Finbarr barry flood biography template
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The second half of the book, “From Iraq to India and Africa: Technologies, Iconographies, and Marvels” continues the focus on materiality, but here, the larger themes are the connection between magic and medicine, the importance of networks, and the diversity of people of the medieval world. 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.
“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. [download PDF]
"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. His research interests include art and architecture of the Islamic world, cross-cultural dimensions of Islamic material culture.
1 (Hoboken, NJ, 2017), 2-56.
“Picasso the Muslim. While not an entry-level text, it should be required reading for all medieval art historians.
Eiren Shea
Associate Professor, Art History Department, Grinnell College
Finbarr Barry Flood
Dr.
In a book that is constantly suggesting new ways of approaching material, it is almost reassuring to encounter a theme from an earlier chapter, such as the function of amulets or the significance of the image of the sphinx.
Tales Things Tell is an excellent contribution to global medieval art history and will certainly be useful for researchers and as a teaching resource.
[download PDFof "The Flaw in the Carpet"]
Foreword to Kathleen James-Chakraborty, ed., India in Art in Ireland (London & New York, 2016), xi-xvii. The “case study” model of art history is gaining traction both in the undergraduate art history classroom (taking the place of universalist survey classes at some institutions) and in scholarly publications (such as the essays in Normore (ed.), Re-assessing the Global Turn in Art History, 2018), as art historians realize deep engagement with specific objects can reveal more than a broad, but superficial look at visual materials.
Boston: Brill, 2000.
Articles and Essays
“Global Microhistories and the Object Archive,” part of a round table on the Global Middle Ages, al-Usur al-Wusta (32, 2024)
Review essay as part of a round table on Rosie Bsheer. London: Altajir Trust, 2009. A transhistorical exploration of the ‘prohibition of images’ (Bilderverbot) as a perceived characteristic of Islamic cultures.
Magical-medicinal practices also play a role in the last chapter of the book.
The last two chapters of the book, while analyzing significantly different objects—a stone relief and a manuscript—return to the theme of mobility, with a special focus on connections between Africa, West Asia, and India. [download PDF]
“Animal, Vegetal and Mineral: Ambiguity and Efficacy in the Nishapur Wall-Paintings,” Representations (133, Winter, 2015), 20-58.
[download PDF]
"Lost Histories of a Licit Figural Art," International Journal of Middle East Studies (45/3, 2013), 566-569. [download PDF]
"Notes from the Field: Anthropomorphism," Art Bulletin (93/4, March 2012), 18-20. Analysis of available censers, however, shows that they could be made with a variety of production techniques, which explains how so many of these were made in a wide geographic area over several centuries (35).
Their places of production are unknown (broadly the eastern Mediterranean), their dates of production uncertain, and their portable nature means they moved easily both when they were in use, and later, as collectible objects.