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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Aconitum by Sean Slattery, Image 1.

    Sean Slattery

    Aconitum, 2017

    Color lithograph on Rives BFK

    20 x 16 in

  2. Gateway / Free Parking by James Stanford, Image 1.

    James Stanford

    Gateway / Free Parking, 2017

    Digital print on Fujichrome Pearl archival paper

    48 x 48 in

  3. Ellwood vs. Koenig 'study' by Shawn Hummel, Image 1.

    Shawn Hummel

    Ellwood vs. Koenig 'study', 2015

    Acrylic and Prismacolor on wood panel

    15 x 21.375 x 1 in

  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. The Encounter by Carrie Jenkins, Image 2.

    Carrie Jenkins

    The Encounter, 2005

    Acrylic and Graphite on paper

    36.25 x 19 in

  6. Hugs 'End of the Rainbow' Series XIV by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series XIV, 2005

    Pencil, ink, acrylic

    30 x 20 in

  7. Peter Alexander by Michael Childers, Image 1.

    Michael Childers

    Peter Alexander, 2002

    Black and white photograph

    14 x 11 in

  8. Maple Street by George Siejka, Image 2.

    George Siejka

    Maple Street, 1995

    Oil on linen

    33.25 x 47 in

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About the artist

Jack Endewelt

American

1935-2006

Born and raised in New York City, Endewelt began to attend Manhattan’s School of Visual Arts in 1967 and quickly became part of the faculty. He retired to Las Vegas in 2000 after a long career that combined teaching with freelance commercial illustration. "We're conditioned to expect the things around us to behave, smell, taste a certain way, depending upon their appearance,” he said during a CAC group show in 2004. “I wanted to comment on the presumptive aspect of this expectation." Casey Weldon, who designed a catalogue for the memorial exhibition that was held in Trifecta Gallery after Endewelt’s death from lung cancer in 2006, described his work like this: “Everything is rendered so perfectly. But then there is the juxtaposition of the weird subject matter. The work, at first glance, seems so conservative, straightforward, but looking closer you see that it's off-kilter, eerie.” (Interview published in the Las Vegas Sun, July 21, 2006).