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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Walking See Flower by James Surls, Image 1.

    James Surls

    Walking See Flower, 2001

    Painted steel

    156 x 156 x 48 in (396.24 x 396.24 x 121.92 cm)

  2. Collaboration: Assistant by Jim McCormick, Image 1.

    Jim McCormick

    Collaboration: Assistant, 1979

    Lithograph on paper

    11.25 x 16 in (28.58 x 40.64 cm)

  3. Silver III by Jonathan Clemens, Image 1.

    Jonathan Clemens

    Silver III, 1977

    Woodcut on paper

    17.25 x 12.75 in (43.82 x 32.39 cm)

  4. States of Mind II by Keith Achepohl, Image 1.

    Keith Achepohl

    States of Mind II, 1975

    Lithograph on paper

    22 x 18 in (55.88 x 45.72 cm)

  5. Richard Swanson

    Airplane Boy, 1974

    Chromogenic print

    8.25 x 12.625 in (20.96 x 32.07 cm)

  6. Mont Ventoux by Julian Trevelyan, Image 1.

    Julian Trevelyan

    Mont Ventoux, 1973

    Etching on paper

    30.375 x 23.875 in (77.15 x 60.64 cm)

  7. The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu Refugees, Tanzania by Sebastião Salgado, Image 1.

    Sebastião Salgado

    The first day of installation of the camp of Benako for the Rwandan Tutsi and Hutu Refugees, Tanzania, 1994, printed later

    Gelatin silver print

    21 x 32.125 in (53.34 x 81.6 cm)

  8. Rev. John Ruth by Roger Manley, Image 1.

    Roger Manley

    Rev. John Ruth

    Gelatin silver print

    25.875 x 21 x 1.375 in (65.72 x 53.34 x 3.49 cm)

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About the artist

Wynn Bullock

American

1902-1975

American photographer. Bullock was born in Chicago in 1902 and moved to New York City in the early 1920s to study voice at Columbia University and to pursue a career as a concert tenor. He toured Europe for music, and was exposed to developments in the visual arts. Upon his return to the United States in 1931, he briefly studied law; however, he decided that his vocation lay in photography and instead enrolled at the Los Angeles Art Center. His early work—mainly solarizations, in which the image is partly negative and partly positive—was strongly influenced by the avant-garde experiments of László Moholy-Nagy. His subject matter includes seascapes, landscapes, and nudes. His work also dealt with the larger visual metaphors such as the passing of time and the inevitability of death.