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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. True Blue by Ludovica Gioscia, Image 2.

    Ludovica Gioscia

    True Blue, 2021

    Four color screenprint on acid free watercolor 300 gsm paper

    20 x 16 in (50.8 x 40.64 cm)

  2. Dark Moon by Herb Jackson, Image 1.

    Herb Jackson

    Dark Moon, 1989

    Etching and aquatint on paper

    9.5 x 7.75 in (24.13 x 19.69 cm)

  3. Sankt Gottard, Mainz II by Amy Namowitz Worthen, Image 1.

    Amy Namowitz Worthen

    Sankt Gottard, Mainz II, 1982

    Engraving on paper

    14.5 x 12.75 in (36.83 x 32.39 cm)

  4. Windmill Antilles by Howard Kanovitz, Image 1.

    Howard Kanovitz

    Windmill Antilles, 1980

    Lithograph on paper

    32.5 x 24 in (82.55 x 60.96 cm)

  5. Splasher by Gay Rogers, Image 1.

    Gay Rogers

    Splasher, 1980

    Lithograph on paper

    13.125 x 15 in (33.34 x 38.1 cm)

  6. Rides by Joyce Arons, Image 1.

    Joyce Arons

    Rides, 1979

    Lithograph on paper

    23.125 x 29 in (58.74 x 73.66 cm)

  7. Edison's Bird by Robert A. Nelson, Image 1.

    Robert A. Nelson

    Edison's Bird, 1979

    Lithograph on paper

    28 x 37.75 in (71.12 x 95.89 cm)

  8. Chinatown by Chryssa, Image 1.

    Chryssa

    Chinatown, 1978

    Screenprint on paper

    38.25 x 31.25 in (97.16 x 79.38 cm)

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About the artist

Jaune Quick-To-See Smith

Confederated Salish and Kootenai Nation

1940-2025

Jaune Quick-To-See Smith was born in 1940 in Montana on the St. Ignatius, Flathead Reservation. She died in 2025 in Corrales, New Mexico.

A Native American of French-Cree, Shoshone, and Salish blood, Jaune Quick-to-See Smith created paintings and drawings that reflect her upbringing in a household where art and horses were equally important. Her chosen imagery often included her horse Cheyenne, tepees, tools, pottery, and other Indian artifacts. Later Smith began to incorporate collage elements into her paintings, adding calico and muslin fabric and wire mesh over which she applied paint. The result was surfaces that acquired a texture and topography reminiscent of the landscapes she was depicting. She was part of the new generation of Native American artists who redefined their culture's relationship to contemporary American life and its problematic past. She lived and worked in Corrales, New Mexico, a smaller town just north of Albuquerque – the land that inspired much of her art.