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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Empty by Dirk Staschke, Image 1.

    Dirk Staschke

    Empty, 2020

    Ceramic

    23 x 19 x 2 in

  2. enrolled by Caralea Cole, Image 8.

    Caralea Cole

    enrolled, 2018

    Archival Inkjet Mural

    47.5 x 37 in

  3. 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

  4. Residence, 2058 Ottawa Drive by Catherine Borg, Image 1.

    Catherine Borg

    Residence, 2058 Ottawa Drive, 2013

    Chromogenic print between acrylic

    9.75 x 14 x 1.5 in

  5. Untitled by Nicolas Shake, Image 1.

    Nicolas Shake

    Untitled, 2013

    Friendly plastic

    10.5 x 54 x 10 in

  6. Jawbreaker by Jason Adkins, Image 2.

    Jason Adkins

    Jawbreaker, 2008

    MDF-UL, oil lacquer, clear coat

    55 x 47 x 47 in

  7. Punches by Kim Rugg, Image 2.

    Kim Rugg

    Punches, 2007

    Reconfigured postage stamp and envelope

    4 x 6 in

  8. Crank Up the Deep Divin' Ultra 3 by Sush Machida Gaikotsu, Image 4.

    Sush Machida Gaikotsu

    Crank Up the Deep Divin' Ultra 3, 2001

    Acrylic on panel

    16 x 96 x 1.75 in

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About the artist

Robert Beckmann

American

b. 1942

Born in Philadelphia, Beckmann graduated from the University of Iowa with a MFA in 1967, and moved to Las Vegas in 1977 when the city hired him as a mural painter. Ideas about Nevada have informed several series of his works – his Body of a House canvases in the early 1990s were inspired by footage of bombs at the Atomic Test Site blowing houses apart, and Vegas Vanitas reconfigures seven classical oil paintings to include Strip casinos. Las Vegas is “in some ways a very funny town,” he said during a public talk in 2013. “As a scientist you can see two parts that don’t want to fit together, as making a new matrice, a new something-or-other, or maybe if you’re a writer, a filmmaker, you’re struck by the friction that those parts have. I prefer the comic approach, which is to see things in terms of non sequiturs.”