Even if you are not a totem pole fancier, it’s wonderful to see Hall and Glascock retrieve model totem poles from souvenirial obscurity. Besides showing numerous examples of great work, the book names the artists, tracks the evolution of the genre both artistically and socially, and identifies tribal and regional styles. And they don’t scoff at the souvenirs either, reflecting a sensibility forged by decades of engagement with regional, folk, self-taught and popular-craft art.
