Author: Michael Chesnick

For Kaitlyn Jo Smith, the University of Arizona MFA Studio Art program in Photography, Video and Imaging not only “helped build confidence in myself and my voice,” but it also “encouraged me to set big goals and apply for big shows,” she said.

In turn, it was students like Smith and five fellow alums in this month’s “Under the Sun” exhibition at Tucson’s Steinfeld Gallery who helped faculty build the School of Art PVI program into a powerhouse with a No. 3 ranking by U.S. News & World Report behind Yale and UCLA.

“I felt a genuine support and care from my faculty and peers, many of whom I am still friends with today,” said Smith, a 2020 MFA alumna and now a lecturer for the school. “It is this nurturing environment that I try to implement within my own classroom. I want my students to feel safe in the exploration of their identities. I want them to experiment and to push themselves further than they thought they could go.”

Smith and fellow MFA alums Stephanie Burchett (2018), Daniel Cheek (2013), C. E. Fitzgerald (2018) and Serge J-F. Levy (2015) and Jacinda Russell (1999) will hold an opening reception Saturday, March 7, from 4 to 8 p.m. at the Steinfeld Gallery, 101 W. Sixth Street. The exhibition continues until Sunday, March 29, when the photographers will hold a panel discussion at 2 p.m.

School of Art Professor Emeritus Joseph Labate, curator of “Under the Sun” and a 1986 MFA alum, said the six photographers’ work “has been shaped by study and teaching in the PVI program and reflects a shared commitment to rigorous inquiry, experimentation and critical engagement fostered through university-based photographic education.”

“I am quite proud of the program and my long history in it,” Labate said. “I entered the program as an MFA student and left it as a professor of art. In those early days as a student, I learned of the wide range the medium of photography as art could cover. That extended my previous educational experience and understanding of the medium and showed me the strength of diversity in its practice.” 

Labate stressed that the PVI program’s strength begins with faculty — including current Professors Sama Alshaibi, Martina Shenal and David Taylor, Assistant Professor Marcos Serafim and Smith — “whose art practices may be quite different and distinct from their colleagues, yet they still value and respect what those others do,” he said.

“It’s collegiality with diversity and the ability to work toward a common goal, creating a strong program,” Labate said. “This behavior moves to the graduate and undergraduate students and creates an energetic and safe space in which to practice your art.”

It also helps that the internationally recognized Center for Creative Photography is located across Olive Road from the School of Art. “The CCP’s exhibitions, archive, presentations, visiting artists, scholars and opportunities for students are of huge value to the photography program,” Labate said.

In his curator’s statement, he said this month’s group exhibition at Steinfeld not only “highlights a lineage of teaching and learning that has shaped generations of photographers and contributed meaningfully to the field,” but it also is “presented at a time when universities and education in general are under attack.”

“The works on view do not address this political moment directly; rather, the quality and range of their work stand as evidence of what education makes possible: conceptual depth, technical mastery and sustained artistic research,” Labate said.

Here’s a look at the photographers in “Under the Sun”:

Kaitlyn Jo Smith

Bio: Smith’s interdisciplinary studio research examines the socioeconomic impact that emerging technologies have on America’s working class. She is the 2023 recipient of the Alice C. Cole ’42 Fellowship in Studio Art, was longlisted for the 2021 Lumen Prize in Art and Technology (London) and received the College Art Association’s Services to Artists Committee Award for her video Lights Out. Smith has been featured in PDNedu, Art IDEAL, and Al-Tiba9 Magazine. She has presented her work at FEMeeting: Women in Art, Science & Technology (Évora, Taos, and Windsor), Technarte International Conference on Art and Technology (virtual), and Homecoming, Society for Photographic Education Annual National Conference (Denver).

Images she’ll be showing: “A selection from my project ‘Antithesis of a Revelation,’ which was created as a coping mechanism during Covid, the death of both of my grandmothers, my parents’ separation and the loss of my childhood home. While I had been making these images behind the scenes of my public practice for nearly a decade, it did not become clear to me that these photographs come together to tell a larger story of love, loss and acceptance until very recently. ‘Under the Sun’ will be the first time that images from this series will be on display for a larger audience.“

Website: https://www.kaitlynjosmith.com/

Jacinda Russell

Bio: As a conceptual artist with a longstanding interest in edges, borders and topographical extremes, Russell has examined the impacts of human-accelerated climate change in the polar regions since 2017. She works primarily in the mediums of photography, sculpture, installation and bookmaking. Her artwork has been exhibited at numerous locations nationally and internationally, including the southernmost place on earth, the Amundsen-Scott South Pole Station. Born in Idaho, she received her BFA from Boise State University in Studio Art before getting her MFA from Arizona. She currently lives and works in Tucson.

Images she’ll be showing: “My series in the exhibition is titled ‘Art Department, 2013 – present.’ I was born into an Art Department and have spent all but three years of my life there. My father was a painting and drawing professor at Boise State University where, as a child, I watched him grade, helped him rearrange drawing chairs to face the modeling stand, and stared out the windows while he completed administrative tasks. Later, I would attend the same school, switch my major from creative writing to studio art, and enroll in the courses of the professors who had known me since birth. I moved to Tucson for a graduate degree and after seven years as an adjunct instructor, obtained a tenured photography position.

“It was not long before I noticed history repeating itself in the stories my father told and those that I witnessed firsthand. In 2013, I began documenting 66 years in an Art Department from the perspectives of the student and the professor. In Under the Sun, straightforward photographs of the pedagogical environment depict emptiness as a blank slate for creativity, what remains after moving to a new building, an early retirement, a loss of voice, and a resignation.“

How did the program shape her career? “I spent 17 years as an Assistant and Associate Professor at Ball State University in Muncie, Indiana. The professors at UA modeled how I would teach in the future (Harold Jones, Carol Flax, Ken Shorr, Joe Labate, Gayle Wimmer, Ellen McMahon, Barbara Penn, Paul Ivey) as well as nurturing my interests in photography as an object, installation as an art form, and bookmaking — mediums I primarily use to this day.“

Her favorite memories: “All the late night hours spent in front of the color processor. The warehouse studio space off Euclid next to the railroad tracks which smelled like the bread factory. The 30-year friendships. The photo program is special in the way that I am not only close to the people who attended at the same time as me, former mentors, and a handful of students … but I have formed lasting friendships and collaborations with people who graduated long afterward (Camden Hardy through the Postcard Collective, Anh-Thuy Nguyen and Clare Benson were visiting artists at my institution in Indiana, etc.). The element of belonging by association runs deeper than I ever would have thought after graduating in 1999.“

Website: https://jacindarussell.com

Stephanie Burchett

Bio: Burchett is an and educator whose work explores themes of place, identity and environmental infrastructure. She currently serves as the Assistant Chair of the Arts & Humanities Department at Glendale Community College in Arizona, where she teaches photography. Born and raised in Greeley, Colorado, Burchett’s interest in photography began in her youth, inspired by a camera left behind by her grandmother. She pursued a BA in Graphic Arts and Photography from the University of Northern Colorado before earning her MFA in Studio Art from the University of Arizona.

Images she’ll be showing: “A new body of tintype work that documents the tools and makers of Greeley Hat Works, a custom cowboy hat shop in Greeley, Colorado, named Greeley Hat Works. They opened in 1909 and have made custom hats for ranchers and the local community but also for George W. Bush and members of the Yellowstone Cast.“

Her thoughts on the School of Art: “I chose to pursue an MFA so I could teach photography at the college level. The opportunities that I had to teach while pursuing my MFA and working with our faculty who modeled how to balance a life of teaching and making were incredibly valuable. Earning the degree was an essential stepping stone to my current position at Glendale Community College. I am so grateful for the opportunity.“

Her favorite moment at U of A: “Although it’s hard to call it a single memory, one of my favorites is David Taylor’s field research class, which I took during my second year of graduate school. About every two weeks, we would travel to different landmarks throughout the Sonoran Desert. Some of these destinations included San Xavier del Bac, Baboquivari Peak, Ajo, and Pinal Air Park. We camped and spent time together at all hours, traveling, sharing meals, and learning about the local artisans and
communities we visited. I’ll always be grateful for the camaraderie formed with my peers during that experience, and I hold our memories close to my heart.“

Website: https://www.stephanieburchett.com/

Daniel Cheek

Bio: Cheek’s work examines the ways people experience the world around us. Whether working in national parks or museums or in his neighborhood, he is interested in looking for authentic experiences and the ways we directly interact with our surroundings. His work has been exhibited in galleries and museums across the United States. His work was part of a three-person exhibition titled “Great Basin Exteriors” funded by the National Endowment for the Arts and the Western Arts Federation that was shown in fifteen venues throughout Nevada. Daniel’s work was featured in Denver Art Museum’s “Other People’s Pictures: Gifts from the Robert and Kerstin Adams Collection” as well as in “To Bough and To Bend” at The Frederick R. Weisman Museum of Art at Pepperdine University in 2023. He had a solo exhibition at Andrew Smith Gallery in Tucson in 2022.

Artist statement: “Working in national, state, and local parks, as well as public lands, I am looking at the historic and contemporary ways people travel through and experience the outdoors. I am interested in authentic experiences and the ways we directly interact with our surroundings. I believe that through interpretation of the ways we experience places that are considered natural, we learn more about how we want to live in our own environment. When we want to experience nature, we often drive to the nearest park, when we have made our way past the parking lots and visitor centers, we are guided by trails and signs and guardrails. My work looks at this experience and how these types of things may affect our view of what nature is. Where does nature begin and where does the built environment end? What does it mean to be “out in nature” versus just being outdoors?“

Website: https://www.dancheek.com/

C.E. Fitzgerald

Bio: Fitzgerald is an artist who works primarily in self-portraiture. He often photographs himself in inhospitable environments, where he positions his body in awkward poses. His photographs draw attention in equal parts to place and the body. Fitzgerald grew up in New Mexico and currently resides in Tucson after receiving his MFA in photography from the University of Arizona. His work has been exhibited at the Phoenix Art Museum, the Tucson Museum of Art and the Museum of Contemporary Art in Tucson.

Artist statement: “I never imagined myself making self-portraits. Somewhere along the way that all changed. I placed my camera on a tripod, disrobed and stepped in front of the lens. I think about place more than I think about my body. I am drawn to certain spaces like a moth to a flame, or a naked mole to a cholla. There is an awkwardness to many of my pictures, a distilled version of life reflected back at me. Total desperation. Pure vulnerability. That is what I am aiming for.”

Website: https://cefitzgerald.com/

Serge J-F. Levy

Bio: Levy did his graduate work with Frank Gohlke at the University of Arizona and received his MFA with distinctions. He earned his BA in Sociology from Vassar College. Levy’s limited-edition two-volume book, “The Fire In The Freezer,“ won Special Recognition from the Dorothea Lange/Paul Taylor Prize out of Duke University’s Center for Documentary Studies. In 2022, Levy was part of the show “Chasing Ghosts“ at The Vision Gallery in Chandler, Arizona. In 2021 he had work in the Human/Nature show at the Lishui Museum in China. Serge was a Critical Mass finalist in 2020. That year, he was also selected to participate in the Arizona Biennial at The Tucson Museum of Art. Additionally, Levy has exhibited his photography at the Philadelphia Museum of Art, Galerie Friedrichshain (Berlin), the Phoenix Museum of Art, Schroeder Romero Gallery, and The Leica Gallery (New York City and Tokyo) among many other national and international solo and group exhibitions. Levy, a former newspaper and magazine freelance photographer, runs a consulting business for photographers. He writes essays and articles about photography for various publications. And he works with LensCulture as a reviewer and consultant.

Artist statement: “Veni, Vidi, Flevi (I came, I saw, I wept). If I could step back far enough, I’m sure I could see the earth falling off its axis. There’s no need to measure how many meters a glacier has receded, nor personally witness Texas-sized garbage islands floating in the ocean: I hear fewer birds, I see plants marching toward the poles, and I can smell the brown particulate hovering over the remote horizons I walk upon. Civilization is dying, yet somehow humans persist. With each search, swipe and like, black holes of innovation swallow more pieces of our humanity. Landscape falls in there too; it’s a hungry abyss where nothing is spared. The tea leaves frown upon our future. A world where everything—plant, animal, rock formation—was granted citizenship might be slower: perhaps slow enough to give us the time to adapt to our human mistakes. Yet if we granted plants their rightful personhood, we would realize we are pillorying our people. I hang my head even lower in grief for the injustices imposed upon fellow animate beings who share consciousness and feeling. When I look at how we treat each other, it is no wonder how we treat the non-human world. When I look at how we treat ourselves, it is no wonder how we treat each other. So now I travel to the places where my apologies can be heard, alone, with the citizens of the world I believe in.”

Website: https://www.sergelevy.com/

School of Art alumna Chelsea Farrar has been appointed permanent director of the University of Arizona Museum of Art.

Farrar, who had been interim director for the past four months, received her BFA and MA in Art & Visual Culture Education from the University of Arizona in 2004 and 2013, respectively. As a graduate student, she taught classes for the School of Art. At UAMA, she helped mentor School of Art students through internships and workshops as curator of community engagement and assistant curator of education.

“Chelsea held a steadfast commitment to making UAMA a place where everyone is welcome and feels like they belong,” said Carissa DiCindio, associate professor and chair of the school’s Art & Visual Culture Education program. “For AVCE students, her educational programs and community-based exhibitions are models for what a university art museum can achieve, as both a site for learning and a bridge between the university and the broader Tucson community.

“I am thrilled that she is going to lead UAMA as director and excited to see this next chapter for the museum.”

Farrar’s work with community engagement has included programs such as Art Sprouts, a story time and art-making event for children ages 3 to 5; and Mapping Q, an art-making workshop series that invites youth ages 14-24 to explore topics centered on the LGBTQIA+ experience — including self-care, community building and harm reduction. She also has curated community-based exhibitions in UAMA’s Our Stories gallery, working with faculty, artist and local groups to amplify underserved artistic voices.

“I am truly honored to step into the role of director at UAMA, a place that has been my home for the past 10 years in academic and community engagement,” Farrar said. “I am excited to continue fostering connections through art and to explore new opportunities for growth, innovation and creative belonging.”

Arizona Arts Dean Hasan Elahi, in announcing Farrar’s promotion, called her “an accomplished arts leader whose extensive experience, institutional knowledge and deep ties to both the university and the broader community make her exceptionally well-suited for this role.”

“Chelsea brings a clear understanding of UAMA’s significance as a resource for interdisciplinary teaching, student engagement and research,” Elahi said. “Her background will further strengthen the connections between the museum and the School of Art.”

Under Farrar’s direction, UAMA reopened to the public on Jan. 17 after with free admission for all. The policy change came after the museum completed installation of a new, state-of-the-art HVAC system.

“This new approach reinforces UAMA’s commitment to accessibility and public service,” Elahi said. “While campus visitors have long enjoyed free entry, extending this privilege to the wider community removes financial barriers and ensures that UAMA can inspire, educate, and connect people from diverse backgrounds. This shift strengthens the museum’s role in the vibrant cultural landscape of Tucson and Southern Arizona, aligning closely with the university’s land-grant mission.”

During her tenure as interim director, Farrar secured multiple gifts totaling over $500,000 in new philanthropic support for UAMA. “Her ability to build authentic, clear, and caring relationships with donors shows her operational fluency and readiness to guide the museum at scale,” Elahi said.

 “Chelsea’s leadership is characterized by integrity, collaboration, and a genuine care for people,” Elahi said. “She has earned the full endorsement of the UAMA staff and has fostered trust across teams through mentorship, accountability and a thoughtful, steady approach to decision-making. Her clear vision for UAMA’s future builds upon existing strengths, positioning the museum for long-term growth and impact.”

Prior to joining UAMA, Farrar taught visual art, art history and theater arts at Amphitheater High School.

Arizona Arts and the University of Arizona Museum of Art contributed to this story.

Austin Caswell, a recent University of Arizona School of Art MFA graduate, has landed a studio technician position in digital fabrication at the prestigious Anderson Ranch Arts Center near Aspen, Colorado.

Starting Feb. 16, Caswell will support, maintain and help run the digital fabrication studio, working with workshop participants, artists in residence, and visiting artists and instructors.

Anderson Ranch, established in 1966 in Snowmass Village, Colorado, brings together aspiring and internationally renowned artists to its campus nestled among the Rocky Mountains. Caswell knows the area well. He grew up and attended college in Colorado and still has family there, including his mom in Denver, where he was born.

“I’m thrilled for the opportunity to support such an amazing and storied art center and its participants,” Caswell said. “They just shared their workshop lineup for the summer, and it looks awesome. I’m really fortunate to be in a place where I can come into contact with such a vast array of ideas and processes. The location definitely isn’t bad, either.”

Caswell received both a BA in Integrated Visual Studies and a BA in History from Colorado State University before earning his Studio Art MFA in 3D and Extended Media at Arizona in May 2025. He then taught at the School of Art as an adjunct during the fall 2025 semester — drawing on his experience as a graduate teaching assistant.

“I loved my experience teaching at the School of Art,” Caswell said. “Working with students in 3DXM courses and being there to witness their discoveries and successes was really rewarding.”

He also enjoyed his time as a student, including being featured in the 2024 Arizona Biennial at the Tucson Museum of Art, where his installation “The Finder” was a speculative, future archaeological site that used lifespans of plastics to seek meaning and knowledge within lost contexts, including playground slides found around Tucson. The installation won the Biennial’s Pat Mutterer Sculpture and Architecture Award.

“My MFA gave me the time, feedback and additional resources to develop a stronger foundation in navigating between material processes and conceptual inquiry,” Caswell said, “which I think translates well to supporting artists in a studio environment where they’re working through both technical and creative challenges.”

Calling him “a model student,” Professor Gary Setzer worked closely with Caswell and chaired his MFA thesis exhibition committee.

“Austin has a tireless work ethic and a sharp intellect with a distinctive command of metaphor,” said Setzer, associate director of the School of Art. “His layered and sophisticated approach to content in his artwork stems from his developed scholarly curiosity. And while studio art and history are separate fields, his practice appears to be a unique hybrid that employs strategies from both.”

Caswell’s thesis installation, “The Fault, the Raft, and the Current,” presented a landscape of human stewardship and consumption.

“Austin’s installations address the quandary of human ‘progress,’ and they do so through a nuanced approach that grapples with consumerism — highlighting its necessary evils, its glory, and its long-term impact on our planet,” Setzer said. “Never shying away from the true complexity of what is at hand, Austin’s artworks are as frank as they are guised in a thick and wonderfully bewildering poetry.”

Added Setzer: “Lensed through a distanced and futuristic anthropological look at humanity and our shortsightedness, Austin creates installation-landscapes riddled with the detritus of a people long gone. A future that’s not necessarily apocalyptic — but definitely bleak. A future that’s not necessarily beautiful — but seemingly romantic, nonetheless.

“Austin is a young Caspar David Friedrich for the Anthropocene,” said Setzer, referring to the famous 19^th century German Romantic landscape painter.

​Caswell has exhibited across the United States in venues such as the parkeralemán-El Paso Community Foundation in Texas, the Museum of Art- Fort Collins in Colorado and 311 Gallery in Raleigh, North Carolina. He also holds professional experience as a studio instructor, carpenter, landscape designer and fabricator.

While at Arizona, Caswell was awarded a summer residency at the Haystack Mountain School of Craft in Maine and was a resident at the School of Art’s Lionel Rombach Gallery. He also received the school’s coveted Helen Gross Award, which provided generous funding for his thesis project, and a Medici Scholar travel grant to support his research.

In Caswell’s new role at Anderson Ranch, Setzer said the artist’s supportive teaching methods will help him excel.

“Austin meets people where they are, builds trust, and leads them to new things,” Setzer said. “Wherever there are complications, he sees possibility and problem-solving.”

• Artist’s website: austincaswell.com
• On Instagram: @austinmcaswell

Shortly after Martin Krafft received his MFA in Photography, Video & Imaging from the University of Arizona School of Art, he headed to Montana and joined a hiking group through Facebook.

That’s where the filmmaker and social practice artist met Rachel Heysham, a free-spirited, young grandmother who had relocated to Missoula to start a new life out of her RV, only to learn her cancer had returned and doctors told her she had two months to live.

It was the summer of 2020. As the nation began to grapple with COVID-19, the two decided to make a documentary together — “her, in the hopes that she would survive and be an inspiration to people with cancer; me, because I was drawn to her enormous will to live,” Krafft said.

He began sleeping on Heysham’s RV couch, driving her to hiking trails, hot springs and doctor’s appointments, and fundraising for her living expenses. Filming took them from Montana to her hometown in Lawrenceville, Pennsylvania — where she had survived abuse, addiction, illness and poverty — to Kansas, back to Montana and finally again to Lawrenceville, where Heysham died in November 2022. She was only 47.

Krafft pressed on and finished the documentary, “Ain’t Got Time to Die.” His 67-minute film, edited by Emma Thatcher, won or took finalist honors at several festivals in the U.S. and abroad in 2024. With the festival run mostly done, he “got tired of waiting to be able to share the film with folks” and decided to release it to the public this year through Eventive, an online streaming platform dedicated to making independent films more accessible to audiences. 

“When I was making the film, I was so caught up in being present with Rachel that I did not have much capacity to think about the life of the documentary after it was made,” Krafft said. “I just knew I had to make it. I was very glad to be able to show Rachel about two-thirds of the film. It was hard for her to watch, but she felt seen by it, understood and appreciated for who she was, without having to be anyone else.”

Early in “Ain’t Got Time to Die,” he asks Heysham how she wants to be seen. “As a fighter,” she says. “As a survivor.” The documentary follows the highs and lows of navigating medical care with a terminal illness. (Heysham tells Krafft she was first diagnosed with squamous cell carcinoma when she was 32 and had her cervix removed.) Despite debilitating pain, she rallies to go on adventures, such as hiking barefoot up mountains alongside her part-wolf puppy and kayaking.

For Krafft, though, being her medical advocate becomes a challenge, and the film looks candidly at their conflicts over her skepticism of conventional medicine and Heysham’s arguments with her daughter, Alisha. He counters the sadness with moments of levity and joy — showing heartfelt interactions between Heysham and her grandchildren and dogs.

“Now that the film is publicly available, I have to do the hard work of getting it out into the world,” Krafft said. “Everyone who I’ve gotten feedback from — family, friends and strangers — are deeply moved by it. Everyone sees how much Rachel wanted to live and are deeply moved by that.”

Social practice background

Bringing strangers into his filmmaking and art is important to Krafft. Based in Schwenksville, Pennsylvania, he works as a stone mason and community and political organizer and runs Red Rock Rabbit Ranch, an artist residency that supports housing insecure artists.

Inspired by his Quaker practice, he uses video, photography, social practice, sculpture and writing to explore boundaries of “otherness” and share people’s voices not often heard in the media, he said. Krafft has worked in a Catholic Worker house serving the unhoused and Death Row inmates, as an inner-city teacher’s aide, as an alternative preschool teacher and as a nonviolence facilitator.

“Because of these experiences, I’ve interacted deeply with many different kinds of people, seen them in difficult situations,” said Krafft, who received his undergraduate degree in creative writing and economics at Emory University in Atlanta. “That’s taught me to be open to people who are different from me, to try to approach our differences with curiosity and compassion. And whenever that effort fails, to have the humility to learn from incongruities.”

While at the University of Arizona, he and fellow MFA graduate Elena Makansi held a 2018 interactive art exhibit, “A Memorial for Past and Potential Gun Victims,” at the Lionel Rombach Gallery. They invited participants to trace photographs of people who lost their lives to gun violence, with the option to hang the tracings on a wall for others to see. Krafft and Makansi held a similar exhibit — “Who Will Be Next?” — on the U of A Mall in 2017 and in Rochester, New York, in 2023.

Krafft and Makansi also created “Traces,” a sculpture memorial for the 2019 Pima County victims of gun violence as part of the 2019 Marcia Grand Centennial Sculpture Award prize. They traced the 204 names and or faces of those who had been lost.

During the 2020 presidential campaign, Krafft hitchhiked across the country, accepting rides from both Trump and liberal supporters and interviewing them. He weaved together their videos for a website titled “Cassandra 2020,” with help from his Quaker community.

MFA program ‘got me up to speed’

Krafft made what he called his first “documentary-ish film” in a video class with School of Art Regents Professor Sama Alshaibi.

“Even though I was the only one making documentary work, Sama has a really good ability to see what you’re trying to make, what its strengths are, and where it needs to go,” he said. “(Now retired Professor) Joseph Labate and (Professor) Martina Shenal in the photo department were also very helpful. Beverly Seckinger, a professor in the School of Theatre, Film and Television, let me sit in on her documentary class.”

Krafft’s 2020 MFA thesis project, “matriarch,” reflected upon the death of his grandmother and how his family went “about mourning and recalibrating our relationships in her absence.” Centered around a three-part experimental documentary of the same name, the installation also featured a photo book with writing, chairs, a corner cupboard holding her purse and a poem — and a wall print made from one of her water-damaged photos.

“I was coming to the Studio Art MFA degree from a writing background. I still used that writing, narrative perspective in my work, but the MFA got me up to speed on what was happening in the art world, what kind of questions were being asked,” Krafft said. “One of the most important questions for artists to sit with is who is making the work, and how does that identity shape what they are seeing.”

What advice does he have for School of Art students wanting to follow in his footsteps?

“For anyone who wants to make a film, I would say just get started,” Krafft said. “I didn’t have a nice camera when I started shooting ‘Ain’t Got Time to Die.’ And the footage wasn’t that great, and the sound was terrible. But it was enough to put me in the world of the film and realize how committed I was to the project, which prompted me to upgrade my gear and be able to use it better on the fly.”

Krafft also said students should heed a message from his old Emory University photography professor, Jason Francisco: “If you want to be an artist, you do it because you have to do it. No one will understand or validate that choice.”

Future projects

Continuing to take Francisco’s advice, Krafft said he’s working on a documentary, “Grampy’s Red Rock Rabbit Ranch,” about the farmhouse where he’s been living in Pennsylvania with his grandfather.

“I was lucky enough to make this film with my friend, a very talented filmmaker, Laura Asherman, so that made it much easier to create than ‘Ain’t Got time to Die.’ We just got to picture lock and will start applying to film festivals in a couple months,” Krafft said.

“I’m also finishing up a video essay on a socially engaged art project called, “Poetry for Strangers,” in which I recited a Rilke poem 1,000 times to strangers throughout Berlin.”

In the meantime, Krafft hopes more people will watch “Ain’t Got Time to Die” now that it’s on a streaming platform.

“As far as a message that I want the film to convey, it’s difficult to reduce to one,” he said, “but maybe the most important one would be an invitation for viewers to channel Rachel’s curiosity for the unknown.”

That message shines through late in the film, when Heysham’s granddaughter Amanda tells Krafft why she wants to be like her grandma:

“Because she explores.”

‘Ain’t Got Time to Die’ 2024 Awards

• Nawada International Film Festival. Best Documentary Winner. Nawada, India
• West Kortright Center Film Festival. Best Picture, Best Documentary Winner. West Kortright Center. East Meredith, New York
• We Make Movies International Film Festival. Best Picture Finalist. Los Angeles
• Lake County Film Festival. Best Picture Finalist. Lake Forest, Illinois
• Southern Maryland Film Festival. Audience Award Winner, Jury Award Finalist. California, Maryland
• Northeast Pennsylvania Film Festival. Best Documentary Finalist. Waverly, Pennsylvania