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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. ________Totem by Ryan O'Malley, Image 1.

    Ryan O'Malley

    ________Totem, 2008

    Lithograph on paper

    30 x 22.125 in (76.2 x 56.2 cm)

  2. The Trees of Eden #4 by Evelyn Ellwood, Image 1.

    Evelyn Ellwood

    The Trees of Eden #4, 1986

    Acrylic on canvas

    69 x 53.75 in (175.26 x 136.53 cm)

  3. Unidentified Woman (Short Dark Hair) by Andy Warhol, Image 1.

    Andy Warhol

    Unidentified Woman (Short Dark Hair), 1980

    Polaroid

    4.25 x 3.375 in (10.8 x 8.57 cm)

  4. Untitled by A.R. Ammons, Image 1.

    A.R. Ammons

    Untitled, 1978

    Watercolor and ink on Arches paper

    24 x 18 in (60.96 x 45.72 cm)

  5. New York City, 1968, from Garry Winogrand portfolio by Garry Winogrand, Image 1.

    Garry Winogrand

    New York City, 1968, from Garry Winogrand portfolio, 1978

    Gelatin silver print

    11 x 17 in (27.94 x 43.18 cm)

  6. C.L. Redwine, Coahoma County by William R. Ferris, Image 1.

    William R. Ferris

    C.L. Redwine, Coahoma County, 1968

    Gelatin silver print

    11 x 17 in (27.94 x 43.18 cm)

  7. Car Wash, The Royal Canal, Dublin by Alen MacWeeney, Image 2.

    Alen MacWeeney

    Car Wash, The Royal Canal, Dublin, 1963

    Archival pigment print

    13 x 19 in (33.02 x 48.26 cm)

  8. Armor by Francesco Piranesi, Image 1.

    Francesco Piranesi

    Armor, 1778

    Etching on paper

    25.125 x 32.25 in (63.82 x 81.92 cm)

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About the artist

Kenneth Noland

American

1924-2010

American painter. Kenneth Noland (1924-2010) was an American painter who was centrally involved in many art movements throughout the 20th century including Abstract Expressionism, Minimalism, and Color Field painting. Being a North Carolina native and WWII veteran, Noland attended the experimental Black Mountain College on the G.I. Bill where he was taught by influential artists Ilya Botolosky and Josef Albers, exposing Noland to Neoplasticism and Bauhaus color theory. Noland was later introduced to Helen Frankethaler by critic Clement Greenberg and adopted her “soak-stain” technique of letting thinned paint soak through unprimed canvases to create an effect that resembles watercolor. Combined with Noland’s stripe motif that can be seen in many of his paintings, the soak-stain technique can also be seen here in Untitled. To inaugurate the opening of the new Katherine and Tom Belk Visual Art Center in 1993, Herb Jackson and Davidson College held a retrospective of Noland’s work and awarded him an honorary degree, and Noland gifted this large work after the retrospective.