function as they manifest in each piece. In my
mind, these are some of the Native American
areas that have the most evolved and prolific
sculptural traditions, perhaps in part because
they’re relatively settled peoples, as opposed to
the more nomadic cultures elsewhere in North
America. I found early on that I was more
drawn to the sculpted pieces made of wood,
ivory, antler, and bone, and I was less interested
in beadwork or clothing or rugs.
T.A.M.: Are there any individuals who have
been especially influential in the formation of
this collection?
S.M.: Yes, in short, all the dealers, collectors,
and museums who have helped to educate me
in the process. But more specifically, George
Terasaki, who has since passed, was a dealer
in the field with the most exquisite pieces and
one of the people who educated me the most
and sold me some of my finest pieces. Others,
like Brant Mackley, Steve Powers, and Peter
Brams, were influential in directing me in the
Woodlands field. Andre Nasser’s remarkable
collection was my inspiration for Northwest
Coast and Arctic. As a child I frequently visited
the American Museum of Natural History and
the Museum of the American Indian, the latter
when it was uptown near Columbia University
in New York City, and these both provided an
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