File:Ken Gonzales-Day The Wonder Gaze (St. James Park) 2006.jpg

Photographic work by Ken Gonzales-Day, The Wonder Gaze (St. James Park) ("Erased Lynching" series, 2006). The image illustrates a key mature period and body of work in Ken Gonzales-Day's career in the 2000s—"Erased Lynching" project, which included research, postcard-sized works, photomurals, billboard reproductions, a book and related series. The series' images, such as this one, are derived from appropriated lynching souvenir cards and archival sources, from which he digitally removed the victim and rope to redirect scrutiny away from the victim's death to the perpetrators. This work and related works were publicly exhibited in prominent venues, discussed widely in prominent art and daily press publications, and displayed and acquired by major institutions.

Artist Ken Gonzales-Day. Copyright held by the artist.

Ken Gonzales-Day

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key mature period and body of work in Ken Gonzales-Day's career in the 2000s: "Erased Lynching" project, which included postcard-sized works, photomurals, billboard reproductions, a book and related series and brought him international and national attention. The series is based on his own research that uncovered more than 350 lynchings of Latinos, Native Americans, Asians and African-Americans in California (1850–1935). Its images are derived from appropriated lynching souvenir cards and archival sources, from which he digitally removed the victim and rope in order to recalibrates power, redirect scrutiny away from the victim's death to the spectacle, social dynamics, and relish of the perpetrators, and reference the expunging of the victims from history. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to visualize this distinct, major and long-running project (2002–17) in his career, which brought major recognition from prominent art journals, daily press publications, and institutions. Gonzales-Day's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Ken Gonzales-Day, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.