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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. THE EQUAL AND INALIENABLE RIGHTS OF ALL by Ann Hamilton, Image 1.

    Ann Hamilton

    THE EQUAL AND INALIENABLE RIGHTS OF ALL, 2017

    Blind embossment with hand-applied ink

    35.5 x 25 in (90.17 x 63.5 cm)

  2. Paul by Sigmund Abeles, Image 1.

    Sigmund Abeles

    Paul, 1978

    Lithograph on paper

    29.875 x 22.25 in (75.88 x 56.52 cm)

  3. Enchantment/Lakeside by George Burk, Image 1.

    George Burk

    Enchantment/Lakeside, 1977

    Lithograph on paper

    15 x 11 in (38.1 x 27.94 cm)

  4. Chance and Order VI by Kenneth Martin, Image 1.

    Kenneth Martin

    Chance and Order VI, 1977

    Screenprint on paper

    27 x 27 in (68.58 x 68.58 cm)

  5. Dante, I Had Not Known That Death Had Undone So Many by Tom Phillips, Image 1.

    Tom Phillips

    Dante, I Had Not Known That Death Had Undone So Many, c. 1975

    Etching on paper

    25.5 x 19.5 in (64.77 x 49.53 cm)

  6. The Witches by Thom O'Connor, Image 1.

    Thom O'Connor

    The Witches, 1972

    Lithograph on paper

    6 x 12.75 in (15.24 x 32.39 cm)

  7. Chance and Order I by Kenneth Martin, Image 1.

    Kenneth Martin

    Chance and Order I, 1971

    Screenprint on paper

    27 x 27 in (68.58 x 68.58 cm)

  8. Virgo by Beverly Pepper, Image 1.

    Beverly Pepper

    Virgo, 1968

    Collage on paper

    19.25 x 27.75 in (48.9 x 70.49 cm)

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About the artist

Irving Norman

1906-1989

Without a doubt, Irving Norman is one of the greatest American social surrealists of the 20th century. A Jewish Lithuanian émigré born in Vilnius (then under Russian control) Norman moved to the United States with his family in 1923. In 1938, Norman joined the Abraham Lincoln battalion of the International Brigade to fight Francisco Franco and the Nationalists during the Spanish Civil War. Returning in 1940, Norman sought to confront and describe the atrocities he had seen during his time in Spain and turned to art as his outlet. Norman's surrealist work, inspired by his experiences, socialist stance, and the tenants of Mexican muralism, tells a tale of capitalistic greed, machine-like automatism, and the horrors of modern life.