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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. Where is Your Fire? by Brent Holmes, Image 1.

    Brent Holmes

    Where is Your Fire?, 2020

    Assemblage: Lantern and neon

  3. Sea'n'Sand by Tim Bavington, Sush Machida Gaikotsu, Image 1.

    Tim Bavington, Sush Machida Gaikotsu

    Sea'n'Sand, 2017

    Color Archival Inkjet Print on Rives BFK

    20 x 16 in

  4. Superbia Civilis by Brent Holmes, Image 2.

    Brent Holmes

    Superbia Civilis, 2016

    Found object, spray paint, mixed media

    58 x 48 x 24 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. Hugs 'End of the Rainbow' Series XVII by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series XVII, 2005

    Pencil, ink, acrylic

    20 x 30 in

  7. NV 316 NHJ by David Ryan, Image 2.

    David Ryan

    NV 316 NHJ, 2002

    Acrylic on wood

    32 x 38.5 x 2 in

  8. Thermo by Philip Argent, Image 1.

    Philip Argent

    Thermo, 1992

    Oil on canvas

    62 x 68 x 1.5 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.”