The received wisdom about the nature of the Greek Orthodox Church in the Ottoman Empire is that Sultan Mehmed II reestablished the Patriarchate of Constantinople as both a political and a religious authority to govern the post-Byzantine Greek community. However, relations between the Church hierarchy and Turkish masters extend further back in history, and closer scrutiny of these relations reveals that the Church hierarchy in Anatolia had long experience dealing with Turkish emirs by focusing on economic arrangements. Decried as scandalous, these arrangements became the modus vivendi for bishops in the Turkish emirates. Primarily concerned with the economic arrangements between the Ottoman state and the institution of the Greek Orthodox Church from the mid-fifteenth to the sixteenth century, Render Unto the Sultan argues that the Ottoman state considered the Greek Orthodox ecclesiastical hierarchy primarily as tax farmers (mültezim) for cash income derived from the church's widespread holdings. The Ottoman state granted individuals the right to take their positions as hierarchs in return for yearly payments to the state. Relying on members of the Greek economic elite (archons) to purchase the ecclesiastical tax farm (iltizam), hierarchical positions became subject to the same forces of competition that other Ottoman administrative offices faced. This led to colorful episodes and multiple challenges to ecclesiastical authority throughout Ottoman lands. Tom Papademetriou demonstrates that minority communities and institutions in the Ottoman Empire, up to now, have been considered either from within the community, or from outside, from the Ottoman perspective. This new approach allows us to consider internal Greek Orthodox communal concerns, but from within the larger Ottoman social and economic context. Render Unto the Sultan challenges the long established concept of the 'Millet System', the historical model in which the religious leader served both a civil as well as a religious authority. From the Ottoman state's perspective, the hierarchy was there to serve the religious and economic function rather than the political one.

A critically important series in the oeuvre of American painter, sculptor, and printmaker Donald Sultan, The Disaster Paintings were created between 1984 and 1990. These works feature imposing, man-made structures, whose industrial qualities are reinforced by Sultan's preferred media, Masonite tiles and tar. The paintings' resulting sense of robust permanence is offset by the catastrophes Sultan includes therein, which provoke a jarring sense of fragility, impermanence, and transience. Such unexpected juxtapositions are privileged by the artist's process itself, which merges the industrial materials of Minimalism with representational painting, stylistically combining figuration and abstraction and making simultaneous reference to high and low culture. Painted on a large scale (the majority of the works in this series measure 8' x 8'), The Disaster Paintings embody great physicality in their process, subject matter, and finished form. They also reify the modern experience of industrialized societies with images of fire, accidents, and industrial mishaps, daring us to forget that calamities and adversity are woven into the very fabric of our existence. It is a timely moment in history to reconsider and reassess The Disaster Paintings. - Published to accompany the exhibition of the same name held at Lowe Art Museum, Coral Gables, Florida, 29th September-23rd December 2016; Modern Art Museum of Fort Worth, Texas, February-April 2017; and the Smithsonian American Art Museum, Washington, DC, May 26-September 4, 2017.

Few art critics in Western art history have ever had the broad-ranging impact over several decades of Donald Kuspit, a philosopher and psychoanalyst who from 1970 until the present has been a commanding figure on the international stage. A student of German thinker Theodor Adorno under whom he earned the first of his three doctorates, Kuspit introduced a new type of philosophical art criticism into the art world. He drew on both phenomenology and Critical Theory before he then increasingly adopted psychoanalysis. Since Kuspit himself has always measured his own place in the history of art criticism by how rigorously he engages with competing approaches, this book is a searching survey of Kuspit's role in triggering several historic shifts within art criticism, beginning with his now legendary 1974 article in Artforum, "A Phenomenological Approach to Artistic Intention." Dense and demanding, yet deft and incisive, Kuspit's multi-faceted art criticism has become world famous for reasons that artists, critics, art historians, and philosophers from at least ten different nations explain from various points of view. Divided into three parts and introduced by a lengthy introduction, the book features comments by recognized artists like Rudolf Baranik, Anselm Kiefer, and April Gornik, as well as critical commentaries by many scholars and critics from around the world on the richness of Kuspit's insights into art.

In August 1990, Saddam Hussein's Iraqi forces boldly invaded and occupied neighboring Kuwait. It was a move that shocked the world and threatened the interests of those countries, such as the USA and the nations of Europe, dependent on oil from the Middle East. The ensuing Gulf War signaled, for many, a new dawn in warfare: one based upon lethal technology, low casualties, and quick decisive victory. Incorporating the latest scholarship, William Thomas Allison provides a concise overview of the origins, key events and legacy of the first Gulf War, as well as the major issues and debates. Allison also examines the relevance of this war to other twentieth-century conflicts and the ongoing situation in the region.