I hope you have been enjoying this monthly curated series that calls attention to the distinctive characters and qualities of California art and artists, many of whom are featured in our collection. Our intent is to give you a glimpse into the kinds of perspectives and programming you can expect from IMCA as we ready to reopen our gallery space, hopefully early in the New Year.
In the meantime, I am pleased to share some updates about our IMCA team. This July, Anne Bergeron was appointed to be the museum’s interim deputy director. Anne comes to us from Brown University, where she served as the inaugural managing director of the Brown Arts Initiative. She has had a three-decade career in nonprofit arts and museum management, including senior posts at the Solomon R. Guggenheim Museum and Dallas Museum of Art, as well as leading her own consulting firm.
Erin Stout, PhD was recently promoted to curatorial and research associate to support the development of exhibitions and public programs. This summer she led a team of UCI graduate students conducting research on the collection and next spring will mount her first curated exhibition for IMCA.
Late last month, we welcomed Julianne Gavino, PhD, as assistant curator, responsible for planning and organizing IMCA exhibitions, related programming, and publications. An experienced curator and educator, Julianne was most recently the curator of academic engagement at Colorado Springs Fine Arts Center at Colorado College.
Please join me in congratulating Anne, Erin, and Julianne on their appointments to IMCA and wishing them well in their new roles!
—Kim Kanatani, Museum Director
UCI Alumni Spotlight: Ken Gonzales-Day
Ken Gonzales-Day is a Los Angeles-based artist whose interdisciplinary practice considers the historical construction of race and the limits of representational systems ranging from lynching photographs to museum displays. Gonzales-Day received a BFA from Pratt Institute in Brooklyn, an MFA from the University of California, Irvine, and an MA from Hunter College in New York. He is a professor of art at Scripps College in Claremont, CA where he has taught since 1995. In 2017 he was awarded a Guggenheim fellowship in photography.
Gonzales-Day’s Erased Lynching series features photos of lynching postcards where he removes, or “erases,” the victims in order to focus on the white crowds gathered to witness the murders. He argues that this digital intervention “allows the viewer to see, for the first time, the social dynamics of the lynching itself” … and helps us to “recognize the dynamics of whiteness within the complex history of racialized violence in America.” (kengonzalesday.com)
Through his publication Lynching in the West: 1850-1935, Gonzalez-Day set out to assemble the most complete published record of lynching in California. The subsequent series, Searching for California’s Hang Trees, brought national attention to the lynching of Latinos, Native Americans, Asians, and African Americans in California’s early history. The landscape images, like the trees themselves, stand as witness and memorial to what Gonzales-Day calls “an invisible history … a history of racial hatred that had taken place in the California landscape.”
Gonzales-Day recently joined Bridge Projects for a virtual conversation about Searching for California’s Hang Trees and shared never before exhibited images from the series.
To read the full article visit UCI IMCA