The Las Vegas Art Museum Records (1952-2009) contain administrative files, press, marketing materials, and scrapbooks that document the history of the Las Vegas Art Museum (LVAM). Collection materials include exhibition files, annual reports, financial statements, board meeting agendas and minutes, event invitations, press releases, and newspaper and magazine clippings documenting the museum's activities. Materials include photographs from museum events as well as photographs of artwork displayed as part of visiting and permanent exhibitions. Audio and video recordings include interviews with museum staff and local news coverage of events. Also included are architectural floor plans for the Sahara West Library, which was used as a gallery space for LVAM. Digital files in this collection include recordings and presentation slides from LVAM lectures with curators and artists. Other digital files include photographs from LVAM events and workings files from LVAM staff.
The Helen J. Stewart Photographs depict the Stewart Family from approximately 1860 to 1950. The photographs primarily depict Helen J. Stewart and her children as well as the Stewart Ranch (also know as the Las Vegas Ranch) in Southern Nevada. The photographs include the early Las Vegas, Nevada town site, landscapes of Southern Nevada and the American Southwest, mines and mining camps, railroads and railroad workers, the Las Vegas Fort (also known as the Old Mormon Fort), hotels and early businesses in Las Vegas, Native Americans and Native American artifacts, and postcards.
Daytime and nighttime views of the Greek Isles Hotel and Casino signs. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site address: 305 Convention Center Dr Sign owner: Mark IV Realty Sign details: The property which is at the eastern end of Convention Center Dr., is one tower at the east end of the property, and is attached to a low-rise structure which reaches westward along the east side of Convention Center drive. Various signs adorn the facade of the Greek Isles including a small pylon sign, a porte- cochere and two wall/logo signs. The stucco surface of the front of the building is painted with images of rustic Mediterranean cottages, as well as the rising or setting sun image seen on the pylon as well. Sign condition: Structure 5 Surface 5 Lighting 5 Notes: The signage for the Greek Isles is essentially brand new, with exception to the porte-cochere. The Porte cochere was left over from the previous establishment with a bit of standard upkeep. Sign form: Pylon; Fascia; Porte-cochère Sign-specific description: At the east end of Convention center Blvd The Greek Isles casino resides at the old site of establishments such as The Paddlewheel, and The Debbie Reynolds Hotel Casino. The signage consists a pylon sign, a porte- cochere and two wall signs. Located on the south side of the street, the signage is located in relatively small span of space along the north face of the establishment. At the western most end of the property, a section of the low rise structure radiuses outward creating a giant white, convex stucco canvass. A golden sunset has been painted on the entire surface of this rounded wall. A bright white round section represents it with the color blending from an intense yellow into a burnt orange on the top edge of the building. At the top of the wall along the surface, "Greek Isles is spelled in shallow blue channel letters, with each letter set upon a white cabinet which mimics the shape of the font. Incandescent bulbs fill each channel letter, surrounded by a border of blue neon. The text is very angular, also mimicking ancient Greek text and the text utilized in Caesar's Palace. Just below the text on the surface of the wall. A wall sign in the shape of a rectangle with scrolls on the either sides. The resultant effect is a two-dimension representation of an Ionic top of a column. The outer edge of the sign including the spiraling scrolls on either side is created with a narrow blue channel. Tubes of blue neon line the interior of this channel. The open rectangular space left in the banner of the sign reads "Hotel &Casino," in red channel letters, lined with red neon on the interiors. Further east on the surface of the building, the white stucco is treated with a mural of broken tile overhangs and open shutters. Column, and corbels are other elements represented in the mural of a Greek village. Another sign is located on the wall between the western most sign and the central Porte cochere. This sign is two parts. Pair of concrete columns support a cabinet, crafted in the same fashion as the secondary portion of the previously mentioned sign. The details of the scroll are created by gold raceways lined with incandescent bulbs. Painted in red , all capital, letters, the text "Restaurant &Lounge Show," lies horizontally across the white surface. Neon is crafted over the tops of the letters. Sitting on top of the cabinet is another set of channel letters. The shallow blue letters are filled with incandescent bulbs. The shadowing cabinet, behind the letters is painted gold. Blue neon borders each one of the letters. On either side of the text, three slightly arched rods angle out of the body of the faux scrolled cabinet. The rods are lined on the surface with one single tube of blue neon. A pair of gold, polished, doors lie underneath the sign between the columns. The main entrance of the building is underneath the porte-cochere, continuing east along the property. The surface of the awning is illuminated with lengthy backlit cabinets, lined on the top and the bottom with gold raceways lined with incandescent bulbs. Blue tubes of neon line the top and the bottom edges of the surface of the cabinet. The underside of the awning is divided in clear plastic covered recessed cubes, forming a grid over the surface. The interiors of the cubes are mirrored, and sloped to a point in the negative shape of a pyramid. The centers are adorned with incandescent bulbs. The borders that periodically broken up with polished, reflective panels of a bronze hue. The property continues east still, until a north/south drive separates the building from the pylon sign for the establishment. A pair of white painted steel poles are capped with a white cabinet, sculpted itself to add elements to the poles themselves. The left and right bottom edges of the cabinet are crafted to look lime the scrolled column capital, represented in the two logo wall signs on the east surface. The scrolls are created with blue paint, n the white surface, as well as the address painted in the center. The combination of the sculpted cabinet and supporting poles create a solid base for a giant black cabinet which housed a color LED message center. Atop the cabinet, another horizontal cabinet sits wider in length than the LED cabinet. The cabinet is crafted like the two wall signs as well, with bulbous radius ends, adorned on the surface and edges with the channel raceways creating the scroll shape. This channel is lined with blue neon. All capital, red channel letters, filled with red neon, reads "Hotel & Casino." A top this cabinet another sculpted cabinet hold the main logo text of the sign. The sign is crafted as a half circle, creating a cabinet with the entire outer edge being a single radius. The surface of the sign is painted in the same fashion the sunset mural on the east end of the building. The sign starts as a dark orange at the bottom and fades to a yellow at the top. The edge of the radius is interrupted by the main text. "Greek Isles" is spelled in the same fashion as all the other signs. The mimicking backing cabinets for the letters are painted white as well. The outer edge is also lined with gold polished raceways , and incandescent bulbs. The width of the sign from the LED cabinet on up is painted black Sign - type of display: Neon; Incandescent Sign - media: Steel Sign - non-neon treatments: Graphics; Paint Sign animation: none Sign environment: The Greek Isles is on the unique street line of Convention Center drive. To the east there is a nightclub, a chain motel, The Las Vegas Hilton, and the transplanted Riviera pylon. To the west, on that side of the street, is a bank complex and the Casino Royal. Across the street the vast expanse of the Hilton Convention Centers parking lot, makes the Greek Isles seem much larger for it's relatively small set of signage. Sign manufacturer: YESCO Sign - date of installation: 2000 Sign - date of redesign/move: The Greek Isles signage is the same since its initial installation, but replaces other vestiges of the previous properties, most recently the Debbie Reynolds Hotel and Casino. Sign - thematic influences: The theme of the property is quite evident in its name as well as in its facade. The exterior is made to appear with elements of a rustic Greek village utilizing a white stucco finish treated with mural designs of wooden shutters and other village amenities. On western end of the property, the large round, surface of the wall is treated with graphic paint representative to a rising or setting sun. This element also adds to the apparent ambiance of the serene village. The text for the property is crafted in the generalized angular style of the ancient Greek text, not that much dissimilar to the Caesar's Palace logo text. In fact they are almost identical in fashion. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Graphics; Paint
always thought I'd be more urban. I would live in a downtown city. I wouldn't have a car. I would walk around. I would work on these big skyscrapers.” At one point in his life, architect Craig Galati dreamt of designing large buildings in some of the nation’s biggest cities. Instead, he was drawn back to his childhood home of Las Vegas, where he created projects meant to preserve the city’s integrity, such as the Grant Sawyer State Office Building and the first building at the College of Southern Nevada Charleston Campus. He speaks to his work in preservation at the Las Vegas Springs Preserve and in welcoming visitors to Mount Charleston with his Spring Mountains Visitor Gateway design. In this interview, Galati talks about his parents’ decision to move from Ohio to Nevada and what it was like growing up in Las Vegas. He recalls his first teenage jobs in the Las Vegas of his youth and his studies in architecture at the University of Idaho. He recounts the dilemma of struggling to find architecture work he enjoyed and how that vision drew him back to Vegas. He describes various projects in his portfolio from his early years to the present. He speaks highly of his partnership with Ray Lucchesi and the basis for their vision: “We wanted to be a place that everybody liked to work for. Buildings were just tools to do something grander. They weren't an object. We had a philosophy that was not object based, it was people based.”
Frankie Perez (1986- ) is an individual that constantly found himself navigating two worlds, whether it was military versus civilian; female versus male; or being Latinx in the United States. As a result of this navigation, Perez has a unique perspective on our ever more complicated world that not many individuals possess. Perez served in the military during the Do Not Ask, Do Not Tell policy which made it difficult for someone dealing with gender identity, to seek out the proper support they need. Despite the policy, and other policies that were put in place afterwards to inhibit the transgender community in the military, Perez began his transition while still serving his country. In direct contradiction of popular opinion, Perez discovered that the military easily accommodated his transition. Outside of the military Perez is an active voice in the LGBTQ community. As a member of the LGBTQ, Latinx, and military community, Perez has a unique perspective that he uses to fight for both LGBTQ and Latinx rights. Currently, Perez is finishing his degree in gender and sexuality studies at UNLV. He hopes to use his education to help people have the difficult discussions and improve conditions for his communities.
Chelsie Campbell is a Cuban-American attorney and lobbyist. Born on October 4, 1979, Chelsie is a native Nevadan and grew up in Las Vegas. Her mother, Norah Campbell, came to Las Vegas after the Cuban Revolution and works as an elementary school teacher. Her father, Alan Campbell, was a former teacher and hotel manager. An advocate for the Latino community, Chelsie has dedicated her life to advocacy. Her involvement began at UNLV where she found her voice through the Student Organization of Latinos (SOL). During her time with SOL, she advocated for the elimination of the social security requirement in UNLV’s admission process and lobbied for the retraction of Las Vegas Review Journal’s racist article on Latino students. Her activism in SOL also helped established additional SOL chapters across Las Vegas high schools and at the College of Southern Nevada. After earning her Bachelors in Broadcast Journalism and Spanish Literature from UNLV, Chelsie attended William S. Boyd Law School where she graduated in 2005. Chelsie also attended University of Nevada, Reno where she received her master’s in Management and a graduate certificate in renewable energy. Chelsie worked for Mach One Group as Editor-In-Chief of its two publications, Nevada Family Magazine and La Familia de Nevada. After law school, Chelsie began working at NV Energy as a spokesperson and worked her way up to government affairs. Chelsie is currently working as an independent lobbyist and choses her clients. Her clients include Clark County School District and NV Energy. Her work as a lobbyist includes helping agencies prepare for Nevada’s legislative session, conduct public policy research, and help with educational outreach. Through her activism, Chelsie has worked for former Senate Majority Leader, U.S. Senator Harry Reid. Chelsie is also part of the inaugural class of Emerge Nevada, a political leadership-training program for women in Nevada. Chelsie is on the Board of Trustees for the Leukemia and Lymphoma Society of Southern Nevada, the Chairwoman for the Nevada Advisory Board for CPLC Southwest, Board Member for the Advisory Commission on law-related Education for the State Bar of Nevada and serves on the Governmental Affairs Committee for the Latin Chamber of Commerce. She is the former President for the Boyd Law School Alumni Chapter and the Board of Directors for the Gray Plunkett Jydstrup Living Facility. Chelsie would like to dedicate her oral history to her parents: Without them, I wouldn’t be here.
Interviewed by Maribel Estrada Calderón. Claytee White also participates in the questioning. Eddie Escobedo was born in 1961 and two years later, he and his family immigrated to the United States. He fondly remembers his father, Edmundo Escobedo. Escobedo is currently in charge of the newspaper that his father started, El Mundo Newspaper.