Roxanne Goldberg is an arts writer and researcher, currently pursuing a PhD in History, Theory and Criticism of Architecture and Art and The Aga Khan Program for Islamic Architecture at the Massachusetts Institute of Technology. Her research interests center around nineteenth- and early twentieth-century entanglements between the Ottoman Empire, Europe and the United States, particularly cross-cultural networks of artists, art dealers and art collectors, and histories and theories of collecting and exhibiting Islamic art. Roxanne is further interested in issues of authenticity, art crime, art law, and the construction
of 'Islamic' art in academia and the museum.
Roxanne's recent projects include a study of constructions of authenticity within the 1903 Pardo Manuscript at the Walters Art Museum; the 1910 exhibition in Munich, 'Meisterwerke muhammedanischer Kunst,' as a political tool of territoriality; and an analysis of the German Imperial Fountain in Istanbul within nineteenth-century discursive practices of monument construction, urban planning and German Orientalism.
In addition to her scholarly work, Roxanne is a regular contributor to new contemporary art magazine Hi-Fructose and artivism magazine PANTA. Recent articles include a story on Israeli ceramicist Roni Landa (Hi-Fructose, Volume 45), an exclusive interview with Shepard Fairey of the Obama HOPE poster and an artist feature on Heba Y. Amin, a Berlin-based Egyptian artist who uses subversive humor and archivist methodologies to propose new historical narratives and alternative futures (PANTA 12).
Previously, Roxanne held positions at the Walters Art Museum (Baltimore, MD); the Smithsonian Institution Hirshhorn Museum and Sculpture Garden (Washington, DC); the 8th Berlin Biennale for Contemporary Art / KW Institute for Contemporary Art (Berlin, Germany); Thomas Eller Studios (Berlin, Germany); ArtSee, LLC (Washington, DC); Bourgeon Magazine (Washington, DC); and International Arts & Artists (Washington, DC).