Hannah Feldman Associate Professor Department of Art History Northwestern University 1800 ...

17 Pages·2017·0.22 MB·English

by  Hannah Feldman

Hannah Feldman
Associate Professor
Department of Art History
Northwestern University
1800 Sherman Avenue, Suite 4400
Evanston, IL 60208
[email protected]

Curriculum Vitae

Major Research Interests

Art and visual culture of the 20th and 21st centuries, especially art and urban space after 1945; art and
war, especially theories and cultures of decolonization and postcolonial conflict with a regional focus on
the Middle East and North Africa; theories of modernism, modernity, and contemporaneity; the public
sphere and its institutions.

Education

Columbia University, Ph.D., Art History and Archaeology, 2004, with distinction
Columbia University, M.Phil., Art History and Archaeology, 1997, with distinction
Columbia University, M.A., Art History, 1995
Whitney Museum of American Art Independent Study Program, Critical Studies, 1992-1993
Harvard University, A.B., summa cum laude in concentration, magna cum laude, 1992

Awards, Honors and Fellowships

Post-doctoral Fellowships and Research Support

Andrew W. Mellon New Directions Fellow, 2015-2017
Canadian Centre for Architecture Visiting Scholar, 2014
Kaplan Institute for the Humanities at Northwestern University Affiliate 2011-2012; 2013-2014
Getty Research Institute Residential Postdoctoral Fellow, 2008-2009
Northwestern University Research Grant, 2008-2009
Northwestern University Residential College Faculty Research Fellowship, 2006-2008; 2009-2010
Fulbright Visiting Specialist Program (institutional): “Contact with the Islamic World,” 2006

Prizes and Distinctions for Teaching

Weinberg College Award for Excellence in Mentoring Undergraduate Research, 2015
Associate Student Government Elected Honor Roll, 2011
Searle Fellow, Searle Center for Teaching Excellence, Northwestern University, 2010-2011
Conducted the Inaugural Barbara and Richard Franke Course in the Humanities, 2007
Course Enhancement Granta, 2005-2007
Hewlett Course Development Award, 2006

Pre-doctoral Recognitions and Fellowships

Columbia University Departmental Dissertation Fellowship, 2002-2003
Samuel H. Kress Foundation 2-year Fellowship in Art History (Paris), 2000-2002
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Ambassade de France aux États-Unis Bourse Chateaubriand,1999-2000
SPFFA Marandon Dissertation Fellowship, 1999-2000
Columbia University Mellon Dissertation Fellowship, 1998-1999
ACLA Horst Frenz Prize for Best Graduate Student Paper, 1997
Columbia University Nelson Blitz Summer Research Fellowship, 1997
Columbia University Presidential Fellowship, 1994-1998
Whitney Museum of American Art ISP Helena Rubinstein Fellowship, 1992-1993

University Employment

Northwestern University, Evanston, IL

Associate Professor, with tenure, Department of Art History, 2012-
Director of Undergraduate Studies, 2011-2015
Core Faculty Member, Program in Middle East and North African Studies
Core Faculty Member, Program in Comparative Literary Studies
Affiliate Faculty, Department of Art Theory and Practice
Affiliate Faculty, PhD Program in Screen Cultures
Steering Committee, French Interdisciplinary Group

Assistant Professor, Department of Art History, 2006-2012
Core Faculty Member, Program in Comparative Literary Studies, 2011-2012
Affiliated Faculty, Middle East and North Africa Working Group, 2007-2012
Affiliated Faculty, Program in Asian and Middle Eastern Studies, 2007-2012
Affiliated Faculty, Graduate Interdisciplinary Cluster in Critical Theory, 2006-2011
Weinberg College of Arts and Sciences College Fellow, 2005-2006
Visiting Assistant Professor, Department of Art History, 2004-2005
Lecturer, School of Continuing Studies, 2002

Sarah Lawrence College, Bronxville, NY

Visiting Lecturer, Department of Art History, 1997

Columbia University, New York, NY

Preceptor, Department of Art History and Archaeology, 1995-1997; 2000

Publications

In-Progress

Before the Contemporary: Art in Lebanon, 1989-1998
This book traces the development of artists and their practices in Lebanon during the first
decade after the end of the Lebanese Civil War and before the artists associated with the
“Beiruti School” emerged as emblematic of Middle Eastern Art in the European
conceptualization of a global art history. (book)

The History of the Future: Visual Public Spheres and Arts Institutions in the Middle Eastern City, 2001-
2011
This book examines several artist-developed and overseen arts institutions in selected North
African and Middle Eastern cities with an eye to historicizing the contemporary relationship
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between visual culture and the urban public sphere as it was developed in the Middle East and
North Africa during the decade between 9/11 and the “Arab Spring.” (book)

“After Decolonization”
This journal article explores the transnational cultural influence—from places as diverse as
Canada, China, and the Arabian Gulf—that has shaped the design and realization of three
different urban plans centered around museums and architectural monuments meant to
commemorate the War of Liberation in Algiers from the mid-1970s to the present. (article)

“Yto Barrada’s Model”
This journal article analyzes recent photographic work by Yto Barrada in relationship to the
formulation of historical time and urban space that is proposed by her renovation and
stewardship of the Cinémathèque Tanger. It argues that Barrada’s image-based practice
models the city as a private performance, and, in so doing, produces an abstract, decolonial
urbanism that is both pleasurable and distinctly resistant. (article)

Completed Publications and Reviews

Book

From a Nation Torn: Decolonizing Art and Representation in France, 1945-1962. Duke University
Press, 2014.

[Reviewed: Jan Baetens, Leonardo Reviews, May 2014. http://leonardo.info/reviews/may2014/feldman-
baetens.php; http://online.liverpooluniversitypress.co.uk/doi/10.3828/cfc.2015.23Allesandra Amin, H-
AMCA, H-Net Reviews, May 2015. Alison J. Murray Levine, Contemporary French Civilization, January
2015. http://www.h-net.org/reviews/showrev.php?id=43959; Michèle Cone, American Historical Review,
December 2014; Ismail Ferhat, Lectures, September 2015. http://lectures.revues.org/17188; Megan
Luke, Art Bulletin, 97:2, June 2015; Mani Sharpe, Modern & Contemporary France, 22:4, June 2015;
Thomas McDonough, H-France, July 2015. http://www.h-
france.net/vol15reviews/vol15no95mcdonough.pdf; Sung Eun Choi, History: Reviews of New Books,
43:4, September 2015; Elizabeth Geary Keohane, French Studies: A Quarterly Review, v. 69, no. 2,
2015, 273-274; Daniel Spaulding, “Formerly Postwar,” Art Journal, Winter 2015, 69-73; Muriam Haleh
Davis, Journal of Colonialism and Colonial History, v.17, no.1, Spring 2016; D.W. Aosey, Al Jadid, v.
19, no. 68, 2017; Claire Wintle, Visual Studies, January 2017.
http://www.tandfonline.com/doi/full/10.1080/1472586X.2015.1123959]

Articles in Journals and Books

“The Rules of the Game.” In Seductive Exacting Realism. Chicago: University of Chicago Press and the
Renaissance Society; New York: Sternberg Press (2015).
“The Thought of Sex—The problematic presentation of Let it Be in Beirut (with Akram Zaatari, Stuart
Comer, and William E. Jones).” In Queer Geographies: Beirut, Tijauna, Copenhagen, ed. Lasse
Lau, Mirene Arasanios, Felipe Zuñiga-González, and Omar Mismar, 28-43. Staendertorvet,
Denmark: Museet for Samtisdkunst, 2014.
“Flash Forward: Pictures at War.” In Photography’s Orientalism: New Essays on Colonial
Representation, edited by Ali Behdad and Luke Gartlan. Los Angeles: Getty Research Institute
(2013).
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“New Writing Systems/Writing New Systems.” In Specters of Artaud: Language and the Arts circa 1952,
edited by Kaira Cabañas. Madrid: Museo Nacional Centro de Arte Reina Sofia (2012).
[Essay and catalogue reviewed: Alan More, “A Scream is Named: Excursions in Artaudian Culture,”
post.thing.net. http://post.thing.net/node/4087]
“As the World Constricts: Kader Attia’s Pictures of Spacelessness.” nka: Journal of Contemporary
African Art 26 (2010): 60-69.
“Words, Actions, Inactions, and Things: Reality Between La Résistance and L’insoumission.” In New
Realisms, edited by Julia Robinson, 41-52. Madrid: Museo Nacional Centro de Arte Reina
Sofía and Cambridge, MA: MIT Press, 2010.
[Essay and catalogue reviewed: Jaimey Hamilton, “New Realisms in the 1960s,” Art Journal 71, no. 2
(Summer 2012): 117-120; Rachel Haidu, “New Realisms: 1957-1962” Artforum October 2010).]
“Excavating Images on the Border.” Third Text 23, no. 3 (2009): 309-322.
“Orchestral Maneuvers in the Light.” In Allora & Calzadilla, edited by Beatrix Ruf, 29-39. Zurich:
JRP½Ringier, 2009.
“In This Place on These Days.” In Akram Zaatari: Earth of Endless Secrets, edited by Karl Bassil and
Akram Zaatari, 124-127. Frankfurt: Portikus, 2009.
“On Being Significant During War.” October 123 (2008): 45-48.
“Life on the Surface of Everywhere.” In Kader Attia, edited by Régis Debray, 93-97. Huarte, Spain:
Centro Huarte de Arte Contemporáneo, 2008.
“Mining War: Fragments of a Conversation Already Passed.” With Akram Zaatari. Art Journal 66, no. 2
(2007): 48-67.
“Of the Public Born: Raymond Hains and La France déchirée.” October 108 (2004): 73-96.
“On Not Being Venezuelan.” In Gego 1957-1988: Thinking the Line, edited by Nadja Rottner and Peter
Weibel, 59-65. Cologne: Hatje Cantz, 2006.
[Catalogue reviewed: Monica Amor, “Gego: Exploding the Field.” Art Journal 66, no. 4 (Winter 2007).]
“More than Confessional: Testimonial and the Subject of Rape.” In The Subject of Rape, edited by
Monica Chau, Hannah Feldman, Jennifer Kabat and Hannah Kruse. 12-41. New York: Whitney
Museum of American Art, 1993.
Articles and Criticism in Art Periodicals

“Focus: The Way of the Shovel,” Artforum International February 2013.
“Focus: This Will Have Been,” Artforum International Summer 2012.
“Time to Speak.” Frieze 118, October 2008.
“Michael Rakowitz and the Tactics of Being In-Between and Everywhere Else.” Art & Australia, October
2008.
“Sound Tracks: The Art of Allora and Calzadilla.” Artforum International 45:9, May 2007.
“Focus: Rudoph Stingel.” Artforum International 45:8, April 2007.
“Desert of the Real: The Art of Mai-Thu Perret.” Artforum International 44:10, Summer 2006.
“Salons de Refuse: Raymond Hains and Arman.” Artforum International 44:6, February, 2006.
“Dan Peterman: Plastic Economies, Standard Kiosk (Chicago), Works and Projects.” caa.reviews,
September 2004. doi: 10.3202/caa.reviews.2004.80
“‘Too Jewish?: Challenging Traditional Identities,’ at The Jewish Museum.” World Art, Fall 1996.
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“Kienholz and the Kienholzes.” Contemporary Art 3, no. 3, Late Spring 1996.
“Rachel Whiteread at Luhring Augustine Gallery.” World Art, Fall 1996.
“Interzone: Interview with Jonathan Crary.” World Art, Fall 1995. [Reprinted as “Das Verschwinden des
historischen Denkens.” Neue Bildende Kunst 2, 1996.]
“Some Like It Haute: Interview with Marjorie Garber.” World Art, Spring 1995.
“Offense in Venice.” World Art, Fall 1995.
“The Lolita Complex,” World Art, Winter 1996.
“Francesca Woodman,” World Art, Winter 1994.

Book Reviews and Encyclopedia Entries

Review of Amazigh Arts in Morocco: Women Shaping Berber Identity, by Cynthia Becker. Middle East
Journal 61, no. 4 (2007): 728-730.
“Eddie Adams.” “Urs Lüthi.” “Piet Zwart.” In Encyclopedia of 20th Century Photography, edited by
Lynne Warren, 14-15; 973-976; 1718-1719, New York: Routledge, 2005.
Review of Unseen Warhol, by John O’Connor and Benjamin Liu. Contemporary Visual Arts 14 (1997):
82-83.
“The Bottom Line.” Review of Art and Money, by Marc Shell and The Author, Art, and the Market:
Rereading the History of Aesthetics, by Martha Woodmansee. Art Journal 55, no. 2 (1996):
107-108.

Professional Talks

Invited Presentations

“All Tomorrow’s Futures,” Opening Keynote, Curating After the Global: Roadmaps for the Present,
Arles, September 2017. (cancelled)
“Futures Perfect,” Museum of Fine Arts Houston, Core Program, May 2017.
“There was and there was not: Public Space in the Chimerical City, Beirut, 1990-2006,” Keynote,
Department of Art History, University of North Carolina, March 2017.
“‘I Take Care of History’: A Tale of Two Gifts,” John Carlisle Irving Lecture, Department of Art History,
Visual Art, and Theory, University of British Columbia, February 2017.
“Curating in the Future Anterior,” inaugural lecture, Jabre Lecture Series, Department of Art History,
American University of Beirut, March 2016.
“Everything was Beautiful and Nothing Hurt,” Department of Visual Arts, University of Chicago,
February 2016.
“The Decolonial Modern,” Wilson Center for the Humanities and Arts, University of Georgia, December
2015.
“Our Green Mirror (with Ika Haiduk),” Saltwater: A Theory of Thought Forms (14th Istanbul Biennial),
Istanbul, September 2015.
“Aesthetics and other erasures : l’art durant la guerre d’indépendance algérienne,” Généalogie d’un
Territoire, Institute National d’Histoire de l’Art (INHA), June 2015.
“Civilization Redux,” CREDOC, University College London, March 2015.
“Yto Barrada’s Model,” Centre for the Study of Contemporary Art, University College London, March
2015.
“Pillar of Salt,” Department of Art History, Yale University, April 2015.
“Decoloniality as Model,” The Irwin S. Chanin School of Architecture, The Cooper Union, April 2015.
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“The Politics and Aesthetics of Memory,” Dialogue with Marianne Hirsch, Program in European Cultural
Studies, Princeton University, February 2015.
“Of Models and Metalepsis: Yto Barrada’s Cinematheque Tangier,” Department of Art, Art History, and
Design, Michigan State University, November 2014.
“Opening Pandora’s Box,” (Keynote) Department of Art, Art History, and Design, Undergraduate Art
History and Visual Culture Symposium, Michigan State University, November 2014.
“Comparative & Interdisciplinary Approaches in the Field of Turkish Studies,” Northwestern University,
October 2014 (discussant).
“Model Spaces and Model Publics in Post-Independence Maghrebi Cities,” Canadian Centre for
Architecture, Montreal, Canada, July 2014.
“Model Cinema: Public Spheres and Private Histories in Yto Barrada’s Album,” Department of Visual
and Cultural Studies, University of Rochester, April 2014.
“Interiors/Exteriors: Avant Garde Itineraries,” Department of Art History and the Smart Museum of Art,
University of Chicago, February 2014 (roundtable speaker).
“Michael Rakowitz, the Break-Up: Conversation with Jessica Winegar and Sukhdev Sandhu ” Rhona
Hoffman Gallery, Chicago, February 2014.
“Object/Subjective: Hannah Feldman and Zach Cahill,” Smart Museum, University of Chicago,
November 2013.
“After Decolonization: Commemorative Aesthetics and the Politics of Remembrance and
Recuperation,” Department of Art History and Communications, McGill University, Montreal,
April 2013.
“The Global American Artist: In Conversation with Michael Rakowitz,” Chicago Humanities Festival,
November 2012.
“Model Theory, Model Practice,” Scale Models, University of Chicago and Northwestern University,
November 2012 (moderator and respondent).
“Art By Telephone and Other Adventures in Conceptualism: In Conversation with Iain Baxter&,”
Chicago Humanities Festival, Museum of Contemporary Art, Chicago, November 2011.
“The Tower(s) that Revolution Built,” Institute of African Studies, Emory University, April 2011.
“Post-War Histories: Which War?” Modern Arab Art: Objects, Histories, and Methodologies, Doha,
Qatar, December 2010.
“Art and Opposition: Leon Golub and Shirin Neshat,” Block Museum of Art, Northwestern University,
Evanston, November 2011. (moderator).
“Flash Forward: Pictures at War,” Zoom Out, Getty Research Institute, Los Angeles, May 2010.
“In Plain Sight,” University of Illinois at Chicago/Gallery 400, March 2010.
“Pictures of Politics and the Politics of Pictures,” Inaugural lecture, “Re-Vision,” a year-long series
commemorating 10 years of the Visual Studies Program at University of California, Irvine,
January 2009.
“Decolonizing Spectacle,” Getty Research Institute, Los Angeles, January 2009.
“Staging the Diachronic City: Space and Simultaneity in Hagia Sophia,” with Cecily Hilsdale,
Northwestern University Keyman Family Program Workshop on Modern Turkish Studies,
Istanbul, June 2008.
“What would it mean to ‘Let it be’ here and now?,” Homeworks IV, Ashkal Alwan, Beirut, Lebanon, April
2008.
“Shooting Protest,” Violence, Political and Sacred, Northwestern University and University of Pisa,
Evanston, April 2008.
“The Art of Decolonization,” School of Art and Design, University of Illinois at Urbana- Champaign,
February 2008.
“Aesthetics of Action: Les Emeutes and the Space of Vision in the Paris Suburbs,” French
Interdisciplinary Group, Northwestern University, Evanston, February 2006.
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“Art During War: Visible Space and the Aesthetics of Action, Paris 1954/2004,” Department of the
History of Art and Architecture and Department of Visual and Environmental Studies, Harvard
University, Cambridge, 2004.
“A Tale of Two Nations: Art and Action in Postcolonial Paris,” Department of Art and Art History, DePaul
University, Chicago, 2004.
“Paris, 1961: Spatial Politics and Urban Representations,” Department of Art and Art History, University
of Missouri, St. Louis, 2002.

Select Conference Papers Delivered

“There was and there were not: What was Beirut? The Years Between the Wars, 1990-2006,”
Generation 00: Cultural Practices Before the Middle East Uprisings, Block Museum,
Northwestern University, February (invited).
“Telling Time Terribly,” Tracing an Imperfect Chronology: The Barjeel Collection, Whitechapel Gallery,
London, October 2016. (invited)
“Profound Dissonance: Art After Liberation, Paris 1945-2015,” Les Arts à Paris Après la Libération,
Deutsches Forum für Kunstgeschicte/Centre Allemand d’Histoire de l’Art, Paris, June 2015
(invited).
“Petite Planète,” (Keynote address), Relectures postocoloniales des échanges artistiques et culturels
entre Europe et Maghreb (Algérie, France, Italie, Maroc, Tunisie), Musée national du Bardo,
Tunis, May 2014. (Cancelled)
“What Does Decolonization Look Like?: Transverality and the Recuperation of Revolution, Algiers,
1964,” at “The Global Sixties: Art and the Cold War,” CAA, Chicago, February 2014.
“Avant ’68: France and the Transnational Flow of Culture in the Global Long Sixties,” CAA, Los
Angeles, February 2012 (respondent).
“Rebuilding Revolution,” at Nation Building: Politics of Space in the African City, CAA, New York,
February 2011.
“Ten Thoughts on the Future of Contemporary Art History,” at The Future of Contemporary Art History,
CAA, Chicago, February 2010 (invited).
“Shooting Protest,” Violence: Political and Sacred, Northwestern University and the University of Pisa,
Evanston, April 2008 (invited).
“Virtually Utopia,” at Virtualities: Contemporary Art Between Fact and Fiction, CAA, New York, February
2007.
“The Space of Disagreement and the Spaces of its Displacement” at Spaces of War: France and the
Francophone World, European Studies Consortium, University of Minnesota, Minneapolis-St.
Paul, October 2006.
“The Right to the City: Contre le couvre-feu, Paris, October 17, 1961,” at Cultural Encounters in Urban
Space, The European Association of Urban Historians, 8th International Conference on Urban
History, Stockholm, Sweden, August 2006.
“Art During War: The Street, the City, and the Nation in La France déchirée,” at Art and the City: A
Conference on Postwar Interactions with the Urban Realm, Amsterdam, Netherlands, May
2006.
“Veiled Visions: The Politics of the Image after 9-11,” at Art after 9-11, Art History Association Annual
Meeting, Leeds, UK, April 2006.
“From a Nation Torn: Décollage, Urban Space, and the Reclaimed Public Sphere,” Space Tactics:
Modern Meditations on the Third Dimension, Yale University, New Haven, February 2001.
“Isidore Isou and Lettriste Poetry: Beyond Words to History,” at American Comparative Literature
Association, Montréal, Canada, April 1999.

Sessions Chaired
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“Decolonizing Photography,” CAA Annual Meeting, New York, February 2017.
“Avant ’68: France and the Transnational Flow of Culture in the Global Long Sixties,” co-chair with Noit
Banai, CAA, Los Angeles, February 2012.
“Public Disorder: European Art and Its Publics After WWII,” co-chair with Noit Banai, AAH Annual
Meeting, Manchester, UK, April 2009.
“Towards a Political Art of the 21st Century,” co-chair with Judith Rodenbeck, CAA Annual Meeting,
Dallas, February 2008.
“Power and the Gendered Imagery of Contemporary Global Politics,” respondent and co-chair with
Carol Duncan, CAA Annual Meeting, Dallas, February 2008.
“Regarding Decolonization,” co-chair with Stephanie Schwartz, CAA Annual Meeting, Boston, February
2006.

Invitational Seminars and Workshops

“Terrorist Transgressions: Gendered Representations of the Terrorist Body in Modern Culture,” chaired
by Sue Malvern (University of Reading, UK) and Gabriel Koureas (Birkbeck College, University
of London, UK) 2010-2012, with funding from the AHRC (UK).
“Orientalist Photography,” two-year workshop, chaired by Ali Behdad, UCLA, Getty Research Institute,
Los Angeles, 2008-2010.
“Fluxus Workshop,” two-day invitational workshop, Getty Research Institute, Los Angeles, 2008.

Conference and Seminar Organization

“Before the Contemporary: Arts and their Institutions in the Middle East, North Africa, and
Turkey,” Northwestern University, June 2015 (sole convener).

“Postcolonial Rereading of artistic relations between France, Italy and the Maghreb," the Ecole du
Louvre, the Académie de France in Rome (Villa Medici), the Ecole française de Rome, The University
of Bordeaux, and the Laboratory Heritage of Tunis-La Manouba, 2014-2015 (appointed member of the
comité scientifique).

“The Aesthetics of Engagement, 1968/2008.” Northwestern University, June 2008 (sole
convener).

Works in Exhibitions

Dear…. (2017), “The Dangerous Professors,” curated by Ruslana Lichzier, Triumph Gallery, Chicago,
June 2017.

Notes for a Lover; or, a Diary of My Social Media (2017), “The New Normal,” curated by Murat Adash
and Hiba Farhat, The Hangar (UMAM D&R) and Dawawine, Beirut, March 2017 and Supa Salon,
Istanblul, May 2017

Editorial, Peer-Review and Related Activities

Editorial and Professional Boards

Book Placement Editor, H-France, Society for French Historical Studies 2014-
Chair, Art Journal Best Essay Prize Committee, 2013-
Member, Art Journal Best Essay Prize Committee, 2012-
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Chair, Art Journal editorial board, 2008-2010
Member, CAA Publications Committee, 2008-2010
Member, Art Journal editorial board, 2006-2010
Field (Commissioning) Editor for New York and International Regions, Exhibition Reviews, caa.reviews,
2005-2007

Peer Review

Art Journal, Duke University Press, Rutgers Art Review, Wadsworth, Middle East Studies Journal,
Oxford University Press.

Academic Review

MA in Curatorial Studies, American University of Beirut, 2016

Grant and Prize Evaluation

Mellon International Dissertation Research Fellowship, Social Sciences Research Council, Selection
Committee, 2014-2017
Institute of Advanced Study, Princeton University, Reviewer, 2016
American Academy in Berlin, Reviewer, 2015
National Endowment for the Humanities, Fellowships Panel Jurist, 2015
Social Sciences and Humanities Research Council of Canada; invited project assessor, 2013
Rhonda Saad Prize for Best Graduate Paper in Modern Arab Art, Association for Modern and
Contemporary Art of the Arab World, Iran, and Turkey; chair, 2011-2013
Propeller Grant, Three Walls/Gallery 400/Andy Warhol Foundation; juror, 2010
Arts Writers Grant Program/Andy Warhol Foundation; Evaluator Jurist, 2006

MFA Evaluation

Department of Art Theory and Practice, Northwestern, critic, 2014
Department of Visual Art, University of Chicago, Visiting Critic, 2013
MFA studio critique, University of Chicago; Visiting Critic, 2010
MFA studio critique, School of the Art Institute; Visiting Critic, 2007

Curatorial Work

encore, with Huey Copeland, Gallery 40000, Chicago, 2007.
The Subject of Rape, with Monica Chau, Jennifer Kabat, and Hannah Kruse, Whitney Museum of
American Art, New York, 1993.

Leaves of Absence

Mellon New Directions Fellowship, 2015-2017
Postdoctoral Fellowship, Getty Research Institute, Los Angeles, CA 2008-2009

Teaching Experience

Teaching Areas
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20th and 21st century art and visual culture; contemporary art in/about the Middle East and North Africa;
French art and film; art and urban space; art and decolonization; art and war; participatory practices;
theories of modernism, postmodernism, contemporaneity; theories of representation and photography;
post- and decolonial visual culture; the public sphere and its institutional histories.

Courses Taught at Northwestern

Graduate Seminars:

Art During War: Re-visioning Modernism
Art and the City from 1960-present
Site/Street/Screen: Art and Visual Culture in France, 1945-present
Methods and Meanings
Istanbul Imagined (on-site; with Cecily Hilsdale)
The Dissertation
Document, Image, Object: Photographs of Catastrophe
Art Historical Writing
De-linking and Decoloniality
Indexing the Contemporary | Reading the Now
Speculations and Speculative Histories

Undergraduate Courses:

Looking at War (1st year seminar)
Introduction to Contemporary Art History (large lecture)
The Art of Participation (mid-size lecture)
Postmodernism from Before and After (discussion-lecture)
Contemporary Art Beyond the White Box (discussion-lecture)
Re-visioning the 20th Century (discussion-lecture)
Art in/from/about the Middle East (mid-size lecture)
Contemporary Art from the Islamic World (seminar; with Akram Zaatari)
Spaces of Chicago (on-site seminar; with David Van Zanten)
Humanities in the World: Global Orients (Kaplan Scholars in the Humanities; with Rebecca
Johnson and Jessica Winegar; seminar and mid-size lecture)
Interpreting Culture (Comparative Literature mid-size lecture)
“What is a place? Art and the Visual Public Sphere in the Contemporary Middle East and North
Africa” (advanced seminar, cross-listed with MENA, CLS, and AH)

Advising Experience

Ph.D. Completed (Primary Adviser)

Erin Reitz, “Radical Aesthetics: The Art of the Black Panthers, 1966-1982.” (Visiting Assistant
Professor, Northwestern University, 2017-)
Emma Chubb, "Migration Forms: Contemporary Art in and out of Morocco, 1999-2012" (Charlotte Fend
Ford '83 Curator of Contemporary Art at the Smith College Museum of Art, 2017-)
Brynn Hatton, Art History, “By Way of Vietnam: Racial Critique and Social Collapse in Transnational
Protest Art. (Visiting Assistant Professor, Williams College 2016-)