Las Vegas Weekly
“The Protectress” by Jennifer Henry
Photo:
Wade Vandervort
Geoff Carter Thu, Mar 11, 2021 (2 a.m.)
What I know about abstraction in art is not much. Sure, I get the bare-bones idea of it the freedom to create something that’s not representative, to allow the creative mind to wander where it will but the why of abstraction sometimes eludes me. (I blame the editor in me; if something doesn’t make sense to me, it needs to be rewritten and revised until it does.) But in curating
Two or 3 Things I Know About Abstraction a 12-artist group show now at the Summerlin Library gallery UNLV fine arts professor Pasha Rafat has anchored abstraction to a value I can get my head around: connection.
Las Vegas Weekly
Adriana Chavez and Heidi Rider’s “So, You Want to Buy a Monument”
Courtesy
Last spring, Wendy Kveck taught an art class at UNLV called Finding America in Las Vegas. “I considered how the landscape and cultures of Southern Nevada have influenced artists’ work over the decades,” she wrote in a blog post for Nevada Humanities.
Teaching the course, which included field trips to the Neon Museum and Fremont Street, led her to ponder the meaning of a monument: “Is it an object, an artwork, a painting, a sculpture, a landscape, a billboard, a gesture, a poem, a podcast, an arts center, a community?” she wrote.