Following the origins and history of these fake Morrisseau’s being sold through KRG and Maslak Mcleod

Good afternoon to each and everyone and it’s an honour to expose these fake Norval Morrisseau’s that have been fraudulently sold through Maslak Mcleod and Kinsmen Robinson galleries all throughout the late 80’s, 1990’s and into the 2000’s. These particular fakes which differ from the black dry brush but have their own class with regard to this particular wave. What I mean by that is that these are easily distinguishable between the other 10 plus waves that are currently circulating the Canadian art market.

These bastard fakes are a serious problem. They not only misrepresent the art of Norval Morrisseau, but they also misrepresent our teachings and culture. The stories and designs are a mismatch on several levels. The techniques and inlay work along with the compositions are usually imbalanced, crooked and off kilter.  

Pictured here: Front cover of a fake Norval Morrisseau sourced from: Maslak Mcleod 

Kinsmen Robinson gallery out of Yorkville in Toronto has a long history with these fakes. When researching the history of these shitty fake paintings it is highly noticeable how KRG has vouched for this garbage. Signing fake provenance, making up bullshit history with these useless examples. It’s a crime and these are acts of cultural genocide against my culture. This is a false narrative that needs to be exposed for what it is. I warned KRG a long time ago that these fakes would have to be dealt with. Now is that time. The integrity of my culture depends on it. 

Above: Another example of a fake Morrisseau 

Above image: Yet another example of a fake Morrisseau

This is a screen capture of KRG’s denial of these truths.The above painting was proven to be fraudulent. A former apprentice in John Zemanovich who attended a show at McMicheal gallery seen where this example was stolen from on an actual authentic Norval Morrisseau painting at this exhibition. After this discovery, Kinsmen Robinson gallery immediately took down this post verifying our suspicions right away. It was not only a victory for us but more importantly for the truth of Anishanabe culture and the art of Norval Morrisseau. 

Pictured here: Fake Morrisseau titled: Lily of the Mohawk sold through you guessed it, KRG

I have been actively fighting this fraud for over 17 years now. It’s a major chunk of my time. The levels of utter bullshit and lies that Ive had to deal with is unprecedented for me as a leading First Nations Anishanabe artist. I am the only native artist who has continued to fight and who has risked my entire reputation as the direct result. Many other native artists are either too scared or simply dont really care. It’s so crazy how many people profess their love for Norval and his art but when it comes to taking any real action? Fuck all. It’s quite sad how people are worried about their money when it comes to taking on this fight. And at the end of the day, that’s really what this whole thing has been about. Making money and protecting their money. Not the culture, not the art.

This is Phil Cote. He’s a fuckin douche bag in my books. I don’t trust him and I don’t like him. I was warned about him by a few other native artists in Toronto Ontario quite a while back. I have suspected him along with a few others who are in the know about just how deep and grave this fraud of Norval Morrisseau art truly is. Phil is one who has deep roots with Maslak Mcleod back in the late 1980’s and 1990’s. He wasn’t known for woodland art at the time as he was sourcing his Inuit carvings through Maslak back then. But make no mistake about it. This guy is a master artist. Here’s an example of what he can do besides woodland style art:

It’s when I look at his woodland art examples that I begin to notice so many comparisons to these fakes which were sourced through Kinsmen Robinson gallery and their counterpart in Yorkville at Maslak Mcleod. All of these time periods fall right into place and the synchronicity of it all begs one to question this reality. I shared these findings and conclusions with the current national police investigation. I confronted this asshole twice, about it. I know that more will be revealed but I can only do so much to try and protect the authenticity of my culture. 

This is a mural by Phil Cote. Compare his inlay work, style of human figures, detailing with these fake Morrisseau’s and it’s very strange how similar everything is. I cannot find any other woodland style painter except for Phil who matches so closely. For me I can see so many similarities between them. An artist always gives himself away when it comes to their particular style and tricks that they use. I have a masters eye so I can see it. Better than any academic and most certainly better than any police investigation. They simply don’t know and thus cannot see it the way I do. This has been one of the major reasons why I have a very difficult time trusting the size and scope of this investigation. It has already been shown that the Canadian rule of law tried to make those fake black dry brush paintings real in Ontario superior court. 

Above picture is another example of Phil Cote and his art

Here is another example of how Phil Cote assembles his woodland art and techniques

Indeed the similarities are so striking and the fact that no other woodland style painter fits this comparison makes it very challenging to think otherwise. I must continue to shed all the light I can on such controversy. The integrity of my culture depends on it for future generations and as someone who is willing to speak up and speak out, I must. As a First Nations soul who is healing from genocide and being a 60’s scoop survivor, these findings must be shared. I will not let my suspicions go unchecked. This national police investigation has an obligation to investigate all leads and pursue all waves of these fakes and those suspected. Otherwise it will be an incomplete investigation. 

Again it is fakes like the last example shown above that need to be identified, singled out for what they are and finally destroyed. They are fake paintings. This is not the art of Norval Morrisseau. They are abominations. They are a form of misrepresentation of Anishanabe culture and they are fraudulent examples of a continued cultural genocide that is happening for all First Nations across Canada and beyond. 

All my relations....MAJ