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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Gerbera Daisy & Wildflowers by Joyce Tenneson, Image 2.

    Joyce Tenneson

    Gerbera Daisy & Wildflowers, 2020

    Archival pigment print

    22 x 17 in (55.88 x 43.18 cm)

  2. Ntozakhe II, Parktown, from the Somnyama Ngonyama series by Zanele Muholi, Image 2.

    Zanele Muholi

    Ntozakhe II, Parktown, from the Somnyama Ngonyama series, 2016

    Photography

    119.5 x 85.75 in (303.53 x 217.81 cm)

  3. Crowns (Denise Hartsfield) by Michael Cunningham, Image 1.

    Michael Cunningham

    Crowns (Denise Hartsfield), 1999

    Gelatin silver print

    19.375 x 15.375 in (49.21 x 39.05 cm)

  4. Pod III, Open by Herb Jackson, Image 1.

    Herb Jackson

    Pod III, Open, 1977

    Lithograph on paper

    29.0625 x 22.25 in (73.82 x 56.52 cm)

  5. Little Fish Game by Chris Kakas, Image 1.

    Chris Kakas

    Little Fish Game, 1975

    Lithograph on paper

    14.4375 x 11.25 in (36.67 x 28.58 cm)

  6. Logo Suite, J by Richard Smith, Image 1.

    Richard Smith

    Logo Suite, J, 1971

    Screenprint on paper

    23.75 x 19.625 x 2 in (60.33 x 49.85 x 5.08 cm)

  7. The Anti-Archive of Trauma on the U.S.-Mexico Border by Susan Harbage Page, Image 1.

    Susan Harbage Page

    The Anti-Archive of Trauma on the U.S.-Mexico Border, 2007-2020

    Chromogenic print

    17 x 22 in (43.18 x 55.88 cm)

  8. Untitled by David A. Bumbeck, Image 1.

    David A. Bumbeck

    Untitled

    Etching on paper

    11 x 8 in (27.94 x 20.32 cm)

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About the artist

Marisol Escobar

French

1930-2016

Born to Venezuelan parents in Paris, France in 1930. Escobar's parents were wealthy and were able to travel between Europe, Venezuela, and the US. Her mother committed suicide in 1941, and soonafter, her father shipped her off to boarding school. These events affected her deeply. She had a talent for drawing and frequently won prizes during her schoolyears. Escobar studied at the Paris École-des-Beaux-Arts in 1949, and later returned to study under Hans Hofmann. She concentrated her artwork on three-dimensional portraits, taking inspiration from photographs and personal memories. Her sculpture acted as a satiric criticism of contemporary life. Her main concerns were of the roles of the woman in terms of middle-class femininity, the subject human vulnerability within a feminist critique, and the controlling male viewpoints of her Pop Art contemporaries.