Dr Mirjam Brusius
Mirjam Brusius joined the GHIL in 2017 (fixed-term, non-permanent). She focuses on the circulation of objects and images in and between Europe, the Middle East, and India; from the movement of ancient artefacts in indigenous contexts in the Ottoman Empire and Persia into the racial hierarchies of Western museums, to the trajectories of photographic technologies out of Europe and into the Islamicate world. Her projects expand traditional fields of heritage studies by combining critical material culture research with an understanding of global and colonial history, cross-cultural ‘object biographies’, and STS (Science and Technology Studies). She is a winner of the 2022 Dan David Prize.
Research Project
Empire, Heritage, and the Decolonization Debate
This project gives a transregional perspective on museums, collecting, and fieldwork as an imperial enterprise incorporating the British Empire, France, and Prussia. I show how emerging survey methods and disciplines such as archaeology were instrumentalized for political, orientalist, and racial discourse in the increasingly contested landscape of the Ottoman Empire. This project aims to develop directions for further debate that recognize cultural differences in order to pay attention to the manifold non-elite, bottom-up, and indigenous engagements with the material past. At stake are material biographies of empire and the questions they raise not only about historical experiences, but also about race, heritage, and the politics of knowledge-making in the contemporary world.
Research Project
The Spaces of Photography
This project explores not only the actual photographs, but also their detachment from their original archival context, their circulation on the art market, and their display across different types of museums and institutions in order to determine the disciplinary framework for studying early photographic specimens, whether scientific, industrial, or colonial. The project also intends to help shift the centre of gravity in the history of photography – traditionally a Eurocentric field – eastwards by researching photographic centres such as Tehran and Istanbul in the 19th century and their impact on the Middle East and Europe.
Further projects
Mirjam Brusius is also one of the initiators of the project ‘100 Histories of 100 Worlds in One Object’.
Responsibilities at the GHIL
- Research Fellow in Colonial and Global History
Research Interests
- History of museums, collecting, archaeology and fieldwork in imperial contexts
- Cultural heritage and preservation practices
- History of photography
- History of colonial science
Education and Academic Background
| 2014–2017 | A. W. Mellon Postdoctoral Fellow, University of Oxford |
| 2013–2014 | Postdoctoral Fellow, Mahindra Humanities Center, Harvard University (funded by the Fulbright Commission and Volkswagen Foundation) |
| 2012–2013 | Postdoctoral Fellow, Max Planck Institute for the History of Science |
| 2012 | Postdoctoral Fellow, Kunsthistorisches Institut in Florenz – Max-Planck-Institut |
| 2011 | DAAD-Fellow, Humboldt-Universität zu Berlin |
| 2007–2011 | Ph.D. in History and Philosophy of Science, University of Cambridge (as part of an AHRC Collaborative Doctoral Award in conjunction with the British Library) |
| 2002–2007 | M.A. in Art History, Cultural Studies and Musicology, Humboldt-Universität zu Berlin (exchange at Université Sorbonne Nouvelle Paris 2004) |
Fellowships, Grants, and Scholarships
| 2019 | The Italian Academy of Advanced Studies in America, Columbia University, Weinberg Fellow |
| 2017 | Berlin School of Muslim Cultures and Societies and TOPOI Berlin, Visiting Fellow |
| 2017 | Centre for Anthropological Research on Museums and Heritage Berlin, Visiting Fellow |
| 2016 | University of Melbourne, Dyason Fellow |
| 2016 | Sydney Centre for the Foundations of Science, Visiting Fellow |
| 2013 | Fulbright Foundation, Postdoctoral Grant for Harvard University |
| 2013 | Fellowship, Aga Khan Program for Islamic Art and Architecture (MIT and Harvard University) |
| 2011 | Paul Mellon Centre for Studies in British Art, Research Grant |
| 2011 | Yale Center for British Art and Paul Mellon Centre for Studies in British Art, Visiting Fellow |
| 2010 | British Academy, Small Research Grant |
| 2008 | Gerda Henkel Foundation, Doctoral grant |
| 2007 | AHRC Doctoral Award |
Honours and Distinctions
| 2022 | Dan David Prize (currently the largest history prize in the world) |
| 2018 | Jacob Bronowski Award Lecture for Science and the Arts, British Science Association |
| 2018 | Maurice Daumas Prize of the International Committee for the History of Technology for best article on the History of Technology 2018: ‘Photography’s Fits and Starts’, History of Photography, 40/3 (2016) |
| 2016 | Aby Warburg Prize for Early Career Researchers |
Publications
Monographs and Edited Volumes
(ed.), Memory Cultures 2.0. From ‘Opferkonkurrenz’ to Solidarity, Special Issue, German Historical Institute London Bulletin 2022/2 [forthcoming, Nov. 2022]
The Absence of Photography. William Henry Fox Talbot, Empire, Science, and the Antique [final revisions after peer review, The University of Chicago Press]
Fotografie und museales Wissen: William Henry Fox Talbot, das Altertum und die Absenz der Fotografie (Berlin, 2015)
(ed.), Living Through the Wende. Housing and the Home c. 1989, Special Issue, German Historical Institute London Bulletin, 43/1 (2021).
with K. Singh (eds), Museum Storage and Meaning: Tales from the Crypt (London, 2018)
(ed.), What is Preservation? Diversifying Engagement with the Middle East’s material Past, Round Table, Review of Middle East Studies, 51/2 (2017)
with T. Dunkelgrün (eds), Photography, Antiquity, Scholarship, Special Issue, History of Photography, 40/3 (2016)
with K. Dean and C. Ramalingam (eds), William Henry Fox Talbot: Beyond Photography (New Haven/London, 2013)
Articles and Chapters
Selection
With Rico, Trinidad, ‘Peopled Ruins: Photography, Invisible Labor, and Counter-Archives’ [forthcoming, Journal of Visual Culture]
‘Dekolonisiert die Museumsinsel. Museumsnarrative, Rassentheorie und radikale Chancen einer zu stillen Debatte’, in A. Epple, T. Sandkühler, J. Zimmerer (eds): Geschichtskultur durch Restitution? Ein Kunst-Historikerstreit (Köln 2021), 125-44
‘On Connecting the Ancient and the Modern Middle East in Museums and Public Space’, in Sharon McDonald, Katarzyna Puzon and Mirjam Shatanawi (eds.), Islam and Heritage in Europe (London, 2021), 183–201
‘Hitting two Birds with One Stone: An Afterword on Archeology and the History of Science’, History of Science, 55/3 (2017), 383–91
‘Introduction: What is Preservation?’, Review of Middle East Studies, 51/2 (2017), 177–82
‘The Field in the Museum: Puzzling out Babylon in Berlin’, Osiris, 32 (2017), 264–85
‘Photography’s Fits and Starts: The Search for Antiquity and its Image in Victorian Britain’, History of Photography, 40/3 (2016), 250–66
‘Towards a History of Preservation Practices: Archaeology, Heritage and the History of Science’, Round Table on ‘Science Studies’, International Journal of Middle East Studies, 47/3 (2015), 574–9
Reviews and Miscellaneous Publications
Journalism and Outreach
‘Higher Education and me’ (Interview), Times Higher Education, 31 March 2022 (Read here)
‘La préservation implique toujours une part de destruction’, AOC, 1 July 2022 (Read here)
mit Lorenz Rollhäuser, ‘Auf Sumpf gebaut. Imperial Träume auf der Berliner Museumsinsel’, Deutschlandfunk Kultur, 28 June 2022 (Listen here)
‘Global Stories of Museum Artefacts’, BBC History Extra Podcast, 15 June 2022(Listen here)
‘Warum Holocaust und Kolonialismus Teil deutscher Vergessenskultur sind’, Berliner Zeitung am Wochenende, 4/5 September 2021
‘Vielsagender Sturz einer Sklavenhändler-Statue: In Bristol beginnt der Prozess gegen Black-Lives-Matter-Demonstrant*innen’, 8 February 2021, SWR2 am Morgen (Listen here)
‘Hand in Hand. Antikensammlungen waren mit der Rassetheorie eng verwoben. Die Museen sollten sich dieser Geschichte stellen. Das betrifft auch die Personalpolitik: Glaubwürdig sind Museen erst, wenn sie Forschungsstellen mit Zuwanderern besetzen’, Süddeutsche Zeitung, 21, 26 January 2020, 9 (Read here)
‘Das Humboldtforum ist nur der Anfang. Imperialistische Zerstörung und museale Konservierung waren schon immer Komplizen. Doch wie viel kritische Sammlungsgeschichte ertragen Museen, ohne sich abzuschaffen?’, Frankfurter Allgemeine Zeitung, 6, 27 September 2017, 12 (Read here)
‘The Middle East Heritage Debate is becoming Worryingly Colonial’, The Conversation, 25 April 2016 (Read here)
‘The many Inventions of Photography’, The Guardian, 22 December 2014 (Read here)
Reviews
Conference review of 100 Histories of 100 Worlds in One Object. University of the West Indies, Mona, Kingston, Jamaica (9–13 Dec. 2019), Bulletin of the German Historical Institute London, 42/1 (2020)
Conference review of Ruins of Preservation. German Historical Institute London (11–12 July 2019), Bulletin of the German Historical Institute London, 42/1 (2020) (Read here)
Review of S. Sheehi, The Arab Imago: A Social History of Portrait Photography, Critical Inquiry, 45/2 (2018), 545–6 (Read here)
Review of A. Behdad, Camera Orientalis: Reflections on Photography of the Middle East, Burlington Magazine, 160 (Aug., 2018), 705
Review of ‘Salt&Silver: Early Photography 1840-1860’, Tate Britain, Fotogeschichte, 35/137 (2015), 59–60
with C. Ramalingam, Conference review of William Henry Fox Talbot: Beyond photography, University of Cambridge (24–26 June 2010), H-Soz-u-Kult, 11 May 2011 (Read here)
Review of H. Bredekamp, B. Schneider and V. Dünkel (eds.), Das Technische Bild: Kompendium zu einer Stilgeschichte wissenschaftlicher Bilder, British Journal of the History of Science, 42 (2009), 611–2
‘Noch einmal von vorne: Drei neue Publikationen zur frühen Fotografie’, Reviews of G. Batchen, William Henry Fox Talbot; K. Jacobson, Odalisques & Arabesques: Orientalist Photography 1839-1925; and R. Taylor, Impressed by Light: British Photography from Paper Negatives, 1840–1860, Rundbrief Fotografie Neue Folge Heft 61 (March 2009), 19–23
‘Kunst, Nicht-Kunst’, Review of the exhibition catalogue, P.H. Emerson, National Media Museum, Bradford, Fotogeschichte, 27/104 (2007), 73–74
For a full publication list, see https://ghil.academia.edu/MirjamBrusius