Remembering Paul


Book Description

Who was Paul of Tarsus? Radical visionary of a new age? Gender-liberating progressive? Great defender of orthodoxy? In Remembering Paul, Benjamin L. White offers a critique of early Christian claims about the "real" Paul in the second century C.E.--a period in which apostolic memory was highly contested--and sets these ancient contests alongside their modern counterpart: attempts to rescue the "historical" Paul from his "canonical" entrapments. White charts the rise and fall of various narratives about Paul and argues that Christians of the second century had no access to the "real" Paul. Through the selection, combination, and interpretation of pieces of a diverse earlier layer of the Pauline tradition, Christians defended images of the Apostle that were important for forming collective identity.




Paul Stephen Benjamin


Book Description

This book was published in conjunction with Paul Stephen Benjamin's exhibition, "Black Form," on view January 20 - March 25, 2022




State of the Art 2020


Book Description

This full color catalog details the State of the Art 2020 exhibition at Crystal Bridges Museum of American Art and the Momentary in Bentonville, Arkansas from February 22 through May 24, 2020.







Benjamin Britten


Book Description

Published to mark the beginning of the Britten centenary year in 2013, Paul Kildea's Benjamin Britten: A Life in the Twentieth Century is the definitive biography of Britain's greatest modern composer. In the eyes of many, Benjamin Britten was our finest composer since Purcell (a figure who often inspired him) three hundred years earlier. He broke decisively with the romantic, nationalist school of figures such as Parry, Elgar and Vaughan Williams and recreated English music in a fresh, modern, European form. With Peter Grimes (1945), Billy Budd (1951) and The Turn of the Screw (1954), he arguably composed the last operas - from any composer in any country - which have entered both the popular consciousness and the musical canon. He did all this while carrying two disadvantages to worldly success - his passionately held pacifism, which made him suspect to the authorities during and immediately after the Second World War - and his homosexuality, specifically his forty-year relationship with Peter Pears, for whom many of his greatest operatic roles and vocal works were created. The atmosphere and personalities of Aldeburgh in his native Suffolk also form another wonderful dimension to the book. Kildea shows clearly how Britten made this creative community, notably with the foundation of the Aldeburgh Festival and the building of Snape Maltings, but also how costly the determination that this required was. Above all, this book helps us understand the relationship of Britten's music to his life, and takes us as far into his creative process as we are ever likely to go. Kildea reads dozens of Britten's works with enormous intelligence and sensitivity, in a way which those without formal musical training can understand. It is one of the most moving and enjoyable biographies of a creative artist of any kind to have appeared for years. Paul Kildea is a writer and conductor who has performed many of the Britten works he writes about, in opera houses and concert halls from Sydney to Hamburg. His previous books include Selling Britten (2002) and (as editor) Britten on Music (2003). He was Head of Music at the Aldeburgh Festival between 1999 and 2002 and subsequently Artistic Director of the Wigmore Hall in London.




Congressional Record


Book Description

The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)




Benjamin Franklin's Intellectual World


Book Description

This volume attempts to throw fresh light on two areas of Benjamin Franklin’s intellectual world, namely: his self-fashioning and his political thought. It is an odd thing that for all of Franklin’s voluminous writings—a fantastically well-documented correspondence over many years, scientific treatises that made his name amongst the brightest minds of Europe, newspaper articles, satires, and of course his signature on the Declaration of Independence and the U.S. Constitution—and yet scholars debate how to get at his political thought, indeed, if he had any political philosophy at all. It could be argued, that he is perhaps the American Founder most closely associated with the Enlightenment. Similarly, for a man who left so much evidence about his life as a printer, bookseller, postmaster, inventor, diplomat, politician, scientist, among other professions, one who wrote an autobiography that has become a piece of American national literature and, indeed, a contribution to world culture, the question of who Ben Franklin continues to engage scholars and those who read about his life. His identity seems so stable that we associate it with certain virtues that apply to the way we live our lives, time management, for example. The image of the stable figure of Franklin is applied to create a sense of trust in everything from financial institutions to plumbers. His constant drive to improve and fashion himself reveal, however, a man whose identity was not static and fixed, but was focused on growth, on bettering his understanding of himself and the world he lived in and attempted to influence and improve.







The Turn to Provisionality in Contemporary Art


Book Description

In his influential essay “Provisional Painting,” Raphael Rubinstein applied the term “provisional” to contemporary painters whose work looked intentionally casual, dashed-off, tentative, unfinished or self-cancelling; who appeared to have deliberately turned away from "strong" painting for something that seemed to constantly risk failure or inconsequence. In this collection of essays, Rubinstein expands the scope of his original article by surveying the historical and philosophical underpinnings of provisionality in recent visual art, as well as examining the works of individual artists in detail. He also engages crucial texts by Samuel Beckett and philosopher Gianni Vattimo. Re-examining several decades of painting practices, Rubinstein argues that provisionality, in all its many forms, has been both a foundational element in the history of modern art and the encapsulation of an attitude that is profoundly contemporary.