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Transformations: The George and Colleen Hoyt Collection of Northwest Coast Art
Since the 1980s, Oregon-based art collectors George and Colleen Hoyt have amassed one of the finest private collections of Northwest Coast art in the United States. Transformations traces the history of contemporary Northwest Coast Native art since the 1950s. Included are works by some of the region's foremost Native artists of the past half century, including Robert Davidson, Doug Cranmer, Beau Dick, and Susan Point. The collection of over six hundred prints and carvings by over one hundred artists is a promised gift from George and Colleen Hoyt to the Hallie Ford Museum of Art. Richly illustrated with color photographs, the book features a foreword by John Olbrantz, an essay by Rebecca J. Dobkins, and artist biographies by Tasia Riley.
Exhibition Hallie Ford Museum of Art, September 17–December 17, 2022
Exhibition Hallie Ford Museum of Art, September 17–December 17, 2022
216 pages, Hardcover
Published November 16, 2022
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May 10, 2023
When people with money set their minds to collecting, it can get interesting if they know what they're doing.
In the 1980s George and Colleen Hoyt were inspired by the landmark book 'The Legacy: Tradition and Innovation in Northwest Coast Indian Art'. They learned more about the art and set out to collect the forty artists represented in the book. Since then, they have been actively collecting, with about 600 pieces (two-thirds of them prints) from about 110 artists.
They focused on work being newly made by the generation of Indigenous artists learning their craft in the late 20th century. Consequently, they commissioned a lot of wonderful things (especially carved masks and other carved objects) from the artists directly, acquiring a collection it would be difficult to assemble on the open market.
Now in their 80s, the Hoyts have promised the collection to the art museum at George's alma mater, Willamette University in Salem, Oregon. While the museum has some Native art already, this will greatly expand the scope of their holdings and make them a notable source for late 20th century/ early 21st century Northwest Coast Native art.
After a reasonably short introduction to Northwest Coast design, the book showcases dozens of artists, printing a short professional biography, their connection to other artists, and a few examples of their work. It's a wonderful survey course of the nature of the field in the past forty years, for carvings and prints. The only lack is good representation of other media, such as glass or fiber art. Consequently the book is heavily tilted towards men (traditionally the carvers), with the only glass work by Susan Point. So while heritage artists such as Mungo Martin are represented, Florence Davidson is not. Nor are glass artists such as Preston Singletary and Dan Friday.
I drive through Oregon periodically, and will keep an eye on the museum's news to see when the collection goes on display. It's worth stopping in Salem for.
In the 1980s George and Colleen Hoyt were inspired by the landmark book 'The Legacy: Tradition and Innovation in Northwest Coast Indian Art'. They learned more about the art and set out to collect the forty artists represented in the book. Since then, they have been actively collecting, with about 600 pieces (two-thirds of them prints) from about 110 artists.
They focused on work being newly made by the generation of Indigenous artists learning their craft in the late 20th century. Consequently, they commissioned a lot of wonderful things (especially carved masks and other carved objects) from the artists directly, acquiring a collection it would be difficult to assemble on the open market.
Now in their 80s, the Hoyts have promised the collection to the art museum at George's alma mater, Willamette University in Salem, Oregon. While the museum has some Native art already, this will greatly expand the scope of their holdings and make them a notable source for late 20th century/ early 21st century Northwest Coast Native art.
After a reasonably short introduction to Northwest Coast design, the book showcases dozens of artists, printing a short professional biography, their connection to other artists, and a few examples of their work. It's a wonderful survey course of the nature of the field in the past forty years, for carvings and prints. The only lack is good representation of other media, such as glass or fiber art. Consequently the book is heavily tilted towards men (traditionally the carvers), with the only glass work by Susan Point. So while heritage artists such as Mungo Martin are represented, Florence Davidson is not. Nor are glass artists such as Preston Singletary and Dan Friday.
I drive through Oregon periodically, and will keep an eye on the museum's news to see when the collection goes on display. It's worth stopping in Salem for.
Displaying 1 of 1 review