Category: Alumni Story

School of Art graduates Nassem Navab and Anh-Thuy Nguyen participated in a compelling four-woman exhibition “Dialogues” at Tucson’s Yun Gee Park Gallery.

The show explored the challenges, discussions, interchanges and negotiations that take place when existing between multiple cultures. It ran through Nov. 12 at the gallery, 4226 E. 2^nd St., with an opening reception on Oct. 15 and an artist talk with Nguyen on Nov. 3.

Navab, who received an MFA in Studio Art in 2019, spent this summer in Iran researching and collecting ideas and images for her work in the exhibition. She works in various mediums, from 3D modeling to video, sound and photography.

Scott Duerstock, managing director of Yun Gee Park Gallery, said Navab’s work “conveys the sense of separation that she felt while in Iran of belonging and understanding the culture, yet being separated from full acceptance by repeatedly being identified as an ‘other.’”

“She accomplishes this through photographs taken while in Iran – where the subjects all face away from her – that are printed on glass with soldered brass frames that were salvaged from her family home’s coffee table,” said Durestock, who is a member of the School of Art Advisory Board.

Navab, now based in Brooklyn, New York, is an art instructor/lecturer at the Stevens Institute of Technology in Hoboken, New Jersey.

“Domestic items from her childhood home are a pervasive theme in her work,” Durestock said. “This is the home in America where she was raised to understand Persian language and culture, but where she also learned American culture.

Navab’s series also features works of handmade paper created from Persian cucumbers, “symbolizing her separation from Iranian society by being perceived as Persian on the outside, yet white on the inside,” Durestock said.

Navab received her BA in Interdisciplinary Computing Arts and Media from the University of California, San Diego. In 2016, she presented her work at the State Center for the Arts in Tijuana (CEART Tijuana), Mexico. Navab was part of a traveling group show, “Someone to Ride the River With,” which has shown at various art galleries in the Southwest.

Nguyen, who received a BFA in Photography from the School of Art in 2010, is the head of photography at Pima Community College in Tucson.

In “Dialogues,” she’s created a multimedia installation that includes photography, video and sculpture.

“She explores language learning, where the act of endeavoring to learn correct pronunciation of the target language can result in the vocabulary of the language losing its meaning,” Durestock said, “eventually becoming unintelligible to both the language learner and the native speaker.”

Nguyen, who received her MFA in Photography/Video from Southern Methodist University, has exhibited and taught photography, painting, linoleum, performance art and concept-driven workshops nationally and internationally.

“As a Vietnamese-American artist, my primary artistic source material for the last decade has been my personal history and experiences as a female immigrant,” Nguyen said on her website. “Through my art making, I investigate my cultural and identity as well as my migration story through photography, video, installation and performance art.”

Her works are in permanent collections of Amarillo Museum of Art, Tucson Museum of Art, Center for Photography at Woodstock among others. She recently was awarded the Second Sight award from Medium Photo, and her work is on the front cover of Southwest Contemporary Magazine.

Long before DreamWorks turned his children’s book into the 2015 animated film “Home,” Adam Rex sat in a University of Arizona art classroom and dreamed about his own career.

“David Christiana taught me so much,” Rex said about the School of Art emeritus professor. “Anatomy, how to paint … but the greatest thing he did for me was just be a walking, talking object lesson — here was someone who wrote and illustrated picture books, proving it was a real thing that people did.

“I needed that. You can know a certain profession is attainable, but if you don’t actually see it, it feels a little like saying you want to be a wizard when you grow up.”

You could say Rex has become a wizard in his own right, having written and illustrated more than 40 books for children — including several New York Times bestsellers — since he graduated with a BFA in Studio Art in 1996.

And in fall 2022, Rex channeled Christiana as the Tucson Public Library’s writer-in-residence, offering one-on-one sessions to aspiring authors and illustrators at the Himmel Park and Woods Memorial branches.

In 2017, Rex won both the Margaret Wise Brown Prize in Children’s Literature for “School’s First Day of School” and the 2017 National Cartoonists Society Book Illustration Award for “The Legend of Rock Paper Scissors.” His debut novel — “The True Meaning of Smekday,” which DreamWorks developed into “Home” with Rihanna — was a 2007 nominee for the Andre Norton Award for Young Adult Science Fiction and Fantasy.

He got his start drawing comic strips for the Arizona Daily Wildcat student newspaper and making art for games such as “Dungeons & Dragons and Magic: The Gathering.” Rex, who lives in Tucson with his physicist wife, Marie, and son, answered questions for the School of Art.

Q. Can you tell us about your first career break out of college?

Rex: I got my earliest work by taking a portfolio out to the San Diego Comic Con in the nineties and showing it to anyone who would look at it. I slept in my car and just hustled for the full weekend each year. That led to some jobs in RPGs and card games, which led to better work in the same field, and that kind of stuff paid my bills for years while I was trying to break into children’s books.

Q. What advice would you give current School of Art students?

Rex: I’m not sure what to say specifically to students in school right now about this moment, but I think this one is evergreen: Slow it down. Learn everything you can and try new things. That’s our job when we’re in school. But in my day, there were always students who got up on critique day and presented the same thing they always did, in the same medium and style. Style, in particular, became their armor — if anyone in class questioned their work (shaky fundamentals, lackluster composition, sloppy rendering) this kind of student invariably said, “That’s just my style; it’s supposed to look like that.” You couldn’t teach them anything …

Q. What would you like people to learn from your one-on-one library sessions?

Rex: Well, piggybacking on that last answer, I guess I’m hoping an aspiring writer and/or illustrator will show up to our one-on-one consultation looking to learn something. Something about my experiences in my field, or my beliefs about art and writing, or even my opinion of their work. And then they can walk away with everything I said and decide for themselves if it had any value. Maybe I’ll have said something that really helps them — I sincerely hope I do — but I could be wrong! Even the process of picking apart why I’m wrong could lead them to a better understanding of why what they’re doing is right.

Q. How did you develop your writing skills?

Rex: By writing a lot of really bad stories. And reading a lot of really good ones.

Q. What did you create for the Daily Wildcat?

Rex: Oh, I had a couple short-lived comic strips during my years as a student. The first was a Far Side/Bizarro-style single panel strip, except not good. And the second was more of a Doonesbury/Bloom Country-style serialized strip, except not good.

Q. Where do you get ideas for your books?

Rex: “Frankenstein Makes a Sandwich” was a title that popped into my head, fully formed, while I was on a stair stepper machine. I didn’t know what it meant but decided to try writing a book that might be called that.

“The True Meaning of Smekday” came out of the books of American history I was reading at the time, and I set out to write an alien invasion story that would encourage the average American kid to sympathize with the colonized rather than the colonizers (if you think that aspiration sounds a little fraught, it was — I made mistakes that cause me to have mixed feelings about that book now). Another book came from an anecdote my brother told me. Still another came to me when I misread a sign.

So, the point I’m getting to is: ideas come from everywhere, and I never know where lightning is going to strike next. If I did, I’d go stand there.

Q. What projects are you working on now?

Rex: My next book to arrive in stores is called “Digestion! The Musical.” It’s a stage musical about how digestion works, but in book form. I think it comes out in October. But right now I’m working on a young adult novel and a chapter book series, neither of which will be out for a couple years. Traditional publishing has a long lead time.

Q. You grew up in Phoenix and attended Thunderbird High School. Why did you make Tucson your home?

Rex: I never got a sense of Phoenix having any personality. I probably just lived in the wrong part. Tucson has personality — sometimes an embarrassing surfeit of personality. Tucson is a dog who has a million followers on Instagram because it’s so ugly it’s cute.

PRAISE FROM A PROFESSOR

David Christiana, a professor emeritus in the School of Art, illustrated more than 20 picture books for children and authored four for international publishers. He reflected on Adam Rex, his former student:

“Adam was an outstanding student. It was clear from the get-go that he wasn’t merely a picture maker nor simply a designer or typographer. He was then, as he is now, a human with a personal vision. That, though not unique (everyone has a unique perspective) is too often surprisingly underserved. In Adam’s case, his uber-unique perspective just seemed to ooze out all over everything he did. Further, it oozed with arresting clarity and skill. I mean, he soaked up what was going on in and out of class, twisted things around with exceptional skill, not to mention wit, and worked like a bull to make his imaginative jaunts come to life in pictures and words.

“He was also as serious as he was playful, both in the execution of his work and his approach toward a career. I remember how, early on, he grouped the works he featured on his web site into age-appropriate categories. That may seem like a natural step, but to many artists whose creative flights are as playful and original as Adam’s, taking that practical step can be difficult.  What was it they used to say about mullet haircuts – ‘business in the front, party in the back?’ Well, to force the analogy,  Adam was like a mullet in reverse – party in the front with business in the background. It’s a balance, or perhaps more precisely, a dance.

“Adam’s success is truly one of my great rewards as an educator. There are many perks when it comes to teaching at the School of Art and none is greater than seeing a student launch and succeed, but to see one take flight and soar with such grace and aplomb as Adam has over the years is more than satisfying, it’s a gift to relish, and I do.”