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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Untitled by Huma Bhabha, Image 1.

    Huma Bhabha

    Untitled, 2021

    Digital archival print on Epson Hot Press Natural 330g/m2 paper

    20.875 x 19 in (53.02 x 48.26 cm)

  2. Frankie Muniz, 2001 by Gene Merritt, Image 1.

    Gene Merritt

    Frankie Muniz, 2001, 2001

    Ink on paper

    11.75 x 9 in (29.85 x 22.86 cm)

  3. Queen of Futilities (Your Turn), from the Alter Pieces Series by Brad Thomas, Image 1.

    Brad Thomas

    Queen of Futilities (Your Turn), from the Alter Pieces Series, 1993

    Assemblage

    5.875 x 3 in (14.92 x 7.62 cm)

  4. Can You Pass the Color Bar? by Ce Scott-Fitts, Image 2.

    Ce Scott-Fitts

    Can You Pass the Color Bar?, 1991

    Mixed media on wood

    31.5 x 25.5 x 2.75 in (80.01 x 64.77 x 6.99 cm)

  5. Wind Instruments by Simon Cutts, Image 14.

    Simon Cutts

    Wind Instruments, 1980

    Wire, wood, embossed paper, photographic prints on paper, chestnut wood box

    17.875 x 24.25 in (45.4 x 61.6 cm)

  6. Curtis Field 1885-1954 by Ronald L. Ruble, Image 1.

    Ronald L. Ruble

    Curtis Field 1885-1954, 1978

    Screenprint on paper

    17.125 x 8.625 in (43.5 x 21.91 cm)

  7. Lolita Meditating by Graham Ovenden, Image 1.

    Graham Ovenden

    Lolita Meditating, 1975

    Etching on paper

    26 x 26 in (66.04 x 66.04 cm)

  8. Horae by George Lockwood, Image 1.

    George Lockwood

    Horae, 1969

    Lithograph on paper with poem by Robert Fitzgerald

    18.875 x 20 in (47.94 x 50.8 cm)

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About the artist

Robert Heinecken

American

1931-2006

Heinecken was an American artist born in Denver, CO in 1931. He served in the U.S. Marine Corp and studied art at UCLA. He is known for his photo-based collages and other works that utilize and manipulate images of popular media from magazines and television. Heinecken's darkroom experimentation expands the medium and practice of photography and explores media culture through themes of gender/sexuality, objectification, commercialism, kitsch, desire, and more. A self-called "paraphotographer," Heinecken rarely appeared behind a camera itself but greatly impacted how the art form is perceived.