{"id":2,"date":"2012-09-04T13:39:49","date_gmt":"2012-09-04T17:39:49","guid":{"rendered":"https:\/\/people.clas.ufl.edu\/template\/?page_id=2"},"modified":"2026-03-19T08:48:46","modified_gmt":"2026-03-19T12:48:46","slug":"home","status":"publish","type":"page","link":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/","title":{"rendered":"Home"},"content":{"rendered":"\r\n<section class=\"fullwidth-text-block\">\r\n\t<div class=\"container px-0 pt-5\">\r\n\t\t<div class=\"row align-items-start\">\r\n\t\t\t<div class=\"col-12\">\r\n\t\t\t\t\n<p><a href=\"http:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Photo-on-9-25-14-at-3.15-PM-2-copy.jpg\" rel=\"attachment wp-att-159\"><\/a><a href=\"http:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez-.jpg\" rel=\"attachment wp-att-171\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez--300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-171\" srcset=\"https:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez--300x300.jpg 300w, https:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez--150x150.jpg 150w, https:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez--200x200.jpg 200w, https:\/\/people.clas.ufl.edu\/jillianhernandez\/files\/Jillian-Hernandez-.jpg 450w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Jillian Hernandez<\/h2>\n\n\n\n<p>Associate Professor<\/p>\n\n\n\n\n\n<p><a href=\"https:\/\/www.jillianhernandez.com\/\">https:\/\/www.jillianhernandez.com\/<\/a><\/p>\n\n\n\n\n\n<p><a href=\"https:\/\/linktr.ee\/jillianhernandez\">https:\/\/linktr.ee\/jillianhernandez<\/a><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Areas of Interest\/Research<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>Sexualities and Race<\/li>\n<li>Visual Culture, Art History, and Performance Studies<\/li>\n<li>Critical Girlhood Studies<\/li>\n<li>Ethnic Studies, Latinx Studies, and Black Studies<\/li>\n<li>Hip Hop, Media, and Cultural Studies<\/li>\n<li>Black and Latina Feminisms<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Biography<\/h3>\n\n\n\n<p><span style=\"line-height: 1.6\">Jillian Hernandez studies the autonomous aesthetics and sexualities of Black and Latinx people. Her scholarship crosses the fields of art history, performance, gender, ethnic, Latinx, and Black studies, and is informed by her work as a community arts educator, curator, and cultural producer. Her book<b class=\"\">\u00a0<\/b><i class=\"\"><a href=\"https:\/\/www.dukeupress.edu\/aesthetics-of-excess\">Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment<\/a>, <\/i><span class=\"\">published by Duke University Press,\u00a0<\/span>traces how the body practices and art making of Black and Latinx women and girls are intertwined, and how their creative work complicates conventional notions of cultural value and sexual respectability. She is an Associate Professor in the Center for Gender, Sexualities, and Women\u2019s Studies Research at the University of Florida and is currently organizing an exhibition featuring the work of Pamela Council, Yvette Mayorga, and Kenya (Robinson) for the Flaten Art Museum. Her work has appeared in <i class=\"\">Women and Performance: A Journal of Feminist Theory<\/i>, <i class=\"\">American Quarterly,\u00a0<\/i><i class=\"\">Signs: Journal of Women in Culture and Society<\/i>, and the <i class=\"\">Journal of Popular Music Studies<\/i>, among other venues.\u00a0Her scholarship is based on and inspired by over a decade of community arts work with Black and Latinx girls in Miami, Florida through the <a href=\"https:\/\/www.jillianhernandez.com\/women-on-the-rise\">Women on the Rise!<\/a> program she established at the Museum of Contemporary Art in North Miami in addition to her practice as an artist and curator.\u00a0<\/span><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Contact Information<\/h3>\n\n\n\n<p>Email: jillianhernandez@ufl.edu<br>\nPhone: (352) 273-0380<br>\nMailing address: PO Box 117352, Gainesville, FL 32611<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Publications<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>Book<\/li><\/ul>\n\n\n\n<p><em><a href=\"https:\/\/www.dukeupress.edu\/aesthetics-of-excess\">Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment<\/a>, <\/em>Duke University Press, 2020<\/p>\n\n\n\n\n\n<p>Honorable Mention, Emily Toth Award for Best Single Work in Women\u2019s Studies, Popular Culture Association<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Peer-reviewed articles<\/li><\/ul>\n\n\n\n<p>\u201cRadical Pink: The Aesthetics of Visionary Black Girlhood in Sadie Barnette\u2019s <em>\u2018Dear 1968\u2026\u2019<\/em> and <em>Black Sky<\/em>.\u201d <em>Visual Arts Research <\/em>Vol. 47, No. 1, 2021<\/p>\n\n\n\n\n\n<p>\u201cFugitive State: Toward a Cimarrona Approach to Florida Cultural Studies.\u201d <em>Departures in Critical Qualitative Research, <\/em>Vol. 10, No. 2, 2021<\/p>\n\n\n\n\n\n<p>\u201c<a href=\"https:\/\/urldefense.proofpoint.com\/v2\/url?u=https-3A__oxfordre.com_literature_view_10.1093_acrefore_9780190201098.001.0001_acrefore-2D9780190201098-2De-2D346&amp;d=DwMFAw&amp;c=sJ6xIWYx-zLMB3EPkvcnVg&amp;r=Pzk2HgfvrEdpIYlvcTIbJj1eSkF_tX6FrN3adXPMab0&amp;m=-tJ-k2swhUCmmXZSenSG-Cx6LnFw09b7d_RumQVYV7w&amp;s=1v4bSlIBKXl_1tg1tTflmeEmg9rRRT981eK6XLyRgF0&amp;e=\">Racialized Sexuality<\/a>.\u201d In\u00a0<em>Oxford Research Encyclopedia of Literature<\/em>. Oxford University Press. Article published February 2020. doi:<a href=\"https:\/\/urldefense.proofpoint.com\/v2\/url?u=http-3A__dx.doi.org_10.1093_acrefore_9780190201098.013.346&amp;d=DwQFAw&amp;c=sJ6xIWYx-zLMB3EPkvcnVg&amp;r=Pzk2HgfvrEdpIYlvcTIbJj1eSkF_tX6FrN3adXPMab0&amp;m=-tJ-k2swhUCmmXZSenSG-Cx6LnFw09b7d_RumQVYV7w&amp;s=ms8ADohBHzc6qo9OYzmda-RxK7_BRmMFD8V7hGHp7Mw&amp;e=\">http:\/\/dx.doi.org\/10.1093\/acrefore\/9780190201098.013.346<\/a><\/p>\n\n\n\n\n\n<p>\u201cQueer of Color Spacemaking in and Beyond the Academic Industrial Complex,\u201d co-authored with Jin Haritaworn, Paola Bacchetta, Tiffany Willoughby-Herard, Fatima El-Tayeb, S.A. Smythe, and Vanessa Thompson, <em>Journal of Critical Ethnic Studies<\/em>, Vol. 4, No. 1, 2019<\/p>\n\n\n\n\n\n<p>\u201cBeauty Marks: The Latinx Surfaces of Loving, Becoming, and Mourning,\u201d <em>Women and Performance: A Journal of Feminist Theory<\/em>, Vol. 28, No. 1, 2018<\/p>\n\n\n\n\n\n<p>\u201cThe Ambivalent Grotesque: Reading Black Women\u2019s Erotic Corporeality in Wangechi Mutu\u2019s Work,\u201d <em>Signs: Journal of Women in Culture and Society<\/em>, Vol. 42, No. 2, 2017<\/p>\n\n\n\n\n\n<p><em>\u00a0<\/em>\u201cSexual Knowledge and Practiced Feminisms: On Moral Panic, Black Girlhoods, and Hip Hop,\u201d co-authored with Christina Carney and Anya M. Wallace, <em>\u00a0Journal of Popular Music Culture<\/em>, Vol. 28, Issue 4, 2016<\/p>\n\n\n\n\n\n<p>\u201cDisruptions in Respectability: A Roundtable\u201d <em>Souls: A Critical Journal of Black Politics, Culture, and Society<\/em>, co-authored with Jennifer Nash, Ariane Cruz, Xavier Liverman, Kaila Story, and Mali Collins-White, Vol. 18, Issues 2-4, 2016<\/p>\n\n\n\n\n\n<p>\u201cCarnal Teachings: Raunch Aesthetics as Queer Feminist Pedagogies in Yo! Majesty\u2019s Hip Hop Practice,\u201d <em>Women and Performance: A Journal of Feminist Theory <\/em>24 (1), 2014.<\/p>\n\n\n\n\n\n<p>\u201cSexing Sculpture: New Approaches to Theorizing the Object\u201d (editors\u2019 introduction co-authored with Susan Richmond), <em>Art Journal <\/em>Winter, 2014<\/p>\n\n\n\n\n\n<p>\u201cMeditations on the Multiple: On Plural Subjectivity and Gender in Recent New Media Art Practice.\u201d <em>Lateral, Journal of the Cultural Studies Association <\/em>1 (2):\u00a0 <a href=\"http:\/\/lateral.culturalstudiesassociation.org\/issue2\/theory\/hernandez\/\">http:\/\/lateral.culturalstudiesassociation.org\/issue2\/theory\/hernandez\/<\/a><em>.\u00a0<\/em>Special issue \u201cIn Search of Digital Feminisms\u201d edited by Katherine Behar and Silvia Ruzanka, 2013.<\/p>\n\n\n\n\n\n<p>\u201c\u2018Miss, You Look Like a Bratz Doll\u2019: On Chonga Girls and Sexual-Aesthetic Excess.\u201d <em>National Women\u2019s Studies Association (NWSA) Journal<\/em> 21 (3): 63-91, 2009. Special issue on Latina Sexualities edited by Lourdes Torres and Lorena Garcia.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Book chapters<\/li><\/ul>\n\n\n\n<p>[PEER REVIEWED] \u201cChongivity Activity: Latinx Hyperfemininity as Iconography, Performance, and Praxis of Belonging,\u201d in <em>Critical Di\u00e1logos in Latina\/o\/x Studies. <\/em>Edited by Ana Y. Ramos Zayas and M\u00e9rida M. R\u00faa. New York: New York University Press, forthcoming 2021.<\/p>\n\n\n\n\n\n<p>[PEER REVIEWED] \u201cThe Book of Joy: A Creative Archive of Young Queer Black Women\u2019s Pleasures\u201d (co-authored with Anya M. Wallace), in <em>Black Sexual Economies: Race and Sex in a Culture of Capital<\/em>. Edited by Adrienne D. Davis and the BSE Collective. Urbana, Chicago, and Springfield: University of Illinois Press, 2019.<\/p>\n\n\n\n\n\n<p>\u201c\u2018Chongas\u2019 in the Media: The Sexual Politics of Latina Girls\u2019 Hypervisibility\u201d in <em>Girls\u2019 Sexuality in the Media<\/em>. Edited by Kate Harper and Vera Lopez. New York: Peter Lang, 2013.<\/p>\n\n\n\n\n\n<p>\u201cMakeup on the Face of the Father: Recent Work by Rachel Lachowicz\u201d in <em>Rachel Lachowicz<\/em>. Book co-authored with Amelia Jones and George Melrod. New York: Marquand Books\/Distributed Art Publishers, 2013.<\/p>\n\n\n\n\n\n<p>[PEER REVIEWED] \u201cOn Visual Politics and Poetics: Incarcerated Girls and Women Artists\u201d in <em>Razor Wire Women: Prisoners, Activists, Scholars, and Artists<\/em>. Edited by Jodie Michelle Lawston and Ashley E. Lucas. Albany, NY: State University of New York (SUNY) Press, 2011.<\/p>\n\n\n\n\n\n<p>\u201cPerforming Identity in Miami: A Case Study of Women Artists\u201d in <em>Florida Without Borders: Women at the Intersections of the Local and the Global. <\/em>Edited by Sharon Kay Masters, Judy A. Hayden, and Kim Vaz. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2008.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>\u00a0Creative writings, media articles, and reviews<\/li><\/ul>\n\n\n\n<p>(Exhibition Review) Per(sister): Incarcerated Women of Louisiana. <em>CAA Reviews<\/em> (College Art Association), December 18<sup>th<\/sup>, 2019. <a href=\"http:\/\/caareviews.org\/reviews\/3627#.Xlw8_RNKhHQ\">http:\/\/caareviews.org\/reviews\/3627#.Xlw8_RNKhHQ<\/a><\/p>\n\n\n\n\n\n<p>\u201cRaunch Aesthetics as Visceral Address: (MORE) Notes from a Voluptuary,\u201d Pastelegram (Online Issue 11), <a href=\"http:\/\/pastelegram.org\/y\/kegels-for-hegel\/raunch-aesthetics\">http:\/\/pastelegram.org\/y\/kegels-for-hegel\/raunch-aesthetics\u00a0<\/a>Special Issue, \u201cSexing Up Social Theory,\u201d 2015<\/p>\n\n\n\n\n\n<p>\u201cNicki Minaj and Pretty Taking All Fades: Performing the Erotics of Feminist Solidarity,\u201d co-authored with Anya M. Wallace, <em>The Feminist Wire<\/em>, March 6, 2014\u00a0<a href=\"http:\/\/thefeministwire.com\/2014\/03\/minaj-erotics\/\">http:\/\/thefeministwire.com\/2014\/03\/minaj-erotics\/<\/a><\/p>\n\n\n\n\n\n<p>(Book Review) \u201cDisruptive Girlhoods\u201d in <em>Feminist Collections<\/em>: <em>A Quarterly of Women\u2019s Studies Resources<\/em> 28 (4): 23-28, 2007.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n<p><em>\u00a0<\/em><\/p>\n\n\n\n\n\n\n\n\n\r\n\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/section>\r\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"featured_post":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-2","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/comments?post=2"}],"version-history":[{"count":11,"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":183,"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/pages\/2\/revisions\/183"}],"wp:attachment":[{"href":"https:\/\/people.clas.ufl.edu\/jillianhernandez\/wp-json\/wp\/v2\/media?parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}