About the Contributors

Kathy Bruce’s collages explore archetypal female forms within the context of poetry, literature, and the natural environment. She received an M.F.A from Yale University School of Art and a certificate from The Pennsylvania Academy of Fine Arts. Ms. Bruce is the recipient of numerous grants and awards including a Pollock-Krasner Foundation Fellowship, two Fulbright-Hayes scholar grants to Peru and a Ford Foundation Grant. She has exhibited her work in the US, UK and internationally including Senegal, Taiwan, Denmark, Peru, France, and Canada.

Okolo Chinua is a writer who writes for many reasons, the beauty of tomorrow being the foremost. Currently he lives and writes from the suburbs of Onitsha in Anambra state, Nigeria.

Jennifer Griffiths has a doctoral degree in the History of Art from Bryn Mawr College. She has been based in Italy for a decade, having previously taught for the American University of Rome, Iowa State University College of Design Rome, and the University of Georgia in Cortona. She currently lectures at the Umbra Institute in Perugia. Her peer-reviewed articles on women, gender, and art have appeared in Design Culture, Woman’s Art Journal, Women’s Studies Quarterly, International Yearbook of Futurism Studies and elsewhere. Her editorials, book, and exhibition reviews have appeared in Art Journal, Forum Italicum, Journal of Modern Italian Studies, Modern Italy, and Esse arts + opinions. Her first monograph, Marisa Mori and the Futurists: A Woman Artist in an Age of Fascism, is forthcoming with Bloomsbury.

Emily Irvin is an artist, researcher, performer, writer, and activist from Appalachia. They explore ceramic questions through performative material explorations. They received their BS in health sciences in 2015 and then their BFA in ceramics in 2016 from the Ohio State University. Irvin received an MFA in ceramics at the University of Colorado Boulder in 2021. Their interest in constructed notions of able bodies has been explored in exhibitions, publications, and residency programs internationally, including at Baltimore Clayworks in Maryland, Mexico City, Mexico, CICA in Gimpo, South Korea, and C.R.E.T.A. in Rome, Italy.

Bridget Keown received her BA from Smith College, her MA from King’s College London, and her PhD in History from Northeastern University. Her research focuses on the experience and treatment of war-related trauma among British and Irish women during the First World War, and the ways in which the experience of trauma shapes historical narratives. She is a lecturer in the Gender, Sexuality, and Women’s Studies Program, and the programming coordinator for the Research, Ethics and Society Initiative at the University of Pittsburgh. She is also the curator of the virtual art exhibit Experience, Integration, Expression: The Work of Norman Klenicki, which can be visited at www.nkexhibit.com.

Mahaliah A. Little is a 2021-22 Postdoctoral Fellow at the Carter G. Woodson Institute for African American and African Studies and an Assistant Professor of Gender and Sexuality Studies at the University of California, Irvine. She received her M.A. in Women’s and Gender Studies from Rutgers University, and a B.A. in English from Spelman College. Dr. Little's research interrogates representations of Black women's identity and sexuality in the aftermath of sexual violence in documentaries, fiction, memoir, and other sites of cultural production. Her current research project intervenes in rape crisis and anti-rape feminist debates by considering Black women’s specific cultural relationship to the prevailing linear conceptualization of trauma recovery that delineates a transformation from victim to survivor and discursively prioritizes survivor over victim when addressing people who have experienced sexual violence. Adding to a growing body of Black feminist literary and cultural criticism that theorizes the relationship between violence, autonomy, and Black women’s sexuality, Dr. Little's research examines the murky overlap of arousal, trauma, and performative heroism in Black women’s articulations of sexuality and identity in the aftermath of sexual violence.

Ravy Puth is an illustrator and a scholar. She uses illustration as both a lens and a practice to seize the agency of representation and storytelling. Born in Montreal, Canada, of Cambodian parents, her work focuses on memory recollection through the process of archives re-narration. Her research is at the intersection of race, social movements and soft counter-power. Drawn by the challenge of illuminating hope, she aims to turn the strategies of assimilation into tactics to subvert power. She focuses on visual culture methods in research-creation to reclaim history. Her thesis is about the role of visual narratives in Cambodians' specific oral history rebirth and collective healing from intergenerational trans-colonial trauma. Ravy’s work can be seen through her website, Instagram and latest interview. She is undertaking her masters’ thesis at Concordia University in Media Studies (Communication). Her research-creation project is partly funded by Le Conseil des arts de Montréal (2022-23).

Celia Vara holds a Ph.D. in Communication (2019) from Concordia University (QC, Canada). She is a psychologist, visual artist, and curator and has had numerous residencies and individual and joint exhibitions in the Dominican Republic, Canada, Cuba and Spain. Her writings and media work have appeared in peer-reviewed journals such as Performance Research, Arte y Políticas de Identidad, Feminizine, and feral feminisms. Her research interests include performance, contemporary art, experimental and social movement media from a feminist perspective. Her doctoral thesis draws from kinesthetic experience to explore performance as a possibility for self-exploration and feminist liberation. It contributes to understanding performance and body art outside of the American feminist context and to implementing a creative and feminist embodied methodology (Fina Miralles’ Relacions: Kinesthetic Knowledge and Corporeal Agency, 2019). Her website is: https://feministmediastudio.ca/vara-celia/.

Gail Winbury will have a one-woman exhibition at the Elizabeth de C. Wilson Museum on the campus of the Southern Vermont Art Center, Manchester, Vermont. Opening December 3rd, 2022, the exhibition of paintings and collage continues through February 26th, 2023. The multidisciplinary museum exhibition encompasses about 3,000 sqft of gallery space. The Hunter Gallery will consist of art from Winbury's "The Other Side '' series about early childhood and memory, including the painting The Fear Monger. This gallery will also feature original poetry from Vermont poets, developed in response to the artwork. Winbury's collages will be on display in the Lucioni Gallery and will include a maker space for visitors. The exhibition is curated by Alison Crites, Manager of Exhibitions and Interpretive Engagement. Gail Winbury also, will have a three-woman exhibition opening June 2nd, 2022 at Carter Burden Gallery in Manhattan, NY.