Wednesday, October 7, 2009

Joshim Kakegamic's Signatures

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~ Reference for Morrisseau's collectors and investigators
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Joshim Kakegamic (1952-1993)
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/Click on image to Enlarge for detailed examination of Joshim Kakegamic's signatues in both English and Cree Syllabics/
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Born in 1952 in Sandy Lake, Joshim Kakegamic enjoyed early and extensive contact with brother-in-law Norval Morrisseau and with Carl Ray. Joshim Kakegamic studied with Ray and Morrisseau during their tour of northern reserves. Joshim Kakegamic had his first group show in 1969 and presented a solo workshop at Fanshawe College. In 1973 Joshim Kakegamic and his brothers Goyce and Henry started the Triple K Co-operative, a silkscreen operation based in Red Lake. Triple K Co-operative artists included Norval Morrisseau, Goyce Kakegamic, Joshim Kakegamic, Saul Williams, Barry Peters and Paddy Peters. Triple K Co-operative became the largest and most successful Aboriginal economic development initiative in Northwestern Ontario, providing an infrastructure that resulted in many artists having their work exhibited and acquired by prominent art galleries and museums in Canada and around the world.
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By 1975 Joshim Kakegamic was being shown at Aggregation Gallery in Toronto, which still handled Carl Ray’s work. While Joshim’s predecessors invented and refined the pictographic style, Joshim Kakegamic was weaned on it, and rapidly perfected the vocabulary. He was a painter of technical virtuosity and an innovator in the field of Indian print production. Joshim Kakegamic died tragically when his snowmobile fell through the ice while he was trying to save life of another man in 1993.

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- For more information about the Triple K Co-operative go to WIKIPEDIA.
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Note: Photograph of Joshim Kakegamic by Mary Bramley and Derek Harrison
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>>> Reference post:

- Great Anishinaabe/Woodland Artists (Part V) /Joshim Kakegamic/
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1 comment:

Anonymous said...

I've been a devoted watcher of your blog for some time now and feel I must tell you how much I enjoy reading everything you print and show. It is really a course in itself about Canadian native art. It is also sad to read how some elements of the Morrisseau cult have resorted to shady practices as far as his his and other native art is concerned. I am pleased that you have stayed positive in most cases and hope that you won't let those that see Morrisseau art as simply another way to make money stop your good work.