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Ken Gonzales-DayUntitled, #94 from the Dysmorphologies Series Abstract Large Color Photograph
About the Item
This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum.
Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College.
Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War. In a later series entitled Erased Lynchings (2004-2006), Gonzales-Day explores the history of lynching in the American West by appropriating and digitally altering an archive of 19th and 20th century postcards that depict Mexican and Mexican-American lynchings. In 2012, Gonzales-Day received the Creative Capital Award in the discipline of Visual Arts. In 2014, he created his project titled Run Up which pairs together recreated images of lynchings from the 1920s and images of police brutality from Ferguson and Los Angeles. The title, Run Up, stems from the term for an illegal lynching. Court-ordered executions were called hangings while hate crimes were referred to as "run-ups".
Along with his artwork, Gonzales-Day has authored two monographs. His first, Profiled, deals with the works of Malvina Hoffman mainly, among other sculpture artists. His main intent was to address the distinction between portraiture and caricature. His monograph, Lynching in the West, compares historical images with contemporary images of lynching sites in the state of California from 1850-1935. It emphasizes hate crimes committed against Latinos, Native Americans, and Asian Americans.
Fellowships and Grants
Chercheur Accueilli, Institut National d'Histoire de l'Art (INHA); COLA Individual Artist Award; Art Mattes Grant; Mid-Career Award, California Communtiy Foundation; Durfee Fondation ACG; Graves Award for the Humanities; Visiting Scholar/Artist-in-Residence, Getty Research Institute; Senior Fellow, American Art Museum and National Portrait Gallery of the Smithsonian Institution; Fellow, Rockefeller Foundation Study and Conference Center, Bellagio, Italy; Van Lier Fellow, ISP, Whitney Museum of American Art; Rotary International.
Select Solo Exhibitions
Luis De Jesus Los Angeles; Galerie Steph, Singapore; The Vincent Price Museum, LA; Fred Torres Collaborations, NYC; Tufts University, Medford, MA; Las Cienegas Projects, L.A.; UCSD Art Gallery, La Jolla, CA; Steve Turner Contemporary, L.A.; LAXART, L.A.; CUE Art Foundation, NY, NY; Pomona College Museum of Art, Claremont, CA; Susanne Vielmetter Projects, L. A.; Cristinerose Gallery, NY, NY; White Columns, NY, NY, Muse X, among others.
Select Group Exhibitions
Our America: The Latino presence in American Art, Smithsonian Institution; MDE11, Medellin, Colombia; COLA 2011, at LAMAG, Los Angeles; Spy Numbers, Palais de Tokyo, Paris;How Many Billboards, MAK Center, W.H.; State of Mind, MoPA, San Diego; Phantom Sightings, LACMA, L.A.(traveled); Encuentro Hemispherico, Bogota; Under Erasure, Temple Bar Gallery and Studios, Dublin; Under Pain of Death, Austrian Cultural Forum, NYC;ArtMediaPolitique, DIX291, Paris; Viva Mexico, Zacheta National Gallery, Warsaw (traveled); Past Over, Steve Turner Contemporary, L.A.; Crimes of Omission, ICA Philadelphia; Exile of the Imaginary, Generali Foundation, Vienna; Civil Restitutions, Thomas Dane Gallery, London; An Image Bank for Everyday Revolutionary Life, REDCAT, L.A.; Log Cabin, Artist's Space, NYC; Made in California, LACMA, L.A.; Reimaging the West, SF Camerawork, S. F.; FotoLatina, Museo de las Artes, Guadalajara, Five Continents and One City, Mexico City; and the Art Mall at the New Museum, NYC; among others.
- Creator:Ken Gonzales-Day (1964, American)
- Dimensions:Height: 50.25 in (127.64 cm)Width: 42.5 in (107.95 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor wear to edges.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38211464872
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View AllUntitled from the Dysmorphologies Series Abstract Large Color Photograph
By Ken Gonzales-Day
Located in Surfside, FL
This large montage of photographs (is not mounted onto aluminum) from Ken Gonzales-Day's dysmorphologies series. Fujifilm Fuji Color Crystal Archive paper color Photo paper. This is not signed or numbered.
Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College.
Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War...
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Israeli Contemporary Art Photograph, Architecture with Hand Painting Shul Sade
By Shuli Sade
Located in Surfside, FL
Shuli Sadé, Israeli (b. 1952)
Pipe Bending (1995)
Hand painted silver gelatin photo print
Hand signed in pencil lower right, numbered 1/10
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Provenance: Estate of Gideon Gartner
Shuli Sade (Shuli Sadeh Goshen) is an Israeli Postwar & Contemporary artist born in Israel in 1952. Shuli Sadé studied at the Bezalel Academy of Art, Jerusalem and the School of Visual Arts. Her work, which uses urban movement as a central theme, explores technology and its potential to impact still, moving, and two- and three-dimensional images. Sadé has lectured at the University of Pennsylvania School of Architecture, Parsons The New School for Design, and Barnard College. Her Sadé's cross-disciplinary artwork blends theory and practice with a focus on memory, space, and urbanism. Her work creates maps of urban memory, reflecting the DNA of a city. She mixes mediums including photography, video, augmented reality, site-specific installations, sculpture, and drawing. Her recent exhibitions include Upstream Downstream, a site-specific augmented reality installation, Riverside Park, NYC, part of Re: Growth, public art exhibition (2021), Fluid Formations, Gensler DC, (2019), Wild_Heterotopias, AR installation at the HighLineNine Galleries, and the High Line, (2019), Solid Red, Galeria Ethra, Mexico City, (2018) Day Dreams, AR installation at Montefiore Medical Center, the Bronx, NY (2017) and group shows including Timing is Everything, Mead Art Museum collection (2018), Making Time, AR installation Index Art Center, Newark, NJ (2019), Anniversario, Datasets, Galeria Ethra, Mexico City (2019) Israeli Modernism in the 1970s from the Collection, Haifa Museum of Art (2016). She had collaborated with Neural scientists at the Neurobiology of Cognition Laboratory, Center for Neural Science, New York University, and with architects and designers across the US. Sadé creates large-scale site-specific murals in the Corporate environment. She is an Israeli contemporary woman artist. Her recent artworks are permanently installed in Manhattan, Philadelphia, Boston, North Carolina., Miami, Mexico City, Jersey City, and more. Sadé received the Pollock Krasner Foundation Grant, (2014), the National Endowment for the Arts Fellowship (1991), New York Foundation for the Arts Emergency Grant (2001), Lower Manhattan Cultural Council Fund, NY- Israel Cultural Cooperation Commission Grant, AICF study grant, NY Art Development Committee grants. Her work is in private and public collections. Shuli Sade is a NY artist and architectural photographer. Sade studio photographed Renzo Piano renovations at the Morgan library, Norman Foster Hearst tower, Weiss Manfredi Nexus at Barnard College, Shiseido at Grey Art Gallery by Marble Fairbanks, Sade works on international commissions, Published in Metropolis magazine, Architectural Digest, Eating Architecture, MIT, Avroko Design, Regan books and others. She lives in NYC and works at her studio at Mana Contemporary, NJ. Her work is represented by Galleria Ethra in Mexico City.
Select Exhibitions
2012 Reconfiguring Memory, (permanent installation), Center for Neural Science, New York University
2012 Conference of the Birds, CYNTHIA-REEVES Projects at Mana Contemporary, New Jersey
2011 Conceptualizing the Body Gaze, Masquerade, and Spectacle
2011 ENCODE/ DECODE: Work in Progress, The City of Herzliya Art Gallery, Herzliya, Israel
2009 H20 Film on Water, Brattleboro Museum, Bratleboro, NH
2009 Meeting/Place Cabri Gallery of Israeli Art, Kibbutz Cabri: Yigal Ozeri, Alex Kremer, Ofer Lellouche, Lea Nikel, Moshe Kupferman, Ori Reisman, Jan Rauchwerger, David Reeb, Shuli Sadeh, Yehiel Shemi, Marik Lechner,
2006 Illuminated Disjunction, Hungarian Cultural Center, New York, NY
2005 The Silence of the Sea, The National Maritime Museum, Haifa, Israel
2003 Sacred Drawings, Tibetan Healing International Conference, Washington DC
2003 Blueprints Reconfiguring Space, Art in General Gallery, New York, NY
2000 Light and its Opposite, Lemberger Museum of Photography, Tel-Hai, Galilee, Israel
2000 Bassam Abu Shakra Gallery, Um -El-Fahem, Israel
1999 Mythic Arrangements, Ehrenkrantz Eckstut & Kuhn Architects, Los Angeles, CA
1999 Women photographers reflecting women, Talli's Fine Arts Gallery, New York, NY
1999 Neil Folberg Vision Gallery, Jerusalem, Israel
1996 Fragments of Anxiety, Columbia University, Avery Hall, School of Architecture, New York, NY
1995 Agni Vidya- the Fire of Knowledge, City of Venice Biennale, Isola Certosa, Italy
1994 Imprint, A.I.R. Gallery, New York, NY
1993 Sculptors of the Next Century, Socrates Park, Long Island City, NY
1990 Galleria Principal, Altos de Chavon, Dominican Republic
1981 Feminine Objects, Tzavta Jerusalem P.V.V, Israel
1980 Biennale of Contemporary Art, Tel Hai 80, Israel
1980 Borders, Israel Museum of Contemporary Art, Jerusalem, Israel
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