Ken Gonzales-Day

Amelia Jones is Robert A. Day Professor and Vice Dean at Roski School of Art & Design, USC, Los Angeles, USA. Recent publications include the catalogue Queer Communion: Ron Athey (2020), co-edited with Andy Campbell (accompanying a retrospective of Athey’s work, which she curated); and In Between Subjects: A Critical Genealogy of Queer Performance (2021).

• List of FiguresDirector’s Foreword – Bethany MontaganoAcknowledgments – Amelia JonesIntroduction: Ken Gonzales-Day’s “Nevermade” and the Embodied Reworking of Discourse – Amelia JonesSection 1: Finding a Path (Early Work)Introduction to Section 1 – Amelia Jones1. Finding a Path: Amelia Jones in Dialogue with Ken Gonzales-Day2. 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 Jones3. Excerpts from Ramoncita Gonzales [aka Ken Gonzales-Day], The Bone Grass Boy: The Secret Banks of the Conejos River (1982) (New York: Charles Scribner’s Sons, 1996)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 Jones5. The Space Between: The Lynching Project – Ken Gonzales-Day6. Spectacularizing the Sacrifice: A Reading of the Erased Lynching Series – Cyrielle Lévêque7. Searching for a Brown Commons: Racial Affect and Re-Enactment in Ken Gonzales-Day’s Lynching Projects – Mary K. Coffey Section 4: Collecting Race (Skin/Museums)Introduction to Section 4 – Amelia Jones8. Race, Whiteness, and Absence in Studio Practice – Ken Gonzales-Day9. Profiled – Ken Gonzales-Day10. Different Measures: From Xipe Totec to Facial Recognition to System Overload – Ken Gonzales-Day11. Metropolitan Division: Ken Gonzales-Day between the Getty Museum and the LAPD – Jason Hill12. The Profiled Series and Hemispheric Racial Formations – Tatiana FloresSection 5: Forging Community (Publics) Introduction to Section 5 – Amelia Jones13. Bringing Art Out of the Museum – Ken Gonzales-Day14. Art as Propaganda: Advertising for Racial Equality in Ken Gonzales-Day’s Public Art – Ana Briz15. Stepping into Memory: Ken Gonzales-Day and the Alternative Los Angeles – Nadia EstradaSection 6: Imaging Bodies (Portraits) Introduction to Section 6 – Amelia Jones16. Queer-ish: Photography and the LGBTQ+ Imaginary – Ken Gonzales-Day17. Of Life as a Menace and a Shield: The Memento Mori and Pandemic Portrait Series – Taína Caragol18. Ken Gonzales-Day’s Embodied Brown Historicity: Amelia Jones in Dialogue with Cecilia Fajardo-HillSection 7: Redrawing Boundaries (Land)Introduction to Section 7 – Amelia Jones19. Another Land / Decolonial Drawings – Ken Gonzales-Day20. Engaging an Elder and Tracing the Past: Ken Gonzales-Day in Dialogue with Steve PrattContributor BiographiesKen Gonzales-Day WorksIndex