Jason Salavon

One Week Skin (HBO-Sq), Archival Inkjet Print by Jason Salavon, 2012

2012

All the Ways (Seasons 4 & 5), Archival Inkjet on Paper by Jason Salavon, 2016 Additional information: Medium: Photography - archival inkjet on paper Dimensions: 77.5” x 59” Ed of 5 ...

The End, Archival Inkjet on Paper by Jason Salavon, 2016 Additional information: Medium: Photography - Archival inkjet on paper Dimensions: 25 × 33 in (63.5 × 83.8 cm) Edition of 5 ...

Episode 550, Archival Inkjet on Paper by Jason Salavon, 2016 Additional information: Medium: Photography - Archival inkjet on paper Dimensions: 25 × 33 in (63.5 × 83.8 cm) Edition o...

Range (Group #22) from Range: of Masters of Photography, 2014 Additional information: Medium: 36 archival pigment prints Dimensions: 34 × 82 in Penelope Umbrico offers a radical re...

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...

20th Century Plastics The images in this series resemble gestural abstract paintings while clearly being something else. Driven by entropic forces, pictures once fixed within long...

Aimé, 2013, Digital print on Fine art 100% cotton paper Edition 35/300 Image: 46.9×40.0cm. (18 ¹⁵/₃₂ x 15 ³/₄ in) Sheet: 70.0×50.3cm (27 ⁹/₁₆ x 19 ³/₄ in) Limited edition signed and...

Acrylic on canvas - Unframed. This artwork conveys a color and emotional language and is inspired by the series Color as Adjective, a series of drawings and paintings that are visua...