Visual Culture & Gender, volume 18 (2023)

[Cover images] 

(upper left) Anti Dowry Movement, posted to @kruttika in Isha Yadav’s article in Visual Culture & Gender, 18, p. 13

(upper right) Mixed media photo drawing of a hybrid human, animal, and plant being in Glynnis Reed-Conway's article in Visual Culture & Gender, 18, p. 34.

(lower left) Looping stop-motion animation, Nymphaea Gif (1/2), in Maggie-Rose Condit-Summerson and John Summerson's article in Visual Culture & Gender, 18, p. 24.

(lower right) Nymphaea, in Maggie-Rose Condit-Summerson and John Summerson's article in Visual Culture & Gender, 18, p. 23.

Visual Culture & Gender, volume 17 (2022)

[Cover images] 
(upper left) Caper Flower by Francesca Brunetti in Brunetti's article in Visual Culture & Gender, 17, p. 15.

(lower left) Comfort Blanket by Kari Souders (2021) in Lauren Stetz & Michele Mekel's article in Visual Culture & Gender, 17, p. 28.

(upper right) Not All Heroes Wear Capes by Stella Talamo in Lauren Stetz & Michele Mekel's article in Visual Culture & Gender, 17, p. 23.

(lower right) Mughal-style Rajput painting from Jodhpur in Satya Shikha Chakraborty's article in Visual Culture & Gender, 17, p. 39.

Visual Culture & Gender, volume 16 (2021)

[Cover images] 

(upper left) Untitled, by Indira Bailey, in Visual Culture & Gender, 16, p. 47.
(lower left) Star-crossed by Elham Hajesmaeili in Visual Culture & Gender, 16, p. 43.
(upper right) Hand of a Homemaker by Courtney Tyler in Visual Culture & Gender, 16, p. 26.
(lower right) Gritos by Leslie C. Sotomayor II in Visual Culture & Gender, 16, p. 49.

Visual Culture & Gender, volume 15 (2020)

[Cover images] 
(upper left) The final page of the comic Nest by G. H. Greer in G. H. Greer's article in Visual Culture & Gender, 15, p. 36.
(lower left) His Shame on Her Series II by Mehreen Hashmi in Lauren Stetz's article in Visual Culture & Gender, 15, p. 24.
(right) Collage of figure 1 to 7 from Alexandra Allen's visual essay in Visual Culture & Gender, 15, p. 68-73

Visual Culture & Gender, volume 14 (2019)

[Cover images] 
(upper left) Leaving Berlin: My Mother's Immigrant Childhood for The One House Project by Renee Sandell, in Renee Sandell & Enid Zimmerman's article in Visual Culture & Gender, 14, p. 21.
(lower left) Empathy by Renee Sandell in Renee Sandell & Enid Zimmerman's article in Visual Culture & Gender, 14, p. 22.
(right) Inside Realities, Outside Perceptions by Karen Keifer-Boyd in Editorial of Visual Culture & Gender, 14, p. 2.

Visual Culture & Gender, volume 13 (2018)

(left) Nick Cave Until (2016). Crystalline cloud in James H. Sanders III's article in Visual Culture & Gender, 13, p. 36. (upper right) Mother painting pink and black crosses during the Papal visit to Ciudad Juarez in February 2016 in Chiara L. Bernardi's article in Visual Culture & Gender, 13, p. 13. (lower right) Still shots from Abbot Mead Vickers BBDO (advertising agency) for Essity, Bodyform® ˜'Blood Normal' ad, 2017 in Camilla Mørk Røstvik's article in Visual Culture & Gender, 13, p. 55.

Visual Culture & Gender, volume 12 (2017)

[Cover images] 
(upper left) Positionality by Nouf Alhamdan, in Visual Culture & Gender, 12, p. 31.
(lower left) Boekbinder's music deconstructs sexist langue and actions in Adetty Pérez Miles' article in Visual Culture & Gender, 12, p. 12.
(right) A Still Life #1, © Janet Taylor Pickett, 2013, mixed media & collage on paper, 15" X11" in Indira Bailey's article in Visual Culture & Gender, 12, p. 54.

Visual Culture & Gender, volume 11 (2016)

[Cover images] 
Duk-kyung Kang (1995), Lost Virginity. Seoul, South Korea: War and Women's Human Rights Museum. Copyright 1995 by Korean Council for the Women Drafted for Military Sexual Slavery by Japan. Reproduced with permission. In Writing Witnessing, Witnessing Writing: Working Through Trauma Using Performative Autoethnography by Hyunji Kwon in Visual Culture & Gender, 11, p. 14.
Photography gives permanence to the temporal nature of shadows that witnesses a performative act by Deborah Smith-Shank and Karen Keifer-Boyd. Photo by Deborah Smith-Shank, September 8, 2016. In Karen Keifer-Boyd and Deborah Smith-Shank's Bittersweet editorial in Visual Culture & Gender, 11, p. 5.

Visual Culture & Gender, volume 10 (2015)

[Cover images] 
Excerpt from Loli-girls, 2015 mixed media, 9 x13, by Shari L. Savage
in Visual Culture & Gender, 10, p. 38.
Andrea (2013, found ceramic, epoxy resin putty, enamel paint) by Jessica Harrison in Anthony Merino's article in Visual Culture & Gender, 10, p. 92.

Visual Culture & Gender, volume 9 (2014)

[Cover images] 
Detail from The Hyper-watchful, Watched Women (2007, installation) by Immaculada RodRíguez-Cunill in Visual Culture & Gender, 9, p. 88. 

The Dark Man (2005, acrylic painting, 73 x 60 cms) by Immaculada RodRíguez-Cunill in Visual Culture & Gender, 9, p. 84.

Visual Culture & Gender, volume 8 (2013)

[Cover images] 
Gemma 2 (July 2012, rightside detail, watercolor) by Fiona Blaikie
in Visual Culture & Gender, 8, p. 65.
Overstepping by Julie Rrap (used with permission) in Claudia Wobovnik's multimedia essay (Visual Culture & Gender, 8, p. 87).

Visual Culture & Gender, volume 7 (2012)

[Cover image] 
Map by Sheri R. Klein, Visual Culture & Gender, 7, p. 6.

Visual Culture & Gender, volume 6 (2011)

[Cover images] 
Masquerade in Clubland: A Safe Space for Glamour
(Figure 7) by Kevin Almond, Visual Culture & Gender, 6, p. 63.
Masquerade in Clubland: A Safe Space for Glamour
(Figure 8) by Kevin Almond, Visual Culture & Gender, 6, p. 63.

Visual Culture & Gender, volume 5 (2010)

[Cover image, Left] Icon by Marla Thirsk (2008, 36 x 40", mixed media acrylic with collage, gold leaf and Lettraset lettering) in "Naming Ourselves as Popular Educators: An appreciative Inquiry into West Coast Canadian Artists' Identity," (Figure 3) by Dorothy Lander and Anita Sinner, Visual Culture & Gender, 5, 42.

[Cover image, Right] The Republican People's Army Heroine (Permission granted by the Anselmo Lorenzo Foundation, Madrid, Spain) in "Becoming Visible and Real: Images of Republican Women during the Spanish Civil War" by Dolores Martín Moruno, Visual Culture & Gender, 5, 8.

Visual Culture & Gender, volume 4 (2009)

[Cover image]
Brooke at her island. Photograph by Pamela G. Taylor.
in "A Raining Afternoon: Growing Younger and Wiser," Visual Culture & Gender, volume 4.

Visual Culture & Gender, volume 3 (2008)

[Cover image] Girlhood with Snake (2000) by Maya Gonzalez.
35" x48" acrylic on masonite. Private collection.
Used with permission of the artist. In "Maya Gonzalez: Portrait of the Artist as a Radical Children's Book Illustrator," (Mira Reisberg), Visual Culture & Gender, volume 3.

Visual Culture & Gender, volume 2 (2007)

[Cover image]
Digital photograph of Pregnant Midge, a Mattel® Barbie doll. MIDGE® and associated trademarks are owned by and used with permission from Mattel, Inc.©2007 Mattel, Inc. All Rights Reserved.
In "Your Kids Say 'Mom.' Your Clothes Say Otherwise": Pregnant Fashion Dolls and Visual Culture," (Baxter & Wilson McKay), Visual Culture & Gender, volume 2.

Visual Culture & Gender, volume 1 (2006) 

[Cover image]
Kennebunkport Green Dress (2004) by Cory W. Peeke,
mixed media on paint sample (8" x 8") in "Color Constructions," Visual Culture & Gender, volume 1.