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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Empty by Dirk Staschke, Image 1.

    Dirk Staschke

    Empty, 2020

    Ceramic

    23 x 19 x 2 in

  2. (Reach Your True Potential ~Veritas) by Ian James, Image 1.

    Ian James

    (Reach Your True Potential ~Veritas), 2017

    Adhesive pigment print

  3. Selected Covers of the Metropolis Chronicle by Kristin Posehn, Image 1.

    Kristin Posehn

    Selected Covers of the Metropolis Chronicle, 2008

    Reprinting of selected covers of the Metropolis Chronicle; unbound, black and white

    18.75 x 13 in

  4. Scratch and Sniff Series # 8 & 9 by Eun Young Choi, Image 3.

    Eun Young Choi

    Scratch and Sniff Series # 8 & 9, 2005

    Stickers and reflective mylar

    60 x 74 x 1.5 in

  5. No Title, No. 03.09 by David Hirschi, Image 2.

    David Hirschi

    No Title, No. 03.09, 2003

    Oil and wax on wood panel

    14.875 x 14.875 x 0.75 in

  6. Happy Birthday, Herb #20 by Richard Tuttle, Image 1.

    Richard Tuttle

    Happy Birthday, Herb #20, 1997

    Graphite and colored pencil on paper mounted on grey paper

    11 x 6 in

  7. Find the Vowels by Jack Endewelt, Image 3.

    Jack Endewelt

    Find the Vowels, 1990

    Oil on linen

    50 x 60 x 1 in

  8. Untitled (Pear, Cucumber, Orange) by Peter Chevalier, Image 1.

    Peter Chevalier

    Untitled (Pear, Cucumber, Orange), 1986

    Oil on linen

    13.75 x 12 x 1 in

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About the artist

Charles Clough

American

b. 1951

Charles Clough was born in Buffalo, New York, and became an active member of a local arts community that included Robert Longo, Cindy Sherman, and Michael Zwack. He studied at Pratt Institute, the Ontario College of Art in Toronto, State University of New York at Buffalo, and New York University. In 1974, he co-founded Hallwalls Contemporary Art Center in Buffalo along with Longo, Sherman, and other young visual artists. Later he moved to New York. His life’s mission, he said in 1976, was to produce a “photographic epic of a painter as a film or a ghost,” (PEPFOG) an ambition that was represented in the title of his 2007 autobiography, PEPFOG CLUFF. Clough’s work has been exhibited in numerous solo and group exhibitions, including the recent survey, The Pictures Generation, 1974 – 1984, at The Metropolitan Museum of Art. Referring to the period of time covered by the exhibition he says, “At that time, I was interested in deconstructing painting, basically. I did various things with painting and photography, combining them, gluing photos onto walls in installations where the photo revealed and the paint concealed. Gestural responses are crucial to my way of working.” In 2009, the year of Hallwalls’ thirty-fifth anniversary, he was the recipient of a grant from The Pollock-Krasner Foundation. He is currently based in Buffalo.
Image of artist