Norval Morrisseau: Légendes Indiennes du Grand Nord Canadien
Sept 3-24 1969, Galerie Saint-Paul, Saint-Paul de Vence
Under the patronage of Eugène Bussière, Consul General in Marseille.
Saturday, January 12, 2013
Midewiwin Vision Quest (1969) Norval Morrisseau
Midewiwin Vision Quest (untitled)
Norval Morrisseau
1969 Kenora, tempera or acrylic on hide
Mormon Mu Mu (1965) Norval Morrisseau
Mormon Mu Mu
Norval Morrisseau
1965, tempera on kraft paper, 135cm x 74 cm
(Thunder Bay Art Gallery Collection)
(Thunder Bay Art Gallery Collection)
Jesus Christ - The Saviour (1969) Norval Morrisseau
Jesus Christ - The Saviour
Norval Morrisseau
1969, acrylic on canvas board
St. Michael Slaying the Devil (1968) Norval Morrisseau
St. Michael Slaying the Devil
Norval Morrisseau
36" x 22", 1968, kraft paper
Wednesday, December 5, 2012
Igniting the Spirit Within (2012) Vitality magazine
Sounding
Norval Morrisseau and Ritchie Sinclair
1979, 36" x 48", acrylic on canvas
*
On Dec 4 2007 Morrisseau passed on. Four years ago, on Dec 4 2008, I stood in Federal
Court and fought for my right to speak out about his work. At the
time I had no idea that Norval had previously identified paintings as fakes from the inventory of the nine plaintiffs
that had moved for an injunction against me and sued me for millions. In fact I didn't know of
Norval's sworn Declarations about forgeries until weeks after my Federal Court appearances.
The Declarations arrived in an unmarked envelope. I was stunned (as was my lawyer). This was a spectacular occurrence. Here I was out-on-a-lonely-limb when Morrisseau himself somehow reappeared to affirm my opinions about forgeries of his work. Simultaneously his Declarations exposed the plaintiffs' pretense of indignation for what it really was. Now I (too) knew the Plaintiffs' secret. Morrisseau had informed each of them that they possessed forgeries.
Unlike the other Plaintiffs Jim White and his company, White Distribution, did not receive sworn Declarations from Morrisseau apparently because he operated without an overt sales venue, preferring to consign paintings with galleries, including those that received Declarations. Jim White was, however, informed as early as 2001 that Morrisseau had identified paintings he owned as fake.
On Jan 5 2009 I served a comprehensive affidavit on the Plaintiffs which included the Declarations. The Plaintiffs adjourned their injunction motion Sine Die (i.e. until whenever) and never returned to Superior Court to prosecute their Claim which, in and of itself, speaks volumes.
Today I appeared yet again in small claims Court to oppose a motion by the latest to sue me for "calling a spade a spade". After years of defending myself in court I often get asked, "What's in it for you?"
On the downside attempts to discredit my character are always in vogue by those with a vested interest in the paintings I maintain are fake. I'm in good company, however, because they have also discredited and legally threatened others that speak out about the issue, including Norval. The backlash may damage my reputation but I'm satisfied that I took the right road for me. A world rife with what Morrisseau called "abominations" cannot be healthy for society.
In my world fraud is uncool, having a conscience is a prerequisite, and being kind to one another is as easy as breathing. I'm doing my best to head in that direction. Of his detractors Norval would say, "Who them? I left them down the road somewhere". I like this attitude and have adopted it for myself.
On the upside, I continue to love life, painting, teaching, and from time-to-time, writing. My new article in Vitality magazine considers the upside. Read it online here or download the pdf.
The Declarations arrived in an unmarked envelope. I was stunned (as was my lawyer). This was a spectacular occurrence. Here I was out-on-a-lonely-limb when Morrisseau himself somehow reappeared to affirm my opinions about forgeries of his work. Simultaneously his Declarations exposed the plaintiffs' pretense of indignation for what it really was. Now I (too) knew the Plaintiffs' secret. Morrisseau had informed each of them that they possessed forgeries.
Unlike the other Plaintiffs Jim White and his company, White Distribution, did not receive sworn Declarations from Morrisseau apparently because he operated without an overt sales venue, preferring to consign paintings with galleries, including those that received Declarations. Jim White was, however, informed as early as 2001 that Morrisseau had identified paintings he owned as fake.
On Jan 5 2009 I served a comprehensive affidavit on the Plaintiffs which included the Declarations. The Plaintiffs adjourned their injunction motion Sine Die (i.e. until whenever) and never returned to Superior Court to prosecute their Claim which, in and of itself, speaks volumes.
Today I appeared yet again in small claims Court to oppose a motion by the latest to sue me for "calling a spade a spade". After years of defending myself in court I often get asked, "What's in it for you?"
On the downside attempts to discredit my character are always in vogue by those with a vested interest in the paintings I maintain are fake. I'm in good company, however, because they have also discredited and legally threatened others that speak out about the issue, including Norval. The backlash may damage my reputation but I'm satisfied that I took the right road for me. A world rife with what Morrisseau called "abominations" cannot be healthy for society.
In my world fraud is uncool, having a conscience is a prerequisite, and being kind to one another is as easy as breathing. I'm doing my best to head in that direction. Of his detractors Norval would say, "Who them? I left them down the road somewhere". I like this attitude and have adopted it for myself.
On the upside, I continue to love life, painting, teaching, and from time-to-time, writing. My new article in Vitality magazine considers the upside. Read it online here or download the pdf.
Igniting the Spirit Within
Morrisseau’s Art Helps Us to Bridge the Infinite in the Here and Now
Ritchie Sinclair
Dec/Jan Vitality Magazine
Morrisseau’s Art Helps Us to Bridge the Infinite in the Here and Now
Ritchie Sinclair
Dec/Jan Vitality Magazine
Tuesday, November 6, 2012
Read the Hearn v McLeod Superior Court Claim (2012) Norval Morrisseau Legal.com
Saturday, November 3, 2012
Another Morrisseau forgery? Kevin Hearn of Barenaked Ladies sues Toronto gallery over likely fake (2012) Ottawa Citizen
“Spirit Energy of Mother Earth”
acrylic on canvas, dated 1974, artist unknown
-----------------------------
Member of Barenaked Ladies sues Toronto gallery
over whether artwork is a fake
acrylic on canvas, dated 1974, artist unknown
-----------------------------
Dispute over Morrisseau painting heads to court
Member of Barenaked Ladies sues Toronto gallery
over whether artwork is a fake
Excerpts from the article...
Kevin Hearn, the keyboardist for the Barenaked Ladies, is suing a fine-art gallery in Toronto for selling him a Norval Morrisseau painting he believes was a “fake or forgery,” according to documents filed in a Toronto court. Hearn, who is an artist and collector as well as a member of the Canadian pop band, bought the colourful painting entitled “Spirit Energy of Mother Earth” in 2005 from the Maslak McLeod Gallery.
.................................
Hearn said he began to question the provenance of his painting in 2010, when he was a “celebrity guest curator” of a show at the Art Gallery of Ontario that included Spirit Energy of Mother Earth and other pieces from his private collection. According to the statement of claim, about a week after the show opened, the gallery removed Spirit Energy from the exhibit after The AGO’s head curator and “numerous individuals” “suggested that the painting was most likely a fake.”
The statement of claim says that McLeod assured Hearn that “Spirit Energy of Mother Earth,” was authentic, and that his gallery was the “best and safest place” to buy a work by Morrisseau.
............................
“He calls allegations that there are between 800 and 1,200 fake Morrisseau paintings in circulation “preposterous."
..........................
Others, including Donald Robinson, the Toronto art dealer whose gallery represented Morrisseau for about 16 years, disagree. Robinson testified in another court case that there are many fraudulent paintings in circulation.
.............................
Hearn’s lawsuit says that McLeod’s gallery had been “specifically prohibited by Morrisseau himself from acting as authenticators of his work on the basis that the defendants had ... allegedly been selling and authenticating large quantities of fake and/or forged Morrisseau paintings as part of a fraud scheme.”
...................................
Art historian (Ruth) Phillips said that while she had no comment on the painting at the centre of this lawsuit, in general anyone considering buying a Morrisseau artwork should be cautious. “There’s just no question that there are a lot of fakes in circulation. People should be very careful about buying his work.”
Kevin Hearn, the keyboardist for the Barenaked Ladies, is suing a fine-art gallery in Toronto for selling him a Norval Morrisseau painting he believes was a “fake or forgery,” according to documents filed in a Toronto court. Hearn, who is an artist and collector as well as a member of the Canadian pop band, bought the colourful painting entitled “Spirit Energy of Mother Earth” in 2005 from the Maslak McLeod Gallery.
.................................
Hearn said he began to question the provenance of his painting in 2010, when he was a “celebrity guest curator” of a show at the Art Gallery of Ontario that included Spirit Energy of Mother Earth and other pieces from his private collection. According to the statement of claim, about a week after the show opened, the gallery removed Spirit Energy from the exhibit after The AGO’s head curator and “numerous individuals” “suggested that the painting was most likely a fake.”
Kevin Hearn celebrates the opening of his 40-piece exhibit
at the AGO Art Rental + Sales Gallery.
..........................
at the AGO Art Rental + Sales Gallery.
..........................
The statement of claim says that McLeod assured Hearn that “Spirit Energy of Mother Earth,” was authentic, and that his gallery was the “best and safest place” to buy a work by Morrisseau.
............................
“He calls allegations that there are between 800 and 1,200 fake Morrisseau paintings in circulation “preposterous."
..........................
Others, including Donald Robinson, the Toronto art dealer whose gallery represented Morrisseau for about 16 years, disagree. Robinson testified in another court case that there are many fraudulent paintings in circulation.
.............................
Hearn’s lawsuit says that McLeod’s gallery had been “specifically prohibited by Morrisseau himself from acting as authenticators of his work on the basis that the defendants had ... allegedly been selling and authenticating large quantities of fake and/or forged Morrisseau paintings as part of a fraud scheme.”
...................................
Art historian (Ruth) Phillips said that while she had no comment on the painting at the centre of this lawsuit, in general anyone considering buying a Morrisseau artwork should be cautious. “There’s just no question that there are a lot of fakes in circulation. People should be very careful about buying his work.”
-------------------
(Allegations in the Hearn v McLeod lawsuit have not been proven in court)
- Dispute over Morrisseau painting heads to court - (Ottawa Citizen, Nov 3 3012)
- Gallery Sued by Band Member of Barenaked Ladies - (Artfix Daily, Nov 4 2012)
- Barenaked Ladies’ keyboardist Kevin Hearn sues Toronto gallery for Morrisseau forgery (National Post, Nov 5 2012)
- Feud over Morrisseau painting off to court - (Calgary Herald, Nov 6 3012)
- Easy steps to tell if your Morrisseau is a forgery (Star Phoenix, Saskatoon, Nov 10 2012)
- Art factions square off over Morrisseau - (Ottawa Citizen, June 4 2012) (Hatfield v Artworld Inc.)
- NorvalMorrisseauLegal.com - 17 Civil cases and counting...
- Morrisseau.com - Educate Yourself!
Thursday, October 11, 2012
Wabho-wiin Shaman (1962) and the Norval Morrisseau 2012 Retrospective
Norval Morrisseau
30" x 20", acrylic on illustration board, c. 1962
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The Missing Link is Morrisseau
When I apprenticed with Morrisseau in 1979 Norval’s art was known as “Indian Art” and First Nations people were still being called “Indians”. Today, we use terms like “medicine art” and “legend painting” to describe his work. I personally prefer the term, “Woodland Art”, though I never lose sight of the fact that ground zero is all “Indian”.
To me, as it was to Norval, to be Indian is to know Spirit. Everything else including religion and skin colour is superfluous. Norval often said that his goal was simply to “bring out the Indian-ness” that he believed was already present within each of us.
When it comes to Spirit the word “present” is especially significant. To be wholly present; attuned, aligned and trusting Spirit is to experience true freedom. Life lived sacredly in the here and now is an adventure that unfolds magically within a protective aura of love and support that only Spirit affords. Spirit is the only present we really need.
Spirit is an ever-present all pervading presence. Those who know Spirit become grounded in authenticity. They enjoy life, such as it is, in their Garden of Eden. To wander off into yesterday or tomorrow without present cause is to leave the garden. To leave behind communing with Spirit to contemplate bi-polarities like good and evil or heaven and hell is to leave paradise for spiritual poverty. One soon learns that there’s no place like home. Norval taught me, by example, that a truly sacred life will always supersede guilt, which cuts the connection. He also taught that elitism undermines genuine empowerment and that only by “standing under” issues do we discover real understanding.
The ancestors understood Spirit, and through Spirit they knew the natural universe. When compelled, Shaman artists would evoke nature’s forces to assist with aligning energies. Their rock painting evocations have endured many centuries of weathering and survived the cruel purging of the North American Indian culture. The petroglyphs are graphic indicators of Spirit’s intent; in the moment and for the moment. Whether they depict demigods, animals, man-made objects or hieroglyphs; petroglyphs are all channels to empower one in Spirit.
In his early years as an artist, Morrisseau stood under many petroglyphs. Exploring the Great Lakes region with his friend, Selwyn Dewdney, he studied the petroglyphs in the purity of their natural environment. The glyphs provided him with the seeds of a symbolic language whose lost meaning he would be destined to intuit, develop and reveal. The result is that Morrisseau’s magnificent art reignites the sacred Spirit within and inspires one to bridge the infinite and eternal in the here and now.
Mythical Thunderbird
Norval Morrisseau
Acrylic on canvas, 1967,
-------------------------------------------------
The Kinsman Robinson Galleries in Yorkville have quietly been staging an awe-inspiring exhibition of Morrisseau art covering five decades of his work. I took it in prior to its September 15th opening but hope to return for another dose before it moves on. Do yourself the same favour. We all need supplements now and then!
Monday, July 23, 2012
Miskinuk the Turtle anointing the Grand Shaman (1985) Norval Morrisseau
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Miskinuk the Turtle anointing the Grand Shaman (untitled)
Norval Morrisseau
50" x 70", acrylic on canvas, 1985
Westerkirk Works of Art Collection
----------
At an outdoor art exhibition recently held at Toronto City Hall hundreds of artists were exhibiting their work. We arrived around 5:00pm but by 6:30 I’d already seen enough. Granted, many artists received little more than a parting glance in their general direction but honestly; how long does it take to assess inspiration? It’s either there or it isn’t, right?
In my opinion contemporary fine art has become as mundane as the rest of our conformations. We are frighteningly dependent on pre-packaged programming to nudge us from our mass slumber. Whether it be film, music or today’s fine art; we’ve seen it all before. The formulas repeat themselves ad nauseam. Original works of art that refresh the creative imagination and provide a healthy oasis from repetition are increasingly difficult to find.
Fortunately on July 18th I was treated to a first-class exhibition of Morrisseau art on display to honour the Assembly of First Nations (AFN) gathering in Toronto. The AFN so honoured is a sampling of “The People” who are ideally, like this Morrisseau exhibition, a mosaic of colourful originals on a sacred vision quest. This collection, spanning the entirety of Morrisseau’s career, is breathtaking. Each one-of-a-kind masterpiece teems with abundant life and meaning.
In 1989 after exploring the Louvre, Norval had an epiphany where he learned to value the significance of his place in the pantheon of masters. With a shamanistic kaleidoscope of colour that he alone could wield he continued transforming caterpillars into butterflies and turning lead into gold for another decade. Pictographic symbols so crucial to his early career became superfluous veils to his final offering of the light within. Morrisseau's legacy of illumination sparkles in this well-balanced exhibition. Catch it when you can.
I don't know how many of you people ever have technicolor dreams but in that technicolor world that we have inside each one of us... every time you look at my pictures or the colors,... the colors especially... not the images...it brings out that Indianess in you...
1997 Norval Morrisseau
Back in November 2010 “Westerkirk Works of Art” (WWOA) had a plan to produce a Morrisseau art book of their acquisitions. Prior to publishing they were informed that their collection was rife with fakes. Down the Morrisseau rabbit hole they went; hoping to find bunnies, but instead they smelt skunks. Side-stepping battle they absorbed their losses and moved on to buying the real thing.
With deft moves in the midst of a fakery minefield WWOA have succeeded in acquiring a truly representative body of authentic Morrisseau artwork. This Herculean task has been the responsibility of curator, Jessica Wilson, who took it upon herself to “right the WWOA ship” by taking a crash course at the Norval Morrisseau "school of hard knocks". (She passed with flying colours!)
Heyoka Holy Man "Asin" (Urban Elder Vern Harper)
and Westerkirk Works of Art curator, Jessica Wilson
pose in front of an early Morrisseau painting at the July 18 2012 exhibition.
------------------
Westerkirk Works of Art are a class act. They recently published a non-commercial book picturing their new Morrisseau art collection beside relevant Anishinaabe interviews. This beautiful hard-cover book was then given to the members of the AFN and public institutions such as libraries. I trust that it will inspire the AFN, even as it educates them. Furthermore, word is that WWOA will be taking their Morrisseau Exhibit to Northern Ontario First Nation’s cultural centres to inspire those who will most benefit from the experience; the People of the First Nations. Wonderful Work Westerkirk!
Tuesday, July 3, 2012
Soul Return (1983) Norval Morrisseau
Soul Return (Untitled)
Norval Morrisseau
c. 1983, acrylic on canvas, 24" x 34"
-----------
"Perhaps if Morrisseau were born with white skin and if his paintings were canvasses of existing stained-glass windows the fame of the Woodland School would already be Global. Artistic beauty is a precept with Woodland Art. Woodland paintings are characterized by their genuine simplicity with pure colour and symbolic content integrated in elegantly fluid outline and inlay.
The art primarily focuses on the relationship between the "Creator" and the "Created" using symbols to convey natural truths. Most artworks are two dimensional (pictographic) designs that one does not look into as one would a landscape. They are organic statements of inner harmony. Like ripples cast on still water, all symbols in a Woodland School painting have a relationship with one another. "
Woodland Gold, Scroll 2
Receiving Shamanic Power to Lift Society (untitled)
Norval Morrisseau
c. 1983, acrylic on canvas, 24' x 48"
-------------------
-------------------
"Shamanistic art is a creative response to a fundamental sentient need to maintain health and well-being. Through artistic expression, a Shaman calls into play the triple faculties of imagination, intuition and inspiration in order to commune with spirit. The Great Spirit in turn extends to the tribe the power to consciously harmonize environmental forces.
When appreciating Woodland Art in essence we join the tribe vibrationally, and through that connection discover the power within ourselves."
Woodland Gold, Scroll 3
Monday, June 25, 2012
Thunderbird Motif (1958) Norval Morrisseau
Thunderbird
Norval Morrisseau
tempera on plywood, c. 1958-60, 32" x 24"
(Collection of the National Museum of Man, Ottawa)
(Collection of the National Museum of Man, Ottawa)
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Saturday, June 16, 2012
Art as Medicine (2012) Vitality Magazine - Grand Shamanism Explored
When Morrisseau passed away in 2007 he left behind an unparalleled legacy in shamanistic art or, more precisely, “medicine art.” His work weaves colour and form into symbols to produce empowering talismanic magic that many testify, “teaches as it heals.”
R. Sinclair
Vitality - June 2012
June 2012 Vitality Magazine
Art as Medicine - by Ritchie Sinclair
-------------------
June 2012 Vitality Magazine
"Thunderbirds" by Ritchie Sinclair
Celebrating Father's Day
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May 2012 Vitality Magazine
"Mothering Earth" by Ritchie Sinclair
Celebrating Mother's Day
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Friday, June 8, 2012
Is this a Fake Morrisseau? (2012) The Hatfield v Artworld of Sherway Trial
June 4 2012
Is this a Fake Morrisseau?
Norval Morrisseau knew it was fake. To make it clear to Artworld of Sherway in 2004 Norval swore a legal declaration that included a photo of this painting (and others). He also sent legal letters to warn them. Eight years later Artworld continues to offer the public their purported Morrisseau paintings.
Kudos to writer James Adams and the Globe and Mail newspaper for showing journalistic integrity in the face of adversity. The Globe were sued in 2007 for writing an article on this very issue (Michael Moniz v CTV Globemedia Publishing Inc.) yet this claim, settled in 2009 for an undisclosed amount, hasn't deterred the Globe from doing what they do best.
Mr. Moniz, the plaintiff in that action, is apparently a taxi driver with no affiliation to Morrisseau. He acquired dozens of purported Morrisseau paintings through a Mr. Potter who himself attests to having sold approximately 2000 of these paintings through his auction venues. Another Potter purchaser is a Mr. Jim White who consigned at least 80 of his paintings with Artworld of Sherway, including the Hatfield painting. In a 2008 Superior Court affidavit Jim White states that he personally owned at least 250 of the 1000+ images exhibited as fakes on Morrisseau.com. Who are these people?
Ms. Hatfield wisely purchased her painting from a reputable gallery, Artworld of Sherway, with annual sales of 1000-2000 artworks from a stable of 20-odd artists. Artworld director Donna Child testified that 15 years of selling Morrisseau art resulted in sales of only 100/110 Morrisseau paintings (a low estimate). Of these 25-30 were sold on or near February 25th 2005; the period when Ms. Hatfield purchased her discredited artwork. If Artworld's underpinning concern has been that other purchasers may as well seek a refund then perhaps the last thing Artworld Inc. should have done was "make a federal case out of it".
Maggie Hatfield, Ritchie Sinclair, Don Robinson
At Small Claims Court Toronto, June 4 2012.
On June 4 2012, the day of a full moon eclipse, the Hatfield v Sherway trial ended. I had the honour of being the last witness of the day. This after investment collector, "Kevin Cott", appraiser, "Joe McLeod", gallery owner, "Marlowe Goring", signature expert, "Dr. Singla" and distributor, "Jim White" had their moment to "tell the whole truth and nothing but the truth". Morrisseau expert, "Don Robinson", plaintiff, "Margaret Hatfield", defendant, "Donna Child", Norval's brother, "Wolf Morrisseau" and I had testified on previous trial dates but today was a final opportunity for the defence to really pull out their big bazookas.
We've all been subject to an elaborate lie cooked up by a family member, lover, friend, schoolmate or co-worker. Its almost as embarrassing to expose a lie as it is to be the one exposed for concocting it. When two or more are "telling the tall tale" it can be quite the task to unmask it. Usually the culprit(s) will feign ignorance until cornered into over-reactive tantrums and indignation.
Indignant rage expressing itself as an over-reaction is a $17 Million S.L.A.P.P. lawsuit filed against any Woodland artist (further evidenced by the fact that the plaintiffs abandoned pursuing their action years ago).
Indignant rage expressing itself as an over-reaction is Artworld choosing not to provide a dignified client with a refund on a tainted purchase when reasonably requested, but instead choosing to drag their client through an expensive trial that appears to have been forced upon her for other purposes.
Indignant rage expressing itself as an over-reaction is Artworld choosing to hire Brian Shiller, a high-priced ($500 per hour?) lawyer and partner in the Ruby Shiller law firm, to defend a small claims action brought by a retired school teacher who simply wanted a refund on a defective product and was refused.
On September 25 2012 Justice Martial will rule on the basis of five days of trial testimony, dozens of exhibits, and final written submissions penned by Jonathan Sommer for the plaintiff and Brian Shiller for the defendants.
In dividing the wheat from the chaff, these summations and this Court's Judgment will stand next to Don Robinson's Expert Reports and Norval Morrisseau's Statutory Declarations as noteworthy documentation to publicly and permanently reveal authenticity while exposing its contrast. A significant human being's authentic legacy that is a tremendous gift to us all will live on.
In defence witness testimony the seething anger directed at Don Robinson, Gabe Vadas, myself and others for turning off the faucet pales in comparison to the disrespect they aim at their goldmine, Norval Morrisseau. They should be deeply ashamed of themselves. Greed is monstrous in all its forms.
Ms. Hatfield sought truth, faced it, stood up for it and testified to it. I'm thrilled for her. What a display of courage and compassion. There is no feeling quite like integrity vindicated. It is priceless. I wish her the very best this summer climaxed by a fruitful harvest come autumn. She is so deserving.
Stardreamer
Thursday, May 24, 2012
The Copper Thunderbird School of Shamanistic Arts (1979) Norval Morrisseau, Brian Marion, Ritchie Sinclair and Carl Henderson
The Thunderbird School of Shamanistic Arts
The Woodland School of Indian Art became famous in the 1960s as a brand identifying a style of art painted by dozens of First Nation's artists influenced by the remarkable artistic success of Anishnaabe Grand Shaman, Norval Morrisseau.
In 1979 Morrisseau formed the Thunderbird School of Shamanistic Arts which would serve as his personal response to the Woodland School phenomenon which he felt was an unmanageable media-created frenzy of copyists and opportunism. At best he thought that only a few, such as Carl Ray, were serious artistic explorers painting in lockstep with spirit.
Morrisseau was disenchanted with 'Indians' in general. He often spoke of his excommunication and its apparent contradictions. Other Anishinaabe appeared to enjoy the freedom to paint similar imagery yet he alone remained cursed by native Elders simply for being first through the gate. The fact that the 1984 Art Gallery of Ontario (AGO) exhibition dedicated to the art of the Woodland School was entitled Norval Morrisseau and the Emergence of the Image Makers instead of "Norval Morrisseau and the Emergence of the Woodland School" is indicative of Morrisseau's position on the matter.
In 1979 Morrisseau was a highly motivated visionary, clean of inhibiting weaknesses such as alcohol. The Thunderbird School that he was compelled to form consisted of himself and his three apprentice Shaman artists: Ritchie "Stardreamer" Sinclair, Carl "Sunshine" Henderson and Brian "Little Hummingbird" Pashigeesic Marion. Painting together, the four artists sought to uplift society with Spirit-driven art and to vision quest in tandem to the Hall of Records to share their experience with one another and the World.
In 2007, Norval Morrisseau, Canada's most popular fine artist, passed away. At the Norval Morrisseau Memorial held soon after at the Native Canadian Centre in Toronto proteges Brian Marion and Ritchie Sinclair vowed to externalize the Thunderbird School of Shamanistic Arts in accordance with their mentor's originating vision. (See Toronto Star, December 9 2007)
In 2010 the Thunderbird School of Shamanistic Arts launched a website at www.ShamanisticArts.com as a gathering place to facilitate an emerging movement of contemporary artists and dedicated students who share a common vision inspired by the School's founder.
Heyoka Holyman Vern Harper
Honourary Headmaster of The Thunderbird School
A trusted friend and comrade to the late Norval Morrisseau and his nephew the late Brian Marion, Vern Harper is a Cree spiritual Elder and Medicine Man. The “Urban Elder” as he has been called, is a fifth generation grandson of Mistawasis, “Big Child” - a hereditary Chief - and the sixth generation grandson of Big Bear, who fought the last battle between the Cree and the Canadian government in 1885. His Cree name, Asin, means Stone. Among his many diverse roles, Vern Harper is one of only a few Elders in Canada with Chaplain status. A traditional oral storyteller, Vern Harper's messages are simple, timely and universal. Read more about Elder Vern Harper.
Ritchie "Stardreamer" Sinclair
Leading the Thunderbird School
For more information about the originating Thunderbird School of Shamanistic Arts and its founders read the well respected e-book written by Ritchie Sinclair, entitled, “Woodland Gold, A 21st Century Guide to the Woodland Art Movement” available online at www.WoodlandGold.com.
Friday, May 18, 2012
Our investigation uncovered evidence of fraud (2010) RCMP on the Norval Morrisseau Forgery Investigation
Travel Between Planes (Untitled Sketch)
Norval Morrisseau
1972-1973, pencil on paper, 18 x 36.5 cm
-------
-------
What separates Morrisseau's art from all other Woodland artists is the inherent investment value present in his signature. Unfortunately no Woodland artist, including Norval Morrisseau himself, could hope to compete with the tidal wave of counterfeits auctioned off over the course of a decade at around 1/10th his market value. Most of these inferior fakes bearing his signature were always destined to be resold at or near market value. In fact galleries nationwide jumped at the golden opportunity to cheaply fill their walls and websites with what they purported to be genuine Morrisseau paintings. Many of the greediest offenders were wise to the truth, having been legally notified by Morrisseau and his lawyers, but this didn't deter them.
Counterfeit Morrisseau paintings first appeared at Toronto area auction venues as far back as 1997. Successful bidders resold their paintings over the internet for as little as $250, and through galleries for as much as $250,000. Also, purported Morrisseau art cheaply acquired, re-appraised to market value, and then donated to institutions disguised as "Indian culture" produced high returns for investors. This business of "Gifting" purported Morrisseau art for donation in lieu of tax receipts has always been integral to this fraud.
In 2007 when Norval passed away he was here in Toronto attending meetings with RCMP fraud investigators. In September 2008 the RCMP launched a nation-wide investigation delving into the alleged production and proliferation of thousands of Morrisseau forgeries. As of May 2012 the RCMP Norval Morrisseau fraud file remains unresolved.
Norval wanted the abominations destroyed yet thousands of these inferior, depressive, counterfeit paintings still exist, and apparently will continue to exist. Woodland artists and their once strong community of collectors now share their passion for Spirit-driven art in a putrid swamp where poisons bubble to the surface with regularity. It is a daunting task to neutralize the pollution.
In 2008 I launched an image gallery at www.morrisseau.com to showcase counterfeit Morrisseau art. Here I display over 1000 images of purported Morrisseau paintings that I believe are fake. My intention has been to both assist the public and to protect the integrity of his art. I have since been harassed, defamed and unsuccessfully sued by those with an interest in derailing my effort.
As an RCMP witness it was obvious to me that the entire task force were well aware of the scope of the Morrisseau art fraud. After conducting hundreds of interviews the RCMP knew the suspects, their roles, and the immensity of this ongoing crime.
The RCMP uncovered evidence of fraud, as the email below from the officer in charge of the investigation attests to, yet to date no one has been criminally charged.
Why? I was told that, at this time, prosecution presented insurmountable obstacles. So be it.
The evidence of fraud is everywhere and its only a matter of time.
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