Grad student uses art to help tomorrow’s doctors

For future physicians Sabrina Ferrari and Thomas Brower, getting the chance to analyze paintings and sketch one with their peers helped them see the importance of observation, interpretation, communication and empathy when treating patients.

For the last four weeks, over 100 first-year College of Medicine students engaged with art in an innovative medical humanities workshop at the University of Arizona Museum of Art — the brainchild of School of Art graduate student Amy Hu and assistant curator and alumna Willa Ahlschwede, who have co-led the sessions for the last three years.

“The workshop revealed to me the significance of never overlooking even a single detail about a patient,” Ferrari said, while Brower added, “it showed me how clear and effective communication with our patients can be crucial to building trust and improving health outcomes.”

Workshop co-founder Amy Hu (left) gives encouragement during the drawing activity.

That kind of feedback brings joy to Hu, a clinical assistant professor in Psychiatry and the director of Medical Humanities for the College of Medicine, as she pursues her M.A. in Art History. She helped start the workshops to show students “there’s no single way of practicing medicine.”

“There’s been a growing trend in medical education to utilize the humanities, but it’s really been more focused on narrative medicine,” Hu said. “There hasn’t been as much focus on utilizing the cultural arts, so I thought this is something that I really would like to explore.”

Hu is a graduate of the U of A psychiatry residency program. She received her medical degree from Indiana University, and her B.A. in Art History and a B.S. in Biology from Purdue.

At a recent workshop session, Hu prepped 20 medical students in the museum’s first-floor seminar room by talking about the late French historian and philosopher Michel Foucault. He developed the concept of “the medical gaze” — the act of selecting what is relevant from a patient’s story and body and filtering out what is considered irrelevant.

“Part of the work is thinking about how we look and perceive information, and all the things that may affect that process — our biases or prior experiences,” Hu told the students. “I want to encourage you all to become a little bit more aware of your subjectivity.”

Workshop co-leader Willa Ahlschwede (right) discusses Robert Colescott’s “Beauty Is Only Skin Deep” with students.

Moving to the museum’s second-floor gallery, Ahlschwede instructed the group to analyze two paintings: the surrealistic “Tenemos” (1980), an eerie, figural scene with animal imagery by Leonora Carrington; and the satirical “Beauty is Only Skin Deep” (1991), by the late Robert Colescott, a School of Art Regents professor whose garish works often referred to race and racism and pride and prejudice.

Students took a few minutes to quietly gaze at the paintings before discussing them as a group. “I appreciated having a moment of deep contemplation,” Ferrari said. “It made me realize how rare it is to replicate those moments when digesting new information from a patient. Oftentimes, there is so much background noise and other tabs open in our minds that take away from fully focusing on the person in front of us.”

In art, the meaning of a painting can be subjective, Ahlschwede told the future physicians. In medicine, she asked them, “Is there always a right answer with a patient or situation?” Most agreed every situation is different.

“Hearing my peer’s different interpretations of the two paintings was an important reminder to maintain a balanced and nuanced perspective,” Brower said. “Many of us had arrived at different conclusions when looking at the same paintings. Similarly, two physicians viewing the same patient may focus on different aspects of the disease presentation and can potentially arrive at different diagnoses.”

Sabrina Ferrari (left) gets drawing instruction from a partner.

As Ferrari sat and scanned each inch of the paintings, she noticed each had a different color scale, cultural background, theme and medium.

“This is how each patient we will see will present. If we blink, we might miss a critical factor,” she said.

Next, students undertook a drawing exercise, in which they had to sketch a piece of artwork in the gallery — and “move outside their comfort zones,” said Ahlschwede, who received her M.A. in Art and Visual Culture Education and a certificate in Museum Studies from the U of A School of Art in 2017.

Armed with a clipboard, paper and a pencil without an eraser, students took turns with a partner being the describer and the artist — with the artist facing away from the piece. For Brower, “it was challenging both to describe the painting to my peer and to receive instructions without seeing it.”

Thomas Brower describes a piece of art to a colleague.

He saw a parallel with being a physician. “At times we will be the drawer: listening to patients describe their symptoms and trying to piece that together into a collective whole,” Brower said. “At times we will be the describer: explaining a complex disease process to patients in a way they can understand.”

At first, Ferrari said her partner tried describing a painting by giving an overview of its full design and then breaking it up into smaller pieces. “The second time, her approach was to walk me through each detail of the painting, guiding the direction of my pencil. This surprisingly worked extremely well for us. It showed me … we should remain open to viewing problems from several angles.”

Ultimately, Brower said the activity “exposed some of the challenges we’ll face with our patients and the need to improve our communication.”

Communication, especially when it involves medical jargon, “can be quite tricky” for patients, Hu said. “As a doctor, you can use a word to describe something, and then you find out it may mean something different for the patient.”

In the future, Brower and Ferrari hope to incorporate the workshop skills into their medical education and residencies, fellowships and careers.

Willa Ahlschwede (right) goes over Leonora Carrington’s “Tenemos” with students.

“Patient education, clinical research and community outreach are all important aspects that I hope to incorporate into my practice,” Brower said, while Ferrari added: “I want to be a physician who’s not afraid to ask my colleagues or patients for insight so that I can provide the best-tailored care.”

Brower grew up in tiny Phoenixville, Pennsylvania, outside of Philadelphia, where he became interested in medicine after struggling with an immune disease that doctors helped treat and “restore my sense of self.” He did volunteer work with patients living with Alzheimer’s disease while earning his B.S. in Neuroscience and a B.A. in the History and Philosophy of Science from the University of Pittsburgh.

Ferrari was born in Tucson to immigrant parents from Brazil and Italy and grew up in nearby Marana, where she was “blessed to have exposure to medicine early … when my mother became a nanny for the children of a gastroenterologist and a trauma surgeon,” she said.  

“One of the lessons I’ve come to appreciate is the importance of recognizing disease, injury and disability as natural parts of the human experience,” said Brower, who works in his spare time at the National Ability Center in Park City, Utah, teaching adaptive ski techniques to those with intellectual disabilities and physical or sensory impairments.

Amy Hu (right) wraps up the workshop.

“My mind is still open to the many possibilities that medicine offers, as each part of the human body is so fascinating,” Ferrari said. “I’m intrigued by psychiatry and neurology, especially the intersection between the two. The great need for an increase in mental health availability for all people, especially the underserved, remains a barrier I want to address in my practice.”

Ultimately, Hu hopes medical humanities workshops will help the physicians of tomorrow break down more barriers in patient care.

As she wrapped up the session back in the museum’s seminar room, she told students:

“You must try to understand from the patient what they’re trying to describe, which can make about as much sense as someone trying to describe an abstract painting. You must really use your imagination as a doctor and put yourself in their shoes.”

Two medical students participate in the drawing activity.

Alumna Machado honors roots with audiorama hemp project

Tucked in the back of Arizona Arts Live’s soothing audiorama installation near Centennial Hall is a small replica of El Tiradito, a popular wishing shrine in downtown Tucson.

For landscape designer and School of Art alumna Micaela Machado, helping create the sculpture out of hemp blocks and the surrounding garden was a chance to celebrate her Mexican-American roots.

MIcaela Machado (photo courtesy of Shoutout Arizona)

El Tiradito is special to my family, so it was a real honor to recreate it with love,” said Machado, who grew up in Nogales, Arizona, before moving to Tucson and attending Salpointe Catholic High School. “In all my designs, art and landscape, I try to honor the past and protect the future.”

Her past has been pretty special, too. After receiving a BA in studio art with a minor in business in 2007 from the University of Arizona, she landed a cool job as a local artistic fabricator and went back to earn her master’s in landscape architecture from the U of A. That led to Machado starting her own natural building company, Old Pueblo Hemp, which specializes in hemp-lime construction.

Visitors can see the El Tiradito replica inside the “Cuk Ṣon Audiorama” until Dec. 10. The open-air auditorium, just east of Centennial Hall, lets students and others rest in the company of nature and music. Cuk Ṣon is derived from the Tohono O’odham name for Tucson, referring to the 17th-century O’odham village “at the base of the black hill,” now “A” Mountain.

The School of Art recently spoke with Machado about the installation and her career:

Q. How did you get involved with the Audiorama project?

A. I was invited to collaborate on this project by my good friend and design buddy Carlos Arzate of Arzate Design Group. El Tiradito was Carlos’ idea, and when he suggested that we do it out of hemp, I jumped at the chance. We worked out the concept together, and I helped him source the plants, but it is his design. On install day, I was there for the hemp build and to unload and place plants while Carlos and the crew placed boulders. I used to work for Arzate Design Group, so we used to do installs together all the time. Carlos has been ultra-supportive of my choice to pursue contracting and starting my company, and he was happy to give me the opportunity to highlight hemp building in an artistic way.

Carlos Arzate and Micaela Machado

Q. How did you get to know Carlos?

A. We met through a networking event. And not two weeks later, we were cast together on a TV pilot show in London. It was a landscape design competition show, and Carlos and I recreated an Aztec Pyramid in the middle of the English Countryside. Our tagline was: “We’re bringing the Raza to your English Casa!” It was a bonding experience, and we’ve been family friends and design partners ever since.

Putting this garden together again with Carlos has been a trip down memory lane. We even tagged our old TV producers to show them we are still at it. So, it’s pretty awesome that we are still “Bringing the Raza to your Casa” with this project. From Aztec pyramids in London to El Tiradito at Centennial Hall, we love to highlight our heritage.

Q. How did your childhood impact you as an artist and landscape designer?

A. Growing up on the Arizona-Mexico border and all its mixed culture has influenced my life completely. I am of both cultures. Mexican and American. I speak Spanish and English. “Soy del rancho,” but at the same time I’m super Americanized. It used to feel divided and like I’m not enough of either, but now it feels like a gift I’ve been given. I can connect and communicate with both cultures. I get to be a part if both worlds. I’m not divided. I’m the whole enchilada.

Q. How did your School of Art degree and business minor prepare you for your career?

El Tiradito replica

A. Following my mother’s footsteps, I’ve always been very artistic, and thanks to her I was always very supported in pursuing art into a career. My father the lawyer, on the other hand, was a bit more realistic about my choice. He said that the only way that he would pay for me to go to art school was to get a minor in business, so I could be prepped for the real world, too. At the time I thought he was being dramatic, but in hindsight it really was very valuable advice.

My art degree and business minor really helped me figure out a plan on how to make money while making art — without having to sell my art to a gallery. Through the recommendation of my sculptor instructor, I got a fantastic job as an artistic fabricator for a (Tucson) company called Cemrock, and it really changed my life. I was totally happy traveling, making great money carving, sculpting and painting rockwork all over the country when the Great Recession hit, and we all lost our jobs.

Q. Is that what led you to pursue your master’s in landscape architecture?

A. I was devastated and realized that my position wasn’t as stable as I would want it to be. And by pure silly coincidence, I learned about the College of Architecture, Planning and Landscape Architecture or CAPLA, and I was super intrigued. I was already manipulating landscapes and creating habitats through my rockwork, and I felt like this was the perfect next step for me. With my art degree, my business minor and my work experience with Cemrock, I felt my portfolio was strong and I was accepted into CAPLA.

Through CAPLA, I learned about a new passion of mine which is sustainable design. I thought I’d be designing golf courses and theme parks, but I learned what a great opportunity and the important responsibility we have as designers to make better choices for our planet and our future generations. Especially here in the desert. It’s so important that we are designing to be in sync with nature. Things that excite me now are native plantings, water harvesting, solar power, food self-reliance, wildlife habitats, natural building materials.

Q. What attracted you to hemp construction, and what are the advantages of the material?

Micaela Machado, on build day at the Cuk Ṣon Audiorama site

A. I was super happy being a sustainable landscape designer, but my life was disrupted when I learned about hemp. I’ve always been a cannabis advocate — the only plant that can house, clothe and feed you — and when I learned that you could build healthy homes from it, my mind was blown away. Currently, our traditionally built homes are not energy efficient, leach thousands of toxic chemicals and don’t last long enough. But there are so many benefits to building with hemp blocks. They are all natural, can save up to 70 percent in heating-cooling bills and are fire-, mold- and pest-resistant. They are sustainable — you can grow your own building materials — sequester carbon, last for thousands of years and are biodegradable. The price is also comparable to current building methods.

I had to get my hands on hemp, and when I did, it was a clear message from the universe that I should be building healthy hemp homes. So now I’m a licensed, bonded and insured general contractor that specializes in industrial hemp builds.

Q. How do you build with hemp?

Entrance to audiorama, just east of Centennial Hall

A. There are several ways, but I specialize in “block making.” It’s a simple formula of hemp hurd, plus lime binder, plus water compressed into a building block that will last thousands of years. I’m blessed to have this information passed on to me, and now it’s my job to build healthy homes for our future. Hemp building is the way, and I’m excited that Tucson is onboard. It’s funny how this Audiorama project is the culmination of my career and life path. I just built a sculpture out of my own hemp blocks in a beautiful garden at the U of A. What a trip!

Q. Do you have any advice or tips for students at the School of Art?

A. Wear many hats. Art can lead you in many different directions, and it’s such a strong background that it can apply to many careers. Try the different hats out and see what makes you feel best. My career now is not what I thought it would be, but I let my life experiences and passions lead me. Gotta find those jobs that feed your creative side — while still paying the bills.

UAUA Exhibition 2024

Nov. 19-Dec. 12: Everybody shows and anything goes! The University of Arizona Undergraduate Art (UAUA) Exhibition at the Lionel Rombach Gallery is an inclusive show open to all undergraduate students enrolled in classes in the School of Art.

Installed in the gallery salon-style, this exhibition offers many students their first opportunity to exhibit their artwork in a gallery setting.

The reception is Thursday, Dec. 5, from 4 to 6 p.m. in the School of Art lobby. The exhibition is on display Nov. 19 to Dec. 12, Tuesday-Friday from 10 a.m. to 4:30 p.m.

Alum Mike Srsen honored as ‘Legendary Teacher’

Before and after earning his BFA in Studio Art, Mike Srsen worked as a graphic designer for Arizona Athletics and for a local advertising firm. But he found his real calling — teaching — when he went back to get his master’s in Art & Visual Culture Education at the School of Art.

Nearly 20 years later, Srsen is now a “legend.”

The longtime Flowing Wells High School graphic design teacher has been named the 2024 Pima JTED Central Campus Legendary Teacher. JTED is short for the county’s Joint Technical Education District, which works with business, industry and 14 member public school districts to provide tuition-free Career and Technical Education programs to 22,000 high school students each year.

“When I sat down with professors in the art education department … it  was like something clicked for me, and I knew like, ‘Oh this is what I’ve been supposed to be doing my  whole life,’” Srsen said in a Pima JTED video. “So, my masters thesis was to create a new class for Flowing Wells’ art department and I added a single section of graphic design and it was kind of a hit on campus.”

That success led Srsen to start the Flowing Wells Central Campus JTED program. More than 100 students learn each school year how to be a creative professional by developing workplace and technical skills, including Adobe software such as Photoshop, Illustrator and InDesign.

Srsen oversees a student-business in which students produce design, print, silkscreen and embroidery work for paying customers. Upper-level students even earn college credit, while in high school, thanks to a dual-enrollment agreement with Pima Community College.

“They work with clients and customers. They see the extra work that goes into it, that’s not just  creativity, but it’s financials and billing and ordering supplies and dealing with people’s moods and personalities,” Srsen said. “Creativity is part of it, but it’s definitely not the whole picture of becoming  an artist in adult life.”

Srsen also takes his JTED students on field trips. Each year, they visit the University of Arizona School of Art for workshops and tour its facilities.

“Renowned for his his creativity, leadership and dedication, he has grown the JTED program into a bustling hub, empowering students through design, entrepreneurship and real-world experience,” Pima JTEd said in an Instagram post.

Srsen, who earned his BFA in 2001 and MA in 2006 from the School of Art, also taught studio art classes at Pima Community College as an adjunct instructor.

“I feel really fortunate to get to have my whole life revolve around art and creativity,” Srsen said, “and to be able to share that with the world and my students in meaningful ways every day.”

Arizona Biennial features 3 grad students, 9 alums

University of Arizona School of Art graduate students Triston Blanton, Austin Caswell and Matthew Kennedy and nine alums are among the 41 artists selected for the 2024 Arizona Biennial at the Tucson Museum of Art and Historic Block.

A record 560 artists submitted their work for the 38th Arizona Biennial, which showcases some of the state’s most innovative artists and runs from Oct. 19 to Feb. 9 at TMA, 140 N Main Ave.

“I was thrilled to see Triston, Austin and Matthew listed among those exhibiting at the Biennial,” said School of Art Professor Gary Setzer, a 2023 Arizona Biennial artist. “I think all three are making really important work, and I’m proud of them for being recognized outside of the university.”

Here’s a look at the three students and their Biennial installations:

“Mixed Signals”
Triston Blanton (center)
Triston Blanton (center)
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Triston Blanton (They/He)

Title: “Mixed Signals”

Description: The ceramics sculpture addresses ideas of queer identity building through the combined use of both built and found ceramic elements.

Quote: “The found elements are smashed and then reassembled into the sculpture as shards and fragments. My sculpture queers the ceramic process by forgoing any traditional ceramic building methods and is held together only by fragile glaze.”

Bio: Blanton (b. 1999, Florence, SC) is a multimedia artist who works in Tucson. They received their BFA from Coker University in Hartsville, South Carolina, in May 2022 and are studying in the Studio MFA program at the University of Arizona.

Instagram: @triston_l

“The Finder”
Austin Caswell
Austin Caswell
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Austin Caswell

Title: “The Finder”

Description: The installation is a speculative, future archaeological site that uses lifespans of plastics to seek meaning and knowledge within lost contexts, including playground slides found around Tucson. Among the other materials, as recounted on Caswell’s website, are: scrap rebar, Palo Verde branches, a shark tooth from Cape Hatteras (N.C.), Nike running shoes found under a bush near campus, a serenity prayer gold chain necklace found in Hollywood, fragments of a dinosaur bone from a dig site in Southern Utah — and “an In-N-Out french fry from under my car’s driver seat.”

Quote: “My practice explores contemporary consumer culture, material poetics and speculative fictions through the conduits of sculpture and installation. ‘The Finder’ investigates concepts of deep time, particularly non-human scales of time, to look at the possibility that plastics will not return to the earth due to their chemical makeup and considers them as objects fixed in a state of immanence.”

Bio: Caswell (b. Denver, CO 1996) received a BA in Integrated Visual Studies as well as a BA in History from Colorado State University and is pursuing an MFA in 3D and Extended Media at the School of Art. He has been a fellow at Haystack Mountain School of Craft, the University of Arizona, and was a resident at the school’s Lionel Rombach Gallery. ​Caswell has exhibited across the United States in venues such as the Tucson Museum of Art, parkeralemán-El Paso Community Foundation in Texas, the Museum of Art- Fort Collins in Colorado and 311 Gallery in Raleigh, N.C. He also holds professional experience as a studio instructor, carpenter, landscape designer and fabricator.

Instagram: @austinmcaswell

“Suspended Memories”
Matthew Kennedy
Matthew Kennedy
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Matthew Kennedy

Title: “Suspended Memories”

Description: The installation includes Kennedy’s mother’s teapot collection suitcase, 3D-printed teapot shards and rope.

Quote: “My work is installation-based, most commonly using discarded objects, as well as familial collections. Through the use of these materials, I frequently speak to the overarching themes of identity and location.”

Bio: Born and raised in the small border town of Nogales, Arizona, Kennedy received his Bachelor of Fine Arts with an emphasis in Photography from the U of A School of Art in 2016. Following a period of extensive world travel, as well as instructing English in Hong Kong, he’s pursuing his Master of Fine Arts in the 3DXM program at the School of Art, with an anticipated completion date of 2026.

Instagram: @mateokennedy

Lori Andersen:
Lori Andersen: “Skin of the Land”
Jacqueline Arias:
Jacqueline Arias: “A Lived Experience”
Clare Benson:
Clare Benson: “Nocturne”
Alexander Brauer:
Alexander Brauer: “Abandoned Cattle Ranch”
Linda Chappel:
Linda Chappel: “What was and will Be”
Drew Grella:
Drew Grella: “No Tresspassing”
Serge J-F Levy:
Serge J-F Levy: “Near Hat Mountain”
Anita Maksimiuk:
Anita Maksimiuk: “Brooklyn Bone Split by Desert”
Mariel Miranda:
Mariel Miranda: “Las Cumbras”
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The U of A School of Art alums in the Biennial include:

  • Lori Andersen (MFA ’00)
  • Jacqueline Arias Thompson (MFA ’24): Her installation, “A Lived Experience” — part of her MFA Thesis project — grapples with the trauma of colonial dehumanization in Panama and the yearning for reunion with one’s homeland and culture. @maya_tica
  • Clare Benson (MFA ’13) @clarebenson
  • Alexander Brauer (BFA ’13) @alexanderbrauer
  • Linda Chappel (MA ’98, Art History) @lindalchappel
  • Drew Grella (MFA ’24) @drewdrawsillustrations
  • Serge J-F Levy (MFA ’15): His photograph taken at the Barry M. Goldwater Bombing Range is featured in the show. Over the past two years, he’s been walking and photographing in the Cabeza Prieta Wilderness, Organ Pipe National Monument and the Goldwater range. @outdoorframes
  • Anita Maksimiuk (MFA ’24)
  • Mariel Miranda (MFA ’23) @mariiel.mira

See a list of all the artists.

Making a difference: Meet the School of Art’s 3 new faculty members

Dr. Ilayda Altuntas, Pooja Venkatachalam Kumar and Jandey Shackelford grew up in Turkey, India and Wyoming, respectively. The new School of Art faculty members may come from different backgrounds, but they share one common goal: to encourage students to push their creative and scholarly boundaries.

In August, the school welcomed Altuntas, assistant professor in Art and Visual Culture Education; Kumar, assistant professor of practice in Illustration, Design and Animation; and Shackelford, an MFA alumna and visiting professor in 2D Studies and Printmaking.

Altuntas specializes in sound pedagogy and the intersection of visual art and culture. She received her Ph.D. in Art Education from Pennsylvania State University in 2021. Her dissertation, “Pedagogy of Sounding: Tuning in Art Education,” examines curriculum and methodologies around sound art and auditory perception. Altuntas has extensive teaching experience, including five years at the K-12 level. She came to the School of Art from Indiana University Bloomington, where she was a clinical assistant professor. She also was a graduate teacher at Penn State and a visiting assistant professor at Texas State University.

Kumar specializes in speculative design, augmented reality, coding, illustration and branding — while finding ways to represent complex science in fun, approachable and attractive ways. She completed her MFA from Maryland Institute College of Art in May 2024 and has an undergraduate degree in Chemical Engineering from the SVU College of Engineering in Tirupati, India.

Shackelford earned her Master of Fine Arts from the U of A School of Art in 2023. She received her BFA with minors in Museum Studies and Art History from the University of Wyoming. During her undergraduate studies, she also had the opportunity to study abroad in Adelaide, Australia, for a year.

The three recently reflected on joining the School of Art:

Q. How did you get interested in art, art education and teaching?

Altuntas: I grew up in Istanbul, Turkey, and my education was influenced by the German ecole concept, which emphasized critical thinking, intellectual rigor and multilingualism. When I pursued higher education, Turkey’s fine arts universities followed a constructivist approach to art, focusing on structure, form, and technical skill. After I received my BFA, I volunteered as a teacher in Springfield Public Schools at a Title I elementary school in Massachusetts, which deepened my understanding of how art education can shape the lives of youth. This led me to pursue a master’s degree at Pratt Institute, where I also volunteered in juvenile detention centers in New York City. In these challenging circumstances, I witnessed firsthand how art could be a tool for expression and healing. This experience drove me to explore new methods of thinking about the role of the arta, particularly through sound, in environments where conventional approaches may not resonate. These experiences eventually led me to develop new ways of integrating sound, memory, and identity into art education, which became the focus of my research, teaching and artmaking.

Black Lives Matter Bike Ride, Ilayda Altuntas, 2020, Digital Sound Data Visualization

Kumar: I grew up in Tirupati, South India, where my love for art began. Despite societal pressures to pursue a more conventional path, I initially studied chemical engineering. The pandemic allowed me to reconnect with my passion, using art to support social causes. This led me to pivot towards art and design, ultimately pursuing an MFA in Illustration at MICA. My journey has been one of embracing creativity and advocating for meaningful change through art.

Shackelford: I was born and raised in Gillette, Wyoming, where my passion for art began early. By the age of 8, I was inspired to become an art teacher. As a first-generation college student, I started my higher education journey at a community college, earning an Associate of Fine Arts. I then transferred to the University of Wyoming, where I completed a Bachelor of Fine Arts with minors in Museum Studies and Art History.

Q. Describe your teaching philosophy and how you motivate students.

Altuntas: I want to create a space where students feel supported and can do their best work. For instance, I know that not every student has access to the materials they need at home, so if someone can’t finish a project outside of class, I make sure they have time during school to work with the art supplies available. … Since I also work with future art educators, it’s important that they carry this practice forward to the young learners they will teach. … I focus on the process over the final product. If a student is experimenting or taking risks, I encourage that, even if the results aren’t perfect. It’s more about growth and learning through the experience. … Ultimately, I motivate students by connecting the work we do in class to their lives, whether through discussions or hands-on projects. When students feel their work matters and they’re supported, they’re more engaged and confident in their creative journey.

Kumar: I believe in nurturing curiosity and providing a supportive environment where students feel empowered to express themselves. I integrate various mediums and collaborative projects, fostering a dynamic learning experience that emphasizes both personal growth and community impact.

Packaging illustration by Pooja Venkatachalam Kumar for Laddoo, a sacred candy offered in Tirumala, India

Shackelford: My teaching philosophy centers on a creative and collaborative process. I believe that education in the arts is most effective when it fosters an open dialogue between teachers and students. By drawing on my interdisciplinary background, I aim to engage students in diverse conversations about materials, methods, and the broader political and cultural implications of their work. I create an environment where exploration and experimentation are encouraged.  

Q. As an artist or teacher, what’s a favorite memory and/or proudest achievement?

Altuntas: One of my favorite memories as a teacher was during a soundwalk workshop I held with students. We wandered around campus, visiting places like the arboretum and amphitheater, just listening and recording what we heard. It was remarkable to see how each student connected with the environment in their own way. … What I’m most proud of is seeing the lasting impact I’ve had on students. It’s those moments when a student realizes their own potential, takes ownership of their creative journey, and starts seeing the world or their work differently. … I’ve had students return later and share how something from our class influenced their path forward. Those moments are the most rewarding.

Kumar: One of my favorite memories is collaborating with Kalam Shastra, a collective of women artisans, to preserve the traditional Kalamkari art form. It was fulfilling to see design theories come to life in a way that supported both heritage and innovation. My proudest achievement is transitioning from engineering to art, gaining recognition on platforms like Communication Arts, and having my work exhibited in New York.

Shackelford: One of my proudest achievements is having a solo exhibition in Santa Fe, New Mexico. During this exhibition, some of my works were acquired for permanent collections at Santa Fe Community College and Christus St. Vincent Regional Medical Center.

Jandey Shackelford’s 2023 MFA Thesis Exhibition installation, “Imprint,” at University of Arizona Museum of Art

Q. What career advice do you have for students as they start or continue their college journey?

Altuntas: My advice is to embrace this time as a period of exploration. Experiment with ideas, challenge yourself, and take creative risks without the pressure of perfection. Failure is part of the process, and it’s where some of the best growth happens. Don’t be afraid to push yourself out of your comfort zone—whether that’s trying a new technique, collaborating with others, or even asking tough questions. When I was an undergrad, the studio and school became my home. It was a safe space where I could immerse myself in my work, connect with peers, and engage in conversations about our projects. I encourage you to knock on professors’ doors, ask questions, and don’t be afraid to sit down with them to discuss your ideas. … And take advantage of the local art scene, immerse yourself in the environment, and seek out meaningful connections within the community. Engaging with local artists and attending events can help you build relationships that will shape your artistic path.

Kumar: Be fearless in exploring different disciplines and seek out opportunities that challenge you. Collaboration and community engagement are invaluable in building a meaningful career. Never underestimate the power of mentorship—actively seek guidance and be open to learning from diverse perspectives. Stay true to your passion and let it guide you, even if the path seems unconventional.

Shackelford: Drink lots of water and go to as many art events as you can!

Personal websites

Instagram handles

Student creators embrace new online marketplace

When Reese McFarland suffered a health scare a few years ago, someone gave her a healing bracelet. Not only did it help her heal, but it also inspired her decision to study Design Arts & Practices at the University of Arizona.

Reese McFarland

“I like to be creative, and I wanted to go to college to do something creative,” McFarland said. “I had a hard time expressing what I went through, so I decided to make energy-filled beaded bracelets that are appealing to wear but also always close to your heart.”

She’s among 15 School of Art students who’ve joined Student-Made Arizona, a new online marketplace that allows them to promote and sell their products and services, such as jewelry, visual art, photography, apparel, digital art and fiber arts.

Reese McFarland’s “Lava Lotus” bracelet

McFarland’s online shop is called “Love, Pieces.” One of her favorite bracelets is the “Lava Lotus,” she said, because lava beads are spiritually grounding and calming, while the lotus flower symbolizes health and overcoming adversity. “Each one of my bracelets have a special meaning that you can share with others or keep to yourself,” she said.

The sophomore is highlighted on the Student-Made Arizona creators’ page along with these School of Art students:

Other School of Art students who plan to be part of Student-Made Arizona in the future are Kasey Leftwich (DAP), Natalie Benton (IDA), Xavier Urias (IDA), Vanessa Valdez (DAP) and Ava Sheppard (2D Studies).

From left, Reese McFarland, Hannah Contardi and Ava Jo Schuldt sell their products at a recent pop-up at the ENR2 building.

Student-Made Arizona launched this fall, joining over a dozen universities in a Student-Made network that was co-founded in 2017 by Lindsey Reeth. Then a student at North Carolina’s Elon University, Reeth wanted to help classmates run small businesses from their dorm rooms and apartments.

Startup Wildcats, a U of A entrepreneurial group affiliated with the university’s Tech Launch Arizona, oversees the student creators and a seven-member student management team led by Daniela Johnson, a Management Information Systems master’s student.

“Since Student-Made is brand new here, it’s been incredibly rewarding to build it from the ground up and create a supportive community for student creators,” Johnson said.  “As campus manager, I look forward to meeting the creators during our coffee chats and really getting to know and help them … and I hope to inspire other students to step into leadership roles.”

At Student-Made Arizona, customers can find student-created items such as phone cases, art prints, crocheted bags, keychains, customized shoes, hats and wood carvings. People also can arrange services such as photography, videography, tutoring and tech support.

Julie Barbier Bularzik, venture development education coordinator for Startup Wildcats, helped convince the university to partner with Student-Made after attending a session about the group at a conference for the Global Consortium of Entrepreneurship Centers (GCEC). Like Startup Wildcats’ mission, Student-Made provides “immersive experiences that empower every Wildcat to unlock entrepreneurial possibilities and inspire the courage to venture,” she said. In other words, life skills.

Student-Made Arizona, part of Startup Wildcats, launched this fall on campus.

“My favorite part of Student-Made is that students get a chance to try something that can often be hard, scary or lonely in a supportive environment with a community all rooting for them to succeed,” said Barbier Bularzik, who also runs a small plant oils business, ace of cups essentials, in Tucson.

For McFarland, who grew up in Chandler, Arizona, having that support group is key — especially when it comes to gaining marketing and social media skills.

“It’s difficult to grab people’s attention and get them to like your product,” said McFarland, who is taking classes through the School of Art and the College of Architecture with a Spatial Design emphasis. She hopes to become an interior designer after graduation — but keep her bracelet business on the side.

At a recent pop-up event at the ENR2 Building on campus, McFarland shared a table area with Schuldt, a junior from the Seattle area who makes paw-print earrings that pay tribute to the Wildcats (U of A), Huskies (University of Washington) and Cougars (Washington State).

“I joined Student-Made to learn more about the business world,” Schuldt said. “I like talking to people, but I’m not so good at marketing.”

Like McFarland, Schuldt hopes to keep making art after graduation, but her career goal is to go into prop-making for film and television or live theater.

Christina Tellez (left) tells students about her earrings at a pop-up.

Students across campus have joined Student-Made, including Retailing and Consumer Sciences major Hannah Contardi (“engrave”) and Physiology major Elias Sitzmann (“Ari Everyday Wear”). They joined School of Art students Auerbach, Deniz, Franco, Marshall, McFarland and Schuldt at a Sept. 27 all-day pop-up event at the Campus Store across from the Student Union.

Other student creators include Nutrition and Food Studies major Tommey Jodie (“Butterflies & Azee’”), who’s also a manager; Retailing and Consumer Sciences major Liney Meis (“LimeTime Art”); and Nutritional Science major Christina Tellez (“Chrissy T. Earrings“). Other student mangers include Camryn Capuzzo, Caroline Daub, Krishna Gala, Maahi Patel and Kat Toth.

“I want departments and programs all over campus to get involved and collaborate with us in creative, mutually beneficial ways,” Barbier Bulzarik said.

Daniela Johnson (left) and Julie Barbier Bulzarik

And in the coming months, she hopes Student-Made creators and managers can be part of pop-up events outside the university, such as the Made in Tucson and Desert Air markets near downtown. “I’d like to have community members get involved in the mentorship of our student creators,” Barbier Bulzarik said.

Students can join Student-Made by filling out an application.

“I’d love to see more students grow their businesses,” Johnson said, “and feel empowered by the support system we’re building.”

Four artists, scholars highlight 2024-25 VASE series

Celebrating its 18th season, the University of Arizona School of Art’s Visiting Artists and Scholars Endowment (VASE) lecture series will feature acclaimed artists and educators Ala EbtekarRonald Rael, Rujeko Hockley and José Villalobos in 2024-25.

Go to vase.art.arizona.edu for more details.

The free, hour-long VASE presentations will be held on Thursdays at 5:30 p.m. at the Center for Creative Photography auditorium, 1030 N. Olive Road. Here’s the lineup:

Ala Ebtekar (Oct. 10, 2024): Director of Stanford University’s Art, Social Space and Public Discourse, the artist will discuss his most recent work, “The Sky of the Seven Valleys,” delving into the intricate interplay between terrestrial and celestial elements that inform his studio practice.

Ronald Rael (Nov. 14, 2024): The Cal Berkeley professor is an architect, activist, design technologist, rancher and traditional builder. In his talk, “Mud y Robots,” he’ll discuss his new paradigm in construction, coupling adobe with 3D-printing technology to create housing that can save the planet. (Co-sponsored with the College of Architecture, Planning & Landscape Architecture)

Rujeko Hockley (Feb. 13, 2025): She’s the Arnhold Associate Curator at the Whitney Museum of American Art in New York City. Hockley, who co-curated the 2019 Whitney Biennial, was born in Zimbabwe and relocated with her family to Washington, D.C., at age 2. (Co-sponsored with Racial Justice Studio)

José Villalobos (March 20, 2025): The San Antonio, Texas, artist explores traditionally “masculine” objects and softens the virility of them. He was raised in El Paso on the U.S.-Mexico border, growing up with religious ideals that conflict and condemn being gay.

“The VASE program continues to be a cornerstone of our students’ education, offering invaluable opportunities to engage with leading figures in contemporary art and design,” Regents Professor Sama Alshaibi said.

This year, Alshaibi said VASE is expanding its impact by partnering with the School of Architecture to host Rael and collaborating with Arizona Arts’ Racial Justice Studio to bring in Hockley.

Along with Ebtekar and Villalobos, “this exceptional lineup is not only broadening our horizons but also fostering new connections and innovation,” Alshaibi said.

“Our 2024-2025 guests will tackle critical issues such as the social, political, and environmental impacts of architecture, borders and migration, as well as the intersection of identity, place and memory,” she added. “By engaging with these diverse perspectives, we are advancing important dialogues on cultural boundaries and the resilience of marginalized communities.”

The series is made possible by the School of Art Advisory Board Visiting Artists and Scholars Endowment, the National Endowment for the Arts, the School of Art, the College of Fine Arts Dean’s Fund for Excellence, the Center for Creative Photography and the Museum of Contemporary Art (MOCA) Tucson.

Won’t You Be My Neighbor?

Until Dec. 20: Joseph Gross Gallery’s doors have been opened wide — to invite community partner artist groups in — to collaborate, play and co-create an exhibition while building capacity with the students and staff in the School of Art galleries program.

Featuring artists from ArtWorks, The Projects, Tiny Town Surplus/Tanline Printing, the Tohono O’odham and Pascua Yaqui Nations, and Snakebite Creation Space, “Won’t You Be My Neighbor?” highlights collaborative partners’ interpretations of stewardship, belonging, and notions of home.

Artwork and installations on view encourage students and visitors to consider big questions about finding community in the art world and what it means to be a good neighbor.  

  • Opening Reception: Sept. 19, 4-6 p.m.
  • On view: Sept. 19 – Dec. 20, 10 a.m. – 4:30 p.m. Tuesday-Friday
  • Open to the public, always free, all are welcome.
  • Gallery is fully accessible with an accessible bathroom.

(**Class visits, groups larger than 15, and/or guided tours are available by appointment — email lydiasee@arizona.edu)

TMA centennial exhibition includes School of Art alums, faculty emeriti

Ten artists with University of Arizona School of Art ties are among those featured in “Time Travelers: Foundations, Transformations, and Expansions at the Centennial,” as the Tucson Museum of Art (TMA) and Historic Block celebrates 100 years since its founding with an exhibition that runs until Oct. 6, 2024.

The artists include former faculty members or alums Cristina Cárdenas, Robert Colescott, Maurice Grossman, Luis Alfonso Jiménez Jr., Karlito Espinosa Miller, Tom Philabaum, Howard Post, Alfred Quiroz, Fritz Scholder and Jim Waid.

The museum, 140 N. Main Ave., is open Wednesday through Sunday from 10 a.m. to 5 p.m.

(Images of artists’ work below courtesy of the Tucson Museum of Art and Historic Block)

Cristina Cárdenas (MFA ’90, Printmaking)

Work in exhibition: “Zapatista II,” 1999, lithograph, silkscreen, 8/44. Collection of the Tucson Museum of Art. Anonymous Gift. 2003.18.1.

Cristina Cárdenas

Bio: Born and raised in Guadalajara, Jalisco, Mexico, Cárdenas is an award-winning painter, printmaker and ceramist based in Tucson. Women are frequently the protagonists of her work, and she gives them a permanent and positive voice. Her draftsmanship, iconography, artistic forms, color and style are derived from Mexican neo-figurative expressionism, which she learned from academic training at the Universidad de Guadalajara, Escuela de Artes Plásticas and at the University of Arizona School of Art.

Quote: “Due to my personal history as an immigrant, the recurring theme in my work responds to and communicates relevant political and personal impressions, such as the right for immigrants to have a path to American citizenship. My work is an exploration of immigration/migration and its effects on culture, family, the loss of los ausentes — the ones who left their homelands and are considered missing in their physical absence, but not in their psychological presence — and the individual in these times of racism.” — From Mexic-Arte Museum interview

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Robert Colescott (Regents Professor Emeritus)

Work in exhibition: “The Light is On: Moroccan Pink to Drip and Smear,” 1991, acrylic gel on canvas. Collection of the Tucson Museum of Art. National Endowment for the Arts Purchase Award and Museum Funds. 1992.2.

Robert Colescott (1925-2009)

Bio: Colescott, who died in 2009 at age 83, was an African-American artist known for his expressionistic paintings which dealt with his identity and Black history. In 1964, he became an artist-in-residence at the American Research Center in Cairo. He accepted a position as a visiting professor at the University of Arizona School of Art in 1983 and joined the faculty in 1985. In 1990, he became the first art department faculty member to be honored with the title of Regents Professor. In his work “George Washington Carver Crossing the Delaware: Page from an American History Textbook” (1975), Colescott humorously conflated the famous Emanuel Gottlieb Leutze painting of George Washington with the pioneering African-American chemist. Colescott was granted emeritus status in 1995, and two years later, he was the first African-American artist to represent the United States in a solo exhibition at the Venice Biennale.

Quote: “Living in Cairo for three years, I felt a profound influence from the three thousand years of a ‘non-white’ art tradition and by living in a culture that is strictly ‘non-white.’ I think that excited me about … some of the ideas about race and culture in our own country. I wanted to say something about it.” — From 1999 interview for Smithsonian Archives of American Art 

Maurice Grossman (Professor Emeritus)

Work in exhibition: “Landscape Vessel,” 1984, raku, oxides. Collection of the Tucson Museum of Art. Gift the Grossman Family. 2011.17.2.

Maurice Grossman (1927-2010)

Bio: Grossman, who died in 2010 at age 82, was an artist and LGBT activist who founded the School of Art’s ceramics program in 1956. He started out as a painter, studying watercolor and commercial art at Detroit’s Wayne State University in the 1940s. He taught for nearly 35 years at the University of Arizona, mentoring several generations of students and community leaders, until retiring as a professor emeritus. He continued working on ceramics in his studio and was a constant supporter of the Ceramics Research Center. A lifelong traveler, Grossman incorporated ideas from Buddhism into his work and philosophy of life, and drew inspiration from the architecture of Europe and Asia.

Quote: “I’m in love with the textual quality of clay, the ability to make it talk. … I’ve always loved to experiment. The students propelled me to try new things.” — From Arizona Daily Wildcat 2007 interview

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Luis Alfonso Jiménez Jr. (faculty member)

Work in exhibition: “End of the Trail with Electric Sunset,” 1971, fiberglass, resin and epoxy. Collection of the Tucson Museum of Art. The Agnes & Lawrence Heller Fund. 1991.30.

Luis Alfonso Jiménez Jr. (1940-2006)

Bio: Jiménez, who died in 2006 at age 65, taught at the School of Art in the 1980s and ’90s. The sculptor and graphic artist was known for portraying Mexican, Southwestern, Hispanic-American and general themes in his public commissions. His most famous large-scale sculptures are “Mesteño/Mustang” (outside Denver International Airport), “Vaquero” (outside Smithsonian American Art Museum in Washington, D.C.) and “Southwest Pietá (in Albuquerque’s Martineztown neighborhood). His “Man on Fire” fiberglass sculpture is on display at the University of Arizona Museum of Art.  Jiménez died during the construction of “Mesteño/Mustang” when part of the scuplture swung loose from a hoist in the artist’s studio, severing an artery in his leg. The sculpture was finished posthumously by the artist’s family and installed in 2008.

Quote: “My working-class roots have a lot to do with (my art); I want to create a popular art that ordinary people can relate to as well as people who have degrees in art. That doesn’t mean it has to be watered down.” — From 1995 interview for Smithsonian’s Archives of American Art

Karlito Miller Espinosa (MFA ’19)

Work in exhibition: “Untitled (Nuestra Sonora del Rosario),” 2019, oil on canvas. Collection of the Tucson Museum of Art. Museum Purchase, funds provided by Robert and Sheryl Greenberg. 2019.12.

Karlito Miller Espinosa (aka Mata Ruda)

Bio: Miller Espinosa, aka Mata Ruda, explores themes of politics, migration, regional history, capitalism and institutional violence through sculpture, traditional oil painting and muralism. He was born in San Jose, Costa Rica, and lived in Caracas, Venezuela, before moving to the U.S. when he was 12. He graduated from the Maryland Institute College of Art (MICA) in 2012 with a BFA.  Featured on the 2018 BBC Documentary Series “The Art of Now,” he has been invited to travel and paint various commissioned public murals in Russia, Puerto Rico, Ukraine, Mexico and dozens of U.S. cities. After graduating from the School of Art’s MFA program, he was a studio program resident for the prestigious Whitney Independent Studies Program in 2019-2020 and painted the mural on the north side of the school’s Joseph Gross Gallery (facing Speedway Boulevard).

Quote: “I paint with wood stain, plaster, clay, adobe because I don’t just want the work to be a visual representation of ideas. Instead I want it to physically embody the message. The materials are not separate from the story; they carry baggage.” — From fall 2023 Arizona Arts story, after he unveiled the art installation “Esta Tierra es Nuestra Tierra” (“This Land is Our Land”) at the FDR Four Freedoms State Park in New York City.

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Thomas A. Philabaum (MFA ’83)

Work in exhibition: “Venerable Vessel,” 2000, blown glass with scavo finish. Collection of the Tucson Museum of Art. Gift of Debra Hughes and Gary Tyc. 2009.16.1.

Thomas A. Philabuam

Bio: Philabaum earned his Master’s in glassblowing at the University of Wisconsin-Madison under Harvey Littleton, one of the founders of the American studio glass art movement. Philabaum built his first studio in 1975 in downtown Tucson and opened his first gallery in 1982 on Congress Street before getting his MFA from the School of Art the next year. In 1985, Philabaum and his wife, Dabney, combined the studio and gallery into the Philabaum Glass Gallery, 711 S. Sixth Ave, where he and his team created unique glass art that was shown around the world and in Tucson — from mounted glass flowers on the wall of the University of Arizona’s Highland Market to flying carpets hanging from the ceiling at the Tucson airport. Philabaum, who co-founded the Sonoran Glass School, retired from glassblowing in 2018 but continues to create painted and fused glass, including platters and contemporary wall hangings. One of Philabaum’s lasting contributions is the creation of a two-inch-thick glass disc award, known as a Philabaum, that is used to honor those who work for Pima County.

Quote: “(My glass art) makes me feel … connected to my community and that what I do is part of the community and people value it.” — From 2019 Arizona Alumni interview

Howard Post (BFA ’72, MFA ’78)  

Work in exhibition: “The Bull Pen,” 1978, oil on canvas. Collection of the Tucson Museum of Art. Gift of Lynn Taber. 2000.58.1.

Howard Post

Bio: Known for his paintings of cattle, cowboys, rodeo arenas and ranch life executed with a unique aerial perspective and sun-drenched hues, Post is an impressionist painter who portrays the contemporary West in a modern fashion. Born and raised on a ranch near Tucson, he still competes in roping competitions throughout the West but he considers himself an artist rather than a cowboy. After getting his BFA and MFA at Arizona, he taught at the School of Art for two years and worked as a commercial artist until 1980, when he decided to paint full-time.

Quote: “I like to take a bird’s-eye view of cattle clustered in a corral, cowboys perched in fence rails, or a distant ranch house. I like the angularities of fences, and this higher perspective endows people and animals in the painting with stronger shapes and patterns.” — From 2023 interview with Masters of the American West 

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Alfred Quiroz (MFA ’84, Professor Emeritus)

Work in exhibition: “El Azteca Practicando para Sufuturo de Modelo para Calendareo,” 1992, charcoal on paper. Collection of the Tucson Museum of Art. Museum Purchase. Virginia Johnson Fund. 1993.28.

Alfred Quiroz

Bio: The art educator and artist, known for his satirical paintings and drawings that examine injustice, taught at the School of Art from 1989-2018, mentoring thousands of other artists. The Tucson High graduate enlisted in the U.S. Navy and served in Vietnam, then used the G.I. Bill to earn a BFA in painting from the San Francisco Art Institute, a MAT in art education from the Rhode Island School of Design and an MFA in painting from Arizona. His work has been exhibited extensively, both nationally and internationally, and featured in publications such as Art in America, Artforum and Art Week. His “MUNEEFI$T DE$TINY” (1996) mixed-media work is on display through Oct. 6 in the “Xicanx: Dreamers + Changemakers” exhibition at the Blue Star Contemporary Art Center in San Antonio.

Quote: “(El Azteca) is a satire of calendars that are produced for Mexican restaurants and especially tortilla factories. It was part of my ‘Happy Quincentenary Series.’ Translated: ‘The Azteca practicing for his future role as a model for tortilla calendars.’ As a kid growing up in Tucson, we always had a calendar that depicted the Aztecs as very sexy individuals, scantily clad and representing the volcanos Popo and Izta (shortened names), and I always thought that’s what they actually looked like.” — From 2024 School of Art interview

Fritz Scholder (MFA ’64)

Work in exhibition: “American Portrait #28,” 1981, oil on canvas. Collection of the Tucson Museum of Art. Gift of the Artist. 1981.11.1.

Fritz Scholder (1937-2005)

Bio: Scholder, who died in 2005 at age 67, produced paintings, monotypes, lithographs and sculptures, and was a major influence for a generation of Native American artists. He studied at Sacramento State University and was invited to the Rockefeller Indian Art Project in 1961 at the University of Arizona, where he received his MFA and then taught at the Institute of American Indian Arts in Santa Fe. His expressionist paintings, in museum collections around the world, broke away from stereotypical Native American roles with a style well known for its distortions, explosive brushwork and vivid colors. His “Another Martyr No. 4” sculpture stands in front of the UA Main Library, and Special Collections also holds 10 lithographs signed by Scholder.

Quote: “As a student, you just are always on edge, you just don’t know — what am I doing? the hardest thing is finding out who you are and who you want to be. … When I got to the University of Arizona … it was the first time that they had an MFA program, and they brought people in from all over as graduate assistants, and I became kind of the leader there and would write manifestos and bug everybody, and the faculty.” — From 1988 interview with Kurt von Meier

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Jim Waid (MFA ’71)

Work in exhibition: “Indio,” 1981, acrylic on canvas. Collection of the Tucson Museum of Art. Gift of Mr. and Mrs. William A. Small, Jr. 1995.133.

Jim Waid

Bio: Waid is considered one of Arizona’s most celebrated painters and is included in the public collections nationwide, including the Metropolitan Museum of Art in New York. He creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. After receiving a BFA from the University of New Mexico and a MFA from Arizona, he taught art at Pima Community College for nearly a decade. He has been a visiting artist at several universities, including Arizona. He has created two public murals in Tucson: “Sonoran Spring,” at the Dan Eckstrom-Columbus Library; and “Santa Cruz,” at the Evo DeConcini Federal Courthouse.

Quote: “I don’t want the paintings to be like you’re looking at a landscape. I want them to feel like you’re in it.” — From artist statement at Bentley Gallery in Phoenix

Tailgate Party

Tailgate Party

Roger Masterson
Half Off Special

Half Off Special

Wilbur Dallas Fremont
What Do You See?

What Do You See?

Utvista Galiante
I fell down some stairs

I fell down some stairs

Lyle Emmerson Jr.
Floral Arrangement

Floral Arrangement

Janessa Southerland