Molly Emma Aitken is Associate Professor in the Art Department at The City College of New York where she teaches Asian art. She is the author of The Intelligence of Tradition in Rajput Court Painting (Yale University Press, 2010), and When Gold Blossoms: Indian Jewelry from the Susan L. Beningson Collection (Philip Wilson, 2004) in addition to numerous essays on Mughal and Rajput court painting. The Intelligence of Tradition won the Charles Rufus Morey Award in 2011 and the Ananda Kentish Coomaraswamy Book Prize in 2012. Her current research interests include Mughal era connoisseurship, Mughal responses to Rajput arts, and the visual culture of social pleasure in India.
Sinem Arcak received her PhD from the University of Minnesota in August 2012 with a thesis titled, “Gifts in Motion: Ottoman-Safavid Cultural Exchange,” and is working on completing a book manuscript with the same title. Her research focuses on early modern Islamic courts, with a focus on exchange, materiality, gift-giving practices, courtly rituals, and picture theory. She has received fellowships from the Center for Advanced Study in the Visual Arts, American Council of Learned Societies, Social Science Research Council, and the Kress Foundation. She is currently a Postdoctoral Fellow in the Department of Art History at the University of Minnesota. In Fall 2014, she will begin a position as Assistant Professor at McGill University’s Institute of Islamic Studies.
Rebecca Brown, Teaching Professor in the History of Art at Johns Hopkins University, is the author of Art for a Modern India, 1947–1980 (Duke UP 2009) and Gandhi’s Spinning Wheel and the Making of India (Routledge 2010). She curated Goddess, Lion, Peasant, Priest: Modern and Contemporary Indian Art from the Donald and Shelley Rubin Foundation (catalog 2011). Her work has been published in Art Journal, Res: Anthropology and Aesthetics, The Journal of Asian Studies, Archives of Asian Art, CSSAAME, Screen, The Journal of Urban History, and Visual Anthropology. Her next book unearths the exhibitionary ghosts of the over 70 art shows staged as part of the Festival of India in the US (1985–86); a portion of this research is forthcoming in Art Bulletin (2014).
Aditi Chandra is Assistant Professor of Islamic and South Asian art history in the School of Social Sciences, Humanities and Arts at the University of California, Merced. Her research examines how colonial archaeological and travel-related processes such as landscaping, site museums, the dissemination of postcards, and the eviction of refugees transformed Delhi’s Sultanate and Mughal architecture into modern monuments for touristic consumption in the 19th and 20th centuries. In 2011 she curated an exhibition of colonial travel ephemera representing Delhi’s Islamic architecture at the Skidmore College’s Tang Museum. Her essay “Potential of the ‘Un-exchangeable Monument’: Delhi’s Purana Qila in the time of Partition, c. 1947–63,” has been published in the International Journal of Islamic Architecture. She will be a Scholar-in-Residence at the Doris Duke Foundation for Islamic Art in July–August 2013.
Radha Dalal is Assistant Professor of Islamic Art and Architecture at Virginia Commonwealth University in Doha, Qatar. She researches visual cultures of mobility with a particular emphasis on the Ottoman Empire in the 19th and early 20th centuries and its socio-political interactions with other European and Asian polities. Her current research focuses on pictorial satire related to the Khilafat Movement in India within the larger context of Ottoman pan-Islamic narratives. She most recently co-chaired the workshop Objects as Locus of Hybridity and Hybrid Making: Transcultural, Transhistorical, and Global Explorations at the 2013 Tasmeem Art and Design Conference in Doha.
Deepali Dewan is an art historian with special interest in the visual cultures of South Asia. She is a Senior Curator at the Royal Ontario Museum, Toronto, teaches in the Department of Art at the University of Toronto and is affiliated with the Centre for South Asian Studies. She is also part of the Toronto Photography Seminar, a group of scholars who read, produce, and edit collaborative research concerning the history and theory of photography. Her research interests encompass colonial art education, the circulation of objects, the production of art historical knowledge, the history of photography in India, and postcolonial visual practice. She is co-author (with Deborah Hutton) of Raja Deen Dayal: Artist-Photographer in 19th-century India, author of Embellished Reality: Indian Painted Photographs, and editor of Bollywood Cinema Showcards: Indian Film Art from the 1950s to 1980s.
Alisa Eimen is Associate Professor of Art History at Minnesota State University, Mankato. Her scholarly interests focus on the ways in which identity and memory shape art and architecture. Her most recent publications are chapters in Performing the Iranian State: Visual Culture and the Representations of Iranian Identity (Anthem, 2013) and Making Art and Architecture in India: Woman’s Eye, Woman’s Hand (Zubaan, forthcoming). She is currently working on the development of Muslim sacred space in Germany.
Nina Ergin is Assistant Professor in the Department of Archaeology and History of Art at Koç University, Istanbul. She specializes in Ottoman architectural history, in particular the “lesser” monuments within its canon, such as bathhouses and soup kitchens, as well as sensory aspects of the built environment. In addition to several co-edited volumes, she has edited Bathing Culture of Anatolian Civilizations: Architecture, History and Imagination (Louvain: Peeters, 2011). Her most recent articles include “A Multi-Sensorial Message of the Divine and the Personal: Qur’anic Inscriptions and Recitation in Sixteenth-Century Ottoman Mosques,” in Calligraphy in Islamic Architecture: Space, Form, and Function, ed. Mohammad Gharipouri and Irvin C. Schick (Edinburgh: Edinburgh University Press, 2013), and “The Fragrance of the Divine: Ottoman Incense Burners and Their Context,” The Art Bulletin 96/1 (forthcoming 2014).
Atreyee Gupta‘s research centers on questions of postwar modernism and the politics of inhabitation, corporeality, and sensoriality, the intersections between modern art and processes of modernization in post-colonial contexts, institutional histories of modernisms, and aesthetics as a form of postwar global cultural capital. These questions inform her current book manuscript on modern art in South Asia in the decades immediately preceding and following India’s Independence. Other publications include essays in Partha Mitter et. al. eds., Twentieth-Century Indian Art (forthcoming), Yishu: Journal of Contemporary Chinese Art (forthcoming), Art Journal (Fall 2013), the Asia Art Archive’s “An Expanded Questionnaire on The Contemporary” (2012), and James Elkins, ed., Is Art History Global? (2006). In the past, Atreyee has taught at the University of Minnesota and the University of California, Berkeley. Her research and writing has been supported by fellowships from the Getty Research Institute, the Social Science Research Council, the University of Minnesota, among others. Currently, Atreyee is the Goethe Fellow at Haus der Kunst, Munich.
Deborah Hutton is an Associate Professor in the Department of Art and Art History at The College of New Jersey, where she teaches courses on Asian and Islamic art. Her scholarship examines the relationships between art, identity, and intercultural exchange at the Deccan princely courts of South Asia between the 16th and early 20th centuries. Her first book, The Art of the Court of Bijapur (Indiana University Press, 2006), won the American Institute of Indian Studies Edward Cameron Dimock Jr. Prize in the Indian Humanities. She is co-author with Deepali Dewan of Raja Deen Dayal: Artist-Photograph in 19th-century India (Mapin and the Alkazi Collection of Photography, 2013), and she is co-editor with Rebecca Brown of Asian Art: An Anthology (Blackwell, 2006) and the Blackwell Companion to Asian Art (2011).
Jennifer Joffee teaches Art History and coordinates the Honors Program at Inver Hills Community College in St. Paul, Minnesota. Her research interests center around imperially-sponsored art and architecture of 17th- and 18th-century Rajasthan, particularly as related to issues of identity, nostalgia, and hegemony. She is currently working on a book manuscript, Art, Architecture, and Politics in Mewar, 1628-1710.
Hawon Ku is Assistant Professor in the Department of Hindi at Hankuk University of Foreign Studies, Seoul. Her research focuses on modern and contemporary art of South Asia, with current projects on the architecture of colonial colleges as well as the visual culture of Bollywood. She has also published on 19th-century Jain temple architecture and paintings, with a forthcoming article in South Asia: Journal of South Asian Studies.
Riyaz Latif is Visiting Lecturer at Wellesley College in Massachusetts. His book manuscript, Ornate Visions of Knowledge and Power: Formation of Marinid Madrasas in Maghrib al-Aqsa, stems from his work focused on the art and architectural production in premodern Islamic Maghrib and its cultural moorings in the premodern western Mediterranean world. He has also written about the Marinid necropolis of the Chella in Rabat, Morocco, and has published an article on the Great Mosque of Cordoba in the context of its visual imaginings by the preeminent Urdu poet, Iqbal. His upcoming project will address the art historical implications of the shared visual idiom in the premodern Mediterranean rim. He has also published a book of poems in Urdu as well as several translations of Urdu fiction and poetry.
Risha Lee is the Assistant Curator of South and Southeast Asian Art at the Minneapolis Institute of Arts. Her research interests include the architectural history of southern India and the transmission of art and ideas along the Indian Ocean trade routes in the premodern period. She received her PhD from Columbia University in 2011 and her BA from Harvard College in 2002.
Janice Leoshko is an Associate Professor in the Department of Art and Art History and Associate Director of the Center for Asian Studies at The University of Texas at Austin. Before joining U.T. in 1993, she was the Associate Curator of Indian and Southeast Asian art at the Los Angeles County Museum of Art. Her publications include Sacred Traces: British Explorations of Buddhism in South Asia (Ashgate 2003), numerous articles on Indian sculpture, as well as a chapter for Romance of the Taj Mahal, the volume that accompanied a major exhibition for which she was co-curator.
Venugopal Maddipati is Assistant Professor in the School of Design at Ambedkar University, Delhi. He is currently working on his book on Gandhi and the idea of givenness in South Asian environmental and architectural history. He has recently published two essays, one on the contemporary artist Simon Starling’s interpretation of the architectural patronage of Yashwant Rao Holkar, the erstwhile Maharaja of Indore, and another, in the Sarai 09 Reader, on aging and material transformations in urban architecture, particularly in the context of the work of the architect Charles Correa, and the contemporary artist Asim Waqif. His current work relates to the intersections between traditions of water-harvesting, architecture and visibility in contemporary Indian art.
Geri Hockfield Malandra most recently served as Provost of Kaplan University; she currently pursues postsecondary education policy work on behalf of clients of her consulting company based in Durango, Colorado. She is the author of Unfolding a Mandala: The Buddhist Cave Temples at Ellora (1993).
Marsha Olson is teaching in the Liberal Arts Department at the Minneapolis College of Art and Design and in the Department of Art History at the University of St. Thomas. Her research focuses on Indo-Portuguese ivory statuettes created in Goa, India, in the seventeenth to eighteenth centuries. She is especially interested in the study of iconography, devotional practice, and how artworks represent the coming together of cultures in their forms.
Sugata Ray is Assistant Professor of South Asian art and architecture at the History of Art Department, University of California, Berkeley. His research and publications focus on the visual culture of modern religions in South Asia, non-metropolitan urban cultures in colonial India, global art history, and “native” museological practices. Sugata has held fellowships from the American Institute of Indian Studies, the Social Science Research Council, the Doris Duke Foundation for Islamic Art, and, more recently, the Forum Transregionale Studien, Berlin, an initiative of the Kunsthistorisches Institut, Florence.
Jennifer Roberson is Assistant Professor of Art History at Sonoma State University. She has published on late twentieth–century mosque architecture in Spain and has an article forthcoming on the patronage of Hassan II of Morocco (r. 1961–99).
D. Fairchild Ruggles is Professor of Landscape, Architecture, and Art History at the University of Illinois, Urbana-Champaign. In addition to numerous books and edited volumes on Islamic visual culture and global cultural heritage, she has also recently made a series of short films for the NEH/ALA Bridging Cultures, Muslim Journeys Bookshelf project.
Tamara Sears, Assistant Professor of Art History at Yale University, is the author of Worldly Gurus and Spiritual Kings (Yale UP, forthcoming 2014). She is working on a second book project that looks at architecture and wilderness landscapes as sites for mapping social mobility, economic expansions, and the transmission of artistic practices in medieval India.