Finbarr Barry Flood
(on leave spring 2019, on sabbatical fall 2019)
William R. Kenan Jr. Professor of the Humanities, the Institute of Fine Arts and College of Arts and Sciences, New York University
Founder-Director of Silsila: Center for Material Histories, New York University
PhD University of Edinburgh, Islamic Art History, 1993
B.A. Trinity College, Archaeology with Mental and Moral Science, Dublin, 1988
Art and architecture of the Islamic world.
Cross-cultural dimensions of Islamic material culture.
Theories and practices of image-making.
Technologies of Representation.
Art historical historiography, methodology, and theory.
The Emergence of Islam and its Mediterranean Milieu.
Before the Mughals: Early Indo-Islamic Material Culture.
Beyond Abstraction and Arabesques: Refiguring Islamic Ornament.
Intercultural Islam: Betwixt and Between in the Medieval Islamic World
A Companion to Islamic Art and Architecture, a two-volume survey of Islamic art co-edited with Gülru Necipoğlu, Harvard University (Hoboken, NJ, 2017).
Globalizing Cultures: Art and Mobility in the Eighteenth Century. Co-edited with Nebahat Avcioğlu, a dedicated volume of the journal Ars Orientalis (39, 2011).
Objects of Translation: Material Culture and Medieval “Hindu-Muslim” Encounter. Princeton University Press, 2009.
Piety and Politics in the Early Indian Mosque. Debates in Indian History and Society.Oxford: Oxford University Press, 2008.
The Great Mosque of Damascus: Studies on the Makings of an Umayyad Visual Culture. Boston: Brill, 2000.
Articles and Essays
“Frameworks of Islamic Art and Architectural History: Concepts, Approaches, and Historiographies,” co-authored with Gülru Necipoğlu, in Flood & Necipoğlu, ed., A Companion to Islamic Art and Architecture, vol. 1 (Hoboken, NJ, 2017), 2-56.
“A Turk in the Dukhang? Comparative Perspectives on Elite Dress in Medieval Ladakh and the Caucasus,” in Eva Allinger, Frantz Grenet, Christian Jahoda, Maria-Katharina Lang, & Anne Vergat, eds., Interaction in the Himalayas and Central Asia: Processes of Transfer, Translation and Transformation in Art, Archaeology, Religion and Polity, Proceedings of the Third International Conference of the Société Européenne pour l'Etude des Civilisations de l'Himalaya et de l'Asie Centrale, Vienna, 2013 (Austrian Academy of Sciences, Vienna, 2017), 227-253.
“Eclecticism and Regionalism: The Gwalior Qur’an and the Ghurid Legacy to Post-Mongol Art,” in Eloïse Brac de la Perrière & Monique Burési, eds., Le coran de Gwalior. Polysémie d’un manuscript à peintures (Paris, 2016), 153-169.
"Bodies and Becoming: Mimesis, Mediation and the Ingestion of the Sacred in Christianity and Islam," in Sally M. Promey, ed., Sensational Religion: Sensory Cultures in Material Practice, 459-493. New Haven: Yale University Press, 2014.
"Lost Histories of a Licit Figural Art," International Journal of Middle East Studies (45/3, 2013), 566-569.
"Inciting Modernity? Images, Alterities and the Contexts of "Cartoon Wars,"" in Patricia Spyer and Mary Margaret Steedly, eds., Images That Move (Santa Fe, 2013), 41-72.
Intervention: "Presentation, (Re)animation and the Enchantments of Technology," Res: Anthropology and Aesthetics (61/62, 2012), 228-236.
"Gilding, Inlay and the Mobility of Metallurgy: A Case of Fraud in Medieval Kashmir," in Venetia Porter & Mariam Rosser-Owen, eds., Metalwork and Material Culture in the Islamic World: Art, Craft and Text. Essays Presented to James W. Allan (London, 2012), 131-142.
“From Icon to Coin: Potlatch, Piety, and Idolatry in Medieval Islam,” in Gerhard Jaritz, ed., Images, Ritual and Daily Life. The Medieval Evidence, (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2012), 163-172.
"Christian Mosaics in Jordan and Early Islamic Palestine: A Case of Regional Iconoclasm;" "Faith, Religion and the Material Culture of Early Islam;" "The Qur'an," along with entries on mosaics, pilgrimage art, and Qur'ans, in Helen Evans, ed., Byzantium and Islam: Age of Transition (New York, Metropolitan Museum of Art, 2012). [ 'Christian Mosaics,' 'Faith. religion ' and 'The Qur'an']
“Conflict and Cosmopolitanism in Arab Sind,” in Deborah Hutton & Rebecca Brown, eds., A Companion to South Asian Art (Blackwell Companions to Art History) (2011), 365-397.
“Appropriation as Inscription: Making History in the First Friday Mosque of Delhi,” in Richard Brilliant and Dale Kinney, eds., The Mirror of Spolia: Premodern Practice and Postmodern Theory (Malden, MA, 2011), 121-147.
“A Ghaznavid Narrative Relief and the Problem of Pre-Mongol Persian Book Painting,” in David Knipp, ed., Siculo-Arabic Ivories and Islamic Painting 1100-1300, Proceedings of the International Conference, Berlin, 6-8 July 2007 (München, 2011), 257-272.
"Masons and Mobility: Indic Elements in Twelfth-century Afghan Stone-carving," in Anna Filigenzi & Roberta Giunta, eds., Fifty Years of Research in the Heart of Eurasia, Insituto Italiano per l'Africa et ;'Oriente, (Rome 2009), 137-160.
"La communauté imaginaire," Qantara, (73, November, 2009) 18-19.
“An ambiguous aesthetic: Crusader spolia in Ayyubid Jerusalem.” In Ayyubid Jerusalem: The Holy City in Context, 1187-1250, edited by Robert Hillenbrand and Sylvia Auld, 202-215. London: Altajir Trust, 2009.
“Islamic Identities and Islamic Art: Inscribing the Qur’an
in Twelfth-century Afghanistan.” In Dialogues in Art History, from Mesopotamian to Modern: Readings
for a New Century, edited by Elizabeth
Cropper, 91-118. Washington, D.
C.: National Gallery of Art, 2009.
“Lost in Translation: Architecture, Taxonomy and the Eastern ‘Turks’.” Muqarnas 24 (2007): 79-116.
“From the Prophet to Postmodernism? New World Orders and the End of Islamic Art.” In Making Art History: A Changing Discipline and its Institutions, edited by Elizabeth Mansfield, 31-53. London & New York: Routledge, 2007.
“Image against Nature: Spolia as Apotropaia in Byzantium and the Dar al-Islam.” Mapping the Gaze – Vision and Visuality in Classical Arab Civilisation, a special issue of The Medieval History Journal 9 no. 1 (2006): 143-166.
“Correct Delineations and Promiscuous Outlines: Envisioning India at the Trial of Warren Hastings.” Art History 29 no. 1 (2006): 47-78.
“Ghurid monuments and Muslim identities: Epigraphy and Exegesis in Twelfth-century Afghanistan.” Indian Economic and Social History Review 42 no. 3 (2005): 263-294.
“Between Creation and Destruction,” editorial co-authored with Zoë S. Strother, Res (48, 2005), 5-10.
“Signs of Violence: Colonial Ethnographies and Indo-Islamic Monuments.” Art and Terror, a special issue of the Australian and New Zealand Journal of Art 5 no. 2 (2004): 20-51.
“Pillars, Palimpsests and Princely Practices: Translating the Past in Sultanate Delhi.” Res: Journal of Anthropology and Aesthetics 43 (2003): 95-116.
“Between Cult and Culture: Bamiyan, Islamic Iconoclasm and the Museum.” Art Bulletin 84 no. 4 (2002): 641-659.
“The Medieval Trophy as an Art Historical Trope: Coptic and Byzantine 'Altars' in Islamic Contexts.” Muqarnas 18 (2001): 41-72.
“Ghurid Architecture in the Indus Valley: the Tomb of Shaykh Sadan Shahid.” Ars Orientalis 36 (2001): 129-166.
“Light in Stone: the Commemoration of the Prophet in Umayyad Architecture.”In Bayt al-Maqdis Part Two: Jerusalem and Early Islam, edited by Jeremy Johns, 311-59. Oxford Studies in Islamic Art, 9, part 2. Oxford: Oxford University Press, 2000.
“The Ottoman Windows in the Dome of the Rock and the Aqsa Mosque.”In Ottoman Jerusalem, the Living City: 1517-1917, edited by Sylvia Auld and Robert Hillenbrand, 431-63.London: Altajir World of Islam Trust, 2000.
Articles in Press
“Stucco and Glass Windows from the East and West Palaces.” Forthcoming in Raqqa IV: Excavations of the Deutsches Archäologisches Institut at Raqqa, Syrian Arab Republic.
Selected Review Articles
Review of Ahmad Ghabin, Hisba, Arts and Craft in Islam (Arabisch-Islamische Welt in Tradition und Moderne, 2009), Speculum (88/2, 2013), 517-520.
Current Research Projects
Islam and Image: Polemics, Theology and Modernity. A transhistorical exploration of the ‘prohibition of images’ (Bilderverbot) as a perceived characteristic of Islamic cultures. Based on both empirical and theoretical approaches, the book analyses the interrelationships between proscription, prescription, and artistic praxis. To be published by Reaktion Books, London.
2018-19: Slade Professor of Fine Art, University of Oxford
2015-2016: Fellow, Wissenschaftskolleg zu Berlin
2015: ACLS Collaborative Research Fellowship with Professor Beate Fricke, University of Bern
2014: Iris Foundation Award for Outstanding Contributions to the Decorative Arts
2011: Winner of the Ananda K. Coomaraswamy Book Prize of the Association for Asian Studies, South Asia Council, for the best English-language work in South Asian studies.
2007-2008: Carnegie Foundation Scholar
2006: NYU's Golden Dozen Award for Outstanding Teaching
2007: Getty Scholar, Getty Research Institute, Los Angeles
Residential fellow, The Sterling and Francine Clark Art Institute, Williamstown, Mass., 2006
2000-2001 : Ailsa Mellon Bruce Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C.
2001-2002: Research Fellow, Smithsonian Institution, Washington, D.C.
1997: Postdoctoral Research Fellow, Aga Khan Program for Islamic Art, Harvard University
1993-1995: Nasser D. Khalili Research Fellow in Islamic Art and Architecture, University of Oxford