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deforestation + cages + torture + displacement + surveillance + genocide". The second one spells out “We must stop predicting apocalypses + fascist governments +capitalistic + hierarchy. For the last structure it spells out “We must pursue + predict + imagine routes toward liberation.” When this work is viewed from the outside of the building, the lights flicker and slowly spells out "Free
Palestine". DinéYazhi' states that this work is to show the failure of settler colonialism, heteropatriarchy and capitalistic sabotage. Due to being affected by the pandemic and the recent genocide in Palestine, they believe that we as people are aware of how important it is to speak out about our lives.
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community caused the effects of white supremacy and colonization. The organization strives to promote the education, recognition, and appreciation of traditional Native North
American art and culture. Ultimately, R.I.S.E. is intended to be used as the political platform for Indigenous artists and highlights the usages of multiple medias (including "photographs, paint, wheat paste, clay, bead-work, dancing, words, voices, sounds, and rituals") to promote Indigenous survivance and human rights. Through R.I.S.E., DinéYazhi' created numerous artworks that bluntly and directly criticize colonization and the American system. One of these artworks include
230:. It was organized by DinéYazhi' and the members of R.I.S.E. to symbolize how the frustration within the Indigenous and LGBTQ+ community could be mobilized and transformed into motivations for empowerment, unity, and resilience. The exhibition session consisted of a display of artworks, informational panel discussions, and interactive workshops that emphasized the narratives and histories of various Indigenous communities. Additionally, it also sought to put a focus on the themes of environment justice, feminism, decolonization, anti-fascism, and queer politics.
165:"I started off as a creative person mostly through writing. I've loved writing since I was in fourth grade, and once I got to middle school, high school, it started to have this more poetic tone to it... Poetry was my gateway to creating visual work: at some point what I wanted the work to convey grew outside of just text. I became more interested in photography and how there's this beautiful relationship between the body and the land." - Demian DinéYazhi in an interview with Anastasia Tuazon, a writer and arts organizer for Temporary Art Review
415:"Death and grieving for Indigenous Peoples is like a war zone—a space unlike any other far removed from the 'stars and stripes.' We are expected to die without news headlines or revolution, and in this way we expect nothing; we accept death. It's a slow death, but with the same urgency as endangerment or extinction or invasion, or an asteroid the size of england or complete and inevitable economic collapse. Even in our survival and resilience, we come to the table ready to protect the most sacred of human rights." - Demian DinéYazhi'
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158:(Navajo). Growing up, they were exposed to the traditions of the Diné clans and the culture of Southwestern Native Americans. Their upbringing in traditional Native American culture brought them to understand "the sacredness of land" and "the importance of intergenerational knowledge", two ideas in which they have claimed as major influences for their advocacy and artwork.
613:"We are compelled by the way Demian complicates dominant queer narratives and understandings of indigeneity. Through a multi-modal practice, he enacts an ethics of mutuality and reciprocity, and pursues the decolonization of body and land. In the studio and in conversation with Demian, we observed that these ideas are moving in promising new directions."
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experiences and observations, they became educated about the histories of colonization and the conflicting relationships between the Native
Americans and the American government. From these perspectives, DinéYazhi' began to explore the political ideologies and identities of 'Radical Indigenous Queer Feminism' that challenged the ideas of
302:." DinéYazhi' intended the artwork to directly criticize conservative Americans and the patriotic perceptions of American history. The usage of the Native American reservation map was to represent and remind the audience of the colonial exploitation of Indigenous homelands inflicted by white settlers.
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was first exhibited in on the third floor of the
Pioneer Works gallery in Red Hook, New York. On the windows of the gallery, he inputted with all-capitalized, bold, red text: "A NATION IS A MASSACRE" and "THE DETAILS ARE GRUESOME & AMERICAN & AS PATRIOTIC AS GUN VIOLENCE & RAPE & MASS
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One of the awards given to DinéYazhi' in their art career is the 2017 Brink Award from the Henry Art
Gallery in Seattle, Washington. The award is given to upcoming artists of the ages 35 and under who work in the Cascadia region (areas of Oregon, Washington, and British Columbia). Upon receiving the
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The zine was created to put attention upon the narratives of queer and trans people of color, as well as individuals of the
Indigenous Two Spirit communities, through the medias of visual art, literature, personal essays, and interviews. Through the zine, both Holden and DinéYazhi' advocate for the
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In 2024, DinéYazhi's “We must stop imagining
Apocalypse/Genocide + we must imagine liberation”, was displayed at The Whitney Museum. It is a neon light structure on three separate metal stands. The first one spells out part of the title of the work, “We must stop imagining destruction + extraction
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and consists of mined coal that also originates from Diné Bikéyah, the land of DinéYazhi''s ancestry. An estimated amount of 7.8 million tons of coal is extracted every year in the Diné land, and the coal mining has resulted in negative effects of the
Indigenous community that impacted the health
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is DinéYazhi''s poetry debut. It is a collection of their poems from the years ranging from 2009 to 2016, and it addresses the issues and complications that marginalized
Indigenous and queer communities face in a modern, post-colonial society. It was written to enlighten the Indigenous and queer
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After moving to
Portland, Oregon later in their life and becoming familiar of the different gender systems that exist within their tribal community, DinéYazhi' became more aware of and comfortable with their non-binary gender identity. Identifying as non-binary and within the LGBTQ+ community,
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in the North Americas are linked and associated with colonialism and the interference of white settlers. DinéYazhi' claims that the focus of HIV/AIDS should not be on impoverished and isolated Indigenous groups; rather, the emphasis should be on identifying white colonialism as the source and
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In 2010, branching off of their radical ideologies, DinéYazhi' founded R.I.S.E. (Radical Indigenous Survivance and Empowerment), an organization and initiative of Native American artist-activists. It was established in response to the growing awareness of the devastation among the Indigenous
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was written to serve as a motivational call to the Indigenous communities that strive for survivance and unity in the midst of the heightened corruption in the United States. According to DinéYazhi', it "is a reflection on queer sex, survival/death politics, indigenous identity, settler and
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Growing up and being influenced by their culture, DinéYazhi' had difficulties with fitting in. They felt the pressure of needing to conform to Western societal ideals which they have termed as a form of "White Supremacist Capitalist Heteropatriarchial Colonization". Through their first-hand
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award, DinéYazhi' was awarded with a grant of $ 12,500, a solo exhibition, and a work of art that would be permanently kept in the museum's collection. Regarding the award, the jury gives a commentary on their decision and analysis of DinéYazhi''s work:
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and consists of dirt that originates from Diné Bikéyah, the land in which DinéYazhi''s maternal grandparents are from. Additionally, the title was derived from the Navajo Code Talker Dictionary, an allusion to their maternal grandfather who served as a
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visibility and awareness of people of color within the LGBTQ+ community by putting the attention on the issues they face, especially the issues of conforming to white Western societal ideals and standards.
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Along with their art career, DinéYazhi' has created poetry and creative literature. They published and partook in writing a couple of books sporadically throughout their career thus far.
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DinéYazhi' created this piece to call out against the violence, hatred, and injustices put upon marginalized groups. According to David Everitt Howe, a curator at Pioneer Works,
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They founded and directed the artist-activist organization called R.I.S.E.: Radical Indigenous Survivance & Empowerment, and are the co-director of the LGBTQ+ and Indigenous
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Since a young age, DinéYazhi' was interested in literature and visual arts. Their interest in art and literature became the foundation for their career and artist-advocacy.
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These two works are DinéYazhi''s commentary on the strained relations of the state and the Indigenous people. They are advocating for environmental justice and Indigenous
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In coalition with the award, DinéYazhi' opened their exhibition entitled "The Brink" at the Henry Art Gallery from April 14, 2018, to September 9, 2018.
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was intended to represent the centuries of violence and massacres against queer and Indigenous people that have occurred post-colonization.
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communities by celebrating their culture and tradition while critiquing the violence and oppression they face in a post-colonial society.
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1291:""Contemporary Native Photographers and the Edward Curtis Legacy: Zig Jackson, Wendy Red Star, and Will Wilson": Portland Art Museum"
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people and "consists of photography, sculpture, text, sound, video, land art performance, installation, street art and fabrics art."
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Created in collaboration with Cumbersome Multiples and artists John Henry and Tracy Shclapp, DinéYazhi' created their piece
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protests, the inauguration of President Donald Trump, and the abrupt resurgence of white supremacy. Essentially,
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1054:"Demian Dinéyazhi' & R.I.S.E.: Radical Indigenous Survivance & Empowerment: A NATION IS A MASSACRE"
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through critiquing the deleterious effects of state interference with the land owned by the Native people.
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on top of a repurposed map of a Native American reservation as created by the American federal government.
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771:"AN INFECTED SUNSET by Demian DinéYazhi — Reading event with Lucas de Lima, Jess X Snow, and El Roy Red"
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closed on February 9, 2019, as it was a limited-time pop-up event at the Recess Art Gallery and Studio.
1262:"Artist Demian DinéYazhi´ BFA'14 reimagines the future in piece selected for the 2024 Whitney Biennial"
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The zine was rewarded with the Precipice Fund from the Portland Institute of Contemporary Art in 2017.
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into the Naasht'ézhí Tábąąhá (Zuni Clan Water's Edge) and Tódích'íí'nii (Bitter Water) clans of the
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heteronormative romanticism, environmental injustice, and the importance of honoring community."
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quality of the environment as well as the forced relocation of the Native people in the land.
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Lewis; Portl, Clark College 0615 S. W. Palatine Hill Road; USA 503-768-7000, Oregon 97219.
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851:"'An Infected Sun': Portland Artist Demian DinéYazhi´ And Their Cross-Country Odyssey"
376:") using digital media. In this work, they manipulated a painting depicting the first
198:. This ideology inspired the radical direction they took in their political advocacy.
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They have published poetry books promoting Indigenous and queer advocacy, including
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Along with fellow queer Diné artist Kevin Holden, DinéYazhi' is a co-editor for
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On January 3, 2019, in coordination with the Recess Art Gallery and Studio in
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Indians in color : native art, identity, and performance in the new West
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Though the book was published in 2018, DinéYazhi' first began to write
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We must stop imagining Apocalypse/Genocide + we must imagine liberation
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Make Native America Great Again, A Nation is a Massacre, POZ Since 1492
449:(2018) A Nation is a Massacre, Pioneer Works, Red Hook, New York, USA
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1093:"Portland State College of the Arts: School of Art + Design | News"
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459:(2019) R.I.S.E.: COLLECTIVE FURY, Recess, Brooklyn, New York, USA
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489:(2017) Tomorrow Tomorrow, Canada, Lower Manhattan, New York, USA
380:, distorting the image and inserting the text "POZ SINCE 1492".
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In 2014, DinéYazhi' earned their BFA in Intermedia Arts at the
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904:"A Poetics of Survival: A Conversation with Demian DinéYazhi´"
482:(2017) ICONOCLASTIC, Douglas F. Cooley Memorial Art Gallery,
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Native American (Naasht'ézhí Tábąąhá and Tódích'íí'nii clans)
476:(2016) Frontier Imaginaries, Institute of Modern Art (IMA),
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932:"The Brink: Demian DinéYazhi´ | Henry Art Gallery | Artsy"
521:(2019) Hedonist Buddhist, Washington Project of the Arts,
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R.I.S.E.: Radical Indigenous Survivance & Empowerment
452:(2018) Demian DinéYazhi': The Brink, Henry Art Gallery,
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750:"Demian DinéYazhi´ - Ancestral Memory: Poems 2009-2016"
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345:. On the contrary, the piece of the right is entitled
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Transdisciplinary works (photo, poetry, video, etc.)
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Whitney Museum of Art (Greenwich Village, New York)
827:"The Brink: Demian DinéYazhi´ - Henry Art Gallery"
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411:Commenting about the artwork, DinéYazhi' states:
93:and activist. Their work and advocacy focuses on
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694:"Demian DinéYazhi' | The Ford Family Foundation"
592:The Hallie Ford Fellow in the Visual Arts (2018)
586:Crow's Shadow 2017 Golden Spot Residency (2017)
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1075:"DEMIAN DINÉYAZHI´: R.I.S.E.: COLLECTIVE FURY"
798:"Gender Reveal: Episode 19: Demian DinéYazhi´"
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392:distributor of the disease internationally.
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1175:: CS1 maint: numeric names: authors list (
469:(2016) Center for Contemporary Native Art,
317:Created in collaboration with photographer
658:, police brutality against black men, the
589:The Henry Art Gallery's Brink Award (2017)
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332:. The piece on the left side is entitled
294:was created by DinéYazhi' in response to
387:to promote the idea that the origins of
321:, DinéYazhi' created two works in 2016:
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567:Henry Art Gallery (Seattle, Washington)
553:(2020) Nirin: 22nd Biennale of Sydney,
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1483:Native American people from New Mexico
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1359:"Gallery Dialogues: Demian DinéYazhi´"
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1052:Green, Christopher T. (29 June 2018).
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754:Native Voices: Heard at Changing Hands
576:Portland Art Museum (Portland, Oregon)
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546:(2019) Solidarity Struggle Victory,
512:Los Angeles Contemporary Exhibitions
510:(2019) Unraveling Collective Forms,
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368:Created in 2016, DinéYazhi' created
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959:"Demian DinéYazhi´ – Counterpublic"
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347:KAY-YAH CAH-DA-KHI TA-GAID AH-CHANH
327:KAY-YAH CAH-DA-KHI TA-GAID AH-CHANH
311:KAY-YAH CAH-DA-KHI TA-GAID AH-CHANH
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1468:21st-century American LGBTQ people
1383:"Pacific Northwest College of Art"
1339:Scott, Andrea (January 22, 2018).
1216:"One day this kid will get larger"
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570:Pioneer Works (Brooklyn, New York)
246:Locusts: A Post-Queer Nation Zine.
110:Locusts: A Post-Queer Nation Zine.
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1128:"Make Native America Great Again"
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262:Pacific Northwest College of Arts
239:Locusts: A Post-Queer Nation Zine
122:In 2017, DinéYazhi' received the
1191:"Framing The Issue - ONCURATING"
1153:"Artist Talk- Demian DinéYazhi´"
550:, San Francisco, California, USA
496:, Lower Manhattan, New York, USA
52:Pacific Northwest College of Art
1448:American LGBTQ rights activists
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1316:"DinéYazhi, Demian | Biography"
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604:Henry Art Gallery's Brink Award
292:Make Native America Great Again
284:in 2016. The piece consists of
282:Make Native America Great Again
274:Make Native America Great Again
150:DinéYazhi' was born in 1983 in
1458:People from Gallup, New Mexico
1220:DePaul Art Museum Publications
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599:Contemporary Art Fellow (2019)
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501:Whitney Museum of American Art
130:. They are currently based in
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539:(2019) I Come To This Place,
194:, especially in the field of
1488:LGBTQ people from New Mexico
990:. Walnut Creek, California.
372:(its alternate title being "
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79:https://burymyart.tumblr.com
16:American artist and activist
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1443:American non-binary artists
654:in 2016 in response to the
505:Greenwich Village, New York
499:(2018) Between the Waters,
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134:. DinéYazhi' identities as
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1418:Native American activists
557:, Campbelltown, Australia
543:, Brooklyn, New York, USA
534:San Francisco, California
298:'s presidential slogan: "
232:R.I.S.E.: COLLECTIVE FURY
228:R.I.S.E.: COLLECTIVE FURY
146:Early life and upbringing
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656:Pulse Nightclub shooting
635:Self-published in 2016,
555:Campbelltown Arts Centre
530:Minnesota Street Project
300:Make America Great Again
528:(2019) System Failure,
473:, Portland, Oregon, USA
1453:American LGBTQ artists
1438:LGBTQ Native Americans
1295:Artforum International
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421:A Nation is a Massacre
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405:A Nation is a Massacre
403:In 2019, DinéYazhi''s
397:A Nation is a Massacre
209:A Nation is a Massacre
174:pronouns "they/them".
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91:Native American artist
1289:Raymond, Jon (2016).
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516:Hollywood, California
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211:that is displayed in
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1473:Non-binary activists
1126:joshk (2017-05-26).
908:Temporary Art Review
439:Selected exhibitions
323:KA-HA-TENI KAY-YAH,
286:letterpress printing
170:DinéYazhi' uses the
1341:"National Interest"
1238:"Demian DinéYazhi'"
1195:www.on-curating.org
1023:"Demain DinéYazhi'"
877:"Demian DinéYazhi'"
723:"Demian DinéYazhi´"
478:Brisbane, Australia
471:Portland Art Museum
454:Seattle, Washington
383:DinéYazhi' created
374:The First Infection
118:An Infected Sunset.
1157:college.lclark.edu
986:Denzin, Norman K.
881:The Poetry Project
668:An Infected Sunset
652:An Infected Sunset
645:An Infected Sunset
492:(2017) Unholding,
339:Navajo Code Talker
334:KA-HA-TENI KAY-YAH
307:KA-HA-TENI KAY-YAH
224:Brooklyn, New York
217:Red Hook, New York
152:Gallup, New Mexico
35:Gallup, New Mexico
1320:www.mutualart.com
1081:. 3 January 2019.
1058:The Brooklyn Rail
1027:Poetry Foundation
997:978-1-62958-280-1
802:gender.libsyn.com
581:Honors and awards
548:Southern Exposure
464:Group exhibitions
343:U.S. Marine Corps
136:gender non-binary
128:Henry Art Gallery
89:(born 1983) is a
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