Archives
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“Healing is an Act of Communion”: Critical Perspectives on Women’s Health, Wellness, and Disease
Vol. 47 No. 1 (2026)The cover art for this issue is Self-Evolution by Jessica Jerome.
Artist statement: My paintings have always come to me in the form of dreams, images that appear to me in times of transition in my life. I painted some of my best work during times of change. As a two-spirited woman, a wife and mother, throughout this journey of coming into my own skin, art has always been healing. Releasing emotions into a painting, so that I am not carrying those anymore, is a part of the healing process. This portrait of a two-spirited woman highlights resilience, evolution, and spiritual connection between self and culture. Who I have become today is written all over her skin, carrying her culture and teachings forward, through movement and colour. Symbolic Mi’kmaw petroglyphs are displayed on the woman’s skin, a message of the woman she has become. The Mi’kmaw symbols on her shoulders are a traditional L’nu hieroglyph representing “Spirit” in its plural form, which is why the two symbols are together. Sweetgrass presented in this portrait is giving strength and healing through challenges; it was one of the first medicines given to the Mi’kmaq people. Covering one eye gives strength to the other. I also wanted to showcase this painting because it is important to have more diverse representation of Mi’kmaq people, including those who are fair-skinned and have lighter eyes and hair: we are all different. I want this piece to speak to all those who don’t feel that they are seen because of the color of their skin and eyes. Two-spirited people are knowledge keepers, artists who play a significant role in each community. Blessed by the creator, these beautiful people are cherished by the community. The teachings passed down to me, with knowledge and experience, I now pass along to my sons and to all those who want to learn more about our culture.
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Open Call / Gender and Climate Justice
Vol. 46 No. 2 (2025)Issue 46.2 (2025) is dedicated to Tanja Harrison. The cover image, "Fish," is a ceramic tile created by Tanja in 2024.
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Liveable Futures: Radical Imagination as Method // Radical Imagination as Survival
Vol. 46 No. 3 (2025) -
Take Back the Future: 2023 Women’s, Gender, Social Justice Association (formerly Women’s and Gender Studies et Recherches Feministes) Conference
Vol. 45 No. 2 (2024)About the cover image:
Imagining Futures of Care is a digital mural created as part of the research project Fostering Dialogues, an arts-based action research project imagining futures of community-based care with homecare personal support workers (PSWs) and LGBTQ older adults. This project explored the potential of arts-based engagement to create connections among LGBTQ older adults and PSWs and inspire imaginings about futures of community-based care. The intention of the mural, composed of multiple layers of participants’ art works, is to highlight shared and distinct realities that LGBTQ older adults and PSWs face and to inspire collective conversation. The mural image was facilitated by social artist Melanie Schambach and the project was co-led with Celeste Pang and Brittany Jakubiec at Egale Canada, with funding from a CIHR Catalyst Grant.
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Dialogues and Reflections: The Scarborough Charter
Vol. 45 No. 1 (2024)The cover art for this special issue on the Scarborough Charter shows Amidst The Noise (3) by Ibe Ananaba (acrylic and permanent marker on canvas; 55.5 x 85.5 in. 2020). The artwork reflects resilience, with background doodles symbolizing societal turmoil and a central figure representing the strength to unapologetically stand tall above social injustices.
Ananaba, a multidisciplinary artist, explores the impact of socio-cultural issues on contemporary living, using art for social transformation. Recognized with the 1st Prize at Art Masters, Art Vancouver 2019, and listed in the Smithsonian Libraries, Ananaba’s work is featured in international exhibitions and publications such as Masters of Watercolors (Planeta Muzyki Publishers, Finland, 2018), Artists of Nigeria (5 Continents Edition, Italy, 2012) and many more. In 2023, he executed the diversity mural in Berwick, Nova Scotia. He also collaborated with Acadia University for their Decolonizing and Deconstructing Space research project, presented “Black Fashion Is Art” at the Art Deco Museum during Art Basel Miami 2023, and participated in The Secret Codes group exhibition at The Textile Museum in Toronto. Ananaba, the 2024 Artist-In-Residence of Visual Arts Nova Scotia, is a member of Visual Arts Nova Scotia and the Black Artist Network of Nova Scotia. www.ibeananabart.com
Amidst The Noise (3) is used with permission from Ibe Ananaba. Curated by Pamela Edmonds.
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Formations of Feminist Strike
Vol. 44 No. 2 (2023)Co-Edited by Senka Neuman Stanivuković, Ksenia Robbe and Kylie ThomasThe cover image for this special issue represents a portion of an original poster expressing transnational feminist solidarity. The original is held at the NYU Tamiment Library & Robert F. Wagner Labor Archives in New York. The poster was created by artist Susan Shapiro in the United States in 1975 to celebrate the end of the Vietnam war, and is included as part of the DISA archive that focuses on the South African liberation struggle. The poster was issued by Inkworks, an activist press founded in Berkeley in 1974 that ran until 2016. Used with permission from the DISA Archive. https://disa.ukzn.ac.za/pos197500000430532065
The text on the original poster reads: We Celebrate Women's Struggles, We Celebrate People's Victories. "The mountain is only so high... Our capacity is without limit." The stars move; our will is unshakable! Inscription on the walls of a cell: Con Son Women's Prison, South Viet Nam (Liberated April 30 1975).
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"Covid and the Academy" & Open-themed Research
Vol. 42 No. 1 (2021)Cover art for Issue 42.1: Maison-École by Marianne Charlebois.
Marianne Charlebois is a Montreal-based illustrator and visual artist. Through primarily drawing, print media, installation, and video, she explores loss, presence, and the tensions in between. The concepts of banality and ordinary life are also part of her artistic reflection. After many internship and residencies, she is now undertaking a BFA in Print Media at Concordia University. mariannecharlebois.com
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Gender and the Canadian Armed Forces
Vol. 41 No. 2 (2020)The cover of Issue 41.2 shows Figurative Camo by Jessica Lynn Wiebe. The painting expresses the human condition and the many ways we grapple, physically and emotionally, with external forces that we face on a daily basis. This painting directly references a variety of Brazilian Jiu Jitsu techniques that are used to create a figurative repeat pattern. The pattern repeats across the painted surface and is further broken down using shape and colour to disrupt and camouflage the repeat pattern.
Jessica Lynn Wiebe is an interdisciplinary artist and a former artillery soldier in the Canadian military whose body of work centres on reflections of militarism, military life, memory, and commemoration. Her interdisciplinary approach investigates the mechanisms of war, including the complex politics around gender, economy, architecture of war, and the human condition. By engaging and challenging deeply-held beliefs and emotions about the military and war, her work generates dialogue among members of the public, government, and those who serve. Jessica was born and raised in Brandon, MB, and currently practices in K’jipuktuk/Halifax, NS. Wiebe participated in the Canadian Forces Artist Program (CFAP) 2018–2019 through the Canadian War Museum (CWM) in Ottawa. www.jessicalynnwiebe.com
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Intimacies/Affect and Transgressing Borders/Boundaries: Gendering Space and Place
Vol. 37 No. 1 (2015)
