A Great Gay Book: Stories of Growth, Belonging & Other Queer Possibilities is a gorgeously designed collection of art, essays, short fiction, poetry, interviews, profiles, and photography from the archives of the beloved queer magazine Hello Mr., as well as new material from many of today’s biggest LGBTQ+ creatives. Hello Mr. was founded by Ryan Fitzgibbon in 2012. Over its ten-issue lifespan, the groundbreaking indie magazine became the first home for some of the most prestigious queer voices of a generation. With more than a decade’s devotion, and the publishing prowess of Abrams, Fitzgibbon has created an astonishing reminder of our collective power in A Great Gay Book. Notable artists and writers featured include Jeremy Atherton Lin, Lady Bunny, Alexander Chee, Garth Greenwell, Saeed Jones, Wesley Morris, Chani Nicholas, Tommy Pico, Brontez Purnell, LJ Roberts, Mathew Rodriguez, Antwaun Sargent, Fran Tirado, Ocean Vuong, Bryan Washington, John Waters, Kehinde Wiley, J Wortham, Hanya Yanagihara, and many more.

Jason Hanasik's project, I slowly watched him disappear, is the first part of a three part examination of the military body/masculinity. This first part focuses on the fantasy of the military body/masculinity seen through the eyes of Sharrod, a NJROTC recruit attending a high school in the Hampton Roads area of Virginia. Shot over the course of four years, Hanasik's project examines the concerns of Sharrod as he navigates his freshman to senior year under the watchful (and sculpting) eye of the military machine.

In collaboration with Charlotte Cotton and the International Center of Photography, Mossless' new book focuses on portraiture that revolves around public and private themes.

A beautifully produced monograph on a rising star exploring postcolonialism and gender in photography Shortlisted for the Aperture-Paris Photo Photobook of the Year 2021, Hello Future is a culmination of Farah Al Qasimi's (born 1991) photographic, performance and film practice, unified within her keen focus on surface and texture, and the revealing visual influences of the splashy and florid. Al Qasimi examines postcolonial structures of power, gender and aesthetics in the Persian Gulf states and global cultural confluence and migration at large.

Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today.

Studies of Japanese syntax have played a central role in the long history of Japanese linguistics spanning more than 250 years in Japan and abroad. More recently, Japanese has been among the languages most intensely studied within modern linguistic theories such as Generative Grammar and Cognitive/Functional Linguistics over the past fifty years. This volume presents a comprehensive survey of Japanese syntax from these three research strands, namely studies based on the traditional research methods developed in Japan, those from broader functional perspectives, and those couched in the generative linguistics framework. The twenty-four studies contained in this volume are characterized by a detailed analysis of a grammatical phenomenon with broader implications to general linguistics, making the volume attractive to both specialists of Japanese and those interested in learning about the impact of Japanese syntax to the general study of language. Each chapter is authored by a leading authority on the topic. Broad issues covered include sentence types (declarative, imperative, etc.) and their interactions with grammatical verbal categories (modality, polarity, politeness, etc.), grammatical relations (topic, subject, etc.), transitivity, nominalizations, grammaticalization, word order (subject, scrambling, numeral quantifier, configurationality), case marking (ga/no conversion, morphology and syntax), modification (adjectives, relative clause), and structure and interpretation (modality, negation, prosody, ellipsis). Chapter titles Introduction Chapter 1. Basic structures of sentences and grammatical categories, Yoshio Nitta, Kansai University of Foreign Studies Chapter 2: Transitivity, Wesley Jacobsen, Harvard University Chapter 3: Topic and subject, Takashi Masuoka, Kobe City University of Foreign Studies Chapter 4: Toritate: Focusing and defocusing of words, phrases, and clauses, Hisashi Noda, National Institute for Japanese Language and Linguistics Chapter 5: The layered structure of the sentence, Isao Iori, Hitotsubashi University Chapter 6. Functional syntax, Ken-Ichi Takami, Gakushuin University; and Susumu Kuno, Harvard University Chapter 7: Locative alternation, Seizi Iwata, Osaka City University Chapter 8: Nominalizations, Masayoshi Shibatani, Rice University Chapter 9: The morphosyntax of grammaticalization, Heiko Narrog, Tohoku University Chapter 10: Modality, Nobuko Hasegawa, Kanda University of International Studies Chapter 11: The passive voice, Tomoko Ishizuka, Tama University Chapter 12: Case marking, Hideki Kishimoto, Kobe University Chapter 13: Interfacing syntax with sounds and meanings, Yoshihisa Kitagawa, Indiana University Chapter 14: Subject, Masatoshi Koizumi, Tohoku University Chapter 15: Numeral quantifiers, Shigeru Miyagawa, MIT Chapter 16: Relative clauses, Yoichi Miyamoto, Osaka University Chapter 17: Expressions that contain negation, Nobuaki Nishioka, Kyushu University Chapter 18: Ga/No conversion, Masao Ochi, Osaka University Chapter 19: Ellipsis, Mamoru Saito, Nanzan University Chapter 20: Syntax and argument structure, Natsuko Tsujimura, Indiana University Chapter 21: Attributive modification, Akira Watanabe, University of Tokyo Chapter 22: Scrambling, Noriko Yoshimura, Shizuoka Prefectural University

Offers advice on surviving the extreme conditions of war zones, covering topics ranging from how to avoid land mines and amputate a limb to handling hostage situations and foraging for safe food.

The Present Prospects of Social Art History represents a major reconsideration of how art historians analyze works of art and the role that historical factors, both those at the moment when the work was created and when the historian addresses the objects at hand, play in informing their interpretations. Featuring the work of some of the discipline's leading scholars, the volume contains a collection of essays that consider the advantages, limitations, and specific challenges of seeing works of art primarily through a historical perspective. The assembled texts, along with an introduction by the co-editors, demonstrate an array of possible methodological approaches that acknowledge the crucial role of history in the creation, reception, and exhibition of works of art.

This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands. Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing a record of their intricate tensions and transformations.

In 1992, Dana Lixenberg travelled to South Central Los Angeles for a magazine story on the riots that erupted following the verdict in the Rodney King trial. What she encountered inspired her to revisit the area, and led her to the community of the Imperial Courts housing project in Watts. Returning countless times over the following twenty-two years, Lixenberg gradually created a collaborative portrait of the changing face of this community. Over the years, some in the community were killed, while others disappeared or went to jail, and others, once children in early photographs, grew up and had children of their own. In this way, Imperial Courts constitutes a complex and evocative record of the passage of time in an underserved community.