Miriam al Jamil has a B.Ed. in English and Education from Wolfson College, Cambridge, and MAs from The University of Kent, Canterbury, and King's College, London. She is now researching towards a PhD at Birkbeck College, London. Her current research is on women’s engagement with Classical sculpture in the eighteenth century, a subject which was inspired by her earlier work on the Townley collection of Grand Tour sculpture at the British Museum. Miriam has given conference papers at BSECS Oxford, King’s College, London, the British Museum and the V&A. She is part of the Burney Society UK, the Johnson Society of London and is a key member of The Women’s Studies Group, 1558-1837; she regularly gives talks, papers and chairs panels for all three academic groups. She has contributed a chapter to Antiquity and Enlightenment, a forthcoming Brill Publication, regularly writes reviews for London Student and is fine arts review editor for BSECS Criticks online. She can be contacted on firstname.lastname@example.org or via twitter @MiriamJamil
Miriam Al Jamil goes down the rabbit hole at the V&A’s latest exhibition, Alice: Curioser and Curioser, and discovers how Lewis Carroll’s books inspired generations of artists, designers, illustrators and film-makers.
The National Gallery’s blockbuster exhibition celebrates the professional ingenuity, self-confidence and skilful proto-feminist paintings of one of Italy’s best Early Modern women artists, Artemisia Gentileschi.
Delving into the rich traditions of gothic literature, sentimental fiction and old folk tales, Henry Fuseli’s The Nightmare, 1782, appears from another world. But not so, says Miriam Al Jamil, who recognises in the painting an awareness of human psychology foreshadowing that found in modern psycho-analysis, dream theory and psychiatry.
Author of a number of books relating to the history of sexuality, Julie Peakman’s new work, Licentious Worlds, offers a history of sexual attitudes and behaviour through five hundred years of empire building around the world. Here, she talks to our arts contributor, Miriam Al Jamil, about her book and the research behind it.
Throughout history Eurydice has been portrayed as a voiceless cypher next to the vocal brilliance of her husband Orpheus. But does the ENO’s 2019 programme of Gluck, Offenbach and Glass alter this? asks our writer Miriam Al Jamil.
Two exhibitions at the British Museum and Watts Gallery strive to re-contextualise European Orientalism and emphasise artistic relationships between east and west, but do they succeed? asks our arts writer Miriam Al Jamil.
Renowned works by Titian, da Vinci, Dürer and Raphael feature in the Royal Academy’s recent exhibition, The Renaissance Nude, all of which throw light on the female as well as male gaze, observes our contributor Miriam al Jamil.