• PhD, Islamic Art History, University of California, Los Angeles, 2011
  • MA, History of Art, Williams College, 2004
  • BA, Art History, James Madison University, 2001

Research interests

  • Iran, Central Asia, India, South Asia, Indian Ocean, Persianate
  • Indo-Persian worlds (Timurid, Safavid, Deccan sultanate, Mughal)
  • Islamic book arts, painting, and codicology
  • Migration, mobility, and cultural flow between Iran and India
  • Life histories (“afterlives”) of buildings, tiles, and manuscripts
  • Cultural heritage of Iran–construction of the canon, documentation, preservation, dissemination, reinvention
  • Present histories of medieval and early modern monuments
  • Islamic art in the museum and home–histories of collecting and display
  • Travel and tourism in the Islamic world

Dr. Keelan Overton is a historian of art and architecture specializing in the eastern Islamic world from Greater Iran to South Asia. She received her PhD from the University of California, Los Angeles (2011) and her MA from Williams College (2004). She approaches visual culture broadly–urbanism, architecture and the environment, surface revetment (tilework), portable objects, arts of the book, the craft industries, documentary photography and film–and ideally from an interdisciplinary lens.

Since summer 2015, Overton has been an Independent Scholar based in Santa Barbara, California, where she divides her time between research, writing, teaching, and travel. In 2019-20, she was a Visiting Scholar in the Interdisciplinary Humanities Center at the University of California, Santa Barbara. Her recent travels as a researcher and tour lecturer have taken her to the Deccan (southern India), Iran, Morocco, Scotland, Armenia, and Georgia.

Overton previously served as the Curator of Islamic Art at the Doris Duke Foundation for Islamic Art (Shangri La) in Honolulu (2011-12) and as an Associate Curator in the Art of the Middle East department at the Los Angeles County Museum of Art (2014-15). Her exposure to the Shangri La collection in 2003 inspired a longstanding interest in the reviving, collecting, and recasting of Iran’s cultural heritage. This research has been published in the journal West 86th (Bard/Chicago), the edited volume Arthur Upham Pope and a New Survey of Persian Art (Brill), and the exhibition catalog Doris Duke’s Shangri La (Rizzoli).

Overton’s recent edited volume Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700 (Indiana University Press, June 2020) features 14 essays by an interdisciplinary cast of 18 scholars specializing in history, art and architectural history, literatures and languages, and book arts and conservation.

Iran and the Deccan emerged out of Overton’s 2011 UCLA dissertation on book arts, painting, and collecting at the Bijapur court of Ibrahim ‘Adil Shah II (r. 1580-1627). Her dissertation research has been published as a series of journal articles (Muqarnas) and essays in edited volumes, including The Visual World of Muslim India (ed. Parodi, I.B. Tauris), Indo-Muslim Cultures in Transition (eds. Patel & Leonard, Brill), and The Empires of the Near East (ed. Khafipour, Columbia). Most recently, chapter 10 of Iran and the Deccan is the culmination of her multi-year study, with book conservator Kristine Rose-Beers, of a Timurid-Safavid Qur’an manuscript once preserved in Ibrahim II’s Bijapur library and today in the University of St Andrews.

Overton’s current book project–Iran Unglazed: A Local-Global History of Persian Tilework–explores Persian tilework as a potent shapeshifting commodity between the field, museum, photograph, market, and imagination. She has been named a 2020-21 Getty Scholar (theme: “The Fragment”) and hopes to be in residence at the Getty Research Institute in Los Angeles at some point in 2021 (timing tbd, per covid-19). Her Getty project is titled Persian Architecture Fragmented: The Biographies, Trails, and Economies of Iran’s Tiled Surfaces, c. 1820–2020.

All photos ©Keelan Overton