64 Academic Malfeasances of Professor Carmen Robertson

A truly stunning and astonishing picture that tells a damning story of how Visual Art research is carried out at the University of Regina. A fake photo of an event that never happened. The University of Regina’s Professor Carmen Robertson beside a painting, in Toronto, which she has NEVER listed among the ONLY TEN paintings in her database she lists as having actually “observed” in hand, (as opposed to seeing them in books or in low res files) Kevin Hearn’s “Spirit Energy of Mother Earth.” That didn’t stop her, in far-off Wascana Creek, Saskatchewan, from writing a 67 page “expert report” calling the painting a total “fake,” in a “play for pay” contract for someone whose identity she hides. She has now (since Sep. 25, 2017 (thanks to a forensic report first publicly released on this Blog) been totally exposed as, either, a complete fool, or a willing and malicious participant, in an art fraud, because a forensic expert has totally authenticated the painting, which she denounced as done by a forger, as signed by Norval Morrisseau, with DNA certainty.

More than any other Canadian forensic scientist, Kenneth J Davies, has the Morrisseau fraudsters on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation – some 80 to date – has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding.

On Sep. 25, 2017, professional handwriting expert Kenneth J Davies, of Hawkeye Studios, in Calgary, AB, has totally authenticated Kevin Hearn’s “Spirit Energy of Mother Earth” as authentically signed by Norval Morrisseau, and by no one else, with DNA certainty.

It is a stunning development in the case and shows conclusively that Kevin Hearn’s lawsuit, put forward by Quebec lawyer, Jonathan J Sommer, who have claimed “Spirit Energy” is a fake, for six years, is fraudulent, without merit on any level, and must now be dismissed because it has NO CAUSE OF ACTION.

The forensic finding, with DNA certainty, completely and totally, without a smidgen of error or doubt, exposes, discredits, and disgraces, BOTH people put forward by Jonathan Sommer as his “expert witnesses” and BOTH their clearly fraudulent “expert reports.”  

This should bring to an end, the ONLY LAWSUIT IN ALL OF CANADA ALLEGING A MORRISSEAU “FAKE”… And a dead end for Jonathan Sommer and his Morrisseau “fakes” business, he being the only lawyer in Canada – out of 90,000 – to be involved in such a fraudulent and meretricious case.

What the University of Regina should do with its clearly academically malfeasant, negligent, and vicious and malicious professor, is up to its Board of Governors. Her slanging and fraudulent report has done GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people.

Professor Carmen Robertson of the University of Regina’s Visual Arts department, located on Wascana Creek, SK, has tried to pass herself off as an expert on Norval Morrisseau and his art.

In a vicious and malicious document, which she calls an “expert report” she has listed her basis for discrediting, and devaluing Kevin Hearn’s painting, “Spirit Energy of Mother Earth,” as a fake, and the man who sold it to him, Joe McLeod, for decades regarded as Canada’s senior Morrisseau expert, going back to 1959, as some kind of crook, creep, or conman, alleging he knowingly was selling fakes.

I am one of only three or four people, in the world, who have even seen this report, and am certainly the only one who has investigated it with a fine tooth comb on which this analysis is based.

My language is strong. Racism is an evil; Fraud is evil. Promoting an art fraud, that has done GREAT IRREPARABLE HARM to the art and artists Canada’s Indigenous people, needs to be denounced in the strongest terms possible, and to mercilessly target the guilty agents of Cultural Genocide, no matter who they are, who they claim to be, or from where they come.

Was He Pushed? – Or Did He Jump? – Can you guess why Jonathan Sommer has finally dumped Robinson, whom he has trumpeted for years, as the best Morrisseau “expert,” only to have him, his testimony, and his expert reports, utterly discredited, and “rejected” by judge, after judge, after judge, as self-centred, uncredentialed, and just not trustworthy or believable, even under oath on the stand? This makes it an astonishing FIVE OUT OF FIVE of Robinson’s Expert Reports, alleging Morrisseau “fakes” that have been trashed, by judges and lawyers, in every lawsuit they have ever appeared. A unprecedented and stunning record of fraudulent publication by any “expert” I know of. But he has trained Professor Carmen Robertson to follow his discredited career path as a “Morrisseau expert” and “expert witness.”  You would have thought she learned her lessons well at the foot of her mentor. You would be wrong; her “expert” report is nothing, if not a total embarrassment to any professional, and to her university. Here is my Blog page that finally convinced Jonathan Sommer to “kill” Robinson as his “expert witness” and toDump Robinson

A typical 1970s BDP which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. In September 2017, his judgment was proven correct again, as Kevin Hearn’s notorious BDP, is ruled authentic by an independent handwriting expert, with DNA certainty.

Deliberately Negligent, Deceptive, and With Malice Aforethought…

The Professor Robertson “expert report,” which I discovered in an evidence box in a Toronto courthouse, is to my mind, the most incompetent, fraudulent, and malicious document written by a so-called academic I have ever seen in the 51 years I have been a credentialed historian. It ranks up there in credibility, right alongside the notorious “Hitler Diaries.”

I have found at least 64 deliberate transgressions of Gross Academic Malfeasance by a Professor, who, by publishing the farcical analysis she has put into the court records, has done Great Irreparable Harm, not only to ALL the art of Norval Morrisseau, but to ALL the art and artists of Canada’s Indigenous people.

With her slipshod and negligent research, and indefensible deductions based on NO credible evidence, but always showing a deliberate willingness to hide evidence, ignore evidence, refuse to read or consult key documents, key publications, and key experts, she betrays a willingness to “play for pay” for fraudsters, never giving a moment’s thought to where such malfeasant  behaviour would take her. Clearly, for her, in Wascana Creek, all roads lead to the Bank.

Malfeasance #1 – Professor Robertson sets the academic research model on its head, starting with a conclusion, that a Morrisseau painting – and five others – are fakes, and then turning heaven and earth to martial her “research” to try to make it fit, to show that her thesis is the one you should believe.

All done for pay, of course, in a model of academic research she has clearly copied from Big Pharma, Big Tobacco, Big Oil, doctors promoting Thalidomide as the “wonder drug,” George Bush’s (the CIA’s) Weapons of Mass Destruction in Iraq, and Dr. Mengele’s research proving Jews are inferior, and Germans are the Master Race.

Malfeasance #2 – Viciously attacking – without credible evidence – a painting she has never personally seen, “observed” or “viewed” or examined in hand.

Malfeasance #53 – Viciously attacking a man, Joe McLeod, whom she never interviewed. Her discrediting – without credible evidence – of a decent man, and art and Morrisseau expert, is heinous, and unforgivable on every level.

Malfeasance #4Claiming to be a “research expert,” as a professor since 2001, on a man and his art – Norval Morrisseau – whom she never met or interviewed, at any time from then till he died seven years later.

Malfeasance #59 Willfully blind, in refusing to interview some dozen key people who are utterly key to what she claims to be “researching.”

Malfeasance #5Deliberately and deceptively publishing an academic document without signing it with her name.

Malfeasance #19Deliberately and deceptively hiding the existence of this – her second biggest publication of her career – from ALL her professional bios in her “Mythologizing Norval Morrisseau” book, her University of Regina online bio, or her Art Canada Institute bio. Or in her current monstrous listing of all her bio material in small print over seven pages. It’s by far her biggest Appendix.

This is clearly a most damning act of deliberate subterfuge by a professor who’s astonishing bio in this “expert report” is her biggest appendix addition by far, and mentions every single one or two page article (scores and scores of them) she’s ever written, anywhere, since she became literate. BUT SHE DOES NOT REFER TO THIS REPORT – THE SECOND BIGGEST THING SHE’S EVER WRITTEN – ANYWHERE ON ANY OF HER BIOS. Clearly it is her fear, she’ll only contaminate her academic career with acknowledging it. And she damn well should, because it will.

Malfeasance #13Gushingly and subserviently publishing works by Ruth Phillips and Greg Hill, who each, have the most execrable reputation possibly for having repeatedly discredited genuine Morrisseau paintings as fakes, with a twofold purpose, front for the KRG fraud, and obey their directions to target people on KRG’s hit list.

Malfeasance #20  – Deliberately and deceptively, refusing to note in sources, anyone who disagrees with her thesis, and aggressively ignoring major publications who expose what she says as fraudulent and not supported by judges, by forensics, or the documentation.

Malfeasance #6Deliberately and negligently refusing to mention having attended or researched public auctions, where thousands of genuine Morrisseaus were sold during her so-called period of research.

Malfeasance #32Deliberately and negligently refusing to research, quote, or mention commercial art galleries, who have handled far more Morrisseaus than any of the very few national art galleries, which Robertson chooses to restrict her research to.

Malfeasance #29Deliberately refused to interview Donna Child, who resoundingly won her court case affirming “Wheel of Life” as an authentic BDP, from two judges, and ruling in every way possible, against the lawyer, Jonathon J Sommer, and his witnesses (Donald Robinson and Ritchie Sinclair) claiming her painting was a fake.

Malfeasance #15 Ignoring and being in flagrant violation of multiple protocols of the Ontario Rules of Civil Procedure, Rule 4.1, that outline the “Duty of an Expert” and outlining protocols defining how an expert must be neutral. Her violations may be fine in Wascana Creek, but they are NOT acceptable in Ontario.

RULES OF CIVIL PROCEDURE – RULE 4.1 DUTY OF EXPERT

4.1.01  (1)  It is the duty of every expert engaged by or on behalf of a party to provide evidence in relation to a proceeding under these rules,

   (a)       to provide opinion evidence that is fair, objective and non-partisan;

   (b)       to provide opinion evidence that is related only to matters that are within the expert’s area of expertise; and

Duty Prevails

   (2)  The duty in subrule (1) prevails over any obligation owed by the expert to the party by whom or on whose behalf he or she is engaged.  O. Reg. 438/08, s. 8.

Malfeasance #7Robertson refuses to disclose her numerous conflicts of interest in writing her report and claiming to be an expert, deliberately hiding her close relationship to Donald Robinson and other longtime judicially discredited and forensically disgraced promoters of the Morrisseau HOAX fraud.

Malfeasance #46Deliberately and deceptively publishing an academic document without dating it.

Malfeasance #30Deliberately and deceptively publishing an academic document without revealing when her research for the report began.

Malfeasance #60Deliberately and deceptively publishing an academic document without revealing who contracted or commissioned her, who paid her, and under what circumstances.

Malfeasance #36Deliberately and deceptively publishing an academic document without revealing what the purpose of her expert report was.

Malfeasance #54Deliberately hiding the fact that, for years, she has been a close collaborator with Donald Robinson and the Kinsman Robinson Galleries in willfully promoting a fraud.

Malfeasance #61Publishing as sources, only the publications of her friends and colleagues who have been collaborators with KRG for years of cultural genocide against the art of Norval Morrisseau.

Malfeasance #55Deliberately, negligently, and with malice aforethought, ignoring the main website and document source exposing the Morrisseau HOAX that she is aiding and abetting – theMorrisseauHoaxExposedBlog.com

Malfeasance #58Deliberately, negligently, and with malice aforethought, ignoring the main Norval Morrisseau heritage promoting blog – the Ugo Matulic blog.

Malfeasance #28Deliberately, negligently, and with malice aforethought, DOES NOTE and reference, the Ritchie Sinclair website, most vicious, racist website ever published in Canada, attacking leading First Nations people as forgers, and crooks.

Malfeasance #8Deliberately, negligently, and with malice aforethought, DOES QUOTE Ritchie Sinclair, the worst art and cyber terrorist, convicted Libeler and Slanderer, and Faux-nishinaabe Indian imposter/impersonator in Canadian history.

Malfeasance #63Deliberately and with malice aforethought, and without any proof, she changes four Morrisseau paintings, donated by the Otavnik family, in 2004, from authentic to attributed (FAKE), even though these had passed a rigorous vetting regimen by Thunder Bay Art Gallery curators and tiers of experts acting for Revenue Canada and the Cultural Properties Review Board.

Sharon Godwin is playing a very dangerous game as a curator, I believe, putting personal friendships ahead of her fiduciary duties as head of a public art gallery.

Sharon Godwin, the Director of the Thunder Bay Art Gallery, strongly, and repeatedly, refused to tell me whether she had changed the status of any paintings in her gallery, leaving you to figure out what she is hiding and why?

On the other hand she totally denied, when challenged, by third parties, who reported to me, that she had changed the designation of the four Otavnik family paintings, which Robertson had totally impugned as utter fakes in three different places in her report: in her List of Illustrations, her tabular display of referenced paintings, and her textual analysis and conclusions.

Godwin, mysteriously, refused to answer my question regarding their change in status, writing that “we consider (Robertson) one of the best academic experts on Norval Morrisseau and an honest person and accomplished researcher.”

It also took Godwin several weeks to reply to my questions, saying that “various people I wished to consult with were on vacation.”

This critique should tell you lots about Sharon Godwin’s level of academic, art, or Morrisseau expertise.

What is incontrovertible is that either Professor Robertson is lying, or Sharon Godwin is lying. Or Both… You decide.

I can say without the slightest fear of contradiction from anyone, that Professor Robertson would NEVER unilaterally change the status – and so discredit, defame, and devalue – from genuine to fake, of four paintings belonging to a close friend and colleague’s prominent public gallery, without her complete approval and complicity, before doing so.

What is also incontrovertible, is that by Robertson – again whether unilaterally or in collusion with Godwin – now claiming that the four Otavnik paintings are fakes, thereby she/they are also calling the Otavniks deliberate art fraudsters, in trying to pawn off fake Morrisseaus on the Thunder Bay Art Gallery, and are involved, therefore in a fraud against Revenue Canada.

It is, in fact, that exact claim that art terrorist Ritchie Sinclair – after he says he talked to Sharon Godwin in 2008 – made against Joe Otavnik and his family, in a sworn affidavit, quoting Godwin’s denigrating comments to him regarding the self-same Otavnik paintings.

Ask yourself: if Sharon Godwin is documented, in a sworn Affidavit as discrediting the Otavnik paintings to a total nobody and art terrorist Ritchie Sinclair in 2008, would she not, in 2016-2017, not tell a close friend, and a person she highly praised to me as the top Morrisseau expert, the same thing? Do you believe her claims that she had nothing to do with it? Do you believe she is honest?

I have not the slightest doubt but that Robertson and Godwin, who have had a long association, collaborated to change the status of the Otavnik paintings in the Robertson report. Guessing that few eyes beyond one judge, would ever see it as clear evidence of their collusion. And probably never guessing that I would discover their secret.

Thanks to my exposé, all Canadians and internet surfers around the world will know the depths of the diabolical plot to discredit, and devalue genuine Morrisseau paintings by two clearly colluding malfeasant self-declared art and Morrisseau experts.

Malfeasance #35 Robertson has a very poor knowledge base of Norval’s work as an artist claiming that he painted “well over 1,000 works.” Which is an asinine statement, and a damning indictment of her lack of research intelligence, before, during, and after publishing this idiocy, which one would not even expect from a fly-by-night journalist, let alone by the self-proclaimed world expert on the artist.

Malfeasance #21Doing her “research deductions” on a ridiculously tiny database of paintings – her database references only 38 paintings – of a man, with a reputation as a prolific artist, who painted – new evidence now alleges – some 23,000 paintings in his 45 year painting career.

(Still Norval is no match for Doris McCarthy who had a lifetime oeuvre of probably 30,000 paintings – she said she tried to paint one work a day. Norval often painted 40-60 works at a time.)

Malfeasance #31Doing her “research deductions” on only 10 paintings she has actually “observed” out of the tiny sample group of 38, or 23,000 if you will. This is an incompetent sample group for any academic to make damning conclusions from, and then slanging and discrediting a major Morrisseau work of art, and slandering the name of the person who vetted it and sold it, Joe McLeod. And of course she HAS NOT PERSONALLY “OBSERVED” the subject painting that she discredits, demonizes as a fake, and devalues in the public mind.

Malfeasance #47Her execrable research terminology is so incompetent, unclear, and deceptive, we do not know what she means by “observed,” “personally observed,” or “observed in hand,” or “observed while cataloguing,” regarding the 10 paintings in her database of 38 she acknowledges as “observed.” Or what she means by “viewed” when she notes collections in museums or galleries.

I personally “observed” the Northern Lights, many times in the Far North; does that make me an expert in astro-physics?

I spent a day touring the 45 display rooms, “viewing the collection” in the Uffizi Gallery, in Florence; does that make me an expert on Botticelli, Titian, Raphael, or Michelangelo. Let me know if I qualify.

And in her “observed while cataloguing” category: I can only reference a surgeon, who “did a hysterectomy while viewing his ipad” for comments from his Facebook friends. Do you want his number so he can do your vasectomy?

She DOES NOT disclose which of those 10 paintings she actually observed the backs of. In fact Norval’s Androgyny is so huge and hanging, I completely doubt, that even if anyone asked to see the back, the curatorial staff would allow it to be taken down. And the same is my experience in asking galleries for allowing me to see the backs of paintings. Many art auctions are even loathe to take down large paintings to show the backs.

And in fact, countless of her “research deductions” were based on low res photos sent to her by art museums and galleries. It is a fact that photos are virtually NEVER taken of the backs of paintings and only photos of the fronts of paintings are available, and so constitute the overwhelming number of photos she received and observed.

And in fact the single biggest source of pictorials for her “research deductions” were based – I kid you not – on pictures from a book, for which, of course, NO PHOTOS were provided showing the backs of any of these. So she just blithely and ignorantly says there are NO BDP signatures on the backs of any of them.

I can only refer to the Hon. Justice Thomas R Lederer’s scorching comments, in 2008, about Ritchie Sinclair doing exactly that, making discrediting statements about, and calling “fake,” countless paintings he had never seen, in hand, and making unwarrantable comments, based on what was on the backs of paintings, without ever having seen photos of any of the backs.

Malfeasance #9Her execrable research methodology is based overwhelmingly on paintings she has NEVER examined in hand, on partial results, on scandalously basing her research on photo-mechanical reproductions in a picture book, or from inferior low resolution images of all kinds of sizes, sharpness, tonality, colour and hue variation that were NEVER matched to the originals.

Malfeasance #22Her execrable research methodology is damning, create a thesis, and then keep only evidence that proves it and ruthlessly exclude, reject, hide, or denigrate evidence which disagrees with your targeted and desired result.

Malfeasance #37Her sample database is based on a tiny group of inferior samples, from partial submissions, because many she had included in her wish list of institutional respondents – about 50% – refused to supply her the pictorial information she requested. So her own tiny source list of necessities, for making a proper determination, has its validity cut in half before she even begins examining what does come in.

Malfeasance #48Her sample database is based on a execrably tiny database of sources, and entirely based only on institutional collections, and only from a few.

Malfeasance #24Her database excludes and ignores the single biggest source of Morrisseau paintings in the world – what is held in private hands, by an artist who sold on the streets, door to door, in malls, parking lots, hotels, bars, etc for over 40 years.

Malfeasance #42 Creating a false positive, based on tiny restricted group of paintings in a few institutions, from which (the National Gallery of Art), Morrisseau and his art had been deliberately racially excluded during his entire 50 year painting career and to which neither he nor his work did not gain entrance until after 2000. Just before he died.

Malfeasance #10She never appeared at a single one of any of the many Morrisseau-related trials, not even once, to research what was going on in Canadian courts based on sworn testimony, by the experts, and listening to witnesses or learning what the evidence was. TOTALLY UNDERSTANDABLE, of course.

The Professor had, as I made clear, made up her mind long ago, about what her thesis would be, and felt she did NOT need to see other people’s evidence, even though they were judges, justices, forensic experts, bloggers, and other people – unlike herself – who had known Morrisseau.

Malfeasance #34 She has never read, quoted or sourced a single judicial judgment or settlement on a Morrisseau-related court case. (Mogan, Abbott, Isaac, Otavnik v Vadas, Moniz v CTVglobemedia, Godfrey, Martial, Lacavera, Sanderson, Hearn v McDermott, KRG v Matulic, SAW Gallery dismount & apology, Kilian, Goldi v Bell Media (CTV), etc. TOTALLY UNDERSTANDABLE, of course, because they ALL went against what she was claiming and were damning of her friends and colleagues who were promoting the fraud.

Malfeasance #16She has never read, quoted or sourced a single Morrisseau-related lawsuit, whether Plaintiff’s Claim, or Defence.

Malfeasance #56She has never read, quoted or sourced a single Morrisseau-related trial or appeal court transcript.

Malfeasance #64Having deliberately, malfeasantly, avoided researching or referencing a huge reservoir of Morrisseau-related documentary evidence from sources or people she does not like, she balances that by quoting as a source, in what is supposed to be a serious “expert report” on art fraud, a poet’s book. (Armand Garnet Ruffo)

Ruffo’s fantastic ruminations of totally dreamed up bumph***, supposedly about Morrisseau, are a total work of fiction, and amount to some 320 pages of dream along with me stuff, for which Ruffo publishes not a single footnote, not a single reference, and not a single attribution of any kind, for a single thing he says, states, or claims. Or an index reference of any kind…

***For example Ruffo dreams up his claim that Norval – only months before he died if you can imagine, rising – like Lazarus – from his own deathbed – flew to Toronto to testify in a court case. It never happened. Joe Otavnik was in the thick of it and says Norval NEVER came to Toronto, only Vadas did. And Vadas quickly folded and paid Otavnik off with $11,000 for fraudulently saying that Norval claimed his genuine Morrisseau painting was a fake. So much for Ruffo as a credible reporter on “things Morrisseau.”

But then, come to think of it, including Ruffo’s book is entirely proper, because Robertson’s “expert report” is exactly the same kind of dreamed up fiction, made up of wild fantasies not referenced to any independent reality outside her own mind.

Malfeasance #23She deliberately did NOT read – or pretends she did not – review, quote, the Defence written by Brian Shiller in Hearn v McLeod regarding her claims about the painting and the man she slanged, Joe McLeod.

Malfeasance #38Deliberately ignoring that both, a judge and an appeal justice affirmed that there was “overwhelming evidence” that Norval Morrisseau signed thousands of BDPs signatures on the back of his paintings, because they discredited her own fraudulent claims that she has never seen a BDP signature on any genuine Morrisseau painting, except on four Otavnik family fakes it donated to the Thunder Bay Art Gallery. In this she was loyally aping Donald Robinson’s multiple judicially-discredited claim, “not once have I ever seen one.” It is damning evidence that she either, never bothered to read these trial transcripts or judgments, or deliberately PRETENDS she has NOT. It show she is disastrously misinformed, ignorant, gullible, naïve, and easily manipulated by those who paid her to fabricate her fraudulent report.

Malfeasance #43Setting a fraudulent “Wascana decorative floater,” double-Whammy standard as a definitive telltale sign to tell a genuine Morrisseau from a so-called “fake.” (Wascana Floater #1)

Malfeasance #14Willfully, ignoring, or pretending not to know, that many Wascana floaters, including decorative ones, are, in fact, found on many Morrisseau paintings, claimed to be authentic Morrisseaus by Robinson’s own colleagues and friends with whom she is promoting the fraud, including in shows and catalogues published by Elizabeth McLuhan & Tom Hill, Greg Hill & Ruth Phillips, the Robinsons, and Jean-Hubert Martin in the French Bicentennial Exposition.
(Wascana Floater #2)

Malfeasance #49She also deliberately ignored the many hundreds of Wascana floaters found on other art collectors’ Morrisseaus, scores of which have been forensically authenticated, AGAIN, WITH SERIAL MONOTONY, without a single examination EVER finding a single fake signature, OR sign that any forgery of any kind, was involved, on any level… by three different independent professional handwriting experts, routinely used by the RCMP and other police forces.

Kevin Hearn will eat crow for the rest of his life for calling a genuine Morrisseau a fake for years, with no evidence. But don’t feel sorry for him; feel sorry for the countless Indigenous artists across Canada to whom his fraudulent, vicious, and malicious lawsuit did Great Irreparable Harm. Because collectors preferred to buy art by third class white artists than Indigenous art that Kevin Hearn claimed was utterly contaminated by lowlife fakes. And feel sorry for the thousands of Morrisseau collectors across the world, whose art was hugely devalued because of Hearn’s celebrity slanging of their art. .

Malfeasance #27 – Falsely reports that: “After Hearn was informed of the questionable authenticity of his painting by the Art Gallery of Ontario.”

It shows how blatantly ignorant Robertson is, of the documentation of the event, or how deliberately malicious she is in distorting the record, and the truth of what actually happened and who was involved, and how.

She just invented this bumph. In fact there is NO letter or email from either AGO Director Matthew Teitelbaum or his Curator of Canadian Art Gerald McMaster, informing Hearn his painting is fake. Nor is there such a letter from either of them to Joe McLeod who wrote formal and registered letters to each of them demanding a response on what AGO had done with his paintings.

DAMNINGLY, AND TELLINGLY, NEITHER TEITELBAUM NOR McMASTER ANSWERED McLEOD. Or can be found anywhere on the record.

But there is damning documentary evidence that Robertson maliciously and deceptively ignores and hides an email from Ritchie Sinclair to Kevin Hearn saying he instructed AGO art rental shop boss Jennifer Bhogal to take down the Hearn painting as a fake.

Everything about Teitelbaum and McMaster’s part in any of this is just inane hearsay shop gossip.

How a diabolical art fraud starts: when a documented school dropout, and documented racist, and documented art and cyber terrorist, Ritchie Sinclair, aggressively cons gullible AGO art retail boss Bhogal, to dismount, and so discredit, and devalue a genuine Morrisseau. And then goes on to con Kevin Hearn into suing, Joe McLeod, the art dealer who sold him the painting, and whom Sinclair has physically terrorized for years, for turning him down as a gallery artist. And Sinclair then continues to “groom” Hearn, and delivers the wealthy celebrity musician, into the lap of  his longtime Morrisseau “fakes” business partner, Jonathan J Sommer to launch a specious – but expensive, of course – lawsuit.  Exactly like Sinclair had previously done with the hapless elderly Margaret Hatfield, whose pension was depleted by some $60,000. It took two judges to tell her that she, Sinclair, and her lawyer, Sommer, were all, totally, dead wrong, on every level about a painting they purported to claim was “fake.” But it was only “news” to the hapless old lady…

Teitelbaum and McMaster collaborated to make sure that there were none of their fingerprints, blood, or DNA ANYWHERE in this story – no paper trail to them. They were deliberately careful to make sure NO ONE could ever say what Carmen Robertson malfeasantly says they were involved in. (They misjudged Robertson.) Their culture crime is one of multiple levels of malfeasant negligence.)

Malfeasance #39Says utter rot about provenance being a way to certify a painting as genuine. Tom Hoving, longtime New York’s MOMA director, and one of the 20th century’s top art experts and fakes sleuth, had a simple retort for faux-academic art experts like Robertson pompositing about provenance. “Provenance is a laugh… Fuck off with your provenance; that can all be faked.” (Hoving, The Forger’s Spell, Dolnick, p 242) 

As Toronto lawyer, and international fake art sleuth Bonnie Czegledi said:

“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.” (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)

Malfeasance #25Deliberately hides, or doesn’t even know, the common knowledge, that 99% of ALL the secondary market paintings selling at auctions or art galleries – which, annually involves thousands of works of art by all the top artists in the world –  HAVE NO PROVENANCE attached to them whatsoever. And both auctions and galleries either totally refuse to disclose where they obtained the painting, or make up fake provenance to please the customer.

Malfeasance #44 Deliberately hides the common knowledge, that virtually none, or only very few of Morrisseau’s (23,000) paintings, can be traced with a chain of title to anyone, let alone back, over forty years, to the artist. Especially the case with Norval, who notoriously sold thousands of them cheap on the streets of small towns across northern Ontario for decades. And most of his paintings, being cheap to begin with, were endlessly kicked about over the passing decades and passed through many hands.

Malfeasance #33Deliberately hides that her mentor, regarding Morrisseau provenance, Donald Robinson, a man to whom she is hugely beholden, and who claims Provenance is vital, especially for Norval, is one of the biggest documented fraudsters on the planet, in creating fake provenance for his Kinsman Robinson Galleries Morrisseau paintings. The Robinsons are notorious Provenance Manufacturers done to deceive clients and make chain of titles for paintings more attractive to witless buyers.

“… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)

Malfeasance #11Her provenance attack on Joe McLeod regarding “Robert Voss” is a demonstrable, disgusting, disingenuous, and transparently fabricated and maliciously concocted assault on an old man, a top Morrisseau expert, by a professor who damn well knew better. The documentary record is incontrovertible to anyone claiming to have literacy or research skills. She was just dutifully carrying out a “hit” on Joe, because anything at all that would fit her thesis was welcome. Especially if it came from people who were paying her.

Malfeasance #40She targets with her venom, Joe McLeod, a man who has been viciously targeted – without cause of evidence – by fraudsters since 1993, long before Robertson supposedly started her Morrisseau research. She was clearly acting, NOT from any research she had ever done, but merely climbed aboard the “Get Joe McLeod” bandwagon that had been orchestrated by Kinsman Robinson Galleries many years before Robertson even came on the Morrisseau scene.

She was eager to fall into line and take direction to “play for pay” to target Canada’s senior Morrisseau expert and his gallery. Perhaps it was her bad conscience that she NEVER, EVER called or talked to Joe McLeod regarding her allegations about his Hearn painting and others she slanged.

Malfeasance #17She never says she talked to AGO Director Matthew Teitelbaum, asking for his evidence or an explanation about the horrendous act of Cultural Genocide he committed, regarding dismounting the Hearn painting in 2010, without evidence and so utterly destroying its value in the marketplace and slanging McLeod’s reputation, without cause.

Malfeasance #50She never says she talked to AGO Curator of Canadian Art, Gerald McMaster for an explanation about the horrendous act of Cultural Genocide he committed regarding dismounting the Hearn painting without evidence and so utterly destroying its value in the marketplace and slanging McLeod’s reputation, without cause.

Malfeasance #26She never talked to Randy Potter in all the years he sold some 2,000 Morrisseaus and some 200 of Canada’s top Indigenous art dealers and collectors – including Donald Robinson – came to buy them up at bargain basement prices. And almost all of them were BDPs.

Malfeasance #52She never talked to David Voss when the documents are clear that he was one of the main dealers sending Morrisseaus from Thunder Bay to Randy Potter. That any public student who Googles the name David Voss and Thunder Bay, would instantly be given a huge internet dossier on Ugo Matulic’s website about his background and involvement in sending hundreds of genuine Morrisseau BDPs to Toronto auctions in the late 1990s.

Malfeasance #12She negligently lists three Appendices on the table of contents, with no pagination where they might be found, and at the back, a list of Four Appendices, mentioning documents with no pagination where they might be found. Even the titles between the Appendices do not match each other, or to the documents they refer to when you can find them.

Malfeasance #41She negligently lists an Appendix for which she forgot to enter the document.

Malfeasance #57She lists a detailed Table of Contents without any pagination for any titles in the table, in a document of 67 pages.

Malfeasance #64She has no index to permit finding anything in a document of 67 pages.

Malfeasance #51She was deliberately deceptive to hide the fact that her mentor, the man who was calling himself the World’s Top Morrisseau Expert, Donald Robinson, bought 31 Morrisseau paintings – ALL BDPs – from Randy Potter in 1999-2000, for $54,000 and NEVER, EVER, brought a single one back claiming it was a fake and demanding his money back. All with BDP signatures Robertson now says are a sign of a forgery.

(In fact no one else ever brought back a Morrisseau either, claiming it was a fake. NOT ONE, out of some 2,000. As truly stunning an encomium of honest dealership as it’s possible to get, for Randy Potter, and one rarely matched by any other retailer of any kind. And a truly stunning proof that ALL the BDP paintings were regarded by their buyers as totally authentic Morrisseaus.

Malfeasance #18She deliberately ignores some 200 forensic expert report findings, by three of Canada’s top handwriting analysis and document examination experts, authenticating BDP signatures as genuinely painted by Morrisseau, which she claims are forgeries.

Malfeasance #45She makes totally unwarranted – in fact totally ludicrous – statements and conclusions, from lowlife pictures in books, as the heart of her arguments about variations in Morrisseau’s palette of paints used in different painting periods. It is one of the most egregious malfeasances of her report.

Malfeasance #62She makes totally unwarranted – in fact totally ludicrous – statements and conclusions, from lowlife pictures in books, about so called Morrisseau’s brush strokes which are pure fantasy, and shows she has NOT the faintest clue about photography, lighting, or the making, and publishing process involved in printing images in books.

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