There are other issues discussed such as the historic Indian cultures that were identified by explorers (VirtualMuseum.Ca, 2008). Nevertheless, unlike the Southwest, the place lacked intensive archaeology that would be stimulated by the stone ruins; instead, there were potlatches, totem poles, masks, which depicted the prehistoric cultures attributed to clam shells.
On the other hand, an analysis of the Blackman’s “Facing the Future, Envisioning the Past” (1990) explains the way contemporary Northwest Coast art was perceived as a result of revival that had commenced in 1960s. In fact, the Blackman (1990) argues that the bulk of contemporary art was focused on commercial market, given that the buyers were influenced by the meaning. Nevertheless, it is significant to acknowledge that historical archival photographs from the Northwest Coast are substantial resources to facilitate the analysis of the North coast art and material culture. Blackman offers a fascinating illustration of the Northwest Coast Art through publication of historical and contemporary photographs, research slides of museum collection piece.
Chapter two focuses on the form in Northwest Coast Indian art, whereby the Holm (1983) explains that the styles identified in this area were partially derived from two-dimensional space. These entail a division of continuous process, which was attributed to both positive and negative from of silhouette and sculptures on the Northwest Coast. Moreover, the chapter indicates that Northwest was known for three-dimensional sculptural art and concept. Nevertheless, there chapter offers a description of the fundamental distinction between arts of various cultural groups on the Coast, and an illustration of the exemplary examples through a presentation of some of the early pieces (Holm, 1983). In fact, some of these pieces can be accessed via websites, which are hosted by leading