Regardless of what platform(s) you follow us on, we strive to keep you informed about new issues of Cultural Studies, to introduce you to new artists through our featured artist posts, and to raise awareness of our open access articles. Thank you for allowing us to share this digital space with you.

In the meantime, find us on...
 
• Facebook: Cultural Studies - A Routledge Journal; facebook.com/CulturalStudiesJournal
 
• Instagram: @culturalstudiesjournal; instagram.com/culturalstudiesjournal
 
• LinkedIn: Cultural Studies - Published by Routledge; linkedin.com/company/cultural-studies

Yet, we are curious: is there another social media platform where you would like to also see Cultural Studies post? We have been considering possibly adding another platform, and we invite you to leave any suggestions in the comments.

Titled "Cultural Studies: Where Else to Find Us," this graphic includes artwork from four past covers and written out information about where to find Cultural Studies on Facebook, Instagram, LinkedIn, and Bluesky. All written information is also included in the caption of the post.

Did you know that Cultural Studies posts to Instagram, LinkedIn, and Facebook, in addition to Bluesky? In today's scattered social media landscape, we want to make it as simple as possible to stay informed about the newest issues and articles.

Some reflections on the first two years as Art Director of Cultural Studies, with more to come.

We would like to kindly thank our publisher, Taylor & Francis, for agreeing to re-release the contents of this 2015 special issue. This special issue will be available to read for the next two weeks, and we hope you are able to take a moment to reflect on Graeme Turner’s legacy with us.

Cultural Studies What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner. Volume 29, Issue 4 of Cultural Studies

His afterword—as well as contributions reflecting on his legacy, including Gerard Goggin, Anna Pertierra, Mark Andrejevic, Meaghan Morris, Toby Miller, Frances Bonner, Tony Bennett, John C. Byron, and Melissa Gregg—is available to all to access and read here: www.tandfonline.com/toc/rcus20/2...

Afterword Published in Cultural Studies (Vol. 29, No. 4, 2015)

As we shared previously, Graeme Turner was a leading figure in cultural studies and a good friend of the journal. His final article published through Cultural Studies, “Afterword: So… What Has Become of Australian Cultural Studies?”, can be read here: www.tandfonline.com/doi/full/10....

This image primarily features text. The main heading reads: “Cultural Studies Special Issue - What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner.” Additional text specifies “Volume 29, Issue 4 (July 2015)” and “2 Weeks Remaining • Full Access”

We wanted to share a reminder that “What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner” is available for all to read for the next two weeks in honor of the life of Graeme Turner: www.tandfonline.com/toc/rcus20/2... .

Keep an eye out for more phenomenal cover artwork to come!

Thank you, also, to co-editors Ted Striphas and Nabil Echchaibi, for supporting this work and our collective desire to financially compensate artists for their creative labor. Want to share work with us directly? Email me, Constance Gordon, at cgordon@sfsu.edu.

I learned a lot along the way as I (sometimes imperfectly) sought to balance our theme with various articles and special issues. As we move forward with Volume 40, we do so without a series theme, but still with intention to amplify artists and their meaningful cultural work that resonates.

A collage-style collection of elements, including a hand holding a cross-section of watermelon, a white rose, birds, an eye, and paper ripped to reveal the ocean.

The artwork features two pairs of hands. One set of hands includes burning vegetation with layers of sand and rock—and it looks like it is about to pass off burning trees to the second set of hands, which are of a dark skin tone and have tattoos of a cat and eyes.

39.6: Sacha Bezrutchka, “Gaza Freedom Flotilla,” @sacha.arte
40.1: Siddhesh Gautam, “Inheritance of Fire and Chaos,” @bakeryprasad

A silhouette of an adult, masculine figure holding the hand of a young, feminine child; inside of the silhouetted shape, there is blue sky with white clouds and green leaves. Outside of the silhouetted figure of the adult and child holding hands, there is a desert landscape with cracked, uneven ground, barren trees with no leaves, and a sky that transitions from red to yellow.

The artwork, from bottom to top, includes wildflowers at the bottom border, a dove flying upwards, and then a row of doves that becomes an interlocking pattern.

A spiral design that entwines iconography of water—an ocean with fish, river within an ocean, a water faucet—with symbols of the land, including a farm, vegetables in the dirt, and trees growing from the soil.

39.3: Stephanie Singleton, “Climate Anxiety,” @stephaniesing 
39.4: Rosy Cortez, “Imagine,” @paintedrosy
39.5: Job Olego Anomet, “Agriculture Is Fruitful,” @jobray_arts

This watercolor artwork features a section of black bleeding into a pale yellow circle and a splattered white rectangle.

A watercolor-style artwork with several Black women in profile, filled with shades of purples and blues. In the center of these profiles, there is a woman in full color looking straightforward and outwards towards the viewer.

A sketch-style artwork that features a dark silhouette in the bottom right corner and an outline of a bust with shaded shadows and a crumbling city within looming above.

The watercolor style artwork shows a person whose head has been replaced with a tree stump, which has oil leaking from it as three miniature planes circle overhead.

38.5: Solange Roberdeau, “It Is Stardust 1,” @solange_roberdeau 
38.6: Christina S. Zhu, “Ich kann mich nicht verstecken,” @cszhu_art 
39.1: Fatima Kamal Al-Jaabari, “Endless Tears,” @fatmaaljabari 
39.2: Yasemin Sayibas Akyüz, “Disconnected,” @yasemins.akyuz

A beekeeper holding a bee smoker, from which flow the words “We are ancient wisdom in new forms.” In the background are two other people, one of which has a hand on the beekeeper’s shoulder. There is a bee hive box at the beekeeper’s feet and flowers in the foreground of the artwork while a moon rises over it all.

A black femme person crying into her hands, surrounded by orange poppies. Two of the flowers remain unbloomed. The artist’s signature, Chi Nwosu, is in the bottom right corner.

An underwater scene that features a black femme individual wearing a yellow swimsuit suspended in water, drawing their knees to their chest. Surrounding the individual is a soft blue light, which illuminates the sea floor and plants at the bottom of the image.

This artwork is in a watercolor style and shows a Car Park in Grenada, with several cars parked outside of a building and a community of Black individuals interacting with each other. Two of the individuals wear a mask.

38.1: Olly Costello, “Ancient Wisdom,” @olly.costello.art
38.2: Chi Nwosu, “Holding Space for Grief,” @itschinwosu 
38.3: Andile Bokweni, “Deep Water,” @artbyandileh 
38.4: Elizabeth Lander, “Grenville Car Park,” @lizznarrative

I am grateful to all of the artists who have allowed us to feature their artwork on the cover of Cultural Studies. It has been a privilege to connect with them, hear their stories, and share their work with you all.

[…] as it felt both oppositional and expansive, speaking to/against the many forms of extraction that organize violence and life within our global colonial and racial capitalist order. It is within these conditions where desires for life-sustaining futures come to be.

A collage of thirteen Cultural Studies covers. This graphic is titled “Against Extraction: Desires for Life-Sustaining Futures.” It includes the following text: “Cultural Studies Cover Artwork Series,” “Art Director: Constance Gordon,” and “Volume 38, Issue 1 (January 2024) - Volume 40, Issue 1 (January 2026).”

When I assumed the role of Art Director, I felt responsibility to collaborate with artists whose work helps us grapple with cascading crises and envision a more just world. We dreamed up the idea of an art series “Against Extraction: Desires for Life-Sustaining Futures,” […]

If you would like to see more of Siddhesh Gautam’s art, you can find him:
- on Instagram: www.instagram.com/bakeryprasad/
- or at his website: www.siddheshgautam.com

Find more information about the other contributions featured in Issue 40.1 here: www.tandfonline.com/toc/rcus20/4...

The third and final image is a full-size version of the artwork. The artwork features two pairs of hands. One set of hands includes burning vegetation with layers of sand and rock—and it looks like it is about to pass off burning trees to the second set of hands, which are of a dark skin tone and have tattoos of a cat and eyes.

We would like to thank Siddhesh Gautam for sharing this artwork with us and for being the final contributor to this cover artwork series. This piece is a crucial and timely reminder of not only the world we come to inherit but also the world we are creating to leave behind.

Bio continued: “Through illustration, poetry, and graphic storytelling, he documents the struggles and dreams of marginalized communities. His practice seeks to return art to the people, grounding it in everyday lives rather than elitist spaces.”

The second image is titled “About the Artist: Siddhesh Gautam,” and it features a biography for the artist: “Siddhesh Gautam (he/him) is an India-based mixed-media artist, storyteller, and writer. His work explores caste, history, identity, and resistance, often drawing on visual archives and personal memory to challenge dominant narratives. Through illustration, poetry, and graphic storytelling, he documents the struggles and dreams of marginalized communities. His practice seeks to return art to the people, grounding it in everyday lives rather than elitist spaces.” It concludes with his info: “Instagram: @bakeryprasad” and “Website: http://siddheshgautam.com/"

His artist biography reads: “Siddhesh Gautam (he/him) is an India-based mixed-media artist, storyteller, and writer. His work explores caste, history, identity, and resistance, often drawing on visual archives and personal memory to challenge dominant narratives.”

This graphic is titled “Featured Cover Art.” It then specifies the title of the piece, “Inheritance of Fire and Chaos (2025)” and the following written snippet: “Featured Cover Art • By Siddhesh Gautam” and “For Volume 40, Issue 1 (2026).”

We would like to share the cover artwork for Volume 40, Issue 1: “Inheritance of Fire and Chaos” (2025) by Siddhesh Gautam. This is the final installment in our series on the theme of “Against Extraction: Desires for Life-Sustaining Futures.”

The fourth and final image is titled “A Peek Inside Constance Awinpoka Akurugu’s Review of: Women Marrying Women in Northern Ghana: Wading into the Homosexuality Debate from a Ghanaian Perspective by Eva Mmah Agana.” At the bottom is an excerpt from the book review: “This book is captivating in the way it meticulously details the marriage practices of the Frafra people from the Upper East Region of Ghana. It highlights a marriage practice that stands out within the Ghanaian context: woman-to-woman marriage. While practised elsewhere, such as among the Igbo people of southeast Nigeria (Amadiume 1987), it holds particular significance among the Frafra people as it extends a lifeline to family lineages and presents women with agency, authority and control over decisions affecting their lives. The author, Eva Mmah Agana, wades into the controversial debates regarding the ‘Africanness’ or otherwise of homosexuality. The book begins by summarizing two polarized perspectives. One view sees homosexuality, based on attraction, identity, and romance, as alien to African cultures. The other includes it as part of social life across the continent, citing practices like woman-to-woman marriage, which is widespread in African contexts. [...]”

3) Constance Awinpoka Akurugu’s review of “Women Marrying Women in Northern Ghana: Wading into the Homosexuality Debate from a Ghanaian Perspective” by Eva Mmah Agana (found on pages 193-200 in print editions of Issue 1): www.tandfonline.com/doi/full/10....

The third image is titled “A Peek Inside ‘A Peek Inside Mary Ainomugisha’s Review of: Authoritarian Journalism: Controlling the News in Post-Conflict Rwanda by Ruth Moon’.” At the bottom is an excerpt from the book review: “In Authoritarian Journalism: Controlling the News in Post-Conflict Rwanda, Ruth Moon looks at journalism in contemporary Rwanda and how the field has been reshaped in significant and specific ways through its history and memory of the 1994 genocide against the Tutsi. Through an ethnographic study of newsrooms such as KT Press and The New Times, local Rwandan daily presses, and The East African, a regional weekly newspaper, Moon illustrates how news routines and values come into being and how they influence journalistic practices. Rwanda is of particular interest given its semi-authoritarian character, functioning as a ‘contemporary autocracy that incorporates democratic symbols’, like regular elections, into its functional autocracy (p. 3). Rwanda has gained its exemplary status on the regional and continental scale by managing to straddle the fine line of building economic growth through foreign direct investment [...].”

2) Mary Ainomugisha’s review of “Authoritarian Journalism: Controlling the News in Post-Conflict Rwanda” by Ruth Moon (found on pages 190-193 in print editions of Issue 1): www.tandfonline.com/doi/full/10....

The second image is titled “A Peek Inside E. Chebrolu’s Review of: Making the Human: Race, Allegory, and Asian Americans by Corinne Sugino.” At the bottom is an excerpt from the book review: “Corinne Mitsuye Sugino’s Making the Human: Race, Allegory, and Asian Americans is a critical and necessary contribution to cultural studies inflected Asian American studies that leads readers through the fractured and shifting terrain of Asian American racialization in the 21st century. The book centres the strange visibility of the Asian American as a flexible figure strategically used in different contexts of American public discourse in the 2010s and early 2020s, such as the Internet, the criminal justice system, and film. Reading between and across interconnected moments, Sugino argues that Asian American racialization and gendering is mobilized to produce narratives reinforcing contemporary regimes of power. Sugino foregrounds dynamics of comparative racialization through both internal fractures between Asian Americans and the entanglement of Asian American racialization with anti-Blackness and settler colonialism. [...].”

1) E. Chebrolu’s review of “Making the Human: Race, Allegory, and Asian Americans” by Corinne Sugino (found on pages 188-190 in print editions of Issue 1): www.tandfonline.com/doi/full/10....

This graphic is titled “Book Reviews,” followed by the subtitle, “Volume 40, Issue 1 (2026).” There are three boxes with text beneath, each corresponding to one of the book reviews. The first box has the heading, “Making the Human: Race, Allegory, and Asian Americans by Corinne Sugino”; beneath it in smaller text, reads: “Review by E. Chebrolu.” The second box is titled, “Authoritarian Journalism: Controlling the News in Post-Conflict Rwanda by Ruth Moon”; beneath it in smaller text, reads: “Review by Mary Ainomugisha.” The third and final box has the heading, “Women Marrying Women in Northern Ghana: Wading into the Homosexuality Debate from a Ghanaian Perspective by Eva Mmah Agana”; beneath it in smaller text, reads: “Review by Constance Awinpoka Akurugu.”

We would like to thank E. Chebrolu, Mary Ainomugisha, and Constance Awinpoka Akurugu for their book review contributions to Volume 40, Issue 1 of Cultural Studies. Learn more about each their book reviews below:

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Fossil Capital at Ten: Andreas Malm on Capitalism, Energy, and Resistance.” The bottom of the graphic then specifies the author and issue information: “Caleb Wellum, Imre Szeman, and Andreas Malm” and “Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “With the publication of Fossil Capital in 2016, Andreas Malm reshaped how scholars understand the relationship between capitalism and fossil fuels. Energy humanities scholars Caleb Wellum and Imre Szeman interviewed Malm in November 2024 about the arguments and impact of Fossil Capital, the development of his thought in several subsequent books, and the shifting landscape of climate politics. At a time when the stakes of climate politics have never been higher, Malm's work is indispensable. This interview provides an opportunity to revisit Fossil Capital in light of the past decade's developments while also exploring the more radical propositions his recent work has put forth.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “From the role of sabotage in climate activism to the geopolitical entanglements of energy politics, Malm dissects the complex forces obstructing climate action and explores the strategies that might still be able to disrupt them, however powerful they might be. Readers will find in this conversation reflections on Malm's intellectual evolution and a considered engagement with the urgent question that has animated his work: how to bring about the end of fossil capitalism before it brings about the end of all of us.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

“Fossil Capital at Ten: Andreas Malm on Capitalism, Energy, and Resistance” is the seventh and final article included in Issue 40.1. This contribution features the transcription of an interview with Andreas Malm, as facilitated by Caleb Wellum and Imre Szeman: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “The More, the Better: Queer Urban Spatialities of Seoul in Three Films.” The bottom of the graphic then specifies the author and issue information: “Hyung Kwon Choi and Jonathan Jae-an Crisman • Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “Queer space in South Korea’s primate city Seoul has historically remained excluded or invisible across multiple temporalities: in official histories and accounts of the past, in present urban life, and in planning for the future. This is especially noticeable in the municipal government’s numerous revitalization plans which focus on known ‘gayborhoods’ such as Jongno 3-ga. This article identifies and analyzes the structure of differing queer spatialities present in Seoul through close reading and examination of three films: the auteur produced A Cheonggyecheon Dog (2008), the realist documentary Miracle on Jongno Street (2010), and the archival art film Dadaikseon (2018).” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “In these filmic representations, we observe multiple spatialities in Seoul that reflect the precarity and isolation faced by queer individuals in processes of urban redevelopment, the Janus-faced nature of urban space during the night versus the day which can allow or inhibit queer collectivity, and the dynamic erasure of urban spaces which fall outside of hegemonic norms in the face of urban change and gentrification. In the face of the homogenization of Seoul’s urban space, we argue that the identification of a multiplicity of queer spatialities opens up possibility and alternatives to dominant processes and patterns of urbanization, modernization and homogenization – that is, the more non-normative spatialities, the better.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

Hyung Kwon Choi and Jonathan Jae-an Crisman’s article “The More, the Better: Queer Urban Spatialities of Seoul in Three Films” is the sixth article featured in Volume 40, Issue 1 of Cultural Studies. Subscribers can read Choi and Crisman's work here: www.tandfonline.com/doi/full/10....