Alexa Hoyer’s Targets.


Alexa Hoyer, Santa, 2015, Archival pigmented print on Dibond


Barrick G.A. Ed Fuentes (who blogs at Paint This Desert when he’s not helping visitors at our front desk) reviews Alexa Hoyer’s Targets photographs.

Santa had a rough summer at the Barrick.

Santa got mugged in the desert. The photograph by Alexa Hoyer, a German artist living in New York, is a highlight of Targets, a series featured in Tested Ground at the Marjorie Barrick Museum of Art. Closing September 16, the exhibition surveys uses sculpture, drawing, photography,  found objects, installation, and film to conduct “a meaningful investigation of our human civilization and the landscape that surrounds it,” according to the press release.

Santa stands tall, despite being 86’ed, his surface pocked by someone’s target practice, shells emptied on the seasonal iconography of festive celebration. Hoyer sought objects dragged to the desert for target practice and while level exposures and archival pigment print on Dibond are the photographer’s choice, this is also a collaboration between artist and the recreational gun enthusiasts who tote various and sundry items to be executed.

It’s a dis-assemblage by armed men and women, the object distorted and unceremoniously left behind in the desert, a sanctuary for that sport, an open range canvas of sorts. At times discovered pieces were propped up by the photographer, allowing Hoyer to make the final image less of a documentary and more of a collaboration between shooter and shooter.

It’s camera, firearm, and its aftermath, the image framed. It’s the shared point of view of camera or gun sight. The mounting, modest and functional, keep the photographs as delicate balance of light and subject. The harsh glare of the sun is tamed, leaving the severity of the image to be defined by what it is, an assemblage disassembled.




Constant Flux.




Lee Cannarozzo, the curator behind the Barrick’s Salvador Dalí exhibition, is moving to Upstate New York next week.

Before leaving, he went a shooting range with a group of friends. They took one of the artworks that appeared in his Disconnected show at the Donna Beam in 2016.

In an act of goodbye, he read the speech that Steve Wynn gave when he was imploding the Dunes in 1993. The group then shot the artwork apart.

Before the shooting it was a flat blue piece of wood in the shape of Clark County.

After a few minutes it looked like the blasted totems in the Alexa Hoyer photographs currently on display in Tested Ground.

The art on our walls is not there only to be looked at; it should also provide inspiration for things like this.


Lee Cannarozzo’s website.

The Barrick’s Bring Your Kid to Work Day event.



It’s been a long time between posts. To bring this blog back to life, curator Lee Cannarozzo has written an article about the Bring Your Kids to Work event that took place in our lobby. 


On April 27th the Marjorie Barrick Museum of Art held its second annual Bring Your Child To Work Day event. All members of the UNLV family and their children were invited to the Museum for a morning of community painting and drawing.

Groups of children aged four to sixteen, accompanied by parents from maintenance, administration, and teaching, poured into the lobby of the museum to exercise their creative potential.

Philosophy professors mingled with representatives of the Lee Business School. The Honors College and Emergency Management Systems stood next to one another.

The excited crowd was greeted by Alisha Kerlin, Interim Director of the Barrick. Leading adults and children into the main exhibition hall, she encouraged them to view the works of art on display before embarking on their own artistic projects. For many of these children this was their first time visiting a museum.

As the parents and their children emerged from the exhibition spaces they were presented with tables of art supplies that included watercolors, crayons, and acrylic paints. Containers of brushes and clean water stood nearby.

Some of the children decided to work individually, while others chose to collaborate with their parents. One father and daughter team began working at opposite ends of the paper, meeting in the middle to create a vivid beach landscape filled with an expansive ocean that blended into the heavens.




Another father in a grey work uniform was encouraging his children to create a brightly-colored Mother’s Day card covered with hearts and endearing messages. The children, of course, interpreted his suggestions in their own ways, and the man smiled as two sets of illustrations flowed around each other across the page.

A little girl working independently at the next table rubbed blue and pink paint together into a dark shade of purple. “More paint,” she called to the museum staff. “Brown!”

The methods that the participants chose were as varied as their ages and the departments they came from. A child who had become fascinated by a wood raton mask on display in the Barrick’s Masking exhibition decided to include its face in the watercolor painting she was creating with her younger brother.

An older boy working individually on an abstract image was heard saying, “I’m just going to paint, I just like to paint and see what I’m making.”

The event lasted for four hours, finishing as the participants left to join the Women’s Council’s Family Advocacy Picnic on the Green, another one of UNLV’s Bring Your Child To Work Day initiatives. As the crowds cleared, museum staff gathered to prepare the tables for a different event in the afternoon. Students from World Literature and Dance Choreography classes were arriving to perform a collaborative project in the exhibition hall. World Literature professor Roberta Sabbath walked past the vivid beach landscape and the little girl’s purple lines. Both pictures had been taped to the wall while the paint dried.

We hope that initiatives such as the Bring Your Child to Work Day event will help to instill an appreciation of art in audiences young and old, while simultaneously facilitating greater community interaction.

Artist Talk: Zarouhie Abdalian: notes


Visit us this evening at 7pm for a talk by Daniel Bozhkov, the last UNLV Visiting Artist of 2016. Below, please find some notes for the talk we heard two weeks ago from Zarouhie Abdalian.

  • her MFA project at the California College of the Arts “initiated the trajectory of the work I’ve done since.” The school occupied a series of old Greyhound bus maintenance facilities. Itinerants living in the dilapidated shelters behind the campus were virtually ignored. With adherent window film she blanked out jagged sections of the glass, disrupting the view (Set for the Outside, 2010).
  • she was at a gallery across from the city hall in Oakland. Protests while she was there. The shooting of a black man by a white officer. She made a window piece  – sheets of mylar, vibrating behind the glass so that it looked as if the glass itself was shivering. A phenomenon “observable but somehow outside the control of the viewer.” (Flutter, 2010.)
  • she’s interested in boundary points or spaces where the audience changes. These areas are charged. Different publics meet there. This can be highlighted by the artist.
  • the 12th Istanbul Biennial. Her space was new, clean, white: a generic box. She wanted to make a work that felt undeniably present but covered up, like Turkey’s past (Having Been Held Under the Sway, 2011). Behind the walls she set up a noise that was too low for human hearing. Bodies could feel it though. The room resounded. The space addressed the bodies directly. She set up a plumb-bob. It was unable to perform its function (measuring vertical true) because of the conditions of the space.
  •  Brutalist Berkeley Art Museum. A bell in a vacuum chamber. The vacuum is a stand-in for the museum vitrine in that it compromises the object inside.
  • a black vitrine making a tapping noise.
  • “The work I do is sometimes influenced by museums and conversations with museums.”
  • Maryanne Amacher. Unrecognized, look her up. Alvin Lucier.
  • Oscar Grant Plaza, a square in Oakland, a centerpoint for meetings. (Occasional Music, 2013.) She placed bells on the rooftops of buildings that did not represent “a specific authority” such as a church or city hall. At certain times they would ring. The piece doesn’t necessarily have to be understood as an artwork, she thought, but an art audience came deliberately to listen. They “became really important to the work because they were these obvious noticers.” Different kinds of people encountered the bells together. “If you’re there then you’re really implicated.”
  • Fluxus. Prose scores. She wrote scores of her own. Each score is written towards an unspecified ‘you’ and a public group ‘you.’
  • Amplified Audience (2008) by Philip Corner. She curates programs of music.
  • the nature of the signal she creates concerns her less than the response of the space.
  • a critique: Biennals are meant to say something about the place where they occur but most of them fail because they’re put together by outsiders who are curating “the hot new artists.”
  • an African-American museum in New Orleans; the buildings very old, shut, sealed. It was the oldest black neighborhood in the country. How do you draw viewers through a site that has no artwork or events?  Mirrors glinting on the sides of buildings. A recorded voice reciting a list of objects that have been used on this site. The list is long and exhaustive.
  • she cut up a security gate “to break up the space but not to prevent passage.” (Close of Winter, 2016).
  • “Many of the site-specific pieces I don’t repeat.” To recreate the mylar piece anywhere else would be “a gimmick.”