In The News: College of Fine Arts
Raised in Dubai and currently based in the United States, Lebanese-American Diana Zeineddine is a force to be reckoned with!
In the sound sculpture “Gnaw,” a demented stuffed animal shakes while making weird chewing noises. In “Cradle,” plastic fingers are hot-glued together to form an organic tower that’s equal parts disturbing and comforting. In “Soap,” a rainbow of soap baseballs questions the masculine tradition of sports. And in “Bunting for Babylon II (Coke & Crystals),” a patriotic decoration is reimagined as a critique of runaway capitalism.
Ask Ann-Margret what first springs to mind when someone brings up Las Vegas, and she calls out such terms as, “Happiness,” and “Bang!” and also, “Wow!”
UNLV is defining the idea of powerhouse, in terms of both dominance in a global home design contest and literally powering houses.
Helping build a small house powered by renewable energy was a life-changing experience for UNLV student Alejandro Munoz.
UNLV students are building an energy efficient home that they designed as part of the Solar Decathlon project.
The walls of this house have sound-absorbing panels and multiple layers of thermal insulation. The home was designed to muffle jarring outside sounds and prevent disturbing echoes from bouncing off the interior walls.
On this episode Dr. Erika Abad interviews artists Lance L. Smith and Brent Holmes about their exhibitions currently on view at the Marjorie Barrick Museum of Art.
At some point in the conversation, Ann-Margret casually drops the initials. “E.P.” As in, “We were friends for a long time, E.P. and I. We met on the movie, we had several things in common, including a love for Las Vegas. We dated, and we just had a great time together.”
Some of the best future architects in the world could be living right here in Las Vegas.
Cierra Bliss Wachtel, who goes by Cierra Bliss, began dancing at Boulder City studio Dance Etc. before she’d even turned 5. Now 22, she’s a dance major at UNLV, who recently unveiled an original choreographed piece titled “Skin Shed” and is preparing another, “Spineless,” for an April 22 premiere on the UNLV Dance Department YouTube show, Yesterday, Today, Tomorrow.
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 ҳ| 鶹ýӳ 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.