A remarkable cultural initiative is underway as Boulogne-sur-Mer, France's largest fishing port, prepares to host a significant collection of Alaska Native art. This extraordinary exhibition, spearheaded by Alice Rogoff, a dedicated advocate for indigenous Alaskan artists, promises to transform the French city into a major hub for the preservation and display of these unique artworks. The collection, painstakingly gathered over two decades, showcases a diverse range of artistic expressions, from intricate carvings and woven baskets to compelling paintings and sculptures. This philanthropic gesture by Rogoff not only enriches the cultural landscape of Boulogne-sur-Mer but also highlights the profound artistic heritage of Alaska's indigenous communities, fostering a deeper understanding and appreciation of their craftsmanship and cultural narratives on an international stage.

The journey of this remarkable art collection began over thirty years ago when Alice Rogoff, a prominent figure in Alaskan journalism, first encountered the vibrant art scene of remote Alaskan villages. Through her travels, she observed that while the art was exquisite, the artists themselves were often undervalued, receiving minimal compensation for their intricate and time-consuming creations. This realization spurred Rogoff to establish the Alaska Native Arts Foundation. The foundation's primary goal was to bring broader visibility to these talented artists and their work, thereby fostering a more equitable market where their art could be justly valued, moving beyond its previous categorization as mere souvenirs.

Rogoff's dedication was rooted in a profound belief in the intrinsic worth of the art and the artists. She recounted instances where beautifully woven baskets, the product of six months' labor, were sold for negligible sums. In a world where traditional barter economies were giving way to the necessity of cash for modern conveniences and essential services like healthcare and transportation, the economic empowerment of these artists became critical. The foundation's efforts successfully elevated the recognition and pricing of Alaska Native art, bringing much-needed financial stability to the artistic communities.

Her passion for art was inherited from her family; her mother was an artist, and her father, an inventor, ensured that museum visits were a staple of their family travels. Rogoff also drew parallels with the highly valued scrimshaw art of Nantucket, where artists carving on whale bone received considerable respect and high prices. This contrast fueled her resolve to ensure that Alaskan artists received similar recognition and fair compensation for their "real art," which often took months or even years to create. Rogoff's deep connection to Alaska led her to become a state citizen, and she leveraged her influence in media and politics to further champion Alaska Native art, acquiring pieces for both her personal collection and the foundation.

To expand the reach of these artists, Rogoff and her collaborators opened galleries in Anchorage and New York, organizing exhibitions in major department stores and even at the Smithsonian Museum of Natural History. Her goal was to disseminate knowledge and appreciation for Alaska Native art widely, sharing it with friends, business partners, and colleagues. The decision to house her collection in France, specifically at the Chateau-Musée in Boulogne-sur-Mer, is deeply symbolic and historically significant.

This choice connects to an earlier, pivotal moment in the history of Alaska Native art. In the late 19th century, Alphonse Louis Pinart, a French explorer and ethnographer, amassed a vast collection of Alutiiq art during his travels in Alaska. These artifacts, including ceremonial masks central to the Alutiiq (Sugpiaq) community's spiritual practices, were brought back to France and housed in the Chateau-Musée. Pinart's collection, though inadvertently, became a critical repository of a culture facing rapid assimilation and the loss of traditional knowledge. Years later, a Sugpiaq artist, Helen Simeonoff, rediscovered this collection, sparking a cultural revitalization movement in Alaska. Her efforts, along with those of Perry Eaton and Sven Haakonsen, led to fruitful collaborations between the Alaskan indigenous communities and the French museum, fostering mutual respect and artistic exchange.

Alice Rogoff was deeply moved by Simeonoff's story and the impact of Pinart's collection. She saw how the museum in Boulogne-sur-Mer had safeguarded these precious artifacts, effectively preserving a "lost culture" for future generations. For Rogoff, donating her collection to this specific institution was the most logical and fitting decision. She recognized the museum's crucial role as a cultural guardian for Alaska Native art, ensuring its continued visibility and study. The upcoming opening, “Mondes Arctiques,” overseen by local French officials, will feature an array of works from Rogoff's collection, including pieces by renowned artists like Sylvester Ayek, Perry Eaton, Alvin Amason, Larry Ahvakana, and Helen Simeonoff herself. This permanent gift solidifies Boulogne-sur-Mer's position as an international center for Alaska Native art, a testament to enduring cultural connections and a shared commitment to artistic heritage.