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Female Art Club and Education of University of Arizona

Professor Aurore Chabot

Barbara Jo McLaughlin

Barbara Kemp Cowlin

Professor Barbara Penn

Professor Cerese Vaden

Professor Ellen McMahon

Professor Kathryn Polk

Mildred Chapin Lachman

Mimi Daniel

Professor Moira Geffrion

Lucia Grossberger Morales

Minh-Hoa Le

Sarah Kriehn

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Current Artists

Invitational Artists

Professor Cerese Vaden		A personal investigation of the intricate and fluid margins of memory and identity, my work addresses the nature of interpersonal connections and our place in the environment. Drawn from my insular childhood my work investigates social and familial constructs, as it questions and illuminates shared identity and individual autonomy. My most recent body of prints combines imagery that explores both my rural western upbringing and the cultural, social, and environmental issues that currently plague the region. Water and land use, species extinction, and particularly my own attempts to find a comfortable sense of place, all play a role in the series. Ladders and stairs are re-occurring images that symbolizes a journey or passage. My -and every person’s -choice; to ascend or descend, stay static, rise above, or go backward.
Professor Kathryn Polk		My work is narrative. I layer humor into images that, on closer look, explore alienation and subjugation. As such, my work mirrors how, in real life, we can fail to see past appearances to recognize darker circumstances for what they are. Nonetheless, we endure, navigating desire, expectation and sacrifice. Through all, we strive to survive and with that there is hope. Lithography is the process I choose to create my work. My fundamental aesthetic is based on the unique quality of line created when drawing with a litho crayon on a stone. Within the world of printmaking I appreciate the contradiction of the original multiple. The work is printed from a matrix and subtly unique. This duality of opposites reinforces my subject matter based on life experiences that are simultaneously universal and intensely individual.
Professor Aurore Chabot		Aurore Chabot is Professor of Ceramic Art in the School of Art at the University of Arizona. She was Publications Director on the Board of Directors of the National Council on Education for the Ceramic Arts (NCECA) and was awarded the title of Fellow of the Council of NCECA in 2005. She completed two major national public art commissions, which resulted in murals installed on the UA’s Marley Building and at Sky Harbor International Airport in Phoenix. Her work has been included in over 100 exhibitions and reproduced in influential art publications, including the Sculpture Reference Illustrated by Arthur Williams, and Ceramics, Ways of Creation, An Exploration of 36 Contemporary Ceramic Artists & Their Work by Richard Zakin. She was juror of the Student Exhibition 2007, Yavapai College, Prescott, Arizona, and the All Arizona Clay Exhibition 2008, at The Shemer Art Center, Phoenix, Arizona.Her artwork is in private and public collections, including in those of The Mint Museum, Charlotte, NC; The Taipei County Yingge Ceramics Museum, Taiwan; The Tucson Museum of Art, Tucson; and The Pushkin Museum, Moscow. In 2009 Aurore presented a slide lecture on contemporary ceramic art in conjunction with Continuum, the School of Art Gala Fundraiser and exhibited work in several national and regional art exhibitions, including the A.I.R. Gallery, New York City.
Professor Ellen McMahon		“House of Cards: Maternal Queens” is about maternal myths in a form that suggests, risk, chance and play, ideas that contradict the psychic and social pressures on mothers to keep it all together. Over the past several years my work has expressed the tensions between my experience of mothering and my expectations of that role. In a range of media, I have engaged, among other things, the politics of intimacy in the mother-child relationship and the conflict between the desire for closeness and the struggle for autonomy that have always been central to my experience as a daughter and as a mother.
Christina McNearney		This drawing bloomed out an interest in human relationships. Although I don’t necessarily think about making work that is gender specific, its evidence is usually related to the feminine experience. I am interested in how the physical meets interpretation and how the mind morphs it all together. For me, it sometimes becomes a whimsical maelstrom of mnemonic texture sand tones, that includes all the pain and pleasures that flood into an evening, experience or even a moment. I find arbitrary space to be of interest, when our minds focuses in and out, but the order rearranges in way that isn’t a document in a traditional photographic or spatial sense, but more in a sensory way, a place where logic gives way to capricious note taking.
Barbara Jo McLaughlin		“The Journey” is a body of work about my physical and spiritual journey to eastern Tibet in the summer of 2006. I left this country on my 60^th birthday to embark on an amazing adventure that transformed my life. The landscape, culture, people and religion of Tibet are unlike anything I have ever experienced. I have been fascinated by Tibet since I was a child and went to eastern Tibet because it is the ”real” Tibet – the last place where the true culture survives. The rest of Tibet has been altered and the culture obliterated by the Chinese who claim Tibet as part of China; I was not interested in seeing this. It has taken quite a while to process all that I experienced in Tibet and this body of work tells the story of my journey as well as I can express it in abstract terms of form and feeling. I know that “beauty” is a word that is unpopular in contemporary art, but, when you are immersed in and overwhelmed by so much of it, it has to be the basis of the expression. “Rinpoche” is about H. E. Kilung Jigme Rinpoche, the high lama and teacher at Kilung Monastery where I stayed in Tibet. He is a young man with a vision: rebuilding Kilung Monastery and restoring it to its former glory as a religious center. The monastery was bombed and mostly destroyed by the Chinese during the Cultural Revolution in the 1950s. The monks fled and the rinpoche at the time was taken away and murdered. I admire H. E. Kilung Jigme Rinpoche for his vision, his devotion, and his sense of humor. He is a charismatic man who treated me with great kindness and performed the Refuge ceremony to make me a Tibetan Buddhist in Seattle in the spring of 2007. I will travel to Seattle in February to study with him. Rinpoche’s auspicious symbol is the conch shell. I hope to portray his beauty in this piece.
Claire Park		Claire Campbell Park is an internationally recognized artist, lecturer and teacher. Exhibits of her artwork include: “Made in California 1900-2000: Art, Image and Identity” at the Los Angeles County Museum of Art, “The Twelfth International Biennial of Miniature Textiles” in Szombathely, Hungary and “The International Textile Competition” in Kyoto, Japan. An image of her work tied for second in an international competition sponsored by Telos Fine Art Publishing, England, with jurors from Australia, Japan and the Netherlands. Lecture venues include: the Louvre and Ecole Nationale Supérieure des Arts Décoratifs, Paris; Seian College of Art and the World Textile Conference, Kyoto; Apeejay College of Fine Arts, Jalandhar, India; the Center for Middle East Studies, University of Arizona; the Textile Society of (SEE MORE)
Sheila Pitt		My life-time interests include relief printmaking, art history, the horse. My current series, “In The Service of Man” includes all these interests. Using 15th-18th century equestrian images from English, German, French and Italian equestrian manuals, I am currently making prints incorporating such images with contemporary meanings.