Jeremy Dennis (b. 1990) is a contemporary fine art photographer, an enrolled Tribal Member of the Shinnecock Indian Nation in Southampton, NY, and lead artist and founder of the non-profit Ma’s House & BIPOC Art Studio, Inc. on the Shinnecock Reservation. In his work, he explores Indigenous identity, culture, and assimilation.
Jeremy was among ten recipients of a 2016 Dreamstarter Grant from the national non-profit organization Running Strong for American Indian Youth. He was awarded $10,000 to pursue his project, On This Site – Indigenous Long Island, which uses photography and an interactive online map to showcase culturally significant Native American sites on Long Island, a topic of special meaning for Jeremy, who was raised on the Shinnecock Nation Reservation. He also created a book and exhibition from this project. In 2020, Jeremy received Dreamstarter GOLD, which includes an additional $50,000.00 in support from Running Strong for American Indian Youth. Most recently, Jeremy received the Artist to Artist Fellowship from the Art Matter Foundation.
Jeremy is also known for his ongoing 2018 Rise and Nothing Happened Here series. These works present themes of belonging, reconciliation, decolonization, and invisibility to the viewer from an Indigenous lens.
In 2013, Jeremy began working on the Stories—Indigenous Oral Stories, Dreams, and Myths series. Inspired by North American Indigenous stories, the artist staged supernatural images that transform these myths and legends into depictions of an actual experience in a photograph.
Notable Residencies: Andy Warhol Visual Arts Program (2023), SmokeSygnals (2021), Lightworks (2021), Santa Fe Art Institute (2021), Yaddo (2019), Byrdcliffe Artist Colony (2017), MDOC Storytellers’ Institute, Saratoga Springs, NY (2018), Byrdcliffe Art Residency (2018), Eyes on Main Street Residency & Festival, Wilson, NC (2018), Watermill Center, Watermill, NY (2017), and the Vermont Studio Center hosted by the Harpo Foundation (2016).
He has been part of several group and solo exhibitions, including So Spoke the Earth, the Past, and the Present at the Mason Gross Galeries at Rutgers University, NJ, Stories—Dreams, Myths, and Experiences, for The Parrish Art Museum’s Road Show (2018), Stories, From Where We Came, The Department of Art Gallery, Stony Brook University (2018); Trees Also Speak, Amelie A. Wallace Gallery, SUNY College at Old Westbury, NY (2018); Nothing Happened Here, Flecker Gallery at Suffolk County Community College, Selden, NY (2018); On This Site: Indigenous People of Suffolk County, Suffolk County Historical Society, Riverhead, NY (2017); and Pauppukkeewis, Zoller Gallery, State College, PA (2016).
Jeremy Dennis holds an MFA from Pennsylvania State University, State College, PA, and a BA in Studio Art from Stony Brook University, NY.
Jeremy also serves on the advisory board of the Boys & Girls Club of Shinnecock Nation, The Church of Sag Harbor, Ma’s House & BIPOC Art Studio, Inc., and WNET Group’s THIRTEEN/WLIW Community Advisory Board.
He lives and works in Southampton, New York, on the Shinnecock Indian Reservation.
STATEMENT
My photography explores indigenous identity, cultural assimilation, and the ancestral traditional practices of my tribe, the Shinnecock Indian Nation. Though science has solved many questions about natural phenomena, questions of identity are more abstract, the answers more nuanced. My work is a means of examining my identity and the identity of my community, specifically the unique experience of living on a sovereign Indian reservation and the problems we face.
Digital photography lets me create cinematic images. Nowhere have indigenous people been more poorly misrepresented than in American movies. My images question and disrupt the post-colonial narrative that dominates in film and media and results in damaging stereotypes, such as the “noble savage” depictions in Disney’s Pocahontas. As racial divisions and tensions reach a nationwide fever pitch, it’s more important to me than ever to offer a complex and compelling representation of indigenous people. I like making use of the cinema’s tools, the same ones directors have always turned against us (curiously familiar representations, clothing that makes a statement, pleasing lighting), to create conversations about uncomfortable aspects of post-colonialism. For example, in my 2016 project, “Nothing Happened Here,” stylized portraits of non-indigenous people impaled by arrows symbolize, in a playful way, the “white guilt” many Americans have carried through generations, and the inconvenience of co-existing with people their ancestors tried to destroy.
By looking to the past, I trace issues that plague indigenous communities back to their source. For example, research for my ongoing project “On This Site” entailed studying archaeological and anthropological records, oral stories, and newspaper archives. The resulting landscape photography honors Shinnecock’s 10,000-plus years’ presence in Long Island, New York. Working on that collection has left me with a better understanding of how centuries of treaties, land grabs, and colonialist efforts to white-wash indigenous communities have led to our resilience, our ways of interacting with our environment, and the constant struggle to maintain our autonomy.
Despite four hundred years of colonization, we remain anchored to our land by our ancient stories. The indigenous mythology that influences my photography grants me access to the minds of my ancestors, including the value they placed on our sacred lands. By outfitting and arranging models to depict those myths, I strive to continue my ancestors’ tradition of storytelling and showcase the sanctity of our land, elevating its worth beyond a prize for the highest bidder.
No Trespassing
Tea Time