In The News

Vegas Magazine
Dec. 30, 2015

For Vegas-based artists Wendy Kveck, J.K. Russ, and Erin Stellmon, breaking up isn’t hard to do; it’s a form of self-expression. Whether it’s Kveck’s multifaceted paintings and sculptures or the cut-paper collages of Stellmon and Russ (who created the cover art for Vegas’s Summer 2015 issue), all three women specialize in disassembling their subjects before reorganizing them and putting them back together.

Las Vegas Review Journal
Dec. 17, 2015

Based on how the late Marjorie Barrick's wishes to keep the Barrick Lecture Series going strong after her death and how the lectures have been allowed to languish, I'm not sure I'd give the UNLV Foundation millions. Presuming I had millions.

Las Vegas Weekly
Nov. 19, 2015

Thankfulness has a profound range. In a moment, it might be about taking a bite of a really great sandwich. Or it might be about having food at all, or being alive in the wake of a tragedy the world won’t ever stop mourning.

Las Vegas Weekly
Oct. 29, 2015

Break Ups and Tear Downs at the Barrick Museum presents Las Vegas artists Wendy Kveck and JK Russ, along with former Las Vegan Erin Stellmon, who recently left for the East Coast. Deconstruction is key to the exhibition: All three artists process visual representations by cutting them up. But the “break up” and “tear down” title omits that the artists also reassemble the fragments, generating fresh, new ways of looking at familiar content.

Las Vegas Weekly
Aug. 27, 2015

Talking Art (September 3-December 3, Barrick Museum) The UNLV Art Department’s every-Thursday fall lecture series kicks off with LA’s Allison Miller, followed by Hyperallergic’s editor in chief and co-founder Hrag Vartanian a week later.

KNPR News
Aug. 10, 2015

Nevada is an inspiration to many artists in many different ways.

Las Vegas Weekly
Aug. 5, 2015

Reacting to the disappearance of 43 students in Mexico last September, Las Vegas artist Javier Sanchez created a multimedia installation confronting the ongoing brutality of the Mexican drug wars. The haunting experience in the Barrick Museum reverberated much more intensely than ephemeral headlines on social media and transcended the usual impersonal data tied to tragedy.

Las Vegas Weekly
Jul. 23, 2015
Ah, the pitfalls of the group art exhibition! The goulash factor looms large. How could it not? Art is valued because it’s fiercely distinctive. So when you assemble works by radically different artists—an expressionist still life, say, by Marty Walsh, and a slick, post-conceptualist abstract by Yek—the risk of mishmash runs high. So how did UNLV’s Marjorie Barrick Museum create a coherent curatorial statement with the terrifically diverse Recent Acquisitions?
Las Vegas Weekly
Jul. 16, 2015
With rotating exhibits, visiting artist lectures and smashing works from its own collection to dip into—plus those from the Las Vegas Art Museum—Barrick has become the sweet spot for contemporary art in town. UNLV, 702-895-3381.
Las Vegas Weekly
Jun. 24, 2015

For all the exceptional artists who’ve had a presence in Las Vegas, there’s been little more than a paper trail to mark their time here, no solid heritage collection to showcase works, ideas and discussions that evolved or transpired—aside from a chunk of works in the Las Vegas Art Museum collection. And so when the Barrick Museum switched its focus from natural history to art, it moved swiftly to build one...

Las Vegas Weekly
May. 25, 2015

You can’t stroll around John Millei’s If 6 Turned Out to Be 9: Selected Work, at UNLV’s Marjorie Barrick Museum. Nope—you have to stand there. In front of each painting. Look some more at those forms and shapes. Step back. Squint a bit. Move on to the next painting; come back to the last one.

Las Vegas Weekly
May. 13, 2015

“Memory” is a tough sell in a city that constantly reinvents itself and obliterates its former identity. Yet it’s the subject of the peculiar and haunting Kennedy Obsession show at the Marjorie Barrick Museum. New media artist (and current UNLV artist-in-residence) Deborah Aschheim—known for her elegant installations exploring the science/art divide—has turned her attention to the game-changing era of JFK’s presidency.

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