This year was artist Sarah Sense’s second time participating in the program.

“I have never been pushed like Mary Hood has pushed me to explore new material,” she says.

Sense’s own artistic practice involves photography and traditional Chitimacha basket-weaving techniques, but she says some of the techniques she has learned through the project have become integrated into her regular art practice.

“When artists arrive, they become aware of possibilities they weren’t aware of before,” says Hood. “And it’s because of the student collaborators.”

Another of this year’s artists, Brenda Mallory, usually works in 3-D. Still, she says the print she created with her student collaborators maintains some through-lines with her sculptural artwork.

“It’s different from anything I’ve done, but it looks like my visual language,” Mallory says.

Artists and students are not restricted in terms of content. But much of the resulting artwork has to do with Native American and Indigenous culture and identity.

Artist Hannah Claus's work for the Map(ing) project is a recreation of one of the only surviving maps from a Cree guide. But, she notes, “ideas of memory, territory and narration come through in all of the work.” 

Since the inception of Map(ing), ASU Art Museum has brought the resulting artworks into the collection, serving as an archive of the project. When the prints are not on display in the museum, they are housed in the museum’s Print Study Room, which is open by appointment to students, classes and the public for close study of the work.

“It was obvious from the panel discussion that opened the exhibition that the teams develop a tremendous rapport and that it is really a two-way process of sharing,” says Sealy Lineberry. “Both the artists and the students gain a great deal from the project.”

Map(ing) will be on view at ASU Art Museum through June 17. For more information, visit

Communications Program Coordinator, ASU Art Museum