- Triple K Co-operative
Triple K Co-operative Incorporated was a
Canadian Native -runsilk-screen company inRed Lake ,Ontario that produced high qualitylimited editions of several artist within the “Woodland school of Art” from 1973 till early 1980s.Triple K was based upon
artistic control , self-representation, and self-determination, representing one another and themselves on their own terms, instead of by non-Aboriginal organizations that might have tried to take advantage. It was related to the ideas of the "Professional Native Indian Artists Incorporated”, better known as the “Indian Group of Seven ” which established around the same time.The name “Triple K” relates to the last name of the three founders and brothers
Joshim Kakegamic ,Henry Kakegamic andGoyce Kakegamic . Besides their own art work, they made editions for others artist as well likeBarry Peters ,Paddy Peters ,Saul Williams , and their brother-in-lawNorval Morrisseau .History
The basis for the founding of Triple K started in the 1962, when Norval Morrisseau hit the
Toronto art scene at thePollock Gallery . He was the first Aboriginal artist to have work shown in a contemporaryart gallery , where his bright, stylizedOjibwa spiritual images were very well received and the contemporary Woodland school of Art was born.Norval Morrisseau was married Harriet Kakegamic who had three brothers, Henry, Joshim and Goyce Kakegamic. As artists, Goyce and Joshim were highly influenced by their brother-in-law Norval Morrisseau, and other artists such as
Daphne Odjig . They began painting in their teens, and by the early 1970s, when they were in their twenties, became recognized asprofessional artists in their own right.At that time, Native artists were almost completely excluded from the mainstream art community seventies, with exception of Norval Morrisseau. The then called “
Indian art exhibitions”, took place primarily inmuseums ofanthropology . To change this position, Native artist took control over their ownbusiness affairs in the art worlds, in controlling what had become a tawdry,government -run souvenir business in Indian art andcraft , and in managing the image of Native people in Canada. ArtistDapne Odjig was a driven force in these activities. She undertook several actions in the beginning of the 1970s including the creation ofIndian Prints of Canada Ltd (1970) a Native-controlled print co-operative, the opening of probably the first Aboriginal artist-run ‘Warehouse Gallery’ (1974) and she initiated the "Professional Native Indian Artists Incorporated” (1973), better known as the “Indian Group of Seven ”. The last were collectively concerned withcopyright issues, art markets, and thepolitics of the art world at that time.In the fall of 1973, within the
spirit of the age and after learningprintmaking techniques at Open Studio inToronto , Joshim and Goyce and their brother Henry opened the Triple K Co-operative Incorporated, with government support, in a modest building on Howey Street in Red Lake, Ontario.In the first year of operation they
reproduced a number of unlimited editions oncloth andpaper . The artist who contributed most of the work were Joshim and Goyce Kakegamic. With the growing reputations of the artists already involved and with the printing of some works by Norval Morrisseau, it became essential to maintain a certainstandard . Therefore Triple K decided only to begin printing originallimited editions prints. “Original” in the sense that all prints at Triple K were made from drawings designed specifically for the silk-screen process by the artist. The artist was also involved in every step in the process.At the start of the co-operative Triple K exhibited their productions wherever possible and by the end of that decade they had sold work to forty leading galleries. From 15 May till 30 June 1977 the
Royal Ontario Museum exhibited “Contemporary Native Art of Canada – Silk screens from the Triple K Co-operative, Red Lake, Ontario”.By its success of producing high quality art prints which were both affordable and available, the art of the artist involved was made available throughout Canada and the international art world. Besides artwork of the Kakegamic brothers, they produced work of other artists as well, like
Barry Peters ,Paddy Peters ,Saul Williams , andNorval Morrisseau .Triple K paved a path for Native artistic control and
disbanded in early 1980s.Political and social ideals
Triple K was based upon artistic control, self-representation, and self-determination – representing one another and themselves on their own terms, instead of by non-
Aboriginal organizations that might have tried to take advantage. They were part of amovement that provided opportunities for artists, such as inclusion in galleries, access to fine artseducation , and the creation of Aboriginal artist-run organizations. This movement also included the "Professional Native Indian Artists Incorporated”, better known as the “Indian Group of Seven ” which established around the same time.External links
* [http://www.seventhgenerationgallery.com/ Seventh Generation Gallery] "Native Contemporary Canadian Art Gallery" in the Netherlands, including Triple K silk-screens and artists.
References
*Royal Ontario Museum, “Contemporary Native Art of Canada – Silk screens from the Triple K Co-operative, Red Lake, Ontario”, The ROM show guide, exhibition 15 May till 30 June 1977, ROM, Toronto.
*Boyer, Bob and Carol Podedworny, “Odjig: The Art of Daphne Odjig, 1960-2000”, Key Porter Books Limited, Toronto, Canada, 2001. ISBN 1552632865
* [http://www.goredlake.com/~rlhc/index.html Red Lake Regional Heritage Centre website 2008]
* [http://www.native-art-in-canada.com/kakegamic.html Native Art in Canada website 2008] , Joachim & Joyce Kakegamic.
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