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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. East Durham Love - Soon as I Get Home I by Kennedi Carter, Image 2.

    Kennedi Carter

    East Durham Love - Soon as I Get Home I, 2019

    Archival pigment print

    31 x 24 in (78.74 x 60.96 cm)

  2. Facelift by Anne Noggle, Image 1.

    Anne Noggle

    Facelift, 1975

    Gelatin silver print

    16 x 19.75 in (40.64 x 50.17 cm)

  3. Sisters, from RISD Portfolio by Debora Hunter, Image 1.

    Debora Hunter

    Sisters, from RISD Portfolio, 1974

    Gelatin silver print mounted to drawing board

    5.25 x 6.75 in (13.34 x 17.15 cm)

  4. Standing Objects by John Wallace, Image 1.

    John Wallace

    Standing Objects, 1974

    Lithograph on paper

    22.25 x 30 in (56.52 x 76.2 cm)

  5. Forms Encaged by William Scott, Image 1.

    William Scott

    Forms Encaged, 1972

    Screenprint on paper

    22.75 x 15.5 in (57.79 x 39.37 cm)

  6. Untitled by Howard Thomas, Image 1.

    Howard Thomas

    Untitled, No date

    Oil on paper

    11.5 x 19 in (29.21 x 48.26 cm)

  7. Empty Rows of Benches by N. Jay Jaffee, Image 1.

    N. Jay Jaffee

    Empty Rows of Benches, No date

    Gelatin silver print

    10.875 x 13.875 in (27.62 x 35.24 cm)

  8. Boulangerie Rue de Poitou, from the portfolio Robert Doisneau by Robert Doisneau, Image 1.

    Robert Doisneau

    Boulangerie Rue de Poitou, from the portfolio Robert Doisneau, 1971, printed 1979

    Gelatin silver print

    13.375 x 9.625 in (33.97 x 24.45 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.