Spanning over four centuries, this volume brings together a wide-ranging selection of artworks and artifacts that highlight the under-recognized histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure and imagines trans futures.

An expansive array of objects chart not a patriarchal history but a gender-neutral, trans-centric hirstory. The first publication of its kind, this survey celebrates trans forebearers, highlights struggles and triumphs, and reflects on the legacies of trans creative expression. Contributions by Kate Bornstein, Ria Brodell, Vaginal Davis, Leah DeVun, Mo B. Dick, Zackary Drucker, David Getsy, Martine Gutierrez, Andrea Jenkins, Jade Guarano Kuriki-Olivo (Puppies Puppies), Thomas (T.) Jean Lax, Abram J. Lewis, Miguel A. López, Amos Mac, Cyle Metzger, Deborah A. Miranda, Morgan M Page, SA Smythe, C. Riley Snorton, Dean Spade, Sandy Stone, Jeannine Tang, Michelle Tea, McKenzie Wark, and many others probe new horizons where institutional critique and trans culture meet. This book is copublished by the Museum of Trans Hirstory & Art (MOTHA), a conceptual art project of artist Chris E. Vargas that is forever under construction by design to allow continual transformation.

This slim volume is Peter's sexiest self-portrait. Read it and weep if you didn't know him. Or read it and weep if you did that we lost him. -Nan Goldin

On December 18, 1974, the author Linda Rosenkrantz asked her friend Peter Hujar to write down everything he did on that day. Hujar met Rosenkrantz at her apartment on 94th Street the following day, where she asked him about it in detail and tape-recorded their conversation. Peter Hujar's Day is a full transcript of that exchange, published here for the first time since it was recorded 47 years ago. The book features an introduction by Stephen Koch, director of the Peter Hujar Estate.
Linda Rosenkrantz (born 1934) is a Los Angeles-based, Bronx-born writer and the author of the repellently raunchy novel Talk (1969, republished as a New York Review Books Classic in 2015), Telegram! (2003), a history of telegraphic communication, and her memoir, My Life as a List: 207 Things About My (Bronx) Childhood (1999). She is the coauthor of Gone Hollywood: The Movie Colony in the Golden Age (1979). She is also the founding editor of Auction magazine, the coauthor of 10 bestselling books on baby names, and the cocreator of the popular baby-naming site nameberry.com.

Lights. Glamour. Action!

The history of drag has been formed by many intersections: fashion, theatre, sexuality and politics - all coming together to create the show stopping entertainment millions witness today. In this lusciously illustrated guide, journalist Jake Hall delves deep into the ancient beginnings of drag, to the present day and beyond. Vibrant illustrations enhance the rich history from Kabuki theatre to Shakespeare, the revolutionary Stonewall riots to the thriving New York ballroom scene. The book also comes with fascinating glimpses into the future of drag with insights from personalities including The Vixen, Crystal Rasmussen, Sweatmother and Don One.

From Paris Is Burning to Pose and from Lady Bunny to Victoria Sin, nothing will go untouched in this must-have documentation of all things drag.

A richly illustrated history of the glittering world of queer artistic life in the 1920s and '30s

In Queer Moderns, Alice Friedman tells the fascinating story of the queer avant-garde of the 1920s and '30s in New York, Paris, and Venice, as seen through the eyes of Max Ewing (1903-1934), a young musician, photographer, and man-about-town who, although virtually unknown today, moved in extraordinary circles. In his photographs and letters, we meet the rising stars of modern art, music, dance, and literature and enter a world of interracial friendship, queer space, and experimentation that shone brightly before being swept away by the Depression. It is a remarkable story that reveals that the history of modernism is more queer and more Black than previously recognized.

In the 1920s, Ewing became part of an international coterie of artists led by Carl Van Vechten and Muriel Draper. In Europe, he was entertained by Gertrude Stein, met Stravinsky, and took a road trip with Romaine Brooks and Natalie Barney. In 1928, in a closet in his apartment, Ewing created the Gallery of Extraordinary Portraits, an installation of photos of his favorite celebrities--Black and white, clothed and nude. For his Carnival of Venice, he took portraits of more than a hundred friends--including Paul Robeson, Berenice Abbott, Isamu Noguchi, Agnes de Mille, and E. E. Cummings--posed in front of a backdrop of Saint Mark's Square.

Like a character from a story by F. Scott Fitzgerald, Ewing joined the party and then died tragically, unable to accept the end of his era or the lost dream of a new way of living. His story sheds new light on modernism and an artistic milieu that was ahead of its time.

We Make Each Other Beautiful focuses on woman of color and queer of color artists and artist collectives who engage in direct political action as a part of their art practice. Defined by public protest, rule-breaking, rebellion, and resistance to governmental and institutional abuse, direct-action artivism draws on the aims, radical spirit, and tactics of the civil rights and feminist movements and on the struggles for disability rights, queer rights, and immigrant rights to seek legal and social change.

Yxta Maya Murray traces the development of artivism as a practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and Marsha P. Johnson. She also studies its role in transforming law and society. We Make Each Other Beautiful profiles the work and lives of four contemporary artivists --Carrie Mae Weems, Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown--and the artivist collective Drawn Together, combining new oral histories with sharp analyses of how their diverse and expansive artistic practices bear important aesthetic and politicolegal meanings that address a wide range of injustices.

Indulge your darkest queer desires and explore the sensual, eerie realms of MENtality & MONSTERS LITE, a captivating art book by the provocative and audacious Gay Canadian artist, Astra Zero.

This is a Smaller striped back Economy Size of the original MENtality & MONSTERS book, you'll find a captivating fusion of traditional, mixed media, and digital artwork where darkness meets sensuality, and the supernatural intertwines with the male form. Journey through the sinister and seductive as you encounter hunky, nude, and terrifyingly muscular vampires, zombies, and demons.

The pages sizzle with a raw, unapologetic sensuality that's as enchanting as it is unsettling. In MENtality & MONSTERS LITE, Astra Zero exposes the shadows of his mind, sharing a glimpse of his intrusive thoughts. This is not just an art book; it's a daring and vulnerable exploration of an artist's psyche. Venture further into the depths of horror as you immerse yourself in the erotic and bone-chilling horror-themed artwork that reside in the heart of this scrapbook-style art book. Astra Zero's visceral and unapologetic approach to art and his unrelenting exploration of the male body will leave you yearning for more, horrified, or both? Are you ready to embrace the darkness, indulge your desires, and be seduced by the allure of MENtality & MONSTERS LITE?

Founded in 2005, Ridykeulous mounts exhibitions and events primarily concerned with queer and feminist art. This publication will be the first exhibition catalogue by Ridykeulous, joined by Sam Roeck, and will accompany the fall 2023 exhibition Ridykes' Cavern of Fine Inverted Wines and Deviant Videos at Nottingham Contemporary.
With newly commissioned texts by curator Lia Gangitano and Alexandro Segade of the artist collective My Barbarian, the catalogue will be complemented by a conversation between Ridykeulous members Nicole Eisenman, A.L. Steiner and Sam Roeck, providing insights into the collective's thinking, politics, behind-the-scenes notations, and methods of exploration, as well as an introduction by Nottingham Contemporary's Chief Curator Nicole Yip.

Using humor to critique the art world and heteropatriarchal culture at-large, Ridykeulous often reinvents language to reflect their sensibilities and concerns--composing communiqués, screeds, and diatribes across various media. The exhibition features an intergenerational mix of 30 contemporary visual artists working across film, video installation, sculpture, and performance. Playfully proposing queer fabulosity as a critical intervention in the capitalist spectacle, the exhibition seeks to erode the secondary positioning of LGBTQ+ art and artists as alternative. Designed by the Zürich-based Studio Marie Lusa, the publication will evoke the textual feeling of a zine, with over 100 full-color and black-and-white image plates.

vampire burrito is nothing if not cinematic - aware of where the light begins and what it refracts through, a work replete with contradictions, two truths held together, bitterness tangled up in empathy, sadness tangled up in defiant joy, scoffing at the preconception of mutual exclusivity, alive in its very existence, both middle fingers to the sky.

- dan campbell, vocalist of THE WONDER YEARS

From the author of The Neon Hollywood Cowboy comes Vampire Burrito, a convergence of Appalachian heritage, intersex romance, and IVF. The book is a three-part epic that dares to explore how queer bodies can birth new marvels in the wake of personal and ecological trauma. Vampire Burrito is nothing if not a bigmouth. A hillsong. A werewolf in an airport terminal. A tomorrow colored like a goodbye. An eventually, an eventually, an eventually.

Fred Halsted's L.A. Plays Itself (1972) was gay porn's first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering new information for me. Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy. Although his cultural notoriety at one point equaled that of Kenneth Anger or Jack Smith, Halsted's star waned in the 1980s with the emergence of a more commercial gay porn industry. After the death from AIDS of his long-time partner, lover, spouse (and tormentor) Joey Yale in 1986, Halsted committed suicide in 1989. In Halsted Plays Himself, acclaimed artist and filmmaker William E. Jones documents his quest to capture the elusive public and private personas of Halsted--to zero in on an identity riddled with contradictions. Jones assembles a narrative of a long-gone gay lifestyle and an extinct Hollywood underground, when independent films were still possible, and the boundary between experimental and pornographic was not yet established. The book also depicts what sexual liberation looked like at a volatile point in time--and what it looked like when it collapsed.

The revised and expanded edition of Halsted Plays Himself includes material that came to light since the book's first publication, including details about the restoration of Halsted's films by the Museum of Modern Art, the true identities of several key figures in his life, new testimony from family members, and the rediscovery of his feature film Truck It (1973), previously considered lost.

This collection of sexy and intimate illustrations make for a steamy and tranquil activity for those times when you are in the mood all by yourself. Giving into your pleasures can be good for your mind, body and soul, as well as your connection with others. This easy past time can be used to find pleasure in the most solitary and mundane acts and in the most intimate situations. Color the mood of each moment and allow them to spark some of your own.

With 16 pages of detailed Dames, this Adult Coloring Book lets you embrace your many pleasures as you find therapy in the wonders of coloring. Pleasures, is a hot and satisfying way to create works of art that are as delectable as your desires.

A new and stimulating way of looking at Old Master paintings with a foreword by Hanya Yanagihara, contributions by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey, and works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, Salman Toor.

Living Histories: Queer Views and Old Masters is an exciting volume featuring the work of four New York-based artists, each presenting a single new work in conversation with celebrated paintings in The Frick Collection, with particular emphasis on issues of gender and queer identity typically excluded from narratives of early modern European art. The idea of commissioning four works to display at Frick Madison emerged when four masterpieces by Vermeer, Holbein, and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola and Salman Toor were commissioned to replace them, alongside other works by these artists.

This book is the result of the four New York artists' responses to the Frick's collection, and the conversations their work engendered. Written contributions are provided by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey.

A photo journey book to assist the psychedelic traveler by the renowned photographer and artist Clifford L. Carter.

Delve into the worlds of the psychedelic journey with or without a fungi experience. Enjoy seeing the world through a different lens.

This is the 5th edition of the worldwide standard reference for Pride Flag designs and insignia.

Refered to by counteless queer archives, LGBTQ libraries, and 2SLGBTQIA+ insititutions worldwide, this is the reference standard - the Charlton guide to Pride Flags.

A car photo-journey book to assist the psychedelic traveler and please any car enthusiast wherever they may travel, in spirit or in body. This book contains photos created via the camera utilizing expired films and creative camera manipulation.

BURN & GLOOM! GLOW & MOON! Thousand Years of Troubled Genders was the most comprehensive exhibition to date of Vienna-based artist and filmmaker Katrina Daschner. It was curated by Övül Ö. Durmuşoğlu and encompassed works from the 1990s to the present, ranging from sculptures, textiles, music, performance, community-based work, and, most prominently, film, which sits at the heart of Katrina Daschner's practice. This publication transfers the immersive environment of senses, textures, and feelings created in the exhibition into book form. Just like the exhibition, it confronts, touches, embraces, and dreams of transforming femme-ness, transforming bodies, and transforming genders.

With stylized performances and video works, Daschner plays with the boundaries of human and non-human, and what is socially defined as the norm, exposing the artificiality of the gendered binary--the dualism of men* and womxn--and the prejudices it generates, freeing the body. In doing so, the stage becomes the setting for a precarious desire for visibility and, at the same time, an endless yearning for rebirth. The bodies that perform and the potential audience that follows them mutate and embody different emotional cycles again and again. These artistic acts generate their own community in the making; everyone participating contribute to the stories in the making. They function like threads attaching her stories, stages, and characters together. In Daschner's textile-based works, threads are minimal yet highly visible, akin to the pinch needed to wake up from a dream. These works--as well as her collages--merge with her confronting yet inviting image politics: she cuts and pastes stories of love and pleasure, violence and resilience, death and rebirth.

The written contributions reflect on Katrina Daschner as part of a hardworking generation of queer artists and makers who have been responding to the major conceptual shifts and gender upheavals happening in contemporary art since the 1990s, especially in New York and London. They highlight Katrina Daschner's longstanding line of intersectional queer interest that continues to undermine (neo-)liberal, heteropatriarchal conceptions of sexuality, gender, subjectivity, and relationships.

Copublished by Kunsthalle Wien

Contributors
Rike Frank, Amelia Groom, Tim Stüttgen

A.B.O. Comix Volume 3 is the third in our comic book series featuring stories created by queer and trans prisoners that detail life on the inside. We are featuring comics from many of our Volume 1 & 2 contributors, as well as new artists. The A.B.O. Comix anthology is a raw, authentic look into prison life from a queer perspective. This book features accomplished cartoonists and first time doodlers in an effort to amplify the voices of all LGBTQ prisoners we are able. Proceeds from this anthology go back to the contributors so that they can access commissary & gender affirming items, healthcare and legal support.