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| Leighton House, Arab Hall, London |
As art historians and lovers of art, our primary objective is looking, and deciphering the significance of the artifacts before us. We try to assign meanings to our observations in accordance with our own knowledge and experiences. But when it comes to the art and culture of the Near East, the complexity of collecting, displaying as well as assisting the general public in cultivating a greater understanding of these objects that have been taken out of their original context and transported to another realm is an omnipresent one. At the College Art Association's 101's annual conference in New York two weeks ago, in the panel organized by the Historians of Islamic Art Association, these issues were exposed and discussed in all their vividness.
From personal ancestry to experience, there are many factors contributing to my particular area of interests in the history of art. Having lived in Istanbul, historically one of the richest and most diverse cities in all of Europe and the world, have left me with a curiosity towards all the civilizations that have permeated the landscape and culture of my beautiful hometown. Which is why of all the intriguing topics discussed, I was particularly drawn to the panel "Between Maker, Agent, Collector, Curator, and Conservator: Interdisciplinary Approaches to the Study of Islamic Tilework."