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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. The Road to Nowhere, # 8 by Marti Corn, Image 1.

    Marti Corn

    The Road to Nowhere, # 8, 2017

    Archival pigment print

    13 x 12.9375 in (33.02 x 32.86 cm)

  2. Unidentified Children (Boy in Purple Tie with Girl in White Dress) by Andy Warhol, Image 1.

    Andy Warhol

    Unidentified Children (Boy in Purple Tie with Girl in White Dress), 1980

    Polaroid

    4.25 x 3.375 in (10.8 x 8.57 cm)

  3. B.B. King, Lucifer's Club, Boston by William R. Ferris, Image 1.

    William R. Ferris

    B.B. King, Lucifer's Club, Boston, 1976

    Gelatin silver print

    11 x 17 in (27.94 x 43.18 cm)

  4. Wild West Women V by Martin John Garhart, Image 1.

    Martin John Garhart

    Wild West Women V, 1973

    Lithograph on paper

    19 x 23.875 in (48.26 x 60.64 cm)

  5. Souk by Julian Trevelyan, Image 1.

    Julian Trevelyan

    Souk, 1972

    Etching on paper

    30.25 x 23.125 in (76.84 x 58.74 cm)

  6. Chance and Order V by Kenneth Martin, Image 1.

    Kenneth Martin

    Chance and Order V, 1971

    Screenprint on paper

    27 x 27 in (68.58 x 68.58 cm)

  7. Indian View C by Howard Hodgkin, Image 1.

    Howard Hodgkin

    Indian View C, 1971

    Screenprint on paper

    22.75 x 30.5 in (57.79 x 77.47 cm)

  8. Bather by Don Mahy, Image 1.

    Don Mahy

    Bather, 1964

    Pencil on paper mounted to board

    13.375 x 11.375 in (33.97 x 28.89 cm)

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About the artist

James Welling

American

b. 1951

James Welling grew up taking drawing classes at the Wadsworth Atheneum in Hartford, CT. Welling studied at Carnegie Mellon University and the University of Pittsburgh before receiving his BFA and MFA from the California Institute of the Arts in Valencia. From 1995 to 2016, he served as the Area Head of Photography at UCLA, and since 2012 he has been a Lecturer at Princeton University.

Welling is a conceptual artist known for his color-filtered and digitally manipulated photographs. His work often explores ambiguity and skepticism while maintaining a deeply formal process that connects the legacy of Conceptual Art to the technical practice of photography.