Announcing Fall 2017 Exhibitions

The UNLV Marjorie Barrick Museum of Art presents Preservation, a group exhibition exploring aspects of preservation–of land, legacies, histories, and the biological. (Moritz Fehr, Colosseum, still, 2015Colosseum is a stereoscopic film that uses image and sound to transport the viewer to a former open pit gold and copper mine, pulling the viewer into its spiral. On view in Grant Hall Gallery, 9/29-10/26, Monday - Friday 10-4pm, Saturday 1-4pm)

Waiting for the Flood

Waiting for the Flood, recent video from the Center for Land Use Interpretation’s research into the flood control structures of Las Vegas will be on display at the Barrick Museum. Peripheral Flood Control Structures of Las Vegas will be on view at the UNLV Donna Beam Fine Art Gallery. 

Jul. 14, 2017

Preservation 

UNLV Marjorie Barrick Museum, East Gallery, Grant Hall Gallery (September 29 - January 20, 2018) 

For more information regarding our Opening Celebration on October 6, 2017, 5-9p.m. visit: https://www.unlv.edu/news-story/special-invitation-opening-celebration-a...

The UNLV Marjorie Barrick Museum of Art presents Preservation, a group exhibition exploring aspects of preservation–of land, legacies, histories, and the biological. It will be on view at the Barrick Museum from 9/29/17–1/20/18, and in Grant Hall Gallery from 9/29- 10/26/17, in conjunction with the Museum’s 50th anniversary and the University’s 60th anniversary. Preservation includes international contemporary artists Adam Bateman, Laurie Brown, Moritz Fehr, Cayetano Ferrer, Brigid McCaffrey with Elizabeth Knafo, Ian James, Candice Lin, Ocean Earth, Marina Pinsky, and Max Hooper Schneider, and is curated by Aurora Tang. This project is funded in part by a grant from the Nevada Arts Council, a state agency, and the National Endowment for the Arts, a federal agency. Additional support is provided by Unforgettable Coatings and Global Art Transport.  

Adam Bateman’s work is an investigation of the romanticization of the American West, exploring regional concerns about landscape, scale, and tourism in the West as a ritualization of Manifest Destiny, and the Sublime. Since the 1970s Laurie Brown has photographed the margins of our manmade landscapes, contributing an important female voice to the New Topographics approach to landscape photography.  Her photographs seek a visual connection and dialogue between the present and past in human history and our cultural ties to the land, and prompt us to consider the future.  Moritz Fehr works in sound, experimental film, and photography to create immersive installations. Colosseum is a stereoscopic 3D film that uses image and sound to transport the viewer to a former open pit gold and copper mine, pulling the viewer into its spiral. Ocean Earth is a development corporation invented for a group of artists, co-founded in 1980 by artist Peter Fend, a key figure working at the intersection of art and ecosystems. Cayetano Ferrers sculptural and multimedia works are examinations into perception and presentation, meticulous studies into the history, form, materiality, and meaning of architectural structures.  Ian James uses photography and sculpture to explore questions concerning capitalism, spiritualism, technology, geologic time, and posthumanism. Candice Lin makes work that draws from forgotten histories, considering alternate narratives to our inherited ideas around race, gender, and human exceptionalism.  Brigid McCaffrey is a filmmaker whose work focuses on environments in states of flux and precarity.  Preservation features a new video by McCaffrey, with filmmaker Elizabeth Knafo. Marina Pinsky works between photography and sculpture, examining sites where the technological is imposed on the biological.  Gala Porras-Kim’s work reconsiders museological methodologies of preservation and conservation, and the ways in which an object’s treatment, display, and modes of representation can affect its value and meaning.   Max Hooper Schneider creates new ecosystems, biological constructs that complicate the relationship between the artificial and the natural, past and future, growth and decay. Aurora Tang is a curator and researcher, with a focus on contemporary place-based practices. Since 2009 she has been Program Manager at the Center for Land Use Interpretation.

Waiting for the Flood

UNLV Marjorie Barrick Museum of Art’s Auditorium (September 29 - January 20, 2018, Opening Reception: October 6, 2017, 5-9pm.)

This recent video from the Center For Land Use Interpretation’s research into the flood control structures of Las Vegas offers viewers a quietly dramatic perspective on an essential but overlooked aspect of the city’s architectural ingenuity. Not only an experience in its own right, it also introduces us to the subject of Preservation’s sister show, Center for Land Use Interpretation: Peripheral Flood Control Structures of Las Vegas, on view at UNLV’s Donna Beam Fine Art Gallery from 9/29/17–11/11/17.

Center for Land Use Interpretation: Peripheral Flood Control Structures of Las Vegas

UNLV Donna Beam Fine Art Gallery  (September 29 - November 10, 2017, Opening Reception: October 6, 2017, 5-9pm) 

The nation’s supreme desert city, Las Vegas lies in a riverless valley, baking in the sun. When it rains, storms can be sudden and strong, generating flash floods that threaten the city. Defense against this attack has grown with the expanding urban land itself, and there are now more than 100 detention basins in and around Las Vegas to absorb the shock of flood, and hundreds of miles of concrete channels to contain the flow through the city. The headworks of this system are a battery of bulwarks that ring the city at its outermost edge, beyond which little is built. They are massive marginal sculptures of aridity and stasis, waiting for the flood. 

This exhibition features recent photography and video from The Center for Land Use Interpretation. Founded in 1994, The Center for Land Use Interpretation is a research and education organization interested in understanding the nature and extent of human interaction with the earth’s surface, and in finding new meanings in the intentional and incidental forms that we individually and collectively create. The Center produces exhibitions, presentations, tours, publications, online resources, and other public programs that examine, describe, and explain the built landscape of the United States.  

liminal

UNLV Marjorie Barrick Museum, West Gallery (September 29 - January 20, 2018, Opening Reception: October 6, 2017, 5-9pm.)

This idea of in between, overlap, or liminality asks us to think about our own roles in society, as well as the roles of others. We can focus on specific identities or turn our attention to the space where components of identity overlap. Are pets “just animals” or are they “becoming persons”? How do ancestry and nationality create an ethnic identity? Can we take the role of “the other” by donning a mask and viewing the world through their eyes?  To be "liminal" means to be at the threshold or border of something-- a physical space, an ideology or concept, or even between categories of identity. Curated by Shelly Volsche and featuring work by China Adams, Sush Machida Gaikotsu, Kara Joslyn, Michael Ogilvie, and Brent Sommerhauser, liminal invites viewers to ponder the ways in which they are "in between" and what this state truly means.

Shelly Volsche is a Visiting Lecturer with the Academic Success Center and a Doctoral Candidate with the Department of Anthropology. She has been teaching First-Year Seminar for Exploring Majors for two years, building a relationship with the Marjorie Barrick Museum of Art by bringing her students to experience contemporary art first hand. Her research as an anthropologist focuses on cross-cultural variations in romantic and social bonding, human-animal interactions (including the presence of pets as family members), practice of identity in subcultural groups, and anthropological theory. 

There is No Right Time

In There Is No Right Time Mikayla Whitmore (UNLV Department of Art, BFA, 2010) comprises a series of photographs she took over several years while exploring the landscapes of Nevada & California. Whitmore seeks to highlight a series of unintentional vestiges of fading beliefs in order to trace a pantheon of contested principles that reflect romantic notions of the American west. These pictures aim to contextualize and amplify mementos of American values by way of isolation & freedom. For instance, the invisibility of small artistic gestures in the middle of the desert gains a hypervisiblity when detached from an urban context. Therefore, the lack of human presence in her work is intentional, focusing on an array of overlooked objects and moments that she came across thru her travels. One of her goals is to expose the current political climate in the US by surveying overlooked and unintentional monuments. Mistrust and abandonment are themes that echo throughout There Is No Right Time, asking the question, what are we left with? An installation artist and photographer, Whitmore has exhibited at the Cosmopolitan Las Vegas P3 Studio, Humble Arts Foundation, and the UNLV Marjorie Barrick Museum of Art, Las Vegas.

Related Exhibition Programming: 

OCTOBER 24: University Forum Lecture Series: Desert Cathedrals: Rhetorical Structures That Make America, a talk by Adam Bateman, artist and curator. 7 p.m. - 9 p.m.

NOVEMBER 7: Natural & Created Relationships: Human-Canine Bonds, a talk by Shelly Volsche, curator of the Barrick exhibition liminal and UNLV Doctoral candidate in Anthropology. 7 p.m. - 9 p.m.

NOVEMBER 9: Visiting Artist Lecture by Brigid McCaffrey. 7 p.m. - 9 p.m.

DECEMBER 6: Composition: Music Inspired by Visual Art, a performance of new work composed by UNLV School of Music students in response to art on view at the UNLV Marjorie Barrick Museum of Art. 7:30 p.m. - 9 p.m.

DECEMBER 7: Visiting Artist Lecture by Candice Lin. 7 p.m. - 9 p.m.