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"Fashion Humor."
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Man vs. hair : 60 tutorials for handsome hair & stubble
\"Man vs. Hair is a collection of sixty fashionable styles for men's hair and facial hair. Step-by-step tutorials featuring simple how-to illustrations take the guesswork out of styling, while on-trend fashion photography demonstrates how to wear each 'do.\"--Back cover.
Book
The Tweet Has Two Faces
[...]related, it helps illuminate how offline forms of humor, particularly those invested in maintaining the status quo, are imported into online spaces. [...]RompHim provides an ideal opportunity to examine the ways humor functions when black masculinity, (homo)sexuality, and fashion collide. [...]the text associated with the image functions to invert gender norms. The refrain that it's \"just a joke\" seeks to obscure the serious business of humor within digital spaces. Because of its spreadable nature, dismissing the humor around the RompHim elides the ways such jokes and images are deployed in the service of upholding the boundaries of hetero-masculinity, to the exclusion of the queer other.
Journal Article
Pleasure and Fear: On the Uneasy Relation between Indic Buddhist Monasticism and Art
When monastics of the Indic North and Northwest around the turn of the Common Era made the decision to introduce art into monasteries, current cultural assumptions regarding the aesthetic experience of such objects, which were axiomatically negated by Buddhist ideology, led to certain confrontations in law and praxis and an attempt to resolve these within certain monastic legal codes (vinaya) redacted during this period. Tracing the historical relation between monasticism and art in this context, this paper focuses on two such uneasy relations. The first deals with an opposition between the worldly aesthetics of pleasure associated with art and fashion and the aesthetics of asceticism as a representation of monasticism’s renunciate ideal. The second considers the aesthetics of fear associated with images of deities, the rejection of such objects as mere signs, and the resulting acts of theft and iconoclasm enacted upon them. It will show that resolution to both was sought in a particular semiotic which negated the aesthetic experience of such objects and rendered them signs with a significance that accorded with Buddhist ideology. Yet the solution remained incomplete, with issues arising when the same ideology was applied to monasticism’s own representation in the art of monasteries, stūpas and Buddha-images.
Journal Article