Faculty Profile

Talinn Grigor
Chair, Art History Program
Graduate Chair
Professor of Art History
Contemporary Global Architecture and Art
Critical and (post)Colonial Theory

Ph.D., Massachusetts Institute of Technology
M.S., Massachusetts Institute of Technology
B.Arch., University of Southern California

Appointed 2015, Program in Art History

 

 

Bio

Talinn Grigor’s research concentrates on the cross-pollination of visual culture and global politics and historiography, focused on Iran and Parsi India. She received her Ph.D. from Massachusetts Institute of Technology in 2005. Her books include Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs (2009); Contemporary Iranian Art: From the Street to the Studio (2014); and Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis, with Sussan Babaie (2015). Her articles have appeared in the Art Bulletin, Getty Journal, Third Text, Future Anterior, and Iranian Studies among others. Past grants consist of CASVA’s Ittleson fellow at the National Gallery of Art, postdoctoral fellow at the Getty Research Institute, Social Science Research Council fellow, Mellon fellow at Cornell University, Aga Khan at MIT among others.

 

 

Lectures

Contemporary Global Art: this lecture course explores the relationship between contemporary life and the making and consumption of art. Its primary goal is to reexamine what art is, what contemporary is, and how these two come to intersect

Understanding Visual Culture: this introductory course provides a basic visual literacy in order to critically analyze the complex and increasingly visual world around us. It introduces historical and contemporary cases where the visual and the visible have played a fundamental role in shaping our environment and discourses

Understanding Architecture: introduces the basic tenants of architectural culture and familiarize students with the foundational ideas, principles, philosophies, histories, and theories of field of architecture, both in the past to the contemporary periods

Museum in Age of Spectacle: this honors course raises major themes related to the institution of the museum in the context of modernity, nationalism, (post)colonialism, and the society of spectacle

Politics of Public Art: this lecture course traces the political dimensions of public art by examining the ways in which artists, public monuments, urban spaces, photography, propaganda art, and comics have been deployed to influence political ideology

Sex and Space: explores the relationship between architectural and visual space and sexuality by examining the diverse ways sexual identities and visual histories have shaped each other

Contemporary Iranian Art: explores the art history of modern and contemporary Iran both inside the country and its diasporas; raises major questions about the art of contemporaneity

 

 

Seminars

Globalization of Contemporary Art: this graduate seminar premises on the idea that it is in the peripheries that the most anxious/ambivalent aspects of contemporeity is revealed. Examining contemporary art globally, the course raises concepts of kitsch, market, censorship, agnotology, homelessness, and black in contemporary artistic discourse.

Imperialism of Historiography: this graduate seminar closely examines the history of art history as a field of knowledge that developed amid, and very much out of, 19th- and 20th-century imperial ideologies, European nationalism, and racial/colonial discourses

Orientalism and Visual Culture: this graduate seminar centers on the relationship between the politics of knowledge and visual culture through the exploration of postcolonial theory and criticism

Modern and Contemporary Middle Eastern and North African Art: this graduate seminar examines the different developments of and concerns raised by modern and contemporary art in MENA regions and their diasporas

Art and Revolution: this graduate seminar traces the art history of major 20th century political revolutions including Mexican, Chinese, Cuban, Algerian, and Iranian

Occupy Art: this first-year seminar explores the arts of socio-political and environmental protests

Art and Violence: this first-year seminar explores the dialectical relationship between art and violence from the French Revolution to ISIS

 

 

Publications

Contemporary Iranian Art: From the Street to the Studio (London: Reaktion Books, 2014)

Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs (New York: Periscope, 2009)

Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis, co-edited with Sussan Babaie (London: I.B. Tauris, 2015)

“Persian Architecture Revival in British Raj and Qajan Iran,” Journal of Comparative Studies of South Asia, Africa and the Middle East 36/3 (2016): 384-397

“Kings and Traditions in Différance: Antiquity Revisited in post-Safavid Iran,” in The Companion to Islamic Art and Architecture, rubric of Modernity, Empire, Colony and Nation (1650-1950), eds. Gulru Necipoglu and Barry Flood (Blackwell Companions to Art History series, 2017)

“The Thing We Love(d): Little Girls, Inanimate Objects, and the Violence of Systems.”  From dossier of essays organized by Pamela Karimi and Nasser Rabbet on “The Destruction of Cultural Heritage: From Napoleon to ISIS” in Aggregate (2016)

“Gendered Politics of Persian Art: Arthur Pope and his Partner,” in Arthur Upham Pope and A New Survey of Persian Art, ed. Yuka Kadoi (Leiden: Brill, 2016), 47-73

“What Art Does: Methodological Privileging of Agency and Art History’s Global Dispute in 1901,’ in In the Wake of the Global Turn: Propositions for an ‘Exploded’ Art History without Borders, eds. Jill Casid and Aruna D’Souza (Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2013), 126-42

“Shifting Gaze: Iranian Architecture from Superpower to Semi-colony,” in Architecturalized Asia: Mapping the  Continent through History, eds. Vimalin Rujivacharakul, Hazel Hahn, Ken Tadashi Oshima, and Peter Christensen (Hong Kong: University of Hong Kong Press, 2013), 217-30

“King’s White Walls: Modernism and Bourgeois Architecture,” in Cultural Politics Under Reza Shah: The Pahlavi State, New Bourgeois Culture and the Creation of a Modern Society in Iran, eds. Bianca Devos and Christoph Werner, Iranian Studies series (London: Routledge, 2013), 95-117

“Parsi Patronage of the Urheimat,” Getty Research Journal 2 (2010): 53-68

Orient oder Rom? Qajar ‘Aryan’ Architecture and Strzygowski’s Art History,” The Art Bulletin (Sept 2007): 562-90

“Preserving the Modern Antique: Persepolis ‘71,” Future Anterior: Journal of Historical Preservation History Theory Criticism, Columbia University 2/1 (Summer 2005): 22-29

“Recultivating ‘Good Taste’: the early Pahlavi Modernists and their Society for National Heritage,” Journal of Iranian Studies 37/1 (March 2004): 17-45

“Of Metamorphosis: Meaning on Iranian Terms,” Third Text 17/3 (Sept 2003): 207-25

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