Crystal Bridges Museum and Art Bridges Foundation acquire 90 Indigenous artworks

Crystal Bridges Museum of American Art and Art Bridges Foundation have acquired 90 contemporary Indigenous artworks from the John and Susan Horseman Collection, a landmark acquisition that significantly increases Indigenous representation in American art institutions, with Art Bridges obtaining 81 pieces for nationwide museum loans and Crystal Bridges receiving nine works directly for its permanent collection.

Horseman Collection Acquisition, no bullet point

The acquisition of 90 contemporary Indigenous artworks from the John and Susan Horseman Collection represents a transformative moment for both Art Bridges Foundation and Crystal Bridges Museum of American Art. With this landmark addition, one-third of Art Bridges' collection now consists of contemporary Indigenous art, dramatically increasing representation and visibility for Native artists across the American museum landscape. The acquisition includes works by prominent Indigenous creators such as Kent Monkman, Tyrell Tapaha, George Morrison, Oscar Howe, Jaune Quick-to-See Smith, Rick Bartow, Kay WalkingStick, James Lavadour, Emmi Whitehorse, Brad Kahlhamer, Cannupa Hanska Luger, Rose B. Simpson, Roxanne Swentzell, and T.C. Cannon.crystalbridges+1

The collection will be strategically shared with the public through several initiatives. Art Bridges will loan its 81 acquired works to the new Alice L. Walton School of Medicine for an exhibition opening November 3, 2025. Three significant pieces—Cannon's "It's A Good Day to Die" (1970), Swentzell's "The Corn Mothers are Crying" (2015), and Monkman's "Saving the Newcomers" (2023)—will be displayed at Crystal Bridges in 2026 as part of its campus expansion. Additional works will feature in the 2027 exhibition "Made in Beauty," exploring historical and contemporary Indigenous art. Following these exhibitions, Art Bridges will begin loaning the Horseman works to carefully selected partner institutions across the country, fulfilling its mission of expanding access to American art.theartnewspaper+1

TC Cannon's 'It's A Good Day to Die'

T.C. Cannon's "It's A Good Day to Die" (1970) stands as one of the significant works included in the landmark acquisition by Crystal Bridges Museum and Art Bridges Foundation. This painting exemplifies Cannon's revolutionary approach to Indigenous art, which broke from traditional Native American painting styles by incorporating European and American influences while addressing contemporary Indigenous experiences. As part of the Kiowa-Caddo artist's signature works, it demonstrates his bold use of color and innovative compositional techniques that helped redefine Native American artistic representation in the post-World War II era.seegreatart+2

Cannon, who lived from 1946 until his untimely death in a 1978 car accident, created approximately 90 paintings during his lifetime. His artistic vision was shaped by his military service in Vietnam with the U.S. Army 101st Air Cavalry, his education at the Institute of American Indian Arts in Santa Fe, and his wide-ranging intellectual interests in philosophy, literature, and music. "It's A Good Day to Die" joins other notable works by Cannon such as "Self Portrait in Studio" (1975), "Beef Issue at Fort Sill" (1973), and "Two Guns Arikara" (1974-1977) in showcasing his ability to create art that engages viewers with compelling imagery while addressing complex themes of Native American identity and experience.theartnewspaper+4

Ashley Holland's Curatorial Vision

Ashley Holland (Cherokee Nation), Curator and Director of Curatorial Initiatives at Art Bridges Foundation, brings a transformative vision to Indigenous art curation that directly influenced the landmark acquisition. Holland's approach centers on redefining American art beyond traditional canonical boundaries, emphasizing inclusivity and representation of diverse experiences. With a Ph.D. in Native American Art History from the University of Oklahoma, she specializes in contemporary and Indigenous art history, bringing scholarly expertise to her curatorial practice.linkedin+1

Holland's philosophy acknowledges that Indigenous art evolves in response to colonization and changing community dynamics, making it essential to represent both historical and contemporary Native works. As co-curator of American Sunrise: Indigenous Art at Crystal Bridges alongside Jordan Poorman Cocker, Holland articulates this vision: "Indigenous perspectives are foundational to any American art collection." Her collaborative work exemplifies a commitment to foregrounding Indigenous voices and expanding the narrative of American art through what she calls the "American experience"—incorporating artists across different countries and cultures who contribute to America's artistic landscape.smarthistory+2