Page 8 - 20160815 Exhibition Guidebook First Printing

Introduction

College of Fine Arts
I first met Rita Asfour in January of 2016, and have since interviewed her several times.

Three departments, within the UNLV College of Fine Arts, have enthusiastically contributed to make this exhi- After spending considerable time curating her private collection, I recognized that her artistic leanings are an
bition more informative. Each offered its own vision. accumulation of personal beliefs, customs, and knowledge. All experienced over decades. A fountainhead that
took the artist a lifetime to discover.

How is it that a blank canvas ceases to be an image of nothingness once an artist like Rita turns her gaze on it?
The Department of Art started by sponsoring the exhibition. At first, Dr. Tracy focused on the new paint- Where do these unabashed and bursting colors come from? How are these expressive and powerfully defiant
ings of showgirls. But later discovered a style and subject of ballet paintings that might expand on the subject of brush-strokes applied? Her palette is a rainbow and her brush-strokes celebrate the movement of her dancers.
dance, so he added the ballet collection.

In a recent discussion with the artist, I asked if she was surrounded by art when she was growing up. I learned that
in her home there were colorful paintings of beautiful women that were done by her father. Maybe that is where
The Department of Dance then stepped in with the idea of enlivening the exhibition with real dancing it all came from. At an early age, Rita must have understood that Art is not just the production of an object. Art
that would give life to the still paingings hanging on the walls. Two different dances are now planned. The first is a way of life. Art is a way of finding oneself. Or, of losing oneself, in one’s own world.
relates to the ballet paintings and the second to the paintings of the showgirls. Both performances will be staged
on more than one occasion, and in conjunction with, other events on the campus, viz: Rita’s secret is that she is not driven by monetary success or notoriety. She does not paint based on a schedule or

is bound by any kind of routine. Rita is first and foremost a free and curious spirit.
Pas De Quatre
Original choreography by Perrot Rita prefers to work in her studio alone and in solitude. She works fast. Her momentum is her strength and her
Music by Pugni energy is pounded by impatience. Her studio is not messy so she always finds things quickly. She does not work
Choreography re-stage by - Dolly Kelepecz-Momot from sketches but creates immediately from her heart. Her hand flows smoothly on the canvas to draw the correct
& proportions of the figures she paints. It is her courage to start and finish a painting without any physical sketches
Going to Vegas that is amazing. But in reality she must have these paintings in her imagination before she even enters her studio.
Choreography re-stage by - Dolly Kelepecz-Momot Rita is at one with her studio. Rita races to put down her strokes before the vision she has is impacted by the phone
ringing or the cats meowing or the dogs barking or the pot boiling. Once the idea takes shape, Rita would then
go back in for the finishing touches. Rita told me she ‘knew’ when the work was done---she just ‘knew.’ The artist
The Department of Film became aware of what is happening and thought that the subject mater and the never agonized over when to stop making her marks on the canvas. She knew!
life story of the artist were unique enought to warrant a first class half-hour documentary. It will be photo-
graphed in the new 4K format and will have as its target airing on public television. The experts involved are: As I reflect and ponder upon the large body of work by Rita Asfour, I am amazed by Rita’s decades of aesthetic
Professor Sean Clark - Producer creativity and unrelenting drive to produce new works. This exhibit is but a small sample of the many paintings,
Gia Harbour - Director sculptures, and jewelry, that Rita created over the years.
Tim Harbour - Cinematographer
Narrator - TBD Rita Asfour’s legacy will be that of an enabled artist who never gave up on doing it - Her Way!

Robert Tracy, Ph.D., Curator
For more details please contact Dr. Robert Tracy at robert.tracy@unlv.edu College of Fine Arts

UNLV

8 9