Monday, April 23, 2018

Canadian Mainstream Media's Continuing Destruction of the Norval Morrisseau Legacy...

Updated on May 21st, 2018


The following copyrighted section is an excerpt taken from, “,” and used with permission from the author John Goldi CSC.

"On the Morrisseau file, the mainstream media’s record is beyond execrable.

From the beginning the mainstream media has been hand-in-glove with the fraudsters because they – like the OPP at Ipperwash – provide ready-made handouts to journalists and give them the “facts” and the conclusions all tied up with ribbons:

– none published the Globe’s worst incident of anti-Indigenous journalistic malfeasance in its entire history (re Moniz v CTVglobemedia) and its payout of $25,000 for Libel and Defamation of genuine Morrisseau paintings,

– none published Joe Otavnik’s landmark lawsuit win over Gabe Vadas who paid him $11,000 to shut up and go away, rather than face a judge with his false accusations that Joe’s paintings were “fake,”

– none published that Art Terrorist Ritchie Sinclair was arrested by Toronto Police for Criminal Harassment of 82 year old Joe McLeod, a perennial target for art terrorism by the KRG/NMHS Combine,

– none published Judge Lacavera’s damning denunication of Ritchie Sinclair (in Regina v Otavnik) for repeatedly lying on the stand,

– none published about KRG’s abandonment of KRG’s Million Dollar lawsuit for Libel and Slander, v Ugo Matulic, which it had loudly, aggressively and published for years,

– none published about Bell Media/CTV’s worst incident of anti-Indigenous journalistic malfeasance in its history, by promoting, on air, and on the net, racist Indian imposter/impersonator Ritchie Sinclair as a credible voice. An incident that led to them shutting down Canada AM rather than face the wrath of advertisers I said I would go to to expose their racist malfeasance,

– none published about the disgraceful forced SAW Gallery dismount of a genuine Morrisseau, and a Public Apology in the Ottawa Citizen, after the judicially and forensically authenticated painting had been promoted as a “fake” by Ritchie Sinclair and the National Gallery of Canada’s Greg Hill,

– and true to standing orders from their bosses, the mainstream media NEVER mentions or promotes any blogger, no matter how incredibly credible is their archive of historic documents, or how extensive are the credentials and expertise of the researchers and publicists.

The quality of blogger publishing is what has destroyed and collapsed the mainstream media business in the 21st century, and sent it scurrying for government welfare handouts to stay afloat.

– I could go on with this list that further disgraces a media profession, if that were possible…

It’s easy to see why the tide for truthful, informed, and reputable reportage turned away from the usual “journalist hacks” to public communicators who were themselves fed up with the unresearched and unsubstantiated drivel produced by the mass media."

Excerpt from Article by John Goldi CSC, copyright 2018.

Text: Courtesy of


How allegations of a forgery ring are threatening Norval Morrisseau’s legacy

Picture-perfect forgery? Art world awaits court decision on alleged fake Norval Morrisseau painting


IN MEMORIAM: Joseph B. McLeod (1928-2017)

Kevin Hearn Vs. Joseph B. McLeod and Maslak McLeod Gallery Inc.
/Court File No. CV-12-455650/
Awaiting Justice Edward M. Morgan's Judgement...

Maslak-McLeod Gallery


>>> In a court judgement "Hatfield vs. Artworld of Sherway" /Court File No. SC-09-087264-0000/ Judge Paul J. Martial stated the following about Mr. Joseph McLeod:

“He demonstrated a superior depth of knowledge of Morrisseau…” (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 25)

“The testimony of Mr. Joseph McLeod is indicative of his care and the detailed effort to confirm provenance, including the hiring of a forensic expert to examine the signature on the back of the painting indicate that he took his role to provide appraisals seriously. His testimony… demonstrates his depth of knowledge of the painter due to his lengthy association with the artist.”

(Judgment by Judge Paul J Martial: March 25th, 2013 - Page 35)


> An art expert with a comprehensive knowledge of an artist's work who generated adequate consensus within the art community to establish the authenticity of Norval Morrisseau's works of art.

Mr. Joseph McLeod (1928-2017) is widely regarded as one of the foremost experts in Canadian 'Woodland Art' and his Maslak McLeod Gallery had built an impressive reputation in the art world for more than 30 years.

He had been a qualified expert witness for the Crown in Federal Court with respect to Norval Morrisseau's art in a pivotal Tax Court of Canada case relevant to cultural property donation program [see Zelinski, Whent, Pustina v. The Queen, (No. 92-424)].

Recently, Mr. Joseph McLeod testified in a pivotal court case relevant to authenticity of Norval Morrisseau artworks [see Hatfield, Margaret Lorraine vs. Child, Donna and Artworld of Sherway].

Mr. McLeod had also been called upon by numerous auction houses such as Sotheby's to help authenticate Norval Morrisseau artworks with his professional expertise.

Mr. McLeod was a member of Art Dealers Association of Canada (ADAC) and had a membership with The Canadian Association of Personal Property Appraisers (CPPA).

>> Mr. Joseph McLeod was instrumental in bringing Canadian Native Art to Germany, Italy, Brazil, Japan, China, France and Puerto Rico.

>>> Affiliations Curatorial and Appraisal Work of Joseph McLeod:

Art Dealers Association of Canada;
Canada Council for Aboriginal Buisness;
The Government of Canada;
Museum of Thunder Bay, Thunder Bay, Ontario CANADA;
Smithsonian National Museum of American Art, U.S.A.;
The Paul R. Macpherson Woodland Collection of Art,
McMaster University Museum, Hamilton, Ontario;
Sotheby' - Master Dealer;
Institute of American Indian Art, Santa Fe, New Mexico, U.S.A.;
The Pequot Museum, Conneticut, U.S.A.;
The Heard Museum, Pheonix, Arizona, U.S.A.;
Govenor's Gallery, Santa Fe, New Mexico, U.S.A.;
Volkunder Museum, Munich, GERMANY &
Exposicao de Arte Indigena, Belo Horizonte, BRAZIL.

Sunday, April 22, 2018

Earth Day 2018


Portrait of Norval Morrisseau (detail) Illustration by Spirit Walker

© Susan Murar; Photography by Lucinda Jones
Portrait (White clay): 6'-4" x 3'-6" x 2'-2" (Height x Width x Depth)
Staff (White clay): 3'-10" x 1'-10" x 10" (Height x Width x Depth)
/The portrait has not yet been cast into bronze/
- -

Norval Morrisseau has not left us, love never leaves, it defines life. He was aware as an artist in this world that the quest and the goal of all life is to reach the pinnacle of understanding the concept of love. The subtext of all his life's work - and he heard it in Spirit - "It is essential that all life respect life". Love. His creations were defined by love. Humankind is in the process of discover­ing the definition of love, and Norval was well aware of this in every cell of his Being. He did everything that was within his powers to move us closer to this understanding, through his paintings.
He has told us that he is a child of the stars, and he tried to tell us that we too are star children. He demonstrated beautifully, artistically, that there is no balance between spirit life and physical life, there is no contest - the Spirit is always #1. Because of this and he understood this instinctively, joy is our legacy, "wherever joy is, you are". Norval knew this and he gave this to us intimately as "Copper Thunderbird" shaman artist.
He has not left us, he is here celebrating his gifts to us as we continue to receive them. For generations to come - the joy of his creations will speak to us of this great artist, and we will wonder and certainly rejoice as he was so much a part of us, and we of him. As we are all - always in all ways - he was a messenger.
"All is well, blessings be."-
Susan Murar, Sculptor

>>> Reference post:

Friday, April 20, 2018

Celebrating Saul Williams' 64th Birthday

Saul Williams (b. 1954)


"Homage to Morrisseau," © c. 1980 Saul Williams
/Click on image to Enlarge/

Saul Williams, a former member of the Triple K Co-operative, was born on the peninsula at North Caribou Lake, Ontario on April 20th, 1954. He was the son of the late Mike Williams and Annie Quequish of the Little Crane clan. He is one of nine children in a family of three boys and six sisters. Saul attended Indian Affairs Day School until grade eight. As a child he was always interested in pictures and began drawing as soon as he got his hands on a pencil and paper. Saul attributes much of his creative ability to his uncle, Mayo Quequish who was always drawing and creating cardboard replicas of airplanes and other objects seen in Ontario’s far north.

Saul Williams painting ‘The Beadworker’ at the ROM, 2017

Saul received his first paints from Mary Black-Rogers, an anthropologist who spent many years at Weagamow Lake with her husband, Dr. Ed Rogers of the Royal Ontario Museum. In the summer of 1969 Saul sold his first painting for 5 dollars. Saul Williams held his first art show at York University in 1971. Over the years he has combined artistic pursuit with a series of jobs: carpentry; firefighting, dockhand, art teacher in northern schools and school counsellor.

Saul’s motivation for painting is to share knowledge and tradition with all peoples. ‘Much racism in the world is due to the lack of understanding each other,’ he says. Saul also seems himself as a ‘record keeper’ of his people’s beliefs that are rapidly disappearing in the wave of bland western media that has invaded homes all over the world. Saul’s vibrant paintings are held in the McMichael Canadian Art Collection in Kleinburg and the Woodland Indian Cultural Education Centre in Brantford, Ontario; the Royal Ontario Museum, the New College in Toronto as well as many private collections in North America.

He participated at the Woodland Arts Festival in July of 2008 where he contrbuted in Art Talks and met with youth to share his extensive knowledge of the art world.
Source (images): This Saul Williams' "Homage to Morrisseau" was used as the cover art for NORVAL MORRISSEAU AND THE EMERGENCE OF THE IMAGE MAKERS; ISBN: 0-458-97390-4, Art Gallery of Ontario, 1984 /Methuen Publications/; Woodland School master painter at the ROM /The Anishinabek News/

>>> Reference posts: - Great Anishinaabe/Woodland Artists (Part I) /Carl Ray/ - Great Anishinaabe/Woodland Artists (Part II) /Daphne Odjig/ - Great Anishinaabe/Woodland Artists (Part III) /Benjamin Chee Chee/
Great Anishinaabe/Woodland Artists (Part IV) /Jackson Beardy/ - Great Anishinaabe/Woodland Artists (Part V) /Joshim Kakegamic/ - Great Anishinaabe/Woodland Artists (Part VI) /Roy Thomas/ - Great Anishinaabe/Woodland Artists (Part VII) /Arthur Shilling/ - Great Anishinaabe/Woodland Artists (Part VIII) /Alex Janvier/ - Great Anishinaabe/Woodland Artists (Part IX) /Eddy Cobiness/ - Great Anishinaabe/Woodland Artists (Part X) /Martin Panamick/ - Great Anishinaabe/Woodland Artists (Part XI) /James A. Simon - MISHIBINIJIMA/,
- Great Anishinaabe/Woodland Artists (Part XII) /Carl Beam/,
- Great Anishinaabe/Woodland Artists (Part XIII) /Norman Knott/,
- Great Anishinaabe/Woodland Artists (Part XIV) /Clemence Wescoupe/,
- Great Anishinaabe/Woodland Artists (Part XV) /Cecil Youngfox/,
- Great Anishinaabe/Woodland Artists (Part XVI) /Goyce Kakegamic/,
- Great Anishinaabe/Woodland Artists (Part XVII) /Leland Bell BEBAMINOJMAT/,
- Great Anishinaabe/Woodland Artists (Part XVIII) /Ahmoo Angeconeb,
- Red Lake Woodland Arts Festival: A Tribute to Norval Morrisseau and the Woodland Artists in 23 DAYS! & - IN MEMORIAM: NORVAL MORRISSEAU .
* The painting in this post: "Homage to Morrisseau", 24"x 20", c. 1979-1980 © Saul Williams. The image of Saul Williams' painting was used for the front cover of the above mentioned book /Private Collection/