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.

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.

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

IDA program ranks 10th in Illustration among nation’s public schools

With a focus on storytelling, the University of Arizona School of Art’s Illustration, Design and Animation program is ranked 10th in the nation in Illustration among public schools, according to the 2024 Animation Career Review.

The school ranked No. 34 overall in Illustration and No. 4 in the Southwest behind Brigham Young, Rocky Mountain College of Art and Design and the University of Colorado.

“As a newly structured program, we are very pleased with our ranking,” University of Arizona School of Art Assistant Professor Nicole Antebi said. “We emphasize storytelling, and our program uniquely blends pathways within a studio setting exposing students to experiential learning through partnerships in a diversity of borderlands projects.”

Animation Career Review ranks programs based on multiple criteria, including academic reputation, employment data, admission selectivity, depth and breadth of program, value as it relates to tuition and indebtedness, graduation rate and retention rate. The rankings selected School of Visual Arts in New York as No. 1 overall, and the Fashion Institute of Technology as the top public school in Illustration.

The University of Arizona School of Art provides multidisciplinary Studio Art BFA and MFA degrees with an IDA emphasis. Other program features include courses taught by professionals in illustration, book arts and motion graphics; workshops; visiting artists, designers and illustrators; and access to a studio spaces, labs, museums and state-of-the-art facilities production facilities. 

Examples include the digital imaging lab with large format printing; computer labs with Wacom Cintiq Touch screens and animation stations; University Libraries extensive book art collection; letterpress, binding, and photopolymer platemaking equipment; the Center for Creative Photography; and University of Arizona Museum of Art (UAMA). 

The Studio Art BFA program at University of Arizona culminates with the BFA Exhibition. 

Students also benefit from team projects with local clients; participation in the Institute of Graphic Arts (AIGA) Student Chapter, the Book Art Collective, among others; internship opportunities; field trips; and study abroad experiences. 

“Our program welcomes diverse voices, skill sets and methodologies and seeks to create a place of belonging for all students,” Antebi said.

In addition to Antebi, the IDA faculty includes Simon Hinchliffe, assistant professor or practice; Kelly Leslie, program chair and associate professor; Jenn Liv, assistant professor; Ellen McMahon, professor and associate dean of the College of Fine Arts; Lisa Watanabe, assistant professor of practice; and Karen Zimmermann, professor.

Graduates are prepared for careers in areas such as traditional book publishing, advertising, animation, game art and design, graphic novels, comic books, children’s books, television and film, editorial, advertising, graphic design and product design. 

‘Inspiring’ artist Dara eyes Hugo Award

Armed with a sketchbook and an old laptop, Galen Dara began to do illustration work for emerging fantasy and science fiction authors after getting her undergraduate degree.

“There’s something powerful about artists and writers who explore the fantastic,” she said.

In truth, it was Dara who also was emerging as a talented illustrator back then — and now the University of Arizona School of Art graduate student is a force in the field and continues to work on book covers for major publishers and editorial artwork for magazines.

Dara learned in late March that she’s a finalist for the Hugo Award as best professional artist — for the seventh time — and she’s hoping to take home first prize when science fiction’s most prestigious awards are announced Aug. 11 in Glasgow, Scotland. In October, Dara will travel to Niagara Falls, New York, to be a Guest of Honor at the World Fantasy Awards Convention, where she won best artist in 2016.

“These are wonderful honors, but awards and conventions and ceremonies can be tricky things,” she said, “(because) after all the excitement is over, there’s still the need to create, to get back to work and make more art.”

Galen Dara has created many covers for Uncanny Magazine.
Galen Dara has created many covers for Uncanny Magazine.
Dara's cover art for Book 3 in Ed McDonald's
Dara’s cover art for Book 3 in Ed McDonald’s “Redwinter Chronicles”
Dara's wraparound cover art (including cover flaps) for a reprint of Philip K. Dick's
Dara’s wraparound cover art (including cover flaps) for a reprint of Philip K. Dick’s “The Man Who Japed.”
Dara's cover art for Kat Howard's
Dara’s cover art for Kat Howard’s “White Horse Red Fruit.”
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That never-satisfied attitude has impressed Assistant Professor Jenn Liv, an adviser for Dara’s Master of Fine Arts thesis, who has watched the MFA candidate teach as a graduate assistant.

“Galen is a hard-working individual who is always eager to learn new things,” Liv said. “As an educator, she’s very kind and generous toward the students. As president of the UA Riso (printing) club, Galen is also able to create an engaging environment that makes the students feel welcome and included, and also excited about what they are learning.”

For Liv, Dara’s work “has an evocative quality to it with deep emotion and feeling,” she said. “Galen is always willing to put in the work to explore many different possibilities, with a focus on figurative illustration, metaphor, and bending reality.”

Liv, who was hired in fall 2023, said Dara “played an important role in making me feel welcome at the School of Art. She’s a talented artist who has the drive and ambition to succeed in anything she attempts. Her energy and ability to take on many tasks is something I find to be very inspiring.”

Dara talked about her own inspirations in an interview with the School of Art.

Q. Where do you get your ideas?

Dara: From everything. In my personal work, I’m inspired by artists like Chiharu Shiota, Ann Hamilton, Kiki Smith, Louise Bourgeois and Magdalena Abakanowicz. The scientific illustrations of Ernste Heckle. Medieval Christian manuscripts and ancient codices of uncertain origin that may be about alien worlds (The Voynich Manuscript). I’m inspired by comedians like Hannah Gadsby, Tig Notaro, Ali Wong, by movies from “the Daniels” and Alejandro Jodorowsky, and by critical analysis of B-Grade horror flicks.

When I’m creating an illustration for a book cover, I’m inspired by the amount of research and world building the author went through to write the book. That always leads me down my own rabbit holes of research in order to create the artwork accompanying the book.

Galen Dara’s selfie in front of Andy Warhol’s Cow Wallpaper at the Modern Museum of Art in New York.

Q. How did you get interested in science fiction/fantasy art, and how easy was it to break into the field?

Dara: Growing up my family moved around quite a bit, but both of my parents were born and raised here in Tucson, and ultimately, it’s where a good number of us landed as adults. I always loved science fiction and fantasy, and working as an illustrator in the field has been a significant honor and delight.

I got my undergraduate degree forever ago from Brigham Young University. I started in the Illustration program but by the time I graduated I was making large scale immersive installations out of string and paper. After I graduated, there were times where I only had my sketchbook and an old laptop, so I figured out how to use a free version of Photoshop to make art. That led to doing illustration work for emerging writers.

I mark 2014 as the start of my “professional” career since that is when I was first nominated for the Best Professional Artist Hugo Award.

Galen Dara in her studio

Q. Who’s given you advice as an artist, and how rewarding has it been to teach?

Dara: I have had several pivotal mentors as I’ve honed my illustration skills. The chance to work closely with Gregory Manchess, Scott M. Fischer, Sam Weber and Sterling Hundley have had a tremendous impact on my work. Scott Bakal and Yuko Shimuzu are both friends and my inspirations. They have continually offered me encouragement and support in my career. 

Here at the University of Arizona, it’s been amazing to engage as an artist, an art student, and an art teacher in a whole new way. I love the university’s emphasis on interdisciplinary practice and research and the studio space to work on self-authored projects.

Teaching illustration to aspiring young artists has been the highlight of my time in the MFA program. I’ve taught Intro to Illustration (ART 266) and a special topics course I proposed, “Scratching the Surface” (ART 404), which had an ongoing summer exhibition space in the Lionel Rombach Gallery. This semester, I taught Art 100G Pixel, an intro to the digital art-making tools used by communications artists. I find it one of the greatest privileges to pass along what I know, and I’m glad for the chance to do it here.

Q. What projects are you working on now?

Dara: I still take on client work but have had to be careful about how I balance that with my graduate studies and teaching responsibilities. Currently I’m working on cover art projects for Simon & Schuster and HarperCollins, and an editorial illustration for Scientific American

This semester I’m doing UA course work with professors Paul Ivey, Jenn Liv and Lisa Watanabe, and also working closely with my thesis committee to hone ideas for my thesis exhibition. Once this semester ends, I will head to Orvieto Italy with the UA Study Abroad program where I’m looking forward to working with Professors Joseph Farbrook and Nathanial Katz and immersing myself in the unprecedented amount of art history and culture there.

With only a year left in my MFA program, I’ll be dedicating my time to my thesis exhibition and making the most out of the opportunities here at the University of Arizona. After graduation, teaching in a university setting is high on my wish list, as well as continuing my professional work and research into my personal work.

Agrella named spring 2024 Outstanding Senior

Grayson Agrella, who spent his time at the University of Arizona breaking down barriers in the LGBTQ+ world, has been named the spring 2024 Outstanding Senior for the University of Arizona School of Art.

Agrella wrote multiple papers about LGBTQ+ rights and issues as well as political art during the AIDS epidemic. He continues this theme for his honors thesis, focusing on various types of activist engagement for transgender youths.

Senior Grayson Agrella

“Both of these were topics that felt personally relevant, and it was intellectually invigorating to incorporate the politicalized identities of queerness into my studies of visual culture,” he said.  

Triple majoring in Art history, Anthropology, and French, Agrella is a W.A. Franke Honors College student with a GPA of 3.974. He won multiple awards such as the National AP Scholar, Dean’s List with distinction, and most recently was honored with the prestigious Centennial Achievement Award

“My favorite part of art history is the moment when a piece snaps into the context of its use or creation, and it seems as though one work can speak volumes on otherwise invisible concepts,” Agrella said. 

Outside of the classroom Agrella was a Poetry and Prose editor for the Carnegiea Literary Magazine, a student based and run platform for the youth of Tucson and Southern Arizona. During his time at the University of Arizona, He has worked as an archival assistant for the Center for Creative Photography, and worked at the Department of State as an agent in the passport division. 

Additionally, Agrella was a camp counselor catered for families of gender-diverse kids and volunteered at many arts organizations, like the Sonoran Glass School. 

“Creating this kind of ‘gender-utopia’ was an unforgettable experience, and has guided my interactions with queer communities since, trying to recreate it in pieces,” he said.

Agrella said the best memories he’s made at the university are the people they’ve met along the way. 

“I’ve managed to find like-minded, intellectually- curious, kind-hearted, erratically intelligent partners in crime that I will cherish for the rest of my life,” he said. “They are the people that make seminars interesting, are always down to analyze an argument, and my trusty proof-readers.” 

Agrella was nominated by Dr. Paul Ivey, professor of art history, and Dr. Irene Romano, professor of art history and anthropology. They said he is the embodiment of the values associated with the Outstanding Senior. 

“He has demonstrated outstanding persistence and integrity in his unwavering pursuit of excellence in his academic work,” they said. 

After graduation, Agrella plans to gain work experience before earning a graduate degree. At the moment, they plan to work in community- supporting services tailored to the gender-expansive and the broader queer community.

Story by Arilynn Hyatt ’26, Arizona Arts

Greenwell-Scott named spring 2024 Outstanding Graduate Teaching Assistant

Sarah Greenwell-Scott’s favorite memory at the University of Arizona is teaching. 

“My undergraduate students have been insightful, empathetic, and kind. I feel incredibly optimistic about the future when I interact with them,” said Greenwell-Scott, who has been named the spring 2024 Outstanding Graduate Teaching Assistant for the School of Art. 

Sarah Greenwell-Scott

She entered the university with a history of teaching at the University of Nevada, Reno. Since then, she has created online classes for Glendale Community College and Chandler- Gilbert Community College, all while teaching Art History courses and attending the University of Arizona. 

Sandra Barr, her colleague and discussion section leader for her first instructional assignments, describes Scott as, “a thoughtful mentor, a thorough researcher, and an incredible colleague who not only knew the material of the courses, but could convey it to a multitude of students, with differing learning styles, needs, and attitudes.”

Scott is pursuing a PhD in Art History with an emphasis in Contemporary Art and Theory, focusing on Contemporary Indigenous Art and minoring in American Indian Studies. 

“My research focuses on contemporary Indigenous artists who confront and deconstruct visual representations of indigeneity pervasive within settler-colonial culture,” she said. 

In addition to her academic and teaching pursuits, Scott also has been involved with community outreach programs and campus organizations. She’s been the co-chair of the SOA Graduate Student Council, graduate representative for the School of Art Advisory Board, Visiting Artists and Scholars Endowment (VASE), and a member of the Art History Graduate Student Association. 

“The University of Arizona is one of the few universities with an Indigenous Studies program,” she said. “The ability to pursue an interdisciplinary focus has enriched my research and broadened my perspective, both of which will further develop me as an educator and scholar.”   

She was nominated by Stacie Widdifield, professor and graduate advisor for art history. After graduation Scott plans to obtain a tenure-track teaching position. 

Story by Arilynn Hyatt ’26, Arizona Arts

2024 MFA Thesis Exhibition features 7 artists

Carrying on a tradition that began in 1970, seven graduate students from the School of Art will present their work in the 2024 MFA Thesis Exhibition in collaboration with the University of Arizona Museum of Art.

The exhibition, “Leaving to Arrive,” with installations in UAMA and in the school’s Joseph Gross Gallery, will run from April 15 to May 10. A public reception is scheduled for May 9 from 4 to 6:30 p.m. in the School of Art’s lobby and atrium.

Featured will be the work of graduating MFA students Jacqueline Arias, Nathan Cordova, Drew Grella, Hanan Khatoun, Tessa Laslo, Anita Maksimiuk and Dana Smith.

“The Sonoran Desert: A Model for Surviving the Sixth Extinction,” Dana Smith (in UAMA)
“The Sonoran Desert: A Model for Surviving the Sixth Extinction,” Dana Smith (in UAMA)
“A Lived Experience,” Jacqueline Arias (in UAMA)
“A Lived Experience,” Jacqueline Arias (in UAMA)
“A Lived Experience,” Jacqueline Arias (in UAMA)
“A Lived Experience,” Jacqueline Arias (in UAMA)
Entrance to Joseph Gross Gallery
Entrance to Joseph Gross Gallery
“Infinity Stone: American Prawda,” Anita Maksimiuk (in Gross)
“Infinity Stone: American Prawda,” Anita Maksimiuk (in Gross)
“Imprints,” Tessa Laslo (in Gross)
“Imprints,” Tessa Laslo (in Gross)
“No Trespassing | Passing | Trespassing,” Drew Grella (in UAMA)
“No Trespassing | Passing | Trespassing,” Drew Grella (in UAMA)
“Feeling a Future Coming,” Nate Cordova (in UAMA)
“Feeling a Future Coming,” Nate Cordova (in UAMA)
Part of “Feeling a Future Coming,” Nate Cordova (in UAMA)
Part of “Feeling a Future Coming,” Nate Cordova (in UAMA)
“Sheer” Hanan Khatoun (in Gross)
“Sheer” Hanan Khatoun (in Gross)
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This annual MFA Thesis Exhibition, the culmination of the Master of Fine Arts Studio Degree, is presented during a graduate student’s final semester in the three-year degree program. During the last year of their coursework, graduates work closely with faculty to develop a body of original art to present to the public in lieu of a written thesis. The result offers visitors the opportunity to see new, cutting-edge art in a variety of mediums and styles.

“This is the next generation of artists who will be going out and impacting the discipline and thinking about what their next chapter looks like,” School of Art Director Colin Blakely said.

A look at each student’s installation and their artist’s statement:

Jacqueline Arias

  • Title: “A Lived Experience”
  • Gallery: UAMA
Jacqueline Arias

The monumental engineering feat of the Panama Canal came at great cost: 40,000 people were displaced, and their villages submerged forever. During the construction of the canal over twenty thousand men and women, brought from the West Indies, lost their lives. Decades after these tragedies, I found myself on the Atlantic side of the Isthmus, as an adoptee from Costa Rica, inhabiting foreign soil with a new identity and language. It was here where I forged a profound connection with the people and the culture of Panama.

This installation tells the story of these interconnected experiences. Utilizing rope and pulleys, I interrogate the ramifications of power structures on individual bodies and collective identities. The constructed knots reveal the ongoing legacy of imperialism. Rope and AI technologies are transformed from their roles as signifiers of power and control to find meaning and connection amid the tumultuous currents of displacement and cultural erasure. The individual strands and fibers of the dismantled rope reflect the complex paths carved by my lived experiences. My hands and body recode history both materially and digitally through embodied knowledge critiquing unethical adoption practices and labor exploitation in Panama.

“A Lived Experience” grapples with the trauma of colonial dehumanization and the yearning for reunion with one’s homeland and culture.

Nathan Cordova

  • Title: “Feeling a Future Coming”
  • Venue: UAMA
Nathan Cordova

My project considers the potential of friendship and offers a pointed critique of institutions and our consumption of their products. Friendship is slippery and difficult to maintain. There are social and cultural taboos that attempt to constrain our friendships. This is a social experiment that breaks through the isolation we all feel. What does it say about our present moment where amidst profound loneliness, we desire visceral connections with each other to problematize the limits of our individual bodies? By inviting participation, I’m asking myself and my friends to step out of this isolation and to encounter each other anew. I’m valuing critical connections over critical mass, applying force on strategic pressure points that form the boundaries of typical friendships. There is a momentary embodiment of liberation in this act, as I re-imagine what is possible.

I appropriate and re-contextualize collections of digital images of western domination gathered from the internet. This involves engaging with both the visible architecture like the skyscraper, and the supposedly invisible infrastructure, such as data centers and military drones. Anger and pleasure play an important role, offering a means of embodiment and exploration of the collection’s emotional and sensorial dimensions. Through a material intervention, I challenge notions of fixed identity and embrace the fluidity and multiplicity of human experience. This interruption utilizes an interdisciplinary process of layered blurring that transforms their symbolisms into something elemental; liquid and flame, semen and squirting, embodied presence etching sunlight and sifting blood.

Blurring the boundaries between past and present, self, and other, I invite viewers to engage these collections on a visceral level through the presence of their own reflections in black acrylic surfaces mediated by images layered with physical ejaculate, traces of our sequential self-pleasure. Remixed marketing videos from The University of Arizona and Raytheon (now rebranded as RTX Corporation) point to their mutually beneficial relationship built on endless cycles of debt and death.

All of this works together to disrupt conventional modes of perception. Challenging the rigidity of these images as repositories of meaning and enforcers of social order, “Feeling a Future Coming” reconfigures their signifiers to a point of emergence, where all futures become possible again. Reclaiming agency over our bodies and desires is a fundamental step toward liberation, contributing to a more empathetic and introspective society that questions rigid authority and embraces the beauty of uncertainty.

Drew Grella

  • Title: “No Trespassing | Passing | Trespassing”
  • Gallery: UAMA
Drew Grella

“The world reveals itself to those who travel on foot.”

Bruce Chatwin

I moved to Tucson during the Covid-19 pandemic when everything was shut down. I spent a lot of time roaming the desert and the town. Walking in the liminal space of the dry Rillito riverbed was especially surreal, strewn with trash, memorials, votive sculptures, and lost possessions. While my body moved through this new and unique place, my mind mapped my impressions of nature, waste, and the boundaries between public spaces and private property.

Deliberate walking is simple and beautiful. It is my method for collecting the imagery which emerges when I draw. Intuitive drawing is simple and beautiful. It is my method for revealing to me what I did not know, what I cannot put into words. In the studio, the walking body becomes the drawing body, continuing a contemplative stroll.

Hanan Khatoun

  • Title: “Sheer”
  • Gallery: Joesph Gross
Hanan Khatoun

My separation from culture, language, and family as a member of the Lebanese Diaspora has driven my desire to narrate the experience of what happens after the sensationalizing of war and displacement wears off. The struggle of forging and finding space for one’s identity both within and outside the structures of culture, religion, and family is a reality for those who are generations removed from another home. I am a second-generation immigrant from Lebanon, one of the smallest countries in the world, yet the diaspora population outside the country is larger than that within. Being removed from one place and living in another is common in an increasingly globalized and colonized society. In what ways do we create space for navigating these realities?

“Sheer” is a physical space representative of my search for cultural identity. I construct a space for navigating this self-conception using familial archives, trinkets, documents, photographs, and oral storytelling. These all hold unique language and memory, which in turn, become proof of experience. Woven together they create an identity which I embrace and push against. The act of weaving enables me to explore how disparate things often come together to make a chaotic but contained whole. The work is viewed only at a distance through a fabric cage, indicative of the structures and barriers against which I struggle to understand my multicultural identity.

Tessa Laslo

  • Title: “Imprints”
  • Gallery: Joseph Gross
Tessa Laslo

In my performative drawing and video works, I delve into the intricate web of personal trauma, investigating its impact on my body, relationships, and self-perception. The lingering effects of sexual assault has left me grappling with fragmented memories and physical scars while igniting a profound anger — an emotion that pervades my work and influences my ability to engage in intimate relationships.

The emotional and physical effects of this trauma are not portrayed as overwhelming obstacles in my work, but rather as integral components of an ongoing narrative. I revisit past abuse to illuminate the resilience and strength that can emerge from a process of artistic confrontation and self-discovery. Imprints combines cyanotype and soft pastels in large-scale drawings alongside a video installation using a twin-sized bed. I’ve opted for materials that lack any semblance of preciousness. The paper is weathered, beaten, and used; worn down by time and wear. Each crease and tear are reflections of the sense of violation that still affects my body and mind. The physicality of the paper, marked by violence, serves as a tangible manifestation of my emotions and experiences, grounding them in truth.

Anger, a powerful undercurrent in my artistic expression, stems not only from what I have experienced, but from the ongoing emotional and physical ramifications that are likely to persist throughout my life. It is a visceral response to the violation of my autonomy and the enduring consequences that ripple through my existence. This anger weaves itself into the fabric of my art, becoming both a driving force and an intense element that shape the narrative of my work.

Anita Maksimiuk

  • Title: “Infinity Stone: American Prawda”
  • Gallery: Joseph Gross
Anita Maksimiuk

As a printmaker, my work engages the symbology of migration, root-taking, rootlessness, and the urban environment. This is largely based on my experience as a first-generation American in Brooklyn, New York and beyond. Watching the city’s immigrant enclaves gentrify and lose their sense of sanctuary motivates me to document, preserve, and question the familiar through printmaking.

By creating cityscapes that deconstruct and reconfigure the iconic, I preserve both places and histories that fade along with the immigrant. As I move through this country, I keep in mind the glare of separation, the repairs I’ve made, and the fractures that remain.

“Infinity Stone: American Prawda” features primarily lithography, with screen printed elements. Historic mediums once prevalent in both fine art and advertising, these two processes challenge and contrast one another.

Methods of deletion, stencil and layer come together to form the printed image, all while honoring its ghost. These approaches allow me to subvert the traditional application of the lithography process, working the limestone surface until it becomes a source of light, color and texture. Starting with photographic images from my personal archive, I coax information out from the surface of the stone chemically. As the landscape is layered, removed and replaced, it begins to mimic the motions of an overdeveloped urban space.

I use the stone to create one-of-a-kind prints rather than producing editions. Using shifts in scale, photographic elements and a non-traditional approach to the process, I reclaim it as a tool of documentation, propaganda and mystery.

Pushing the lithograph beyond its traditional black and white, drawn image, the group of foldable posters presented here re-casts an iconic cityscape in an intimate light, worked into existence entirely by hand. Hung as banners, these images will travel, degrade, and return as I do.

Meant to be approached, the light and horizon that grounds these prints let the gaze linger while the viewer imagines, yearns, or simply remembers. This perspective alludes to an unattainable yet promising aspect of building a home, nationality and a claim to a city. The images take on an iconographic quality, representing a place that is constantly in motion. It is a horizon that is constructed over, bought, sold, and advertised as an object of desire. Here, it is reconstructed as a symbol of hope, haven, and history. It will tear but persist, both physically on paper and intangibly, within the child looking towards home.

Whether these prints become mementos or mirages, they ultimately take on the role of documents. I see my evolving work as a journey, a narrative and a documentary practice, bound within a fleeting medium.

Dana Smith

  • Title: “The Sonoran Desert: A Model for Surviving the Sixth Extinction”
  • Gallery: UAMA
Dana Smith

Since the Cambrian explosion over 500 million years ago, an astounding variety of exotic and resilient life forms have thrived and diversified throughout the world. Starting as primitive cells in a world slammed by catastrophic events, the life forms today in the rugged Sonoran Desert have developed extraordinary physical defenses key to their survival. This beautiful yet brutal desert inspired me to investigate the world of invertebrates and microorganisms, the survivors of multiple planetary catastrophes, whether gathered from a habitat in my backyard pond and examined under a microscope or encountered while roaming the desert.

Constructing oversized ceramic sculptures and drawings re-creates and interrogates the magnificent structures that these creatures have used as protection for survival. Bringing attention to these armored desert microorganisms and insects who have learned to adapt to extreme heat and long-term drought may teach us much as we enter the era of the Anthropocene. We can learn from their secrets as concern arises over our own adaptability.

Graduate fellow Caballero tells lucha libre story

The first time Andrés Caballero entered Arena México, called the “cathedral of lucha libre” professional wrestling, he was hooked.

“I remember feeling intoxicated by the energy. Everyone was wearing masks, and the crowd was screaming and laughing,” said the Mexico City-area native, a Master of Fine Arts student in Photography, Video and Imaging at the University of Arizona School of Art. “I wanted to know who the people behind the masks were. I wondered about the referee, the people working in the venue, and everyone involved.”

Now Caballero is getting a chance to share that wonder with the public after being named a 2024 Mellon-Fronteridades Graduate Fellow by the university’s Confluencenter for Creative Inquiry.

The award will allow the Fulbright Scholar to finish a project, “Borderlands Masks,” which includes large-scale prints, video and oral history recordings as he explores the fascinating lucha libre wrestling events around the border region in Sonora, Mexico, and Arizona.

School of Art Regents Professor Sama Alshaibi and Assistant Professor Marcos Serafim also were named Mellon-Fronteridades Faculty Fellows. Each year, the program allows graduate students and faculty to carry out interdisciplinary humanities-centered research and creative scholarly activities focused on the U.S.-Mexico border.

Andrés Caballero installs one of his lucha libre photos in a group exhibition at Groundworks Tucson.

Caballero grew up just outside Mexico City and attended Tecnológico de Monterrey High School, hoping to study engineering. But he changed his mind and enrolled in a Communications undergraduate program at Universidad Iberoamericana with a concentration in Cinema. He received his BA and began to concentrate on documentary films and photography.

As his skills improved, Caballero started to study Mexican identity through lucha libre events. He’s been working on the subject for about two years, presenting a photographic exhibition called “Your Insults are Welcome” inside a Mexican wrestling arena. 

“My favorite luchador was El Santo, especially because of all the movies where he was basically a Mexican superhero fighting evil forces,” Caballero said. “Later on, I was very much inspired by stories such as Fray Tormenta — a part-time priest and part-time luchador whose sole purpose was to raise money for an orphanage that he founded.”

For his project, Caballero will use the fellowship funding to travel to Phoenix and Nogales, where he’s meeting with promoters and attendees of lucha libre events.

“I’m interested in how people feel connected to certain traditions which become part of their identity even when they are outside of their home countries,” Caballero said. “This is how people relate to lucha libre, and here they find a community in which they feel identified and welcome.

“With this in mind,” he added, “I wanted to shift the focus of this project to attendees of the events and give them a chance to create their own persona, just as a luchador would. To put on a mask and think of a backstory for their character. I want to tell the story of these collaborators and have people relate to the characters in the photos.”

In late May or early June, he hopes to host exhibitions before Mexican wrestling matches that will show large-scale prints, audio recordings and VR headsets playing 360-degree videos. The exhibition locations are still pending, but “people can arrive early, see the artwork and then enjoy the event,” Caballero said. “I’m trying to expand beyond the usual art spaces to show work — and promote Mexican arenas as cultural spaces.”

“Andres is a gifted young photographer who comes from a photojournalist background,” said Alejandro Macías, an assistant professor at the School of Art who is among Caballero’s project mentors. “I’m interested in his research. … Personally, I’m drawn to the mystique and masked identities of luchadores, their dramatic performances, feuds and acrobatic skills. It’s obviously entertaining but I’m also interested in the duality of their lives and how we, as an audience, have zero to little knowledge of who these masked fighters are outside the ring.” Andrés, through his research, intends to take a deeper look into the lives of these wrestlers, in and outside the ring.”

Caballero, who turns 27 in March, received a Fulbright Scholarship to pursue a graduate degree in the United States. He’s happy he chose the University of Arizona School of Art and its Photography, Video & Imaging program, which is ranked No. 3 among public universities by U.S. News & World Report.

“It is an open space of collaboration, creation and critique,” Caballero said. “Receiving constant feedback from experienced artists is an essential part of developing any artistic project. (Professors) David Taylor and Martina Shenal have been important mentors, but even faculty from other departments such as Alex Macías and (Professor) Ellen McMahon have provided insights into my research. It feels like a very thriving place for any artist to be in.”

Macías, who has exhibited his own lucha libre paintings, is impressed with Caballero’s photography.

“What drew me initially to Andres’ work is how he carefully composes and accentuates particular bright colors among a black and white color palette,” Macías said. “It’s visually appealing but also adds drama to an equally dramatic sport.”

Macias was excited to participate in the exhibition “Lucha Libre: Beyond the Arenas” at the ASU Art Museum in 2022 and was invited to participate by artist and curator Julio Cesar Morales. “Much of my work in general responds to the conflict of my own Mexican-American identity,” said Macías.

Who are Macías’ favorite lucha libre wrestlers? “Rey Mysterio, for his high flying acrobatic moves and L.A. Park for his comedic style and skeleton-type appearance,” Macías said.

“So far what I’ve offered to Andrés are a few ideas on how he can keep pushing his work conceptually in the way he manipulates his figures through photography,” the assistant professor said.

KGUN9-TV interview with Andrés Caballero

Andrés Caballero is an MFA candidate in Photography, Video and Imaging. (Photo by Alexis Hagestad)

Internships give students professional insight

Linda Garcia Escobar wants to be an art educator after growing up in a family of teachers and artists. Marcelino Flores hopes to expand his hobby of creating monster sculptures into a full-time venture, and he’s already showcasing his work at toy shows.

The two undergraduate students might have different career goals, but they share one thing in common: Both are glad they pursued local internships this semester through the University of Arizona School of Art.

“Roots of Resilience” artists (from right) Linda Garcia Escobar, Lyrissa T. and Gem Elena Abarca, with one of Escobar’s weavings.

Escobar, an Art & Visual Culture Education major, has written prompts and prepared weaving-themed activities for the University of Arizona Museum of Art (UAMA). Flores, a Studio Art major in 3D & Extended Media, has learned lab skills and how to present gallery work at GeoDecor Fossils & Minerals.

“Internships are important because they give you an insight into the work and career you want to pursue,” Escobar said. “Not only that, but I’ve been able to work alongside and learn from supportive professionals — and gain experience.”

One of those professionals is Chelsea Farrar, curator of community engagement at UAMA, who calls Escobar “amazing” and a “perfect match” for the museum. That’s because Escobar was beginning to explore textiles in her own artistic practice at the same time UAMA was opening an exhibition that included weavings by contemporary artist Marlowe Katoney, a School of Art alum. Escobar engaged visitors in the museum’s “Making Care: Drop-In Maker’s Space” with her textile activities and is documenting their responses and participation as part of her research.

“As a future art educator, Linda used the UAMA as a laboratory for experimentation, which brough novel ideas and art activities into our museum galleries and events,” Farrar said. “These activities have brought new visitors to our museum while engaging with them in ways we rarely see — they are staying in the museum for extended an extended period of time.”

As for Flores, he and fellow interns Isabella Way and Eliza Saunders helped install and present work at GeoDecor’s gallery during the recent Tucson Gem and Mineral Show, including fully mounted dinosaurs, a gigantic Eocene crocodile, woolly mammoth tusks, limestone murals with fossil fishes and palm fronds.

The three are also applying their artistic talents at the local company’s fossil lab, where they practice restoration techniques, preparation of newly discovered fossils and steel fabrication for the mounting of specimens.

GeoDecor interns (from right) Marcelino Flores, Eliza Saunders and Isabella Way.

“As a kid, you tell yourself one day I want to be an astronaut or a paleontologist,” Flores said. “So going into the fossil lab, I thought, oh my gosh, this is … not just a dream.”

By introducing paleontology to students, GeoDecor co-owner Christine Lindgren said interns also can expand their artistic capabilities through a mastery of 3-D printing; sculpting and color matching for fossil restoration; and commanding a diverse array of Dremel tools to free fossils from their matrices.

“We love having art students in the lab because they already come to us with a sense of precision, dexterity and a keen eye,” Lindgren said.

Other local internship possibilities

Over half the School of Art’s majors participate in internships before they graduate.

The nearby Center for Creative Photography holds an open house every August, where students from all majors can inquire about internship and student worker opportunities in areas such as archives, Digital imaging, learning and engagement and community engagement.

AVCE students Elizabeth Amphayvong (intern) and Jenna Green (graduate assistant), for instance, are part of the CCP’s Learning and Engagement team. Five other School of Art students also work at CCP: Branden Hale (PVI); and Grayson Agrella, Hannah Ramirez, Sco Scofield and Avery Johnson (Art History).

In recent years, other students have found internships on campus or with local organizations, non-profits and companies such as:

  • African American Museum of Southern Arizona
  • Arizona Historical Society
  • Arizona State Museum
  • Asthma & Airway Disease Research Center (UAHS)
  • Ben’s Bells
  • Coit Museum of Pharmacy and Health Sciences
  • Darkroom at the School of Art
  • Digital Print Studio at the School of Art
  • Flandrau Science Center and Planetarium
  • Laboratory of Tree-Ring Research
  • LetterPress at the School of Art
  • Mini Time Machine Museum of Miniatures
  • Museum of Contemporary Art (MOCA)
  • Museum of Optics, College of Optical Science
  • Pay It Forward Tucson, Inc.
  • Remember When … Photography
  • Rialto Theatre
  • Sculpture Tucson
  • Silhouette Photography
  • Sonoran Institute
  • The Drawing Studio
  • Tucson Museum of Art
  • UA Biosphere 2
  • UA Campus Health
  • UA Campus Recreation
  • UA Digital Humanities
  • University of Arizona Athletics
  • University of Arizona International
  • Western Archaeological Conservation Center (WACC)
  • Within Studio

Faculty members encourage students to talk to the school’s academic advising center about finding internship opportunities. Approved internships can qualify for academic credit.

“We often tell students that you can do anything with an art education and degree, and these internship opportunities are an excellent example,” said Professor Karen Zimmermann, associate school director. “Art students are good critical thinkers and problem solvers.”

As a result, School Director Colin Blakely said Art students who’ve honed their communication and creative problem-solving skills through internships are prime candidates for almost any job.

“We graduate lots of students that go into successful careers in the arts, in design, in education, in galleries, in museums. But we also graduate students that are incredibly successful in any number of other fields,” Blakely said, “whether it be entrepreneurship, whether it be law, whether it be business, whether it be even health sciences.”

Like Blakely, UAMA’s Farrar said she’s proud to watch School of Art students succeed after graduation.

“We’re so lucky to have had the chance to work with an incredible group of interns over the last few years,” Farrar said. “Many of them have been accepted to competitive graduate programs, while others are working in higher education, K-12 education or in other museums. … Knowing that we’re playing a role in the education of future generations of artists, educators and museum professionals is very rewarding.”

Get to know Linda Garcia Escobar

A senior who plans to graduate in fall 2024, she would like to pursue a career in teaching and consider graduate school. She transferred from Pima Community College after growing up outside of Los Angeles in Montebello, California.

Linda Garcia Escobar, with her performance piece “Platos y Sentimientos.”

“My uncle Oswaldo is an art teacher, so he always involved my sister and me in the arts,” Escobar said. “I grew up seeing his paintings and other sculptural work around the house and that’s mainly where my curiosity in the arts and painting came from. I wanted to make work like he did. When I finished school at Pima, I didn’t have a plan on what to do next so he along with my mom, who is also an educator, guided me into art education.”

Escobar’s art has been featured three shows, “The Place of Painting,” “The Undergrad Art Exhibition” and “Roots of Resilience.” In the latter, Escobar showcased her textile weavings.

“I have always been drawn to textiles for their colors and patterns, I grew up around amazing weavings from Guatemala and I had always wanted to explore and understand them,” Escobar said. “I like how repetitive the making process in textile work is, it is calming and meditative.”

Escobar praised School of Art Galleries Director lydia see for introducing her to weaving and UAMA’s Farrar and Willa Ahlschwede, assistant curator for Education and Public Programs, for their guidance.

“They are amazing educators and the most supportive and encouraging mentors I have ever had,” Escobar said. “Dr. Ryan Shin and Dr. Kate Collins (visiting professor) from the (AVCE) department are incredibly supportive and have always shown interest in the work I do outside of the classroom. (Faculty members) Alejandro Macias, Jonathan Marquis, Erin Digiovanni and Tioni Collins always offer to help and support my work as an artist.”

What student interns do at UAMA

Interns are directly involved with curating exhibitions, writing text for labels, or planning and facilitating our educational programs at the University of Arizona Museum of Art.

“Our interns work alongside staff in curation, education, registration and marketing, and it is often the first chance they have to understand how museums function,” Farrar said. “For the museum, it is such a beneficial opportunity for us to connect with students and have their voice be a part of our planning process.”

Farrar hopes students walk away having a bigger picture of what professional opportunities in museums might look like.

“And most importantly, I hope they leave feeling like their work at the museum matters and that they feel confident to enter the professional art world,” she said.

Get to know Marcelino Flores

Flores grew up in Tucson and started watching monster movies at a young age. He traveled 15 miles a day to attend Palo Verde High School because of its robotics team. The team, however, was canceled his junior year, so he started to focus on sculpture and his first love: Godzilla.

Marcelino Flores, exhibiting his Godzilla work at the Toy Exhibition at the @andgallerytucson.

“I began sculpting in high school just to kill time,” Flores said. “With each piece, I would pour weeks and months of work into it.

“I felt challenged to capture the sense of incredible mass and awe of the giant creatures. Slowly this hobby grew into a future I want to invest all my time into.”

After graduation, Flores studies aerospace engineering at Pima Community College, but then COVID hit.

“I was like, man, studying math and physics and computer programming isn’t the same as sculpture,” Flores said. “So, I re-evaluated what I wanted to do,” and transferred to the College of Fine Arts at Arizona.

“I really like sculpting,” he said. “It’s an interesting journey, going from tech to art, but I’m happy, especially with the resurgence in Godzilla on television and movies.”

Flores is selling his Godzilla and other monster sculptures at toy conventions in Mesa, and he plans to attend the Tucson Comic Con again this September.

What student interns do at GeoDecor Fossil & Minerals

GeoDecor, which moved from Los Angeles to Tucson in 2010, is an internationally recognized fossil, mineral and meteorite company that works with interior designers, collectors and museums. The company began accepting interns from the School of Art this spring after Lindgren gave Zimmermann and Professor Kelly Leslie a tour of its lab last fall.

“I think it might be a big surprise to art students, to find out that there’s a whole field (in fossil restoration),” Lindgren said.

At the GeoDecor lab, on East 37th Street, interns work closely with her husband, Thomas E. Lindgren, co-owner of GeoDecor and a guest lecturer at the University of Arizona Department of Geosciences; Makoto Takigawa, the head fossil preparation artist; fossil technician Zach Durling, a recent University of Arizona College of Science graduate; and partner and 3-D printing specialist Jeff Parker.

Possible tasks for students include handling, moving and storage techniques; organization and maintenance techniques of the fossil lab; and lab skills such as preparation, restoration, mounting and exhibition techniques.

“Working as an intern here takes certain skills, like color matching and spatial aptitude,” said Takigawa, who received his BFA from the former San Francisco Art Institute. “It’s nice to have students with that kind of talent.”

‘Strong’ student work highlights BFA Exhibition

Hundreds attended the Feb. 22 opening reception of the 2024 Bachelor of Fine Arts Exhibition, which runs until March 22 at the Joseph Gross and Lionel Rombach Galleries.

Students, parents, alums, faculty and staff celebrated student artists graduating with a BFA in 2024. The exhibition features undergraduates from Photo, Video & Imaging; 2D Studies; 3D & Extended Media; Illustration, Design & Animation; and Art & Visual Culture Education.

“Those of you who attended the opening can attest to what a vibrant event it was and just how strong the student work on view is,“ said Andrew Schulz, dean of the College of Fine Arts.
 
The event marked the first time the Olive Road Stairs were open (temporarily), as well as the inauguration of the new doors that provide direct access from those stairs into the Joseph Gross Gallery.

“Many people mentioned to me how excited they were by these changes,“ Schulz said, “which further our divisional goals of increasing visibility and access as ways of elevating the arts on campus and beyond.“

The BFA Exhibition, juried by faculty chairs from each division, was curated and produced by Student Gallery managers with support from Galleries Director lydia see.

More upgrades to the Arts District include the re-opening of the Arts Oasis, including the restoration of School of Art alumna Barbara Grygutis’ “Front Row Center“ public sculpture installation, the completion of first phase of the “Arts Alley” that extends to the Tornabene Courtyard, and the reopening of the renovated Marroney Theatre.

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Students presenting in BFA Exhibition

Violet Brand
Passing Memories
2024
Composite digital image

May Luna
Fetal Position
2024
Poplar, steel, paint

Saedi Wadman
Lil’ Guy Carousel
2023
Book binding materials, wire, markers, mirror cardstock

Iliana Gonzales
Hell Above
Oil on canvas 2023

Joseph Chico
Gemini Twins
2024
Adobe Illustrator, Photoshop

Alli Gray
Bickle’s Pickles
2023
digitally illustrated comic on enhanced matte

Marmada Shiming Sun
Humans are Built to Listen
2023
Client book

Sabrina L. Vincent
Boost
2024
Adobe Fresco, enhanced matte paper, binder board, PVA glue

Ivan Rodriguez
Upgrades: Inspired by Shigenori Soejima
2023
Digital illustration

AnneMarie Standridge
Sky Islands
2023
Paper, watercolor, colored pencil, alcohol markers

Eitan Rosenquist
US MX Border Map Mural, installation view with artist
2023
Digital illustration

Olivia Morey
Why Everyone Feels Like They’re Faking It
2023
Digital illustration

Jessica Valencia
Masso Bwe’o
2023
Digital illustration on Enhanced Matte

Malaquias Palacios
Conserving Our Rain
2023
Digital illustration

Madai Ruiz Palacios
Reflection
2023
ProCreate illustration on Epson Lustre

Emilee Gustafson
When Passions Meet
2023
Aluminum & bronze casting

Jeremiah Aaron Garcia
Breaking The Mold
2023
Digital painting on enhanced matte

Tate Harper
Doodle Daydream
2021
Alcohol marker, Micron pen

Ryan Pittner
order/chaos
2024
Conceptual typography: artist book and prints

Alisha Stadler
National Gallery Redesign
2023
Digital

Luis Esquer
Advocacy for Others
2023
Digital illustration

Aspen Stivers
Dynamic Duos: Fight or Flight
2023
Procreate, Illustrator, & Photoshop

Cameron Kramer
There is Nothing for You Here
2023
Acrylic paint, acrylic ink, charcoal, steel wire

Rick Prober
Boba
2023
Pastels and ink

Hoa Hoang
Exploration
2023
Digital painting

Kayla Bradshaw
The Met Rebrand Poster Series
2023
Adobe Illustrator

Maddy Tucker
Victim v. Victimizer
2023
Screenprint on paper

Headache
2023
Screenprint on paper

Henry Frobom
Sam
2024
Typographic concrete poem

Maya Wong
Voyage Home
2023
Bronze, wax

Discipline, Passion, & Skill
2023
Wood, wood treatment, fire

Nathalia Lara Pizarro
Eucaristía
2023
Chalk pastel

Morgan Birky
TV Girl
2023
Wire, clay, fabric, acrylic

Renee Arrieta
Let the Light In
2023
Wood, watercolor, and acrylic

Diana Marie
Will the Ozempic Era Change How We Think About Being Fat and Being Thin?
2023
Digital illustration

Ballad of a Twenty-Something
2023
Digital illustration

Vivian Nguyen
Lacey
2023
Digital illustration

Cami Hagen
Coat of Arms
2023
Digital illustration

Christy Williams
Levuana Iridescens
2024
Clip Studio Paint, drawing tablet

Hannah Kleker
Mara turnaround
2023
Digital illustration on enhanced matte

Mara
Foam, clay, wood, fabric, acrylic

Maia Lettow
In Utero
2023
Graphite, wax, spray paint

Erika Elizabeth Moreno
Cheat Meal
2023
Oil on canvas

Ana Paula Monobe
Fernanda
2023
Acrylic and oil on canvas

Andrea
2023
Acrylic and oil on canvas

Roland Swedlund
CASH CRAZE
2023
Photo transfer on panel

CROSSWORD
2023
Photo transfer on panel

WILD BINGO
2023
Photo transfer on panel

Izzy
Out of Time
Oil on canvas
2023

Birds of Misfortune
Chalk pastel on paper
2023

Iliana Gonzales
Ida
2023
Grave Rubbings in Graphite and Water-Soluble Pastel on Paper

Makayla McCarthy
Empty Waves
2022
Oil on canvas

Brianna Lisa Castillo
Despair
2020
Oil on wood panel

Inner Echoes
2024
Graphite on

Delaney Paige Cruse
love you too
2024
Medium Format Film, Silver Gelatin Fiber Prints

Ariana Buck
Processing
2021
Silver gelatin prints

Belen Muro Quijada
Del Hogar a La Fábrica: Narrativas no Contadas Del Trabajo
2023
Digital photogtaphs printed on Baryta

Nichole Kotowsky
Where’s My Mind?
2023
Digital photograph on Epson Lustre and medium format film on fiber paper

Yesenia G Meraz
Heritage
2023
Digital photographs on Epson Lustre

Ary Frank
Like Father, Like Daughter
2023
Digital print on watercolor paper, digital print on Epson Lustre, wood name tag

Amber Cole
Excerpt from ‘Beyond Boundaries’
2022
Digital prints on Epson Lustre, nonbinary pride fingerpaint, permanent marker, AI content recognition

Braden Hale
An Inheritance
2023
Photo book
Visitors are invited to handle the book carefully

Seven Hazel
Moments In Ourselves
2023
Digital and archival family photographs on enhanced matte, archival family photographs
on PhotoTex

Rachel Palmer
Moving Confusion
2022
Digital photographs on Epson Lustre

Sabrina Mendivil
Head in the Clouds
2023
Paper mache, polyfill, spray adhesive, desk, stool, notebook, pencil
Participants are invited to sit and doodle in the notebook. Please use only the provided pencil, and refrain from explicit language or drawings so that all ages and lived experiences may participate safely.

Gabrielle Sharon Loewen
Pawn to Queen
2023
Resin, PLA filament, acrylic paint, electronics

Eden M Squires
Digital Thoughts
2023
Steel, recycled electronics, fiberglass, cast aluminum

Olive Bingham
Driftwood
2024
Risograph comic zine
Visitors are invited to handle the zine carefully

Kaya Glasner
Francine & Delia Turnaround, The Journey Inland,
segment from Ingrained
2023
Digital hand-drawn animation 01:00 min.

Brianna Marie Salazar
Defectuosa
2023
Narrated short film with poem (which visitors are invited to take) 01:33 min.

Mallory Barry
drain
2023
Digital Video. Thread, melted plastic, condensation, trash, sd card, microchip, hot glue, hair, coffee pot, chain, written letter, skin, bleach, bath tub, bandaids, computer cursor, Bupropion, melting ice, june bugs, charcoal powder, shadows, dried flowers, Gabapentin, clear marbles, dirt, digital scale, water.
03:31 min.

Tucker Grams
Organized Game
2023
Video, cardboard, paper
(which visitors are invited to take) 04:54 min.

Jesse Neal
Untitled Animation
2024 04:54 min.

Esperanza Ries, Olivia Cabelli, Truman Adams
Esperanza
2023
cardboard, housepaint, Chicago screws, pine, adhesive
Esperanza was created to interact with Little Amal from the Walk with Amal project and represent the Tucson community as a whole. She danced with Amal at the Tucson Children’s Museum before welcoming her to the University of Arizona. As indicated by their names, both encouraged a message of hope.

Half Off Special

Half Off Special

Wilbur Dallas Fremont
What Do You See?

What Do You See?

Utvista Galiante
Floral Arrangement

Floral Arrangement

Janessa Southerland
I fell down some stairs

I fell down some stairs

Lyle Emmerson Jr.
Tailgate Party

Tailgate Party

Roger Masterson