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Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000


November 28, 2017


The photographs in Ken Gonzalez-Day’s Bone-Grass Boy at Luis De Jesus look so familiar, you think you should be able to place them—do they spoof scenes from The Alamo, or come from novels or legends you’ve forgotten? They both do and don’t, it turns out. The images—of the artist as a belle in a ball dress, or struggling to escape captors who hold a knife to his neck—all come from a ctional narrative Gonzalez- Day invented in the early 1990s, Bone-Grass Boy: The Secret Banks of the Conejos River.   more

The story and images toy with tropes of the frontier novel but are also in opposition to them: about strong protagonists who exist on both sides of the border during and after the U.S.-Mexican War.

Hung salon style, against blue-gray paint or quaint-looking maps-as-wallpaper, the images are comically melodramatic. Gonzalez-Day plays all characters of all genders, and since Photoshop 2.5 and Quark were relatively new circa 1993, it’s high tech for its time, but now feels old-fashioned. We see Gonzalez-Day’s face inserted into drawings of dances, as in Untitled #36 (1996) or see him involved in romantic liaisons with himself (Untitled #28, 1996). In Untitled #47 (1996), he’s working a farm in a headband and dress, long dark hair flowing, looking off into the distance meaningfully, as men in straw hats labor in the background.

Gonzalez-Day began this series in the wake of the AIDS crisis, and was working on it when California Prop 187 (the “Save our State” prop) passed, limiting undocumented workers from using public services. Now, he’s showing it as part of a well-funded, ambitious effort to showcase Latinx and Latin American Art in a region notorious for marginalizing its own heritage. His series, in all its camp and intensity, treats that heritage as a given, queers it, makes it personal, gives it dramatic lighting, and treats its nuances as epic.

-Catherine Wagley 

November 14, 2017

review: josh reames featured on KCRW'S art talk: "Artists Delivering Punch After Punch"

The exhibition of New York-based artist Josh Reames at Luis De Jesus gallery not only delivers punches, but also burns holes in the most iconic American images. Here is a painting of Lady Liberty next to a bald eagle and dozens of stars, and all that with holes burned into it. But, no matter how realistic these holes look, they are a carefully painted optical illusion of burned holes.

And, here is another “burned” painting, this one of Uncle Sam marching arm in arm with blue collar Americans, with the rubble of war all behind them.   more

It’s difficult to imagine a more eloquent and emotional, disturbing representation of the American dream – its mighty strength and inspiration, along with its undeniable vulnerability.

Edward Goldman is an art critic and the host of Art Talk, a program on art and culture for NPR affiliate KCRW 89.9 FM. To listen to the complete show and hear Edward’s charming Russian accent, click here.

To join Edward’s Fine Art of Art Collecting Classes, please visit his website. You can read more about his classes in the New York Times here and in Artillery Magazine.


November 07, 2017


The singularly remarkable thing about Ken Gonzales-Day’s re-creation of his breakthrough 1993-96 photographic project, “Bone-Grass Boy: The Secret Banks of the Conejos River,” is the infinitely expansive temporal envelope it seems to occupy. This is more than partially by design in that it appropriates literary tropes and motives of 19th century frontier novels to serve a much larger conceptual and cultural conversation.

October 20, 2017



Created almost entirely during the 1990s, Ken Gonzales-Day’s exhibition Bone-Grass Boy: The Secret Banks of the Conejos River is historical, yet urgently timely. Using methods of appropriation and costumed self-portraiture associated with the Pictures Generation, Gonzales-Day was busy in the close of the 20th century stacking dynamite at the door of the white art canon. [ READ MORE ]

October 20, 2017

review: Ken Gonzales-Day: Surface Tension: Murals, Signs, and Mark-Making in LA, at Skirball Cultural Center

Ken Gonzales-Day’s exhibition documenting over 140 street artworks in Los Angeles is more than a history of Los Angeles Murals. By entitling the exhibition Surface Tension: Murals, Signs, and Mark-Making in LA, Gonzales-Day calls attention to the changing culture of street art and the tensions that arise between artists, communities and authorities when attempting to decorate myriad surfaces of the city. [ READ MORE ]

October 12, 2017

Zackary Drucker featured in: The best events for the week and beyond

#9: The Museum of Contemporary Photography's new exhibition, "Disruptive Perspectives,” collects pictures from the none-of-the-above/just-me lives on the boundaries between binary categories of gender and sexuality. Central to the exhibition, the series “Relationship” documents a period when the then-couple Zackary Drucker and Rhys Ernst, now co-producers on the TV show “Transparent,” were sort of cross-transitioning, Drucker male to female and Ernst vice versa. On Nov. 29, Drucker visits to lecture about her work. Oct. 12-Dec. 22. Free.   more

Museum of Contemporary Photography, 600 S. Michigan Ave.  [ READ MORE ]

October 11, 2017

ken gonzales-day review: "Flaten Art Museum exhibit addresses radicalized violence"

“Shadowlands made me think a lot about the unspoken. There is a lot of goodness in the world and people aren’t afraid to share that, but it’s different when it’s the opposite,” Suvd Davaadorj ’20 said.  [ READ MORE ]

October 11, 2017

Ken Gonzales-Day featured: "Photographer Parses the Politics and Relevance of L.A.’s Murals and Marks"

Ken Gonzales-Day is best known for his conceptually-rich photographs. Notable among them is his “Erased Lynching” series, where he digitally removed execution victims from vintage postcards to draw attention to the expunging of Latinos from the history of lynching, which is often associated with particular races and geographical areas. During the Fall ’17 season, Gonzales-Day’s work will be exhibited at Luis De Jesus Gallery, The Guggenheim Gallery at Chapman University, Lancaster Museum of Art and History, and the Skirball Cultural Center.   more

An artist with a sincere interest in art history and cultural issues, his exhibition at the Skirball, “Surface Tension,” engages the mural landscape of Los Angeles and the many issues surrounding graphic arts in the public square.  [ READ MORE ]

September 12, 2017

Ken gonzales-day review: Is it clay? No, glass! Is it woman? No, man!
Edward Goldman talks about two ambitious exhibitions as part of the Getty’s PST LA/LA.

This week is the start of the ambitious project initiated and funded by The Getty - Pacific Standard Time: LA/LA, an exploration of Latin American and Latino art in dialogue with Los Angeles. PST: LA/LA consists of more than 70 exhibitions at various cultural institutions from San Diego to Santa Barbara. But today, I want to talk about two particular gallery exhibitions that are part of this project. [ READ MORE ]

September 12, 2017

Ken gonzales-day review: Pacific Standard Time Returns with Sprawling
Latin American and Latino Art Program

The Getty’s long-awaited initiative on Latin American and Latino Art, Pacific Standard Time: LA/LA, officially kicks off this week.

This week, the Getty’s long-awaited initiative on Latin American and Latino Art in Los Angeles, Pacific Standard Time: LA/LA (PST: LA/LA), officially kicks off, with dozens of exhibitions opening at venues all across Southern California.   more

From a survey of pre-Columbian luxury objects at the Getty to the Hammer’s show on Radical Women artists in Latin America to Ken Gonzales-Day’s photographic survey of LA murals, PST: LA/LA ambitiously attempts to capture the breadth of hundreds of years of art from Latin America and by Latina/os in the US. [ READ MORE ]