Test: Project 1, Project 2, Project 3

My book project examines a tenuous corpus of silk textiles that are, or once were, associated with Muslim weavers and embroiderers in medieval Sicily. Combining material and technical analysis with the long historiography of their attribution, the project asks how these objects shape, and are shaped by, changing understandings of the medieval Mediterranean, especially regarding the presence of Islam and Muslim communities in Europe.

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Conference Papers and Invited Lectures:

This project traces the extraordinary afterlife of the twelfth-century Cathedral of Cefalù, built by the Normans in Sicily, and its reconstruction in the 1920s Italian colony of Somalia. Newly discovered archival materials reveal how Italian authorities transformed medieval Sicilian architecture into a monument of colonial “peaceful conquest,” recasting a history of the medieval Mediterranean in imperial context.

Conference Papers and Invited Lectures: Grambling State University · I Tatti–Harvard University · International Society for the Study of Medievalism · Society of Architectural Historians
See the Publications page for my articles in JSAH and Speculum, and related Media Coverage.

Fellowships:

This project examines how medieval history and imagery are selectively mobilized in contemporary extremist narratives, and how these distorted histories contribute to narratives of hate and radicalization, especially in relation to anti-Muslim racism. Developed through the Medievalist Toolkit and the inaugural fellowship of the International Interfaith Research Lab, the project also considers how scholars and educators can respond by pairing historical correction with approaches that build connection and resilience to hate.

Fellowships:
See the Publications page for my article in the International Journal of Educational Development and the Public Scholarship page for more information.

This project examines how contemporary artists draw on Islamic visual culture, spirituality, and histories of artistic practice to create new forms of sacred and communal expression. My current work on Khaled Sabsabi considers his engagement with Islamic traditions alongside hip-hop, abstraction, and contemporary political experience, asking how sacred forms and ideas can be sampled, transformed, and reimagined in the present.

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