I began this workshop by providing a list of discussion terms derived from my studio visits with Residency Artists ( Marc Johnson, Rafael Villares, and Sahej Rahal) and then discussed my own experience working with the museum collections with an emphasis on my two-person exhibition with Titus Kaphar at the National Portrait Gallery of the Smithsonian Institutions which closed in January.
The Vancouver Biennale wrote:
“Such a pleasure to have had artists Ken Gonzales-Day and Connie Watts visiting with us last week for an open studio workshop session with our 2019 Spring ResidencyArtists! Ken discussed a few iconic artworks and ideas stemming from his journey as an artist, addressing issues around controversial topics such as race and identity. We’re so appreciative of these sorts of visits in our international residency program and are continually inspired by the insightful dialogue, both in-person and via the internet, that arises from these meetings.
. . . .
Ken Gonzales-Day is a LosAngeles-based artist whose interdisciplinary practice considers the historical construction of race and the limits of representational systems ranging from lynching photographs to museum displays. His widely-cited ERASED LYNCHING series (2006), along with the publication of LYNCHING IN THE WEST: 1850-1935 (2006), have slowly transformed the understanding of racialized violence in the United States and specifically raised awareness of the history of lynching Latinos, Native Americans, Asians, and African-Americans in California.”
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To learn more about his practice, visit www.kengonzalesday.com.
TransLink, Neekoo Philanthropic Society, VIVO Media Arts Centre, Ambassade de France au Canada, MakerLabs, LACMA Los Angeles County Museum of Art, Artspeak, Marc Johnson, Rafael Villares, Sahej Rahal
