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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Bottom of the Dune, White Sands National Park, NM by Lucien Clergue, Image 1.

    Lucien Clergue

    Bottom of the Dune, White Sands National Park, NM, 1987

    Chromogenic print

    10 x 29.75 in (25.4 x 75.57 cm)

  2. Luncheon of Honor, '55 by Shiela Bocock, Image 1.

    Shiela Bocock

    Luncheon of Honor, '55, 1974

    Pencil and ink on paper mounted to board

    20 x 30 in (50.8 x 76.2 cm)

  3. Barbara Swan

    Harold Tovish, Friends of the Artist, 1970

    Lithograph on paper

    30.3125 x 22.125 in (76.99 x 56.2 cm)

  4. Marche, Rue de Seine by Annie Cardin, Image 1.

    Annie Cardin

    Marche, Rue de Seine, c. 1963

    Lithograph on paper

    22.5 x 29 in (57.15 x 73.66 cm)

  5. Farce by Reginald Pollack, Image 1.

    Reginald Pollack

    Farce, c. 1960

    Lithograph on paper

    22.75 x 28.5 in (57.79 x 72.39 cm)

  6. Alphonse d'Avalon, Marquis de Gaust by Jean Charles Thevenin, Image 1.

    Jean Charles Thevenin

    Alphonse d'Avalon, Marquis de Gaust, 1867

    Engraving on paper

    14.75 x 11.75 in (37.47 x 29.85 cm)

  7. General Dynamic F.U.N. Why children commit suicide...read next moth's issue by Eduardo Paolozzi, Image 1.

    Eduardo Paolozzi

    General Dynamic F.U.N. Why children commit suicide...read next moth's issue, 1965/70

    Photolithograph

    15 x 10 in (38.1 x 25.4 cm)

  8. Untitled by Arthur Segal, Image 1.

    Arthur Segal

    Untitled, No date

    Woodcut on paper

    15.375 x 22.75 in (39.05 x 57.79 cm)

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About the artist

Miguel A. Aragón

Mexican

Miguel A. Aragón was born and raised in Ciudad Juárez, Mexico and currently lives and works in New York. Often appropriating photographs of extreme violence printed in Mexican newspapers, Aragón explores memory, perception, and the multiple. He uses erasure as language through the use of processes that are reductive in nature. His hope is that this destructive process can be seen as constructive in some ways. The negation of an image is not actually nothing; the void becomes a space nurturing the memory of what was there before. He has displayed his art both nationally and internationally, and now works as an assistant professor of art at the CUNY college of Staten Island.