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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. 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

  2. Aconitum by Sean Slattery, Image 1.

    Sean Slattery

    Aconitum, 2017

    Color lithograph on Rives BFK

    20 x 16 in

  3. Nude Female by Denise Duarte, Image 2.

    Denise Duarte

    Nude Female, 2015

    Pantyhose, Poly-fil, hardshell EPS foam

    26 x 32 x 46 in

  4. Horror Vacui! (International) by Matthew Couper, Image 1.

    Matthew Couper

    Horror Vacui! (International), 2014

    Oil on linen

    10.5 x 13.75 in

  5. Stationary Front #7 by Branden Koch, Image 1.

    Branden Koch

    Stationary Front #7, 2011

    Ink, gouache, watercolor on paper

    8.5 x 5.5 in

  6. Channel by Chad Brown, Image 2.

    Chad Brown

    Channel, 2007

    Oil on canvas

    18.25 x 27 x 1.75 in

  7. Panoptic Liger XV by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Panoptic Liger XV, 2005

    Acrylic

    22 x 28 in

  8. Panoptic Liger I by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Panoptic Liger I, 2005

    Acrylic

    23.75 x 35.75 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.”