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The Turquoise Trail: Native American Jewelry and Culture of the Southwest. New York: Abrams, 1993. ISBN 0-8109-3869-3. Shearar, Cheryl. Understanding Northwest Coast Art. Vancouver: Douglas & McIntyre, 2000. ISBN 0-295-97973-9. Turnbaugh, William A., & Turnbaugh, Sarah Peabody. Indian Jewelrey of the American Southwest.
Totem poles, a type of Northwest Coast art. Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
The Indian Arts and Crafts Act of 1990 defines "Native American" as being enrolled in either federally recognized tribes or state recognized tribes or "an individual certified as an Indian artisan by an Indian Tribe." [1] This does not include non-Native American artists using Native American themes. Additions to the list need to reference a ...
Lily Hope (born 1980, Juneau) is an Alaska Native artist, designer, teacher, weaver, Financial Freedom planner, and community facilitator. [1] She is primarily known for her skills at weaving customary Northwest Coast ceremonial regalia such as Chilkat robes and ensembles.
This list includes notable visual artists who are Inuit, Alaskan Natives, Siberian Yup'ik, American Indians, First Nations, Métis, Mestizos, and Indigenous peoples of Mexico, the Caribbean, Central America, and South America. Indigenous identity is a complex and contested issue and differs from country to country in the Americas.
Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century. Seattle: University of Washington Press. ISBN 0-295-97658-6. Dubin, Lois Sherr (1999). North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams. ISBN 0-8109-3689-5. Shearar, Cheryl (2000).
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