The Violence Against Women (VAW) Art Map was conceived in the fall of 2018, in the wake of the #MeToo movement by Lauren Stetz, a Ph.D. candidate in Art Education with a minor in at Penn State University. Inspired by the globality of the hashtag movement, Stetz became fascinated by its unique manifestations in different geographic locations, questioning how the universal language of hashtags interacts with complex histories of oppression. Drawing from transnational and intersectional feminisms, Stetz queries the nuances of violence across borders, boundaries, and identity.
The VAW Art Map can be used to visualize connections between artists globally, highlighting themes such as vulnerability, shame and victim-blaming, and law and government. The VAW Art
The Coalition
A Transnational Community of Artists Addressing Violence Against Women
This gallery features artists around the world, across race, ethnicity, gender, age, and socioeconomic class, who address violence against women (VAW) through their work. Many artists are survivors of various modes of VAW, including harassment, domestic violence (including physical, emotional, and financial abuse), human trafficking, and sexual assault. While all artists address VAW, their narratives vary, highlighting thier unique intersectional experiences within their cultural, and political settings.
Ti Amo Troppo by Natalia Saurin, (2020), Mixed Media Postcards in Site Specific Installation, Casa Argentina, Rome, Italy.
Her Name was Nokuphila Kumalo by Kilmany-Jo Liversage, (2015), Acrylic and Spray Paint, Cape Town, South Africa.
Burn by Ewa Grochowska. (2015), Ceramics, Connecticut,
United States.
Priya's Shakti by Priya's Shakti, (2014), Augmented Reality
ComicBook, India.
Summer Ecstasy by Agata Surma, (2020), Mixed Media Painting, New York, New York, United States.
Untitled by Tamara Santibañez, (2018), Tattoo, New York,
New York.
Projecto Quipu by Julia Gamarra, Rosemarie Lerner, and Alejandra Vélez (2015), Documentary Film, Peru.
Soap Figure with Flowers by Maria Kulikovska, MKUV Studio [Maria Kulikovska + Uleg Vinnechenko]. (2019) Ballistic Soap and Flowers, Permanent Collection of Odesa National Fine Arts Museum, Odesa, Ukraine.
Dejected by Patrick Seruwu, (2021), Painting, Johannesburg, South Africa.
Pathway to Healing by Amanda Mendoza, (2021), Acrylic Paint, Connecticut, United States.
Amanda Mendoza
United States
Museum of Rape Threats & Sexism by Isha Yadav, (2021-2022), Installation, New Delhi, India.
Isha Yadav
India
Hooray for Hollywood by Raven Kaliana, (Copyright 2011), Film, Puppet (R)Evolution Theatre Company, United Kingdom.
Untitled by Karen Glass, (2019), Tattoo, Brooklyn, New York.
And So I Stayed codirected by Natalie Pattillo and Daniel Nelson, (2021), Documentary Film, Grit Pictures LCC, New York, New York.
And So I Stayed, codirected by Natalie Pattillo and Daniel Nelson, (2021), Documentary Film, Grit Pictures, LCC, New York, New York.
Catcalls of NYC by Catcalls of NYC, (2021), Chalk, New York, New York.
Times Up by Sophie Neville, (2018), Embroidery, Cambridgeshire, United Kingdom.
#MeToo by Elsa Sajad, (2018), Performance, BlankPage Productions, Karachi, Pakistan.
Elsa Sajjad
Pakistan
Vulnerability by Maria Proshkovska, (2017), Installation, Kiev, Ukraine.
Tea time is back I by Silvia Levenson, (2019), Kiln Formed Glass, Photo by Marco Del Comune Photography, Italy.
Don't Mess with Me (Pink Lady) by Jas Charanjiva (2013/2020), Mural, Mumbai, India and the Asian Art Museum, San Francisco, California.
When I died in my own apartment during a pandemic by Mehreen Hashmi, (2020), Video Performance, Karachi, Pakistan.
Kaitlyn by Claire Salvo, (2019), Ink, California, United States.
Humans and Ropes by Shiva Parham, (2010), Painting, Tehran, Iran.