Archives

  • Vol. 19 (2024)

    [Cover images] 

    (upper left) Glitched Liliann’s AI-generated avatars in Christine Liao’s article in Visual Culture & Gender, 19, p. 17

    (upper right) Photographs of moments in immersive activities in becoming art educators in Karen Keifer-Boyd's article in Visual Culture & Gender, 19, p. 1.

    (lower left) Dirty Laundry (detail) from Wo/Manhouse 2022 in Viki D. Thompson Wylder’s article in Visual Culture & Gender, 19, p. 37.

    (lower right) Digital artwork in Hsin Mei Lin’s article in Visual Culture & Gender, 19, p. 47.

  • Vol. 18 (2023)

    Cloudy Connections, Overcast Predictions 

    [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.

  • Vol. 17 (2022)

    Feminist Counter-narratives in Visual Culture

    [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.

  • Vol. 16 (2021)

    Visual Culture of Precarious Futures

    [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.

  • Vol. 15 (2020)

    Living with Pandemic Trauma

    [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

  • Vol. 14 (2019)

    Feminist Research Dismantles Power Structures and Builds Equitable Platforms

    [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.

  • Vol. 13 (2018)

    Working to Dismantle Systems of Oppression

    [Cover images] 

    (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.

  • Vol. 12 (2017)

    A Year of Resistance and Resilience

    [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.

  • Vol. 11 (2016)

    Bittersweet: Witnessing, Performance, Complexity

    [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.

  • Vol. 10 (2015)

    Racial and Gender Violence > People Seeking Safety 

    [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.

  • Vol. 9 (2014)

    Veiling and Looking, Unveiling and Hiding 

    [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.

  • Vol. 8 (2013)

    Habitus Detritus 

    [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 in Visual Culture & Gender, 8, p. 87.

  • Vol. 7 (2012)

    Feminist Mapping

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

  • Vol. 6 (2011)

    Public Pedagogy of Visual Culture and Gender

    [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.

  • Vol. 5 (2010)

    Visual Representation and Performative Text

    [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.

  • Vol. 4 (2009)

    Hyphen-UnPress

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

  • Vol. 3 (2008)

    Body & Gender Politics in Visual Culture

    [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.

  • Vol. 2 (2007)

    Autoethnography and Arts-Based Research

    [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.

  • Vol. 1 (2006)

    From Womb to Nurkan Valtraus

    [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.