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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Soap Cartilage by Lyssa Park, Image 2.

    Lyssa Park

    Soap Cartilage, 2023

    Soap

    3 x 2 x 1 in

  2. The tears are real, I’m crying by Thomas Ray Willis, Image 2.

    Thomas Ray Willis

    The tears are real, I’m crying, 2023

    LED lights, thermoplastic, resin clay, acrylic, wood, extension cords, power strips

    120 x 74 in

  3. Fragments from Las Vegas (diptych) by Julieta Gil, Image 2.

    Julieta Gil

    Fragments from Las Vegas (diptych), 2017

    Archival pigment print on Moab Entrada Rag

    40 x 20 in

  4. Dowsing Rod (Missing Person) by Andreana Donahue, Image 1.

    Andreana Donahue

    Dowsing Rod (Missing Person), 2014

    Paper, sequins, cotton

    22 x 12 x 1 in

  5. BEAUTIFUL NOTHING #19 by Audrey Barcio, Image 2.

    Audrey Barcio

    BEAUTIFUL NOTHING #19, 2014

    Polystyrene foam, Hydrocal, spray paint and faux fur

    8 x 4.5 x 4.25 in

  6. Stationary Front #4 by Branden Koch, Image 1.

    Branden Koch

    Stationary Front #4, 2011

    Ink, gouache, watercolor on paper

    8.5 x 5.5 in

  7. 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

  8. Bright Light Over the Field by Barry Gealt, Image 1.

    Barry Gealt

    Bright Light Over the Field, 2000

    Painting

    21.5 x 59.375 in

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About the artist

Billy Al Bengston

American

b. 1934

Born in Kansas, Bengston migrated to Los Angeles with his family in 1948. At Los Angeles City College he studied under Peter Voulkos, a ceramicist whose iconoclastic approach to art he later cited as an inspiration. Around 1957 he moved from ceramics to painting. Bengston was a member of the ‘Ferus Gang,’ the group of contemporary artists that congregated around, and showed at, the Ferus Gallery, the vanguard gallery of Los Angeles contemporary art in the mid-twentieth century. He held his first solo show at Ferus in 1958. His work, like that of a number of other L.A. artists at the time, reflected the car and surf culture of the city. “My earlier work took off from things I saw in the street: cars, signs … man-made things that we see in harsh California light. And Los Angeles, of course, was and is a car culture … So I used car and sign-painting materials and colors the way an artist would any other kind of color,” he said during an Art in America interview in 1978. His work is characterized by its attention to surface, reflection, and translucency — he is regarded as a pioneer of what became known as the Finish Fetish style — and a decorative use of brand-like symbols. “To me, a picture is just supposed to sit there and be something to look at. You’re never supposed to know what it is. Once you know what it is, it’s something else; a memory.”