Ken Gonzales-Day: Profiled
September 8 - November 20, 2011
Koppelman Gallery
Profiled considers the changing meaning of the human form
and its representation. In this conceptually driven photographic
project, Gonzales-Day looks to the depiction of race and
construction of whiteness as points of departure from which to
consider the impact of Enlightenment ideas about freedom, class,
gender, and even the location of the soul, on the depiction of the
human form, and the portrait bust in particular. As a project,
Profiled seems to ask what comes after ideologies and their
aesthetic manifestations have run their course but it is as much
about the body as its inanimate double. Cast, carved, burned, and
broken, these lingering shadows of people that once lived in this
world, or in the imaginations of their makers, have become illegible
for many contemporary viewers. The project seeks to breath life back
into some of these motionless forms, representing everything from
memorials to Emperors and kings, to Orientalist follies, as a way of
tracking changing ideas about race.
Listen to our guided tour stops here:
STOP 6:
Introduction to Ken Gonzales-Day: Profiled Amy Ingrid
Schlegel
STOP 7:
Tales of Hoffman, Marianne Kinkel, associate professor of art
history, Washington State University
STOP 8: "What
is in a Profile?" Marianne Kinkel, associate professor of art
history, Washington State University
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Untitled II (Antico [Pier Jacopo Alari-Bonacolsi],
Bust of a Young Man and Francis Harwood, Bust of a Man,
The J. Paul Getty Museum, Los Angeles),
2010 Lightjet on aluminum; 19 x 48 inches
Ken Gonzales-Day, Untitled (Henry Weeks, Bust of an African Woman
[based on a photographic image of Mary Seacole] and Jean-Baptiste
Pigalle, Bust of Mm. Adéla�de Julie Mirleau de Neuville, née Garnier
d'Isle, The J. Paul Getty Museum, Los Angeles), 2011.