Golden West College

Adjunct Faculty

Teach Art History

California State University, Stanislaus

Assistant Professor of Art History

Teach Modern, Contemporary, and Islamic Art History

California State University, Stanislaus

Associate Professor of Modern Art History

Teach modern and contemporary Art Historty

University of La Verne

Adjunct Faculty

Teach Art History

Mt. San Antonio College

Adjunct Faculty

Teach Art History

University of California, Santa Barbara

Teaching Assistant

Teaching Assistant in Art History Courses

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“Reframing the Rise of Modernism in Iran”

Modernism beyond the West: A History of Art from Emerging Markets, ed. Majella Munro

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“Reframing the Rise of Modernism in Iran”

Modernism beyond the West: A History of Art from Emerging Markets, ed. Majella Munro

"Cartographic Desires: Some Reflections on the Shahr-e Farang (Peepshow) and Modern Iran"

Performing the Iranian State: Visual Culture and Representations of Iranian Identity, ed. Staci Gem Scheiwiller (London: Anthem Press, 2013), 33-54.

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“Reframing the Rise of Modernism in Iran”

Modernism beyond the West: A History of Art from Emerging Markets, ed. Majella Munro

"Cartographic Desires: Some Reflections on the Shahr-e Farang (Peepshow) and Modern Iran"

Performing the Iranian State: Visual Culture and Representations of Iranian Identity, ed. Staci Gem Scheiwiller (London: Anthem Press, 2013), 33-54.

“Photographing the Other Half of the Nation: Gendered Politics of the Royal Photograph Albums of Nineteenth-Century Iran”

The Photograph and the Album, ed. Jonathan Carson et al. (Edinburgh: MuseumsEtc, 2013), 30-74

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“Reframing the Rise of Modernism in Iran”

Modernism beyond the West: A History of Art from Emerging Markets, ed. Majella Munro

"Cartographic Desires: Some Reflections on the Shahr-e Farang (Peepshow) and Modern Iran"

Performing the Iranian State: Visual Culture and Representations of Iranian Identity, ed. Staci Gem Scheiwiller (London: Anthem Press, 2013), 33-54.

“Photographing the Other Half of the Nation: Gendered Politics of the Royal Photograph Albums of Nineteenth-Century Iran”

The Photograph and the Album, ed. Jonathan Carson et al. (Edinburgh: MuseumsEtc, 2013), 30-74

“Is there a PostIslamic Art, Or Are We Post-Islamic Art? Time and the Condition of ‘Contemporary Islamic Art’”

Global Trends in Modern and Contemporary Islamic Art, ed. Rui Oliveira Lopes et al. (Lisbon: Centro de Investigação e Estudos em Belas-Artes, 2015), 109-39

“The Online Avant-Garde: Iranian Video Art and Its Technological Rebellion”

Social Media in Iran: Politics and Society after 2009, ed. David M. Faris and Babak Rahimi (Albany: State University of New York, 2015), 271-85

Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography: Desirous Bodies

Routledge

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

“The Archeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Photographer Yassaman Ameri”

in Home/Land: Women, Citizenship, Photographies, ed. Marion Arnold and Marsha Meskimmon, Liverpool: Liverpool University Press

Performing the Iranian State: Visual Culture and Representations of Iranian Identity

Anthem Press

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena. “Performing the State” refers to an individual (or a group of persons) who re-enacts rituals, ceremonies, customs, traditions and laws, or who dons certain guises, that either accomplish the State’s goals or rebel against them as a form of critique. This anthology examines various approaches to determining the Iranian State via the performativity of persons with the intention of illuminating how social practices, ideologies and identities are shaped, represented, visualized, circulated and repeated – not only nationally but also worldwide. Readership: Scholars, professors and graduate students in art history, anthropology, visual studies, history, Islamic studies, gender studies, political science and Middle East studies.

The Indigenous Lens: Early Photography in the Near and Middle East

De Gruyter

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an "indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

“Reframing the Rise of Modernism in Iran”

Modernism beyond the West: A History of Art from Emerging Markets, ed. Majella Munro

"Cartographic Desires: Some Reflections on the Shahr-e Farang (Peepshow) and Modern Iran"

Performing the Iranian State: Visual Culture and Representations of Iranian Identity, ed. Staci Gem Scheiwiller (London: Anthem Press, 2013), 33-54.

“Photographing the Other Half of the Nation: Gendered Politics of the Royal Photograph Albums of Nineteenth-Century Iran”

The Photograph and the Album, ed. Jonathan Carson et al. (Edinburgh: MuseumsEtc, 2013), 30-74

“Is there a PostIslamic Art, Or Are We Post-Islamic Art? Time and the Condition of ‘Contemporary Islamic Art’”

Global Trends in Modern and Contemporary Islamic Art, ed. Rui Oliveira Lopes et al. (Lisbon: Centro de Investigação e Estudos em Belas-Artes, 2015), 109-39

“A White Peril: Re-Scripting the White Postcolonial Subject in Aliza Levi’s Artwork"

in Books on a White Background: Aliza Levi (Cape Town: South African Jewish Museum, 2015), unpaginated.