In volume 12 (Fall 2017) of Visual Culture & Gender (VCG), six authors expose systems of oppression and investigate actions of resistance.
The following, in bold font, are Penn State art education alumni, faculty, and current graduate students.
Adetty Pérez de Miles (2017) in her VCG article, “Nasty Women: The Right to Appear Together,” discusses the resistance and resilience of women who stand together to deflate the wheels of sexism. Spinning the derogatory references to women as nasty and pussy into a web of resistance, women and their supporters have rallied to stop the currency of sexism.
Kristina Davis (2017), in her VCG article, “Neon Light Fetish: Neon Art and Signification of Sex Work,” follows a neon path that illuminates disparity between consumers and the workers in the sex industry. Women are not patiently waiting for patriarchal signals to change, but rather through social media, they are organizing on a global scale to weave a resilient fabric of diversity as resistance to violence, hate, and greed.
Nouf Alhamdan’s (2017) VCG visual essay, “Waiting for a GPS Signal,” takes readers into Alhamdan’s experiences of identity conflicts stemming from her upbringing in Saudi Arabia and education in the United States. Her art, discussed in the essay, is double-coded to resist persecution from expressing views of dissent.
Michelle Stokely (2017), in her VCG article in volume 12, “Sacajawea, Pocahontas, and Crayons: Representations of Native American Women in Children’s Coloring Books,” exposes how even coloring books can teach children to be sexist and racist. She brings to light coloring books produced by patriarchal publishing houses that maintain patriarchal ideologies in which White men are represented and positioned as superior.
“Upstander for Social Justice in Art Education” is the focus of Wanda B. Knight’s article in volume 12 of VCG. Her research identifies traits of upstanders in order to teach toward developing such dispositions as empathy and social responsibility through art education. She presents a curricular encounter with art by Linda Stein, a feminist artist and activist, as example of how to develop upstanders, who reveal and resist racism and sexism, among other oppressive social systems.
In an effort to build support networks and regenerate the Black Feminist Art Movement of the 1970s within the context of the Black Lives Matter Movement, Indira Bailey’s VCG article, “The (In)Visibility of Four Black Women Artists: Establishing a Support Network, Defining Obstacles, and Locating the Meaning of Art,” shows ways to become resilient.
Karen Keifer-Boyd with Deborah Smith-Shank, founders of VCG, co-author the editorial for volume 12, titled “A Year of Resistance and Resilience.”
Visual Culture & Gender (VCG) was born digital more than a decade ago in 2005 as the first multimedia online journal in the field of art education, and the first online journal devoted to the intersections of visual culture and gender. VCG is an annual international, peer-reviewed, freely accessed, multimedia online journal whose purpose is to encourage and promote understanding of how visual culture constructs gender in context with representations of race, age, sexuality, (dis)ability, and social class.
VCG invites submissions of articles and visual essays that explore issues of equity and social justice through learning and teaching practices, which expose culturally learned meanings and power relations surrounding the creation, consumption, valuing, and dissemination of images.
Visual Culture & Gender has a new look thanks to the clean navigational design work of Yen-Ju Lin, associate editor of VCG, beginning with volume 12. Yen-Ju has also moved VCG into the functionality possible with Open Journal Systems (OJS) with its features to search all volumes by entering author’s name, title, or keywords, as well as a providing a platform for author submissions and to track the review process.
To read the articles, visit http://vcg.emitto.net/