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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Egg Shells by Cornell Watson, Image 2.

    Cornell Watson

    Egg Shells, 2020

    Premium ink-jet print on acid free 100% cotton rag 300gsm paper

    36 x 24 in (91.44 x 60.96 cm)

  2. Scape, from the portfolio "Utopia" by Susan Goethel Campbell, Image 1.

    Susan Goethel Campbell

    Scape, from the portfolio "Utopia", 1989

    Mixed media on paper

    22.5 x 14.875 in (57.15 x 37.78 cm)

  3. Feather Watch by Richard Black, Image 1.

    Richard Black

    Feather Watch, 1983

    Lithograph on paper

    15.125 x 9.75 in (38.42 x 24.77 cm)

  4. William Christenberry, Washington, D.C. by William R. Ferris, Image 1.

    William R. Ferris

    William Christenberry, Washington, D.C., 1982

    Gelatin silver print

    11.75 x 16.5 in (29.85 x 41.91 cm)

  5. Los Fuegos Artificiales by Annie Dowhie, Image 1.

    Annie Dowhie

    Los Fuegos Artificiales, 1982

    Lithograph on paper

    17.25 x 7.5 in (43.82 x 19.05 cm)

  6. Two Plus by Doug Warner, Image 1.

    Doug Warner

    Two Plus, 1978

    Handmade paper

    11.75 x 22.75 in (29.85 x 57.79 cm)

  7. Castle Rock Colorado by Garry Winogrand, Image 1.

    Garry Winogrand

    Castle Rock Colorado, 1978

    Gelatin silver print

  8. Cold watermelon vendor, Lelan, Mississippi, 1976 by William R. Ferris, Image 1.

    William R. Ferris

    Cold watermelon vendor, Lelan, Mississippi, 1976, 1976

    Chromogenic print

    16.125 x 24 in (40.96 x 60.96 cm)

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About the artist

Zhan Wang

Chinese

b. 1962

Zhan Wang attended Beijing Industrial Arts College from 1978–1981 and also the Central Academy of Fine Arts from 1983–1988. He currently works as a Professor of Sculpture at the Central Academy of Fine Arts in Beijing while also creating and exhibiting new works. His series of stainless steel Artificial Rocks, begun in 1995, has garnered international acclaim and has been collected by institutions around the world. These works are based on an object symbolic of China’s past, the scholar’s rock, which was traditionally collected by the literati and placed in courtyards or other sites of private contemplation, such as studies. Zhan Wang’s stainless steel reinterpretations of this form draw attention to China’s shifting value systems and the reconstruction of its urban centers. These highly reflective works not only utilize the ubiquitous building material of his native country, but also reflect in a mirror-like fashion the rapid urbanization of modern-day China and its ongoing realignment with the natural world. These works are made through a painstaking handcrafted process for which the artist received a patent in 2002.