Areas of Interest/Research
- Sexualities and Race
- Visual Culture, Art History, and Performance Studies
- Critical Girlhood Studies
- Ethnic Studies, Latinx Studies, and Black Studies
- Hip Hop, Media, and Cultural Studies
- Black and Latina Feminisms
Jillian Hernandez is a transdisciplinary scholar interested in the stakes of embodiment, aesthetics, and performance for Black and Latinx women and girls, gender-nonconformers, and queers. She is currently completing her first book, tentatively titled, Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment, which is under contract at Duke University Press, and developing additional book-length projects on the radical politics of femme of color art and performance and Latinx creative erotics, ontologies, and relationalities. Hernandez received her Ph.D. in Women’s and Gender Studies at Rutgers University and teaches courses on racialized girlhoods, Latinx sexualities, theories of the body, social justice praxis, and cultural studies. Her scholarship is based on and inspired by over a decade of community arts work with Black and Latinx girls in Miami, Florida through the Women on the Rise! program she established at the Museum of Contemporary Art in North Miami in addition to her practice as an artist and curator.
Phone: (352) 273-0380
Office: 304 Ustler Hall
Office Hours: (Fall Semester) Tuesdays, 10:30am-12:00pm and by appointment
Mailing address: PO Box 117352, Gainesville, FL 32611
“Queer of Color Space-Making in and beyond the Academic Industrial Complex,” with Paola Bacchetta, Fatima El-Tayeb, Jin Haritaworn, SA Smythe, Vanessa E. Thompson, and Tiffany Willoughby-Herard. Critical Ethnic Studies Vol. 4, No. 1 (Spring 2018), 44-63. https://www.jstor.org/stable/10.5749/jcritethnstud.4.1.0044?seq=1#page_scan_tab_contents
“Beauty Marks: The Latinx Surfaces of Loving, Becoming, and Mourning,” Women and Performance: A Journal of Feminist Theory, Vol. 28, No. 1, 2018. https://www.womenandperformance.org/ampersand/28-1-hernandez
“The Ambivalent Grotesque: Reading Black Women’s Erotic Corporeality in Wangechi Mutu’s Work,” Signs: Journal of Women in Culture and Society, Vol. 42, No. 2, 2017
“Sexual Knowledge and Practiced Feminisms: On Moral Panic, Black Girlhoods, and Hip Hop,” with Christina Carney and Anya M. Wallace. Journal of Popular Music Culture, , Vol. 28, Issue 4, 2016
“Disruptions in Respectability: A Roundtable,” with Jennifer Nash, Ariane Cruz, Xavier Liverman, Kaila Story, and Mali Collins-White. Souls: A Critical Journal of Black Politics, Culture, and Society, Vol. 18, Issues 2-4, 2016
“Raunch Aesthetics as Visceral Address: (MORE) Notes from a Voluptuary,” Pastelegram. (Online Issue 11-2015), http://pastelegram.org/y/kegels-for-hegel/raunch-aesthetics Special Issue, “Sexing Up Social Theory”
“Carnal Teachings: Raunch Aesthetics as Queer Feminist Pedagogies in Yo! Majesty’s Hip Hop Practice,” Women and Performance: A Journal of Feminist Theory 24 (1), 2014.
“Sexing Sculpture: New Approaches to Theorizing the Object,” (editors’ introduction with Susan Richmond), Art Journal Winter 2014
“Nicki Minaj and Pretty Taking All Fades: Performing the Erotics of Feminist Solidarity,” with Anya M. Wallace. The Feminist Wire, March 6, 2014, http://thefeministwire.com/2014/03/minaj-erotics/
“Meditations on the Multiple: On Plural Subjectivity and Gender in Recent New Media Art Practice.” Lateral, Journal of the Cultural Studies Association 1 (2): https://csalateral.org/issue/2/meditations-on-the-multiple-subjectivity-gender-new-media-art-hernandez/. Special issue “In Search of Digital Feminisms” edited by Katherine Behar and Silvia Ruzanka, 2013.
“‘Chongas’ in the Media: The Sexual Politics of Latina Girls’ Hypervisibility” in Girls’ Sexuality in the Media. Edited by Kate Harper and Vera Lopez. New York: Peter Lang, 2013.
“Makeup on the Face of the Father: Recent Work by Rachel Lachowicz” in Rachel Lachowicz. Book co-authored with Amelia Jones and George Melrod. New York: Marquand Books/Distributed Art Publishers, 2013.
“On Visual Politics and Poetics: Incarcerated Girls and Women Artists” in Razor Wire Women: Prisoners, Activists, Scholars, and Artists. Edited by Jodie Michelle Lawston and Ashley E. Lucas, pp: 247-269. Albany, NY: State University of New York (SUNY) Press, 2011.
“Introduction, Explicit Educations: The Pedagogical Ethics of Utilizing Sexually Explicit Films in the Feminist Classroom.” Films for the Feminist Classroom 2 (2): http://www.signs.rutgers.edu/issue_2-2.html, 2010 (a project of Signs: Journal of Women in Culture and Society)
“‘Miss, You Look Like a Bratz Doll’: On Chonga Girls and Sexual-Aesthetic Excess.” National Women’s Studies Association (NWSA) Journal 21 (3): 63-91, 2009. Special issue on Latina Sexualities edited by Lourdes Torres and Lorena Garcia.
“Performing Identity in Miami: A Case Study of Women Artists” in Florida Without Borders: Women at the Intersections of the Local and the Global. Edited by Sharon Kay Masters, Judy A. Hayden, and Kim Vaz, pp. 121-137. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2008.
(Book Review) “Disruptive Girlhoods” in Feminist Collections: A Quarterly of Women’s Studies Resources 28 (4): 23-28, 2007.