Professor Dr. Wendy Shaw
Professur für Kunstgeschichte islamischer Kulturen
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Academic & Professional Experience
2014 – 2021 Professor for the Art History of Islamic Cultures, Kunsthistorisches Institut, Freie Universität Berlin, Germany (temporary W2 position)
2009 – 2014 Junior Professor of World Art History, Institut für Kunstgeschichte & Co-Director of the Center for Cultural Studies, Universität Bern, Switzerland (fixed-term position)
2007 – 2009 Associate Professor (Docent), Faculty of Communications, Bahçeşehir University, Istanbul, Turkey
2006 – 2007 Curatorial Consultant, Istanbul Museum of Modern Art, Istanbul, Turkey
2005 Program Planning Consultant, Çankaya Presidential Palace Museum, Ankara, Turkey
2004 – 2005 General Coordinator, Director of Education and International Affairs, Santral Museum of Art and Science, Istanbul, Turkey
2003 – 2006 Assistant Professor, Department of Media and Communications, Bilgi University, Istanbul, Turkey
1999 – 2003 Assistant Professor, Department of Near Eastern Languages and Cultures, The Ohio State University, Columbus, OH, USA
2005 Associate Professor, Interuniversity Council of the Republic of Turkey
1999 PhD, Department of Art History, University of California, Los Angeles, USA
Dissertation: “Possessors and Possessed: Objects, Museums, and the Visualization of History in the late Ottoman Empire, 1846-1923”
1994 MA, Department of Art History, University of California, Los Angeles, USA
Thesis: “Stylizing the French Sudan: French Colonial Policy on Urban Planning and Architecture in Timbuctu, Djenné, Ségou, Mopti, and Bamako”
1990 BA, Department of Studio Art, Scripps College, Claremont, CA, USA
Fellowships, Honors & Awards
28th World Book Award for Book of the Year 2021, Iran
Honorable Mention, Albert Hourani Book Award 2020, Middle East Studies Association of North America
Dahlem Research School Award for Excellent Supervision 2019, Freie Universität Berlin
Sinergia Research Grant 2013 – 2016, Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung (SNF)
Eunamus Research Grant 2011, 7th Framework Programme of the European Commission (Socio-Economic Sciences and Humanities)
Student Teaching Award 2003 Nomination, Ohio State University
Dissertation Year Fellowship 1998/99, UCLA
Edward A. Dickson History of Art Fellowship 1997/98, UCLA
Fulbright-Hayes Doctoral Dissertation Research Abroad Fellowship 1996/97
Title VI Grant 1994 – 1996, U.S. Department of Education
Middle East Studies Association of North America
Historians of Islamic Art Association
Association for Modern and Contemporary Art of the Arab World, Iran and Turkey
Islamic Perceptual Cultures; Islamic Art History and Historiography; Art History (Survey); Modern Intellectual Traditions (Survey); Modern & Contemporary Art Outside the West; Islam and Representation; Postcolonialism and Visual Art: Latin America; African Arts: from the Primitive to the Contemporary; Visual Art and Gender in the Global South; Introduction to the History and Theory of Islamic Art; Art and Modernity in the Middle East; Introduction to Visual Culture
Aniconographic Representation in Islamic Cultures; Modern and Contemporary Art of the Middle East; Representation of the Orient in Photography and Film; Colonialism, Postcolonial, and Decolonial Theory; Image and Text in Travel Literature to the Orient; Museums in Global Contexts; Critical Theory Methods; Visual Art & Modernism in the Global South; Cultural Studies and the Art of Critique; History and Theory of Photography in Global Context; Sufism and Art; Religion and Art in Islam; Historiography of Islamic Art History; Exhibition Theory and Practice; Interpretations and Imaginations of Jerusalem; Islamic Art in (Berlin’s) Museums
Doctoral Supervision at FU Berlin
Erin Rice (PhD, 2018, magna cum laude)
“The Pattern of Modernity: Textiles in Art, Fashion, and Cultural Memory in Nigeria since 1960”
Sarah Johnson (PhD, 2019, magna cum laude)
“Kaleidoscopic Modernisms: Hafidh Druby (1914-1991) and the heterogeneity of modern art in twentieth-century Iraq”
Laura Hindelang (PhD, 2020, summa cum laude)
“Fueled by Petromodernity: Visual Culture and Urban Transformation of Kuwait in the 1950s and 1960s”
Katrin Nahidi (c. 2021)
“Iranian Modernism Revisited: Exhibitions and Art Historiography of Modern Art in Iran”
Heba Amin (c. 2022)
“Reconfigured Territories in the MENA Region: Visualized Landscapes in the Era of Digitization and Migration”
Sevim Burulday (c. 2022)
“Remaking Turkey through Monuments”
Emre Busse (c. 2022)
“Gay ‘Ethnic’ Pornography in Post-National Europe”
Philip Geisler (c. 2022)
“Performing the Postmodern Nation: Islam and the Politics of Museum Display in the Early Twenty-First Century”
Zeynep Özkazancı (c. 2022)
"The Tension between the Female and the ‘Animal’ in Global Contemporary Art"
Gabriela Seith (c. 2022)
“Art Despite Everything: Art Practices in Sarajevo in the 80s, during the Siege 1992-1996, and its Aftermath”
Çiğdem İvren (c. 2023)
“Mind the Gap: Local Art Production During the Lebanese Civil War”
Wendy Shaw’s research focuses on postcolonial art historiography and decolonial art history of the Islamic world and the modern Middle East. She works at the intersection between art history, Islamic art historiography, museum history, and critical theory. Her research interests include:
- modern and contemporary art of the Middle East and the Global South
- museum studies, museography of Islamic art, and the impact of coloniality and Eurocentrism on museums
- history of colonial photography
- history of archaeology in the Middle East
- European painting and art practices in the Ottoman Empire and Turkey
- Islamic art historiography
- intellectual history and historiography of the Islamic world
- discourses of the image, mimesis, music, and painting in Islamic cultures
- Platonic thought and Platonism
- secularism and religion in art and art history with emphasis on the late Ottoman Empire, Turkey, and other historic regions of Islamic hegemony
- critical and postcolonial theories of heritage, preservation, and decoloniality
- subjectivity, embodiment, and feminist critique
- writing and rhetorical practices
Funded Research Projects
“Other Modernities: Patrimony and Practices of Visual Expression Outside the West,” 2013 – 2016
Funded by Sinergia, Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung (SNF), co-applicant with Professor Silvia Naef (Université de Genève) and Professor Irene Maffi (Université de Lausanne)
Bringing together specialists in the fields of Anthropology, Middle Eastern Studies, and Art History, this project considers the historiography of arts in the non-West as part of worldwide processes of modernization. Rather than conceiving of the non-Western present against the backdrop of supposedly authentic, homogenous, and undiluted traditions, this project focuses on the historiographic construction of art and visual culture as intertwined agents and expressions of sociopolitical modernization. It proposes art and performance as parallel arenas through which cultural identity comes to be perceived neither as a search for roots nor a striving for Westernization, but as a process of coming-into-being within a framework of shifting cultural and political hegemonies.
The notion of modernity as a phenomenon that destroys the present in order to build a new future - a tabula rasa phenomenon completely opposed to tradition – is particularly complicated in the case of non-Western settings. Whereas in the West, where the conceptualization of 'the modern' as a post- Enlightenment project of utopian rationality responded against existing traditions, sublimating them into new forms, elsewhere modernization was often understood as erasing local culture in favor of a template borrowed from the West. For example, in much of the Arab world of the early twentieth century, the word ruwwad, pioneers, was used to designate modern artists, as if they were acting in a barren desert rather than in an already rich and vital cultural context. Historiographies of non-Western arts have often followed such a model, viewing artistic production as a belated import rather than a complex part of ongoing cultural change and local processes of modernization.
Consequently, 'tradition,' viewed in opposition to modernity, has often been understood as already finished and only available for revival, even when existing practices have survived into the present, particularly in forms of performance associated with indigenous or rural peoples. Thus the fine arts, associated with modernity, and 'traditional' arts, often commodified in the production of nostalgia or marketed for tourists, serve together as a means of simplifying the complex processes of cultural mixing that this project seeks to unravel. By bringing together the study of cultural production, its preservation, and its commodification, this project aims to reinscribe the agency of artists, arts institutions, and commodity production in the history and analysis of non-Western culture as a socio-political phenomenon.
To this end, the project will:
- study the historiographic divergence between the study of pre-modern non-Western arts and the relative inattention paid to the modern era. It thus aims to establish a paradigm for the study of the modern art (as opposed to much more popular contemporary art) of the non-West, a geo- temporal phenomenon generally excluded from art historical consideration, but nonetheless central to understanding tropes of national identity construction that extend to the present.
- examine the political instrumentalization of art as an agent of modernization within the context of broader practices of visual culture. Rather than conceiving of the visual arts within a domain of elite practice or connoisseurial success, it examines art as a document of modern identity production in line with other visual practices such as clothing or advertising.
- develop specific case studies to suggest the range of the field and encourage future investment in academic positions and public exhibitions of non-Western modern arts and establish research and teaching on these topic within the academic field and affiliated institutions.
- develop a broader synergy between this project, the public, and institutions with similar interests in Switzerland, Europe and the Middle East, which will serve as a focal case study relying on the expertise of the project leaders.
Scientific Coordinator of the SNF-Sinergia sub-project “Heir to the Hybrid Moment: From Tradition to Modernity in Non-Western Visual Arts”
In the last quarter of the nineteenth century, the parameters through which art outside the Western tradition could be perceived changed. On the one hand, in regions as disparate as the Ottoman Empire, Japan, India, and Latin America, European and local scholars and artists began to recognize aspects of local visual traditions that could be contextualized and historicized under the rubric of art. On the other, artists studying in Europe and newly founded art academies in the non-West began to produce art in the Western modality, particularly oil painting and sculpture, over much of the globe. Although generally, the birth of non-Western art histories and that of non-Western modern art have been conceived as disparate phenomena, their historical covalence and their reliance on the same community of scholars and artists suggest that together, they represent what might be called a hybrid moment: a temporally delimited position that can take place at various historical times in which the problematic hybrid of modern non-Western culture emerges, and in the process enables the differentiated perception of modernity and tradition through the definition of their mutual alterity. This research module will investigate the social and political implications of arts produced at this hybrid moment through interdisciplinary, cross-cultural, and cross-temporal perspectives. It proposes that, far from antagonistic, the possibility of creating local modern and contemporary art relies on the covalent historicization of traditional forms through art historical writing.
Lecture Series “Islamic Art in the 21st Century” at FU Berlin, 2015
Funded by the Berlin Graduate School Muslim Cultures and Societies
Organized and moderated by Wendy Shaw, this lecture series explores the forms and discourses of Islamic art in the 21st century through bringing exceptional international scholars from fields of art, museum management, and art history to Freie Universität Berlin in order to create a dialogue between theoretical approaches, including their political and cultural readings, and curatorial practice. The invited scholars will discuss the relationships between Islam, Muslim culture, and modernity as they are reflected in contemporary art. In recent years, museums around the world have renovated permanent collections of historic Islamic art or opened new ones. The works of contemporary artists from Islamic cultures are met with even greater international interest. The market for art dealing with today's legacies of Islam is growing rapidly. The speakers in the lecture and discussion series “Islamic Art in the 21st Century: Conversations” address the complex relationship between contemporary society and the aesthetics of the Islamic world.
"Contemporary Art and Engagement with Islamic and Socialist Legacies"
Slavs and Tatars (artist collective), May 05, 2015
"Islamic Art History in Museums of the Future"
Ladan Akbarnia, Ph.D., Curator of the Islamic Collections of the British Museum, May 26, 2015
"Our Image-Worlds of Today: Some European-Islamic Encounters"
Christiane Gruber, Professor of Islamic Art, University of Michigan, July 07, 2015
“National Museums in the Republic of Turkey: Palimpsests within a Centralized State,” 2011
Funded by EUNAMUS, 7th Framework Programme of the European Commission’s European Research Area, funded under Socio-Economic Sciences and Humanities
EUNAMUS explored the creation and power of European national museums. The focus was on understanding the conditions for using the past in negotiations that recreate citizenship, and on the understanding of layers of territorial belonging. The research was conducted through multi-disciplinary collaboration between eight leading university institutions. Project partners and associated researchers explored institutional path dependencies, the handling of conflicts, modes of representation, cultural policy and visitors’ experiences. The project aimed to create a platform in an area where research so far had been scattered and fragmented. Previous research on national museums had often been based on individual case studies and often single disciplinary areas, such as art history and archaeology. This project adds value by developing a body of knowledge and expertise on the historical trajectories and contemporary complexity of national museums. Understanding the cultural force of national museums will provide citizens, professionals and policy makers with reflexive tools to better communicate and create a common understanding of diversity and community in developing cultural underpinning for democratic governance.
Conferences & Events
Panel speaker in conversation with Finbarr Barry Flood and Richard McGregor, “Islam and the Devotional Object. A Discussion,” Silsila: Center for Material Histories, New York University Webinar, February 19, 2021, https://as.nyu.edu/content/nyu-as/as/research-centers/silsila/events/2020-2021/-webinar--islam-and-the-devotional-object--a-discussion.html
Invited Speaker, “Thinking With: Wendy Shaw / What is ‘Islamic’ Art,” Research Center for Material Culture Amsterdam, November 12, 2020, https://www.materialculture.nl/en/events/thinking-wendy-shaw-what-islamic-art
Roundtable The Idols of ISIS: From Assyria to the Internet, with Aaron Tugendhaft, author of The Idols of Isis (University of Chicago Press, 2020), Michael Rakowitz, and Rijin Sahakian, November 1, 2020, organized by Cabinet Magazine and co-presented with the Vera List Center for Art and Politics, New York, https://veralistcenter.org/events/the-idols-of-isis-from-assyria-to-the-internet/
Invited Speaker, “What is ‘Islamic’ Art?,” Manchester Salam Festival, October 28, 2020, http://salaamfestival.co.uk/events/
Guest performer, Listening Session: Sounding Changes, Disrupting Universalism, with Timothy Morton (Rice University), Trickster Orchestra, and Outernational at Radialsystem Berlin, October 25, 2020, https://www.radialsystem.de/outernational/
Invited Speaker, “The Religious and the Secular,” Noqtah/Art Points: AMCA Instagram Live Conversation Series on Modern & Contemporary Art of the MENA, October 22, 2020, http://amcainternational.org/noqtah-art-points/
Invited Speaker, “Was ist ‘Islamische Kunst’?,” MARKK Museum am Rothenbaum – Kulturen und Künste der Welt, Hamburg, September 24, 2020, https://markk-hamburg.de/veranstaltungen/was-ist-islamische-kunst/
Storyteller, Auch—Nachbarschaft ist Kunst, September 04 – 06, 2020, https://www.facebook.com/pg/temporarycontactzone/posts/?ref=page_internal
Book Launch, “What is 'Islamic' Art?,” Berlin Graduate School Muslim Cultures and Societies at FU Berlin, Jan 09, 2020, http://www.bgsmcs.fu-berlin.de/en/dates/Archive/202001_book-launch_shaw.html
Book Launch "What is 'Islamic' Art?," Hopscotch Reading Room, Berlin, November 02, 2019
Invited Speaker, “Museums and Islamic Art: Whose Culture, Whose Colony,” Centre for Museum Cultures, Birkbeck College, London, March 01, 2019
Invited Lecture, “From Disenchantment to Reenchantment: Recovering from the Erasure of Orientalism,” Edward Said Lecture Series: 40 Years after 'Orientalism' – Configurations of Knowledge/Power Today, FU Berlin, November 29, 2018
Keynote Lecture, "Privatizing the Republic: Museums, Markets, and Global
Ambitions in Contemporary Turkey," The Global Power of Private Museums:
Arts and Publics – States and Markets, International Symposium of the Centre for Art Market Studies at TU Berlin in cooperation with the Forum Transregionale Studien and its research programme Art Histories and Aesthetic Practices, Technische Universität Berlin November 17, 2017
Conference Moderator, The Idea of the Global Museum, Hamburger Bahnhof Museum für Gegenwart, December 02 – 03, 2016
Invited Speaker “Is it Possible to be a Woman? Gender in Turkey through Gülsün Karamustafa,” Hamburger Bahnhof Museum für Gegenwart, July 13, 2016
“Islamic Art History for the 21st Century,” 12. Colloquium of the Ernst Herzfeld Gesellschaft, June 30 – July 02, 2016
Invited Speaker, “Islamic Art History for the Rough and Tumble of the 21st Century, or Islamic Art for the Expanded Field,” Bayerisches Orient-Kolloquium der Universitäten Bamberg und Erlangen-Nürnberg, June 16, 2016
Keynote Speaker, “Contemporary Art: Writing Histories for a Middle East Under Erasure,” Conference Troubled Contemporary Art Practices in the Middle East: Post-colonial Conflicts, Pedagogies of Art History, and Precarious Artistic Mobilization, Birkbeck University of London / University of Nicosia, June 03 – 04, 2016
“Sleeping Soundly: Sound and Representation in Islamic Discourses,” Workshop Contested Desires. Figuration and Sensation in Abrahamic Traditions, Zentrum Moderner Orient Berlin, March 14 – 16, 2016
"Making Cubism Turkish," Conference museum global? Multiple Perspectives on Art, 1904 – 1950, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, January 20 – 22, 2016
“Sexing Up the Ottoman in the Contemporary Art of Turkey,” Internationale Tagung Re-Orientierung. Kontexte Zeitgenössischer Kunst in der Türkei und Unterwegs, Ludwig-Maximilians-Universität und Haus der Kunst, München, 20. – 21. November 2015
Invited Participant, "Collecting Islam in the Ottoman Empire and Egypt: Modernization and the First Islamic Museums of Islamic Art," Conference Collecting and Empires. An Historical and Global Perspective, Kunsthistorisches Institut in Florenz (Max-Planck-Institut), Florence, November 05 – 07, 2015
"The Ottoman Imperial Museum as an Anti-Colonial Institution," Global History Collaborative Workshop, Freie Universität Berlin, October 05, 2015
Discussant, Workshop Transkulturelle Kunstgeschichten im Museum, Freie Universität Berlin, 25. – 26. September 2015
“Making Cubism Turkish: Reinvisioning National Art and its History,” Kunstverein für die Rheinlande und Westfalen, Kunstsammlung NRW, Düsseldorf, September 22, 2015
Invited Speaker, “Passion for the Image: The Image as Beloved in Persian Poetry,” Seminar Contested Desires. Figuration and Sensation in Abrahamic Traditions, held at the Centre for Advanced Studies (CAS) in Oslo, April 23 – 24, 2015
Invited Speaker, “The Value of Archaeology: Inventing a Worth for Heritage in the Late Ottoman Empire,” Art Histories and Aesthetic Practices & Europe in the Middle East - The Middle East in Europe, Forum Transregionale Studien, Berlin, April 22, 2015
“Intersecting Narratives, Interpolating Collections: The Museum of Islamic
Art, Berlin,” Workshop Collections Used in the History of Science –
Scholarly Value, Market Value, Patrimonial Value, Saw: Mathematical Sciences in the Ancient World, Université Paris Diderot, April 16, 2015
Invited Speaker, “How Change Happens: Visions of Feminism between Here and Elsewhere,” Respondent talk to "Casablanca Calling," Berlin Feminist Film Festival, March 10, 2015
Paneldiskussion, Mossul, Nord-Irak: Kulturzerstörungen im Kontext. Eine Diskussionsrunde, Organisiert vom Institut für Vorderasiatische Archäologie, Freie Universität Berlin und Forum Kritische Archäologie, 6. März 2015.
Invited Speaker, “Negotiating the Ottoman Legacy in the Art of the Republic of Turkey,” Ottoman Studies Center Inaugural Conference, School for Oriental and African Studies, University of London, June 27 – 28, 2014
“Consecrated Prison: The film Mahpus (1973) as Mystic Writing Pad of Forgotten Memory and the Family Photographs of Nikolas Theocharis as its Remembrance,” International Conference Ottoman Pasts, Present Cities: Cosmopolitanism and Transcultural Memories, AHRC Research Network, Birkbeck College, University of London, June 26 – 27, 2014
Invited Participant, “Framing Istanbul: Resonances of the Photography of James Robertson in Envisioning the Istanbul Landscape,” Conference Geographies of Contact: Contexts of Encounter Between Britain and the Middle East from the Middle Ages to the End of the Nineteenth Century, Université de Strasbourg, June 12 – 14, 2014
Invited Participant, “Dressing the Empire: Ethnic Diversity, Photography, and the Modernisation of the Ottoman Imperial Ideal,” Conference Ottoman Pasts, Present Cities: Cosmopolitanism and Transcultural Memories, Birkbeck College, University of London, March 28, 2014
“Cubism in Turkey, 1933-1953: Belated? Bergsonian? Bektashi?,” Conference of the Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey, New York University, October 18 – 19, 2013
Invited Seminar “Between Lady Montague and the Veiled Islamic Lady: An Immunological Model for the Discourse of Islam in Europe,” Bern Immunology Club Annual Dinner, May 29, 2013
Colloquium Participant, “Beyond the Fear of the Veiled Muslim: Specularity in Modern Public Space,” Le port du voile, entre religion et tradition, Université de Genève, April 11 – 12, 2013
Invited Speaker, “Troy and the Notion of ‘Treasure’,” Conference Troy and Turkey: New Perspectives on Turkey’s Cultural Heritage, Allard Pierson Archaeology Museum, Amsterdam, March 21 – 22, 2013
Invited Speaker, “Subodh Gupta and the Politics of Beauty,” Kunstmuseum Thun, February 16, 2013
“The Valorization of Antiquities in the Late Ottoman Empire: Hüseyin Zekai’s Discussion of Troy, Baalbek, and the Scholarship of Antiquities in Holy Treasures,” 8th Colloquy of the Ernst Herzfeld Society for Studies in Islamic Art and Archaeology, Institute of Art History, University of Zurich, July 6 – 8, 2012
Invited Participant, “Women, Family, and Femininity in Ottoman Photography,” Workshop Visualizing Family, Gender Relations, and the Body. The Balkans approx. 1860 – 1950, Center for Southeast European History and Anthropology, University of Graz, June 15 – 17, 2012
Invited Speaker, “Women Artists, Femininity, and the Family between the Ottoman Empire and Turkey,” Lecture Series Historical and Current Developments in Southeastern Europe and the Near East, University of Graz, June 14, 2012
“Translations of Islamic Art into Modern and Contemporary Art of Turkey,” Panel Making Up a Historiography: Contemporary Arts of the Middle East, College Arts Association Conference, Los Angeles, CA, USA, February 22 – 25, 2012
Invited Speaker, “The Islam in Islamic Art History: the Case of Anatolia,” Orient Institut Istanbul, January 11, 2012
“Islamic Visuality between the Qur’an and Poststructuralism: Reconceptualizing the Boundaries from Religious to Cultural Interpretation,” Conference The Qur'an: Text, Society & Culture, Society for Oriental and African Studies, University of London, November 10 – 12, 2011
Invited Participant, “Icon, Idol, Relic: The Islamic Object and Ontologies of Absence,” Conference Configurations of Muslim Traditions in European Secular Public Spheres, a Dutch National Fund (NWO)-funded network on ‘The Semantics of Tolerance and (Anti)Racism in Europe,’ Amsterdam & Utrecht Universities, Casa Árabe, Europa-Universität Viadrina Frankfurt (Oder), and Zentrum Moderner Orient, Cordoba, Spain, October 13 – 15, 2011
Invited Speaker, Lecture Series Ottoman Photography, Geography of Photography, Kunsthistorisches Institut der Universität Zürich, October 6, 2011
Participant, EUNAMUS: Building National Museums in Europe, 1750-2010. Bologna, March 31 – April 01, 2011
“Cubism on the Bosporus,” Conference Modernity in Translation? The Global Phenomenon of Modernism, Munich Center of Advanced Studies, December 2, 2010 http://www.changing-views.de/veranstaltungen/2010-12-04/modernity-in-translation
Invited Participant, “The Concept of Heritage in Relation to World Arts: A Matrimony of Others,” Colloquium 40 ans de patrimoine (1970-2010), Université de Genève, December 17 – 18, 2010
Invited Speaker, “Contemporary Art in China,” in conjunction with the Focus China exhibit, Messe Luzern, June 28, 2010
Invited Participant, “EUNAMUS: European National Museums: Identity Politics and the Uses of the Past,” Stockholm, April 28 – May 01, 2010
“Fortress of Form, Robber of Consciousness: Representation as Structuring Taboo of the Islamic Divine,” Symposium The Semantics of Vision: Art Production and Visual Production in the Middle Ages, Universität Bern, May 10 – 11, 2010
Keynote Speaker, “Artistic Ethnoscapes Across the Great Walls of China,” Symposium The Artist as Ambassador – Sponsored Travel in a Global Age, Kunstmuseum Bern, February 13, 2010
“Culture and Art: the Politics of Seeing,” Lecture Minor in Area and Cultural Studies, École Polytechnique Fédérale de Lausanne, November 18, 2009
“From Ainslie to Allom: Perceptions of the Picturesque Orient in British Landscapes of the Ottoman Empire,” The Ottoman Empire and English Orientalism, The Pera Museum, November 27 – 28, 2008
“Perceiving the Past as Heritage: Discourses on Ancient Archaeological Sites and Antiquities in the Late Ottoman Empire,” Conference Owning the Past: Archaeology in the Late Ottoman Empire, Center for Near Eastern Studies and Cotsen Institute of Archaeology, UCLA, February 29 – March 01, 2008
Invited Lecture, “The Museum as Amnesiac: Contemporary Art and the Role of the Museum in Turkey,” Nurope Nomadic University at Garanti Platform, January 30, 2008
“Women Artists in the Late Ottoman Empire and the Early Turkish Republic,” Middle East Studies Association Annual Conference, Montréal, November 17 – 20, 2007
Invited Lecture “Worthless: Art and the Idea of Value” Garanti Platform, Istanbul, May 10, 2007
“Fotomontaj ve Fotografik Kolaj, 1840'lerden Çağdaş Sanata,” [Photomontage and Photographic Collage, from the 1840s to Contemporary Art], Bursa Uludağ University Photography Festival, April 27, 2007
“Museums in Turkey,” Yeditepe University History Department Colloquium, March 2007
“Dolmabahçe Palace Museum: An Embarrassment of Riches,” Dolmabahçe Palace 150th Anniversary Conference, November 25, 2006
Invited Lecture, “Conservation and Preservation,” UCLA/Getty Summer Institute, Istanbul, July 24, 2006
Chair, Panel Music and Museology, The International Congress on Musical Culture in Turkey and the Museum of Music, Istanbul Military Museum, 29 – 31 May, 2006
Invited Participant, Conference Practices of Cultural Heritage in the Arab World, Université de Lausanne, June 21 – 22, 2006
Invited Participant, “Museums and the Foreclosure of Art in Turkey and the Middle East,” Symposium Historiography and Ideology: Architectural Heritage of the ‘Lands of Rum,’ Harvard University, May 25 – 28, 2006
Invited Speaker, “Museums and Art in Turkey and the Middle East,” Bilkent University Department of History, Ankara, May 1, 2006
Invited Participant, “Museums and Art in Turkey and the Middle East,” Symposium Ambivalent Geographies: The Architecture and Urban Planning in the Ottoman Empire and the Turkish Republic in a Global Context, Middle East Technical University & British Archaeological Institute, April 27 – 29, 2006
Invited Speaker, “Museums and Memory in Turkey,” Department of Art History at Istanbul Technical University, March 13, 2006
Invited Speaker at the Educating Museum Guides Program, Istanbul Modern Museum of Art, July 11, 2005
Interview Guest, Sanat Dünyamiz, TRT 2, January 16, 2005
Interview Guest, BesNBirK, CNNTürk, January 15, 2005
Interview Guest, Ters Açi, NTV, January 03, 2005
Invited Speaker, “Niye Müze: Toplum ve Modernligin Terbiyecisi,” Osmanli Arsiv ve Arastirma Merkezi, Voyvoda Caddesi Toplantilari, Obje ve Ritüel Söylesileri, December 31, 2004
“Behind the Museum: The Purposes and Projects of Turkish Museums, Past and Present,” Conference Museums in Motion, Maastricht, November 11 – 14, 2004
Invited Speaker, “Müzecilikten Milliyetçilige: Osmanli Döneminde Görsel Siyaset,” Türk Tarih Vakfi, May 24, 2004
Invited Lecture, “Museums in the Ottoman Empire,” Colloquium Series at the Department of Art History, CUNY, Binghamton, April 09, 2003
“Hitit Günesi Neyin Simgesi?” Toplumsal Arkeoloji Platformu/ Arkeoloji: Niye? Nasil? Niçin, Bilgi University, Istanbul, April 05, 2003 (in absentia)
“Avrupa, Öteki, ve Ötesi” [Europe, the Other, and Beyond], Kültürel Açidan Avrupa Birligi’ne Yaklasim Sempozyumu, [Symposium Cultural Approaches to the European Union], Sponsored by Kültür Girisimi/ Cultural Investigations, The Marmara Hotel, November 22, 2001
"Linguistic Boundaries between Actors and Audiences in the Films of Shirin Neshat," Symposium Spaces of Resistance: Woman as Author and Image, Wexner Center, Columbus, Ohio, November 15, 2000
“Secular Temples: Religious Practice in Museums of the Turkish Republic,” Middle East Studies Association Annual Conference, Washington D. C., November, 1999
“Islamic Arts in the Ottoman Imperial Museum, 1889 – 1923,” Historians of Islamic Art Majlis, in association with College Arts Association Conference, Los Angeles, February 13, 1999
Panel Speaker, “The Istanbul Biennial and the Recycling of History” Panel The Biennial Virus, College Arts Association Conference, Los Angeles, February 11, 1999
“Archaeology in the Ottoman Empire during the Turkish War for Independence, 1914 – 1923,” Middle East Studies Association Annual Conference, Chicago, November, 1998
Panel Discussant, “Re-presenting the Nation: Negotiations of Turkish National Identity,” Middle East Studies Association Annual Conference, Chicago, November, 1998
Panel Chair, “The Politics of Place: Issues in Urbanism and Architecture,” Jusur Graduate Student Conference, UCLA, May, 1998
“Phantoms of Bygone Days: Military Museums in the Ottoman Empire,” Presented at the Middle East Studies Association Annual Conference, San Francisco, November, 1997
Panel Participant, Symposium for Shades of L.A., Los Angeles Public Library, January, 1996
“Museolea: Turkish Museums and the Development of National Identity during the First Turkish Republic,” Middle East Studies Association Annual Conference, Washington, D.C., November, 1995 and at the Jusur Graduate Student Conference, UCLA, May, 1995
“Stylizing the French Sudan,” Jusur Graduate Student Conference, UCLA, May, 1993
Online Talks and Interviews
Jonas Huggins, “Geschichten entschlüsseln,” Der Tagesspiegel, February 20, 2021.
Interview with Lucy James, “What is art, when the primary sensory organ is the heart?,” Qantara, February 19, 2021, https://en.qantara.de/content/what-is-islamic-art-with-art-historian-wendy-shaw-what-is-art-when-the-primary-sensory-organ?fbclid=IwAR2ODJJW_BuGSo-VM0WTKlVrIDv8vviX73EXjLYmAGigTAIqGNu80wXIkxM
Interview mit Philip Geisler, “Nebeneinander, seitlich, unendlich: Wendy M. K. Shaw über ‘Islamische’ Kunst und Musik ohne Hierarchie,“ VAN Magazin, September 2020, https://www.van-outernational.com/shaw
English Version: Interview with Philip Geisler, “Listening out of Perspective. An Interview with Wendy M.K. about ‘Islamic’ Art and Music without Hierarchies,“ https://www.van-outernational.com/shaw-en
Interview with Dr. Fatma Yıldız, “‘İslam’ Sanatı Nedir? Din ve Algı - Prof. Dr. Wendy Shaw ile Söyleşi,” Akademik Frekans, August, 2020, https://www.youtube.com/watch?v=7V0nO0AFHRg
Interview with Rachel Pafe, “Islamic Art History: The Myth of Secularity,” Marginalia: Los Angeles Review of Books, March 27, 2020, https://marginalia.lareviewofbooks.org/islamic-art-history-the-myth-of-secularity/
Interview with Philip Geisler, “What is Art History when the Primary Sensory Organ is the Heart? A Conversation with Wendy M. K. Shaw,” TRAFO Blog for Transregional Research, March, 2020, https://trafo.hypotheses.org/22802
“What is Art History Anyway? Interview with Wendy Shaw,” Human Point, March, 2019, https://www.youtube.com/watch?v=kp8m80vqb4E
Interview mit Sabine Maria Schmidt, “Verspätet? Lokal? Bergsonisch? Zur Moderne in der Türkei,” Moderne, reloaded, Kunstforum 252, 2018, https://www.kunstforum.de/artikel/wendy-m-k-shaw-kunsthistorikerin/
“Islam in the River of Wisdoms,” House of Wisdom Exhibition at NTU’s Bonington Vitrines and Atrium (School of Art and Design), Primary, Five Leaves Bookshop, and Bromley House Library, Nottingham, October, 2018, https://vimeo.com/293752894
“#32 Local Modernism in a Global Context: Wendy Shaw,” museum global & exhibition Die exzentrische Moderne, Kunstsammlung Nordrhein-Westfalen and Centre for Transcultural Studies of Heidelberg University, Düsseldorf, Autumn 2016, http://www.number32.de/en/worldwide/lokale-modernen-im-globalen-kontext-wendy-shaw.html
Nora Lessing, “Vielfalt kritisch beleuchten,” Einblicke Blog, Berlin University Alliance, June 15, 2017, https://www.berlin-university-alliance.de/impressions/170615-portrait-wendy-shaw/index.html?fbclid=IwAR1rMMDItRff8RT6I7cJ6CGeye041NltDkgFkZLfn9B_LbPgn00YJj8i1IY
“Contemporary Art: Writing Histories for a Middle East Under Erasure,” Conference Troubled Contemporary Art Practices in the Middle East: Post-colonial Conflicts, Pedagogies of Art History, and Precarious Artistic Mobilization, Birkbeck University of London / University of Nicosia, June, 2016, https://www.youtube.com/watch?v=irJeENMOCWA&feature=youtu.be
“A Family from Nevshehir,” Conference Ottoman Pasts, Present Cities: Cosmopolitanism and Transcultural Memories, AHRC Research Network, Birkbeck College, University of London, June, 2014, https://www.youtube.com/watch?v=dUjwfWFDNvY&feature=emb_title
“Dressing the Empire: Ethnic Diversity, Photography, and the Modernisation of the Ottoman Imperial Ideal,” Conference Ottoman Pasts, Present Cities: Cosmopolitanism and Transcultural Memories, AHRC Research Network, Birkbeck College, University of London, June, 2014, https://www.youtube.com/watch?v=4n_6n4nhX3M&list=UUqNiHvzD4icIwoQoOVVaLlA&index=38
“From the Ottoman Empire to the Turkish Republic: Art and Modernity,” Istanbul Modern, September 6, 2007 – March 31, 2008
“20 Years of the Istanbul Biennial,” September 6 – February 28, 2007
Writer of audiotour texts
“Andreas Gursky,” Istanbul Modern, May 30 – August 26, 2007
Writer of audiotour texts
“Open Library,” Garanti Platform Istanbul, May 7 – 14, 2007
“Turkey by Magnum,” Istanbul Modern, February 17 – May 20, 2007
Writer of audiotour texts
“Is this Fiction: Video Program,” Istanbul Modern, February 17 – May 20, 2007
Writer of audiotour texts
“Venice–Istanbul,” Istanbul Modern, October 18, 2006 – February 2, 2007
Writer of audiotour texts
“Intersecting Times: Art in Turkey,” Istanbul Modern Permanent Collection, 2006 – ongoing
Writer of audiotour texts
Service to the Profession
Principal Investigator, Berlin Graduate School Muslim Cultures and Societies
Jury, AMCA Rhonda A. Saad Prize for Best Graduate Paper in Modern and Contemporary Arab Art (2016 – 2018)
External Promotion Reviewer: Prof. Talinn Grigor (Brandeis University), Prof. Kirstin Scheid (American University of Beirut), Prof. Pinar Kayaalp (Ramapo College), Prof. Nancy Um (SUNY Binghamton)
Ad Hoc reviewer for Antiquity, World Art, Material Religion, International Journal of Islamic Architecture, International Journal of Turkish Studies, Journal of Conservation and Museum Studies, Art History; DAAD; FWF; Modernism/modernity; International Journal of Middle East Studies; Forum Kritische Archäologie, Berlin; DFG
Member of the Editorial Board, International Journal of Middle East Studies, The Journal of Modern Art and the Arab World
Co-Editor, Book Series Middle East, Social and Cultural Studies Series, Peter Lang Publishing, Bern, Switzerland (2009 – 2016)
Equal Opportunity Commission, Faculty of Humanities, Universität Bern (2010 – 2014)
Administrative Board, Institute of Advanced Study in the Humanities and Social Sciences, Universität Bern, http://www.iash.unibe.ch (2012 – 2014)
Loving Writing: Techniques for the University and Beyond, New York and London: Routledge, forthcoming 2021.
What is “Islamic” Art: Between Religion and Perception, Cambridge: Cambridge University Press, 2019.
- Recipient of the Albert Hourani Award 2020 Honorable Mention of the Middle East Studies Association of North America -
- Recipient of the 28th World Book Award for Book of the Year 2021, Iran -
Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic, London: IB.Tauris Press, 2011.
Mehmet Güleryüz: Engaging Art/ Soruşturan Sanat, Exhibition Catalogue, İstanbul: İş Bankası Yayınları, 2009.
Osmanlı Müzeleri [Ottoman Museums], İstanbul: İletişim Yayınları, 2004.
Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Ottoman Empire, Berkeley: University of California Press, 2003.
“The Icon of Islamic Iconoclasm and European Identity,” Cabinet Magazine, forthcoming.
“Subjectivity and the Gaze in Islamic Discourses,” in Nazar: Vision, Belief, and Cultural Difference, ed. Samer Akkach, forthcoming.
“Is Decolonial Art History anti-Capitalist?” in Routledge Companion to Decolonizing Art History, ed. Tatiana Flores, New York and London: Routledge, forthcoming 2022.
“Islamic Geometries: Spiritual Language against a Secularist Grid,” Sophia, forthcoming 2021.
“Learning from: the Art of Recognizing Blessings,” RES: Anthropology and Aesthetics, forthcoming 2021.
“Migrations,” in Forms of Migration, eds. Stephan Maneval and Jennifer A. Reimer, Berlin: Falschrum Books, 2021.
“Islam and Art: An Overview,” Oxford Encyclopedia of Religion and Art: Renaissance to Modern, forthcoming.
“From Postcoloniality to Decoloniality, From Heritage to Perpetuation: The Islamic at the Museum,” in Islam and Heritage in Europe: Pasts, Presents and Future Possibilities, eds. Katarzyna Puzon, Sharon Macdonald, and Mirjam Shatanawi, New York and London: Routledge, forthcoming 2021.
“Reenchantment: From the Facts of Orientalism to the Sustenance of Storytelling,” TRAFO Blog for Transregional Research, May 07, 2020, https://trafo.hypotheses.org/23643
“Seeing with the Ear, Recognizing with the Heart: Rethinking the Ontology of the Mimetic Arts in Islam,” in Figurations and Sensations of the Unseen in Judaism, Christianity and Islam: Contested Desires, eds. Birgit Meyer and Terje Stordelen, London: Bloomsbury Publishing, 2019, pp. 37-56.
“Signs of Empire. Islamic Art Museums from European Imperialism to the Global Empire of Capital,” in Collecting and Empires. An Historical and Global Perspective, eds. Maia Wellington Gahtan and Eva-Maria Troelenberg, London: Harvey Miller Publishers, 2019, pp. 354-370.
“Cyminology at the Mschatta Lounge,” Trickster Magazine, September, 2019, https://tricksterorchestra.de/magazine/cyminology-at-the-mschatta-lounge/
“Fortress of Form, Robber of Consciousness: Theorizing Visuality in Islam,” in The Semantics of Vision: Art Production and Visual Cultures in the Middle Ages, ed. Raphael Praesinger, Tournout: Brepols Publishers, forthcoming.
“The Ottoman in Ottoman Photography: Producing Identity through its Negation,” in The Indigenous Lens? Early Photography in Islamic Lands, Studies in the History and Theory of Photograph Vol. 3, eds. Markus Ritter and Staci Scheiwiller, Berlin: DeGruyter, 2018, pp. 173-192.
“How to View the Parthenon through the Camera Obscura of the Tortoise,” Review of Middle East Studies 51:2 (2017) special issue: What is Preservation? Diversifying Engagement with the Middle East's Material Past, pp. 1-7.
“Sexing Up the Ottoman in the Contemporary Art of Turkey,” in Re-Orientierung. Kontexte Zeitgeössisscher Kunst in der Türkei und Unterwegs, eds. Burcu Doğramacı and Marta Smolinska, Berlin: Kadmos Verlag, 2017, pp. 66-79.
“Framing Istanbul: Resonances of the Photography of James Robertson in Envisioning the Istanbul Landscape,” in Geographies of Contact: Britain, the Middle East, and the Circulation of Knowledge, eds. Hélène Ibata, Caroline Lehni, Fanny Moghaddassi, and Nader Nasiri-Moghaddam, Strasbourg: Presses Universitaires de Strasbourg, 2017, pp. 161-180.
“In Situ: The Counterindications of World Heritage,” The International Journal of Islamic Architecture 6:2 (2017), pp. 339-365.
“Preserving Preservation,” in Tales from the Crypt: Museum Storage and Meaning, eds. Mirjam Brusius and Kavita Singh, London: Routledge, 2017, pp. 152-167.
“The Valorization of Antiquities in the Late Ottoman Empire: Hüseyin’s Discussion of Troy, Baalbek, and the Scholarship of Antiquities in Holy Treasures (1913),” Beiträge für Islamische Kunst und Archäologie 5 (2017), Wiesbaden: Dr. Ludwig Reichert Verlag, pp. 167-184.
“Islamic Art in the Islamic World: Museums and Architectural Revivalism,” in The Companion to Islamic Art and Architecture, rubric of “Modernity, Empire, Colony and Nation (1650-1950)”, eds. Gülru Necipoğlu and Barry Flood, New Jersey: Wiley-Blackwell (Blackwell Companions to Art History series), 2017.
“Objectification,” in Muslim Matter, eds. Omar Kasmani and Stephan Maneval, Berlin: Revolver Publishing, 2016, pp. 145-186.
“Destroy Your Idols,"” X-TRA Contemporary Art Magazine September (2015), pp. 73-94. http://x-traonline.org/article/destroy-your-idols/
“Au-delà de la peur de la musulmane voilée: spécularité dans l'espace public moderne,” in Voile, corps féminin et pudeur, ed. Silvia Naef, Geneva: Editions Labor et Fides, 2015.
“Turkey's Summer of Love and the Art of Political Protest,” X-TRA Contemporary Art Magazine June (2014).
“The Concept of Heritage in Relation to World Arts: A Matrimony of Others,” in Patrimoine et Architecture 21/22 (2015), ed. Leila el-Wakil, pp. 106-113.
“Preface,” in Taner Ceylan: The Lost Paintings, Exhibition Catalogue, New York: Paul Kasmin Gallery, 2013.
“Performing Vision: Re-presenting Vision in Islam,” in Islam and the Politics of Culture in Europe, ed. Frank Peter, Sarah Dornhof, and Elena Arigita, Bielefeld: transcript. 2012.
“The Islam in Islamic Art History: Secularism and Public Discourse,” Journal of Art Historiography 6 (2012), Special Issue, Islamic Art. http://arthistoriography.files.wordpress.com/2012/05/shaw1.pdf
“From Mausoleum to Museum: Resurrecting Antiquity for Ottoman Modernity,” in Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, eds. Zainab Bahrani, Zeynep Celik, and Edhem Eldem, Istanbul: SALT, and Austin: University of Texas Press, 2012, pp. 423-442.
“National Museums in the Republic of Turkey: Palimpsests within a Centralized State,” in Conference proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Bologna 28-30 April 2011, eds. Peter Aronsson and Gabriella Elgenius, Linköping: Linköping University Electronic Press. https://ep.liu.se/ecp/064/038/ecp64038.pdf
“Where did the Women Go? Female Artists from the Ottoman Empire to the Early Years of the Turkish Republic,” Journal of Women’s History 13:1 (2011), pp. 13-37.
“Between the Sublime and the Picturesque: Mourning Modernization and the Production of Orientalist Landscape,” in The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, eds. Mary Roberts, Reina Lewis, and Zeynep Inankur, Istanbul: Pera Museum, 2010.
“Im Unterbau des Alltäglichen,” Neue Zürcher Zeitung, April 03, 2010. http://www.nzz.ch/nachrichten/kultur/literatur_und_kunst/im_unterbau_des_alltaeglichen_1.5367320.html
“From Whose Hand to Whose Eye: Representing Identity in Contemporary Art,” Identität: Schweiz/ Identité: Suisse, Exhibition Catalogue, Biel: CentrePasquart, 2010, pp. 5-9.
“Heritage as Cultural Capital in the Late Ottoman Empire,” in Cultural Heritage in the Arab World, eds. Irene Maffi and Rami Daher, London: I.B. Tauris Press, 2014.
“Modernism’s Innocent Eye and Nineteenth-Century Ottoman Photography,” History of Photography 33:1 (2009).
“Art: the Middle East, North Africa, and Central Asia,” in Encyclopedia of the Modern World, Oxford: Oxford University Press, 2008.
“Museums and Narratives of Display from the Late Ottoman Empire to the Turkish Republic" Muqarnas 24 (2007), pp. 253-280.
“The Rise of the Hittite Sun,” in Selective Remembrances: Archaeology in the Construction, Commemoration, and Consecration of National Pasts, eds. Phillip Kohl, Mara Kozelsky, and Nachman Ben-Yahuda, Chicago: University of Chicago Press, 2008.
“İmparatorluktan Cumhuriyete: Değişim Döneminde Modernlik / From Ottoman Empire to Turkish Republic, Modernity at a Time of Change,” Istanbul Museum of Modern Art Exhibition Catalogue, Istanbul: Istanbul Modern, 2007, pp. 158-171.
“Whose Hittites and Why? Language, Archaeology and the Quest for the Original Turks,” in Archaeology and Dictatorship, eds. Michael L. Galaty and Charles Watkinson, New York: Kluwer/Plenum Publishers, 2004, pp. 131-152.
“How to Translate: Kutlug Ataman’s Four Women Who Wear Wigs,” Thirdtext 18:1 (2004), pp. 69-82.
“Eti Günesi Neyi Temsil Ediyor?” [What does the Hittite Sun Represent?], in Arkeoloji: Niye? Nasil? Ne Için?, eds. Oğuz Erdur and Güneş Duru, Istanbul: Ege Yayinlari, 2003.
“Art Among the Myths of Globalism: The Istanbul Biennial,” Thirdtext 58 (2002), pp. 7-15.
“Ambiguity and Audience in the Films of Shirin Neshat,” Thirdtext 57 (2001/02), pp. 43-52.
“Tra(ve)ils of Secularism: Islam in Museums from the Ottoman Empire to Turkish Republic,” in The Invention of Religion, ed. Derek Peterson, New Brunswick, N. J.: Rutgers University Press, 2002.
“Islamic Arts in the Ottoman Imperial Museum,” Ars Orientalis XXX (2000), pp. 55-68.
“Osman Hamdi and the Subversion of Orientalist Vision,” in Festschrift for Aptullah Kuran, eds. Lucienne Thys-Senocak and Cigdem Kafescioglu, Istanbul: Yapi Kredi Yayinlari, 2000.
“Stylizing the French Sudan,” Jusur: The UCLA Journal of Middle Eastern Studies 9 (1993), pp. 31-67.
“M. A. R. Habib, Hegel and Empire: From Postcolonialism to Globalism (London: Palgrave/Macmillan, 2017),” New Global Studies 13:3 (2019), pp. 404-409. https://doi.org/10.1515/ngs-2019-0018
“Zeynep Çelik, About Antiquities: Politics of Archaeology ın the Ottoman Empire (Austin: University of Texas Press, 2016),” International Journal of Middle Eastern Studies, 49:3 (2017), pp. 557-559.
“Kishwar Rizvi, The Transnational Mosque: Architecture and Historical Memory in the Contemporary Middle East (Chapel Hill: University of North Carolina Press, 2016),” Journal of the Society for Architectural Historians 76:3 (2017), pp. 389-390.
“Mary Roberts, Istanbul Exchanges: Ottomans; Orientalists; and Nineteenth-Century Visual Culture (Berkeley: University of California Press, 2015),” Art Bulletin (March, 2016), pp. 121-131.
“Deniz Çalış-Kural, Şehrengiz: Urban Rituals and Deviant Sufi Mysticism in Ottoman İstanbul (Burlington, VT: Ashgate Publishing, 2014),” International Journal of Islamic Architecture 5:1 (2016).
“Jamal J. Elias, Aisha’s Cushion: Religious Art, Perception, and Practice in Islam (Cambridge, MA: Harvard University Press, 2012),” Journal of Islamic Studies 26:3 (2015), pp. 391-393
“Esra Akın-Kıvanç, ed., trans., intro., Mustafa ‘Ali’s ‘Epic Deeds of Artists’: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World (Leiden and Boston: Brill, 2011),” Journal of Islamic Studies 26:2 (2015), pp. 254-256.
“Nebahat Avcıoğlu, Turquerie and the Politics of Representation, 1728-1876 (Surrey and Burlington: Ashate Publishing, 2011),” International Journal of Islamic Architecture 2:1 (Fall, 2012).
“Why Care about Ottoman Women Artists?” Journal of Women’s History (Spring, 2011), online review.
“Between the Secular and the Sacred: A New Face for the Department of the Holy Relics at the Topkapı Palace Museum,” Material Religion 6:1 (2010), pp. 129-131.
“Shirine Hamadeh, The City's Pleasures: Istanbul in the Eighteenth Century (Seattle: University of Washington Press, 2007); Lucienne Thys-Şenocak, Ottoman Women Builders: The Architectural Patronage of Hadice Turhan Sultan (Burlington, Vt.: Ashgate Publishing, 2007),” Journal of the Society of Architectural Historians 69:1 (2010), pp. 122–123.
“’Kimsin Sen:’ Ahmet Polat Fotoğraf Sergisi Üzerine Düşünceler,” Arredamento Mimarlık, 7-8 (2007), pp. 40-41.
“Heghnar Zeitlian, The Image of an Ottoman City (Leiden: E.J. Brill, 2006); Yasser Elsheshtawy, ed., Planning Middle Eastern Cities: An Urban Kaleidescope (London: Routledge, 2004),” Journal of the Society of Architectural Historians (December, 2007).
“Londra’daki “Türkler” Türkiye’de” [Turks in London, from Turkey], Arredamento Mimarlik (March, 2005).
“Concerning the Archives,” The Middle Eastern Studies Bulletin 36:1 (2002), pp. 20-27.
“Allan, Susan Heuck, Frank Calvert and the Discovery of Troy (University of California Press: Berkeley, 1998),” Turkish Studies Association Bulletin (Spring, 2000), pp. 27-31.
“Glassie, Henry, Turkish Traditional Art Today (Indiana University Press, 1993),” Jusur: The UCLA Journal of Middle Eastern Studies 11 (1995), pp. 58-60.
“Is There a Female Gaze?” in The Female Side of the Moon (Curator Özlem Sarıyıldız), Exhibition Catalogue, Berlin: Z22 Gallery, 2020.
“Witnessing: Laughter and Mourning in the Work of Bani Abidi,” Prize of the Böttcherstraße 2020, Bremen, Germany.
“The Present Tense of Preservation: Sinem Dişli and the Local Relationship with Antiquity,” Exhibition Catalogue, Ara Güler Museum, Istanbul, 2019.
“Interrupted Halfway Through,” Works of Burçak Bingöl, Exhibition Catalogue, Berlin: Zilbermann Gallery, 2019.
“Nicky Broekhuysen,” Exhibit at Bumeller Collection for Islamic Art, Berlin, September 20 – November 20, 2016.
“Gymnastics of Memory,” Nancy Atakan: Passing On Istanbul: Kehrer, 2016, pp. 15-23.
“Transcendence,” Sarkis. Respiro, ed. Defne Ayas, Venice: Venice Biennial, 2015. http://issuu.com/respirobysarkis/docs/respiro_sarkis_publication
“Sinem Dişli,” Cereyan, Exhibition, Istanbul: Empire Gallery, October 18 – November 15, 2015.
“Sinem Dişli,” Exhibition, Istanbul: Galeri X-Ist, October 16 – November 20, 2011.
“Lorna Simpson, ‘Easy to Remember’,” Yesterday Will be Better, Exhibition Catalogue, Aargau: Kunsthaus, 2010, pp. 83-85.
“Ali Taptık,” Exhibition, Istanbul: Galeri X-Ist, Turkey February 14 – March 8, 2008.
“Arif Aşcı,” Exhibition, Seoul: Gallery Kim, July – October, 2007.
“Rebound of the Gaze: The Photographs of Ahmet Polat,” in conjunction with the exhibit Who are you? Ahmet Polat, Istanbul Modern, May 30 – August 26, 2007.
“Mürüvvet Türkyılmaz,” Zones of Contact, Charles Merewether, Sydney: 2006 Biennial, p. 274.