KUDOS 2

The oldest original pictorial my museum owns is 234 years old… It is also one of the very first portraits of Canadian Indigenous people ever made. It is an ultra-rare and ancient copper-plate engraving, from a drawing by John Webber, who was aboard when Captain Cook visited Nootka Sound on Vancouver, Island in 1776.  It is a large 9.5″ x 15″ and was removed from a book published in the UK in 1784. It is also the oldest paper document I own. Professor Robertson, the self-professed Morrisseau scholar, says, unless I have accurate provenance – an error-free list of all the names of the previous owners – back to John Webber, this is a fake… What do you think? Imagine what a bewildering list of owners this rare image may have gone through in 234 years, as it traveled around the UK, before coming to Canada? And NO, since you asked, I don’t have provenance for any of it. Do you – like the professor – think if I did – adding and subtracting names on the list, however real or fake – it would have altered the authenticity of this image in some way? I have vetted it by more reliable means than “provenance,” “providence,” or “professorial bumpf,” whatever… Oh, and I also have a rare miniature oil portrait on ivory of Captain Cook from 1790. But, sigh!, it too has no provenance…  (GREAT CANADIAN PORTRAIT GALLERY)

KUDOS 2 – continued

– killing the McDermott lawsuit in days
– exposing The Great Canadian Journalism Hall of Shame
– exposing the National Post editors as anti-Indigenous
– establishing a Toronto Star presence for the Blog
– killing eight Bell Media publications
– killing CTV’s Canada AM show
– forcing the malicious SAW Gallery to dismount “Wheel of Life.
– forcing the malicious SAW Gallery to issue a public apology
– exposing the schlock science Dr. Wang Report
– exposing the Globe paying Moniz $25,000 for Libel & Slander
– exposing NMS & NGC terror at Red Lake
– exposing Norval Morrisseau as a TIBWAP vegetable
– publishing landmark discovery of Wanker #1
– causing forensic authentication of Wanker #1
– causing forensic authentication of two Ross paintings
– exposing worst act of cultural genocide in AGO history
– Sommer lies to Sanderson on Sinclair acquittal
– causing forensic authentication of “Spirit Energy”
– achieving “intervention” in Hearn v McLeod
– establishing forensic report of “Spirit Energy” in H v McLeod
– exposing the malicious secret report of Carmen Robertson
– attack on Joe McLeod
– attack on McLeod’s “Spirit Energy”
– attack on the Seetner/Otavnik family art
– attack on the Seetner/Otavnik family
– exposing the malicious conspiracy of TBAG Director Godwin
– killing Donald Robinson as expert in Hearn v McLeod
– killing Donald Robinson’s expert report in Hearn v McLeod
– exposing Ritchie Sinclair’s last friend on earth
– exposing Carmen Robertson’s list of rejects
– killing Ritchie Sinclair as witness in Hearn v McLeod
– killing Gerald McMaster as a witness in Hearn v Mcleod
– killing the entire raison d’être for Hearn v McLeod
– triggering the Otavnik v Robertson lawsuit
– final landmark achievement

Ahyouwaighs (John Brant) 1838 – The oldest original colour portrait of a Canadian Indigenous subject which my museum owns, is this large, fabulous, hand-coloured lithograph from the first, 1838 folio (34x50cm) edition, of McKenney & Hall’s, “History of the Indian Tribes of North America.” (When these fabulous books start to fall apart, collectors sell off individual portraits. The earliest (1838) edition prints sell for $1,500 to $2,500 US each. A book set – rarely available – sells for $70-80,000 US ) I have other originals as well, both folio and octavo sized portraits, of Thayendanegea (Joseph Brant, Robert’s father), and Tenskwautawaw (Tecumseh’s brother), and others. Sorry, I have NO provenance list for any of them. So according to Carmen Robertson, a self-professed U of Regina Morrisseau “expert,” and her standard of authenticating original Indigenous works of art, these are “fakes,” because there is no error-free, or complete provenance list of previous owners, that can be traced back to the original artist. So she would no doubt relegate them all, to her colleagues at the NMHS, and recommend them for swift and proper “disposal.” Internationally, forgeries are, of course, often burned, so they won’t contaminate the genuine works in the marketplace. I believe the NMHS has done this with original Morrisseaus, the “Wanker 16,” and would be a real danger to committing Hearn’s “Spirit Energy of Mother Earth 1974” to the ash heap of Canadian cultural history.  It shows how truly dangerous, a mistaken, wrong-headed, or fraudulent “authentication” can be, for any original painting, like those forensically authenticated Morrisseau BDPs that Carmen Robertson has been aggressively and falsely targeting as – “in her opinion” – lowlife forgeries. (Joseph Brant & Tecumseh’s brother.)

– killing the McDermott v Hearn (Jonathan Sommer) lawsuit within hours or days after it was published in the Globe in Oct. 2013 – Nov 14, 2013

John McDermott’s wisdom led him to bail out of a parallel lawsuit that will ultimately cost Kevin Hearn over $100,000 plus.

My anonymous emails, alerting the John McDermotts (celebrity singer) to this thoroughly documented Blog – “He can sing, but he can’t read,” and giving them anonymous links to the Martial and Sanderson Judgments, convinced them to kill their own lawsuit alleging McLeod sold them “fake” Morrisseaus, amazingly, almost immediately after their lawyer Sommer filed it and sent it directly to James Adams of the Globe to publish.

Replied an anonymous voice, I took to be Mrs. McDermott, “I agree with you completely.”

When she asked WHO I was I replied anonymously, “It doesn’t matter. You’re smart. Read and educate yourselves. It’s your money and your paintings,” she replied, in her last contact with me. “You are right.”

NOTE: The documentary record is clear, that for many, many months after McDermott had notified lawyer Sommer that they wanted him to drop their lawsuit (late October or early Nov 2013), Sommer and Sinclair, in tandem, till mid 2014, kept telling the mainstream media, – the press and television – that both lawsuits – McDermott and Hearn – were active and would be proven in court.

(The Globe only announced (in Oct 2014) the end of the McDermott lawsuit, a full year after McDermott had actually told Sommer to drop it. So, for a full year, the Globe’s poisonous and fraudulent publication, 24/7 of the McDermott lawsuit, had spread its vile misinformation across the Canadian Morrisseau cultural landscape.)

– creating the Great Canadian Journalism Hall of Shame

Not since the Mainstream Media racist fiasco of 1995 – when, before doing Due Diligence, it universally rose to defend and support a racist police attack on Indigenous families at Ipperwash – has the media so totally attacked, in toto, the credibility of Indigenous people and their culture and rights. WITHOUT CAUSE.

– exposes ALL the lazy and mindless journalistically malfeasant miscreants in the mainstream media who have done Great Irreparable Harm to the art and artists of Canada’ Indigenous people since 2001.

– exposing the National Post editors as hopelessly lazy, and mindlessly journalistically malfeasant in publishing total crap that denigrates and devalues the genuine Morrisseau art in your living room, and does Great Irreparable Harm to the art and artists of Canada’s Indigenous people 

– establishing a mainstream media presence for the Blog, on the Toronto Star, by Murray Whyte – Feb 4, 2014

Utter Shame on the Toronto Star’s Feckless Brand of Journalism – In 2001, Whyte’s negligent journalism had given legs to the Morrisseau HOAX fraud when he worked for the National Post.

On Feb. 4, 2014, he tried to make amends by giving my Blog a link, as a recommended source for information, and credibility with Star readers, for what I was documenting and saying regarding the Morrisseau “fakes” HOAX. Which took considerable courage on his part, since I had NOT been, at all, kind to him on my Blog.

Lawyer Jonathan Sommer threatened the Star, and scared stiff, by something Sommer said, the Star removed both link and all references to John Goldi and his Blog, from its feature story and its internet archives. Which is an ultra-rare thing for any mainstream media editor ever to do.

A year later the Star could have wielded the Protection of Public Participation Act, of 2015 on my behalf.

– killing entirely, eight different Bell Media (CTV) internet print and video publication portals – Feb – April 2014

All contained malicious articles, and a defamatory TV broadcast, and featured fraudulent and anti-judicial claims by Ritchie Sinclair about “Wheel of Life” and promotional links to a racist and defamatory website, of claims that had been judicially and/or forensically rejected by BOTH Judge Martial and Justice Sanderson only weeks before.

The take-downs all resulted from my Blog publications, in tandem with legal actions I carried out in the courts, causing Bell lawyers to scramble to comply with my demands, by deleting articles, references, videos, and promotional links which I said were defamatory, racist, fraudulent and anti-Indigenous, and doing Great Irreparable Harm to the Art & Artists of Canada’s Indigenous people.

In 1995 I took on the entire Canadian mainstream media establishment, over its racist and universally pro-police, anti-Indigenous publications, and WON. History, the courts, and the Inquiry, totally vindicated my research, and everything I exposed to the Ontario SIU and the CBC in Dec. 1995. And exposed the worst case of racist journalistic malfeasance in Ontario history.

– killing, CTV’s “Canada AM” morning broadcast – its flagship show – after 43 years – Jun 2, 2016

After I warned Bell Media lawyers that I was going to go to CTV’s Canada AM sponsors, regarding its racist and defamatory attacks on the art and artists of Canada’s Indigenous people, if they did not fully comply with ALL my demands, they closed the shop, literally overnight, causing the biggest thunderclap in modern Canadian broadcast history.

No media pundit anywhere knew what the hell had been going on behind the scenes of this shocking and totally unexplained development. So it will be overhauled and updated, in an expanded form with even more landmark achievements soon…

My accountant certainly knows how many court fees, etc., it cost me to expose this egregious act of journalistic incompetence by a major broadcaster.

But of course, Canada has a long history of malicious attacks by the mainstream media and the establishment, on its Indigenous populations, starting with the Indian Act of 1876. And continuing in 1995 with the racist police AND mainstream media attack on First Nations families at Ipperwash.

After the CTVglobemedia and Globe & Mail fiasco of 2007, this 2013 broadcast is the worst case of journalistic malfeasance by the mainstream media regarding fine art, in Canadian history.

– forcing the SAW Gallery (Ottawa) to dismount “Wheel of Life” from its “F IS FOR FAKE” exhibition – Sep 2014

“Wheel of Life,” judicially affirmed as 100% genuine, front and back, by Judge Martial and Justice Sanderson, only months before, was provided by Ritchie Sinclair and pilloried as a fake in the gallery’s “F IS FOR FAKE” exhibit, June-Sep 2014. When I alerted Artworld, to this public attack on its art, and reputation, it threatened a lawsuit, leading to the immediate dismounting of “Wheel” from the exhibition.

Thanks to my heads up, a threat of a lawsuit by Artworld forced the dismount of “Wheel of Life” from this fraudulent exhibition that was vetted by curator Greg Hill from the National Gallery of Canada.

NOTE: That the only other two paintings provided by Ritchie Sinclair and Bryant Ross of Coghlan Art, as “fakes,” were photographed, by me, in situ while the staff was out to lunch, and high res photos of the BDP backs sent for forensic examination. BOTH “Water Spirits” and “Upper & Lower Worlds, were authenticated by an independent forensic expert as genuine Morrisseaus.

This damning indictment of the anti-Indigenous Ottawa art establishment, involves the deliberate racist maliciousness of BOTH SAW Gallery curator Jason St-Laurent, and his art consultant for the exhibition, National Gallery of Canada curator, Greg Hill, who, St-Laurent told me, had vetted the display. Hill has collaborated with the Robinsons against the art of Norval Morrisseau since they appointed him to the NMHS in 2005.

– forcing the SAW Gallery to publish a public apology to Artworld, in the Ottawa Citizen – Sep 3, 2014

In its apology the SAW Gallery blamed Ritchie Sinclair as the source of false information that led to its fraudulent and defamatory action against “Wheel of Life” being featured as a “fake.” Sinclair had actually provided three genuine Morrisseaus to defame as “fakes.” At the same time Sinclair had bragged to curator St-Laurent that he was heavily involved in helping to prepare the Hearn and the McDermott lawsuits.

(Sinclair very well knew that the McDermott lawsuit had been dead since Nov. 2013 – eleven months before, but like Jonathan Sommer, he continued to flog it as “active” in the media, as good self-promotional advertising for their Morrisseau “fakes” business, knowing what they were saying publicly was NOT true.)

A collection of sneaky people, at Ottawa’s SAW Gallery, maliciously and deliberately attacking reputable business people and Canada’s fine art heritage, all funded entirely by the Canadian tax-paying public. Where’s the public outrage? I say fire the lot and close down the damn gallery… Let them try and make an honest living on their own dollar…

– exposing the notorious “Wang Report” – commissioned by Kinsman Robinson Galleries & the NMHS – tarted up for cash by Junk Science Fabricator Extraodrinaire, Dr. Wang, as a piece of lowlife academic crap – May 2015

Note how American Dr. Wang, a computer statistician, steps totally outside of his area of expertise – for cash of course – and starts to improperly, unprofessionally, and falsely, label paintings of a Canadian artist he has not a clue about. These tiny pictures are all that Dr. Wang ever published of his baseline data of the Wanker 35 paintings he used for his study. The two tiny images – NO BACKS – on the left are the only images that Wang, KRG, and the NMHS have ever published of their so-called “fakes.” They are as transparent with their research data as Dr. Mengele was with his. My detailed research, tells me, without a doubt, that both are genuine Morrisseau BDPs. And they will never disclose photos of their front and backs because of that. A non-disclosure which these disgracefully non-transparent academics have been aggressively covering up for over 13 years.

The ultimate absurdity in the diabolical lengths to which establishment sophisticates aka “silks, satins, suits, and snoots” will go to promote an art fraud concerns the namesake of the notorious Wankers – Dr. Wang of the University of Pennsylvania.

In 2009, KRG and the NMHS engaged Dr. Wang to mock-up two separate junk science computer models, one for each of two separate piles of Morrisseaus they gave him to base it on.

Duuuh US professor, of course, dutifully did as requested by his high-paying Canadian client, coming up with two different computer models: one for a pile the Robinsons and the NMHS had carefully presorted and labeled “authentic,” and a second pile, also carefully picked FOR him, full of Morrisseau BDPs, which they wanted Wang to quantify as “fakes.”

Money talks; the professor did it. He used their labels for what was supposed to be real and what was supposed to be fakes. Without thinking twice… NOT GOOD ACADEMICS, ANYWHERE I KNOW OF…

And KRG and the NMHS had their “scientific templates” to use to pick and choose among the Morrisseaus they would select for burning, from among those sent in for the catalogue raisonné they were supposed to be assembling of Norval’s work.

The Apostles of the worst act of cultural genocide in Canadian history, wielding the schlock science “Wang Report” concocted by the highly conscientious – but witless, and gullible, and hopelessly duped – Dr. Wang. Now they also have the not-so-secret-anymore Robertson report to back up what Ritchie Sinclair did with his notorious terrorist attack on Joe McLeod and a genuine Morrisseau BDP at the Art Gallery of Ontario in 2010.

Dr. Wang is mostly famous for having the infamous Robinson Wankers named after him for taking part in producing the most bogus scientific report ever to bedevil the Canadian fine art market.

“The Garbage In; Garbage Out Computer Modeling Academics – It is to the eternal shame of this conspiring group of so-called academics, and beneath contempt, that these university educated collaborators, rather than going to an independent, legitimate, credentialed, Canadian forensic expert with “their Morrisseaus” – as so many countless others of us have done – have always utterly refused to do so. Instead, aggressively, preferring to hire a schlock science doc from the US, to give them the supposed “forensic science” result they dialed into him for cash.

In fact KRG and the NMHS have used the Wang report in publicity to say computer modeling condemns the Wankers – in fact thousands of Morrisseau BDPs – as fakes with scientific accuracy. So they claim, it’s a superior rating to those 150 plus BDP forensic handwriting authentications.

In fact a distancing Dr. Wang when apprised of how his report was being used, denounced it in a private email, saying his report could NOT be used to tell genuine from fake Morrisseaus. But of course, the Robinsons (and the NMHS) didn’t pay him the big bucks to say that…

This email was never published by KRG or the NMHS. But then this group of fraudsters has always preferred schlock science to the real stuff. And these academics only listen to what they want to hear and believe.

– exposing the worst incident of mainstream media journalistic incompetence in Canadian history (in 2007) by the Globe (CTVglobemedia) against a decent art dealer Michael Moniz and his genuine art, done at the behest of fraudster Gabe Vadas, and his lawyer Aaron Milrad – July 2015

This trio was involved in Canada’s most shameful act of mainstream media malfeasance in modern history. Because of it the Toronto Globe was forced to settle out of court in 2008 and pay Michael Moniz $25,000 for falsely libeling him and defaming and devaluing his genuine original Morrisseau paintings which the trio maliciously and falsely denounced as forgeries. Moniz had produced forensic authentication for all the paintings Vadas and Milrad fraudulently called “fakes.” The Globe executives and lawyer (Peter Jacobsen) believed Moniz when they saw the damning evidence. The plotters lost not a night’s sleep over it. But the blowback stress of it all killed the innocent victim, journalist Val Ross, within months. And it also killed Moniz prematurely, in stages: the settlement went mostly to his lawyer; his business was ruined; his reputation shot; his livelihood destroyed; he declared bankruptcy; his wife left him; his health failed. He was found days after he collapsed, at age 48, from the stress of it all, lying alone in his apartment. His starving cats had eaten his face. Look above to see who’s gloating about it all.

– exposing the cultural genocide of Carleton Professor Ruth Phillips, National Gallery of Canada Curator Greg Hill, and Kinsman Robinson Galleries’ Director John MacGregor Newman, at Red Lake in Jun 2008 – Aug. 2015

A forensic scientist exposed Phillips and Hill’s incompetence as Morrisseau authenticators but talented as art terrorists.

Founding members of the NMHS from Ottawa, ON, Ruth Phillips, and Greg Hill, hand in hand with KRG’s John MacGregor Newman, under orders from KRG’s Donald and Paul Robinson, targeted five Morrisseau BDPs, already chosen by Red Lake Curator Michele Alderton, for her landmark exhibition, and already put in her huge catalogue. They ordered them deleted, and removed from the exhibition as “fakes.”

KRG, for years, had a hate on for Ugo Matulic, who owned the five Morrisseaus, because he was exposing the conspiracy against the art of Norval Morrisseau they were all participating in.

Alderton, in panic, fearing the clout of the big city “silks, satins, suits, and snoots” from Ottawa, did as she was told, and privately apologized profusely to Ugo Matulic, but… Funding from Ottawa for her remote Red Lake Gallery had to be protected… Matulic sent his five dismounted and discredited paintings to a forensic expert. They were authenticated as Morrisseau BDPs… But then you already predicted that didn’t you?

– exposing Norval Morrisseau AKA the TIBWAP (The Insentient Body with a Pulse) as having the the most debilitated mind and body of any leading Canadian personality in history, and a victim of the worst case of elder abuse in Canadian history – Aug 26, 2015

In 1990 Gabe Vadas took over Norval’s Power of Attorney, provided him with an unknown number of assistant artists (Karl Burrows, Bryant Ross, the Vadases) allowing the Morrisseau studio to issue direct-from-the-artist paintings, through Kinsman Robinson Galleries, long after Norval’s motor skills were gone, he was disabled with Dementia, Alcohol Dementia, Parkinson’s, and Alzheimer’s, confined to a wheelchair (1995), and confined to a terminal care facility (2001).

None of it slowed down the production of Morrisseau “studio” art in the 1990s and on to 2002 when Greg’s Hill’s “mooses” were done…

– landmark publishing the discovery of “Wanker #1,” – July 24, 2015

The most damning Wanker of all… was finally forensically authenticated (Sep. 25, 2017), two years after I first examined it in hand in July 2015.

This huge Blog exposé revealed the lying testimony of Donald Robinson; Kinsman Robinson Galleries’ multi-level art gallery malfeasances; proving that KRG, with the malicious participation of NMHS members, and National Gallery of Canada (NGC) operatives, were ALL knowingly and deliberately, hiding, targeting and destroying, NOT Morrisseau “fakes,” as they have fraudulently claimed, but genuine Morrisseau BDP paintings – the Wanker 16.

Then out of the blue, lawyer Jonathan Sommer sent me the most vile hate letter I have ever received, in my life, threatening me with the vilest consequences, if I published anything at all about Wanker #1, which of course totally damned his longtime Morrisseau “expert” Donald Robinson, as a serial perjurer in Hatfield v Child.

I ignored him and published.

One of numerous damning posts responsible for the sudden Hiroshima bombshell moment of Oct. 3, 2017, when lawyer Sommer suddenly announced that his eight year long “expert” witness on Morrisseau art would NOT be testifying or submitting his huge two volume report calling “Spirit Energy” a “fake.”

That he would be replaced by his longtime dutiful understudy, Carmen Robertson. What a whimpering end for a man who had for decades called himself the “World’s top Morrisseau expert,” the “man who wrote the book on Morrisseau,” and the Principal Morrisseau Dealer.

“This is the way the world ends. Not with a bang but a whimper.”
– The Hollow Men – TS Eliot

A truly stunning and astonishing picture that tells a damning story of how Visual Arts 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, Kevin Hearn’s “Spirit Energy of Mother Earth,” which she has NEVER listed among the ONLY EIGHT paintings in her database she lists as having actually “observed” in hand, (as opposed to seeing them in books or in low res files). None of that cautioned or stopped her, in far-off Wascana Creek, Saskatchewan, from writing a deliberately ultra-secret 67 page “expert report” calling a decent dealer who sold it, Joe McLeod, a crook, and 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. During her time on the stand she changed her story!!! She now claims, (on the stand on Dec. 7, 2017) – something that is NOT in her report, that she actually had the painting itself in-hand, at Wascana Creek, for writing her report. But she did NOT explain why THAT WAS NOT MENTIONED AT ALL IN HER REPORT, where she took extra great care to mention, repeatedly, the eight other paintings – out of 38 in her database – she said she had “observed,” “I observed,” “I personally observed,” and “I observed first hand.” She does NOT report this for the other 30 paintings in her database, including the subject painting “Spirit Energy.” Does this make sense to anyone? Observation of original materials is clearly NOT of importance to this “academic researcher” who did her analysis of 30 paintings in her database for this report, entirely on lowlife dupes and low res jpegs.

Alas, Robertson, though loud and forceful on the stand, was not nearly as “ready” in her first ever outing as an “expert” as her lawyer Sommer had led us to believe. In fact she was the only witness who had to read her lines, page after page, hour after hour – I followed with my finger – from her written report. Maybe she’ll learn her lines better next time.

Compared to her mentor, Donald Robinson’s own last – hour after hour – bravura performance as a court “expert” in 2011 and 2012 – I saw it; I heard it; I read the transcripts – we would have to give Robertson a Triple F (Failure in fulminating about fakes). Her mentor used NO notes. Oh well, I guess it’s back to the KRG “Morrisseau training school” for her…

– causing the landmark “Wanker #1” to be forensically authenticated – Sep 25, 2017

Wanker #1 was KRG first Morrisseau BDP acquisition from Randy Potter in 1999. They sold it months later as a genuine Morrisseau, to Jane Brown of Toronto, who would in 2015, thanks to my Blog, discover KRG had been calling it fake for years without offering her a refund…

When I said I would publish it, after being invited to her house to photograph it and learn all about it, all hell broke loose, as out of nowhere, appeared a violently vituperatively angry lawyer Jonathan Sommer threatening me if I published a word of what I had learned…

– causing two other key, so-called KRG & NMHS “fakes” – “Water Spirits” and “Upper & Lower Worlds,” to be forensically authenticated as genuine Morrisseausin Sep 2017

Both paintings were two out of three paintings fraudulently displayed as fakes by Sinclair, Ross, St-Laurent, and Hill, in the SAW Gallery F IS FOR FAKE exhibition, in Ottawa, in the summer of 2014.

– exposing the worst act of cultural genocide in the history of the Art Gallery of Ontario, when poor oversight by responsible senior staff at the AGO, allowed an aggressive art terrorist, Ritchie Sinclair, with NO standing of any kind at the AGO, to walk off the street and unilaterally orchestrate the removal of a genuine Morrisseau, “Spirit Energy of Mother Earth 1974,” as a “fake,” from an exhibit hosted by his “chum,” Kevin Hearn, on June 22, 2010 – Aug 6, 2017

This malicious, aggressive and opportunistic solo act, by longtime documented art terrorist, and aggressive anti-Indigenous activist, Ritchie Sinclair, led to the dismounting, discrediting, and devaluing, of a genuine Morrisseau painting, and the libeling and defamation of one Joe McLeod, whom Ritchie Sinclair had a long history of physically terrorizing .

(Sinclair was arrested and charged by Toronto police, Dec. 18, 2010, with multiple acts of Criminal Harassment of 82 year old Joe McLeod, six months after Sinclair had orchestrated the “Spirit Energy” painting take down (June 22, 2010).

 I will not go into the numerous times Sinclair has criminally harassed and/or assaulted me, my wife, and my witnesses, over the years. Justice Lacavera was scorching about Sinclair claiming to be a victim, when he was, in fact, shown to be the aggressor over and over and just lied about it in his sworn testimony.

The topic of the credibility Ritchie Sinclair, Sommer’s longtime Morrisseau “fakes” business partner, and only witness in the Hatfield v Child trial, came up when Sommer addressed Justice Mary Anne Sanderson in Superior Court in Osgoode Hall, on Dec. 6, 2013. I was there; I saw it all; I heard it all.

Sommer – Yeah. In their (Shiller, Child) factum they suggest that he criminally stalked McLeod.
Sanderson – And then they go on to say – if I’m correct – that he was criminally charged.
Sommer – Yes but the other thing is, and my friend (Shiller) knows this, “he was acquitted” (ed. emphasis). And I think it’s inflammatory for them to use the word criminally in regards to whether a witness is effectively discredited now here.
Sanderson – I agree. I did not know he was acquitted but…” (Osgoode Hall, Dec. 6, 2013)

Note: Jonathan Sommer clearly gave Justice Sanderson totally false information, either out of negligence or poor research, into the legal foibles regarding his longtime Morrisseau “fakes” business partner being “acquitted.”

Or, Sommer was deliberately lying, to cover up for his discredited and disgraced friend and notorious art terrorist.

Because Sinclair was DEFINITELY NOT acquitted.

Sommer was NOT at that trial, but I was – all day, and so was Sommer’s longtime “Morrisseau fakes” business partner, Ritchie Sinclair, looking guilty, in the Defendant’s chair. So you would have thought Sommer would have gotten his best information directly from the man in the catbird seat, who sure as hell – like I did – knew there was NO acquitting of any kind involved.
The case was “dismissed” – a totally different legal term, as Sommer would learn if he consulted his law dictionary – not because the multiple charges of Criminal Harassment, filed by Toronto Police, against Sinclair, were found by a court to not be true – they weren’t ruled on in any way shape or form – but because the cop for the Crown (Michael J Callaghan) did not show up in court to make his report to move the trial forward. It was his day off and the Crown would not pay the overtime required to bring him into court…

It’s one of the most disgusting miscarriages of justice I have ever witnessed in any Canadian court, because the Crown had been informed in a timely manner by McLeod’s daughter, that Joe was being prepped for heart surgery in the coming days and so would not be able to appear in court personally on that date.

Callaghan had also won notoriety for bringing a case that was unwinnable from the get-go, against CBC lover Jian Ghomeshi. According to author Kevin Donovan some 1,500 women had lined up to get a piece of Ghomeshi… So there were bound to be two or three complainants when they sobered up. Hey, and even they had come back for seconds… 

The decent thing would have been – with Joe medically excused, and the cop on his day off – all things considered, to grant an adjournment.

But Sinclair’s lawyer, loudly shouted out “McLeod is a liar,” before Judge SF Clements, who looked to the Crown for a response.

The Crown then decided to send another cop to snoop out McLeod’s medical records at the hospital – I kid you not – while everyone waited for several hours. Which every person with a single digit IQ knows is highly illegal and impossible to do. NO hospital anywhere in this world or the next, will disclose, over the counter medical information on a patient to anyone. It’s astonishing that Callaghan apparently did not know this? And know that the cop would be automatically rebuffed, and come back with NO medical information on Joe.

Hmmmh… How handy…

(I had looked with concern, all day, at the Crown (Callaghan) and the Defence lawyer, Michael Strathman, constantly joshing about and laughing together, multiple times in the hall, and openly in court, before the judge came in, when they quickly sobered up their act. I knew it would NOT be a good day for justice for Joe McLeod, or the people of Ontario.)

So, what appeared to me to be only for administrative purposes, the Crown moved to dismiss the charges without any of them ever being heard or considered. I mean why not? Nobody else was watching…

The Sinclair vendetta snowballed, two years later (in 2012), in Sinclair ramping up his hatred of Joe McLeod by convincing his chum (chump?) Hearn to launch a lawsuit, alleging “Spirit Energy” was a fake, and Joe McLeod a deliberate art fraudster, who had knowingly sold a “fake” Morrisseau to Hearn. And to convince “Kev” to hire lawyer Jonathan Sommer, Sinclair’s longtime partner in advancing their Morrisseau “fakes” business.

(Sinclair had previously, similarly, delivered the disastrous Hatfield v Child lawsuit into Sommer’s lap in 2009. In that case Margaret Hatfield aggressively told Judge Martial she passionately believed it when Sinclair told her that McLeod was a fraudster involved in making and selling forgeries. Now, only months after telling that incendiary drivel to Hatfield, Sinclair had picked another gullible victim, “Kev,” and was filling Hearn’s ears, with the same vile stuff.)

My research proved, NO responsible senior AGO staff was involved in the “Spirit Energy” take down, or can be directly or personally documented, in either ordering the take-down of “Spirit Energy,” or of, at any time, accepting official responsibility, for either taking it down OR in denouncing the painting as a fake, either in 2010 or later.

In fact the evidence is crystal clear; the top responsible AGO officials hid at all times from any involvement in the fiasco, and in all ways, from accepting responsibility of any kind, for any of what happened to “Spirit Energy” while it was displayed as background wallpaper at a musician’s show at the AGO.

AND HELL, WHY SHOULD THEY?

REMEMBER. “Spirit Energy” was NOT an AGO painting. It was NEVER GOING TO BE an AGO painting. It had NEVER been acquired, researched, or vetted by any AGO curator because it had never been, and was not ever intended to be, an AGO acquisition. End of story, as far as the AGO was concerned.

It’s Kev’s Thing – “Spirit Energy” was merely “wallpaper” that a musical gallery guest, chose to bring in to decorate his playing venue at the AGO. The AGO was not responsible for how Hearn dressed at the AGO, what tunes he played, what musical accomplices he showed up with, or what stuff he brought in to hang on the wall of his playroom.

So when Sinclair walked into the “Hearn room” and the “Hearn venue” at the AGO and took down Hearn’s own painting from Hearn’s own display, AGO curators could legitimately claim, “Hey whom Kev hangs out with is not our business. And what stuff, which personal possessions he wants to hang up, or take down, in his playroom, is his – NOT AGO’s business.” The evidence trail, from Hearn’s own box of evidence documents, confirms this most accurately represents the AGO position.

I believe this is exactly what lawyers told AGO senior staff should be their response to any and all demands for an official AGO response for the take-down and resulting fiasco. NO RESPONSE. Which is why there is NO documentary trail of any kind tying AGO curatorial staff to any of this, beyond hearsay office water-cooler gossip, recounted in Hearn’s private emails.

Hearn is either delusional or lying in his lawsuit, and in his testimony on the stand, as is Sommer, when they BOTH claim that top AGO curators ordered the removal of “Spirit Energy” as a “fake.” And that they have the official AGO imprimatur in denouncing Hearn’s painting as a forgery, as the bedrock for his lawsuit.

HEARN and Sommer offer NO PROOF. And all the proof that does exist, is that AGO officials were NOT involved, but that their mutual “chum” Ritchie Sinclair was the sole orchestrator for the “Spirit” dismount and devaluation, in just walking in and changing the “wallpaper” in his buddy Kev’s playroom at the AGO.

Worse, Hearn clearly lied to Joe McLeod, after waiting for a week to concoct a good story, before telling him the bad news, when he led him to believe that it was AGO curators who had dismounted “Spirit Energy.” And deliberately, totally covering up that it was his chum, Ritchie Sinclair, who had orchestrated the infamous and fraudulent dismounting – alone – and had, in fact, told Hearn that he had. And there is documentary proof for it all.

On Sep. 25, 2017 I was the agent for having the BDP signature on “Spirit Energy” authenticated as a genuine Morrisseau. It was a mandatory test for a work or art that Hearn had refused to do for 12 years, his lawyer Sommer had refused to do for six, and their “expert” Robertson had refused to order done, for six years also. It proved that what was maliciously dismounted by Kev’s chum, Sinclair, as a “fake” in Hearn’s playroom at the AGO, WAS A GENUINE MORRISSEAU. And itself a victim of a diabolical fraud by Hearn and his collaborators.

It was bureaucratic negligence and poor oversight at the AGO, that enabled the slanging of a genuine painting, “Spirit Energy,” and the defamation of a decent art dealer Joe McLeod, NOT any deliberate official act, order, decision, or finding, by responsible curatorial AGO staff.

And with the painting being forensically authenticated as genuine, it proves the Hearn v McLeod lawsuit was entirely specious and still-born, and simply another, of many, malicious attacks on Joe McLeod and his legitimate Morrisseau BDP art.

With the painting ruled genuine: the painting was NOT A FAKE; Hearn was NOT sold a “fake;” Hearn was NOT a victim of a “fraud;” McLeod was NOT a fraudster; McLeod was NOT a seller of fake art; NO FRAUD WAS COMMITTED; NO DAMAGES OR COSTS ARE OWED TO HEARN.

If the world was fair – and it’s not – Joe McLeod would be issued a huge, UNCONDITIONAL, posthumous apology, by… You make up the list…

And to the Indigenous artists of Canada whose small cottage industry has been hugely destroyed by these fraudulent and malicious lawsuits alleging the proliferation of “fakes” that repeatedly – without a single failing – turn out to be genuine, when examined by forensic experts and judges.

The courts have been malfeasantly used to inflict an indignity on a genuine Morrisseau painting; to damage the reputation, and inflict mental terrorism on the declining years of an innocent and reputable old man, who had, for decades been considered the senior and most reputable Morrisseau art expert, and so had, since 1990, become THE TARGET OF A MALICIOUS VENDETTA BY ART TERRORISTS.

– causing Hearn’s “Spirit Energy of Mother Earth 1974” to be forensically authenticated – Sep 25, 2017

Carmen Robertson, the self-professed Morrisseau “expert” says “Spirit Energy” is a fake, that no other authentic acrylic on canvas BDPs exist.

Listen Up Professor! – I have forensic authentications for 8 – that’s eight folks – Morrisseau acrylic on canvas BDPs dated 1974, following examinations by different forensic experts, between 2002 and 2017, for different clients.

– achieving “intervention” – though NOT intervener – status, at the Hearn v McLeod Estate preliminary hearing – Oct. 3, 2017

– establishing Hearn’s “Spirit Energy of Mother Earth” forensic report, as part of the Hearn v McLeod trial – Oct. 3, 2017

– publishing the notorious secret Carmen Robertson “expert” report, calling “Spirit Energy of Mother Earth 1974” a fake, and Joe McLeod a deliberate fraudster, and revealing to the world, why Robertson had been so adamant in trying to keep it so ultra-secret for years. – Oct. 3, 2017

– publishing the notorious ultra-secret Carmen Robertson “expert” report, that discredited four authentic Otavnik/Seetner family Morrisseau Donations to the Thunder Bay Art Gallery, as “fakes,” and intimated that the Otavnik/Seetners are involved in a deliberate art and tax fraud scheme. – Oct. 3, 2017

Sharon Godwin – Court disclosures by Jonathan Sommer and Carmen Robertson make it clear Sharon Godwin is, guilty of multiple acts of malfeasance as Director of the TBAG

– establishing that the Director of the Thunder Bay Art Gallery, Sharon Godwin, has been secretly collaborating with both Ritchie Sinclair and Professor Robertson, in a fraudulent attempt to discredit four Otavnik/Seetner paintings in the TBAG collection, thus defaming the Otavnik/Seetners as being involved in a deliberate art and tax fraud scheme. – Dec. 1, 2017

Godwin also collaborated with Robertson to cover up the existence of a famous Morrisseau BDP which Godwin knew was a celebrated TBAG purchase: “After Life Spirit of the Fourth 1958.”

But it was an inconvenient truth for Robertson’s “expert” report thesis – that, according to her, Norval did not do those BDP signatures on the back, only a forger did – so both pretended the TBAG’s celebrated Jewel in the Crown, did not exist and so collaborated to keep it hidden out of the dialogue, and out of Robertson’s “expert” report.

And so Godwin, for this further act of curatorial malfeasance, continues to be hugely responsible for doing Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

What both TBAG Director Godwin and art historian Robertson conspired to hide from Robertson’s report, a very classic Morrisseau BDP signature, from 1958, from the TBAG’s own collection… Proving that as early as 1958, already, the classic design of a Morrisseau BDP, was in use, and which Norval would resurrect in the 1970s, at the urging of his brother Wolf, to promote international sales. Judge Martial ruled in 2013 that there was “overwhelming evidence” that Norval did thousands of these BDP signatures. Justice Sanderson was most acid in her scorching of Robertson’s mentor, Donald Robinson, for saying “Not even once have I ever seen it,” on a genuine BDP. Still Robertson brashly repeats the same idiocy. But then there is NO record in her report that she has even read either the damning Martial or the Sanderson Judgments. It’s part of her pattern of malfeasant academic research – wilfully ignoring people she does NOT want to hear, and documents she does NOT want to see. 

I immediately suspected Godwin’s complicity in Aug. 2017, when she aggressively refused to allow me to buy a copy of a document from the TBAG archives, which I believed – and she suspected – would hugely embarrass Robertson, with whom she obviously consulted.

She had written to me that: “we consider (Carmen Robertson) one of the best academic experts on Norval Morrisseau and an honest person and accomplished researcher…” And then, only a few weeks later, I published the ultra-secret Robertson “expert” report, and all hell broke lose… 

(Disclosure: Before I called Godwin, I had NEVER written about or even mentioned Godwin or the Thunder Bay Art Gallery, in the five years this Blog has written about the Morrisseau HOAX. So Godwin’s, out the gate, instant rudeness and harshness to me, immediately alerted me that something sinister was lurking behind her aggressive demeanor.)

In fact it took her multiple weeks, and and more phone calls by me, before she processed my document request and this, after having personally told me it would only take her staff a couple of days. Thunder Bay is a small town, after all. Her reason for the delay – she had to consult “someone” who was on vacation… Now who, do you think that was? Someone from out of town, perhaps?

In tandem with this obviously deliberate cover-up, of the academic malfeasance of a friend and colleague, Godwin also adamantly refused, right out the gate, to answer any questions regarding the change in status of any paintings in the TBAG collection. Or anything else at the TBAG for that matter. She forbade me from contacting them again.

NOTE: Suspicions about Godwin’s active role in a conspiracy, which my research, and her weird responses to my inquiries had raised, were doubly-confirmed as well founded, when inadvertent court disclosures (on Dec. 1, 2017) by lawyer Jonathan Sommer speaking for Carmen Robertson, pointed out that Godwin had told them she called the Otavnik/Seetner paintings fakes.

Proving, she was, from the start, damningly, in cahoots with them to target both Joe Otavnik and his family… and John Goldi, the person who had spilled the beans about it all by publishing the ultra-secret Robertson report, clearly angering Sommer and outraging Carmen Robertson. NOW DO YOU KNOW WHY ROBERTSON WAS APOPLECTIC TO FIND THAT HER ULTRA-SECRET REPORT HAD BEEN PUBLISHED, AND WOULD BE SEEN BY HER UNIVERSITY COLLEAGUES?

Duped! – When Joe Otavnik called up TBAG Director Godwin, demanding to know if she or TBAG had discredited his family’s donated paintings as NOT authentic, Godwin lied to him, and said NO, we did not. Sommer, Robertson, and Ritchie Sinclair, have a totally different recollection of what Godwin told them.

That Godwin was also deliberately lying to Otavnik, and so hugely guilty of curatorial malfeasance, became clear and documented, when Jonathan Sommer, on Dec. 1, 2017 disclosed in court that Godwin, had indeed, in collaboration with Robertson, downgraded the Otavnik/Seetner paintings from authentic to “fake” aka “attributed,” a devastating discrediting of genuine authenticated art. So she had clearly just lied about what she had done in secret, clearly to throw Otavnik off the track and keep him from learning the truth.

The Sommer and Robertson court disclosures make it incontrovertibly clear that TBAG Director Godwin is deceptive, and dishonest, and hugely malfeasant, in the discharge of her duties as Director of the Thunder Bay Art Gallery.

No wonder, only weeks before, Godwin had refused to talk openly to me as an investigative journalist, while I was seeking a single TBAG document that I wanted to buy from her, because I believed – and she suspected – it might very well prove utterly embarrassing to a friend and colleague, Carmen Robertson for whom she clearly wanted to run cover. And now Godwin was damningly and conclusively documented by her own colleagues, as highly motivated to hold me off with my probing questions, but also as openly lying to Joe Otavnik – and so to the patrons of the Thunder Bay Art Gallery and the people of Canada. NOT ONLY THAT, BUT AS WILLFULLY PARTICIPATING IN A GROSS COVER-UP,  FROM THE MEDIA, OF A FRAUD. GODWIN HAD, IN FACT, ORDERED ME – IN WRITING – NOT TO CONTACT THE THUNDER BAY ART GALLERY AGAIN. So preventing me from doing more Due Diligent research at what, in a matter of public interest, is going on behind closed doors at the Thunder Bay Art Gallery.

In October, 2017, when Godwin was challenged by Otavnik about Robertson’s denigrating claims in her report, about his family and their TBAG donation, Godwin emphatically denied she had participated or that she or the TBAG had downgraded the status of any of the four Otavnik/Seetner paintings from authentic. Otavnik had seen, that Robertson, in her secret report, had called his family’s TBAG Donations forgeries, and further implied that his family was involved in deliberate art and tax fraud.

Godwin – we now know – falsely told Otavnik, she was NOT, then or ever, a party to the conspiracy against the Otavnik/Seetner painting donation or his family, which came to light when I published the Robertson “expert” report on Oct. 3, 2017.

And then it gets worse… for Godwin.

A Secret for My Friend Ritchie – Godwin’s duplicity on this same issue, had been further documented on Jan. 15, 2009, when Ritchie Sinclair, in a sworn 40 page Affidavit, said Godwin had told him, privately, back then, that she considered the Otavnik/Seetner paintings fake, and that they were no longer on display or displayable as genuine Morrisseaus at the TBAG. That she had discredited them even though some 17 experts had vetted them as authentic Morrisseaus when they were donated in 2004.

And then it gets worse.

Godwin, as TBAG Director, who had utterly refused to communicate with a hugely credentialed, accomplished, and informed Canadian historian, filmmaker, and investigative journalist, researching a story of great public interest, was openly blabbing defamatory stuff about a TBAG donor and their art, to a notorious and documented, anti-Indigenous racist and art terrorist.

And she openly denigrated the Otavnik/Seetner art and family, to Sinclair and others, WITHOUT AT ANY TIME, FROM 2008 T0 2018, EVER CONTACTING THE OTAVNIK/SEETNERS, to either express her feelings about their art or to let them know of the TBAB denigration and discrediting of their donation, and all that entailed about their honesty and integrity, THAT SHE WAS OPENLY SHARING WITH THIRD PARTIES…

Thanks, Sharon, For That!!! – It was, in fact, after Godwin’s private assurances to him, that art terrorist Ritchie Sinclair started publicizing that the Otavnik/Seetner TBAG paintings were fakes, and that the family was involved in art and tax fraud… Then he, or Godwin – probably BOTH – put the same bug in the Professor’s ear…

I mean, how else, out of 15,000 possible Morrisseau paintings – wherever the hell they are is anyone’s guess – would a supposedly independent researching professor possibly end up in targeting only these four specific TBAG Godwin/Sinclair selected “fakes,” to denigrate, alongside “Spirit Energy” (belonging to Sinclair’s chum) out of 38 in her “expert” report database???

– killing Donald Robinson’s appearance as an “expert” in the Hearn trial – Oct. 3, 2017

– killing Donald Robinson’s fabricated “expert report” in the Hearn trial – Oct. 3, 2017

– exposing the fact that Ritchie Sinclair, on trial for his life, for Libel and Slander of Title, for his years of art terrorism with his malicious and racist website, targeting genuine art of Norval Morrisseau, and attacking top Indigenous leaders and artists as forgers, crooks, and creeps, had only one witness he could call on to speak up for him, when Judge CW Kilian asked him for his witness list, and that name was – wait for it – John Goldi!!!

I was the only person sitting in the public gallery. And since I would be his witness he asked Judge Kilian to order me out of the courtroom. Nice try, Ritchie…

I told Judge Kilian I was a journalist covering the trial. With a smile Judge Kilian asked if Sinclair really thought anything I would say might help his case? Sinclair wondered about the wisdom of adding me to his Dream Team of One, and decided against my help. The Judge smiled and said I could stay. Sinclair glowered.

Now he had no friends left at all…

It was a truly pathetic fall from grace, that in his desperate hour of need, Sinclair, had not a single friend who dared to show his or her face in public on his behalf. It comes with the territory of being the world’s worst art and cyber terrorist, a notorious cross-dressing Indian imposter/impersonator, a hopeless Faux-nishinaabe artist, a serial perjurer, a Criminal Harasser of old folks, a truly awful Bear Dancer, etc.

Sinclair without a friend – or hope of a new start – in a world of his own making, contemplates a dismal future…

The damning list of high-value “no-shows” for Sinclair, when accused – and later found totally guilty and fined the maximum – for Libel and Slander of Title, and who made themselves scarce, big-time from speaking up publicly on behalf of the chief fraud enforcer for KRG and the NMHS were:

Kevin Hearn (Sinclair’s longtime chum, and for whom he’d been his art, and legal advisor, and to whom he had given so much helpful free Morrisseau art advice, and help, by dismounting “Spirit Energy” at the AGO in 2010.) Also a no-show, after all Sinclair had done for Hearn, in advising him whom to sue, how, and when, and even providing him with a lawyer, Jonathan Sommer, from Quebec. And after providing him with all kinds of “witnesses,” and “story lines” for his court case. And then for “good old Kev” still NOT to show up, to help him out, in his hour of need, to sing his praises before a judge!!! What kind of gratitude is that? Or is it ingratitude? It must have been a most severe blow to Ritchie’s… you fill in the blank…

What kind of friends does Sinclair choose to surround himself with? Funny… I don’t seem to see any, do you?

– lawyer Jonathan Sommer (Sinclair’s longtime Morrisseau “fakes” business partner). What a letdown that must have been. Because Sinclair’s last lawyer, Zak Muscovitch, had been decent enough to show up in court to speak on Sinclair’s behalf. (And Justice Lacavera acidly noted his presence in court even though he said he was no longer Sinclair’s lawyer, after Otavnik supposedly scared him by calling him “a fucking asshole.”)

Donald Robinson (who recruited Sinclair as his fraud enforcer in 2008) and whose family had raked in millions from Sinclair’s malicious website attacks on all the art of their business competitors.

– KRG partners, son Paul, and John MacGregor Newman. Wonder where they were?

TBAG Director Sharon Godwin was bitching to Sinclair privately – and I believe in gross breach of her fiduciary trust duties as a top TBAG employee – probably as early as 2008. It’s all documented in his sworn Affidavit of Jan 14, 2009, that Director Godwin was secretly discrediting the Otavnik/Seetner paintings as fakes and clearly intimating that the family members were deliberate art and tax fraudsters (which then Sinclair specifically publicly accused them of.) And now she shamefully refused to show up for the man who, so long ago, had been the first to give her a confessional shoulder to cry on…

– lawyer Richard Baker (who had hosted Sinclair in his own office in July 2009, when they met to plot the discrediting of “Jesuit Preist” – a genuine Morrisseau painting – as a “fake”) also shamefully hid out on him, and let him down, when he needed him as a character reference for the court case.

– all Baker’s other NMHS colleagues were shameful no-shows for Sinclair.

Jessica Wilson, curator of the Elmwood Spa, whom Sinclair had listed as a witness. (Sinclair told the judge she feared she would lose her job if she testified for him) another shameful no-show. The Spa was where Sinclair and KRG had launched a huge terror attack in Nov. 2010.

Dr. Jonathan Browne of Ottawa and Julie Witmer of Ottawa (who delivered the hapless Margaret Hatfield into Sinclair and Sommer’s lap, an experience which decimated the old lady schoolteacher’s paltry savings by some $60,000 in vainly trying to prove that her genuine Morrisseau was a fake. Where were the doctor duo when Sinclair needed them to put in a good word for him?

Professor Carmen Robertson (who proudly sought out, featured, and quoted Sinclair*** as a reliable source in a footnote in her book “Mythologizing Norval Morrisseau,”) but shamefully refused to come out of hiding in Wascana Creek, to speak up for him when he needed her, to support him in public.

*** How telling is that? She showcased the worst art and cyber terrorist in Canadian history, a documented anti-Indigenous racist, and convicted Libeler and Slanderer, in preference to people she clearly considered lesser beings of NO import, whom she deliberately omitted, in toto.

Look at some key Morrisseau art related personalities and subjects – for a start – she just deliberately left out – or through slipshod research, just accidentally let slip through the cracks, or her fingers – without even a passing mention, in her massive book which she claims is supposed to be on documenting the life and art of Norval Morrisseau.

Totally “REJECTED” by Robertson, who “PREFERRED” Ritchie Sinclair, as a source to quote, were:

– all Norval’s Indigenous family members, and proving with the longest hug I’ve ever seen, with Gabe Vadas, showing she also prefers the white Vadas “Morrisseau” line of the “family.” I find this oversight strange, for someone claiming to have some Lakota DNA.

– Justices Mogan, Sexton, Isaac, Lederer, Lacavera; Judges Godfrey & Kilian and all their telling key Morrisseau art related judgments

– Judge Martial, Justice Sanderson, and their landmark establishing judgments regarding Morrisseau BDPs and the people who deny their authenticity

– Dr. Singla, Kenneth Davies, and some 150 plus forensic reports
– Donald Robinson’s five discredited and disgraced “expert” reports
– Gerald McMaster’s participation in the AGO fiasco over “Spirit Energy” in 2010
– Val Ross, Michael Moniz, and Joe McLeod, murdered and/or terrorized to death by the aggressive and ruthless Morrisseau fraudsters
– the Globe’s huge losing Morrisseau libel and slander lawsuit
– Joe Otavnik and his landmark winning lawsuit v Vadas and Norval Morrisseau
– James White and his landmark Libel and Slander lawsuit v Ritchie Sinclair
– the closing of Joyner’s fine art auction because of a Morrisseau painting
– the CTV fiasco and shut down of its flagship Canada AM morning show
– the Red Lake fiasco by art fraudsters targeting a Morrisseau art owner
– the multiple and massively documented curatorial malfeasances of Greg Hill

– Bloggers John Goldi and Ugo Matulic, whose years of detailed research, published in thousands of pages of analysis and disclosure, substantiated and illustrated with thousands of documents, and pictorials, FAR surpasses in volume, detail, and credibility, everything else ever written on Morrisseau combined. No other HOAX in Canadian history has been so ruthlessly exposed in pictures and screen grabs alone – let alone text – by these landmark achievements of two passionate and highly informed, and credentialed Bloggers.

NOW YOU KNOW WHY:

The Dawn of a New Age in Communication – It is exactly because of Bloggers like John Goldi and Ugo Matulic, that people have so massively abandoned the traditional, lazy, witless, gullible, and poorly researched scribes of the mainstream media. They have been fired by the multi-thousands, as educated and thinking people everywhere in the world, turn to single issue bloggers on the internet as a source for far more reliable information from highly educated and informed people who are NOT beholden to their corporate employers.

Informed single issue bloggers are hugely displacing traditional journalists who have challenged anyone’s credulity, by pretending to be experts in writing about: a murder in Vancouver one day, something Angelina Jolie wore the next, Trump’s new hairdo the next, a sewage spill in Orangeville, the next, the best beer at Oktoberfest the next, the best pitcher in the Blue Jay bullpen, the nest, or why a continuing war against the Muslims is a “good thing” for Canada, the next…

It is why for 18 years the mainstream media has been recklessly negligent in researching the Morrisseau file. and published totally massively ignorant drivel about the Morrisseau HOAX. Therefore hugely aiding, abetting, and enabling the fraud, by gratefully accepting any free handouts of information helpfully prepared for them and fed to them by the fraudsters.

This massive sea change in the communications landscape is exactly why, in 2009, the former Chief Justice of Canada, the Hon. Beverley McLachlin and her colleagues on the Supreme Court of Canada signaled a major transformation in how the public in the modern world prefers to get reliable information. With her Defence of Responsible Communication, she retired that tired – and out-of-date – label of press or media “journalist,” and replaced it with anyone involved in public communication.

And put Bloggers – so despised by mainstream media journalists, who are – deservedly – being massively displaced by them – on an equal footing of respectability, with anyone seeking to inform the public.

More so, by far, than any other Morrisseau researcher or expert, of any kind, anywhere on the planet, John Goldi and Ugo Matulic know, by heart, where the bodies are buried, chapter and verse. And can recall the people, the conversations, the statements, the claims, the emails, the publications, the places, events, and dates, over many years, with ease, from the tip of the tongue, at a moment’s notice. And can effortlessly, go on, authoritatively, holding forth – without notes – for hours, detailing the biggest art fraud in Canadian history.

I note with interest, that’s something purported Morrisseau art historian Robertson cannot even contemplate doing. As she embarrassingly demonstrated at trial, she does NOT even know her own lines, let alone know what others – her list of no-account rejects above – have to say.

She was the only witness, in five days, mostly to have to read her own testimony (from her report, line after line, page after page). Not, to my mind, professor, the sign of a very informed or convincing so-called “expert,” is it now?

One other glaring misstep by the “expert” was her claim that the “Wascana Floater” was a sure sign of “Spirit Energy” being a fake, painted and signed by a forger NOT by Norval. When any grade school kid, looking at a few books published by her own colleagues, exposes  what a farcical standard that is.

Jonathan Sommer took one look at Ritchie Sinclair aka “Daydreamer” and decided he’d make a poor impression on the stand. This photo was taken when Sinclair was contemplating his sad state of affairs, when he had only one witness in the world whom he could count on: John Goldi…

– killing Sinclair’s appearance as a “witness” in the Hearn trial – Oct. 3, 2017

The Ultimate Farce – The very person, who had precipitated the entire Hearn v McLeod lawsuit, by unilaterally dismounting, discrediting, and devaluing “Spirit Energy from Mother Earth 1974,” from an AGO display, was dumped by lawyer Sommer, at the very last moment, so he wouldn’t have to face cross-examination about how he engineered the whole fraud, to discredit Joe McLeod, and attack a genuine Morrisseau BDP to please the Robinsons.

And did we mention? To funnel, again, as he had done in the Hatfield v Child lawsuit, lots of money to his business partner, lawyer Jonathan Sommer.

Not to mention how Sinclair’s machinations had hugely embarrassed Kevin Hearn as well as hugely depleted his bank account. Hearn was conned and victimized, NOT by McLeod as he has kept on trying to say in court, or by the AGO curators, but by his “chum” Sinclair and his backers.

– killing Gerald McMaster’s appearance as a “witness” in the Hearn v McLeod trial – Dec. 2017

Apparently former Curator of Art at the Art Gallery of Ontario, Gerald McMaster once thought he might make a contribution, then, looking at all the embarrassing and damning evidence that was being published by my Blog, thought better of it.

I believe Kevin Hearn will eat crow for the rest of his life for persisting for six long years – without proof – in fronting for a lawsuit falsely calling a genuine Morrisseau a fake. But don’t feel sorry for him at all. Do feel sorry for the countless Indigenous artists across Canada to whom his fraudulent, and malicious lawsuit did Great Irreparable Public Harm, for a generation to come… And for numerous elderly people I’ve talked to whose paintings NOW can’t be sold for any price, to help tide them over in old age as they had hoped.

Probably to prevent blow-back damaging to both his reputation, and that of the Art Gallery of Ontario, by him going public, or on the record. It’s something NEITHER he nor AGO Director Matthew Teitelbaum had ever done in eight years since they were, unknowingly, sucker-punched by the Sinclair orchestrated take-down of “Spirit Energy,” on their watch while they were otherwise occupied…

This total absence of any AGO curator taking responsibility – alone – killed the Hearn v McLeod lawsuit. It proved that NO credentialed curatorial expert from the Art Gallery of Ontario was in any way involved, in either removing “Spirit Energy” from an AGO display in 2010, or of being in any way officially involved in calling it a fake in 2010, or in 2017.

Leaving Kevin Hearn swinging in the wind…

It’s a Kevin Hearn hearsay lawsuit… with the Plaintiff producing only marginal – at best – witnesses, with no previous or past memory or direct experience, with the actual painting at all, let alone during the events of June 2010.

There are no relevant key back-up witnesses, no relevant key documents or affidavits, and no relevant key phone calls, sought or received, from any of the involved players, to back up a smidgen of what Kevin Hearn claims. NONE…

AKA “Nocturnal Emissions” – For four thousand dollars you can buy a genuine Faux-nishinaabe painting, with a genuine “Indian” signature by a 100% pure bred white man, Ritchie Sinclair. HEY it’s as real as anything else about him… I have no way of knowing if the syllabic signature he uses is Cree, Ojibwe, or Arabic – but then Sinclair doesn’t either – or if it says “Ritchie,” “Sinclair,” “Protégé,” “Daydreamer,” or “Inoim Abadude.” Here’s a forensic handwriting lesson: notice how stiff and contrived and fabricated looking the syllabic signature is, compared to a native writer. There is NO natural flow evident at all. A forensic scientist would immediately say because of the obvious mechanical placement of each letter, it’s clear that a forger did it. And so it was: by a white Indian imposter.

In fact a lot of the best “killer” documents, that hugely undermine this lawsuit, are in the Sommer Plaintiff’s own evidence bin.

Leaving us with Hearn, an art collecting neophyte and ivory tickler saying “Spirit Energy” is a fake… Oh, and his chum, Ritchie, says it’s fake.

You know him: Ritchie Sinclair – school dropout, ruthless art terrorist, arrested and charged for Criminal Harassment, documented cyber terrorist, convicted libeler and slanderer, serial perjurer, notorious cross-dressing Indian imposter/impersonator, Faux-nishinaabe artist, aka “Norval’s Protégé,” “StarDreamer,” “Anang Inaabandaan…”

Oh, and somebody from Wascana Creek, now also supports him in saying “Spirit Energy’s” fake…

Carmen “Come Lately” Robertson. No one involved in the Morrisseau “fakes” world, had ever heard of her as any kind of credible Morrisseau expert. Part of that was due to her demand that her “participation” be kept top secret.

Including Donald Robinson, the self-styled top Morrisseau expert, who had never even mentioned her, let alone called her an expert, anywhere in his publications from 2001 to 2012. Though he clearly thought she might be a “useful” pliable plant on the NMHS, appointing her in 2009.

Yet even three years further on, and attending the Morrisseau training school at KRG she had apparently not made much progress.

In his own massive two volume “expert report” – Robinson’s biggest and last – published in 2012, calling “Spirit Energy” fake, Robinson had a praising encomium for school dropout Ritchie Sinclair, which he did in his other “expert” reports also. But nothing about any PhDs. Or Carmen Robertson. Or her work.

ON THE VERY SELF-SAME PAINTING – with the same conclusions – on which her own report would be done.

Comes fully equipped… for Morrisseau authentication…

There was NOT EVEN A MENTION of anyone called Carmen Robertson, then, or ever, in the past twelve years.

How lawyer Sommer found her – when Robinson could not – is anyone’s guess. But apparently she was ready, willing and able to follow directions, and came completely outfitted with her own Morrisseau “fakes” research equipment, for the same price.

She had only one request: Keep it a secret, please, I don’t want my colleagues to find out about it…

Oh, sure thing, promised an eager but reckless, Jonathan Sommer, who clearly did NOT know the law as well as he made out he did…

Especially that huge change made in 2015 in Ontario, to protect the Public Participation in writing about issues of Public Interest and national importance. (Sommer, who has lived in Quebec “forever,” has his business office in remote, rural Sutton, Quebec, so may not have heard much of what goes on in legal developments in Ontario.)

And the rest they say, folks, is outrage from Wascana Creek, and the Morrisseau Hoax exposed…

– killing the entire raison d’être for the Hearn v McLeod lawsuit

– triggering, the Otavnik v Robertson Libel & Defamation lawsuit in October 2017

One look at the Robertson “expert” report, when I published it, was all it took. Otavnik said her

“… expert report in a legal document insinuates that
1) Me and my family are stupid rubes who don’t know what a real authentic Norval Morrisseau painting is or
2) My family knowingly donated “fake” works of art and committed in essence tax fraud,
all of which was done without ever contacting me.”

Thanks to court disclosures, by Sommer and Robertson, on Dec. 1, 2017, admitting that they were both in on the ground floor on these wild and fraudulent allegations, we now know they were further involved in a happy conspiracy to target the Otavnik/Seetner family and their paintings, with TBAG Director Sharon Godwin’s full knowledge, cooperation, participation, and approval, FROM THE BEGINNING.

Robertson’s testimony on the stand – and Godwin’s claims to Otavnik, to the contrary – THAT THE DUO DID NOT COLLABORATE IN ANY WAY ON THIS FILE – are NOT believable, to any reasonable person looking at the published evidence, and Sinclair’s 2009 Affidavit.

How reasonable is it, for Robertson, on her own, to have picked out, to include, in her baseline database of 38 paintings, a super tiny group of four out of Norval’s life work of 15,000 paintings (4 supposed random picks out of 15,000, wherever they are) – or even of Robertson’s own estimate of 1,000 paintings (4 supposed random picks out of 1,000) – featuring front and backs, to put in her report, and ALL FOUR just happened, by accident, magically, to be four paintings in Sharon Godwin’s own shop, and for which she is on the record for, years ago, as calling fakes…?

All of which had been donated by the family of Joe Otavnik, who had for many years been the target of an aggressive art terrorism campaign by Sinclair, KRG. and NMHS operatives. An initiative now gleefully picked up by KRG NMHS appointee Carmen Robertson.

Go ahead; what are the odds? A happy conjunction of the planets? Or a conspiracy from the get go? And a professor with a memory problem? And a Gallery Director with an ethics problem?

Finally, in the five years since this Blog started to inform the public about the Morrisseau HOAX – in January 2013 – as an issue of Public Interest and National Importance – there have been NO NEW LAWSUITS alleging Morrisseau “fakes,” launched by a single one of Canada’s 90,000 lawyers – NOT ONE.

The first and last lawyer in Canada – out of 90,000 – to ever launch a Morrisseau “fakes” lawsuit. 

The only (single) exception – McDermott v McLeod – was launched by Jonathan Sommer in late October 2013.

The Claim literally lasted only a couple of weeks – I believe it may have been only days – after being filed, before the Plaintiff, celebrity singer John McDermott – after reading this Blog, and the court judgments I provided, which his lawyer had somehow failed to provide him – immediately, and totally abandoned it.

(Though both Sommer and Sinclair – in tandem – launched coordinated assaults on the mainstream media in early 2014, touting BOTH Hearn and McDermott lawsuits as being actively pursued, in fact many months after they both knew the McDermott v McLeod case was DEAD, DEAD, DEAD…)

But then flogging a dead horse is how they have made their living for years…

They both knew mainstream media journalists, being habitually lazy in research, would never catch on, or find out about the deception.)

Alas! They had not counted on a highly informed Blogger to keep the public informed of what they were up to.

This total lack of any new lawsuits by anyone alleging Morrisseau “fakes” is especially telling because the small cabal of fraudsters ALL claim that there are “thousands of fakes by umpteen forgers” out there…

Really?

And to prove their point, in 2008, the fraudsters pushed the RCMP and Thunder Bay Police to launch a three-year, multi-million dollar police investigation, with KRG and the NMHS providing investigators with names of all the fake paintings, crooks, creeps and fraudsters, they could think of, even including addresses, and location of storerooms where the “thousands of fakes by umpteen forgers” were being manufactured and stored. The cops interviewed countless of all the leading players across Canada and found…

Nothing… Zilch… Nada… Zip…

The police closed down the investigation in 2011, without filing any charge of any kind, against any individual, gallery, or dealer, or exposing a single Morrisseau fake, fraudster, or forger anywhere.

What does that say about Sommer and his “experts” and their wild accusations and allegations, AND THEIR BEST EVIDENCE, that they provided to the RCMP?

And furthermore, where are the other – hundreds – of lawyers chasing these elusive thousands of so-called “fakes?”

Name one other, besides Sommer with his lone Hearn v McLeod case?

Like the hundreds of lawyers chasing down Catholic priests all over Canada…

Because, while there are, indeed, hundreds and thousands of victims of sexual assault by priests – and many have been found guilty – the Morrisseau “fakes” fraudsters, have failed to find a single judge or forensic expert, to agree with them on a single “fake,” in the eighteen years they have promoted the greatest art fraud in Canadian history.

In the process Doing Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

It’s called Cultural Genocide.