Ken Gonzales-Day - History’s “Nevermade”: History’s “Nevermade”
Editat de Amelia Jonesen Limba Engleză Paperback – 8 aug 2025
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Specificații
ISBN-13: 9781835951378
ISBN-10: 1835951376
Pagini: 352
Dimensiuni: 170 x 244 mm
Greutate: 0.45 kg
Editura: Intellect Ltd
Colecția Intellect Ltd
ISBN-10: 1835951376
Pagini: 352
Dimensiuni: 170 x 244 mm
Greutate: 0.45 kg
Editura: Intellect Ltd
Colecția Intellect Ltd
Cuprins
List of Figures
Director’s Foreword
Bethany Montagano
Acknowledgments
Amelia Jones
Introduction: Visualizing History’s “Nevermade”
Introduction: Ken Gonzales-Day’s “Nevermade” and the Embodied Reworking of Discourse
Amelia Jones
Section 1: Finding a Path (Early Work)
Introduction to Section 1
Amelia Jones
1. Finding a Path: Amelia Jones in Conversation with Ken Gonzales-Day
2. Ken Gonzales-Day Narrative Timeline
Nadia Estrada and Yumu Huo (with Amelia Jones)
Section 2: Rethinking History (Queering/Decolonizing the Family)
Introduction to Section 2
Amelia Jones
3. Excerpts from Ramoncita Gonzales [aka Ken Gonzales-Day], The Bone Grass Boy: The Secret Banks of the Conejos River (New York: Charles Scribner’s Sons, 1892/1996)
Ken Gonzales-Day, “Foreword”
Kenny Gonzales[aka Ken Gonzales-Day], “Preface”
4. The Archive and the Nevermade: Queer, Trans, and Two-Spirit Histories in Ken Gonzales-Day’s Bone-Grass Boy
Ren Heintz
Section 3: Rethinking History (Archives)
Introduction to Section 3
Amelia Jones
5. The Space Between: The Lynching Project
Ken Gonzales-Day
6. Spectacularizing the Sacrifice: Ken Gonzales-Day’s Erased Lynching Series
Cyrielle Lévêque
7. Searching for a Brown Commons: Racial Affect and Re-Enactment in Ken Gonzales-Day’s Lynching Projects
Mary Coffey
Section 4: Collecting Race (Skin/Museums)
Introduction to Section 4
Amelia Jones
8. “Race, Whiteness, and Absence in Studio Practice” Ken Gonzales-Day
9. Profiled
Ken Gonzales-Day
10. “Different Measures: From Xipe Totec to Facial Recognition to System Overload”
Ken Gonzales-Day
11. Metropolitan Division: Ken Gonzales-Day between the Getty Museum and the LAPD
Jason Hill
12. The Profiled Series and Hemispheric Racial Formations
Tatiana Flores
Section 5: Forging Community (Publics)
Introduction to Section 5
Amelia Jones
13. Bringing Art Out of the Museum
Ken Gonzales-Day
14. Art as Propaganda: Advertising for Racial Equality in Ken Gonzales-Day’s Public Art
Ana Briz
15. Stepping into Memory: Ken Gonzales-Day and the Alternative Los Angeles
Nadia Estrada
Section 6: Imaging Bodies (Portraits)
Introduction to Section 6
Amelia Jones
16. Queer-ish: Photography and the LGBTQ+ Imaginary
Ken Gonzales-Day
17. Of Life as a Menace and a Shield: The Memento Mori and Pandemic Portrait Series
Taína Caragol
18. Ken Gonzales-Day’s Embodied Brown Historicity: Cecilia Fajardo-Hill in with Amelia Jones
Section 7: Redrawing Boundaries (Land)
Introduction to Section 7
Amelia Jones
19. Another Land / Decolonial Drawings
Ken Gonzales-Day
20. Engaging an Elder and Tracing the Past: Ken Gonzales-Day and Steve Pratt in Dialogue
Contributor Biographies
Index
Ken Gonzales-Day Works
Director’s Foreword
Bethany Montagano
Acknowledgments
Amelia Jones
Introduction: Visualizing History’s “Nevermade”
Introduction: Ken Gonzales-Day’s “Nevermade” and the Embodied Reworking of Discourse
Amelia Jones
Section 1: Finding a Path (Early Work)
Introduction to Section 1
Amelia Jones
1. Finding a Path: Amelia Jones in Conversation with Ken Gonzales-Day
2. Ken Gonzales-Day Narrative Timeline
Nadia Estrada and Yumu Huo (with Amelia Jones)
Section 2: Rethinking History (Queering/Decolonizing the Family)
Introduction to Section 2
Amelia Jones
3. Excerpts from Ramoncita Gonzales [aka Ken Gonzales-Day], The Bone Grass Boy: The Secret Banks of the Conejos River (New York: Charles Scribner’s Sons, 1892/1996)
Ken Gonzales-Day, “Foreword”
Kenny Gonzales[aka Ken Gonzales-Day], “Preface”
4. The Archive and the Nevermade: Queer, Trans, and Two-Spirit Histories in Ken Gonzales-Day’s Bone-Grass Boy
Ren Heintz
Section 3: Rethinking History (Archives)
Introduction to Section 3
Amelia Jones
5. The Space Between: The Lynching Project
Ken Gonzales-Day
6. Spectacularizing the Sacrifice: Ken Gonzales-Day’s Erased Lynching Series
Cyrielle Lévêque
7. Searching for a Brown Commons: Racial Affect and Re-Enactment in Ken Gonzales-Day’s Lynching Projects
Mary Coffey
Section 4: Collecting Race (Skin/Museums)
Introduction to Section 4
Amelia Jones
8. “Race, Whiteness, and Absence in Studio Practice” Ken Gonzales-Day
9. Profiled
Ken Gonzales-Day
10. “Different Measures: From Xipe Totec to Facial Recognition to System Overload”
Ken Gonzales-Day
11. Metropolitan Division: Ken Gonzales-Day between the Getty Museum and the LAPD
Jason Hill
12. The Profiled Series and Hemispheric Racial Formations
Tatiana Flores
Section 5: Forging Community (Publics)
Introduction to Section 5
Amelia Jones
13. Bringing Art Out of the Museum
Ken Gonzales-Day
14. Art as Propaganda: Advertising for Racial Equality in Ken Gonzales-Day’s Public Art
Ana Briz
15. Stepping into Memory: Ken Gonzales-Day and the Alternative Los Angeles
Nadia Estrada
Section 6: Imaging Bodies (Portraits)
Introduction to Section 6
Amelia Jones
16. Queer-ish: Photography and the LGBTQ+ Imaginary
Ken Gonzales-Day
17. Of Life as a Menace and a Shield: The Memento Mori and Pandemic Portrait Series
Taína Caragol
18. Ken Gonzales-Day’s Embodied Brown Historicity: Cecilia Fajardo-Hill in with Amelia Jones
Section 7: Redrawing Boundaries (Land)
Introduction to Section 7
Amelia Jones
19. Another Land / Decolonial Drawings
Ken Gonzales-Day
20. Engaging an Elder and Tracing the Past: Ken Gonzales-Day and Steve Pratt in Dialogue
Contributor Biographies
Index
Ken Gonzales-Day Works