Horse Capture, G. (et al), Native American Art at Dartmouth: Highlights from the Hood Museum of Art, Hood/UPNE.

Wolgamott, L.K., “Double Vision is provocative digital imagery”, Lincoln Journal Star, 2/12.

Meredith, A., “Review | Double Vision: New Works by Hulleah J. Tsinhnahjinnie”, Ahalenia: Native American Art History, Writing, Theory, and Practice, 4/7.

Fowler, C., “Aboriginal Beauty and Self-Determination: The Photographic Projects of Hulleah Tsinhnahjinnie” in Visualities: Perspectives on Contemporary American Indian Film and Art, Cummings, D. (ed), Michigan State University Press, East Lansing.
Passalacqua, V., "Archival Encounters", The Norman and Jane Geske Lectureship in the History of the Arts, Hixson-Lied College of Fine and Performing Arts, University of Nebraska, Lincoln.

Bauerkemper, J. “Videographic sovereignty: Hulleah J. Tsinhnahjinnie’s Aboriginal World View, in Visualities: Perspectives on Contemporary American Indian Film and Art, Cummings, D. (ed), Michigan State University Press, East Lansing.


van Leeuwen, A., “Unfixed”, Kunstbeeld Magazine, Issue 11, p.56-59

Morris, K., Hulleah J. Tsinhnahjinnie, 35 Artists, American Indian Art Magazine, 35th Anniversary Issue, Vol.36 (1): Winter, p.71.

Levi Strauss, D., From Head to Hand: Art and the Manual, Oxford University Press, New York. 

SPE National Conference (cover), Society for Photographic Education, Cleveland.


Lobo, S., Native American Voices, 3rd edition, Pearson Prentice Hall, Upper Saddle River.

Lippard, L., “Farther Afield” in Art/Anthropology/Fieldwork, Schneider, A. (ed.), Berg Publishing, Oxford.

London, Upton, Stone, Kobre, Brill (eds.), Photography: The Essential Way, Pearson Prentice Hall, Upper Saddle River.
Morris, K., “Reading Between the Lines: Text and Image in Contemporary Native American Art”, American Indian Art Magazine, Vol.34 (2): Spring, p52-59.


Talahongva, P., “Hulleah Tsinhnahjinnie”, National Museum of the American Indian, Spring, p52-54.

Garroutte, E.M., “Challenging Authenticity: Contemporary Artists’ Contributions to American Indian Intellectual Sovereignty”, Foundation of First Peoples’ Sovereignty, Wiethaus, U.(ed), Peter Lang, New York, 225-242.
Congdon, K.G., Hallmark, K.K., Twentieth Century United States Photographers, Greenwood Press, Philadelphia.
Stone, J. and J. Upton, Photography 9/E, Prentice Hall, Upper Saddle River, NY.

Glenn, C., The Harbrace Guide to Writing, Page to Page, Tucson, AZ.

Marshall, Cora, “Cultural Identity, Creative Processes, and Imagination: Creating Cultural Connections through Art Making”, The Journal of Cultural Research in Art Education.


Hesford, W.S. and B. Brueggemann, Rhetorical Visions, Prentice Hall, Saddle River, NY.

London, B., Stone, J., Upton, J., Photography: The Essential Way, Prentice Hall, Upper Saddle River, NY.


Ruszkiewics. Beyond Words: A Visual Reader, Pearson Publishing, New York.

Hamill. Going Indian, University of Illinois Press, Chicago. (cover).

Virtuoso Insights, Seattle, Jan/Feb.


Hesford, W. and Brueggemann, Rhetorical Visions, Pearson Publishing, Boston.

Wald, C., The Resilient Writer: Tales of Rejection and Triumph from 23 Top Authors, Persea Books, New York.

London, B., Upton, J., Stone, J., Kobre, K., and B. Brill, Photography 8/E, Prentice Hall, Upper Saddle River, NY.


Holt, Rinehart & Winston, Holt Literature & Language Arts, Austin.

Passalacqua, V., “Hulleah J. Tsinhnahjinnie: Portraits Against Amnesia”, Encounters, Lewis and Clark Museum, Portland, OR.

Passalacqua, V., “Hulleah J. Tsinhnahjinnie: Portraits Against Amnesia”, Public/Private: Tumatanui/Itiatamut, Auckland Art Gallery, Auckland, NZ.


Pasa Tiempo, The Santa Fe New Mexican, August (cover).

Passalacqua, V., “Hulleah J. Tsinhnahjinnie”, Path Breakers: The Eiteljorg Fellowship for Native American Fine Art, 2003 Eiteljorg Museum and University of Washington Press, Indianapolis and Seattle: 80-99.


Harry, D., “Genetics and Native Identity”, Native Americas: Who’s An Indian: Tribal Membership and Indian Status, vol.19, no.1&2.

Glencoe/McGraw-Hill, Glencoe Literature: The Reader’s Choice, Chicago.

Glencoe/McGraw-Hill, Presentation Plus! World Literature, Columbia, (electronic teaching publication).


Lobo, S. and K. Peters, Eds., American Indians and The Urban Experience, AltaMira Press, Walnut Creek.

Greensfelder, S., “CIBA 2001 Gathering”, News from Native California, vol.15, no.1: cover, 18.


Hammond, H., Lesbian Art in America, Rizzoli, New York.

Abbott, L., “Artists of Change:  Breaking through the Millennium”, Native Peoples, vol.13: 50-51.

Feest, Christian F. The Cultures of Native North America. Cologne, Germany: Konemann.


Lippard, L., On the Beaten Track, The New Press, New York.

Squiers, C., ed., Over Exposed:  Essays on Contemporary Photography, The New Press, New York.

Mikolaj, H.M., Altering the Discourse, Joseph Gross Gallery, Tucson.

Farris, P., ed. , Women Artists of Color:  A Bio-Critical Sourcebook to 20th Century Artists in the Americas, Greenwood Press, Westport.

Denker, D., “Photographer Tells Stories with Her Work”, Wind Speaker, vol.16, no.11, March.


Hopkinson, A., “Trail of Tears Behind the Smiles”, The Independent on Sunday, September 27.

Jensen, J.M., “Native American Women Photographers as Storytellers”, Women Artists of the American West.

Harlan, T., “Indigenous Photographies:  A Space for Indigenous Realities”, Native Nations: Journeys in American Photography, Barbican Art Gallery, Booth-Clibborn, London.

Teilhet-Fisk, J. and R. F. Nigh, Dimensions of Native America:  the Contact Zone, Florida State University, Talahassee.

1997 Lahs-Gonzales, O. and L. Lippard, Defining Eye:  Women Photographers of the 20th Century, The Saint Louis Art Museum, Saint Louis.

Faris, J.C., Navajo and Photography: A Critical History of the Representation of an American People, University of New Mexico Press, Albuquerque.

Lippard, L., Parallaxis:  55 Points of View, Western States Federation, Denver.


Harlan, T., “Creating a Visual History:  A Question of Ownership”, Strong Hearts: Aperature, New York, Summer: 20-32.

Rickard, J., “Sovereignty: A Line in the Sand”, Strong Hearts: Aperature, New York, Summer: 20-32.

Harlan, T., “Hulleah Tsinhnahjinnie”, The Light Work Annual:  Contact Sheet 86. Syracuse: 15-18.

Harlan, T., “As in Her Vision: Image Making of Native Women”, Reframings:  New American Feminist Photographers, Temple University Press, Philadelphia.


Bush, A.L. and L.C. Mitchell, The Photograph and the American Indian, Princeton University Press, Princeton.

Group for Photographic Intentions, Native Americans in Photography & Film:  Praising the Spirit. Tucson.

National Museum of the American Indian, This Path We Travel:  Celebrations of Contemporary Native American Creativity, Smithsonian Institute, Washington DC.

Harlan, T., “To Watch, To Remember, To Survive”, Watchful Eyes, Heard Museum, Phoenix.

Van Biema, D., “Of Spirit and Blood” (review of NTV), TIME, October 31.

Tremblay, G., “Hulleah Tsinhnahjinnie: Taking Risks”, Reflex, vol.8, no.6, December 94/January 95.

Wong, J., “Photographic Memoirs’ Displays Showcases True American Art”, The California Aggie, November 16.

Nixon, B., “Hulleah J. Tsinhnahjinnie at the CN Gorman Museum”, The Guide, December.

O’Driscoll, M., “The Silent Majority Speaks Out”, San Francisco Arts Monthly, February.


Rapko, J., “Sovereignties:  Hulleah J. Tsinhnahjinnie at the San Francisco Art Institute”, Artweek, vol.24, no.9, May 6: 4-5.

Jenkins, S., “A Conversation with H.J. Tsinhnahjinnie”, Artweek, vol.24, no.9, May 6.

Tremblay, G., "Constructing Images, Constructing Reality:  American Indian Photography." VIEWS:  The Journal of Photography in New England 13-4/14-1: 8-14.

Harlan, T., “Message Carriers: Native Photographic Messages.” VIEWS: The Journal of Photography in New England 13-4/14-1.

Bielski, V., “Blood Feud”, SF Weekly, vol. XII, no.32, October 6.

Hammond, H., “Resistances: Cultural Tourism and Native Resistance Through Self Representation”, THE Magazine, vol.1, no.11, June.

McFadden, S., “Report from Istanbul, Bosporus Dialogues”, Art in America, vol.1, no.6, June.


Lippard, L., ed., Partial Recall, The New Press, New York.

Tremblay, G., “Reflection on ‘Mattie Looks for Steve Biko’: a Photograph by Hulleah Tsinhnahjinnie”, Partial Recall, The New Press, New York.

Fost, D., “Art in Honor of their Ancestors”, Marin Independent Journal, San Rafael, CA, October 13.

Harlan, T., Ancestral Memories, Falkirk Cultural Center, San Rafael, CA

Freudenheim, S., “Centro’s Show Loses USIA Help”, Los Angeles Times, San Diego County, Section F, September 19.

Heath, J., “Women Artists of Color Share World of Struggle”, The Sunday Camera, Boulder, CO, March 8.


Lobo, S., “Youth Express Mural”, News from Native California, vol.6, no.1, Winter 91/92.

Cadden, W. and F. Candi, History:  Truth or Consequences, Salad Bar, San Francisco.

Faller, M., "Positive Vision:  An Interview with Hulleah J. Tsinhnahjinnie." Center for Exploratory and Perceptual Art(Fall).

Strickland, R., Shared Visions, The New Press, New York.

Faller, M., “Positive Vision”, Center for Exploratory and Perceptual Art Quarterly, August.


LaMarr, J., M. Martinez, et al., Talking Drum/Connected Vision, Salad Bar, San Francisco.

Lippard, L., Mixed Blessings: New Art in Multicultural America, Pantheon Books, New York.

Lasco, S.R., “Native American Artists Keep Art in the Family”, San Francisco Arts Monthly, vol.1, no.5, August.

Lineberry, H., “Return of the Natives”, New Times, July 4.

Pyne, L., “Heard to Focus on Indian Photographers”, The Phoenix Gazette, June 15.

Daley, V., “Rare View of Indian Culture: From Inside”, Sacramento Bee, July 8.


Salaver-Garcia, L., “As in Her Vision”, Unity, vol.12, no.5.

McWillie, J., “The Migrations of Meaning”, Visions, vol.3, no.4, Fall.

1988 Roth, M., Ed., Connecting Conversations:  Interviews with 28 Bay Area Women Artists, Eucalyptus Press, Oakland.
1985 Valerde, M., “Living in Two Worlds”, Sacramento Bee, July 7.