She serves as the director of the Gorman Museum of Native American Art and teaches at University of California, Davis.

Her mother, Minnie June Lee McGirt-Tsinhnahjinnie (1927–2016),[1] was Seminole and Muskogee and her father, Andrew Van Tsinajinnie (1916–2000), was Navajo.

Tsinhanahjinne chooses to display her art and passion through things like newsletters, posters, t-shirts, and photos.

Along with being a professor for the university, Tsinhanahjinne is the Director of Gorman Museum of Native American Art at UC Davis.

[11][8][10] Tsinhnahjinnie began her career as a painter, but "turned to photography as a weapon when her aesthetic/ethnic subjectivity came under fire.

–Hulleah Tsinhnahjinnie [15] Using a combination of photography and digital images with a contemporary Native American photography style, she overcomes stereotypes, challenges political ideas, and creates a space for other Natives to express their ideas as well.

Her goal with her art is not aimed at the non-natives but instead it is to document her life experience and share it with the world.

The book begins on the page "1954" (her birth year) and continues to look deeply into her personal life experiences.

While debated among scholars, these taboos were often characterized as a postmodernist reaction against the past notion of beauty as represented by a passive female body.

She defined the beauty of women in terms of their empowerment, grounded in her own perspective as an Indigenous woman.

The title of this work addresses the historical shift from an indigenous definition of beauty before colonization, represented by White Buffalo Calf Woman, to a neocolonial one.