TRIBAL PEOPLE
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Jackson Pollock et le Chamanisme held at
the Pinacothèque de Paris in 2008. This was
a groundbreaking show that linked Pollock’s
early abstract expressionistic works directly
to Northwest Coast shamanic art. Twenty-fi ve
pieces from my collection were represented in
this exhibit and were noted in reviews as being
the highlight of the show.
T.A.M.: You’ve focused almost entirely on
Northwest Coast, Arctic, and Woodlands art.
Why those regions as opposed
to the other cultures of North
America?
S.M.: I couldn’t collect
everything, so I pursued what
was most appealing to me. I’m
drawn to the artistry, form,
spirituality, and utilitarian
Museum of American Folk Art in New York
City in 1990–1991 and toured internationally
for more than two years.
T.A.M.: You came into Native American art
through a somewhat circuitous route. How did
that come about?
S.M.: During one of the fi shing trade shows I
attended in the late 1980s in Massachusetts I
came across a halibut hook. I was so intrigued
by the piece (which I still own) that I started
looking at other objects and soon was collecting
other Northwest Coast and Arctic fi shing
implements, and thus my new journey began.
I have always had an affi nity for Indian
objects, so this was a natural progression for
me as a collector. In a short time I moved from
fi shing implements to specializing in shamanic
objects. While their primary function was
utilitarian, I appreciated the craftsmanship, the
artistry, and the spirit embedded in each piece
created by masters of their trade and service.
I also “collect up.” Meaning, I always intend
for my next purchase or trade to involve getting
a better, fi ner piece. Establishing my collection
has been a process—and not one that has
come easily. The point at which I knew I had
achieved an exceptional collection was upon
receiving international recognition and praise
when it became the basis for the exhibition
FIG. 6 (left):
Humanoid bear war helmet.
Tlingit, Alaska. 1740–1780.
Wood, paint. W: 31 cm.
Photo: Steve Tucker/Chuck Dorris.
FIGS. 7a & b (below):
Speaker’s staff.
Eastern Great Lakes.
C. 1760.
Maple, snakeskin, lead, textile.
L: 76.2 cm.
Ex Alan J. Sainsbury Collection.
Photo: Steve Tucker/Chuck Dorris.
FIG. 8 (above right):
Shaman’s mask.
Tlingit, Alaska. 1860–1880.
Alder, abalone shell, pigment.
H: 22.9 cm.
Ex Lt. George T. Emmons, Heye
Foundation, the Andy Warhol
Collection.
Photo: Steve Tucker/Chuck Dorris.
FIG. 9 (above far right):
Forehead mask/headpiece.
Nishga, British Columbia.
C. 1790–1820.
Wood, pigment, abalone shell,
copper. W: 13.3 cm.
Ex Lt. George T. Emmons, collected
on the Ness River, British Columbia;
Heye Foundation; Museum of the
American Indian.
Photo: Steve Tucker/Chuck Dorris.
FIG. 10 (right):
Human face mask.
Inupiat, Alaska.
1830–1880.
Wood, human teeth. H: 21.6 cm.
Photo: Steve Tucker/Chuck Dorris.