Cory McMahon Photo PaintThisDesert
FIELD NOTES: Cory McMahon is a painter who carries a peaceful aura. Don’t be fooled. His experimental work is a fury of strategic risks. Coming in the UNLV MFA Studio Art program he was known for his large-scale abstraction. One time he has an earlier work, a large painting, on the back wall of then CAC gallery for a group show. It caught the eye of art critic Dave Hickey, who was sitting on his throne across the room waiting to chat up “25 Women: Essays on Their Art.” Hickey looked up from his cup of coffee, saw the large canvas with fierce brush strokes and, in that Southern one-part-warm two-part-grumble, asked whoever was listening: “Who the hell did that? . . . It’s good.”
During his time at UNLV McMahon looked to go further. When the graduate students held an open house, he checked out hardbound dissertations from the UNLV library and stacked them in a display window. He called the installation ‘An Investigation of Analysis of. . .” McMahon even left his safe house of painting for his midway to explore ideas. That exhibition wasn’t what was expected.
So, what? I thought. That’s the point, isn’t it? To take chances.
McMahon's thesis show opens February 26. From his description, he is exploring the ideas of artist intent. I am looking forward to what he says about that through his art. The reception is March 9.
February 26 - March 10
Reception March 9, 2018
Noelle Garcia "Doritos" 2016
New exhibitions at the Barrick Museum of Art, and early rounds of MFA exhibitions at the Donna Beam and Grant Hall Gallery, will make the second Friday of February a busy evening. The Spring Exhibition season opens February 9, 2018, from 5 – 9 p.m. "The museum and gallery spaces of the UNLV campus invite you to examine ways in which different artists have explored the intersection of identity and form."
Plural features recently donated artworks from the UNLV Marjorie Barrick Museum of Art's permanent collection that explore complex aspects of human identity through a range of traditional and unconventional media. Memory, passion, voice, excess, race, gender, and intersectionality are all brought into question as we search for ways in which a museum collection can reflect our own multifaceted understanding of what we are.
This exhibition features artwork by China Adams, Linda Alterwitz, Audrey Barcio, Tim Bavington, Elizabeth Blau, Catherine Borg, Diane Bush, Gig Depio, Andreana Donahue, Jacqueline Ehlis, Justin Favela, Ash Ferlito with Matt Taber, Noelle Garcia, Nancy Good, Maureen Halligan, Clarity Haynes, Stephen Hendee, Brent Holmes, Bobbie Ann Howell, Alexa Hoyer, Eri King, Branden Koch, Fay Ku, Wendy Kveck, Eric LoPresti, Julie Oppermann, Tom Pfannerstill, Krystal Ramirez, Kim Rugg, JK Russ, Sean Russell, Daniel Samaniego, Aaron Sheppard, Sean Slattery, Lance Smith, Brent Sommerhauser, Laurens Tan, Ryan Wallace, Mary Warner, Mikayla Whitmore, Thomas Ray Willis, Amy Yoes, and Almond Zigmund.
Mary Corey March
"Identity Tapestry" is both a portrait of a community and each individual participant. Inviting visitors to weave aspects of themselves into a participatory artwork, artist Mary Corey March gives us new insights into both ourselves and the people we see around us every day, opening our minds to reflection and healing. The 20-foot long installation, made of hand-dyed yarn, and statements of identity and lived experience that range from "I am a woman" to " I am fortunate" will join UNLV's permanent collection. This exhibition and accompanying programs are produced by the Marjorie Barrick Museum of Art and Nevada Humanities, with support from the UNLV College of Fine Arts, and the National Endowment for the Humanities.
VESSEL: Ceramics of Ancient West Mexico
"Vessel" explores the relationship between form and function through ancient West Mexican ceramics. The exhibition is organized by shape, and visitors are invited to contemplate how the form of each vessel informs both practical use and communicates ideas of power, identity, and belief.
Curated by UNLV alumni and Museum staff, Paige Bockman, M.A. Anthropology 2015.
"Red State. Blue State." on the print circuit.
After my Midway ended its run a year ago, interdisciplinary artist Clovis Blackwell asked if I would be willing to have his Los Angeles-based company, Fleur de Boom! Editions, create hand-pulled prints of an image from Bunko’s archives.
That’s a great idea, I thought, and first wondered if that would be a fitting way to offset some costs for my Thesis Exhibition in Spring 2018. Then something else came up: Winchester Cultural Center needed a sponsor of the 2017 “Life in Death” Juried Exhibition. The proceeds from print sales made it possible for PaintThisDesert and BunkoArchives to say yes on being a sponsor of art made for Clark County's Day of the Dead festival.
Over the summer Clovis and I planned for a new set of prints that will, this time, support production costs for my thesis show.
The signed and numbered prints are the BUNKO mark, and “Red State Blue State,” a piece that was written years ago and has now become a short linguistic decoder of this current political climate.
Mostly it is about making cool stuff with Clovis, an excellent printer and collaborator.