Institut für Kunstgeschichte
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Publikationen

Books

  • ISLAM CHRISTIANIZED - Islamic portable objects in the medieval church treasuries of the Latin West, Peter Lang Verlag. Frankfurt a.M, 1996 (based on my Ph.D thesis, University of Edinburgh, 1995). The second revised edition 1998.
  • THE OLIPHANT. Islamic Objects in Historical Context, Brill, Leiden, 2004.
  • FACING THE WALL: THE PALESTINIAN-ISRAELI BARRIERS. Avinoam Shalem and Gerhard Wolf, Cologne, Walter König, 2011.
  • DIE MITTELALTERLICHEN OLIFANTE (Berlin, Deutscher Verlag für Kunstwissenschaft, 2014).

Edited Books

  • "Mitteilungen zur Spätantiken Archäologie und Byzantinischen Kunstgeschichte"
  • 4(2005). Edited by Johannes G. Deckers, Marcell Restle und Avinoam Shalem. Proceedings of the Symposium "Austausch diplomatischer Geschenke in Spätantike und Byzanz", A symposium organised by the Kunsthistorisches Institut of the University of Bonn and the Institut für Byzantinistik, Byzantinische Kunstgeschichte und Neogräzistik of the University of Munich (28.2-1.3 2002).
  • Annette Hagedorn and Avinoam Shalem (eds.), Facts and Artefacts: Art in the Islamic World. Festschrift for Jens Kröger on his 65th Birthday (Leiden, 2007).
  • AFTER ONE HUNDRED YEARS: The 1910 Exhibition »Meisterwerke muhammedanischer Kunst« Reconsidered. Edited by Andrea Lermer and Avinoam Shalem (Leiden, 2010).
  • THE FUTURE OF TRADITION: THE TRADITION OF FUTURE. Edited by Chris Dercon, Leon Kermpel and Avinoam Shalem, exhibition catalogue, Haus der Kunst (Munich, 2010).
  • MÜNCHNER BEITRÄGE ZUR JÜDISCHEN GESCHICHTE UND KULTUR. Kunststadt München? Unterbrochene Lebenswege. Guest editor, 2 (2012).
  • CONSTRUCTING THE IMAGE OF MUHAMMAD IN EUROPE. Edited by Avinoam Shalem (This book is written by all three members of the research group Crossing Boundaries Creating Images directed by me at the KHI in Florence (Berlin, Boston, De Gruyter, 2013).

    THE IMAGE OF MUHAMMAD BETWEEN IDEAL AND IDEOLOGY: A SCHOLARLY INVESTIGATION. Edited by Christiane Gruber and Avinoam Shalem (Berlin, Boston, De Gruyter, 2014).

  • GAZING OTHERWISE: Modalities of Seeing in the Medieval Islamic Cultures. Edited by Olga Bush and Avinoam Shalem. Muqarnas 23 (2015).

  • THE SALERNO IVORIES: Objects, Histories, Contexts. Edited by Francesca Dell'Acqua, Anthony Cutler, Herbert L. Kessler, Avinoam Shalem and Gerhard Wolf (Berlin, Reimer Publishing House, 2016).

Articles

  • "The Fall of al-Mada'in: Some Literary References Concerning Sasanian Spoils of War in Mediaeval Islamic Treasuries," Iran 32(1994), 77-81.
  • "Fountains of Light: The Meaning of Medieval Islamic Rock Crystal Lamps," Muqarnas 11(1994), 1-11.
  • "Bi'r al-Waraqa: Legend and Truth. A Note on Medieval Sacred Geography," Palestine Exploration Quarterly, 27(January-June, 1995), 50-61.
  • "From Royal Caskets to Relic Containers: Two Ivory Caskets from Burgos and Madrid," Muqarnas, 12(1995), 24-38.
  • "New Evidence for the History of the Turquoise Glass Bowl in the Treasury of San Marco," Persica 15(1993-95), 91-94.
  • "A note on the shield-shaped ornamental bosses on the facade of Bab al Nasr in Cairo", Ars Orientalis 26(1996), 55-64.
  • "Jewels and Journeys: The Case of the Medieval Gemstone Called al-Yatima" Muqarnas 14(1997), 42-56.
  • "Present and Absent: Reading three self-portraits of E. M. Lilien and looking into some of his letters to Helene Magnus," in E.M. Lilien: Imprints upon Palestine, exhibition catalogue, Michael Hasenclever Gallery, Munich (Munich, 1998).
  • "A 15th century wooden case in Berlin: Some speculations on the original cases made to contain Islamic enamelled beakers for export", Gilded and Enamelled Glass from the Middle East, R. Ward (ed.), British Museum Press (London, 1998), pp. 64-68.
  • "Forbidden Territory: Early Islamic Audience-Hall Carpets", Hali 99(1998), pp. 70-77.
  • "L'art fatimide christianisé", Trésor fatimides du Caire, exhibition catalogue, Institut du monde arabe (Paris, 1998), pp. 225-228.
  • "L'origine de quelques objets fatimides dans les trésors des églises d'Europe occidentale", Dossiers d'Archéologie 233(1998), pp. 72-79.
  • "Fatimidische Kunst im Christentum", Schätze der Kalifen: Islamische Kunst zur Fatimidenzeit, exhibition catalogue, the Kunsthistorisches Museum in Vienna (Milan, 1998), pp. 227-228.
  • "The rock crystal lion head in the Badisches Landesmuseum in Karlsruhe", in M. Barrucand (ed.), L'Égypte Fatimide: son art et son histoire (Paris, 1999), pp.359-366.
  • "Islamic rock crystal vessels - scent or ampullae?" Bamberger Symposium: Rezeption in der islamischen Kunst, Beiruter Texte und Studien 61(1999), pp. 289-299.
  • "Smalto (Islam)," Enciclopedia dell'arte medievale, vol.10 (Rome, 1999), pp. 759-763.
  • and Ralph Pinder Wilson: "A Newly Discovered Oliphant in a Private Collection in London", Mitteilungen zur Spätantiken Archäologie und Byzantinischen Kunstgeschichte, 2(2000), pp. 79-92.
  • "Die Achat-Platte vom ursprünglichen Einband," in G. Suckale-Redlefsen and B. Schemmel (eds.), Die Bamberger Apokalypse. Kommentar zur Faksimile-Ausgabe der Handschrift Msc. Bibl.140 der Staatsbibliothek Bamberg (Luzern, 2000), pp. 169-173; also published in: Das Buch mit 7 Siegeln: Die Bamberger Apokalypse , exhibition catalogue, Staatsbibliothek Bamberg (Luzern, 2000), pp. 169-173.
  • "The 'Banner of the Prophet' in the Cathedral of Augsburg," Interactions in Art, Proceedings of the International "Interactions in Art" Symposium, Hacettepe University, Ankara (Ankara, 2000), pp. 216-221.
  • "Two Ivory Caskets in the Treasuries of the Cathedrals of Chur and Bayeux," Arte Medievale, 15, 1-2 (2000), pp. 15-25.
  • "The Oval Agate Plate of the Book Cover of the Bamberg Apocalypse," in W. Ball and (eds.), Cairo to Kabul, Festschrift in Honour R. Pinder-Wilson (London, 2001), pp. 201-206.
  • “Why is the Lion always in a State of Fever? The Legend of the Sick Lion in Noah’s Ark as depicted in the mosaics of San Marco in Venice and the cathedral in Monreale,” Cahiers Archéologiques 49(2001), pp. 39-46.
  • “The Portraiture of Objects: A Note on representations of Islamic Objects in European Paintings of the14th-16th centuries,” in: M. Bernardini, C. Borrelli, A. Cerbo and E. Sánchez García (eds.), Europa e Islam tra secoli XIV-XVI (Naples, 2002), pp. 497-521.
  • “Debora Phillips’ Mosaïc,” in: Mosaïc, a book based on a film and installation of Deborah Phillips (Berlin, 2002).
  • “The Midrash Rabba: Evidence for the material culture of the Jews in Palestine in pre- and early Islamic periods,” Zeitschrift der deutschen morgenländischen Gesellschaft 124,2(2002), pp. 253-267.
  • “The King Rides Out: A Silk Fragment in Augsburg,” Hali 124(2002), pp. 94-95.
  • “A Note on a Unique Islamic Golden Figurine,” Iran 40(2002), pp. 173-180.
  • and Hubertus Kohle, “Erwerb der Bibliothek Brisch für das Institut für Kunstgeschichte,” Gesellschaft von Freunden und Förderen der Universität München 81(2002), pp. 28-29.
  • “Things that Matter: The Case of an Astrolabe in Filippino Lippi’s Adoration of the Magi in the Uffizi in Florence,” Annali 62(2002), pp. 219-227.nach oben
  • „Epraim Moses Lilien: The Working Process of an Artist,“ in: Ein Leben für die jüdische Kunst, Gedenkband for Hannelore Künzl, ed. By Michael Graetz (Heidelberg, 2003), pp. 141-150.
  • “Die komplexe Identität Jüdischer Kunst,” in: Eli Bar-Chen and Anthony D. Kauders (eds.), Jüdische Geschichte. Alte Herausforderungen, neue Ansätze (Munich, 2003), pp. 103-110.
  • "Die Poesie der Dinge", "Edelsteine, Und Perlen", "Die Poesie der Mikroarchitekturen", "Architektur, Ruinen, Gedächnis", in: Mahrokh Beck, Schmuck, Jewellery (Munich, 2003).
  • „In Stein gemeißelte Frömmigkeit: Drei Grab- oder Inschriftensteine aus Palästina im Staatlichen Museum für Völkerkunde München,“ Münchner Beiträge zur Völkerkunde 8(2003), pp. 255-263.
  • “Reliquien der Kreuzfahrerzeit: Verehrung, Raub und Handel,” Die Kreuzzüge, exhibition catalogue, Diocesan Museum, Mainz, 2004, pp. 210-227.
  • „Objects as Carriers of Real or Contrived Memories in a cross-Cultural Context: The Case of Medieval Diplomatic Presents,“ in: Petra Stegmann and Peter C. Seel (eds.), Migrating Images. Producing, reading, transporting, translating (Berlin, 2004), pp. 36-52.
  • “Des objets en migration: Les itinéraires des objets islamiques vers l’Occident Latin au Moyen Âge, ” Les Cahiers de Saint-Michel de Cuxa 35(2004), pp. 81-93.
  • "Bahram Gur Woven with Gold: A Silk Fragment in the Diocesan Museum of St. Afra in Augsburg and the Modes of Rendition of a Popular Theme," in Robert Hillenbrand (ed.), Shahnama. The Visual Language of the Persian Book of Kings (Aldershot, England, 2004), 117-127.
  • "Tamim al-Dari: a portrait of him as the first Muslim artisan," Proceedings of the conference Kunst und Kunsthandwerk im Islam, 2. Bamberger Symposium der islamischen Kunst , 25-27. Juli 1996, Oriente Moderno, n.s. 23,2(2004), pp. 507-515.
  • „Teaching Islamic Art in the Institute of History of Art at the Ludwig Maximilian University of Munich,” in: Joachim Gierlichs and Annette Hagedorn (eds.), Islamic Art in Germany, Mainz 2004, pp. 165-166. Also published in German: „Islamische Kunst am Institut für Kunstgeschichte der Ludwig-Maximilians-Universität in München,“ in Joachim Gierlichs und Annette Hagedorn (Hrg.), Islamische Kunst in Deutschland (Mainz, 2004), pp. 165-166.
  • “Made for the Show: The Medieval Treasury of the Ka’ba in Mecca,” in B. O’Kane (ed.), The Iconography of Islamic Art. Festschrift in Honour of Professor Robert Hillenbrand (Edinburgh, 2004), pp. 269-283.

nach oben

  • “Objects as carriers of real or contrived memories in a cross-cultural context,” Proceedings of the Symposium Austausch diplomatischer Geschenke in Spätantike und Byzanz, A symposium organised by the Kunsthistorisches Institut of the University of Bonn and the Institut für Byzantinistik, Byzantinische Kunstgeschichte und Neogräzistik of the University of Munich (28.2-1.3 2002). Mitteilungen zur Spätantiken Archäologie und Byzantinischen Kunstgeschichte 4(2005), pp. 101-119.
  • „La voix du héros. Notes sur la fabrication et l’utilisation des cors médiévaux comme instruments de musique, ” Les Cahiers de Saint-Michel de Cuxa 36(2005), 117-126.
  • „Exportkunst im Zeitalter der Massenproduktion: Überlegungen zur Ästhetik islamischer Luxusobjekte zur Zeit der Kreuzzüge,“ in H. Gaube, B. Schneidmüller and S. Weinfurter (eds.), Konfrontation der Kulturen? Saladin und die Kreuzfahrer (Mainz am Rhein, 2005), 90-106.
  • „Trade and the Availability of Ivory: The Picture Given by the Medieval Sources,” in: The Ivories of Muslim Spain. Papers from a symposium held in Copenhagen from the 18th to the 20th of November 2003, ed. by K. von Folsach and J. Meyer, Journal of the David Collection 2,1-2(2005), 25-35.
  • „Der Mensch ohne Seele: Einige Beobachtungen zu einer Illustration im Manuskript Kalila wa Dimna (cod. arab. 615) der Bayerischen Staatsbibliothek in München. Zu mittelalterlichen Volkslegenden und Darstellungen des Golem,“ anima und sêle. Darstellungen und Systematisierungen von Seele im Mittelalter, ed. By Katharina Philipowski und Anne Prior (Berlin, 2006), pp. 177-193.
  • „Manipulations of Seeing and Visual Strategies in the Audience Halls of the Early Islamic Period. Preliminary Notes,” in Franz Alto Bauer (ed.), Visualisierungen von Herrschaft, BYZAS 5(2006), pp. 213-232.
  • “Der Klang des Olifants,” in Andreas Speer and Lydia Wegener (eds.), Wissen über Grenzen. Arabische Wissen und lateinisches Mittelalter. Miscellanea Mediavalia vol. no. 33 (Berlin, 2006), pp. 775-790.
  • “The Idol (Sanam) or the Man without a Soul: A Short Note on a Unique Illustration in the Kalila wa Dimna Manuscript (cod. arab. 615) in the Bavarian State Library in Munich,” in Annette Hagedorn (ed.), The Phenomenon of “Foreign” in Oriental Art (Wiesbaden, 2006), pp. 61-70.
  • "The Sound of Ivory," Musicologica Austriaca 25(2006), pp. 9-31.
  • "Islamische Objekte in Kirchenschätzen der lateinischen Christenheit. Ästhetische Stufen des Umgangs mit dem Anderen und dem Hybriden," in Christine and Klaus van Eickels (eds.), Das Bistum Bamberg in der Welt des Mittelalters, Bamberger interdisziplinäre Mittelalterstudien. Vorträge und Vorlesungen 1 (Bamberg, 2007), 163-175.
  • "From Individual Manufacturing to Mass-Production: Notes on the Aesthetic of the Islamic Traded Ivories of the Crusade Era," in Annette Hagedorn and Avinoam Shalem (eds.), Facts and Artefacts. Art in the Islamic World, Festschrift for Jens Kröger on his 65th Birthday (Leiden, 2007), 231-249.

nach oben

  • "Wie byzantinisch war der Schatz der Fatimiden," in M. Müller-Wiener and U. Koenen (eds.) Grenzgänge im östlichen Mittelmeerraum. Byzanz und die Islamische Welt vom 9. bis 13. Jahrhundert (Wiesbaden, 2008), 65-81.
  • "Fatimid Rock Crystals in Church Treasuries", in Farhad Daftary and Zulfikar Hirji (eds.), The Ismailis: An Illustrated History/ (London, 2008).
  • "Abu Ghraib, die Medien und die Entstehung einer Ikone," in Andreas Krass and Thomas Frank (eds.), Blut und Tinte. Politik, Erotik und Poetik des Martyriums (Frankfurt a.M, 2008), 118-139.
  • "The Second Life of Objects: Ivory Horns in Medieval Church Treasuries," in Gudrun Bühl, Anthony Cutler and Arne Effenberger (eds.), Spätantike und byzantinische Elfenbeinbildwerke im Diskurs/ (Wiesbaden, 2008), pp. 225-236.
  • "The 'Golden Age' in Al-Andalus as remembered, or how nostalgia forged history?" in Crossing Cultures: Conflict, Migration, Convergence, ed. by Jaynie Anderson, published in the proceedings of the CIAH, Melbourne, 2007 (Melbourne, 2009), pp. 184-189.
  • "Verbildlichung Allahs: Für eine andere Bildtheorie", in: Das Bild Gottes in Judentum, Christentum und Islam: Vom Alten Testament bis zum Karikaturenstreit/, ed. By Eckhard Leuschner and Mark R. Hesslinger (Imhof, 2009), 81-92.
  • "Hybride und Assemblagen in mittelalterlichen Schatzkammern: Neue ästhetische Paradigmata im Hinblick auf die 'Andersheit'," in: Le trésor au Moyen Âge. Discours, pratiques et objets, ed. by Lucas Burkart, Philippe Cordez, Pierre Alain Mariaux and Yann Potin (Florence, 2010), 297-313.
  • and Eva-Maria Troelenberg, "Au-delà grammaire et de la taxinomie: l'expérience cognitive et la responsivité de l'ornement dans les arts de l'Islam", Perspective 1 (2010-2011), 57-76.
  • "The 1910 exhibition Meisterwerke muhammedanischer Kunst Revisited," in Andrea Lermer and Avinoam Shalem (eds.), After One Hundred Years: The 1910 Exhibition »Meisterwerke muhammedanischer Kunst« Reconsidered (Leiden, Brill, 2010), 3-15.
  • and Eva Maria Troelenberg, " Changing Views: The 1910 Exhibition as a Pictorial Turn," in Chris Dercon, Leon Krempel and Avinoam Shalem (eds), The Future of Tradition the Tradition of Future, exhibition catalogue, Haus der Kunst, Munich (Munich, Prestel, 2010), 12-16.
  • "If Objects Could Speak", The Aura of the Alif, Jürgen Wassim Frembgen (ed.), exhibition catalogue, Völkerkunde Museum, Munich (Munich, Prestel, 2010), 127-147.
  • "Exceeding Realism: Utopian Modern Art on the Nile and Abdel Hadi al-Gazzar's Surrealistic Drawings," South Atlantic Quarterly 109,3(2010), 577-594.
  • "Man's Conquest of Nature: Abdel Hadi al-Gazzar and the Great Dam of Aswan," in: Grossstadt: Motor der Künste in der Moderne, ed. by Burcu Dogramaci (Berlin, 2010), 159-171.

  • and A. Schweizer,  “Translating Visions: A Japanese Lacquer Plaque of the Haram of Mecca in the L. A. Mayer Memorial Museum, Jerusalem ,”. Ars Orientalis. 39 (2010), 148-173.

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  • “Histories of Belonging and George Kubler’s Prime Object,” Getty Research Journal, 3(2011), 1-14.
  • „Über die Notwendigkeit, zeitgenössisch zu sein: Die islamische Kunst im Schatten der europäischen Kunstgeschichte,“ in: Orient – Orientalistik - Orientalismus. Geschichte und Aktualität einer Debatte. Ed. by Burkhard Schnepel, Gunnar Brands, Hanne Schönig (Bielefeld, 2011), 245-264.
  • "Painting on Ivory: Changes in Manufacturing Techniques and the Birth of a New Aesthetic," in: Arun Banerjee and Christian Eckmann (eds.), Ivory and Archaeology. Proceedings of INCENTIVS-Meetings 2004-2007 (Mainz, Römisch-Germanisches Zentralmuseum, 2011), 131-136.
  • "Afterlife and Circulation of Objects", in: Gifts of the Sultan: The Arts of Giving at the Islamic Courts, exhibition catalogue, Los Angeles County Museum of Art (Yale, 2011), 92-93.
  • "Performance of the Object", in: Gifts of the Sultan: The Arts of Giving at the Islamic Courts, exhibition catalogue, Los Angeles County Museum of Art (Yale, 2011), 111-113.
  • "Offerings to the Ka'ba", in: Gifts of the Sultan: The Arts of Giving at the Islamic Courts, exhibition catalogue, Los Angeles County Museum of Art (Yale, 2011), 76-77.
  • "First Morning in Abu Dis: A Gate to the Land of the Cyclops," in:  Avinoam Shalem and Gerhard Wolf,/Facing the Wall: The  Palestinian-Israeli Barriers/ (Cologne, Walter König, 2011), 10-13.
  • "The Wall: An Idea," in: Avinoam Shalem and Gerhard Wolf,/Facing the  Wall: The Palestinian-Israeli Barriers/ (Cologne, Walter König, 2011),  163-181. 
  • "Foreword," in: Michelina Di Cesare, /The Pseudo-Historical Image of  the Prophet Muhammad in Medieval Latin Literature: A Repertory/ (Berlin,  De Gruyter, 2011), VII.-VIII.
  • "Hidden Aesthetics and the Art of Deception: The Object, the Beholder  and the Artisan," in David Knipp (ed.), /Siculo-Arabic Ivories and  Islamic Painting 1100-1300/ (Munich, Hirmer, 2011), 39-52. 
  • and Alberto Saviello, "Der Betrachter im Bild: Visualisierungen des  Islam im europäischen Buchdruck", in: Maria Effinger, Cornelia Logemann  and Ulrich Pfisterer (eds.), /Götterbilder und Götzendiener in der  Frühen Neuzeit: Europas Blick auf fremde Religionen/, exhibition  catalogue, University Library Heidelberg (Heidelberg, Univeritätverlag,  2012), 69-79. 
  • "Munich 1910: l'oeil de l'Occident," /Qantara/ 82 (2012), 47-50.
  • "What Do We Mean When We Say Islamic Art? An Urgent Plea for a Critical Re-Writing of the History of the Arts of the Islamic Lands", published in: Historiographies of Islamic Art, eds. Margaret Graves and Moya Carey, Journal of Art Historiography 6, June 2012 (pdf)
  • "Dangerous Claims: On the 'Othering' of Islamic Art History and How it Operates Within Global Art History", in: Kritische Berichte. Zeitschrift für Kunst- und Kulturwissenschaften 2/2012, S. 69-86.
  • and Eva Maria Troelenberg, "Beyond Grammar and Taxonomy: Some Thoughts on Cognitive Experience and Responsive Islamic Ornaments, in: Beiträge zur islamischen Kunst und Archäologie, Band 3, Ernst-Herzfeld Gesellschaft (Wiesbaden, Reichert Publishing House, 2012), S. 385-410.
  • "Wieder Renaissance?...heute?", in: Wozu Renaissance: Drei Positionen aus dem Institut für Kunstgeschichte der Ludwig-Maximilians-Universität, Kunsttexte 2/2012 (pdf)
  • "Multivalent Paradigm of Interpretation and the Aura or Anima of the Object" in: Benoît Junod, George Khalil, Stefan Weber and Gerhard Wolf (eds.), Islamic Art and the Museum: Approaches to Art and Archaeology of the Muslim World in the Twenty-First Century (London: Saqi, 2012), 101-115.
  • "From Object to Subject – conceptualizing the exhibition Future of Tradition: Tradition of Future in HDK, Munich (2010)" in: Beatrice von Bismarck, Jörn Schafaff, Thomas Weski (eds.), Cultures of the Curatorial (Leipzig, 2012), 167-187.
  • "A New History for the Arts of Islam?" Connaissance des Arts, special issue (Paris, 2012), 20-24.
  • "Medieval Islamic terms for glassware imitating carved precious stone vessels". In: Șehrayin: Illuminating the Ottoman World. Preceptions, Encounters and Boundaries. Festschrift Hans George Majer (Wiesbaden, Harrassowitz, 2012), 25-34.
  • "Kann man von jüdischer Kunst sprechen?" in: Kunststadt München? Unterbrochene Lebenswege, Münchner Beiträge zur jüdischen Geschichte und Kultur 6,2 (2012), 6-8.
  • “An Abbasid Glass Weight of Yazid ibn Hatim in the David Nasser Khalili Collection,” in Neslihan Asutay-Effenberger and Falko Daim (eds.), Philopation: Spaziergang im Kaiserlichen Garten. Beiträge zu Byzanz und seinen Nachbarn (Mainz, 2012), 71-77.

  • “The Four Faces of the Ka’ba in Mecca,” in: Synergies in Visual Culture. Bildkulturen in Dialog. Festschrift for Gerhard Wolf (Munich, Fink, 2013), 139-153.

  • “Introduction,” in: Constructing the Image of Muhammad in Europe. Edited by Avinoam Shalem (Berlin, Boston, De Gruyter, 2013), 1-7.

  • “Conclusion,” in: Constructing the Image of Muhammad in Europe. Edited by Avinoam Shalem (Berlin, Boston, De Gruyter, 2013), 143-149.

  • With Costanza Caraffa, “Hitler’s Carpet: A Tale of One City,” Mitteilungen des Kunsthistorischen Institutes in Florenz 55,1 (2013), 119-143.

  • “The Invention of the Sacrosanct or ‘Sacred Making’ as an Aesthetic Praxis: A very short voyage from Barthes to Agamben via Eliade,” Witte de With on Line Magazine (august 2013). See http://wdwreview.org/think/the-invention-of-the-sacrosanct-or-sacred-making-as-an-aesthetic-praxis-2/

  • “The Four Faces of the Ka’ba in Mecca,” in: Architecture and Pilgrimage, 1000-1500: Southern Europe and Beyond, ed. By Paul Davies, Deborah Howard and Wendy Pullan (Farnham, Surrey, Ashgate, 2013), 39-58.

  • “Man’s Conquest of Nature: Al-Gazzar, Sartre, and Nasser’s Great Aswan Dam,” NKA, Journal of Contemporary African Art 32 (2013), 18-29.

  • “Transition, Flow, and Divergent Times,” International Journal of Middle East Studies 45 (2013), 581-584.

  • “The Architecture for the Body: Some Reflections on the Mobility of Textiles and the Fate of the So-Called Chasuble of Saint Thomas Becket in the Cathedral of Fermo in Italy”,” in Alina Pyne (ed.), Dalamatia and the Mediterranean: Portable Archaeology and the Poetics of Influence (Leiden, Brill, 2014), 246-267.

  • With Christiane Gruber, “Introduction: Images of the Prophet Muhammad in a Global Context,“ in Christiane Gruber and Avinoam Shalem (eds.), The Image of Muhammad between Ideal and Ideology (Berlin, Boston, De Gruyter, 2014), 1-9.

  • “Qu’est-ce que l’espace méditerranéen au Moyen Âge?” Perspective. La revue de l’INHA 2 (2014), 213-234.

  • “Leggere tra le righe: attraverso i papiers découpés di Matisse”, In Matisse Arabesque, exhibition catalogue (Rome, Skira, 2015), 55-63.

  • “The Suspended Gaze, In: Gazing Otherwise: Modalities of Seeing In and Beyond the Lands of Islam, Muqarnas 32 (2015), 3-12.

  • Al-Baghdadi, In: Gazing Otherwise: Modalities of Seeing In and Beyond the Lands of Islam, Muqarnas 32 (2015), 197-212.

  • “Orientalism Now: Arafat’s Kaffiyah – the Constructing and the Deconstructing of an Image,” Gerhard Wolf and Kathrin Müller (eds.), Bild. Ding. Kunst (Berlin and Munich, Deutscher Kunstverlag, 2015), 69-79 (colour plates: pp. 216-219).

  • “What do inscriptions do? Beyond Calligraphy and Textual History,” Pearls on String, Artists, Patrons, and Poets at the Great Islamic Courts (edited by Amy Landau), exhibition catalogue, Walters Art Gallery, Baltimore (Washington DC, 2015), pp. 15-21.

  • “The Poetics of portability” in Alina Payne and Gulru Negicoglu (eds.), Histories of Ornamet (Princeton, Princeton University Press, 2016), 250-261.

  • “Epilogue: The Salerno Riddle. Some Reflection on Artifacts in Post-Semiotic Age.” in: The Salerno Ivories, Objects, Histories, Contexts. Edited by Anthony Cutler, Francesca Dell’Acqua, Herbert L. Kessler, Avinoam Shalem and Gerhard Wolf (Berlin, Gebr. Mann Verlag, 2016), 241-245.