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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Evidence by Caralea Cole, Image 7.

    Caralea Cole

    Evidence, 2018

    Archival Inkjet Mural

    47.5 x 37 in

  2. Matters of the Brain #11 (from the project Once Ocean) by Linda Alterwitz, Image 1.

    Linda Alterwitz

    Matters of the Brain #11 (from the project Once Ocean), 2017

    Jacquard loom digitally woven cotton tapestry

    24.4 x 79 x 4 in

  3. New Citadel: The Moving Architecture of a Situationist City (a Tribute to Constant Nieuwenhuys) by David Sanchez Burr, Image 1.

    David Sanchez Burr

    New Citadel: The Moving Architecture of a Situationist City (a Tribute to Constant Nieuwenhuys), 2015

    Video

  4. Ruban Rouge by Victoria Reynolds, Image 1.

    Victoria Reynolds

    Ruban Rouge, 2007

    Oil on panel

  5. Untitled by Yo Fukui, Image 1.

    Yo Fukui

    Untitled, 2006

    Mixed media

    36 x 48 x 7 in

  6. Le Grand Mont Chauvet Foret Fontainebleau by Fred Sigman III, Image 1.

    Fred Sigman III

    Le Grand Mont Chauvet Foret Fontainebleau, 1995

    Gelatin silver print

    22 x 28 in

  7. Untitled by Wes Hunting, Image 4.

    Wes Hunting

    Untitled, 1994

    Hand-blown glass

    17 x 14.25 x 5.5 in

  8. Bite by Bill Wareham, Image 1.

    Bill Wareham

    Bite, 1976

    Steel

    16 x 20 x 15 in

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About the artist

Sam Francis

American

1923-1994

Born in San Mateo, California, Francis enlisted in the US Army Air Corps in 1943 and began painting therapeutically after a plane crash put him in a body cast. Graduating from the University of California with an MFA in 1950, he moved to Paris where he studied briefly at the Académie Fernand Léger and held his first one-man show in 1952 at the Galerie du Dragon. The critic Clement Greenberg grouped him with the Abstract Expressionists, in spite of his physical absence from the movement's hotbeds in the United States. A New York Times review of his 1950s paintings describes them as “shimmering crepuscular monochromes […] in which rounded repeating brushstrokes create a multi-celled or honeycombed surface while also resembling a Mark Rothko color cloud in the process of disintegration.” By the end of his life he was living in California again. “Los Angeles is the best for me for light in my work. New York light is hard. Paris light is a beautiful cerulean gray. But Los Angeles light is clear and bright even in haze.”