Eileen Boris, Sarah Jones, Collier Meyerson, and Katherine Turk discuss Bernice Yeung’s book In a Day’s Work: The Fight to End Sexual Violence against America’s Most Vulnerable Workers, with a response from Yeung.
Artist Statement For the past twenty years, renowned graphic designer and fine artist Paula Scher has been reinterpreting society’s approach to data and our visual representation of the trafficked environment. Through her large-scale cartographic paintings, she has created a novel way of mapping traditional information while subjectively twisting and confounding it. Intricate, colorful, and obsessively […]
The Summer 2018 issue of Signs is now available online from the University of Chicago Press. Articles The Third Shift: The Politics of Representation and the Psychological Turn Lorna Finlayson Gender as “Ebola from Brussels”: The Anticolonial Frame and the Rise of Illiberal Populism Elżbieta Korolczuk and Agnieszka Graff Empowerment and Privacy? Home Use of […]
The Spring 2018 issue of Signs is a special issue on Displacement, edited by Denise Horn and Serena Parekh, that addresses the urgent “global refugee crisis” while also understanding displacement as a larger phenomenon.
Artist Biography Ana Teresa Fernández is a visual artist who uses performance as a primary research tool in her multimedia practice. Fernández’s work includes community-based projects, public art, sculpture, performance, video, and larger-than-life oil paintings that critique cultural assumptions and stereotypes about Latina women. Fernandez uses her own experience of having migrated to the US with […]
Leigh Alexander, Sydette Harry, and Brooke Foucault Welles discuss Zoe Quinn’s book Crash Override: How Gamergate (Nearly) Destroyed My Life, and How We Can Win the Fight against Online Hate.
Susan Bordo, Ana Marie Cox, Daisy Hernandez, and Dana Nelson provide feminist perspectives on Hillary Clinton’s What Happened.
Artist Statement Based on Harriet Jacobs’s Incidents in the Life of a Slave Girl, this piece takes its title from a chapter in her book. The installation invites viewers into the central camera obscura one at a time. In the pitch-dark interior, rocked by slight movement of the cone’s round form, the viewer’s eyes dilate […]
