Ken Gonzales-Day’s interdisciplinary and conceptually grounded photographic projects consider the history of photography, the construction of race, and the limits of representational systems. Gonzales-Day is a Getty scholar and a Terra Foundation and Smithsonian Museum fellow. In 2018, he was the subject of a solo exhibition at the Smithsonian National Portrait Gallery in Washington, D.C. A former Chair and current professor of art at Scripps College, Gonzales-Day’s exhaustive research and book Lynching in the West, 1850-1935 (2006) led to a re-evaluation of the history of lynching in this country. The book shed light on the little-known history of frontier justice and vigilantism and was nominated for a Pulitzer Prize. The Erased Lynchings series of photographs was a product of this research, which revealed that race was a contributing factor in California's own history of lynching and vigilantism, and through which he discovered that the majority of victims were Mexican or, like him, Mexican-American. Gonzales-Day takes the same scholarly approach to his ongoing Profiled series, which looks to the depiction of race and the construction of whiteness in the representation of the human form as points of departure from which to consider the evolution and transformation of Enlightenment ideas about beauty, class, freedom, and progress. The series was awarded the first Photo Arts Council Prize (PAC) by LACMA and documented in a handsome monograph. It is Gonzales-Day’s continual engagement with history and his interest in peeling back the layers that makes his work so powerful and continuously relevant.
Gonzales-Day's work can be found in several prominent collections, including: Norton Museum of Art, Palm Beach, FL; Los Angeles County Museum of Art; Smithsonian American Art Museum, Washington, DC; Getty Research Institute, Los Angeles, CA; Art Gallery of New South Wales, Sydney; Santa Barbara Museum of Art; Minnesota Museum of American Art, St. Paul, MN; Eli and Edythe Broad Art Museum, Michigan State University; Eileen Norton Harris Foundation; 21C Museum, Louisville, KY; Hood Museum of Art, Dartmouth, Hanover, NH; Williamson Gallery, Scripps College; L'Ecole des Beaux-Arts, Paris; Museum National d'Histoire Naturelle, Paris; Pomona College Museum of Art; City of Los Angeles; and Metropolitan Transit Authority, Los Angeles.
Ken Gonzales-Day to show previously unseen work as part of group show, THE SPREAD at de boer gallery.
THE SPREAD, which explores themes of civil war, protest, cultural and racial insurgency, climate change and sanctioned travel will follow a similar logic to Verabioff’s installations to disrupt the authority associated with authorship by acknowledging the complex interplay between object, creator, viewing context and audience through the lens of queer feminist discourse.
In Plain Sight is a coalition of 80 artists united to create an artwork dedicated to the abolition of immigrant detention and the United States culture of incarceration. A highly orchestrated mediagenic spectacle and poetic action, this project is conceived in five parts -- a poetic elegy enacted on a national scale, an interactive website, an anthology docuseries, accessible actions for the public to take to join the movement against immigrant detention, and cultural partnerships producing arts-related education and engagement.
Bridge Projects' ongoing series Echo/Locate will host Ken Gonzales-Day for an artist talk, virtual site visit, and discussion via Zoom. The group will embark upon an hour-long exploration into the purpose and power of the Gonzales-Day's series Searching for California Hang Trees and Erased Lynchings. Gonzales-Day will be in his studio, and the Bridge Projects team will be scattered throughout Los Angeles at locations pertaining to his practice.
This multi-media selection of works by over two dozen artists explores what and how we see today, revealing the visible and hidden forces shaping both what the contemporary world looks like, and how we consume and interpret that information—how visual and psychological perception are evolving in the 21st century.
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Erased Lynchings III (2019) was acquired by the Eli and Edythe Broad Art Museum at Michigan State University in East Lansing, MI. Opened on November 10, 2012, the Eli and Edythe Broad Art Museum at Michigan State University (MSU Broad) is a dynamic contemporary art museum, designed by Pritzker Prize-winning architect Zaha Hadid, which serves as both a teaching institution and a cultural hub for East Lansing and the region.
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's photograph Nightfall II (2006) from the series titled Search for California Hang Trees was acquired by the Hood Museum of Art at Dartmouth College in Hanover, NH. Dartmouth's collections are among the oldest and largest of any college or university in the country, but it was not until the Charles Moore–designed Hood Museum of Art opened its doors in 1985 that they were all housed under one roof and made available to faculty, students, and the public.
The conference All-Inclusive: Photography for Social Justice is co-hosted by the West and Southwest Chapters of SPE and the Department of Art and Art History at Santa Clara University, located in the heart of Silicon Valley, minutes from the San Jose Airport and less than an hour from the old stomping grounds of Group f/64, which includes Carmel, San Francisco, and Oakland.
The conference will explore how photography is used to challenge injustice, pursue social equality, and advance human rights through creative skills in order to inspire social movements, to witness, to resist oppression, to pose the difficult questions, and to stimulate debate and awareness about critical social issues. It will take place concurrently with Ken Gonzales-Day's solo exhibition at Santa Clara University.
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Shonke-Monthin, Osage by Joseph Palmer (National Museum of Natural History, D.C.) (2014) was acquired by the Smithsonian National Portrait Gallery in Washington, D.C. The photograph is part of the artist's ongoing Profiled series and was exhibited at the National Portrait Gallery in the two-person exhibition titled UnSeen: Our Past In A New Light from March 23, 2018 through January 06, 2019
The Association of Art Museum Curators (AAMC) and the AAMC Foundation has named the 20 U.S. curators who will be receiving its 2019 Awards for Excellence. This year’s honorees were selected from 150 nominations, and work in a variety of fields, including native and indigenous art, contemporary art, folk art, medieval art, American art, media art, and photography.
Judith Pineiro, executive director of AAMC and AAMC Foundation, said in a statement, “For 15 years, curators have recognized the trailblazing achievements of their peers through our annual Awards for Excellence. It is a privilege to celebrate this year’s awardees who, through their work, have fostered dynamic dialogue and broader engagement in the arts.”
Taína B. Caragol, curator of painting and sculpture and Latinx art and history at the National Portrait Gallery, Smithsonian Institution, and Asma Naeem, chief curator at the Baltimore Museum of Art, for “UnSeen: Our Past in a New light, Ken Gonzales-Day and Titus Kaphar” at the National Portrait Gallery
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Hands Up (2015) was acquired by the Flaten Art Museum at St. Olaf College in Northfield, MN. This photograph was first exhibited in the artist's second solo exhibition at the Gallery titled, Run Up on view from April 4 through May 9, 2015. It was exhibited again in Ken Gonzales-Day: Shadowlands at the Flaten Art Museum from September 1 through October 29, 2017. Founded in 1976 at St. Olaf College, the Flaten Art Museum has evolved from college gallery to collecting museum with programming that is regional, national, and even international in scope.
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's photo-based wallpaper The Lynching of Spanish Charlie (2016) was acquired by the Minnesota Museum of American Art in St. Paul, MN. The work is part of the artist's ongoing Erased Lynchings series and was first on view at the Museum in the exhibition Ken Gonzales-Day: Shadowlands from January 19 through April 16, 2017.
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran's Triangulum, After Adelaide Ames (2017), Paper Dolls (2016), and Ken Gonzales-Day's 41 Objects Arranged by Color (2016) were acquired by the Phyllis and Ross Escalette Permanent Collection of Art at Chapman University in Orange, CA. Both of Halloran's works are part of Your Body is a Space That Sees an ongoing series of cameraless cyanotypes that highlight the achievements of the Harvard Observatory female researchers who made significant contributions to the field of astronomy. Gonzales-Day's photograph is part of his ongoing Profiled series in which the artist photographs sculptures of the human form as found in international museum and anthropology collections as a way to reveal the emergence, idealization, and even folly of race. Beyond its role in curating art in public spaces, the Escalette Collection is a learning laboratory that offers diverse opportunities for student and engagement and research, and involvement with the wider community.
Gonzales-Day’s powerful and nuanced investigations of intersectionality and racial violence stem from an almost-encyclopedic knowledge of art history and a desire to rewrite a more inclusive past and advocate for a more equitable present. The work has a gravitas that is often accentuated by a poetic manipulation of light and form, and exhibits Gonzales-Day’s dexterity in working in a range of modes from performance and installation to projects that are more documentary in nature. What is perhaps most profound about his work is that he invites inquiry and connections, but not without effort from his audience; the more open the viewer, the more the work reveals.
Over Independence Day Weekend, 80 artists [including Ken Gonzales-Day and Zackary Drucker] asked Americans to look up at the skies. Throughout July 3 and 4, messages related to immigration were written at 10,000 feet by World War II military planes, sky-typed over 80 sites related to the country's network of US Immigration and Customs Enforcement (ICE) detention facilities, immigration courts, and the southern border. The idea was to bring attention to these facilities, which may not be familiar to many Americans.
The purpose of the temporary works was to raise awareness about social injustice rampant in the US’s immigration system and where these injustices are carried out. Over the weekend, XMAP: In Plain Sight uplifted the children and adults who have suffered from inhuman living conditions, the separation of detained families, violence, and, in some cases, death at the hands of US Immigration and Customs Enforcement, better known as ICE.
A group of 80 artists from around the country have teamed up to produce skytyped messages that will appear over immigrant detention camps around the United States, as well as other sites related to internment and incarceration. Among the participating artists of “In Plain Sight” are Black Lives Matter co-founder Patrisse Cullors; graphic designer Emory Douglas, once the minister of culture for the Black Panther Party; and a range of cultural practitioners, including Ken Gonzales-Day, Harry Gamboa Jr., Mary Kelly...
Artist Ken Gonzales-Day has been widely recognized for the “Erased Lynching” series, which include lynching postcard photos that effectively “erased’ the victims of lynching and focused on the white crowds gathered to witness the murders. Gonzales-Day argues that the erasure of the lynching victim “allows the viewer to see, for the first time, the social dynamics of the lynching itself.” The photos, absent of the images of victims, “helped us to recognise the dynamics of whiteness within the complex history of racialised violence in America,”
“Citizenship acknowledges the political power of images,” [curator Georgia Erger] said, “and the power that comes from the fact that photos, and graphics and ultimately video and film can be so widely and easily disseminated, and therefore, much more accessible.” The works of art include 20th-century photographs by Leonard Freed, a series of etchings by Francisco de Goya, and engravings by William Hogarth, along with “Erased Lynchings,” which Mr. Gonzales-Day produced from 2006 to 2019. Based on actual postcards, and his visits to where lynchings took place, Mr. Gonzales-Day’s work shows crowds gathered at places across America, such as California and Montana, to watch the hangings.
Hugo Crosthwaite, the 2019 first place winner was recognized for a stop-motion animated drawing. “A Portrait of Berenice Sarmiento Chávez” (2018) depicts a young woman from Tijuana and explores her pursuit of the American dream. The animated video project is part of a series based on oral histories Crosthwaite has gathered at the U.S.-Mexico border.
Drawing its title from my Pulitzer Prize-nominated book of the same name, Lynchings in the West: 1850-1935, this series considers the transracial nature of lynching in California, from statehood to the last recorded lynchings in 1935, as well as other western states and territories outside the historically better-known Southern black lynching areas. Given the broad number of people touched by this history (Asians, Anglos, Blacks and American Indians), many will be suprised to learn that Latinos (Mexican, Mexican- American, and persons of Latin American descent) were statistically more likely to die of lynching than those of African, Asian or European descent.
While researching Latino portraiture from the 1800s, the photographer Ken Gonzales-Day found an image of a young Latino man. "Last man hanged in Los Angeles," was written on the back. When he read that phrase, Gonzales-Day came to the conclusion that he didn't have a clear understanding of California history. To make sense of his discovery, he began to work on the series of photographs that's now known as "Erased Lynching" (2006). The Santa Clara University Art Department's exhibit "Ken Gonzales-Day" features several of his photographs from the collection.
Santa Clara University (SCU), a flag bearer in an ongoing crusade for social justice, regularly raises awareness of social issues through the arts. A free exhibition of 25 Erased Lynching and California Hang Tree photos by Los Angeles-based artist Ken Gonzales-Day is on view through Jan. 24 in the Gallery of the Art and Art History building.
“Ken Gonzales-Day is an artist who makes work as an act of compassion,” said exhibition curator Renee Billingslea, a senior lecturer in the Department of Art and Art History.
Ken Gonzalez-Day’s images from the series Erased Lynchings sees the artist digitally remove the dead hanging body of a nameless murdered person of colour, in order to avoid re-victimising the individual. This places our attention on the real guilty subjects, those white people who take it upon themselves extrajudicially to police black and brown bodies. The black body is here removed from the gaze of white eyes, a form of sight which undergirds the social dominance of whiteness. Gonzales-Day writes: “The work asks viewers to consider the crowd, the spectacle, the role of the photographer, and even the impact of flash photography, and their various contributions to our understanding of racialized violence in this nation.”
The Smithsonian’s National Portrait Gallery announces the acquisition of a photograph of the bust of Shonke Mon thi^, who was a prominent warrior and spiritual leader of the Osage people and hereditary Chief of the Pa tso li^ Big Hill Band at the turn of the 20th century. This work by Latino artist Ken Gonzales-Day was first displayed by the Portrait Gallery in UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar, which was presented as part of the museum’s 50th anniversary exhibition program.
Ken Gonzales-Day is a historian, and the author of the book Lynching in California. He included the Callahan lynching story in his book as an unconfirmed case. And he says that people don’t often realize how common racist violence was in the history of the Western US. “I wanted to write a book to clearly demonstrate racialized violence was active in California, and that it wasn’t just some sort of race-neutral wild-west frontier sort of activity, which is what many people thought at the time,” he says.
Another themed section of the fair turns a spotlight on contemporary and modern Latin artists. Taking cue from the legendary performance artist Ana Mendieta, Diálagos presents works from artists whose practice includes a bold sense of color, pageantry and performance, alongside a highly politicized examination of identity. Ken Gonzales-Day explores, through various media, the material legacies of identity-based oppressions, casting an unflinching eye over histories of slavery, colonialism, gender-normativity and other systemic evils.
The anchor fair of the week promises to be just as chock-full of programming as in previous years. There are also some new additions, including the Diálogos section, which will show works by Latinx and Latin American artists like Ana Mendieta, Ken Gonzales-Day, and Marta Chilindron; and the Frieze sculpture prize, a new commission made this year by up-and-coming artist Lauren Halsey.
El Museo del Barrio, the NYC museum dedicated to Latinx, Caribbean, and Latin American culture turns 50 years old this year. Frieze New York, the biggest week of the year for art in New York, kicks off on Thursday, and it won't overlook the milestone of the institution, which was founded in 1969, when Latino artists were largely overlooked by mainstream museums.
A panel of nationally recognized curators, local arts professionals and community members from the Purple Line Extension Section 1 area has selected artists to create site-specific, integrated artworks for Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega Stations. The diverse range of accomplished artists includes: Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Eamon Ore-Giron, Fran Siegel, Susan Silton, and Mark Dean Veca.
Having seen two exhibitions of James Allen's collected photographs of lynchings — both of them in New York, in 2000—I braced myself for The Legacy of Lynching: Confronting Racial Terror in America, at Haverford College's Cantor Fitzgerald Gallery. The horrific images I saw 18 years ago are permanently seared into my mind.I was curious how this new exhibition of works by prominent contemporary artists would treat such an appallingly inhumane period in American history and its reverberations today.
“This painting stopped me in my tracks,” wrote Katherine White, a Fairfax resident and community organizer at Network NoVA, on her Facebook as she shared it with the public and created some conversations. I decided to reach out to the National Portrait Gallery (NPG) and ask them why and how: Curator of painting and sculpture & Latino art and history at the Smithsonian National Portrait Gallery, Taína Caragol, said to Fairfax times: “I co-curated UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar with Dr. Asma Naeem, as part of the National Portrait Gallery’s 50th anniversary program.
In 2016, poet and author Claudia Rankine received $625,000 as a stipend from her MacArthur Genius Grant and decided to put the funds toward founding The Racial Imaginary Institute, an organization that gives artists and writers a platform to address issues of race. This summer, the Institute has found its new home at The Kitchen in New York, through a series of programs surrounding the exhibition On Whiteness, incorporating a day long symposium, a library of books, residencies, and performances.
Sometimes what’s absent from a museum says more about history than what’s included. Two contemporary artists—Titus Kaphar, who is African-American, and Ken Gonzales-Day, who is Mexican-American—have spent their careers addressing this issue. In the National Portrait Gallery’s newest exhibition, Unseen: Our Past in a New Light, the two artists take contrasting approaches—and work in two different mediums—to tell the stories of the missing and overlooked. The museum’s director Kim Sajet says Unseen hopefully will act as a town square.
Artist and photographer Ken Gonzales-Day explores the history of racial violence in America and a survey of his work, Shadowlands, which opens today and runs through April 16 at the Minnesota Museum of American Art, investigates how this history informs our current reality. Among the works is Gonzales-Day's series Erased Lynchings, a set of digitally altered 19th and 20th century lynching postcards, where hanged figures of various races have been removed by the artist, allowing the remaining participants to take focus.
For more than a decade, Ken Gonzales-Day has been exploring the history of racialized violence in America, creating several bodies of work that are brought together for the first time in this exhibition. Cumulatively, his work is a powerful and complex statement that challenges what we thought we knew about this country’s great dilemma. The Los Angeles–based artist has extensively researched lynchings in California, where Mexican Americans and Asian Americans were widely targeted during the late nineteenth and early twentieth centuries.
In 2001, Ken Gonzales-Day set out to write a book on Latino portraiture in 19th- and 20th- century California; his research led to his discovery of dozens of images and written records of lynching, and, ultimately, to his 2006 book Lynching in the West, 1850-1935. On view through April 16 at the Minnesota Museum of American Art, Shadowlands, which grew out of this publication, comprises his own photographs, archival images, books, and ephemera. All of this material, along with his photographs about this country’s recent racial violence, deftly compresses history and raises questions about our historic construction of race.
Ken Gonzales-Day’s manipulated archival photographs of Western lynching victims and the crowds that witnessed and committed their mob-mad murders allude to these lost lives by erasing the victims and their ropes from his images. The works are subversive – titles like This is What He Got or Five in a row cue viewers to search for the victims/subjects in the images and to imagine them in the spaces they once occupied. The voyeuristic point of view creates a kind of complicity that aligns the viewer with the pictured mob rather than with the victims, with whom most might seek to empathize. There is a kind of moral presence in the corporeal absences in Gonzales-Day’s images that picture atrocities, whether we can see them or not.