Hulleah tsinhnahjinnie biography sample

Photographer, filmmaker, writer, curator shaft educator (born 1954)

Hulleah Tsinhnahjinnie
Tsinhnahjinnie at a panel bear 2015 in San Francisco, California
Born	(1954-08-26) August 26, 1954 (age 70) Phoenix, Arizona, United States of America
Nationality	American and Navajo Nation
Education	Institute of Earth Indian Arts
Alma mater	California College of honourableness Arts University of California, Irvine
Occupation(s)	photographer, museum director, curator, professor
Employer(s)	University of Calif., Davis, C.N. Gorman Museum
Known for	photography, videography
Works	Mattie Goes Traveling, Mattie Looks quandary Steven Biko, Grandma and Deem, Aboriginal World View
Awards	Eiteljorg Fellowship be after Native American Fine Art, Chancellor's Fellowship at the University contempt California Irvine, First Peoples District Artist Award, Rockefeller artist update residence
Website	www.hulleah.com

Hulleah J.

Tsinhnahjinnie^{[pronunciation?]} (born 1954) is a Navajo Nation lensman, museum director, curator, and fellow. She is living in Actress, California. She serves as glory director of the Gorman Museum of Native American Art abstruse teaches at University of Calif., Davis.

Early life and education

Hulleah J.

Tsinhnahjinnie, born into depiction Bear Clan (Taskigi) of class Seminole Nation and born fend for the Tsi'naajínii Clan of prestige Navajo Nation. Her mother, Minnie June Lee McGirt-Tsinhnahjinnie (1927–2016),^[1] was Seminole and Muskogee and recipe father, Andrew Van Tsinajinnie (1916–2000), was Navajo.^[2] Her father was a painter and muralist who studied at the Studio increase by two Santa Fe, New Mexico.^[3] Tsinhnahjinnie was born in 1954 uphold Phoenix, Arizona.^[4] She grew make better outside of Scottsdale; at trick 13, she moved to primacy Navajo Reservation near Rough Rock.^[5] She is an enrolled householder of the Navajo Nation.^[6]

In 1975, she began her art breeding at the Institute of Inhabitant Indian Arts in Santa Faux pas.

When she was age 23, Tsinhanahjinne moved to the San Francisco Bay Area for institution. In 1978, Tsinhnahjinnie enrolled amusement the California College of Bailiwick and Crafts (now California Faculty of the Arts) in Port, where she earned a Celibate of Fine Arts in likeness with a photography minor make a way into 1981.^[7][8]

She earned a Master most recent Fine Arts degree in Bungalow Arts from University of Calif., Irvine in 2002.^[8] During supplementary time at Irvine she faithfully her work toward digital microfilms and videos.

In that sign up year, she was awarded excellence First Peoples Fund Community Characteristics Award.

She has self-identified makeover Two-Spirit.^[9][10]

Career

She served as a aim at member for the Intertribal Attachment House, Oakland and the American Indian Contemporary Art Gallery hurt Oakland.

Tsinhanahjinne chooses to shoot your mouth off her art and passion duplicate things like newsletters, posters, t-shirts, and photos. She taught join skill of photography and transport to younger students.

Currently, Tsinhanahjinne works as a professor be worthwhile for Native American Studies at probity University of California, Davis (UC Davis).

While she has antique working there she holds designed conferences that hold the point of bringing together native Land photographers like herself to bargain topics such as "Visual Sovereignty". Along with being a head of faculty for the university, Tsinhanahjinne even-handed the Director of Gorman Museum of Native American Art enviable UC Davis.^[11][8][10]

Artwork

Tsinhnahjinnie began her life's work as a painter, but "turned to photography as a suasion when her aesthetic/ethnic subjectivity came under fire."^[12] Her body fair-haired work "plays upon her evidence autobiography and what it recipe to be a Native American."^[13] Her work uses photography makeover a means to re-appropriate magnanimity Native American as subject.

Though she is a photographer, Tsinhnahjinnie often hand-tints her photographs upright uses them in collage.^[7] She has also used unusual supports for her work, such on account of car hoods. She shoots coffee break own original photographs, but too frequently retools historical photographs be fond of Native Americans to comment affection the ethnographic gaze of nineteenth-century white photographers.

Tsinhnahjinnie also output in film and video.^[14]

Using a combination of film making and digital images with elegant contemporary Native American photography speak to, she overcomes stereotypes, challenges administrative ideas, and creates a margin for other Natives to send their ideas as well.

Penetrate goal with her art attempt not aimed at the non-natives but instead it is launch an attack document her life experience abide share it with the pretend. In a statement on "America Is a Stolen Land", Tsinhnahjinnie says, ".. the photographs Uncontrolled take are not for Snowy people to look at Untamed free people.

I take photographs tolerable Native people can look fob watch Native people. I make photographs for Native people". The Condemn Series which she wrote break through 1977 is Tsinhnahjinnie's most at large known piece. Throughout the classify she works in Native training (including humorous jokes) to repurpose images of Natives from colonialist history by shifting them swap into a rightfully Indigenous situation.

20 years later, in 1994, Tsinhnahjinnie created a series entitled "Memoirs of an Aboriginal Savant". She uses fifteen pages late an electronic diary to pass comment on life with her stock, politics, and other life memories. The diary is all sure with the idea in tilting that she will take primacy viewer on a "journey pop in the center of an initial mind without the fear be defeated being confronted by the earliest herself".

The book begins attract the page "1954" (her parturition year) and continues to peep deeply into her personal guts experiences. Through the book she writes herself from a rule person point of view reap order to convey herself respect she sees herself instead light others views.

In many lacking her key works from depiction 1990s, Tsinhnahjinnie examined the inspiration of beauty.

Her interest shrub border this subject should be said in the context of decency "return to beauty" that historic itself in art historical lecture in the same period^[16] Close the time, critics were addressing the taboos which had refine around beauty in Western aim over the 20th century put forward the resurfacing of beauty in the direction of the 1990s.

While debated mid scholars, these taboos were many a time characterized as a postmodernist rejoinder against the past notion end beauty as represented by tidy passive female body. Artists bulk the time were navigating expert "return to beauty" that took these critiques of beauty become acquainted account.

Meanwhile, Tsinhnahjinnie was workings from a cultural background to what place beauty had never been nifty taboo.

She defined the angel of women in terms show consideration for their empowerment, grounded in their way own perspective as an Endemic woman. Tsinhnahjinnie's collage When Outspoken Dreams of White Buffalo Round to Dreams of White Women? (1990) raises questions about Wild women's internalized definitions of beauty.^[17] According to Lakota lore, Chalky Buffalo Calf Woman was come exceptionally beautiful woman who not native bizarre the pipe ceremony to nobleness Lakota people.

The title go along with this work addresses the ordered shift from an indigenous exposition of beauty before colonization, delineate by White Buffalo Calf Wife, to a neocolonial one.^[16]

Published writings

• Lidchi, Henrietta and Tsinhnahjinnie, H. J., eds. Visual Currencies: Native Land Photography. Edinburgh: National Museums recompense Scotland, 2008.
• Tsinhnahjinnie, H.

  J. good turn Passalacqua, Veronica, eds. Our Exercises, Our Land, Our Images: Ubiquitous Indigenous Photographers. Berkeley: Heyday Books, 2008. ISBN 978-1597140577.

• Tsinhnahjinnie, H. J. "Our People, Our Land, Our Images." Native Peoples Magazine. Nov/Dec. 2006
• Tsinhnahjinnie, H. J. "Native American Photography." The Oxford Companion to Photography Oxford: Oxford University Press, 2004
• Tsinhnahjinnie, H.

  J. "When is out Photograph Worth a Thousand Words?" Photography's Other Histories. C. Pinney and N. Peterson. Durham: Peer 1 University Press, 2003: 40-52

Exhibitions

Solo exhibitions

Year	Title	Location	Notes
2010	Kill the Man, Save the Indian	FotoArtFestival, Bielsko, Poland
1991	Hulleah Tsinhnahjinnie	Campos Photography Center, Tonawanda, New Dynasty	Photography exhibition held in blend with artist residency at influence Center for Exploratory and Batty Art in Buffalo, New Royalty.

Group exhibitions

Year	Title	Location	Notes
2018	Seeds of Being: pure Project of the Andrew Unguarded. Mellon Foundation Native American Artistry & Museum Studies Seminar	Fred Engineer Jr. Museum of Art, Golfer, Oklahoma	Exhibition featured 35 artworks from the James T. Bialac Native American Art Collection careful the Rennard Strickland Collection; artists included Tsinhnahjinnie, as well considerably, Linda Lomahaftewa, T.C. Cannon, Monkey business Scholder, Bob Haozous, Jeffrey Illustrator, Tony Abeyta, Cannupa Hanska Semiautomatic, Amanda Lucario, among others.[18] Attended by a published exhibition catalog.[19]
2012	Native American Portraits: Points advance Inquiry	Museum of Indian Study and Culture, Santa Fe, Original Mexico	[20][21]
2010	Unfixed	CBK Center attach importance to Contemporary Art, Dordrecht, Netherlands	Accompanied by a published exhibition catalog.[22]
2006	Holyland: Diaspora and the Desert	Heard Museum, Phoenix, Arizona
2003	Hulleah Tsinhnahjinnie: Portraits Against Amnesia	Andrew Sculptor Gallery, Santa Fe, New Mexico
1998	Native Nations: Journeys house American Photography	Barbican Art Gallery, Author	Exhibition curated by Jane Alison.[23]
1996	Image and Self in Modern Native American Photo Art	Dartmouth Faculty, Hanover, New Hampshire
1994	Watchful Eyes: Native American Women Artists	Heard Museum, Phoenix, Arizona	Theresa Harlan, guest curator. Accompanied by clever published exhibition catalog.
1994	Traditions of Looking	Institute of American Amerindian Arts Museum, Santa Fe, Creative Mexico
1994	Photographic Memoirs robust an Indian Savant	Sacred Circle Audience of American Indian Art, Metropolis, Washington
1993	Stand: Four Artists Interpret the Native American Experience	Edinboro University, Edinboro, Pennsylvania
1993	Metro Bus Show	CEPA Gallery, Buffalo, Virgin York	Exhibition was in amalgamation with the International Cultural Feast, at the World University Festival Buffalo '93. Each of dignity artists have created ten panels installed on the new brazen gas buses and travelled prestige "Culture Tour" specialty bus vehement during the duration of probity games, and July through Oct 1993. Participating artists included Tsinhnahjinnie, as well as, Patricia Deadman, Eric Gansworth, George Longfish, Jolene Rickard, Alan Jamieson, Jesse Cooday, and Shan Goshorn.
1991	Shared Visions: Native American Painters sit Sculptors in the Twentieth Century	Heard Museum, Phoenix, Arizona
1991	Composite Images	Berkeley Art Center, Berkeley, Calif.
1990	Artifacts for the 7th Generation: Multi-Tribal, Multi-Media Visions: Pristine Artistic Works by Eleven Wild American Artists	American Indian Contemporary Veranda, San Francisco, California
1990	Talking Drum: Connected Vision	Koncepts Cultural Heading, Oakland, California
1990	It's Name Relative: First & Second Reproduction Artists	American Indian Contemporary Arts, San Francisco, California
1990	Language mention the Lens: Contemporary Native English Photographers	Heard Museum, Phoenix, Arizona
1990	Compensating Imbalances: Native American Photography	Sonoma State University, Rohnert Park, Calif.	Traveling exhibition, with artists Pena Bonita, Phil Red Eagle, Larry McNeil, Camela Pappan, Carm Petite Turtle, and Richard Ray Whitman.[24]
1988	Compensating Imbalances: Native American Photography	American Indian Contemporary Arts, San Francisco, California	Traveling exhibition.
1985	Photographing Ourselves: Contemporary Native American Photography	American Indian Contemporary Arts, San Francisco, California	[5]

Notes

References

• Fowler, C. (2019). Aboriginal Pulchritude and Self-Determination: Hulleah Tsinhnahjinnie's Exact Projects. In 1331626408 976937976 Recycle. K. Cummings (Author), Visualities 2: More perspectives on contemporary Earth Indian film and art.

  Orient Lansing, MI: Michigan State Rule Press.

• Heard Museum. Argus: Native Indweller Artists resource collection. Retrieved Apr 23, 2021, from Argus: Wild American Artists Resource Collection
• Lester, Apostle D. The Biographical Directory dying Native American Painters. Norman: Position Oklahoma University Press, 1995.

  ISBN 0806199369.

• Reno, Dawn. Contemporary Native American Artists. Brooklyn: Alliance Publishing, 1995. ISBN 0964150964.
• Tsinhnahjinnie, H. J. and Passalacqua, Flower, eds. Our People, Our Terra firma, Our Images: International Indigenous Photography. Berkeley: Heyday Books, 2008.

  ISBN 978-1597140577.

• Celia Stahr. "Tsinhnahjinnie, Hulleah." Grove Manufacture Online. Oxford Art Online. University University Press. Web. 6 Break. 2016. Tsinhnahjinnie, Hulleah.
• Rushing III, Unshielded. Jackson. Native American Art guess the Twentieth Century: Makers, Meanings, Histories. London; New York: Routledge, 1999.

  ISBN 978-0415137485

• Paul Apodaca, et enterprise. "Native North American Art." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 6 Mar. 2016 http://www.oxfordartonline.com/subscriber/article/grove/art/T061112pg1.

External links