Deniz Türker is a historian of Islamic art and architecture specializing in late Ottoman visual and material culture. Her research explores how modern forms of sovereignty and identity were fashioned through representational technologies, architectural practices, and landscape interventions. Her first monograph, The Accidental Palace (Penn State University Press, 2023), traces the transformation of Yıldız, the last Ottoman imperial palace in Istanbul, between the 1790s and 1910s, examining how photography, prefabrication, and artificial landscapes became instruments of imperial self-fashioning while foregrounding the contributions of women and non-courtly actors to Ottoman architectural culture. Emerging from this research are two interlinked co-authored volumes with A. Hilâl Uğurlu—Letters and Gifts in the Harems of Eighteenth-Century Istanbul and Architecture and Interiors of the Harems in Eighteenth-Century Istanbul (Cambridge University Press, forthcoming). Her current project investigates shifting conceptions of Anatolia during the transition from empire to republic through archaeology, museums, ethnography, photography, and state-sponsored artistic production. She co-curated the 2018 exhibition Ottoman Arcadia: The Hamidian Expedition to the Land of Tribal Roots and a 2023 exhibition on Greek and Ottoman embroideries from the Fitzwilliam Museum collection. She also maintains an active interest in the history of Islamic art collecting in Ottoman and Egyptian contexts. Prior to joining Rutgers University, she held positions at University of Cambridge and received support from Dumbarton Oaks, ANAMED, and the Leverhulme Trust.
Deniz Türker
Wolf Humanities Center Regional Fellow
2026—2027 Forum on Practice
Deniz Türker
Associate Professor, History of Art, Rutgers University-New Brunswick
Yıldız Moran and the Anatolian Lens
Armed with her camera in the 1950s, Yıldız Moran traversed Anatolia, documenting its landscapes, communities, and heritage while attending to the complexities of a newly formed republic. Rather than treating photography as mere representation, this project analyzes her work as a constellation of interlocking practices—technical, embodied, collaborative, and institutional—through which landscapes, communities, and sites were rendered legible within emerging national and international frameworks.
Moran’s photographic labor developed through interdisciplinary fieldwork with scholars who were redefining Anatolia as a humanistic and archaeological space, professional training in postwar British technical schools for women, and repeated acts of travel, framing, and mediation across politically charged regions. Her work reveals photography as a labor-intensive mode of engagement that negotiated Western academic methodologies, local ethnographic traditions, and the ethical challenges of documenting contested histories, including Armenian heritage sites in eastern Turkey.
By foregrounding gendered craft, apprenticeship, and institutional exclusion, the project situates Moran alongside contemporaries such as Ida Kar, Diane Arbus and Vivian Maier, whose approaches similarly challenged mid-century photographic norms. Drawing on archival research, interviews, field reenactment, and practice-based methodologies, this study contributes a regional perspective to global debates on visuality, interdisciplinary work, and the making of place in the humanities.


