investigation no evidence of fraud* found

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/This post was originally published on March 5th, 2011/

* - in regards to any painting and/or paintings done by Norval Morrisseau

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>>> An Royal Canadian Mounted Police (RCMP) investigation which began in 2008 has now ended. Accusations were made about fraudulent works of art done by the late Norval Morrisseau being sold to the public by galleries, auction houses and private vendors. The police departments in Milton, Ontario and Thunder Bay, Ontario were both lead to investigate. After first contacting the Milton RCMP Detachment this writer was told by staff that the case was closed and sent to the Thunder Bay Police Service. Our first conversation began with Sgt William (Bill) Quarrell of the Thunder Bay Police Service Department (tel: 807-684-1256) afterwards. Leading the investigation in Thunder Bay his team found 'no evidence of fraud in relation to any painting and/or paintings done by Norval Morrisseau' as per our conversation over the phone. Sgt Quarrell also made note that the case was closed in Thunder Bay and that it would be re-sent back down to Milton RCMP.

We later contacted the RCMP ‘Toronto West Detachment ‘ in Milton, Ontario and spoke to the leading investigative officer Sgt Gary E. Harvey (tel:905-876-9629) Sergeant Harvey was in charge of the Toronto and Greater Toronto Area of the investigation at the time of this interviewer's call in the month of February 2011. He concluded with our conversation that his investigative team had found 'no evidence of fraud in regards to any painting and/or paintings done by Norval Morrisseau'.

SUMMARY: The case began in Milton, Ontario in 2008 with many vendors, gallery owners, collectors and private citizens questioned. This case was later moved up to the Thunder Bay Police Service Department. Both investigative branches of this case have been closed down and no arrests were ever made by these two police departments to anyone in regards to accusations made of fraudulent paintings being sold at auction houses, galleries, and by private vendors - WHICH IS CONTRARY TO FALSE AND MISLEADING STATEMENTS PRESENTED IN BLOGOSPHERE AND ELSWHERE.

NOTE: The Blog Master of the NORVAL MORRISSEAU BLOG (Ugo Matulić a.k.a. Spirit Walker) was interviewed on a voluntary basis in 2009 for about 1.5 hours by Cpl Judith Falbo. Who worked for the RCMP Federal Enforcement Section in Milton, Ontario – Toronto West Detachment; and currently works at NCO I/C Kitchener Federal Enforcement Section (tel: 519-896-3542; ext 481). Cpl Judith Falbo also confirmed that after three years of investigation that the RCMP had found 'no evidence of fraud in regards to any painting and/or paintings done by Norval Morrisseau'.

BLOG MASTER'S COMMENT:

After three years of investigation by Royal Canadian Mounted Police and Thunder Bay Police Service and after four court cases over the period of five years (see reference posts listed below) nobody has ever been successful in pointing out one case where it was proven that someone made, sold, distributed or even marketed one "fake" Norval Morrisseau painting.
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>>> Reference posts:
1.1 - Otavnik vs. Vadas SC 07-51428-00,
2.1 - Michael Moniz vs. CTV Globemedia Publishing Inc.,
3.1 - Drs. Browne and Witmer vs. Bearclaw Gallery,
4.1 - Otavnik Vs Sinclair SC 09-00082782-0000 &
4.2 - CASE SUMMARY: Otavnik Vs Sinclair SC 09-00082782-0000.
--------------------------------------------------------------

- Downloadable Norval Morrisseau Forensic Reports (Part I),
- Downloadable Norval Morrisseau Forensic Reports (Part II),

- Downloadable Norval Morrisseau Forensic Reports (Part III) &

- Norval Morrisseau Certificates of Authenticity (COAs).-

/Signed by the artist on April 11, 2002 in Thunder Bay, Ontario/
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>>> Morrisseau's artwork in Auction Houses, Commercial Art Galleries & Museums Around the World

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~ Reference for Morrisseau's collectors and investigators

"Ancestral Spirit with Evil Serpent", © 1977 Norval Morrisseau
~ Sold through Maslak McLeod Gallery in Toronto, Ontario CANADA
PROVENANCE: Acquired from Kahn Auctions (Randy Potters Estate Auctions), Pickering Ontario CANADA; Private collection of Mr. David Voss, Thunder Bay, Ontario
/Click on image to Enlarge/

Morrisseau's artwork in Auction Houses, Commercial Art Galleries & Museums Around the World

~ Auction Houses:

- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part I); "LEVIS Online Auctions", Calgary, Alberta.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part II); WALKER'S Auction, Ottawa, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part III); Randy Potters Estate Auctions, Port Hope, Ontario.

I appreciate all of you visiting the NORVAL MORRISSEAU BLOG. It has proven to be an exciting success as I have always envisioned it would be. The subject of Norval Morrisseau is dynamic, exciting and can often times be perplexing. We have strived to establish continuity in documented detail of Norval Morrisseau's mysterious life and career as an Anishinaabe/Woodland artist and will continue to do so.

I wish to thank all the contributors over the years for encouraging me to continue with this monumental project. This BLOG involves thousands of people; buyers and collectors alike. It is dedicated entirely to protecting the integrity of Norval Morrisseau's art and the preservation of his artistic legacy.

Hvala/Miigwetch,

Ugo Matulić a.k.a. Spirit Walker
/spiritwalker2008@gmail.com/

> For the purposes of this blog I would like to be referred to as Spirit Walker. Miigwetch!

>>> Reference posts:
- Fine Art of Investment,
- Art investments can add colour to a portfolio,
- Downloadable Norval Morrisseau Forensic Reports (Part I),

- Downloadable Norval Morrisseau Forensic Reports (Part II),

- Downloadable Norval Morrisseau Forensic Reports (Part III) &

- Norval Morrisseau Certificates of Authenticity (COAs).-

/Signed by the artist on April 11, 2002 in Thunder Bay, Ontario/

* The acrylic painting on canvas in this post: "Ancestral Spirit with Evil Serpent", 58"x37", © 1977 Norval Morrisseau; Sold through Maslak McLeod Gallery in Toronto, Ontario CANADA; PROVENANCE: Acquired from Kahn Auctions (formerly Randy Potters Estate Auctions), Pickering Ontario CANADA; Private collection of Mr. David Voss, Thunder Bay, Ontario

"WE ARE ALL ONE IN SPIRIT" Norval Morrisseau

"ALL THE INFORMATION PRESENTED ON THIS PLATFORM FROM ITS INCEPTION IS BASED ON DATA COLLECTED FROM THE PUBLIC DOMAIN AND OTHER VERIFIABLE SOURCES."

Disclaimer: NORVAL MORRISSEAU BLOG's content is for informational/educational purposes ONLY! * The opinions expressed on the NORVAL MORRISSEAU BLOG are those of the Blog Master, and no other person. * As per decision of the Supreme Court of Canada (December 22, 2009), journalists and other media, including bloggers, will be protected from lawsuits if they diligently try to verify information on matters that are in the public interest (click HERE for more information). * The Canadian Copyright Act, Section 29 reports on fairdealing, that it is not an infringement to reproduce someone else's work for criticism and review, news reporting, and private study or research (click HERE for an Overview of the Canadian Copyright Act). * All content sources, be they artists, printed references, and website URL's are respectfully identified on this blog. Writings on these pages could be removed on request of the stated author(s) only. This statement also applies to the posted digital images and/or photographs of the copyrighted material. * This blog has no control over the information you access via outbound link(s) in the post text, sidebar, footer or comment sections. This blog does not endorse linked website(s), cannot guarantee the accuracy of any information found by following said links or the correctness of any analysis found therein and should not be held responsible for it or the consequences of a user’s use of that information. If you are curious about the veracity of something you find, please consult the appropriate experts. * Blog Master will not be liable in any way for comments posted on this site, and by using this site, you acknowledge and agree that sensibilities vary among people and that you may be exposed to comments you find offensive or otherwise objectionable. Comments herein are the sole responsibility of their writers and the writer will take full responsibility, liability, and blame for any libel or litigation that results from something written in or as a direct result of something written in a comment. The accuracy, completeness, veracity, honesty, exactitude, factuality and politeness of comments are not guaranteed.

All original material Copyright by http://norvalmorrisseau.blogspot.com.

* Personal information of the Blog Master can be obtained at spiritwalker2008@gmail.com.