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Example of layout
Tzintzuntzin: awakened by dream
Example of layout
Example of layout

Tzintzuntzin: awakened by dream

Artist (American, born 1941)
Date2007
MediumHummingbird feathers, skeleton, wing, and nest, graphite, ash on paper
DimensionsSupport (each): 9 x 9 in. (22.9 x 22.9 cm)
Frame (Plexi Case (each)): 12 5/8 x 22 3/8 x 2 1/2 in. (32.1 x 56.8 x 6.4 cm)
ClassificationsAssemblage
Credit LineGift of Jean Norelli, 2013
Object number2013.2a-g
DescriptionThis piece is comprised of seven diptychs, each consisting of one 9x9 inch square with hummingbird feathers, head, nest, or leaves on a light, pencil grid; and a second 9x9 inch square with a raised, smaller paper square and light, graphite markings.
Text Entries
The numbers 1 through 7 appear on the verso of each case in black ink (example: #1). These numbers were used as a guide for the display layout of the artwork for the Collecting Is Curiosity/Inquiry exhibition in August 2013. The numbers do not represent anything other than a display guide for that specific exhibition and can be disregarded because the artwork can be laid out in any combination or configuration.
This work is covered under a US Federal Fish and Wildlife Permit #MB88902A-0

Judy Tuwaletstiwa’s tzintzuntzun is a meditation on death and regeneration, a theme the artist has focused on in much of her work. She found the hummingbird nest and remains near her studio and, wishing to honor the beauty, strength, and fragility, she sought to “bring them back to life” in her own way. The hummingbird is a powerful symbol in many cultures, whether as a courier, provider of food or rain, warrior, or symbol of resurrection or purification. The hummingbird is found only in the Western hemisphere, so it is particularly important to native cultures. The title, tzintzuntzun, is an indigenous Mexican word that mimics the sound of a hummingbird’s wings.

 

The hummingbird is protected by the 1918 Migratory Bird Treaty Act (MBTA), which ensures the conservation of birds and their habitats. This law was initiated in response to the growing threat by the early 20th century to birds by the commercial trade in birds and feathers. This law and its associated treaties with Great Britain, Canada, Mexico, Japan, and Russia reflected the emerging concern with issues of wildlife conservation. It was this same awareness that prompted the founding of the National Audubon Society in this same era (1905) in response to the specific threat to great egrets, whose feathers were popular in fashion accessories. The MBTA prohibits the hunting, killing, possession, sale, or import / export of more than 1,000 species of migratory birds, their feathers, eggs, and nests. A list of protected species is available on the US Fish & Wildlife Service website.

 

The museum holds this artwork in its permanent collection and exhibits it by permit from the US Fish & Wildlife Service. 

The seven diptychs are to be exhibited together and do not stand on their own as individual objects. There is no specific order, combination or configuation in which the diptychs have to be arranged when on display.
Before objects are put on exhibit next, the Plexiglas case should to be removed in order to wipe down the interior of the case and lightly brush the supports to remove excess and accumulated debris.
Mounting Process: The individual supports were hinged to separate slightly smaller mat board pieces. After the support was hinged onto the mat board, the mat boards were then affixed to the backer board of the case with double sided sticky tape.
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