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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Dance Like Noone is Watching by Elena Brokaw, Ramiro García, Image 1.

    Elena Brokaw, Ramiro García

    Dance Like Noone is Watching, 2023

    Altered black and white photograph

    48 x 36 in

  2. John 3:6-8 by Mikayla Whitmore, Image 1.

    Mikayla Whitmore

    John 3:6-8, 2016

    Archival inkjet print

  3. Photo Back #1 by Erik Beehn, Image 2.

    Erik Beehn

    Photo Back #1, 2014

    Acrylic and Solvents on Archival inkjet print

  4. Luxor, Las Vegas by Catherine Angel , Image 1.

    Catherine Angel

    Luxor, Las Vegas, 2012

    Toned gelatin print

    15.25 x 15.25 in

  5. Stationary Front #1 by Branden Koch, Image 1.

    Branden Koch

    Stationary Front #1, 2011

    Ink, gouache, watercolor on paper

    8.5 x 5.5 in

  6. Fance by Yo Fukui, Image 1.

    Yo Fukui

    Fance, 2009

    Felt, acrylic paint, found object

    67.9375 x 67.5 x 7.25 in

  7. Julius Shulman (with camera) by Michael Childers, Image 1.

    Michael Childers

    Julius Shulman (with camera), 2006

    Color photograph

    14 x 11 in

  8. Happy Birthday, Herb #18 by Richard Tuttle, Image 2.

    Richard Tuttle

    Happy Birthday, Herb #18, 1997

    Graphite and colored pencil on paper mounted on grey paper

    11 x 5.875 in

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About the artist

Erik Beehn

American

b. 1979

Born in Chicago, Beehn graduated from the School of the Art Institute of Chicago with a BFA in 2005 and then with an MFA in 2015. He is a master printmaker who explains his work as a process of manipulating “stock images” – “Stock images are approved through committee to appeal to the largest audience possible, and in the process are stripped of any originality” – so that they are “returned to unique pieces, introducing a sense of discovery, exploring recognizable images that allow for contemplation, and creating bridges to moments past.” When an interviewer in 2010 asked him about his frequent tendency to include numerous media in a single print, he replied: “I have always had a tendency to paint or draw things very tightly, and the use of layers is a departure from those tendencies; allowing me to keep elements tight while enabling me to incorporate a lot more gesture.”