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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Luca and Kamryn, from Spaces of Comfort by Endia Beal, Image 1.

    Endia Beal

    Luca and Kamryn, from Spaces of Comfort, 2023

    Archival pigment print

    40 x 120 in (101.6 x 304.8 cm)

  2. Howard Bond

    Spray, Mt. Rainier National Park, 1981

    Gelatin silver print

    21.875 x 27.9375 in (55.56 x 70.96 cm)

  3. Mr. Berger (German) by Andy Warhol, Image 1.

    Andy Warhol

    Mr. Berger (German), 1979

    Polaroid

    4.25 x 3.375 in (10.8 x 8.57 cm)

  4. Noname by Sheigla Hartman, Image 1.

    Sheigla Hartman

    Noname, 1976

    Engraving on paper

    20 x 25.75 in (50.8 x 65.41 cm)

  5. Quartered Arc by Gordon House, Image 1.

    Gordon House

    Quartered Arc, 1970

    Etching on paper

    23 x 15.875 in (58.42 x 40.32 cm)

  6. Patrice Munsel by Philippe Halsman, Image 1.

    Philippe Halsman

    Patrice Munsel, 1950

    Gelatin silver print

    14 x 10.875 in (35.56 x 27.62 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. General Dynamic F.U.N. Hermaphroditic Children from Transvestite Parents by Eduardo Paolozzi, Image 1.

    Eduardo Paolozzi

    General Dynamic F.U.N. Hermaphroditic Children from Transvestite Parents, 1965/70

    Photolithograph

    15 x 10 in (38.1 x 25.4 cm)

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About the artist

Graham Ovenden

British

b. 1943

British painter, photographer, photo-historian, and writer. Ovenden studied at the Royal College of Music and Southampton School of Art and graduated from the Royal College of Art (1968). He was a founder of the Brotherhood of Ruralists (1975). His work is extremely controversial, and he was prosecuted but not found guilty for a production of hoax calotypes which he claimed were of Victorian street children (1980). In the 1990s, his work was investigated by the US and UK authorities as possible child pornography. (2009) He was charged by the UK for creating indecent images, but the trials collapsed. A few years later, Ovenden was found guilty of six charges of indecency with a child and one charge of indecent assault relating to the girls who modelled for him (2013). Many of his pieces have been either confiscated by the British government, banned by both countries, destroyed, or rendered inaccessible.